Eccho Rights has sold popular Turkish drama The End into further markets. It’s already being remade in the U.S. by Sander/Moses Prods at Fox, and now Germany’s UFA will develop a local version for broadcaster SAT1 while Shine France has also taken an option on the series. Further, Netflix has signed a non-exclusive agreement for the original in Sweden and the UK. The story is about a woman navigating a web of lies and intrigue as she searches for her husband whom she presumed dead following a plane crash. But it turns out he never boarded the plane. Produced by Ay Yapim in Turkey, the show is also getting a Russian version.
Global Showbiz Briefs: ‘The End’ Gets German Remake; Turkish Censors Ban ‘Nymphomaniac’; Berlin Fest Dates; BBC3 Moving To Web?; Oz’s Animal Logic; More
BREAKING: As Deadline was first to reveal after the exits of Lynn Harris and Sarah Schechter, Jon Berg and Courtenay Valenti have been promoted to EVP Development and Production at Warner Bros Pictures by Greg Silverman, President, Creative Development and Worldwide Production. Both execs, who’ve worked forever with Silverman, will report to him. Duties will be expanded for Valenti, a 25-year studio vet, and Berg, who has been rising in the ranks since arriving in 2008. They will take grater roles in oversight and management of Warner Bros’ development team and budget, as well as managing the studio’s film projects.
OSCARS: A Selfie-Important Academy Awards Honors Our Past And Our Future And Hits Just The Right Notes
In the end the Academy Awards fell right into place with every other awards show this season. Gravity got LOTS of love but it ended with 12 Years A Slave‘s Steve McQueen making the big acceptance speech of the night for Best Picture — just like it went at the Golden Globes, Critics Choice Movie Awards, BAFTA, PGA and others. It’s a weird year when a blockbuster picture like Gravity can win seven Oscars including Best Director yet lose the big one. But science fiction is not a category the Oscars have ever embraced in that way, and this year was no exception. In 1977 Star Wars also won seven Oscars yet lost in the end to Best Pic winner Annie Hall, which only picked up four awards overall much like Slave’s haul of three nods this year. The record still stands though with 1972′s Cabaret winning eight Oscars but losing ultimately to The Godfather which won only three including Best Picture.
How do you explain it? It’s called spreading the wealth but wanting to save your most important award for a movie that has real gravitas, one that breaks barriers over what the Academy has ever done before. A movie directed by a black person has never before won nor has a film that so harrowingly details one aspect of the black experience. 12 Years A Slave may have depicted the dark side of this country in a way Oscar had never before recognized, but the Academy wanted to spotlight that and reward it with its highest prize in a year of great films about the black experience. In fact the whole show was full of diversity including numerous black presenters and the Best Director award to Mexican filmmaker Alfonso Cuaron.
For the third time in her career, Ellen DeGeneres was asked to host a Hollywood awards ceremony after a tragedy — this time the tragedy being Seth MacFarlane’s Hollywood-savaging Oscars hosting of a year ago. Ellen hosted the twice-delayed Emmy Awards after the September 2001 terrorist attacks and, four years later, after Hurricane Katrina. Tonight she hosted the first Academy Awards since MacFarlane opened the Oscars with “We Saw Your Boobs” and followed it up with a crack about John Wilkes Booth (rather than nominee Daniel Day-Lewis) being the actor who best got into President Lincoln’s head.
“For those of you watching us around the world, it’s been a tough couple of days for us. It has been raining. We’re fine – thank you for your prayers,” DeGeneres joked as she opened tonight’s ABC broadcast — a nod to her deft hosting of the aforementioned Emmy broadcasts, including that twice-postponed ’01 Emmys, which she’d opened with the observation: “What would bother the Taliban more than seeing a gay woman in a suit surrounded by Jews” to gales of laughter.
Related: OSCARS: Deadline’s Live Blog
When tonight’s disjointed show finally ended, a minute or two into Monday morning for about a third of the country’s TV viewers who live on the East Coast, DeGeneres had reminded us she’s likeable as all get out, but her improvised bits did not work so well – Amy Poehler and Tina Fey did it much better at the Golden Globes. She’d called Liza Minnelli “sir”, complimented “him” on his great Liza Minnelli impersonation; shamed Harvey Weinstein into putting $200 bucks into Pharrell’s hat, which she was passing around to collect money to pay for the product-placement pizza she ordered for the A-listers in the front rows; pocketed and used best supporting actress winner Lupita Nyong’o’s pizza-collection contribution (a lip gloss); and maybe crashed Twitter shortly after piling about a dozen celebrities into one selfie during the broadcast in an attempt to break the record for most re-tweets (it was pushing 2 million by the time the trophy show was over, causing the Motion Picture Academy to apologize for contributing to the Twitter traffic jam).
WINS BY FILM
Gravity – 7
12 Years A Slave – 3
Dallas Buyers Club – 3
Frozen – 2
The Great Gatsby – 2
20 Feet From Stardom – 1
Blue Jasmine – 1
The Great Beauty – 1
Helium – 1
Her – 1
Mr. Hublot – 1
The Lady In Number 6: Music Saved My Life – 1
Monica Corcoran Harel is contributing to Deadline’s Oscars coverage.
Clearly, God loves a red carpet. How else to explain how the torrential rain miraculously ceased by noon today so we wouldn’t have to see actresses with frizzy hair and streaked mascara in belted trench coats? Instead, this year’s Oscar red carpet brought us a bevy of gold beaded dresses, dozens of bare shoulders, an al fresco Jennifer Lawrence pratfall and many leading men in blue.
That red carpet also brought about $2.3M to our local economy, according to a recent study from a Los Angeles consulting firm that tallied wardrobe expenses for women attending the Academy Awards. (Of course, nominees and presenters don’t have to buy anything — all is custom designed or borrowed.) Celebrity stylists, however, can earn up to $10,000 per day for prepping, pulling looks and fitting clients. (Having co-written a book with Rachel Zoe last year, I can attest to stress of the task. However, any monthlong job that earns enough money to buy a Tesla is no crap gig, eh? )
Related: Oscars Winners List
This year, beaded metallics reigned. Cate Blanchett in pale gold Armani Prive, Angelina Jolie in sparkly Elie Saab Couture, Sally Hawkins in Valentino and Lady Gaga wearing Atelier Versace were reflective. With barely any sunlight, the flashes of paparazzi made these women sparkle. Bare shoulders also were a major trend, and the ones who did it right opted for dramatic bodices and necklines, including Charlize Theron in Christian Dior, Sandra Bullock in navy Alexander McQueen and Amy Adams in Gucci Couture. The lack of straps also makes a great canvas for diamond necklaces, as we saw on Lawrence in $2 million worth of Neal Lane sparklers.
Related: Backstage At The Oscars
Here we are again after the Golden Globes, Mike Fleming and Anita Busch taking on the task of play by play during the most wide-open Oscar race we can remember. Even on the party circuit, industry insiders who usually have a grasp of who’ll walk away with Oscars were evenly torn between Alfonso Cuaron’s 3D masterpiece Gravity and Steve McQueen’s 12 Years A Slave. Then again, there were so many terrific films that got Best Picture nominations, and all of them have at least a puncher’s chance at an upset.
That includes American Hustle, where David O Russell co-wrote the Best Original Script nominee with Eric Warren Singer and got tour de force performances and nominations for Christian Bale, Amy Adams, Bradley Cooper and Jennifer Lawrence. Perfs so strong there was no room on the nomination roster for perennial Oscar nominee Jeremy Renner. The film is up for 10 awards, and has grossed over $240 million on a $40 million budget.
Then there is The Wolf Of Wall Street, with Leonardo DiCaprio giving the most emphatic and complete performance of a great career, and Jonah Hill right there with him as his crazy con man sidekick. The film is up for five nominations, including Martin Scorsese for directing a terrific adaptation from The Sopranos and Boardwalk Empire vet Terence Winter.
PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE
Jared Leto in “Dallas Buyers Club” (Focus Features)
ACHIEVEMENT IN COSTUME DESIGN
“The Great Gatsby” (Warner Bros.) Catherine Martin
ACHIEVEMENT IN MAKEUP AND HAIRSTYLING
“Dallas Buyers Club” (Focus Features) Adruitha Lee and Robin Mathews
BEST ANIMATED SHORT FILM
BEST ANIMATED FEATURE FILM OF THE YEAR
“Frozen” (Walt Disney)
Chris Buck, Jennifer Lee and Peter Del Vecho
ACHIEVEMENT IN VISUAL EFFECTS
“Gravity” (Warner Bros.) Tim Webber, Chris Lawrence, Dave Shirk and Neil Corbould
BEST LIVE ACTION SHORT FILM
An M & M Production
Anders Walter and Kim Magnusson
BEST DOCUMENTARY SHORT SUBJECT
“The Lady In Number 6: Music Saved My Life”
A Reed Entertainment Production
Malcolm Clarke and Nicholas Reed
BEST DOCUMENTARY FEATURE
“20 Feet From Stardom” (RADiUS-TWC)
A Gil Friesen Productions and Tremolo Production
Morgan Neville, Gil Friesen and Caitrin Rogers
BEST FOREIGN LANGUAGE FILM OF THE YEAR
“The Great Beauty” (Janus Films) – Italy
An Indigo Film Production
ACHIEVEMENT IN SOUND MIXING
“Gravity” (Warner Bros.) Skip Lievsay, Niv Adiri, Christopher Benstead and Chris Munro
PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE
Lupita Nyong’o in “12 Years A Slave” (Fox Searchlight)
ACHIEVEMENT IN CINEMATOGRAPHY
“Gravity” (Warner Bros.) Emmanuel Lubezki
ACHIEVEMENT IN FILM EDITING
“Gravity” (Warner Bros.) Alfonso Cuarón and Mark Sanger
ACHIEVEMENT IN PRODUCTION DESIGN
“The Great Gatsby” (Warner Bros.) Production Design: Catherine Martin; …
Anna Lisa Raya, Diane Haithman, and Anthony D’Alessandro are contributing to Deadline’s Oscar coverage.
Related: OSCARS: Deadline’s Live Blog
So did the 12 Years A Slave team contemplate a potential best pic loss tonight? According to producer and co-star Brad Pitt — it didn’t matter if they won or lost. 12 Years A Slave in and of itself is a benchmark in cinematic history, unlike many films being made today. Asserted Pitt, “I love this story. It’s a historical story of man in an inhumane situation finding freedom. It’s an important film because it deals with our history that hasn’t been shown on screen. It’s important that we understand this era as it explains who we were, so we can better understand who we are now. The film is a gentle reminder that we’re all equal and want dignity for ourselves and for our families.” Fielding a question about how 12 Years A Slave has evolved cinema about African-Americans in the south since Gone With The Wind 75 years ago, McQueen exclaimed, “It’s obviously a progression. The background characters are now in the foreground and now they’re being recognized. It’s indicative of what’s going on; how people are ready for this narrative and how they want to look at this history. It’s like Brad said, ‘If you don’t know your past, we don’t know our future.’” Speaking about 12 Years‘ momentum around the world, producer Dede Gardner pointed out how Solomon Northup’s book is now available in high school libraries throughout the country after being out of print, while producer Jeremy Kleiner said, “the universality of the film’s story has broken down ideological concepts of what is a domestic and what is an international story.”
Related: OSCARS: The Complete Winners List
OSCARS: Pete Hammond’s Absolute FINAL Predictions In Every Category In One Of The Most Competitive Races Ever
This column originally ran Thursday.
With no real clarity from the usually reliable guild contests and critics awards, the best picture race is one of the most unpredictable in years. Considering the preferential Oscar voting system, it is not probable there will be a winner on the first ballot because it’s unlikely any film in this great year for films will be able to muster more than 50% of the first-place votes required. The second choice on those best picture ballots could end up being the most important. The top three contenders—12 Years A Slave, American Hustle and Gravity—are in a real dog fight, which means a dark horse like The Wolf Of Wall Street, Philomena, Dallas Buyers Club or Nebraska could sneak in if a true three-way split occurs, although I don’t think that scenario is too likely. Never say never though. In 1981 for example no one was expecting a small British film called Chariots Of Fire to sneak in and take Best Picture but indeed it did. The last huge upset in the Picture race was probably Crash over Brokeback Mountain in 2005 but judging from voter interviews that year I saw a tidal wave of last minute support. This year I don’t get that. There are lots of opinions out there and it looks like …
Earlier, this afternoon, Bruce Broughton had his say about the rescinding of the Oscar nomination for the title song from Alone Yet Not Alone. Here’s another side of the story, in a letter Deadline obtained that was sent to the Academy by Martin M. Bandier, the influential chairman of Sony/ATV Music Publishing. Like Broughton, he also is calling for changes in the Best Song category, but he specifically has a beef with the rule that doesn’t provide for another nominee to replace one that might be nixed, as happened this year. There certainly were other songs that warranted inclusion, and the one that I thought the category missed most was Lana Del Rey’s haunting “Young and Beautiful,” which added so much to the courtship seen between Gatsby and Daisy in Baz Luhrmann’s The Great Gatsby. There were others, too. Bandier sent the letter to AMPAS chief Cheryl Boone Isaacs, and it won’t be surprising if she spend some energy looking hard at this, but it seemed relevant enough right now to air it here. Read the letter below:
Tuesday, February 25
7:00 PM: BVLGARI “Decades of Glamour” Oscar Party hosted by Naomi Watts
Location: Soho House
7:30 PM: Oscar Week – Animated and Live Action Shorts Celebration hosted by Kevin Pollak
Location: Samuel Goldwyn Theater, Beverly Hills
2nd Annual ICON MANN Pre-Oscar POWER 50 Dinner
Location: Peninsula Hotel
Vanity Fair and Fiat Toast “Young Hollywood”
Location: No Vacancy
Wednesday, February 26
10 AM: The Art of Elysium 7Th Annual Pieces Of Heaven Charity Art Auction
Location: Siren Studios, Los Angeles
5:30 PM: LoveGold Celebrates Lupita Nyong’o
Location: Chateau Marmont
6 PM: 7th Annual TOSCARS Awards Show
Location: Egyptian Theater, Hollywood
6:30 PM: Global Green USA Pre-Oscar® Party with performance by Moby and The Crystal Method
Location: The Avalon Hollywood, 1735 Vine Street, Los Angeles
Costume Designers Guild Awards: Patricia Norris Wins For ’12 Years A Slave’, Suzy Benzinger For ‘Blue Jasmine’, Trish Summerville For ‘Catching Fire’, TV Winners ‘Downton Abbey’; ‘House Of Cards’, ‘Behind The Candelabra’
AwardsLine Deputy Editor Anna Lisa Raya provided on-scene coverage tonight.
UPDATED WITH ALL WINNERS AND SPEECHES: 12 Years A Slave’s Patricia Norris and Hunger Games: Catching Fire’s Trish Summerville nabbed top film awards tonight at the 16th annual Costume Designers Guild Awards. Norris won the Outstanding Period Film Award while Summerville scored the Outstanding Fantasy Film Award. The win clearly vaults Oscar-nominated Norris into frontrunner status. She was not present but her son Patrick accepted on her behalf. “She guaranteed me this wouldn’t happen. I’m kind of a little nervous but she gave me a few things to say in case it did happen. She’s honored that the Costume Designers Guild has recognized her. She thanks you and I appreciate you. I can’t wait to give this to her,” he said. Blue Jasmine’s Suzy Benzinger took the third film award of the night for Outstanding Contemporary Film.
On the TV side, Caroline McCall took the Outstanding Period/Fantasy category for Downton Abbey. This was her second straight win in the same category. Ellen Mirojnick won Outstanding Made for Television Movie or Miniseries for Behind The Candelabra and Tom Broecker took the Outstanding Contemporary Television Series honor for House Of Cards.
In other awards, writer/director/producer Judd Apatow received the Distinguished Collaborator Award for his support of costume design in such work as Freaks And Geeks, Girls, Bridesmaids and the Anchorman films. Jonah Hill made a surprise appearance to present the award to Apatow. “I wouldn’t necessarily think of Judd for the costume design in his films, it’s not the first thing to come to mind,” Hill said, before adding that Apatow’s work resonates because it’s about real people wearing real clothes. “That’s an artform. That’s real life. That’s what Judd does.” Apatow gave shout-outs to the many costume designers with whom he’s worked. “So many amazing people throughout our careers. Thank you so much and thank you for making us look good and making these characters come alive.” Veteran costume designer April Ferry (Maverick, Elysium) received the Career Achievement Award. “I absolutely love what I do and for me there’s no other way. Over the last 30 years I’ve traveled to ancient Rome all the way to the future and beyond. If you’re lucky, like I’ve been, you work at the seat of your pants with wonderful people,” Ferry said in accepting her award. The Distinguished Service Award went to Sharon Day, a guild delegate and former executive board member. Amy Adams was honored with the Lacoste Spotlight Award, which recognizes an actor whose roles have been intrinsically tied to costume design. Adams most recently stunned in a sexy, glamorous 1970s-era wardrobe in American Hustle, for which she’s nominated for a best lead actress Oscar. “I’m just really, really lucky to have had relationships with costume designers thorughout the years. You’ve been magicians, you’ve been my therapists, you’ve been my friends. Thank you for allowing me to turn your visions into art,” Adams said.
Host Joshua Malina kicked off the evening. “I’m Joshua Malina, and I’m a 42 Reg. I have a 32 inch waist and a 30 inch inseam. Yes, I said 30 inches. Don’t judge, we’re all God’s creatures,” he joked. “We’re here to celebrate the collaboration of costume designers and directors and actors. There’s also the talented cutters, and seamstresses, the dye-ers, the shoemakers. We’re all here together tonight and so far, getting along nicely,” he said.
Here’s the complete list of winners.
Gravity and Captain Phillips took home the big feature awards tonight — for Best Sound Effects & Foley work and Best Dialogue/ADR, respectively — as the Motion Picture Sound Editors doled out annual awards recognizing achievement in sound editing. HBO’s Game of Thrones, AMC’s Breaking Bad, FX’s The Bridge and FX’s Sons of Anarchy took home honors on the TV side. Feature films, long- and short-form TV, animation, and docus were on the docket at the black tie affair at L.A.’s Bonaventure Hotel where George Lucas presented the annual MPSE Career Achievement Award to Skywalker Sound’s Randy Thom and Ray Dolby was feted in a special tribute introduced by Walter Murch. Scroll down for full list of winners:
Breathing a sigh of relief once again Fox Searchlight’s 12 Years A Slave pulled out another squeaker at the BAFTA Awards just as it did at the Golden Globes, Critics Choice Awards and the Producers Guild (where it tied Gravity). Going into the BAFTAs with ten nominations and favored status, as it was directed by Brit Steve McQueen and starred Brit Chiwetel Ejiofor, it looked like a total shutout losing award after award and going 0 for 7 (including surprising losses for Adapted Screenplay, Supporting Actress and Supporting Actor) but finally getting on the board with Ejiofor’s Best Actor win and then pulling off Best Film shortly after in a ceremony that reflected the kinds of splits we have seen all season. At the Globes you may recall it went 0 for 6 before nabbing Best Drama Picture at the end of the evening. Somehow McQueen winds up on stage at the end of all these shows making an acceptance speech and that’s what counts.
Related: BAFTA Awards: ‘12 Years A Slave’ Wins Best Film But ‘Gravity’ Carries Most Weight With Six Total Nods; Chiwetel Ejiofor & Cate Blanchett Take Actor Wins; ‘American Hustle’ Scores 3 Including For Jennifer Lawrence
This is an unusual year to say the least and the BAFTA win for 12 Years A Slave where it helps the most gives it bragging rights as Oscar voting is getting underway this weekend. But these kinds of narrow victories might be a little tension-headache inducing for Searchlight as it now heads to the Oscars in the tightest race in years. Slave was expected to do much better here than it did overall. The results indicate voting was all over the map. BAFTA is important as there may be as many as 500 members that it shares in common with the motion picture Academy. The outcome really did nothing to add more clarity or certainty in a see-sawing Best Picture Oscar race with Gravity’s six BAFTA wins including Best Director for Alfonso Cuaron and Outstanding British Film keeping it in strong contention. Perhaps BAFTA voters thought they could offer up their own PGA-style split by giving these two films their own producing prize? Who knows? Here’s the good news for Slave . The BAFTA Best Film winner has gone on to win the Oscar for Best Picture for the past five years a row. However in the four previous years before that streak it failed to match Oscar’s top winner, so into which camp will Slave fall? Again, who knows? Makes things exciting though.
BAFTA Awards: ‘12 Years A Slave’ Wins Best Film But ‘Gravity’ Carries Most Weight With Six Total Nods; Chiwetel Ejiofor & Cate Blanchett Take Actor Wins; ‘American Hustle’ Scores 3 Including For Jennifer Lawrence
UPDATED WITH FULL LIST OF WINNERS AND REACTIONS: Steve McQueen’s 12 Years A Slave rallied from a slow stat to win the Best Film award tonight at the 62nd BAFTA Film Awards in London. The slave drama from Fox Searchlight had 10 nominations but won just two awards, after Chiwetel Ejiofor took the Leading Actor prize for playing Solomon Northup. Despite the marquee victory in the last major kudofest before the Oscars, it still seemed as though the night belonged to Warner Bros’ Gravity. The space drama picked up a leading six wins from its 11 overall nominations, including for Outstanding British Film — which will keep the debate going about just how British the pic is. Alfonso Cuaron won Best Director and the pic cleaned up in the craft categories, taking Sound, Cinematography and Special Visual Effects in addition to a nod for Steven Price’s Original Score. The BAFTA crowd at the packed Royal Opera House in Covent Garden exploded with each win for the movie, which had a leading 11 nominations going into the night.
Still, the 12 Years A Slave victory tonight maintains the film’s front-runner status going into the Oscars on March 2; the film also won the Golden Globe for Motion Picture-Drama. Many feel the Academy will lean the same way, honoring Gravity in the craft categories but not for the Best Picture. The two films have been going head to head all awards season, even scrapping to a rare tie in the PGA Awards contest. “It’s very important,” McQueen said backstage after the victory. “The way the public here — but not just here, in the U.S. — by going to see the picture, means a hell of a lot.” Added producer Brad Pitt: “This is an excuse for us to all get to gather and say job well done. We’re very proud of our work here, and it means a lot to us because of the people we got to work with.”
Catherine Martin, who has won two Academy Awards for Costume Design and Best Art Direction/Set Decoration on the French-themed musical Moulin Rouge in 2001, has two noms for one movie again this year: The Great Gatsby, directed by Baz Luhrmann. The Warner Bros remake based on F. Scott Fitzgerald’s classic novel garnered Martin nominations for Costumes and Production Design. As with Moulin Rouge, Martin’s sets in The Great Gatsby were wondrously extravagant. The set decorator nominated with Martin is Beverley Dunn. Simply put, the production design was (in combination with the special effects team) colorful, intricate 1920s eye candy. Martin recently won an Art Directors Guild Award for her work on the film.
To design Jay Gatsby’s world, Martin says, she followed her husband Luhrmann’s lead. “He wanted to create Fitzgerald’s New York as creative and exciting as it was for Fitzgerald. He wanted it immediate and how it would feel for him.” The Times Square of 1920, for instance, of the Luhrmann/Martin vision became an exciting, colorful, crowded, roaring party as were the actual parties of Jay Gatsby (Leonardo DiCaprio). In one of the pool scenes, an inflatable zebra is seen in the pool, which had people questioning the historical accuracy. In the book, Fitzgerald writes specifically about an air mattress he describes as a “pneumatic mattress,” but as Martin explains, “I researched inflatable pool toys to see what shapes existed and how they were made. When we put the first trailer out, you see girls cavorting with inflatable zebras and that came directly from research. Inflatables had been around since the late 19th century. The Macy’s parade started in the 1920s. What I enjoy about production design is that you are able like a detective you are able to discover and challenge your perceptions.”
Joe Utichi is contributing to Deadline’s BAFTA Awards coverage
Given that so many Oscar contenders figure in the BAFTA races this year, expect London’s tony Mayfair neighborhood to turn into Hollywood-on-Thames this weekend. With the American Academy’s ballots officially going out today, and about a 500-member overlap between the two orgs, BAFTA is the place to be seen. There will be plenty of opportunity with an ever-grander roster of sideshow events.
InStyle and Esquire already kicked things off with parties celebrating the “Best of British Talent” and the EE Rising Star Award in the past two weeks. Local stars like Luke Evans and Jack O’Connell dominated the guest lists at both. (O’Connell was fresh in from Berlin where he received great buzz for his performance in competition film ’71.) BAFTA weekend proper kicks off tonight as Lancôme hosts its party and Harvey Weinstein puts on a private dinner for his nominees at the boutique Little House in Mayfair. He threw a similar event last year. As in 2013, menswear giant Hackett will host a lunch Saturday at the Savoy for BAFTA Fellowship honoree Helen Mirren. And the annual Nominees’ Party will play out Saturday night at Asprey’s Bond Street shop. From there, A-listers will head to the 15th Charles Finch-hosted dinner at Annabel’s….
This week, Deadline Awards Columnist Pete Hammond and host David Bloom look at whether Gravity is a lock to win the Oscar technical categories after dominating the Visual Effects Society awards and winning at the Art Directors Guild – but losing at the Eddies to Captain Phillips. Pete and David also check in on the scene at the annual Oscar Nominees Luncheon, where everyone’s a winner; and the AARP Movies for Grownups event, where everyone’s a grownup; and remember entertainment titans Shirley Temple Black and Sid Caesar.