on stage speeches and backstage interviews of oscar award winners 2
ONSTAGE SPEECH
CATEGORY: Costume Design
SPEECH BY: Jacqueline Durran
FILM: "ANNA KARENINA"
Thank you to the Academy. This is absolutely overwhelming. And I’d like to accept it on behalf of the great team that worked with me on Anna Karenina. A wonderful director—Joe Wright. And fantastic producers at Working Title and my children for bearing with me. They’re completely oblivious to this. They’re fast asleep in England.
BACKSTAGE INTERVIEW
CATEGORY: Costume Design
INTERVIEW WITH: Jacqueline Durran
FILM: "ANNA KARENINA"
Q.Congratulations to you. This is your first Oscar win tonight?
A.Yes.
Q.How do you feel? How are we feeling?
A.Totally overwhelmed. But absolutely delighted.
Q.The costume design inside ANNA KARENINA, you I haven't really seen a film go so much into the psyche of each character, and the costumes are so much more outwardly indicative of what the characters are going through. How did you how were you able to figure out what each character was going through at the time and show that through what they were wearing?
A.The brief that the director gave me was to concentrate always on the silhouette and the color. So I think that he always had a plan, and quite often what happens is you design the costumes according to the director's plan, and then he uses them in a way that you didn't imagine or didn't know. But there was always a color plan and a silhouette plan.
Q.Hi.
A.Hello.
Q.Congratulations.
A.Thank you very much.
Q.On winning the award, I mean, do you have a sense this is as much to do with the actors who wore your costumes, people like Keira Knightley? And how important was because you worked with her before, haven't you? Since she was a little girl, essentially.
A.Yes. I think that the actors have a lot to do with the costumes, because they're the ones that really make the look live. And because it was quite a stylized look, I think they had to really be on board with it and really inhabit the costumes, and Keira particularly, is a dream to dress and will make anything you can give her look the best it can possibly look.
Q.I'm from Russia.
A.Hello.
Q.I love you guys very much. Was you surprised?
A.What?
Q.Did it surprise [inaudible] you when you prepared for this?
A.The Russian research, we tried very hard to research Russian ethnic costumes for the Levin household, for the sides and everyone who was related to Levin in the story. Everyone all the other characters wore things which were really Western European are Parisian inspired, the military uniforms, and the Levin household, we really looked at a lot of Russian records and it was very new to me, and I enjoyed that part of the job very much.
Q.Hi. Congratulations.
A.Thank you very much.
Q.I just wondered if you were a big fan of the book before you came on board with this film?
A.I read the book when I was at university and I I thought I wasn't a huge fan of it, but as returning to it now at my current age, I was absolutely amazed by it, and I thought that Tolstoy was the most incredible writer because he seemed to be able to describe every condition, every human condition and I thought he was amazing. His descriptions of Dolly, of Levin and of everyone, he seems to be able to capture everything.
CATEGORY: Costume Design
INTERVIEW WITH: Jacqueline Durran
FILM: "ANNA KARENINA"
Q.Congratulations to you. This is your first Oscar win tonight?
A.Yes.
Q.How do you feel? How are we feeling?
A.Totally overwhelmed. But absolutely delighted.
Q.The costume design inside ANNA KARENINA, you I haven't really seen a film go so much into the psyche of each character, and the costumes are so much more outwardly indicative of what the characters are going through. How did you how were you able to figure out what each character was going through at the time and show that through what they were wearing?
A.The brief that the director gave me was to concentrate always on the silhouette and the color. So I think that he always had a plan, and quite often what happens is you design the costumes according to the director's plan, and then he uses them in a way that you didn't imagine or didn't know. But there was always a color plan and a silhouette plan.
Q.Hi.
A.Hello.
Q.Congratulations.
A.Thank you very much.
Q.On winning the award, I mean, do you have a sense this is as much to do with the actors who wore your costumes, people like Keira Knightley? And how important was because you worked with her before, haven't you? Since she was a little girl, essentially.
A.Yes. I think that the actors have a lot to do with the costumes, because they're the ones that really make the look live. And because it was quite a stylized look, I think they had to really be on board with it and really inhabit the costumes, and Keira particularly, is a dream to dress and will make anything you can give her look the best it can possibly look.
Q.I'm from Russia.
A.Hello.
Q.I love you guys very much. Was you surprised?
A.What?
Q.Did it surprise [inaudible] you when you prepared for this?
A.The Russian research, we tried very hard to research Russian ethnic costumes for the Levin household, for the sides and everyone who was related to Levin in the story. Everyone all the other characters wore things which were really Western European are Parisian inspired, the military uniforms, and the Levin household, we really looked at a lot of Russian records and it was very new to me, and I enjoyed that part of the job very much.
Q.Hi. Congratulations.
A.Thank you very much.
Q.I just wondered if you were a big fan of the book before you came on board with this film?
A.I read the book when I was at university and I I thought I wasn't a huge fan of it, but as returning to it now at my current age, I was absolutely amazed by it, and I thought that Tolstoy was the most incredible writer because he seemed to be able to describe every condition, every human condition and I thought he was amazing. His descriptions of Dolly, of Levin and of everyone, he seems to be able to capture everything.
ONSTAGE SPEECH
CATEGORY: Visual Effects
SPEECH BY: Bill Westenhofer, Guillaume Rocheron, Erik-Jan De Boer and Donald R. Elliott
FILM: "Life of Pi"
CATEGORY: Visual Effects
SPEECH BY: Bill Westenhofer, Guillaume Rocheron, Erik-Jan De Boer and Donald R. Elliott
FILM: "Life of Pi"
The irony is not lost on any of us up here that in a film
whose central premise is to ask the audience what they believe is real or not
real, most of what you see is, well, it’s fake. That’s the magic of visual effects.
I want to thank Gil Netter and Elizabeth Gabler and all those at Fox and Fox
2000 for realizing that sometimes it takes a risk to make something special.
And LIFE OF PI was a risk worth taking. To our director, Ang Lee, you were an
inspiration and you made it an incredible journey for all of us. To David
Womark, Mike Malone and Tommy Fisher for making a wave tank that kept us from
having to go out to the real ocean and John Kilkenny for inviting all of us to
the party in the first place. to my family for all the sacrifices they made,
Gabrielle I love you so much, to my children: Christopher, Thomas,
Alexander and Samantha, thank you for inspiring me every day, my mom
and dad thank you for telling me to do any crazy career choice I
wanted. Finally, I want to thank all the artists who worked on this film for
over a year, including Rhythm & Hues. Sadly Rhythm & Hues is suffering
severe financial difficulties right now. I urge you all to remember….
BACKSTAGE INTERVIEW
CATEGORY: Visual Effects
INTERVIEW WITH: Bill Westenhofer, Guillaume Rocheron, Erik-Jan De Boer and Donald R. Elliott
FILM: "LIFE OF PI"
CATEGORY: Visual Effects
INTERVIEW WITH: Bill Westenhofer, Guillaume Rocheron, Erik-Jan De Boer and Donald R. Elliott
FILM: "LIFE OF PI"
Q.What does your win mean in light of the state of the
industry with VFX, the folks protesting outside, and the Rhythm & Hues
bankruptcy?
A.(Bill Westenhofer) What I was trying to say up there is that it's at a time when visual effects movies are dominating the box office, that visual effects companies are struggling. And I wanted to point out that we aren't technicians. Visual effects is not just a commodity that's being done by people pushing buttons. We're artists, and if we don't find a way to fix the business model, we start to loses the artistry. If anything, LIFE OF PI shows that we're artists and not just technicians.
Q.Congratulations, gentlemen. Can I ask a question to you?
A.(Guillaume Rocheron) Sure.
Q.I'll ask the question in English and then in French, if possible. Thank you so much. I appreciate it. We talked a lot about the French nominees, you know, Emmanuelle Riva and Alexandre Desplat, and we forgot to talk about you.
A.[Speaks in French]
Q.Congratulations, Bill, and everybody else.
A.(Bill Westenhofer) Thank you, Bill.
Q.Bill, in light of what's happened with Rhythm & Hues, are you hopeful that whatever happens that you'll be able to keep the same culture? And for the other visual effects supervisors, talk about what this means for you being able to work on a project where the visual effects are very much a part of the aesthetic of the movie.
A.(Bill Westenhofer) So the first part of your question about Rhythm & Hues, it really was something special, experience funded by John, Pauline and Keith, and it was a place that really catered to the artist and supported them really well. It is a concern. We're hopeful that we can pull through the bankruptcy, but it's a concern in all of our minds that the culture is preserved. As long as the key people are maintained in that environment, I think it will carry on. You guys can talk about the second part of the question.
A.(Guillaume Rocheron) Well, I think LIFE OF PI, as you mentioned, is a perfect example of visual effects contributing to the look of a film. And I think with everything we're talking about now is it really shows that visual effects is part of filmmaking. And that we're here, and we contribute to telling stories, making images and, over the years, develop relationships with filmmakers and really trying to be integrated in the filmmaking process as early as possible to give as much as we can to the director and try to make sure he can have his vision on screen. So I think it's really important thing for me that LIFE OF PI kind of shows, it's a turning point where we're not only supplying a service, we're here to actually tell stories and put them on screen.
A.(Bill Westenhofer) One more thing on that point. If you look at the nominees that we shared the award with, we got to the point where you can almost do anything in visual effects. And now going forward, it's not going to be a question of what you've done do. It's how you use the tools to make something special. Just like any facet of filmmaking that's matured, visual effects, it's got to the point where it's really about the artistry going forward.
Q.We've seen you a lot for this month. So the question is, congratulations to everybody for winning the award. The thing is talking about LIFE OF PI, everybody said it was to make the impossible possible, and you guys did a fantastic job. The thing is with you guys coming together, Ang Lee and you make the special effects, but you also tell the story for the tiger. How is that a working process, and the second one is you being in Taiwan for half a year, how much do you like Taiwan?
A.(Bill Westenhofer) I'm going to start with the first half. Taiwan was great. We had a great time, and when you follow Ang Lee around, you're going to be taken to the best possible restaurants, and he shows you a good time. So we had a great time in Taiwan. As far as working with Ang Lee, what's so great about him is that he's a director who knows what he wants, and he communicates it very well, but he lets the people who work for him, visual effects being one of them, he lets us bring our own sensibilities to the table. Talking about the sky, I want this to be liquid gold, and we have to go back and figure out what the heck that means. And so it's our interpretation of liquid gold that we bring to the table, and that makes it a really rewarding process.
Q.I don't know whether you guys have Smartphones and have been checking Twitter, but when they played you off to the theme of Jaws and Bonanza, I had a visual effects artist tweeting, "I'm signing a registration card for my union right now." I'm wondering if you had any reaction to how you were treated on stage.
A.(Bill Westenhofer) There were some things that I did want to say that got cut off. I mentioned them right here, the visual effects are definitely in a challenging position right now, and we've got to figure out how to make this business model work, because there are artists that are struggling right now. It is not just something being done by anyone pushing buttons. There's artistry involved, and we've got to make sure we maintain that, because we start to lose some of the quality we see on stage, if we're not careful.
A.(Bill Westenhofer) What I was trying to say up there is that it's at a time when visual effects movies are dominating the box office, that visual effects companies are struggling. And I wanted to point out that we aren't technicians. Visual effects is not just a commodity that's being done by people pushing buttons. We're artists, and if we don't find a way to fix the business model, we start to loses the artistry. If anything, LIFE OF PI shows that we're artists and not just technicians.
Q.Congratulations, gentlemen. Can I ask a question to you?
A.(Guillaume Rocheron) Sure.
Q.I'll ask the question in English and then in French, if possible. Thank you so much. I appreciate it. We talked a lot about the French nominees, you know, Emmanuelle Riva and Alexandre Desplat, and we forgot to talk about you.
A.[Speaks in French]
Q.Congratulations, Bill, and everybody else.
A.(Bill Westenhofer) Thank you, Bill.
Q.Bill, in light of what's happened with Rhythm & Hues, are you hopeful that whatever happens that you'll be able to keep the same culture? And for the other visual effects supervisors, talk about what this means for you being able to work on a project where the visual effects are very much a part of the aesthetic of the movie.
A.(Bill Westenhofer) So the first part of your question about Rhythm & Hues, it really was something special, experience funded by John, Pauline and Keith, and it was a place that really catered to the artist and supported them really well. It is a concern. We're hopeful that we can pull through the bankruptcy, but it's a concern in all of our minds that the culture is preserved. As long as the key people are maintained in that environment, I think it will carry on. You guys can talk about the second part of the question.
A.(Guillaume Rocheron) Well, I think LIFE OF PI, as you mentioned, is a perfect example of visual effects contributing to the look of a film. And I think with everything we're talking about now is it really shows that visual effects is part of filmmaking. And that we're here, and we contribute to telling stories, making images and, over the years, develop relationships with filmmakers and really trying to be integrated in the filmmaking process as early as possible to give as much as we can to the director and try to make sure he can have his vision on screen. So I think it's really important thing for me that LIFE OF PI kind of shows, it's a turning point where we're not only supplying a service, we're here to actually tell stories and put them on screen.
A.(Bill Westenhofer) One more thing on that point. If you look at the nominees that we shared the award with, we got to the point where you can almost do anything in visual effects. And now going forward, it's not going to be a question of what you've done do. It's how you use the tools to make something special. Just like any facet of filmmaking that's matured, visual effects, it's got to the point where it's really about the artistry going forward.
Q.We've seen you a lot for this month. So the question is, congratulations to everybody for winning the award. The thing is talking about LIFE OF PI, everybody said it was to make the impossible possible, and you guys did a fantastic job. The thing is with you guys coming together, Ang Lee and you make the special effects, but you also tell the story for the tiger. How is that a working process, and the second one is you being in Taiwan for half a year, how much do you like Taiwan?
A.(Bill Westenhofer) I'm going to start with the first half. Taiwan was great. We had a great time, and when you follow Ang Lee around, you're going to be taken to the best possible restaurants, and he shows you a good time. So we had a great time in Taiwan. As far as working with Ang Lee, what's so great about him is that he's a director who knows what he wants, and he communicates it very well, but he lets the people who work for him, visual effects being one of them, he lets us bring our own sensibilities to the table. Talking about the sky, I want this to be liquid gold, and we have to go back and figure out what the heck that means. And so it's our interpretation of liquid gold that we bring to the table, and that makes it a really rewarding process.
Q.I don't know whether you guys have Smartphones and have been checking Twitter, but when they played you off to the theme of Jaws and Bonanza, I had a visual effects artist tweeting, "I'm signing a registration card for my union right now." I'm wondering if you had any reaction to how you were treated on stage.
A.(Bill Westenhofer) There were some things that I did want to say that got cut off. I mentioned them right here, the visual effects are definitely in a challenging position right now, and we've got to figure out how to make this business model work, because there are artists that are struggling right now. It is not just something being done by anyone pushing buttons. There's artistry involved, and we've got to make sure we maintain that, because we start to lose some of the quality we see on stage, if we're not careful.
ONSTAGE SPEECH
CATEGORY: Makeup and Hairstyling
SPEECH BY: Lisa Westcott and Julie Dartnell
FILM: "Les Misérables"
LISA WESTCOTT: Whoa, thank you so much to the Academy. I
don’t know. It’s quite overwhelming. I must pay a huge tribute to the team who
worked so incredibly hard and were so talented. And I feel that I own only a
little bit of this and the rest goes to them. Thank you very much.
JULIE DARTNELL: Thank you very much, it’s an incredible honor. Thank you so much, and I just want to give love to my family, my mum, my dad, Tom, Holly and Dave.
JULIE DARTNELL: Thank you very much, it’s an incredible honor. Thank you so much, and I just want to give love to my family, my mum, my dad, Tom, Holly and Dave.
BACKSTAGE INTERVIEW
CATEGORY: Makeup and Hairstyling
INTERVIEW WITH: Lisa Westcott and Julie Dartnell
FILM: "LES MISÉRABLES"
Q.I just wanted to ask, I know you obviously won the Baftas, as well. How does that feel in comparison?
A.(Lisa Westcott) Well, it's like I'm sorry, I'm a bit overwhelmed. I'm still shaking. It's just extraordinary when you think of the competition, particularly the Baftas, it was like five other films against us, something like that. I really [inaudible]. It's just so amazing. But the film is tough and hard and we had a wonderful team, so maybe there's a God.
Q.Hello. Congratulations.
A.(Julie Dartnell) Thank you.
A.(Lisa Westcott) Thank you.
Q.I want to ask, in a musical where the performance is being recorded live as they're being recorded as production's going on, is there anything different or difficult more difficult when doing hairstyles and makeup for the cast?
A.(Lisa Westcott) Yeah. Well, it was different because all the songs were done in their entirety, usually with about eight cameras. So from start to finish, your work is there. So if anything happens within that long run, sometimes you'll sit there watching thinking, oh, no, that's done, that's not done. You can't go and rectify it. So, for that reason for us, you know, it was very important to make sure that everything was spot on before the cameras turned. So, yeah, it was different in that way.
Q.Congratulations, girls. I saw your smile [inaudible].
A.(Lisa Westcott) Yes, you did.
A.(Julie Dartnell) Hi.
Q.So, I just want to know how working with Michael and Cameron they're going to entertain you tonight?
A.(Julie Dartnell) We can't possibly say.
A.(Lisa Westcott) I think we're going to dance, don't you?
Q.Champagne for you or tea?
A.(Julie Dartnell) Oh, well, I think it's got to be champagne.
Q.Thank you.
A.(Julie Dartnell) This boy needs a bed wetting.
Q.Congratulations, ladies.
A.(Lisa Westcott) Thank you.
A.(Julie Dartnell) Thank you.
Q.This is the first time, I gather, that the two categories are now together and so it really does put the spotlight on how you work together. And in this particular case, you had a lot of characters and the period to work with. Talk a little bit about that cohesiveness of vision in formulating your characters.
A.(Lisa Westcott) Well, the hair and makeup thing in England is not an unusual mix. And we are ex BBC so we are always trained to do both. And so, for me, I would never ever even accept a job that would separate the two because the very nature of the job and the very essence of the job is to create characters, and to create the character you need all the tools in the box. For me, you need the hair and the makeup, which are really powerful bedfellows. And, for me, I would never do just one or the other. They very much go together. It's like walking around with one shoe it seems, to me, weird not to have those two elements that completely chime with each other. To make the characters, my God, there were so many characters in LES MIS, I tell you. And lots and lots of wigs and prosthetics. It was massive. Four and a half thousand extras and 250 principals, I think. It was a bit huge.
A.(Julie Dartnell) But challenging, we think.
A.(Lisa Westcott) Hey, we got that.
Q.What was your reaction when Anne Hathaway insisted on having her hair cut for real in the movie?
A.(Lisa Westcott) It was completely her decision. It was her decision before I was even a twinkle in the eye of the producers. So when I joined, and my prep, the decision was made. She was absolutely clear that she wanted to do this thing. And good for her, you know, hair grows back, it's no big deal and it's a wonderful part and opportunity for her. So good for her. My goodness. She's got so much publicity from it. We could have easily done it with wigs and full cap and basically a bald cap and a very, very fine wig on the top and it would have been easy to do but she really wanted to do it for real.
A.(Julie Dartnell) And it was very effective. It was a very emotional moment, as well, being on the set. I think the whole crew were all emotional.
A.(Lisa Westcott) It really helped her performance too.
A.(Julie Dartnell) Yeah.
Q.Thank you so much, and congratulations.
A.(Lisa Westcott) Thank you.
A.(Julie Dartnell) Thank you.
CATEGORY: Makeup and Hairstyling
INTERVIEW WITH: Lisa Westcott and Julie Dartnell
FILM: "LES MISÉRABLES"
Q.I just wanted to ask, I know you obviously won the Baftas, as well. How does that feel in comparison?
A.(Lisa Westcott) Well, it's like I'm sorry, I'm a bit overwhelmed. I'm still shaking. It's just extraordinary when you think of the competition, particularly the Baftas, it was like five other films against us, something like that. I really [inaudible]. It's just so amazing. But the film is tough and hard and we had a wonderful team, so maybe there's a God.
Q.Hello. Congratulations.
A.(Julie Dartnell) Thank you.
A.(Lisa Westcott) Thank you.
Q.I want to ask, in a musical where the performance is being recorded live as they're being recorded as production's going on, is there anything different or difficult more difficult when doing hairstyles and makeup for the cast?
A.(Lisa Westcott) Yeah. Well, it was different because all the songs were done in their entirety, usually with about eight cameras. So from start to finish, your work is there. So if anything happens within that long run, sometimes you'll sit there watching thinking, oh, no, that's done, that's not done. You can't go and rectify it. So, for that reason for us, you know, it was very important to make sure that everything was spot on before the cameras turned. So, yeah, it was different in that way.
Q.Congratulations, girls. I saw your smile [inaudible].
A.(Lisa Westcott) Yes, you did.
A.(Julie Dartnell) Hi.
Q.So, I just want to know how working with Michael and Cameron they're going to entertain you tonight?
A.(Julie Dartnell) We can't possibly say.
A.(Lisa Westcott) I think we're going to dance, don't you?
Q.Champagne for you or tea?
A.(Julie Dartnell) Oh, well, I think it's got to be champagne.
Q.Thank you.
A.(Julie Dartnell) This boy needs a bed wetting.
Q.Congratulations, ladies.
A.(Lisa Westcott) Thank you.
A.(Julie Dartnell) Thank you.
Q.This is the first time, I gather, that the two categories are now together and so it really does put the spotlight on how you work together. And in this particular case, you had a lot of characters and the period to work with. Talk a little bit about that cohesiveness of vision in formulating your characters.
A.(Lisa Westcott) Well, the hair and makeup thing in England is not an unusual mix. And we are ex BBC so we are always trained to do both. And so, for me, I would never ever even accept a job that would separate the two because the very nature of the job and the very essence of the job is to create characters, and to create the character you need all the tools in the box. For me, you need the hair and the makeup, which are really powerful bedfellows. And, for me, I would never do just one or the other. They very much go together. It's like walking around with one shoe it seems, to me, weird not to have those two elements that completely chime with each other. To make the characters, my God, there were so many characters in LES MIS, I tell you. And lots and lots of wigs and prosthetics. It was massive. Four and a half thousand extras and 250 principals, I think. It was a bit huge.
A.(Julie Dartnell) But challenging, we think.
A.(Lisa Westcott) Hey, we got that.
Q.What was your reaction when Anne Hathaway insisted on having her hair cut for real in the movie?
A.(Lisa Westcott) It was completely her decision. It was her decision before I was even a twinkle in the eye of the producers. So when I joined, and my prep, the decision was made. She was absolutely clear that she wanted to do this thing. And good for her, you know, hair grows back, it's no big deal and it's a wonderful part and opportunity for her. So good for her. My goodness. She's got so much publicity from it. We could have easily done it with wigs and full cap and basically a bald cap and a very, very fine wig on the top and it would have been easy to do but she really wanted to do it for real.
A.(Julie Dartnell) And it was very effective. It was a very emotional moment, as well, being on the set. I think the whole crew were all emotional.
A.(Lisa Westcott) It really helped her performance too.
A.(Julie Dartnell) Yeah.
Q.Thank you so much, and congratulations.
A.(Lisa Westcott) Thank you.
A.(Julie Dartnell) Thank you.
ONSTAGE SPEECH
CATEGORY: Documentary Short Subject
SPEECH BY: Sean Fine and Andrea Nix Fine
FILM: "Inocente"
CATEGORY: Documentary Short Subject
SPEECH BY: Sean Fine and Andrea Nix Fine
FILM: "Inocente"
Andrea Nix Fine: Thank you so much for this. We just want to
thank, quickly, our amazing producer, Albie Hecht, who went the distance for
this and Susan and Yael and Ryan and Jeff Consiglio our incredible editor who
was with us on all our, like, artistic exploits.
Sean Fine: And most of all, we want to thank this young lady who was homeless just a year ago and now she’s standing in front of all of you and she’s an artist and all of you are artists and we feel like we need to start supporting the arts. They’re dying in our communities. And all of us artists, we need to stand up and help girls like her be seen and heard. It’s so important. Thank you.
Sean Fine: And most of all, we want to thank this young lady who was homeless just a year ago and now she’s standing in front of all of you and she’s an artist and all of you are artists and we feel like we need to start supporting the arts. They’re dying in our communities. And all of us artists, we need to stand up and help girls like her be seen and heard. It’s so important. Thank you.
BACKSTAGE INTERVIEW
CATEGORY: Documentary (Short Subject)
INTERVIEW WITH: Sean Fine and Andrea Nix Fine
FILM: "INOCENTE"
CATEGORY: Documentary (Short Subject)
INTERVIEW WITH: Sean Fine and Andrea Nix Fine
FILM: "INOCENTE"
Q.Tell us, if you would, about what your expectations were
coming into the evening and then what went through your head when they called
your name.
A.(Sean Fine) We were nominated once in 2008 for a documentary award, so I think we were in a very relaxed state, but as it got closer to the award, the butterflies started. I'm lucky because we're married, so Andrea and I are squeezing our hands really tight, I have nail marks from her squeezing my hand, and when they called our names, it just seemed really surreal. But at the same time, we were really excited that Inocente, who was with us, our guest tonight, a young homeless girl, can stand on the stage in front of a billion people and show the world that homeless kids have a voice. And so that's an amazing, amazing thing. The Academy can make that happen.
Q.Hi there. You still live in Washington, right?
A.(Andrea Nix Fine) That's our town. You've got to see his socks. Can you show the socks?
A.(Sean Fine) [Lifts pant leg, shows Redskins socks.] Do I live in Washington? Yes.
Q.Something about the Redskins, right?
A.(Andrea Nix Fine) "No pressure, no diamonds."
A.(Sean Fine) "No pressure, no diamonds, RG3."
Q.Can you talk to me a little bit about making films from the Washington base and the challenges, and the good things and the bad things there.
A.(Andrea Nix Fine) I think what's really great about Washington is it's the seat of a lot of power, and just like two weeks ago Inocente was in the House of the Congress and talking to the senators and congresswomen and men. These are huge issues. She's really giving a face to what's an invisible population. One in 45 kids in this country are homeless and that doesn't make sense. That's like you take two classes in school and one kid in each classroom is homeless, and when you add that up, that's a hell of a lot of kids. So I think we feel very connected to Washington as being able to say, "Look, maybe we can do something about this." Also, everyone is expecting you to be from New York or L.A., and we're third generation Washingtonians, and that doesn't happen very often. We love being from D.C.
A.(Sean Fine) It's a great community.
Q.Can you talk about the role of Kickstarter in making your film and going on to win an Oscar?
A.(Sean Fine) Kickstarter was you know, we were kind of three quarters done with the film, and we were trying to find more money to make the film, and we decided to do something with Kickstarter with our producers, and it really helped. It really helped galvanize the community and get the word out about the film, and it helped fund a bunch of the film and kept us going basically through the post production process. So it's a great new outlet for films, especially documentary films.
A.(Andrea Nix Fine) I think had you tried to get the amount of funding that came through Kickstarter and sort of approached an individual entity, that's a huge ask, it's a hard ask. It feels really good because not only are you raising funds for your film but you're building a community and an audience and people that care about the film. They're watching tonight, and you know they flipped out when the film won. So that feels great.
Q.Thank you so much and congratulations.
A.(Sean Fine) We were nominated once in 2008 for a documentary award, so I think we were in a very relaxed state, but as it got closer to the award, the butterflies started. I'm lucky because we're married, so Andrea and I are squeezing our hands really tight, I have nail marks from her squeezing my hand, and when they called our names, it just seemed really surreal. But at the same time, we were really excited that Inocente, who was with us, our guest tonight, a young homeless girl, can stand on the stage in front of a billion people and show the world that homeless kids have a voice. And so that's an amazing, amazing thing. The Academy can make that happen.
Q.Hi there. You still live in Washington, right?
A.(Andrea Nix Fine) That's our town. You've got to see his socks. Can you show the socks?
A.(Sean Fine) [Lifts pant leg, shows Redskins socks.] Do I live in Washington? Yes.
Q.Something about the Redskins, right?
A.(Andrea Nix Fine) "No pressure, no diamonds."
A.(Sean Fine) "No pressure, no diamonds, RG3."
Q.Can you talk to me a little bit about making films from the Washington base and the challenges, and the good things and the bad things there.
A.(Andrea Nix Fine) I think what's really great about Washington is it's the seat of a lot of power, and just like two weeks ago Inocente was in the House of the Congress and talking to the senators and congresswomen and men. These are huge issues. She's really giving a face to what's an invisible population. One in 45 kids in this country are homeless and that doesn't make sense. That's like you take two classes in school and one kid in each classroom is homeless, and when you add that up, that's a hell of a lot of kids. So I think we feel very connected to Washington as being able to say, "Look, maybe we can do something about this." Also, everyone is expecting you to be from New York or L.A., and we're third generation Washingtonians, and that doesn't happen very often. We love being from D.C.
A.(Sean Fine) It's a great community.
Q.Can you talk about the role of Kickstarter in making your film and going on to win an Oscar?
A.(Sean Fine) Kickstarter was you know, we were kind of three quarters done with the film, and we were trying to find more money to make the film, and we decided to do something with Kickstarter with our producers, and it really helped. It really helped galvanize the community and get the word out about the film, and it helped fund a bunch of the film and kept us going basically through the post production process. So it's a great new outlet for films, especially documentary films.
A.(Andrea Nix Fine) I think had you tried to get the amount of funding that came through Kickstarter and sort of approached an individual entity, that's a huge ask, it's a hard ask. It feels really good because not only are you raising funds for your film but you're building a community and an audience and people that care about the film. They're watching tonight, and you know they flipped out when the film won. So that feels great.
Q.Thank you so much and congratulations.
ONSTAGE SPEECH
CATEGORY: Documentary Feature
SPEECH BY: Malik Bendjelloul and Simon Chinn
FILM: "Searching for Sugar Man"
SIMON CHINN: Oh boy! Thank you so much, thanks to the Academy, very, very kind. Thanks to one of the greatest singers ever, Rodriguez, Stephen “Sugar” Segerman, Craig Bartholomew, Camilla Skagerström, SVT, SFI, all my friends and family and Sony Classics, the best distributor on this planet. Thank you.
MALIK BENDJELLOUL: I also want to thank Sony Classics, Tom and Michael. I want to thank John Battsek, Andrew Ruhemann, the team of Passion Pictures, Josh Braun at Submarine, and my dear wife Lara, without whom I wouldn’t be able to do any of this. Rodriguez isn’t here tonight because he didn’t want to take any of the credit himself and that just about says everything about that man and his story that you’d want to know. Thank you.
CATEGORY: Documentary Feature
SPEECH BY: Malik Bendjelloul and Simon Chinn
FILM: "Searching for Sugar Man"
SIMON CHINN: Oh boy! Thank you so much, thanks to the Academy, very, very kind. Thanks to one of the greatest singers ever, Rodriguez, Stephen “Sugar” Segerman, Craig Bartholomew, Camilla Skagerström, SVT, SFI, all my friends and family and Sony Classics, the best distributor on this planet. Thank you.
MALIK BENDJELLOUL: I also want to thank Sony Classics, Tom and Michael. I want to thank John Battsek, Andrew Ruhemann, the team of Passion Pictures, Josh Braun at Submarine, and my dear wife Lara, without whom I wouldn’t be able to do any of this. Rodriguez isn’t here tonight because he didn’t want to take any of the credit himself and that just about says everything about that man and his story that you’d want to know. Thank you.
BACKSTAGE INTERVIEW
CATEGORY: Documentary (Feature)
INTERVIEW WITH: Malik Bendjelloul and Simon Chinn
FILM: "SEARCHING FOR SUGAR MAN"
CATEGORY: Documentary (Feature)
INTERVIEW WITH: Malik Bendjelloul and Simon Chinn
FILM: "SEARCHING FOR SUGAR MAN"
Q.What was going through your mind when you heard your name
and you went up on stage?
A.It's great. It's like the whole world goes in slow motion and you say, I should not fall right now, but it's kind of slippery steps.
Q.Hello. Over here. I just wanted to know how are you going to celebrate tonight?
A.I think we are going to go to the Vanity Fair party and celebrate with some friends, some are here and some are waiting outside right now.
Q.Congratulations. I am from Israel. And so I wanted to ask you about the international aspect of this category this year and if you've seen the other two Israeli/Palestinian movies nominated?
A.(Malik Bendjelloul) I think they are great films. Very, very important films.
A.(Simon Chinn) I agree. I think they're great films. I actually particularly liked THE GATEKEEPERS, which I always thought was going to win, but it's nice to nice to be proven wrong.
Q.You talk about Rodriguez not be being here, and not many people know him. I mean, the movie is great and shows like a the guy's so mysterious and so shy, too. So, I don't know if he he is not here because he wants to be, you know, like a mystery? Too shy? I mean, do you think this movie is going to do something for him or is he still going to be like underground, the guy?
A.(Malik Bendjelloul) If you ask me why he's not here, that's the other question is, there's a few different stuff, he's been touring in South Africa for two weeks with 50,000 people. So he's kind of tired.
A.(Simon Chinn) And also, I mean, I said it on stage. He doesn't want to he genuinely doesn't want to take the credit for this film. He doesn't regard it as his film. He regards it as Malik's film. You know, he, you know, and you know, he's genuinely a humble man, and he wanted to stay at home in Detroit watching television.
Q.Congratulations on your Oscar. The film was a very emotional film, and I was wondering if, because of the response from the film, if Rodriguez, himself, has gotten any offers for record deals today or to resume his career in the record industry?
A.(Malik Bendjelloul) Oh, yes. Oh, yes. At this very moment, as we speak, he has three albums on Billboard, which never happened before. And he's talking about recording a new album, which might happen [inaudible].
A.(Simon Chinn) And the soundtrack album came out with the film SUGAR MAN released by Sony Legacy.
A.(Malik Bendjelloul) Oh, yes.
A.It's great. It's like the whole world goes in slow motion and you say, I should not fall right now, but it's kind of slippery steps.
Q.Hello. Over here. I just wanted to know how are you going to celebrate tonight?
A.I think we are going to go to the Vanity Fair party and celebrate with some friends, some are here and some are waiting outside right now.
Q.Congratulations. I am from Israel. And so I wanted to ask you about the international aspect of this category this year and if you've seen the other two Israeli/Palestinian movies nominated?
A.(Malik Bendjelloul) I think they are great films. Very, very important films.
A.(Simon Chinn) I agree. I think they're great films. I actually particularly liked THE GATEKEEPERS, which I always thought was going to win, but it's nice to nice to be proven wrong.
Q.You talk about Rodriguez not be being here, and not many people know him. I mean, the movie is great and shows like a the guy's so mysterious and so shy, too. So, I don't know if he he is not here because he wants to be, you know, like a mystery? Too shy? I mean, do you think this movie is going to do something for him or is he still going to be like underground, the guy?
A.(Malik Bendjelloul) If you ask me why he's not here, that's the other question is, there's a few different stuff, he's been touring in South Africa for two weeks with 50,000 people. So he's kind of tired.
A.(Simon Chinn) And also, I mean, I said it on stage. He doesn't want to he genuinely doesn't want to take the credit for this film. He doesn't regard it as his film. He regards it as Malik's film. You know, he, you know, and you know, he's genuinely a humble man, and he wanted to stay at home in Detroit watching television.
Q.Congratulations on your Oscar. The film was a very emotional film, and I was wondering if, because of the response from the film, if Rodriguez, himself, has gotten any offers for record deals today or to resume his career in the record industry?
A.(Malik Bendjelloul) Oh, yes. Oh, yes. At this very moment, as we speak, he has three albums on Billboard, which never happened before. And he's talking about recording a new album, which might happen [inaudible].
A.(Simon Chinn) And the soundtrack album came out with the film SUGAR MAN released by Sony Legacy.
A.(Malik Bendjelloul) Oh, yes.
ONSTAGE SPEECH
CATEGORY: Cinematography
SPEECH BY: Claudio Miranda
FILM: "Life of Pi"
Oh, gee, wow. This movie was quite a beast to make. We did it, and the thing what I had, was so much, was so great that everyone was just really, totally there and supportive. I mean, I was really into Ang and the beautiful world that we created. It was like one challenge, when you’re a cinematographer and there’s one thing, when you have your eyes and just kind of go up and up and up and you just kind reach this thing. They get really excited, there’s exciting scenes for me that I love, like the candles and the things that we did that was nuts. But it was really great. And I’d like to thank everyone that made this thing totally possible, the Academy, Fox, and oh my God I can’t even speak – I know wrap up now. I’d like to thank my wife, my daughters up there. Everyone, thank you so much.
CATEGORY: Cinematography
SPEECH BY: Claudio Miranda
FILM: "Life of Pi"
Oh, gee, wow. This movie was quite a beast to make. We did it, and the thing what I had, was so much, was so great that everyone was just really, totally there and supportive. I mean, I was really into Ang and the beautiful world that we created. It was like one challenge, when you’re a cinematographer and there’s one thing, when you have your eyes and just kind of go up and up and up and you just kind reach this thing. They get really excited, there’s exciting scenes for me that I love, like the candles and the things that we did that was nuts. But it was really great. And I’d like to thank everyone that made this thing totally possible, the Academy, Fox, and oh my God I can’t even speak – I know wrap up now. I’d like to thank my wife, my daughters up there. Everyone, thank you so much.
BACKSTAGE INTERVIEW
CATEGORY: Cinematography
INTERVIEW WITH: Claudio Miranda
FILM: "LIFE OF PI"
Q.Hello. Congratulations on your Oscar. When you are given a project that's considered unmakeable, what is the first thing that comes to your mind and how do you make that a makeable film come to life?
A.We were we shot in Taichung, and we kind of took this abandoned airport, and we just kind of created what we needed to make, and I really thought this movie was going to be smaller than it was. It just was not. We were given a lot of help from the studio and that helped to make this movie because it was, I really feel I just feel this movie I was really supported on. So, anything that I said, we made, and it was all handled really well.
Q.I know that you were born in Chile, and that Chile is now tonight celebrating your victory. What does this mean to you?
A.My father was dancing last night. He is sending me good vibes, so that's worked pretty well. Chile, I mean, you know, I left Chile when I was one years old just to be kind of clear, and my mother is half Danish. She'd be a little upset if I didn't mention the Danish side as well. But she's it's, you know, it's great to be for Chile as well. It's a fantastic thing. I am glad my father is down there and he's celebrating. So I'm really happy for him.
Q.Hi, Claudio.
A.Oh, yes.
Q.I'm Fernando from Chile actually.
A.Oh, great.
Q.And we actually take a lot of pride that you won tonight.
A.I spoke to Pablo last night saw him today. He does great work.
Q.I have to ask you, given that we have a movie nominated actually, and we have pretty good filmmaking happening right now, are you interested in perhaps working there?
A.I am. I'm on two projects that are kind of going right now, and they kind of end in 2015 right now. So, I might be a little but I truly would love to go down to Chile and do something kind of small and just a little more intimate. So that is a goal I do intend for myself.
Q.Congratulations on your first award.
A.Oh, great.
Q.The thing is you are talking about in the speech, you said Ang Lee has been like pushing you through all the process and then push you go through all kind of challenge. So, how does that feel to work on those challenges and how does that feel to work with Ang Lee?
A.It's great, I mean, because you work with the director through that, you know, and this is my favorite thing is to get involved with a director that you both get kind of push each other up. And he goes this far and I go this far, and this far. And you go just even further and further. That to me is just a good sign of a cinematographer to have that kind of reaction to a director. And that's and it's not that common sometimes. Sometimes it's you just don't feel that. But for me and Ang, I felt like we both created something, and I think I saw what he was going for, and I think we delivered that.
Q.Claudio.
A.Yes.
Q.After the controversy of Rhythm & Hues today and the [inaudible] going on, could you talk about the state of the visual effects, and in particular the people that you were working with, the LIFE OF PI people?
A.It is really hard. I work with also Digital Domain who is also going through hard times as well. And Digital Domain did the CURIOUS CASE OF BENJAMIN BUTTON, which I was nominated for as well. And then they go through hard times at Rhythm & Hues. I mean, I would hope that we could really support our VFX companies so they are not just right on the hairy edge of profit. Because these guys did an amazing job on PI; that tiger looks amazing and I really feel we should support those people a little bit more if we can.
Q.When you came through the line, on the sign that mentioned your name was your daughter and your wife.
A.Yes.
Q.And also they came with you. What do you think this means to them, and what are you going to say to your daughter?
A.Oh, my daughter, she's awesome. She's probably jumping around right now. I wish I could give her a big hug right now, but, you know, she's I have to kind of restrain myself because I don't really try to get too excited. Because I think it would just make me nervous and just a little bit of a problem, so I just try to kind of keep calm and don't really [inaudible] on thinking about what's going to happen or don't, but they just take it off to a crazy land. They just go nuts. They are dancing on chairs, kicking me. So, they're a lot of fun, actually. So, they are their initial reaction was a lot more excited than I was. I'm just like, okay, here we go here.
Q.Quite often the ASC award is a pre [inaudible] win for the cinematography award for the Oscars. Roger Deakins won and tonight you are winning. You seemed completely caught off guard when you went up to the podium. What was going through your mind? Were you very surprised?
A.You might yeah. You probably get that from me. I am always a little bit when I make speeches, probably a little bit caught off guard anyway. I don't know how to really I am not a great speaker so I kind of just I go from the heart. I have kind of I can't I tried to read a speech the other night, and I actually couldn't get through the words so I just threw it away. A lot of what comes at me is just what I feel at the time. So, I was caught off guard. I did think Roger was probably the next in line. And I actually kind of thought he would have got it, but, you know, I did get the BAFTA so there's always a little bit of chance it's possible, maybe, it's just a different movie, you know.
CATEGORY: Cinematography
INTERVIEW WITH: Claudio Miranda
FILM: "LIFE OF PI"
Q.Hello. Congratulations on your Oscar. When you are given a project that's considered unmakeable, what is the first thing that comes to your mind and how do you make that a makeable film come to life?
A.We were we shot in Taichung, and we kind of took this abandoned airport, and we just kind of created what we needed to make, and I really thought this movie was going to be smaller than it was. It just was not. We were given a lot of help from the studio and that helped to make this movie because it was, I really feel I just feel this movie I was really supported on. So, anything that I said, we made, and it was all handled really well.
Q.I know that you were born in Chile, and that Chile is now tonight celebrating your victory. What does this mean to you?
A.My father was dancing last night. He is sending me good vibes, so that's worked pretty well. Chile, I mean, you know, I left Chile when I was one years old just to be kind of clear, and my mother is half Danish. She'd be a little upset if I didn't mention the Danish side as well. But she's it's, you know, it's great to be for Chile as well. It's a fantastic thing. I am glad my father is down there and he's celebrating. So I'm really happy for him.
Q.Hi, Claudio.
A.Oh, yes.
Q.I'm Fernando from Chile actually.
A.Oh, great.
Q.And we actually take a lot of pride that you won tonight.
A.I spoke to Pablo last night saw him today. He does great work.
Q.I have to ask you, given that we have a movie nominated actually, and we have pretty good filmmaking happening right now, are you interested in perhaps working there?
A.I am. I'm on two projects that are kind of going right now, and they kind of end in 2015 right now. So, I might be a little but I truly would love to go down to Chile and do something kind of small and just a little more intimate. So that is a goal I do intend for myself.
Q.Congratulations on your first award.
A.Oh, great.
Q.The thing is you are talking about in the speech, you said Ang Lee has been like pushing you through all the process and then push you go through all kind of challenge. So, how does that feel to work on those challenges and how does that feel to work with Ang Lee?
A.It's great, I mean, because you work with the director through that, you know, and this is my favorite thing is to get involved with a director that you both get kind of push each other up. And he goes this far and I go this far, and this far. And you go just even further and further. That to me is just a good sign of a cinematographer to have that kind of reaction to a director. And that's and it's not that common sometimes. Sometimes it's you just don't feel that. But for me and Ang, I felt like we both created something, and I think I saw what he was going for, and I think we delivered that.
Q.Claudio.
A.Yes.
Q.After the controversy of Rhythm & Hues today and the [inaudible] going on, could you talk about the state of the visual effects, and in particular the people that you were working with, the LIFE OF PI people?
A.It is really hard. I work with also Digital Domain who is also going through hard times as well. And Digital Domain did the CURIOUS CASE OF BENJAMIN BUTTON, which I was nominated for as well. And then they go through hard times at Rhythm & Hues. I mean, I would hope that we could really support our VFX companies so they are not just right on the hairy edge of profit. Because these guys did an amazing job on PI; that tiger looks amazing and I really feel we should support those people a little bit more if we can.
Q.When you came through the line, on the sign that mentioned your name was your daughter and your wife.
A.Yes.
Q.And also they came with you. What do you think this means to them, and what are you going to say to your daughter?
A.Oh, my daughter, she's awesome. She's probably jumping around right now. I wish I could give her a big hug right now, but, you know, she's I have to kind of restrain myself because I don't really try to get too excited. Because I think it would just make me nervous and just a little bit of a problem, so I just try to kind of keep calm and don't really [inaudible] on thinking about what's going to happen or don't, but they just take it off to a crazy land. They just go nuts. They are dancing on chairs, kicking me. So, they're a lot of fun, actually. So, they are their initial reaction was a lot more excited than I was. I'm just like, okay, here we go here.
Q.Quite often the ASC award is a pre [inaudible] win for the cinematography award for the Oscars. Roger Deakins won and tonight you are winning. You seemed completely caught off guard when you went up to the podium. What was going through your mind? Were you very surprised?
A.You might yeah. You probably get that from me. I am always a little bit when I make speeches, probably a little bit caught off guard anyway. I don't know how to really I am not a great speaker so I kind of just I go from the heart. I have kind of I can't I tried to read a speech the other night, and I actually couldn't get through the words so I just threw it away. A lot of what comes at me is just what I feel at the time. So, I was caught off guard. I did think Roger was probably the next in line. And I actually kind of thought he would have got it, but, you know, I did get the BAFTA so there's always a little bit of chance it's possible, maybe, it's just a different movie, you know.
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