An unpredictable Oscar race just became more unpredictable. Tonight, the 68th Annual DGA Awards gave its top prize to Alejandro Iñárritu for The Revenant, making it the first time in the org’s history to award a helmer with back-to-back wins in that category. Last year, Inarritu won for Birdman and went on to win three Oscars for best picture, original screenplay and director.
Tonight’s win for The Revenant, puts the film back in the Oscar game after losing out the Producers Guild’s top award to The Big Short and being overlooked by the Screen Actors Guild with a cast ensemble nomination. Last Sunday, SAG awarded that trophy to the Spotlight cast.
While the DGAs did recognize a number of women and minorities in their nominations, Inarritu and Dee Rees, who won in the TV movie/miniseries category for her HBO film Bessie, were the only two minorities who won tonight. Unlike the Screen Actors Guild Awards, which was all about diversity, the topic hardly came up during the ceremony at the Hyatt Century Ballroom. But, in the press room, Iñárritu wasn’t shy about addressing the elephant in the room.
In regards to Revenant, the director explained “The story of Hugh Glass as the father of a mixed-race kid is something I wanted to explore, how you grow up as an outside face.”
And as far as Oscar’s inclusion debate this season: “It’s a cultural problem, not the problem of the Academy.” But Iñárritu has hope: “This country was impregnated by so many different races and the power of it relies on that.”
Among the top wins in TV directing, Veep’s Chris Addison won in the comedy series slot for his episode “Election Night”, while in dramatic series, Game of Thrones David Nutter won for his episode “Mother’s Mercy”. Here’s how it all went down:
We’re seconds away from kick-off here at the Hyatt Regency Century Plaza.
The show starts with a faux-tech interruption of the DGA logo, launching into a montage of this year’s film and tv contenders.
DGA President Paris Barclay is due to deliver opening remarks before Jane Lynch takes over as Master of Ceremonies.
Barclay: DGA is continuing to fight “to convince the industry that equal opportunity is just that. A chance for all of us to shine no matter what we look like, what gender we are or who we love.”
Barclay says he believes that it doesn’t look like it’s a negotiation year for the DGA. “The industry will determine that.”
Jane Lynch arrives with a marching band.
Lynch: “That was my one and only experience with a Trojan”
That’s the USC Marching band hanging outside the ballroom..Jane Lynch entered with them.
She says it’s “two hours of people blowing smoke up each other’s asses, same as last year.”
Barclay told everyone to be short on their acceptance speeches…the thing is with this show is that it’s like every nominee is a winner. They each get a big speech on their work by an actor in their film, along with…an award.
Great Lynch gag on The Revenant. “Popular especially in West Hollywood. It’s every bear’s fantasy to get Leonardo DiCaprio alone in the woods.”
Lynch says 14 female directors are nominated in television – a record for the DGAs.
Lynch on Gibney’s Scientology doc: “Xenu help us if he wins.”
Steven Spielberg is presenting the First-Time Feature award.
This is a varied category, including Oscar’s Foreign Language fave Son of Saul.
WINNER: First-Time Feature Film goes to Alex Garland for Ex Machina
Garland is up for his screenplay at the Oscars. Garland is never much of a speaker, but here he goes. He says: “It’s a huge honor. It’s the credit list at the end of the film, it’s for everybody.”
Garland told me on the set of this film: “I shy away from the word ‘director’ because I know the work of the whole crew.”
He thanks Steven Soderbergh “for existing”.
Next up is Comedy Series category presented by Lily Tomlin…
Nominated directors are….Chris Addison of Veep, Louis C.K. from…yes, Louie. Mike Judge for Silicon Valley, Gail Mancuso from Modern Family and Jill Soloway from Transparent.
If Soloway wins, it will be her second back-to-back win at the DGAs for ‘Transparent’.
Mancuso is a three-time straight nominee for ‘Modern Family’ here at the DGAs.
There’s a lull right now of clinking forks, etc. That’s why this awards ceremony is so long. C’mon directors. Let’s keep up the pace. Is there an editor in the house??
This is Mike Judge’s second DGA nom of his career for ‘Silicon Valley’
Louis C.K. still a bridesmaid with his fourth nomination for ‘Louie’
Chris Addison won an Emmy for Veep last fall. This is his first DGA nom for the episode “Election Night”
Still waiting for things to get started again. The feed is picking up some guy in the dinner saying, “I’m up for a $16m film, and you’re my guy, man.” This show isn’t very well directed if you ask me.
Let’s check in with Pete Hammond down at the ballroom to see what everyone is eating.
I suppose it’s better than the rubber chicken I’d been expecting. That’s a nice photo, Anthony. Beautiful ceiling.
Seriously. Let’s talk shop. If Adam McKay wins tonight, it would be major. A big breakthrough for comedy directors.
And if George Miller wins for Mad Max: Fury Road that’d be a big breakthrough for directors of awesome summer action movies. Seriously – how often does a film that’s so unashamedly aimed at the blockbuster crowd get this far in the running?
I gotta say, last comedy director to win was Woody Allen for 1977’s Annie Hall. And you’re right Joe – summer stuff doesn’t always win.
There was a big run of summer wins during the ’90s..i.e. Saving Private Ryan (Spielberg), Apollo 13 (Ron Howard) and Forrest Gump (Zemeckis)
What a year for this guy. Starting at Cannes. I forgot how long…but he got the 10 minute standing ovation at the Palais after Max premiered.
Interesting point re: 90s. But since the industrialization of the awards campaigns it feels like they’re persona non grata.
Let’s talk about the rest of the field. There’s a lot of love for Ridley in this room – he’s a legend amongst directors, and I feel he could take it as sympathy for missing out on the Oscar spot… not to mention the fact that he’s directed one of his best movies in years in The Martian.
Completely. I won’t forget the look on his face when he lost best director for Gladiator at the Oscars. At the DGAs. If he wins tonight, maybe ‘The Martian’ steals best picture.
What about Spotlight and Tom McCarthy? Yes, it won the SAG Ensemble award. Yes, the critics LOVED it. But is it a directors’ movie, or is it simply full of hero journalism and actor grandstanding? Hard to tell – are you a fan?
Put me in a museum, but I think ‘Truth’ is the better movie about journalism. It showed the real grit of what happens when those seeking the truth rub against corporate. No disrespect to the hard work done by Boston Globe’s Spotlight team, but one problem with Spotlight is that there’s no real stand-out performance. They all blur together. That said, one credit you have to give the actors is that they did meet with the real life people they were playing and got their mannerisms down. I think Rachel McAdams nails Sacha Pfeiffer to a T in her cadence, etc. She is by far the best.
Just juxtapose ‘Spotlight’ to FX’s ‘The People v. O.J. Simpson’. Even the smallest actor in that miniseries shines loudly.
And before the show starts up again (finally!) let’s show some respect to Inarritu for ‘The Revenant’. He won last year, but I think ‘Revenant’ is a better movie than Birdman. So does he deserve to two-time it? I swing between thinking he’s the frontrunner and thinking he’s at the back of the list because the movie’s great, but everyone feels like he had it already with his Birdman gold.
‘The Revenant’ is my favorite this year and I’m shocked that the producers didn’t go for it. It’s a producers’ movie in its totality with the multiple location shoots from Canada to South America. I learned this weekend that they spent a month building a level 4 rapid in Acton, CA, just outside Los Angeles for the film. They only shot there for 2-3 days. That’s how widespread this movie was. But most of all, sublime fierce performance by Leo, gorgeous DP and design by Chivo and Fisk…and one of the best westerns on the big screen since…Coen’s True Grit.
Good point. It’s also a director’s movie. Think about it: Inarritu knew what he want and stopped at nothing to get it. Reminds me of some pretty wild mavericks of cinema legend.
But True Grit? Go a bit bigger… I haven’t seen anything like it since Unforgiven.
Announcer: “Ladies and Gentlemen, if you don’t take your seats, we’ll be here til Thursday.”
I think Wednesday is the plan if all runs smoothly.
Jane Lynch is back. THANK GOD.
And who ever said that about Jane Lynch?
(OK, lots of people)
“The DGA is 80, or in another perspective, the average voting age of the Academy.”
A video about the formation of the DGA 80 years ago, involving director Lewis Milestone.
Lily Tomlin is on stage to present TV comedy.
“Why is whenever people say something about comedy, it’s not funny” – Lily Tomlin presenting Comedy Directing award.
And the guild recognizes…Chris Addison for ‘Veep’!!! His first win in comedy series directing.
But he’s performing tonight and not here!
Jane Lynch on the winner of the DGA award. …”Guy who wins tonight gets an even bigger medallion and gets his name in the paper”.
Lynch: Keep your speech under three minutes, “or get a Trump For President sticker on your Tesla”
Leonardo DiCaprio on stage feting Alejandro for The Revenant.
DiCaprio on working with Inarritu: “His determination and near obsession with every camera
angle and frame is to create everlasting cinematic art. For an actor..there’s
no gift like him.”
Seriously, a nice concise, solid speech about Inarritu by DiCaprio.
“I have some panic attacks watching that” said Inarritu about watching the Bear clip.
DiCaprio: “Chivo [Emanuel Lubezki], we’re having flashbacks.”
“Inarritu was never going to be held to any rules or
convention” of Hollywood said DiCaprio
“Every director here tonight risked something” said Inarritu
“In a corporate culture where everything is risk-aversion, the revenant was anything but that.”
I love the way Inarritu says “Leonardo DiCaprio”. He shouts out his actors and crew. “I want to thank them all for their hard work and dedication”
‘The Revenant’ was made for $135M. It’s going to propel past the $300M worldwide. Good pace at the B.O.
“I feel humble, lucky, and extremely thankful. This feels like a hug from my peers to make the winter warmer”
Up next is Regina King presenting Children’s Programs. I’d be lying if I said I’d seen any of these.
WINNER: Kenny Ortega for Descendents
Ortega cut his teeth in directing from a phone call by John Hughes. The director asked Ortega to helm the ‘Twist and Shout’ sequence in Ferris Bueller’s Day Off.
That’s Leonardo DiCaprio and Alejandro G Inarritu, in case they look unfamiliar… They’re backstage facing the press.
Franklin J. Schaffner Achievement Award to Thomas McDermott. A guild member since 1994.
Credits include Late Night With David Letterman, Young and the Restless (he’s had a long run with them). over 15 years overseen taping of 3K+ episodes of the soap. 252 episodes a year.
Michelle Stafford: “In other words, Tom is lazy”
Thom serves on the DGA negotiations committee.
“What a long strange trip it’s been. This is for the workers” – Thomas McDermott.
McDermott is preaching for the unions. “Only 7% of the workers in this country have union representation.”
Here comes Rachel McAdams to talk about Tom McCarthy….
McAdams: “Quiet nuance, proactive dialogue, almost elegant. These are words I use to describe Alvin and the Chipmunks. I’m here to talk about another rascal I love, a man who has quietly become one of the best directors working today, Tom McCarthy.”
makes each and every character matter.” – McAdams.
“Tom understands the power of words. Spotlight is a tricky movie, raising an issue people have pushed hard to keep in the past. Only the most dedicated filmmakers would have had the guts and ability to make a film that will resonate for years to come.”
“In a season that’s inspired good conversation about who’s represented on screen and who’s not, I’m proud to be part of a movie giving voice to the voiceless.” McAdams’ subtle hint at the recent Oscars controversy… But Spotlight doesn’t exactly satisfy those Oscar criticisms. And didn’t the Spotlight team already give voice to the voiceless? Wasn’t that the point?
“From a McAdams to a McCarthy, as they say in Ireland, ‘Slant ya, Tom.'”
Anyone know what that means?
McCarthy: “I’m a little disappointed because I thought I’d be able to wear this medallion and that doesn’t seem possible.”
Anthony and I are oblivious to Irish slang. Italian swear words on the other hand…
McCarthy: “I started out as an actor, and it afforded me the opportunity to work with so many wonderful members of this guild.”
McCarthy calls out Tommy Schlamme, Peter Jackson, Jay Roach, George Clooney…
“Being here tonight is a sincere and true honor. To be accepted and endorsed by a community I so gratefully admire is truly humbling.” And a final thank you to his wife. Smart man.
Here’s Abigail Breslin to present Commercials category…
Nominees include Juan Cabral for “Monkeys, Ikea;” and Freestyle, Lurpak.
Miles Jay for “It Can Wait” on ESPN.
Steve Rogers for “Ripple” Nike Gold and “Snow Day”, Nike
Tom Kuntz for “So It Begins,” Old Spice; “The Chase”, Heineken; “Revenge” , Clash of Clans
Tom McCarthy and Rachel McAdams backstage.
Andreas Nilsson, “Emily’s Oz” Comcast; “Time Upon a Once”, GE; “Dad Song” , Old Spice.
WINNER IN COMMERCIALS: ANDREAS NILSSON
Nilsson: “It’s like a Golden Eagle” he says of the medallion. “I don’t know you personally, DGA, but I love you. I want to kiss your face. And I want to thank table 62… What? I mean table 64. Not the table per se; the people around it. Ridley Scott. Thank you.”
Here comes Kathy Griffin. Oh yay.
Best hysterical speech by a DGA winner who won in the Commercials category. Invite Nilsson back.
Scientific fact: she won’t be as funny as Nilsson was.
Griffin tells Leo to hold the boat.
“I love that Relevant film with you and the bear,” Griffin to DiCaprio.
Griffin is trying to honor Joe Pytka. She’s mostly just flirting with Leonardo DiCaprio. I suspect he’s not that into it.
Griffin: “Joe’s what I call a screamer, and I don’t mean in the sack.”
“I was the Kenwood Stereo girl, Leo, you remember? You jacked off to it.”
Joe Pytka directed 5,000 individual commercials. And Space Jam.
Pytka’s on stage, but Griffin’s still going on about DiCaprio.
Says Pytka: “How do you follow that?”
Pytka: “I’m so touched by all this. I love the DGA more than you can say, and I love all of you.”
Gosling, Bale, and Carrell…onstage…hysterical…all talking at the same time.
“This is the best example of film made this year,” said Bale about ‘The Big Short, “But the only other film I’ve seen this year is ‘Daddy’s Home.'”
“Adam uses stylistic devices to take the viewer into Wall Street, more than ever before,” said Carrell.
“People are just asking who has the better wig in this film,” Bale tells Carrell.
Carrell and Bale argue over who is the lead in ‘Big Short’. Really, Bale just disappears on screen here. Is there a role that this guy can’t play?
Carrell has known McKay for 20 years. They met at Second City in Chicago.
People ask Carrell whether McKay could ever achieve something like this. “Of course,” said Carrell.
“Every director and actor have a conversation. You stuck to every word of your conversation. You exceeded that,” Bale tells McKay.
Gosling: “He genuinely cared about the millions of people that lost their homes and savings. He tried their best to give them at the very least an explanation for how and why this happened to them.”
McKay comes to stage.
McKay: “You can’t wear this medallion but you can clearly eat raw beef off this medallion, which I will do with viking music playing. I want to thank my lead Brad Pitt” – McKay shouts out everyone else but Bale, Carell and Gosling.
Adam McKay delivered the funniest (sober) speech of the night. Who’d have thought? What’s great about McKay is that he’s funny and talented.
McKay reserves his “biggest thank you” for DP Barry Ackroyd. He makes him stand up. “Oh Jesus – Barry, they screwed you. He’s one of the great DPs and he has a table by the bathroom.”
McKay: “One of the reasons everyone showed up for this was that every actor and every crewmember was affected by this collapse.”
McKay: “Everyone on the shoot had a story and that’s why we showed up. The story is not over. The banks are bigger than ever, they paid millions to Washington DC to keep it that way.”
McKay: “I can officially announce we’re going to screen it to Congress and it’s got bipartisan support.”
He says all the movies tonight are about “ideas leading to action.”
He runs them down, and saves George Miller til last. “And George Miller? Well you just f–king rock, George Miller”
It’s time for a dessert break. For the people in the ballroom. There’s no dessert in the press room. But Bale, Carell, Gosling and McKay are coming back soon, so maybe we’ll nibble on them.
McKay backstage, “Guys, guys. I know Ryan Gosling is here, but I’m the money.”
From Pete Hammond live in the ballroom…they’re drinking champagne now.
We have… water.
Still to come: Reality, Frank Capra Award, Variety/Talk/News/Sport, Documentary, Mini-Series, Dramatic Series, Feature Film and two more feature presentations. Also “2036, A Special Presentation” for Nate Parker. So we’re only half way, basically.
Thanks to Paddy anon in the comments, who points out: “Slainte means Cheers! in Irish”.
And we’re back
Paris Barclay is doing another speech for the 80th Anniversary.
The past presidents of the Guild are taking the stage: Michael Apted, Martha Coolidge, Arthur Hiller.
After a toast to the Guild, they’re onto Reality Programs presented by Jeff Probst
Nominated in this category: The Great Christmas Light Fight, Shark Tank, Cutthroat Kitchen, The Amazing Race and Steve Austin’s Broken Skull. Respectively: Brady Connell, Ken Fuchs, Steve Hryniewicz, Bertram van Munster and Adam Vetri
WINNER: Reality Programs goes to Adam Vetri, Steve Austin’s Broken Skull Challenge
Vetri: “We got this thing when it was just an idea on a piece of paper and we were able to build it up from a pilot to Season 3.”
One insider back here in the press room said “If you think the DGAs are long, just wait until the WGAs!” At least we don’t have to compete with the east coast awards ceremony on DGAs.
Vincent Misiano up with the Frank Capra Award Presentation to Mary Rae Thewlis.
Misiano: “Mary Rae had the will to make a difference for others and that endures. She went from feeding the hungry to tending to the overfed.”
Misiano: “She’s a terrific AD, unit production manager and producer.”
Thewlis: “When I began my first job the 1st AD said three things: ‘Wear sneakers, always use your walkie and when I see you be running.’ I followed that advice until someone asked me why I was always running. ‘I was joking about that part’ said the first.”
Next up, Jon Favreau is presenting George Miller’s medallion.
Charlize Theron and Tom Hardy are shooting, hence their absence.
Favreau: “Selfishly, that means I get the privilege of saluting one of my filmmaking heroes.”
Fav: “When I was in high school the geeks loved Star Wars, but the freaks loved Mad Max. I fantasized I was Mad Max…exploring the roads of the gritty city.”
The film became decades to realize. It started in 1997.
“Almost 20 years of toil later, these images and characters have finally hit the screen.”
Originally Mel Gibson was suppose to reprise his role in the reboot of Mad Max. It was set up at Fox. However, post 9/11, the shoot got derailed with overseas shoots proving challenging.
After a clip, Miller comes to the stage.
Mad Max: Fury Road premiered at the Cannes Film Festival back in May capped by a 10 minute standing ovation. This is George Miller’s first DGA medallion.
Lots of love in the room from Miller – a hero returns. If that response reflects the vote, I think Miller has a shot.
Miller: “This is the first time I’ve ever been here and it feels very, very welcoming.”
Read Dominic Patten’s kick ass interview with Miller here: http://deadline.com/2015/11/mad-max-fury-road-sequel-spoiler-george-miller-tom-hardy-mel-gibson-charlize-theron-1201595776/
Miller: “You’re carried along on the effort and labors of others. My producing partner Doug Mitchell, who we call the Honey Badger. YouTube it because you’ll see what kind of guy he is. He refuses to give up. Also PJ Voeten, who has two extra lobes. Crazy guys like Colin Gibson, Guy Norris…”
Miller: “John Seale came out of retirement to shoot this movie. It really goes on and on and I’m incredibly grateful that they supported me on the ride.”
Miller thanks his editor and wife, Margaret Sixel. “She not only cuts my films; she cuts my hair.”
Miller wrote a Mad Max tale called “Wasteland”. In regards to more sequels, he told Deadline, “The best thing I can say is that we’re definitely in discussion about making more of these, but the timing of it, I’m really not sure. Probably won’t be called Wasteland. I can say that. It was just the working title we gave it.”
James Corden comes out to present Variety/Talk/News/Sport. “I put myself on tape for Mad Max. It’s bullsh-t when you think about it. I said, ‘Why can’t I meet the director?’ She said, ‘I think you’ve got the wrong look’. Have you seen it??”
Some believe Corden’s car karaoke has jumped the shark. I beg to differ.
Here’s the nominees in the catoegory that Corden is presenting. He says none of the nominees are here to accept it. “What am I doing here is the question. My agent said it was good for me to be in the room.”
Noms: Sofia Coppola for Neflix’s “A Very Murray Christmas”, Hamish Hamilton for the 67th Oscas….
That’s George Miller and Jon Favreau backstage in a spectacularly blurry image. It’s motion blur, like in Mad Max: Fury Road.
Don Roy King for SNL 40th anniversary, Beth McCarthy Miller for Adele Live in New York City and Chris Rock for Amy Schumer: Live at the Apollo.
that’s in the Variety/Talk/News Sports Specials category.
“Thank you, I love you all,” says the woman appointed to pick up the award and forced to make a speech by Corden.
Corden: “I know the pay gap is true because Eddie Redmayne had to take a pay cut halfway through The Danish Girl.”
Noms in Variety/Talk/News/Sports -Reg. Schedule Program: King again for SNL 40; Ryan McFaul & Amy Shumer ‘Inside Amy Schumer’ , Chuck O’Neil and ‘The Daily Show Episode 20142″, Dave Diomedi “Tonight Show w/Jimmy Fallon” and Paul Casey for Real Time with Bill Maher.
Corden: “It’s 20 past 10, we’ve been here a lifetime. Technically my program could have been nominated for the next one, and it wasn’t.”
Wow, this show is going to 11:30PM
WINNER: Variety Specials goes to Don Roy King for Saturday Night Live’s 40th Anniversary
WINNER: Variety Regularly Scheduled Programming goes to Dave Diomedi for The Tonight Show Starring Jimmy Fallon, Episode 325
Says Diomedi: “Thanks to the DGA, especially the residuals department. Those surprises that show up in the mail are just awesome.”
Jennifer Jason Leigh comes out to present Documentary
JJL: “One of the biggest challenges of making a documentary has to be that there are no actors. Maybe from a director’s POV that’s one of the biggest perks.”
Pulling for Asif Kapadia and Amy in this category, and not afraid to admit it. He’s up against Meru’s Jimmy Chin and Elizabeth Chai Vesarhelyi, What Happened Miss Simone’s Liz Garbus, Going Clear’s Alex Gibney and Cartel Land’s Matthew Heineman.
Joe, I’m the biggest Amy Winehouse outside of London. But I wasn’t wowed by Asif’s doc. I appreciate the earnest effort, but I felt that a lot of warts were left on the editing floor. From what I heard, he was headlocked by her father.
WINNER: Matthew Heineman for Cartel Land wins Best Doc
Heineman reads from prepared thank you: “It’s an honor to be in the company of all these amazing filmmakers.”
Forget about Sean Penn’s El Chapo interview….Cartel Land filmmaker Matthew Heineman is the real deal. Talk about a guy who put his life on the line in getting the real story across about these drug lords.
I get you Anthony, but I think Mitch Winehouse comes out of that film very, very poorly. And rightly so. I still think Amy has a shot at Oscar.
Matt Damon is up to present for Ridley Scott.
A recap of Deadline’s screening of ‘Cartel Land’ with Matthew Heineman. http://deadline.com/2015/12/cartel-land-matthew-heineman-director-interview-oscars-1201668852/
Damon: “I’m here to present a medallion to one of the greatest directors to have ever lived, Ridley Scott.”
Damon: “He creates an incredible environment to work in where it’s a benevolent battlefield of ideas. You come to work ready and armed with your best ideas, and he shoots them down, but he does hear them and he’s not threatened by them. Every once in a while you get one through.”
Damon: “He used four cameras at a time. When he told me he was going to do that I was like, ‘Bullsh-t, there’s no way,’ but he did.”
With close to $600M, ‘The Martian’ is both Ridley Scott and Matt Damon’s highest grossing film of all-time.
I’ve been on three Ridley Scott sets in the past. I can tell you watching his monitors is a rare treat – he cuts scenes live and you watch angles and shots change. These provide a guide in the edit, and I’m told are often untouched in post.
In other words, there’s a version of The Martian that could be staged and broadcast live, under Ridley’s direction.
Damon is so poignant here. He is telling this room about the blood, guts, sweat and tears that go into a Ridley Scott film. Respect people. Give it to Ridley.
I swore off ‘The Counselor’. Who couldn’t after that silly Porsche scene with Cameron Diaz. Joe insists that I see the director’s cut. It’s a completely different experience. Going to dig that out at Amoeba.
I love it, trust me Anthony. That script was the best script I ever read. It wasn’t until I saw the director’s cut that I saw it put on screen. It’s amazing because the cuts don’t feel significant, and yet they prove to be VERY significant. You’ll see.
in sum per Damon on Scott “that’s how you make a movie by the way …and Leo we weren’t cold.”
“Just sayin'” Damon tells DiCaprio. “There’s another way to go.”
Ridley’ll be on stage after this Martian montage.
Says Scott: “Are you going to get the long speech or the short one? There’s been a few long speeches, but all very interesting and all very…. worthwhile.” I love Ridley’s sense of humor.
Scott on Damon: “He’s worth every penny, but he’s really f-cking expensive.”
Scott salutes Joe Pytka, a fellow commercials director. “I would steal sh-t off you all the time, Joe.”
Scott: “Behind every director is a team making him look good.”
Scott’s shooting Alien: Covenant in Australia in eight weeks, he says.
“if you don’t have a passion for your subject don’t do it” — Scott on taking on The Martian.
“You don’t get to Wimbledon unless you hit a tennis ball over and over again. it’s the same with directing. It’s all about practice.”
“You push your people, and at the end of the day I think they kind of love it. And if they don’t love it you know what to do.”
“There were no monsters, there were no dragons. Hell the Chinese were in it. Oh, I shouldn’t have said that, never mind.”
Bryan Cranston comes out to present Mini-series
TV Movies/Miniseries noms: Angela Bassett for ‘Whitney’, Laurie Collyer for ‘The Secret Life of Marilyn Monroe’, Paul Haggis for ‘Show Me a Hero’, Kenny Leon/Matthew Diamond for ‘The Wiz Live’ and Dee Rees for ‘Bessie’
Dee Rees wins for Bessie!
That’s Ridley Scott and Matt Damon backstage.
“There’s a million reasons why I shouldn’t be in this room and why I shouldn’t be on this stage. It comes down to people. and that’s before we get to agents and cast and crew.” said Dee Rees
Rees “I was snuck off the set of The Wire”. She thanks DuVarney, Coogler, and Fukunaga, Spike Lee and Paris Barclay for putting her in this room.
Next up is a special presentation from Nate Parker, freshly returned from a feting for Birth of a Nation in Sundance, titled “2036” – this’ll be the 100-year anniversary of the DGA.
Parker: “Malcolm X said the future belongs to the people who prepares for it today. We decided to leap ahead to see how things are going in 2036.”
It’s a skit with people pretending to be 20 years in the future. “Diversity is strong, but cyborgs are still under-represented.” That’s about as relevant as this bit seems to be getting.
Angela Bassett steps up for Dramatic Series.
Noms are Michael Englar for Downton Abbey, Lesli Linka Glatter for Homeland, David Nutter for Game of Thrones, Steven Soderbergh for The Knick and Matthew Weiner for Mad Men.
Winner: David Nutter for Game of Thrones takes Dramatic Series
Nutter: “I’ll make this quick,” Thanks David. “Let me say this: Thank you DGA, what a dream it is to be here.”
I know everyone says it, but whatever: it’s a great time for television drama right now. I’d have given this award to any of these nominees.
It’s the big one next folks. The Feature Film award presented by Tom Hooper.
Let’s go through this again: we’ve got props for Alejandro Inarritu, Tom McCarthy, Adam McKay, George Miller and Ridley Scott. It really could go any direction. Time to reflect on how exciting this season’s awards race has been.
Tom Hooper says, “It’s traditional for the winner last year to come back and present for this year. Clearly Alejandro didn’t get that memo.”
WINNER OF FEATURE FILM: Alejandro G Inarritu – The Revenant
So Alejandro does the double – two back-to-back winners. And the winds change again.
Anthony is very happy with this result. And so am I.
Inarritu brings the entire crew on stage. “I need you. I truly thank everybody when I came here as a nominee because I was already thrilled and I never expected to win this award truly. I didn’t prepare nothing and I’m like a deer with flash and I’m paralyzed. I didn’t thank my wife and my kid and my daughter that is in Australia now and I want to take an opportunity to thank them too for all their love that they have given me in my life. I don’t want to thank again all the people I already thanked because I thought that was the last opportunity, but thank you again guys. Tough men don’t cry, that’s what Ridley said today and he’s right. My father said, Tough Men don’t dance. My father died and I think he’s doing business up there to make this happen. I miss him a lot. I’m truly honored and thrilled and i can’t believe this is happening now. When I went as a nominee back there, there was more than 120 Mexicans in the kitchen that serve you hot food, and that was the best party I had. Viva Mexico. That’s not the people Donald Trump has described at all, let me tell you.”
“This hug goes to a whole community in Latin America. Your embrace makes me proud and happy. It’s a stupid thing but I thought, ‘How can a film be nominated without a director,’” he says.
AGI: “Leo I love you very much,” he says at the end.
Jane Lynch: “OK folks, if you could now all go back to 1 we’re going to do the entire show again for coverage. I’m kidding! Good night folks.”
Alejandro to Deadline backstage, when we asked if we’d see him next year to take the hat-trick. “No, I will be hibernating. You won’t see me for a while now.”
“The story of Hugh Glass as the father of a mixed race kid is something I wanted to explore, how you grow up as an outside face.”
AGI: “I want to invite everybody to treat everybody the same, and that’s how I saw this character navigate through this film. That’s why it’s so rewarding and emotional for me to receive this award for this film. On the surface it’s action adventure and survival but deep down there were things that were much more important to see.”
AGI: “Film is an extension of yourself. When that creature is appreciated or loved you get connected at an emotional level. I never cried, but this is the first time I cry because I was really surprised.”
Inarritu on diversity: “I think it’s the right thing. The power of this country comes from diversity. My country is a mixed-race country and comes mostly from Spanish. This country was impregnated by so many different races and the power of it relies on that. To try to build a wall and stop that is exactly to betray the power of this country, what has been absolutely outstanding, admirable and unique in the United States. it has brought so much incredible vital power of existence and ideas. To suddenly try to stop that by walls and big enemies not human beings. The enemy is stressed by ideology and to stop the flow of this incredible society built of so many people thinking and looking differently, it exactly betrays the foundation of this country. It’s a cultural problem, not the problem of the Academy. It has to change”
On that note Inarritu departs, the better to plan his Oscar night.