January 17, 2018 Sundance ’18 Buzzy breakouts, hot docs and a post-Harvey pall W H Y ACCU S E RS S TAY A N O N Y M O U S BY ANONYMOUS Oscar’s Awkward Season Next: SAG Awards take on #MeToo PAY E Q U A L I T Y How I Became TV’s $20M Woman + Grey’s Anatomy’s ELLEN POMPEO reveals her fight to earn ‘what I deserve’ + Mark Wahlberg, Michelle Williams and optics vs. reality in the Time’s Up era + Pssst ... A-list actresses are sharing their salary secrets now Issue No. 3, January 17, 2018 FEATURES 62 How I Fought to Become TV’s $20 Million Woman Grey’s Anatomy star Ellen Pompeo reveals in her own words the personal struggles and behind-thescenes negotiations that led to a well-deserved new title: highest-paid actress on a primetime drama. 70 A Chill Over Sundance 2018 — and It’s Not the Weather Harvey’s gone and with him the formerly freewheeling party scene as insiders hope a more sober and serious festival won’t throw cold water on last year’s hot sales market: “We really haven’t lost any buyers.” 76 ‘There Is a Zihuatanejo for Everyone’ 27 John David Washington, a son of Denzel Washington who is headed to his first Sundance festival, was photographed Jan. 8 at Luchini Pizzeria in Hollywood. Find out the last person Washington stalked on Instagram at THR.com/video. Sandro coat (available at Bloomingdale’s, Beverly Center), Dries Van Noten sweater (Barneys New York, Beverly Hills), Hudson jeans. Cover photographed by Mike Rosenthal; Washington photographed by Eric Michael Roy T H E HOL LY WO OD R EP ORT ER 2 J A N U A R Y 1 7, 2 01 8 ELLEN POMPEO WAS PHOTOGRAPHED DEC. 9 AT DOHENY ROOM IN LOS ANGELES. Tim Robbins, who starred with Morgan Freeman in The Shawshank Redemption, reveals what makes the legend — the SAG Awards’ Life Achievement honoree — so extraordinary. Warner Bros. Pictures thanks the Producers Guild of America and congratulates our friend CHARLES ROVEN on being honored with the David O. Selznick Achievement Award and proudly congratulates our nominees Emma Thomas, p.g.a. • Christopher Nolan, p.g.a. Charles Roven, p.g.a. • Deborah Snyder, p.g.a. • Zack Snyder, p.g.a. • Richard Suckle, p.g.a. Dan Lin, p.g.a. • Phil Lord, p.g.a. • Christopher Miller, p.g.a. • Roy Lee Dunkirk and It: © 2018 WBEI Wonder Woman: TM & © DC and WBEI ® The LEGO Batman Movie: © 2018 WBEI & DC Comics © 2018 The LEGO Group CONGRATULATIONS TO ALL OUR 2018 AWARDS NOMINEES WESTWORLD CSA ARTIOS AWARDS TELEVISION SERIES COMEDY JEANNE MCCARTHY, CSA ARTIOS AWARDS TELEVISION PILOT AND FIRST SEASON - DRAMA JOHN PAPSIDERA, DEANNA BRIGIDI-STEWART CURB YOUR ENTHUSIASM ® SAG AWARDS® OUTSTANDING PERFORMANCE BY A MALE ACTOR IN A COMEDY SERIES LARRY DAVID OUTSTANDING PERFORMANCE BY AN ENSEMBLE IN A COMEDY SERIES ACE EDDIE AWARDS BEST EDITED COMEDY SERIES FOR NON-COMMERCIAL TELEVISION “FATWA!” STEVEN RASCH, ACE “THE SHUCKER” JONATHAN CORN, ACE NICOLE ABELLERA HALLMAN, LESLIE WOO THE NIGHT OF ® CSA ARTIOS AWARDS LIMITED SERIES AVY KAUFMAN, SABRINA HYMAN, SUSANNE SCHEEL THE DEUCE WGA AWARD SM ® NEW SERIES - WRITTEN BY MEGAN ABBOTT, MARC HENRY JOHNSON, LISA LUTZ, GEORGE PELECANOS, RICHARD PRICE, WILL RALSTON, DAVID SIMON, CHRIS YAKAITIS ASC AWARDS MOTION PICTURE, MINI-SERIES, OR PILOT MADE FOR TELEVISION PEPE AVILA DEL PINO “PILOT” INSECURE ® NAACP IMAGE AWARDS ENTERTAINER OF THE YEAR ISSA RAE OUTSTANDING COMEDY SERIES OUTSTANDING ACTRESS IN A COMEDY SERIES ISSA RAE OUTSTANDING SUPPORTING ACTRESS IN A COMEDY SERIES YVONNE ORJI OUTSTANDING SUPPORTING ACTOR IN A COMEDY SERIES JAY ELLIS OUTSTANDING WRITING IN A COMEDY SERIES ISSA RAE “HELLA GREAT” ISSA RAE “HELLA PERSPECTIVE” OUTSTANDING SONG - CONTEMPORARY “INSECURE” - JAZMINE SULLIVAN X BRYSON TILLER (RCA RECORDS) CSA ARTIOS AWARDS TELEVISION SERIES COMEDY VICTORIA THOMAS NAACP IMAGE AWARDS THE IMMORTAL LIFE OF HENRIETTA LACKS OUTSTANDING DIRECTING IN A DRAMATIC SERIES ERNEST R. 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CASEY “1572” TELEVISION SERIES COMEDY COMEDY SERIES - WRITTEN BY GABRIELLE ALLAN, RACHEL AXLER, TED COHEN, JENNIFER CRITTENDEN, ALEX GREGORY, STEVE HELY, PETER HUYCK, ERIK KENWARD, BILLY KIMBALL, DAVID MANDEL, IAN MAXTONE-GRAHAM, DAN MINTZ, LEW MORTON, GEORGIA PRITCHETT, WILL SMITH EPISODIC COMEDY - “JUDGE” - WRITTEN BY TED COHEN ADG AWARDS HALF-HOUR SINGLE-CAMERA SERIES - “OMAHA” JIM GLOSTER PGA AWARDS THE DANNY THOMAS AWARD FOR OUTSTANDING PRODUCER OF EPISODIC TELEVISION, COMEDY LIMITED SERIES EPISODIC DRAMA - “THE BOOK OF NORA” - TELEPLAY BY TOM PERROTTA AND DAMON LINDELOF, STORY BY TOM SPEZIALY AND DAMON LINDELOF JENNIFER EUSTON, EMER O’CALLAGHAN DGA AWARDS COMEDY SERIES BETH MCCARTHY-MILLER “CHICKLET” ACE EDDIE AWARDS WGA AWARDS ACE EDDIE AWARDS DGA AWARDS CSA ARTIOS AWARDS OUTSTANDING PERFORMANCE BY AN ENSEMBLE IN A COMEDY SERIES MOVIES FOR TELEVISION AND MINI-SERIES JEAN-MARC VALLÉE REAL TIME WITH BILL MAHER ® OUTSTANDING PERFORMANCE BY A FEMALE ACTOR IN A COMEDY SERIES JULIA LOUIS-DREYFUS BEST EDITED COMEDY SERIES FOR NON-COMMERCIAL TELEVISION “CHICKLET” ROGER NYGARD, ACE AND GENNADY FRIDMAN THE LEFTOVERS WGA AWARDS SAG AWARDS® DGA AWARDS WGA AWARDS NAACP IMAGE AWARDS VEEP ® ® PGA AWARDS TEDDY KUNHARDT, GEORGE KUNHARDT ACE EDDIE AWARDS PGA AWARDS THE AWARD FOR OUTSTANDING PRODUCER OF DOCUMENTARY MOTION PICTURES PRODUCERS EVGENY AFINEEVSKY, DEN TOLMOR, AARON I. BUTLER SPIELBERG PGA AWARDS THE AWARD FOR OUTSTANDING PRODUCER OF NON-FICTION TELEVISION THANKS AND APPRECIATES THE GUILDS, CRITICS, AND PRESTIGIOUS ORGANIZATIONS HONORING OUR TALENT WITH YOUR RECOGNITION. ©2018 Home Box Ofﬁce, Inc. All rights reserved. HBO® and related channels and service marks are the property of Home Box Ofﬁce, Inc. Sesame Street® and associated characters, trademarks and design elements are owned and licensed by Sesame Workshop. All rights reserved. 70 Director Reed Morano, whose drama I Think We’re Alone Now premieres at Sundance, was photographed Jan. 5 at Company 3 in New York. Issue No. 3, January 17, 2018 45 Karpen was photographed Jan. 5 in Bleecker Street’s Manhattan office. THE REPORT STYLE 13 Why We’re Talking Now 57 Parka City, Utah Tackle freezing Sundance temps in style while shufﬂing between premieres and parties. 20 Feinberg Forecast 60 Posh. Private. Prestigious. Pasadena? ABOUT TOWN A-listers are snapping up historic homes in the grande dame of L.A. suburbs, where it “takes an act of God” (or perhaps Meryl Streep) to get some residents to sell. 27 This Ballers Dude Just Wants to Do Shakespeare John David Washington, Denzel’s kid, debuts at Sundance and stars in Spike Lee’s Black Klansman. THE BUSINESS 45 Executive Suite: Andrew Karpen Bleecker Street’s CEO on the ﬁrst post-Harvey Sundance, indie ﬁlm’s future and how to get movie fans to actually go to theaters. REVIEWS 79 Mosaic Starring Sharon Stone and Garrett Hedlund, the HBO miniseries version of Steven Soderbergh’s murdermystery app fails to satisfy. BACKLOT 82 ‘I’m Not Looking to Fill a Quota, I’m Looking for Quality’ 60 PGA honoree and Universal chief Donna Langley on Get Out and ﬁlm’s future. City Hall in Pasadena, completed in 1927. Streep, Kristen Wiig and Mandy Moore have recently purchased homes in the area. 84 ‘Let’s Get the World Right’ THIS WEEK ON THR VIDEO Reed Morano on the advice she received from cinematographer Conrad Hall. Casting veteran Victoria Thomas on building stories, one face at a time. Morano photographed by Jai Lennard T H E HOL LY WO OD R EP ORT ER 6 J A N U A R Y 1 7, 2 01 8 KARPEN: MACKENZIE STROH. PASADENA: TREKANDSHOOT/ALAMY STOCK PHOTO. What motivates women to say #MeToo after an initial accusation is made against a star or an executive? 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PRESIDENT, FINANCE SENIOR VICE PRESIDENT, BRAND PARTNERSHIPS VICE PRESIDENT, HUMAN RESOURCES There simply is nothing that can compare to experiencing a film in a darkened cinema, surrounded by anonymous strangers as you’re seduced by sound and images … kidnapped and transported in ways you could only hope and imagine. To see a film any other way is not to have truly seen the film. Scott Cooper writer/director Hostiles Black Mass Out of the Furnace Crazy Heart Movies and movie theatres. They were made for each other. National Association of Theatre Owners Advancing the Moviegoing Experience The Re ort ↑ Film Rock Steady How Jumanji could save a flailing movie producer p. 14 Television Big Little Payday Behind the Headlines The Apple effect on HBO star salaries p. 16 Heat Index JUMANJI: FRANK MASI/SONY PICTURES ENTERTAINMENT. EMANUEL: ILYA S. SAVENOK/GETTY IMAGES FOR FAST COMPANY. BESSON: KARWAI TANG/WIREIMAGE. HADDISH: GABRIEL OLSEN/FILMMAGIC. KRAMER: BEI/REX/SHUTTERSTOCK. Ari Emanuel and Patrick Whitesell The Endeavor leaders are in talks for Saudi Arabia’s sovereign wealth fund to buy a stake in WME’s parent company for a reported $500 million-plus. Luc Besson The EuropaCorp founder lays off 22 staffers in the wake of the megaflop Valerian as his TV division is sold to French conglomerate Mediawan. Tiffany Haddish The Girls Trip breakout books a Super Bowl commercial as the new face of Groupon, then her film nabs best picture at the NAACP Image Awards, where she snags two wins. Joel Kramer The famed stunt coordinator is accused of molesting a 12-year-old Eliza Dushku on the set of 1994’s True Lies (he denies it) as co-stars Arnold Schwarzenegger and Jamie Lee Curtis offer support. Showbiz Stocks $59.44 (+6%) CBS CORP. (CBS) Rosenblatt Securities reiterates its “buy” guidance on the TV company on news it is not negotiating a Viacom acquisition. $17.12 (-12%) GAMESTOP (GME) Despite robust holiday sales, the video game seller says adjusted earnings fell as much as 18 percent for the year. I’m a Sex Assault Accuser, and I’m Anonymous. Here’s Why I One of three women detailing sexual misconduct claims against Crash screenwriter Paul Haggis explains the timing of speaking out, why Leah Remini is ‘shameful’ and what it means that she isn’t using her name BY ANONYMOUS n the late 2000s, I was sexually assaulted by Paul Haggis at work. “I need to be inside you,” he said as he came at me. I felt my life could have been over, as this man who was my father’s age forcibly grabbed me and tried to kiss me against my will. Fortunately, I escaped. I told friends and family about the attack. But I never planned to tell my story publicly. A few weeks ago, I changed my mind. I told the Associated Press my story of workplace assault at the hands of Haggis — and I did so anonymously. Since publication of that Jan. 5 piece, Haggis, an Oscar-winning screenwriter, has shamelessly used his powerful voice to attempt to discredit me and his other accusers, insinuating we are liars and cowards because we seek anonymity. This is a strategy that predators use to silence their victims. I’d like to explain why I decided to share my story and why I chose anonymity. Why I Came Forward Even after the #MeToo movement inspired others to speak out, I chose silence. When Haggis issued a hypocritical statement condemning Harvey Weinstein, I fumed, but still I chose silence. That changed when I read that another woman had accused him Illustration by Brian Stauffer Jan. 9-16 T H E HOL LY WO OD R EP ORT ER 13 J A N U A R Y 1 7, 2 01 8 The Report of rape and that Haggis had ﬁled a retaliatory lawsuit against her accusing her of defaming him. Outraged, I read the horrifying details of this woman’s story. She wasn’t as fortunate; she didn’t get away. I couldn’t let this woman battle this serial predator and bully alone. I decided to speak out. Why I Chose Anonymity I solicited advice from every communications expert I know. Each one urged me to hide my identity. They said Haggis could sue me, just like his ﬁrst rape accuser. They said my job would be affected and asked whether I wanted my name forever linked to his. They warned me that Haggis would use his powerful friends to denounce us, which is precisely what he has done. I decided using my name would be too much. By speaking anonymously, I could help protect other women and still protect myself. From my experience, editors will not print workplace sexual assault stories without extensive research and conﬁrmation. I had to collect documentation and answer detailed questions reliving every aspect of my story. I am not anonymous to the reporters who told my story: They know my name, have seen contemporaneous evidence corroborating the circumstances of my experience and have spoken with people to whom I conﬁded details shortly after the assault. But I also know that Haggis others assaulted by powerful people are unwilling to go through such a vetting process. Unfortunately, their stories remain untold. Once you tell your story, you wait. The fear of retaliation was crippling for me. Sharing a dark secret with strangers left me feeling vulnerable and uncertain whether they would betray me when the story went to print. I worried Haggis would turn around and expose me or hurt my family. I had many sleepless nights, ﬁlled with fear and anxiety about how my predator might attack me again. After the Story When the AP article came out with the stories of several women, I felt some relief knowing Jumanji Hit Saves Broke ‘Billionaire’ Producer Ted Field, once named one of the world’s richest, was swimming in debt and living in an Airbnb before the surprise smash BY ERIQ GARDNER o one may be smiling more broadly at the N smashing commercial success of Jumanji: Welcome to the Jungle than Frederick “Ted” Field, whose notable personal financial troubles might be reversed by a movie that already has grossed more than $670 million worldwide. Field became an executive producer on Sony’s holiday reboot after acquiring film rights to the 1981 fantasy book by Chris Van Allsburg (he I had done the right thing. Reading the familiar and haunting details of the other accounts made me feel like we were no longer alone, but the feelings of vulnerability continued. Unlike many of the Hollywood power players accused, Haggis has not apologized to any of the women he has hurt. Instead, he’s responded by citing his very public charity work as evidence that he couldn’t be a rapist or a predator. I ﬁnd this infuriating. While victims often hide in silence, sexual predators often hide behind the “right” social causes, including women’s rights. It was Haggis’ philanthropic work that led me to believe that he was one of Hollywood’s “good guys.” He has also attempted to discredit his accusers, alleging we are working together to proﬁt from him and are acting on behalf of the Church of Scientology, of which Haggis is a prominent defector. This is offensive and false. I do not know and have not spoken or met with any of his other accusers. I do not stand to make anything. I want nothing from Haggis other than that the truth be known. I have no connection with Scientology or its practitioners. also exec produced the 1995 Robin Williams film version). Field is the great-great-grandson and heir of Marshall Field, who began a department store empire that once was one of the biggest in the country. In 1990, along with Jimmy Iovine, Ted Field co-founded Interscope Records, whose artists included Dr. Dre, Nine Inch Nails and U2. After selling the record company, he went into film producing as founder and chief executive of Radar Pictures, which was behind such films as The Last Samurai and The Chronicles of Riddick as well as Jumanji. In 2002, Forbes named Field one of the 400 richest people on the planet with an estimated net worth of $1.2 billion. But his great fortune was a myth. “It was never the case that I was a billionaire; never said I was, never spoke to any one of those publications,” he testified in November in a deposition obtained by THR. “Completely made up.” Field, now 64, estimated under oath that decades ago, at his financial peak, he was worth about $100 million but added that he’s been in debt most of his adult life. In September, he nearly went to trial over Field a $500,000 loan he solicited for a 14 For those people — including actress Leah Remini — who have stated publicly that all of Haggis’ accusers are part of a Scientology conspiracy, shame on you. Isn’t now the time to be listening to your sisters? Such baseless statements attempt to silence all of us and the entire #MeToo movement. Was speaking anonymously the right decision? Haggis’ response conﬁrmed that it was. Choosing anonymity does not make my story any less true. Workplace sexual assault is about the person in the powerful position taking away the rights of the victim and invalidating their experience. Haggis continues to try to do this every chance he has. Given the challenges with coming forward, it is not surprising that so many victims remain silent. I never wanted to share my experience, and doing so has reminded me why: It has left me feeling exposed, stressed and anxious — my only upside is that I hope my story will contribute in the ﬁght to hold victims up high, giving them a somewhat better option to tell their stories when they’re ready. Editor’s note: Haggis has denied the claims against him. remake of Kickboxer before settling. He’s currently being chased by Johnny Lin and Filmula Entertainment over $2.2 million owed from an investment in a new record label. And that’s peanuts compared with Field’s $100 million in tax debt, which emanated from a complicated hostile takeover during the 1990s. He might still be reputed to be a high-flying billionaire, but according to Field’s testimony during a judgment debtor examination, he has a payment plan with the IRS, lives in an Airbnb with money from a relative’s credit card and drives a 2009 Nissan GT-R that’s having transmission trouble, which he can’t get fixed. (He could not be reached for comment.) While it’s not clear what his profit participation will be for the Jumanji reboot, Field certainly can count on a Hollywood ending. “This has been a difficult time, kind of a roller-coaster ride in Hollywood,” Field said at his November deposition, in which he touted Jumanji “prequel IP” and a “potential spinoff” for television if the film became a hit. “A one-hit movie can cover a lot of problems for me.” HAGGIS: JIM SPELLMAN/WIREIMAGE. JUMANJI: FRANK MASI/SONY PICTURES ENTERTAINMENT. LIFESAVER: ISTOCK. FIELD: TODD WILLIAMSON/GETTY IMAGES. Behind the Headlines NEW: IMDbPro app for iOS Entertainment industry access wherever you are Start your 30-day free trial IMDbPro.com The Report How HBO’s Big Little Lies Stars Leveraged Apple for Big Paydays Reese and Nicole will get around $1 million an episode for season two as the tech giant ‘inﬂates the whole ecosystem of TV actor salaries’ BY LESLEY GOLDBERG A pple’s arrival in the scripted originals space already is changing the price for top talent on the small screen. The tech giant, estimated to enter the scripted genre with a budget of $1 billion in its ﬁrst year, recently paid what sources say is upward of $1.25 million per episode to stars Jennifer Aniston and Reese Witherspoon for its 20-episode untitled morning-show drama. The eye-popping salaries also include fees for executive producing and points on the show’s backend. And that payday directly impacted the recently announced second season of HBO’s smash hit Big Little Lies, sources say. The David E. Kelley drama was originally eyed as a limited series — with Witherspoon and Nicole Kidman bringing Liane Moriarty’s book to HBO (amid multiple offers) after the ↑ From left: Witherspoon, Kidman and Kravitz were among those getting sizable pay increases for season two of Big Little Lies. duo optioned it as a feature ﬁlm. HBO did not have additional season deals with any of the Big Little Lies cast since the series was intended as a one-off, covering all of Moriarty’s book. Following the show’s breakout success — it won the Emmy and Golden Globe for limited series — HBO had to ink entirely new deals with the cast for a second season. The option to do more was not in anyone’s contracts since part of the appeal for top Bloys stars to do TV is the limited nature of a show — like Big Little Lies’ seven episodes. Witherspoon and Kidman, say sources, received between $250,000 and $350,000 an episode for season one, plus exec producer fees and points off the show’s backend. Those numbers skyrocketed for season two not only because of the show’s success, but also because of the precedent of the massive payday Witherspoon scored from Apple. Sources say the duo is getting in the $1 million-an-episode ballpark for season two, as well as points off the show’s backend and EP fees. Co-stars like Zoe Kravitz also are said to have scored signiﬁcant bumps, with the actress’ total season-one salary of $380,000 jumping to $3 million for the sophomore run. Shailene Woodley, who earned $1.7 million for season one, is also said to be getting a sizable pay raise. Season two of the show is being planned to shoot in the spring but won’t air until 2019. “It’s not a shock to anybody that having a second season of an ongoing series is easier to have with those deals in place,” HBO programming president Casey Bloys tells THR. “Every outlet has to make their own decisions about economics that make sense for them. I’m not going to shake my ﬁst and say, ‘Darn it, Apple!’ If that’s what made sense for them for that show, God bless.” Sums up one agent of the war for top talent in a landscape approaching 500 scripted shows: “If HBO pays Witherspoon her quote that Apple is paying, it inﬂates the whole ecosystem of TV actor salaries.” As for a potential third season of Big Little Lies — which now will compete in the drama series category for awards — sources say none of the cast has deals in place. Says Bloys: “Everybody involved is so busy that it’s hard to imagine aligning everybody’s schedule again. That we were able to get season two together is a small miracle.” Digitizing Actors for ‘Insurance’ A machine that looks like an airport security body scanner aims to bring studios 360-degree performer imaging BY CAROLYN GIARDINA digital imaging startup is in talks A with several Hollywood studios to offer a visual effects solution: faster 3D facial scans of actors. The Newport Beach, Californiabased company, Ovio, originally designed the tech for plastic surgeons and has now partnered with 20th Century Fox president of postproduction Ted Gagliano, an adviser and investor in the company. “Hollywood has been scanning actors for a variety of reasons, primarily in visual effects, where a digital double or other such use is needed,” says Gagliano, adding that he views Ovio as a more flexible way to get an “accurate source file” for uses such as creating Gagliano avatars for costume designers or virtual and augmented reality production. While 3D scanning an actor’s face is common in Hollywood, systems T H E HOL LY WO OD R EP ORT ER Ovio can create a 360-degree 3D face scan in 12 seconds. It was built by Glenn Derry, who contributed to virtual production tech used on Avatar and The Jungle Book. 16 J A N U A R Y 1 7, 2 01 8 vary in terms of how they work and are used. For instance, USC Institute for Creative Technologies’ Light Stage facial-scanning tech was used in such films as Avatar and Gravity. Scans of actors also have been used in delicate instances, such as after the death of Paul Walker in 2013, when scans of his brothers were used to complete Furious 7, which was in production at the time. Weta’s four-time Oscar-winning VFX pro Joe Letteri, who led that work on Furious 7, hasn’t seen the Ovio system but says: “You never know when that is going to be useful. In a way, it’s almost like an insurance policy.” LIES: HILARY BRONWYN GAYLE/HBO (3). MONEY: ISTOCK. SCAN: COURTESY OF OVIO. BLOYS: TOMMASO BODDI/GETTY IMAGES FOR PLANNED PARENTHOOD. GAGLIANO: MICHAEL BUCKNER/GETTY IMAGES FOR JONSSON CANCER CENTER FOUNDATION. Behind the Headlines THE MOST HONORED ENSEMBLE OF THE YEAR SCREEN ACTORS GUILD AWARD® NOMINATIONS OUTSTANDING PERFORMANCE BY A CAST IN A MOTION PICTURE 7 OUTSTANDING PERFORMANCE BY A FEMALE ACTOR IN A SUPPORTING ROLE - MARY J. BLIGE WINNER B E S T E N S E M B L E INCLUDING GOTHAM AWARDS - INDEPENDENT SPIRIT AWARDS - NEW YORK FILM CRITICS ONLINE - SAN DIEGO FILM CRITICS SOCIETY “THE KIND OF MOVIE THEY DONT MAKE ANYMORE, UNTIL SHE DOES. THE BEST PICTURE OF THE YEAR.’’ NOMINEE NOMINEE BEST ADAPTED SCREENPLAY BE ST C I NE MATO GRA PHY WGA AWARDS ASC AWARDS VIRGIL WILLIAMS AND DEE REES RACHEL MORRISON F O R Y O U R S A G® C O N S I D E R A T I O N LOV E I S A K I N D O F S U RV I VA L The Report Behind the Headlines 92% Box Office Broadcast TV Cable TV Domestic International Gross Cume % Chg Gross Cume 18-49 Live+3 Viewership Live+3 1. Jumanji: Welcome to the Jungle SONY 35.4 291.6(4) -5 81*93 383 674.6 1. NFC Wild Card FOX 9.2 31.2M 1. Major Crimes TNT 3.9M 2. The Post FOX 23.4 27.9(4) +1278 1.7*3 2. NFL Playoffs NBC 7.0 22.9M 2. Vikings HISTORY 3.3M 3. The Golden Globes NBC 5.1 19.7M 3. Shameless SHOWTIME 2.7M 4. Knightfall HISTORY 2.14M 5. The Librarians TNT 2.05M 6. Nashville CMT 1.6M 7. Grown-ish FREEFORM 1.6M 8. Grown-ish FREEFORM 1.4M 1.7 29.6 Expanding nationwide into 2,819 theaters, the Meryl Streep-Tom Hanks starrer is bringing in an older crowd — more than 66 percent of its audience is above age 35. 3. The Commuter LIONSGATE 16.4 16.4(1) 6.3*13 6.3 Kudos on a delay? Apparently it’s a thing. While awards shows typically see no consequential lifts from DVR, the 2018 Globes added a robust 700,000 viewers over three days. 22.7 Led by Liam Neeson, this action thriller directed by Jaume Collet-Serra attracted a mostly a male audience (54 percent) and a B CinemaScore. 4. The Big Bang Theory CBS 4.5 19.9M 5. Young Sheldon CBS 3.4 17.6M 6. The Simpsons FOX 3.0 7.4M 7. Ellen’s Game of Games NBC 2.7 9.9M 4. The Greatest Showman FOX 15.6 98.4(4) +13 15.2*71 100.1 198.5 8. 911 FOX 2.7 5. Star Wars: The Last Jedi DISNEY 15.3 595.6(5) -36 19*52 673.4 1.27B 9. Modern Family ABC 2.7 8.5M 6. Paddington 2 WARNER BROS. 15 15(1) 1.9*16 139.8 154.8 10. Ellen’s The sequel, picked up from The Weinstein Co., is losing the family demo to Jumanji and is tracking well behind the original’s first-week total ($26 million). 7. Insidious: The Last Key UNIVERSAL/SONY 14.6 50.8(2) -51 17.7*40 44.2 95 8. Proud Mary SONY 12 12(1) - N/A 12 9. Pitch Perfect 3 UNIVERSAL 7.3 96.3(4) -30 8.3*44 67.7 164 N/A 11. Will & Grace NBC 2.3 7.5M 12. Chicago Med NBC 2.2 10.3M 13. Mom CBS 2.1 14. Chicago PD NBC 2.1 10M 15. Law & Order: SVU NBC 2.1 8.5M Closer Look 11. Ferdinand FOX 5 77(5) -35 19 55.8 13.3*70 132 209 12. Molly’s Game STX 4.8 21.6(3) -31 2.8*15 13. Coco DISNEY 4.7 198.2(8) -13 19*35 425.2 623.4 14. I, Tonya NEON 4.2 10.9(6) +72 N/A 15. The Shape of Water FOX SEARCHLIGHT 3.6 27.3(7) +15 3.2*1 3.2 30.5 11.7 N/A Damnation USA 971,000 10. The Chi SHOWTIME 714,000 Game of Games NBC 9.8M One to Watch 11.5M The X-Files FOX Star Gillian Anderson says she’s done, and maybe that’s for the best. The revived drama’s Jan. 3 premiere ranked 22nd in primetime for the week. Dwayne Johnson’s Top Films Jumanji inches its way up the Rock’s hit list 10. Darkest 5.6 Hour FOCUS 36.8(8) -8 10.6*22 2.5 9. Furious 7 2015 Fate of the Furious 2017 3. Fast & Furious 6 2013 4. Jumanji* 2017 5. Moana 2016 6. Fast Five 2011 7. San Andreas 2015 8. G.I. Joe: Retaliation 2013 9. Journey 2 2012 10. Hercules 2014 1. 2. 33.3 Jumanji is Johnson’s biggest non-Fast film. 10.9 Star Wars leans heavily on references to the originals, and that doesn’t play with young audiences in the No. 2 market BY PATRICK BRZESKI Breakout Yara Shahidi’s spinoff of Black-ish premiered to a twoyear launch high on ABC’s youngerskewing cable sibling and added another 2.9 million views with digital. 9.8M Disney’s Jedi Mind Trick Fails to Lure China $1.516B $1.236B $788.7M $674.6M $643.3M $626.1M $474M $375.7M $335.3M $244.8M Source: comScore global gross. *Still in theaters tar Wars: The Last Jedi suffered S one of the worst secondweekend declines the Chinese box office has ever seen. The film’s debut of $28.7 million already was viewed as disappointing, but its 92 percent plummet to $2.4 million in weekend two was alarming. “Last Jedi has already been pulled from cinemas here,” says Jimmy Wu, chairman of Chinese cinema chain Lumiere Pavilions. “It’s performed much worse than we … expected.” Despite a promo push, the Disney/ Lucasfilm tentpole may finish in China with less than $50 million, below recent imports like Valerian ($62 million) and Geostorm ($65.6 million). While it was North America’s top movie of 2017 with $595 million and counting, its global total is now $1.27 billion, well below Force Awakens’ $2.1 billion in 2015. The situation is arguably worsening for Disney. Force Awakens totaled $124 million in China in 2016, and franchise spinoff Rogue One earned $69 million last year. “We’ve seen the Star Wars franchise downgrading across all key measures,” says James Li, cofounder of Beijing-based research firm Fanink, which conducts exit surveys for top Hollywood releases. A large part of the Star Wars struggles in China stem from the fact that the original three films never received a wide release in the country. “Because of the complex characters and themes, the prequels and all of the multigenerational layers that are part of the culture, or cult, of Star Wars,” notes Li, “it’s been hard for young Chinese filmgoers to get into the franchise.” Box-office source: comScore; estimates in $ millions; ( )Weekends in release; *Territories. Broadcast source: Nielsen, live-plus-3, week of Jan. 1. Cable TV source: Nielsen, live-plus-3 scripted series, week of Jan. 1. T H E HOL LY WO OD R EP ORT ER 18 J A N U A R Y 1 7, 2 01 8 POST: NIKO TAVERNISE/TWENTIETH CENTURY FOX. PADDINGTON: COURTESY OF WARNER BROS. PICTURES. GLOBES: PAUL DRINKWATER/NBC. GROWN-ISH: ERIC LIEBOWITZ/FREEFORM. X-FILES: ED ARAQUEL/FOX. STAR: INDUSTRIAL LIGHT & MAGIC/LUCASFILM. JUMANJI: COURTESY OF SONY PICTURES ENTERTAINMENT. COMMUTER: OLLIE UPTON/LIONSGATE. Total Audience Live+3 Jedi ‘s China decrease in Week 2 CAMPAIGNS PAUSE TO BREATHE AS THE OSCAR SUSPENSE BUILDS Set those alarm clocks for pre-sunrise Jan. 23 as the Academy Awards noms are revealed and the final push begins. Until then, it’s nail-biting, finger-crossing time By Scott Feinberg FOREIGN-LANGUAGE FILM More stories per square mile. 6ÃÌwÃv°À}ÀV> 415-554-6241 to learn more. In the Fade, Germany Felicite, Senegal As the Academy’s complex process of winnowing down its shortlist of nine features to just five nominees was taking place, Germany’s entry, starring Diane Kruger and directed by Fatih Akin, finished strong, winning both the Golden Globe and Critics’ Choice awards. This story of a single mom and nightclub singer, played by Vero Tshanda Beya, in Kinshasa, the capital of the Democratic Republic of Congo, won the top honor, the FIPRESCI Prize for best foreign-language film, at the just-concluded 29th Palm Springs International Film Festival. DIRECTOR DOCUMENTARY FEATURE Joe Wright, Darkest Hour Strong Island His Churchillian drama was among the nominees for best film when the BAFTA Awards noms were announced Jan. 8, but Wright (right) wasn’t nominated in the directing category and also failed to secure a slot when the DGA Awards noms were revealed. Yance Ford’s deeply personal directorial debut about his brother’s murder and its aftermath, which has been the toast of the doc community this season, was awarded best feature, best direction and best debut at the 11th Cinema Eye Honors in New York on Jan. 11. CINEMATOGRAPHY SOUND MIXING Rachel Morrison, Mudbound Blade Runner 2049 On the heels of its best sound BAFTA nom, this epic sequel got bounced from the top category in the Cinema Audio Society’s 54th nominations by Wonder Woman. The two groups did agree on Baby Driver, Dunkirk, The Shape of Water and Star Wars: The Last Jedi. On Jan. 9, Morrison (beside camera) became the first woman nominated for the top prize of the American Society of Cinematographers, and if the Academy follows ASC’s lead, would be the first woman ever nominated for this Oscar. 20 FADE: COURTESY OF CANNES. FELICITE: FELICITE 2016/©ANDOLFI. DARKEST: JACK ENGLISH/FOCUS FEATURES. STRONG: COURTESY OF NETFLIX. MUDBOUND: STEVE DIETL/NETFLIX. BLADE: COURTESY OF WARNER BROS. ENTERTAINMENT. Film in SF to capture the imagination. Capture up to $600,000 in rebates. Motion Picture Artwork © 2017 STX FINANCING, LLC. ALL RIGHTS RESERVED. The Report 7 Days of DEALS Who’s inking on the dotted line this week T V’S HDR FOR M AT WARS IMPACT STU DIOS: ‘W E’R E GOING TO H AV E CONFUSION’ With their deep blacks and rich reds, the latest highdynamic range displays dazzled attendees at the recent International Consumer Electronics Show, but the ever-expanding lineup of HDR TVs (which retail for as much as $6,000) — as well as the new HDR10+ format — also could fan the ﬂames of an early-stage HDR format war. Before last year, there were primarily four competing standards: HDR10, an open HDR format that every Hollywood studio supports; the proprietary Dolby Vision for home entertainment, supported by Netﬂix, Amazon and every major studio except Fox; and Technicolor’s Advanced HDR and Hybrid Log Gamma (developed by the BBC and Japan’s NHK), both of which are focused on live broadcasting. LG’s Super UHD TV (left) and Samsung’s QLED TV. vs. Making its CES debut was Samsung’s HDR10+, which has support from Fox, Warner Bros., Amazon and Panasonic and, like Dolby Vision, is aimed at high-end studio content. “HDR10 brought the ability to present ﬁlmmakers’ creative intent, [but] you beneﬁt only from the top-end TV models,” says 20th Century Fox and Fox Innovation Lab exec Danny Kaye of the rationale for HDR10+, which “expands the quality experience to TVs not as expensive.” But the existence of so many options comes with a pricey trade-off. If multiple HDR formats enter the consumer market, Hollywood could bear the burden of increased production and delivery costs for its content. “If you have to make multiple versions, it’s going to cost money,” warns Howard Lukk, director of engineering and standards for the Society of Motion Picture and Television Engineers. “There’s a price to pay for having multiple standards.” The other factor is shopper confusion, never helpful in a tech rollout. The Ultra HD Alliance, a consortium whose members include the major studios, is “focused on education and information for consumers,” says UHDA president Mike Fidler, citing a logo to help buyers identify which devices are certiﬁed. Says Lukk, “We’re going to have confusion for a couple years until [HDR] sorts itself out.” — CAROLYN GIARDINA New Life for the Showrunner of The Walking Dead After four years as showrunner, Scott M. Gimple is Big rising to a new role in The Deal Walking Dead’s universe. As part of a new overall deal with AMC, Gimple has been elevated to chief content officer for the franchise, and he will oversee all things Walking Dead, executive Kang producing the flagship and spinoff Fear the Walking Dead as well as gaming and future brand extensions on a variety of platforms. Gimple’s promotion comes after comics creator Robert Kirkman, who retains control of the comics universe and merchandising on that side, exited his overall deal with AMC in August and moved to Amazon Studios, where he will develop The series under Gimple diverted from the comics, killing off Chandler Riggs’ Carl (left). content. Gimple, who has roots in the comic book industry and has been a longtime Walking Dead reader, has served as an important brand manager for the series since he joined during season two. Angela Kang, who has been with the show since 2011, was promoted to exec producer and showrunner for the newly announced season nine. Meanwhile, the drama’s first two showrunners, Frank Darabont (who developed the series for AMC) and Glen Mazzara, alongside Kirkman and exec producers Gale Anne Hurd and David Alpert, continue to battle the company over series profits in a potential $1 billion lawsuit. — LESLEY GOLDBERG Rights Available! Hot new books with Hollywood appeal Brownstein FILM Leonardo DiCaprio (LBI, Hansen Jacobson) is in talks to star in Quentin Tarantino’s 1969-set Sony ensemble feature that involves Charles Manson. Natalie Portman (CAA, George Sheanshang) is in talks to star in Fox Searchlight’s astronaut drama Pale Blue Dot, from director Noah Hawley and producer Reese Witherspoon. Luke Wilson (CAA, Hirsch Wallerstein) will join Ansel Elgort in Warner Bros. and Amazon’s The Goldfinch adaptation. Taraji P. Henson (UTA, Vincent Cirrincione, Meyer & Downs) will star in and produce a John Singletondirected film about Emmett Till, the black teen whose white killers were acquitted by an all-white jury in 1955. BY ANDY LEWIS AND TATIANA SIEGEL Orphan Monster Spy (VIKING FOR YOUNG READERS, MARCH 20) Most Dangerous Man in America (TWELVE, JAN. 9 ) BY Matt Killeen AGENCY Paradigm BY Bill Minutaglio/Steven L. Davis AGENCY Anonymous Think Inglourious Basterds meets Mean Girls: A half-Jewish Aryanlooking orphan inﬁltrates a school for the children of Nazi elites to stop the development of the atomic bomb in this YA debut with strong word-of-mouth buzz. Oscar bait for an actor: Ex-Harvard professor Timothy Leary, famous for his LSD experiments, was six months into a 10-year sentence for having two joints when the Weather Underground helped him escape and Nixon obsessed over the manhunt. T H E HOL LY WO OD R EP ORT ER 22 J A N U A R Y 1 7, 2 01 8 TV: COURTESY OF BRAND (2). DEGENERES: LEE MANNING PHOTOGRAPHY. WALKING: GENE PAGE/AMC. BOOK: COURTESY OF PENGUIN RANDOM HOUSE. BROWNSTEIN: JERRITT CLARK/FILMMAGIC. DICAPRIO: VICTOR BOYKO/GETTY IMAGES FOR LDC FOUNDATION. RODRIGUEZ: JEFFREY MAYER/WIREIMAGE. SCHAEFFER: DAVID LIVINGSTON/WIREIMAGE FOR FILM INDEPENDENT. KANG: ALBERT L. ORTEGA/GETTY IMAGES. Deal of the Week series. … NBC has renewed Ellen’s Game of Games for a second season. … Fox has ordered three additional episodes of L.A. to Vegas. 17% Decrease in Walt Disney chairman DiCaprio DeGeneres sold an adjacent unit in May for $6 million. Chadwick Boseman (Greene & Associates, Management 360, Ziffren Brittenham) will star in Universal’s international thriller Expatriate, with Barry Jenkins set to direct. Clive Owen (CAA, Hirsch Wallerstein) is in talks to join Will Smith in Ang Lee’s Gemini Man. John Dickerson (WME) has replaced the ousted Charlie Rose as a co-host of CBS This Morning. Orion Pictures has picked up zombie musical Anna and the Apocalypse for North and Latin America. David Oyelowo (CAA, the U.K.’s Hamilton Hodell, Inphenate, Schreck Rose), Dominic West (WME, the U.K.’s Tavistock Wood) and Lily Collins (CAA, LBI, Sloane Offer) will star in BBC One and Masterpiece’s Les Miserables miniseries. Jean-Marc Vallee and producing partner Nathan Ross have launched production company Crazyrose and partnered with Bloom. Christian Slater (UTA, the U.K.’s Markham Froggatt) will lead the voice cast of the animated DC feature Suicide Squad: Hell to Pay. Elvis Presley: The Searcher’s Thom Zimny (WME) will direct a Johnny Cash doc for Imperative Entertainment and producer Frank Marshall. Former Fox Animation vp Darlene Caamano Loquet (Newhouse Porter) will produce Blue Sky’s Nimona. TELEVISION Ronan Farrow (WME) has finalized a three-year deal with HBO to develop and front a series of investigative documentary specials. Sons of Anarchy’s Chris Collins (UTA, McKuin Frankel) will write and showrun Starz’s John Wick series The Continental. A&E has ordered unscripted series Marcia Clark Investigates the First 48 and Grace vs. Abrams. … TBS has renewed Full Frontal With Samantha Bee and American Dad for two more seasons and Drop the Mic and The Joker’s Wild for second seasons. … TNT has picked up its Snowpiercer reboot to DIGITAL Portlandia’s Carrie Brownstein (UTA, Brillstein) will adapt her memoir, Hunger Makes Me a Modern Girl, as the Hulu comedy pilot Search and Destroy. Hulu has nabbed exclusive streaming rights to ER as well as George Clooney’s Catch-22 limited series adaptation. … Apple has ordered futuristic drama See, from Francis Lawrence and Peaky Blinders creator Steven Knight, straight to series. … Netflix has ordered supernatural drama Chambers. ENDORSEMENTS Tiffany Haddish (APA, Principato Young, Del Shaw) is Groupon’s new spokesperson and will star in its Super Bowl ad. REAL ESTATE Ellen DeGeneres (Westside Estate) has sold her Westwood high-rise condo for $5.85 million. and CEO Bob Iger’s compensation, Big Number which was $37.3 million ($2.5 million base salary) in the past fiscal year. Rep Sheet Gina Rodriguez and Stranger Things’ Finn Wolfhard, who both left APA in the fall, have signed with CAA . Nicolas Cage has left CAA for WME. Departing Teen Vogue editor-in-chief Elaine Welteroth has signed with CAA . Scott Speedman has signed with Anonymous Content. When We Rise’s Ivory Aquino has signed with Abrams and Industry. Next Big Thing Jac Schaeffer REPS Verve, Writ Large WHY SHE MATTERS The screenwriter has been tapped to pen a Scarlett Johanssonfronted Black Widow stand-alone movie for Marvel. Schaeffer, 39, appeared on the 2015 iteration of the Black List with her alien-invasion comedy The Shower, which got the attention of Anne Hathaway, who brought her on to pen the gender-bent Dirty Rotten Scoundrels remake, Nasty Women, for MGM. TO OUR SAG AWARD NOMINEES ® OUTSTANDING ENSEMBLE IN A DRAMA SERIES OUTSTANDING ENSEMBLE IN A DRAMA SERIES OUTSTANDING MALE ACTOR IN A DRAMA SERIES © 1995 SAG-AFTRA OUTSTANDING FEMALE ACTOR IN A DRAMA SERIES ROBIN WRIGHT OUTSTANDING FEMALE ACTOR IN A DRAMA SERIES CLAIRE FOY DAVID HARBOUR OUTSTANDING FEMALE ACTOR IN A DRAMA SERIES OUTSTANDING MALE ACTOR IN A DRAMA SERIES MILLIE BOBBY BROWN OUTSTANDING ACTION PERFORMANCE BY A STUNT ENSEMBLE IN A COMEDY OR DRAMA SERIES JASON BATEMAN OUTSTANDING MALE ACTOR IN A LIMITED SERIES OR MOVIE JEFF DANIELS OUTSTANDING FEMALE ACTOR IN A DRAMA SERIES LAURA LINNEY ON THEIR AMAZING PERFORMANCES OUTSTANDING FEMALE ACTOR IN A COMEDY SERIES JANE FONDA OUTSTANDING FEMALE ACTOR IN A COMEDY SERIES LILY TOMLIN OUTSTANDING ENSEMBLE IN A COMEDY SERIES OUTSTANDING FEMALE ACTOR IN A COMEDY SERIES ALISON BRIE OUTSTANDING MALE ACTOR IN A COMEDY SERIES MARC MARON OUTSTANDING ENSEMBLE IN A COMEDY SERIES OUTSTANDING FEMALE ACTOR IN A COMEDY SERIES UZO ADUBA OUTSTANDING ACTION PERFORMANCE BY A STUNT ENSEMBLE IN A COMEDY OR DRAMA SERIES OUTSTANDING MALE ACTOR IN A COMEDY SERIES AZIZ ANSARI About Town People, Places, Preoccupations PERSON OF INTER EST This Ballers Dude Just Wants to Do Shakespeare John David Washington debuts at Sundance and stars for Spike Lee By Mia Galuppo • Photographed by Eric Michael Roy J ohn David Washington was 5 when he ﬁrst saw his dad, Denzel, onstage in Richard III in New York’s Shakespeare in the Park. “I was like, ‘I want to do that,’ ” recalls the Studio City native, 33. Following that Central Park summer came Philadelphia, Malcolm X, Training Day — and a slew of awards speeches, all of which gave the young Washington pause “because of that nepotism factor.” A star running back at North Hollywood’s Campbell Hall, he instead set his sights on the NFL, and after graduating from Morehouse in Atlanta, he made it to the then-St. Louis Rams as an undrafted free agent before he was eventually cut. He bounced around the European and the now-shuttered United Football leagues until a torn Achilles tendon sidelined him for good and Washington, then 28, turned to plan B (aka his original plan A). After nine rounds of auditions (“Sheila Jaffe, the casting director, was the ﬁrst person I ever read for and she told me, ‘Don’t ever play football again’ ”), he scored a tailor-made role as NFLer Ricky Jerret on HBO’s Ballers. When he’s not working, Washington studies acting at HB Studios in New York. Last fall, he landed the lead in Spike Lee’s Black Klansman. And now, he’ll take a few days off from Ballers’ season four to travel to the Sundance Film Festival, where he appears in two competition ﬁlms, including Monsters and Men, in which he stars as a conﬂicted cop. He spoke to THR ahead of his Park City fest debut. GROOMING BY YVETTE SHELTON What initially turned you off acting? As [my dad] started to ascend in popularity and prestige, the world around Hear more from Washington at THR.COM/VIDEO 27 “I was really attracted to that perspective, being an African-American police officer thrown into that situation,” says Washington of his role in Monsters and Men as a cop whose colleague kills an unarmed black man. “I had never really heard that side of the story.” He was photographed Jan. 8 outside Luchini Pizzeria in Hollywood. Styling by Tiffani Chynel COS coat, Hugo Boss suit and shirt (available at Bloomingdale’s Beverly Center), Aquatalia shoes. About Town People, Places, Preoccupations us changed, the relationships changed, the way people treated us changed. I became self-conscious — I wanted to do stuff on my own. Football was my art form to say, “Hey, this is my own thing.” I got lost in that character, if you will, because of my relentless pursuit of independence. W R IT HBO’s Mysterious App Move L Washington (right) with Anthony Ramos in Monsters and Men. His other Sundance film is Monster. Do you have a dream role? Shakespeare’s Taming of the Shrew. Petruchio. I would love to play him in a Spike Lee ﬁlm. Let’s start it here. ate in 2017, Justine Bateman spent an entire day glued to her phone, desperate to unravel the murder mystery at the center of Mosaic, the new miniseries from Steven Soderbergh — which HBO released in November, months ahead of its Jan. 22 TV premiere, via a free app that lets viewers dictate how the plot unfolds. “The thing that drove me was the story,” says Bateman of the Ed Solomon-penned and Soderbergh-directed project, which centers on the killing of a children’s book author (Sharon Stone). All viewers of the “branching narrative” watch the same first clip, but after that they are asked to choose which character they want to follow through the story. By the time they are finished, each viewer will have seen a customized version. Bateman says she found herself compulsively asking “Then what?” at the end of every eightto 38-minute chapter. She wasn’t the only one. Mosaic became one of the top 30 entertainment apps for iPhone on Nov. 9, the day after its launch, according to App Annie; it garnered 90 million impressions across mobile app stores. Critical response has been mixed, but fans include Activision Blizzard Studios’ Stacey Sher, who says it’s “for anybody who ever mourned the end of a series and had questions they felt were unanswered about characters that weren’t the protagonist — anyone you fall in love with can become the protagonist for you.” Soderbergh, Solomon and executive producer Casey Silver began working on the project in 2013, developing a 500-page script and creating more than seven hours of footage. Not all of the material appears in both the app and the HBO version — six one-hour episodes airing over five consecutive nights (see THR’s review, page 79). “Steven literally rebuilt from the ground up,” Solomon says of the TV version. “We built a new story.” Mosaic is no longer among the top 100 entertainment apps for iPhone, but that could change when the miniseries airs — and Amato its model could soon be applied to other projects. “It’s something we think has moved the needle a bit and whetted the appetite for more,” says HBO Films presiSoderbergh dent Len Amato, adding that there have been discussions about giving other creators a shot at the platform. “Everyone can put their own stamp on it.” Solomon says he, Soderbergh and Silver are just getting started. “The new [branching narrative] that we’re working on is by orders of magnitude more complex and utilizes the form in a much more confident way,” he says. “Steven often refers to Mosaic as the first version of this form.” HOT NEW SUNDANCE DISHES Festivalgoers have a few fresh eatery options in Park City: Opened in June by chef-owner Adam Ross, Twisted Fern (1300 Snow Creek Drive) has seen rockers from The Killers sample its New American cuisine (think butternut squash salad, $14, and blackened octopus, $18). For something meatier, Texasinspired Altitude opened in December at 440 Main St. (formerly Bandits Grill & Bar, a fave of Hilary Swank, Mariah Carey and Justin Bieber), with a ﬁnger-licking BBQ board. And Riverhorse Restaurant’s year-old add-on, Riverhorse Provisions (221 Main St.), is a gourmet eatery/market with grab-and-go items like quiche. — PETER KIEFER Fest Food T H E HOL LY WO OD R EP ORT ER 28 J A N U A R Y 1 7, 2 01 8 Twisted Fern’s Adam Ross previously spent more than a decade at Main Street’s Bistro 412. MONSTERS: ALYSTYRE JULIAN/COURTESY OF SUNDANCE. PHONE: ISTOCK. MOSAIC: COURTESY OF HBO. STONE: CLAUDETTE BARIUS/HBO. AMATO: JENNY ANDERSON/WIREIMAGE. SODERBERGH: CHANCE YEH/GETTY IMAGES. NICKEL: MIKE STONER PHOTOGRAPHY. TWISTED: COURTESY OF SUBJECT. How a ‘branching narrative’ platform for Steven Soderbergh’s Mosaic lured mobile fans months before the miniseries’ TV premiere By Natalie Jarvey It felt so natural. I was having the awakening that was like, “This is what I am supposed to be doing.” I remember my ﬁrst day on set on the pilot with Peter Berg, and there is the Rock and like a couple hundred extras, and I had a lot of talking to do. I was nervous as hell, but then we got into it and I wanted to do take after take. If the studios will have me! For me, it’s really about ﬁlmmakers. Christopher Nolan is one of them. Tarantino. Spike Lee I already got to work with. The pressure was tremendous, but that being said, because of my football background, I almost became impervious to the pressure. I’m like, “Bring it on.” It was a 35-day shoot and the way he shoots, he is like, “Cut. We got it!” and I am like, “Spike, I can give you more.” “We got it! Next up. Let’s go. Slate in.” I was just like, “Daaamn.” It was like suicides. In football, you say it’s the twominute offense. You have two minutes to win and you have to score a touchdown. Stone (above) plays murder victim Olivia Lake, one of six characters users can follow with the app. ROOM How did it feel when you started working on Ballers? After a string of indies, would you want to do a studio blockbuster? E RS NETFLIX PROUDLY CONGRATULATES PGA VISIONARY AWARD WINNER AVA DUVERNAY PGA SERIES AWARD NOMINEES THE CROWN THE NORMAN FELTON AWARD FOR OUTSTANDING PRODUCER OF EPISODIC TELEVISION, DRAMA STRANGER THINGS THE NORMAN FELTON AWARD FOR OUTSTANDING PRODUCER OF EPISODIC TELEVISION, DRAMA MASTER OF NONE THE DANNY THOMAS AWARD FOR OUTSTANDING PRODUCER OF EPISODIC TELEVISION, COMEDY BLACK MIRROR THE DAVID L. WOLPER AWARD FOR OUTSTANDING PRODUCER OF LONG-FORM TELEVISION PGA DOCUMENTARY AWARD NOMINEES CHASING CORAL OUTSTANDING PRODUCER OF DOCUMENTARY MOTION PICTURES JOSHUA: TEENAGER VS. SUPERPOWER OUTSTANDING PRODUCER OF DOCUMENTARY MOTION PICTURES About Town Yes, I Did Say That! Quotes A look at who’s saying what in entertainment Compiled by Seth Abramovitch AZIZ ANSARI The Master of None star, responding to claims from a woman he took on a date in 2017 that he had “ignored clear non-verbal cues” to stop during a sexual encounter. “Everything did seem OK to me,” he added, “so when I heard that it was not the case for her, I was surprised and concerned.” “I’m sorry you were inconvenienced. We will try to move out our dead quicker.” ROB LOWE The Montecito-based actor, slamming actress Bella Thorne on Instagram for having tweeted, “Fuck u 101” after the highway’s closure caused her to miss boyfriend Mod Sun’s gig in Santa Barbara. Mudslides in the area claimed 20 lives. “Lena was not present in our group during the countless hours of work for the last two months.” CASEY BLOYS TESSA THOMPSON The HBO programming president, in a Wall Street Journal interview, dinging Netflix as he explained his network’s strategy of nurturing talent and promoting projects. The actress, revealing on Instagram that despite posing alongside Time’s Up organizers in a group photo, Dunham had not been involved in the initiative’s planning. “He hated me. He took one look at me and wanted to kill me.” KEVIN TSUJIHARA The Warner Bros. CEO, explaining the studio’s decisionmaking process following a shake-up that saw Toby Emmerich promoted to chairman of Warner Bros. Picture Group. HUGH GRANT The Paddington 2 star, telling People about his relationship with Robert Downey Jr. while working on the 1995 film Restoration. Trump’s remarks stirred up a shitstorm on Twitter. “The only ‘shithole’ is you,” Jamie Lee Curtis posted, while George Takei dubbed him “President Shithole.” Patton Oswalt took the long view: “In a week Trump will do/say something that will make today’s shithole comment seem quaint.” T H E HOL LY WO OD R EP ORT ER MEGYN KELLY The NBC host, telling guest Maria “Fit Mom” Kang that she used to ask her stepfather to fat-shame her. Kelly later clarified that body-shaming others is “something I absolutely do not support.” “If you have 50 kids, you’re not going to every soccer game.” “Toby has green light, I have red light.” STARS CALL TRUMP THE SWORD “Some of us want to be shamed!” 30 J A N U A R Y 1 7, 2 01 8 “It is to them, and them alone, that I apologize.” CATHERINE DENEUVE The French actress, addressing sexual assault victims who felt “attacked” after she co-signed a letter published in Le Monde that denounced the #MeToo movement as “puritanism.” ANSARI: MATT WINKELMEYER/GETTY IMAGES FOR THE CRITICS’ CHOICE AWARDS. THOMPSON: JON KOPALOFF/FILMMAGIC. TSUJIHARA: BARRY KING/GETTY IMAGES. DENEUVE: KRISTINA NIKISHINA/EPSILON/GETTY IMAGES. OSWALT: AMANDA EDWARDS/WIREIMAGE. “By all indications, [it] was completely consensual.” and W I N N E R G O L D E N G L O B E AW A R D ® BEST SUPPORTING ACTRESS ALLISON JANNEY W I N N E R CRITICS’ CHOICE AWARDS BEST ACTRESS (COMEDY) MARGOT ROBBIE BEST SUPPORTING ACTRESS ALLISON JANNEY BAFTA AWARD NOMINATIONS BEST LEADING ACTRESS MARGOT ROBBIE BEST SUPPORTING ACTRESS ALLISON JANNEY BEST ORIGINAL SCREENPLAY W I N N E R ALLIANCE OF WOMEN FILM JOURNALISTS BRAVEST PERFORMANCE MARGOT ROBBIE MAKE-UP ARTISTS AND HAIR STYLISTS GUILD AWARDS NOMINEE STEVEN ROGERS FEATURE-LENGTH MOTION PICTURE – BEST PERIOD AND/OR CHARACTER MAKE-UP LEE DEBORAH LA MIA DENAVER • TERESA VEST • BILL MYERY BEST COSTUME DESIGN - JENNIFER JOHNSON BEST MAKE UP & HAIR - DEBORAH LA MIA DENAVER, ADRUITHA PRODUCERS GUILD AWARDS NOMINEE COSTUME DESIGNERS GUILD AWARDS THE DARRYL F. ZANUCK AWARD EXCELLENCE IN CONTEMPORARY FILM WRITERS GUILD AWARDS CASTING SOCIETY OF AMERICA ARTIOS AWARDS BEST ORIGINAL SCREENPLAY BEST CASTING: STUDIO OR INDEPENDENT (COMEDY) MARY VERNIEU • LINDSAY GRAHAM TARA FELDSTEIN BENNETT (LOCATION CASTING) • CHASE PARIS (LOCATION CASTING) BRYAN UNKELESS • STEVEN ROGERS MARGOT ROBBIE • TOM ACKERLEY NOMINEE STEVEN ROGERS SCREEN ACTORS GUILD AWARDS NOMINATIONS FEMALE ACTOR IN A LEADING ROLE MARGOT ROBBIE FEMALE ACTOR IN A SUPPORTING ROLE ALLISON JANNEY SPIRIT AWARDS NOMINATIONS BEST FEMALE LEAD MARGOT ROBBIE BEST SUPPORTING FEMALE ALLISON JANNEY BEST EDITING TATIANA S. RIEGEL ACE EDDIE AWARDS NOMINEE BEST EDITED FEATURE FILM (COMEDY) TATIANA S. RIEGEL MARGOT ROBBIE SEBASTIAN STAN AND ALLISON JANNEY DIRECTED BY CRAIG GILLESPIE WRITTEN BY STEVEN ROGERS CLUBHOUSE PICTURES NEONguilds.com NOMINEE JENNIFER JOHNSON NOMINEE About Town Party Crawler The Red Carpet 1 2 Jessica Biel and Bill Pullman Margot Robbie (left) and Allison Janney Critics’ Choice Awards Santa Monica, Jan. 11 5 3 4 Octavia Spencer (left) and Sally Hawkins From left: Timothee Chalamet, Jacob Tremblay and Armie Hammer Gal Gadot 9 Adam Sandler (left) and Ted Sarandos 6 Reese Witherspoon 8 Brooklynn Prince (left) and Angelina Jolie 7 Guillermo del Toro 32 10 From left: Emily V. Gordon, Zoe Kazan, Judd Apatow and Kumail Nanjiani Five days after the Golden Globes, the 23rd annual Critics’ Choice Awards, hosted by Olivia Munn, honored many of the same films and stars as the HFPA event. The preteen set, including best young actress winner Brooklynn Prince (8) as well as Mckenna Grace and Jacob Tremblay (5), worked the star-studded room at Santa Monica’s Barker Hangar, snapping selfies with A-listers Gal Gadot (4), Angelina Jolie (8), Armie Hammer (5) and Chris Hemsworth, among others. The busiest spot of the night seemed to be the Yogurtland corner, where Hammer, Prince and the evening’s best actress in a comedy series winner Rachel Brosnahan (for The Marvelous Mrs. Maisel) were among those loading up on froyo. While the Globes’ red carpet blackout was not repeated, topics from the HFPA’s night were still hot, including the buzz surrounding Oprah Winfrey’s potential run for president in 2020. “She has intelligence, wisdom, morality and vision. Not a bad start? But it’s up to her,” said The Handmaid’s Tale and Fargo producer Warren Littlefield, while Rita Moreno voiced skepticism: “She can do much more as a civilian. I don’t think she’ll do it — she would think better of it.” Support for women in Hollywood and the Time’s Up movement also remained front and center — mentioned by many winners in their acceptance speeches. The Big Sick’s Kumail Nanjiani (10), who took to the stage alongside wife Emily V. Gordon (10) and producer Judd Apatow (10) to accept the award for best comedy, thanked “all the white men who have allowed us to stand here today.” And an impassioned best director winner Guillermo del Toro (7) closed the show with a call for change to those who have not hired women, exclaiming, “You don’t know what you’re missing!” — RAMONA SAVISS BIEL, GADOT, WITHERSPOON: JEFF KRAVITZ/FILMMAGIC. ROBBIE, SPENCER, HAMMER, JOLIE, KAZAN: KEVIN MAZUR/WIREIMAGE. DEL TORO: STEVE GRANITZ/WIREIMAGE. SANDLER: JOE SCARNICI/GETTY IMAGES FOR FIJI WATER. Critical Moment He’ll go deeper to try to understand everything he cares about.... “ I wouldn’t call it rule breaking or pushing boundaries; I would call it raising a magnifying glass to the foolishness of the human condition. ” — N O R M A N L E A R O N R YA N M U R P H Y his shows when I was young “ I remember watching and being moved by them. The way he tackled social issues so directly and opened a conversation about things no one wanted to talk about was fascinating to me. — R YA N M U R P H Y O N N O R M A N L E A R C O N G R AT U L AT I O N S T O O U R G O O D F R I E N D R YA N M U R P H Y on receiving the N O RMA N LE A R ACHIEVEMENT AWARD IN TELEVI SI ON We are proud to be your partners ” About Town The Red Carpet 3 1 Sterling K. Brown (left) and Reginald Hudlin 2 Tessa Thompson (left) and Lena Waithe Samira Wiley NAACP Image Awards 5 Loni Love (left) and Tamera MowryHousley Pasadena, Jan. 14-15 4 Ava DuVernay 6 Niecy Nash 7 Elijah Kelley (left), Marsai Martin and Caleb McLaughlin 8 Kerry Washington 11 Halle Berry 10 9 Issa Rae (left) and Yara Shahidi From left: Anthony Anderson, Terry Crews and Jay Pharoah 34 The 49th NAACP Image Awards kicked off the night before the live show with a dinner at the Pasadena Conference Center, where Morgan Freeman, Kareem AbdulJabbar and Mary J. Blige were among the luminaries on hand for the presentation of nearly 50 awards, including top youth performance for Stranger Things’ Caleb McLaughlin (7). “It’s something to get accolades and acknowledgements in this industry,” supporting actress nominee Samira Wiley (2) told THR. “But to be able to receive that from my own community is just beyond.” Character voiceover nominee Yvette Nicole Brown saw the evening as an opportunity to celebrate black creators: “When Insecure, Atlanta and Queen Sugar don’t just have black showrunners [but] also have black directors, black directors of photography [and] black writers ... you get to see all the different versions of us.” The annual awards were held on Martin Luther King Jr. Day, with Black-ish star Anthony Anderson (10) as host (and winner for actor in a comedy series). The Pasadena Civic Auditorium stage was set ablaze with messages of empowerment and inclusion as 10 awards were presented, along with special honors for Danny Glover and others. Following Anderson’s opening monologue, Kerry Washington (8), Tracee Ellis Ross, Lena Waithe (1), Jurnee Smollett-Bell, Angela Robinson and Laverne Cox urged viewers to vote in the primary elections and issued a Time’s Up call to action, voice by voice: “We have always been on the front lines of change. ... But we can’t do it alone. Stand by us. Stand for us. Stand with us.” Entertainer of the year Ava DuVernay (4) closed the night with her impassioned acceptance speech: “We did what Dr. King said we’d do — live the dream, and we are the dream.” — ASHLEY LEE WAITHE, WILEY, MCLAUGHLIN, ELLIS, DUVERNAY, WASHINGTON, BERRY: ALBERTO E. RODRIGUEZ/GETTY IMAGES FOR NAACP. BROWN, LOVE, DEVINE: EARL GIBSON III/GETTY IMAGES. NASH: PARAS GRIFFIN/ GETTY IMAGES FOR NAACP. RAE, ANDERSON: JESSE GRANT/GETTY IMAGES FOR NAACP. Sharper Image NETFLIX PROUDLY CONGRATULATES MORGAN FREEMAN ON RECEIVING THE SCREEN ACTORS GUILD LIFE ACHIEVEMENT AWARD About Town The Red Carpet “I know it’s the year of the women and everything, but oh, my God, the men,” said Meryl Streep (1) during her acceptance speech for The Post, which scored best film, best actor — Tom Hanks (3) — and best actress (Streep) at the annual NBR awards gala. “Our film, in this very fraught moment, is about the best working situation between a man and a woman, where respect and devotion to the work and to the honor of the work is paramount,” said the star. Yet girl power was still front and center at NYC’s Cipriani 42nd Street: Gal Gadot and Patty Jenkins took home the Spotlight Award for Wonder Woman, and Lady Bird took honors for director Greta Gerwig (4) and supporting actress Laurie Metcalf (5). “When I first started watching movies, I didn’t know that they were made by people,” Gerwig said. “I genuinely thought that they were handed down from God.” 1 From left: Meryl Streep, Rita Wilson, Tina Fey, Allison Williams and Julianna Margulies National Board of Review Awards New York, Jan. 9 2 From left: Michael H. Weber, James Franco and Scott Neustadter 5 Saoirse Ronan (left) and Laurie Metcalf — SUZY EVANS Fashion Showdown 4 Greta Gerwig 6 3 Tom Hanks (left) and Steven Spielberg Jordan Peele (left) and Lil Rel Howery The Assassination of Gianni Versace: American Crime Story Hollywood, Jan. 8 8 7 From left: Ryan Murphy, Dana Walden and Darren Criss Edgar Ramirez (left) and Ricky Martin 9 Penelope Cruz T H E HOL LY WO OD R EP ORT ER 36 J A N U A R Y 1 7, 2 01 8 “I think that [Donatella Versace] really loves Penelope [Cruz] and knows that Penelope would never do anything to represent her in a negative light,” series creator Ryan Murphy (8) said at the ArcLight Hollywood premiere of his latest American Crime Story installment for FX. Murphy revealed to THR that, though he understands the Versaces are wary of the project (the family issued a Jan. 8 statement calling the series “fiction”), “Donatella Versace sent Penelope Cruz (9) a very large arrangement of flowers.” Following the packed screening, guests boarded buses to the Hollywood Palladium, which was transformed into an opulent Miami Beach party with themed cocktails and dinner, decadent desserts and a runway with glitter-covered mermen and Versace swimsuit-clad models. — JEAN BENTLEY STREEP, HANKS: KEVIN MAZUR/GETTY IMAGES. FRANCO, GERWIG, METCALF: JAMIE MCCARTHY/GETTY IMAGES. PEELE: DIMITRIOS KAMBOURIS/GETTY IMAGES. MARTIN: FRANK MICELOTTA/FX/PICTUREGROUP. MURPHY: KEVIN WINTER/GETTY IMAGES. CRUZ: SCOTT KIRKLAND/FX/PICTUREGROUP. The Year of the Women (and Men) About Town Heard Around Hollywood the stage, were sorted properly. But what about the handcuff keys? Says Velghe, “I have his, and he has mine.” Ventimiglia Hawaii Missile Panic: A Manager’s Story Who has donated most to Time’s Up GoFundMe campaign, which supports harassment victims? Rambling Reporter By Chris Gardner Time’s Up Power Rankings: Who’s Giving What Between Dec. 20 and Jan. 7, the Time’s Up anti-harassment GoFundMe campaign exceeded its $15 million target, and organizers have raised the goal to $17 million. As dollar ﬁgures climb, so does the sense that ranking on the donors list is a new status symbol. “People are digging through the list to see who gave what,” says an insider. Top donors include Kate Capshaw and Steven Spielberg’s Wunderkinder Foundation and CAA ($2 million each); Mark Wahlberg at $1.5 million and WME adding $500,000 (given in Michelle Williams’ name amid the recent furor over unequal reshooting fees) to its earlier $1 million; Katie McGrath and J.J. Abrams, ICM Partners, and UTA at $1 million each; and Reese Witherspoon and Shonda Rhimes at $500,000 each. And while Page Six called out men who wore Time’s Up pins to the Golden Globes but haven’t donated, pins are not tied to contributions. How the Globes Avoided an Oscar Envelopegate All too mindful of rival accountants PricewaterhouseCoopers’ role in the best picture mix-up at the 2017 Oscars, Ernst & Young partner Mieke Velghe told THR on the Globes red carpet that “our ﬁrm put policies and procedures in place ... to make sure that when we get to the stage, we have the right envelopes for the right winners.” Added E&Y’s Andy Sale: “There was more interest in making sure procedures were as tight as they could be.” Handcuffed to cases containing winners envelopes until they got backstage, the pair were joined by production staff and NBC standards and practices execs to ensure that both sets of envelopes, one for each side of Johnson Velghe and Sale, handcuffed to the envelopes. Thruline Entertainment manager Ron West and his wife, Lila, were in their Maui hotel room early Jan. 13 when their phones lit up with an emergency alert: “BALLISTIC MISSILE THREAT INBOUND TO HAWAII. SEEK IMMEDIATE SHELTER. THIS IS NOT A DRILL.” West, whose clients include Blair Underwood and Great News’ Briga Heelan, tells THR that with local news not yet reporting on the alert, he called a nearby Air Force base: “The guy who picked up told us to seek shelter.” One of West’s clients, writer Doug Stanton — who, thanks to West his upcoming ﬁlm, 12 Strong, has ties with government ofﬁcials — quickly made some calls, which reassured West, yet “there was a lot of not knowing” as he and his wife were herded to the Andaz Maui at Wailea Resort ballroom before a second alert revealed the mistake (an Emergency Management Agency employee had pressed the wrong button). West hopes protocol changes are on the way: “It’s a good cocktail party story,” he says, “but, man, it was a surreal experience.” Dakota Johnson Gets Skunked With four ﬁlms in 2018, life should smell like roses for Dakota Johnson — but she woke up Jan. 7 at her home in the Hollywood Hills to ﬁnd a “skunk situation.” It’s become an epidemic. “This was the fourth time in a year,” she says with a laugh. “Thank God, it [involved] someone else’s dog, not mine.” Johnson adds that as a former Miss Golden Globe, she sees the HFPA’s changing of the title to Golden Globe Ambassador as “brilliant. Anyone who wants to do that should have the opportunity to do so. Gender equality is fundamental.” Got tips? Email firstname.lastname@example.org T H E HOL LY WO OD R EP ORT ER 38 J A N U A R Y 1 7, 2 01 8 Wagner HO T REST The night before the Globes, Milo Ventimiglia had dinner at Katsuya in Brentwood. Adam Sandler also was in. … Producer Paula Wagner, Bella Hadid and Tiffany Trump shared the room at The Polo Lounge. … David Benioff and D.B. Weiss lunched at Pizzeria Mozza. … Nicole Richie checked out Marvin. … David Duchovny stopped by A Votre Sante. … Greer Grammer and Lyndon Smith were at Ivory on Sunset. … Dionne Warwick was at Mr Chow. On a different day, Alan Gasmer rubbed elbows with Carolyn Newman. WME’s Sean Perry sat nearby. NEW AU R A NT Tuck The Quick Pitch Ebullient Argentinian chef-impresario Juan Pablo Torre is quietly operating this loosely Spanish, decidedly modernist downtown L.A. dining room that boasts a sharp craft cocktail list. Jamon iberico and other conservas (tuna belly, sardines) lead to finessed shared plates: paella with artichokes and a flat-iron steak with potato ratatouille. The Inside Dish Torre’s chic 14-unit Tuck hotel has quickly become an under-theradar alternative to the Ace for in-the-know industry out-of-towners. 820 S. Spring St. — GARY BAUM ABRAMS: JEFFREY MAYER/WIREIMAGE. STREEP: SAMIR HUSSEIN/WIREIMAGE. WITHERSPOON: KEVIN WINTER/GETTY IMAGES. SPIELBERG: KARWAI TANG/WIREIMAGE. RHIMES: JON KOPALOFF/FILMMAGIC. MONEY: ISTOCK (5). ACCOUNTANTS: FRAZER HARRISON/GETTY IMAGES. JOHNSON: VENTURELLI/GETTY IMAGES FOR GUCCI. VENTIMIGLIA: PAUL ARCHULETA/FILMMAGIC. WAGNER: RANDY SHROPSHIRE/GETTY IMAGES. TUCK: EMI KITAWAKI. TIME: COURTESY OF SUBJECT. WEST: RICK ROWELL/ABC VIA GETTY IMAGES. Power Dining Access to safe water (at schools), as part of the Swarovski Waterschool program SWAROVSKI AND UCL A TF T ARE PROUD TO UNVEIL WATERSCHOOL. TO FIND OUT MORE, VISIT: SWAROVSKIWATERSCHOOL.COM About Town Mileposts Richard Venture, a character actor who lent gravitas to the best picture Oscar nominees All the President’s Men, Missing and Scent of a Woman, died Dec. 19 in Chester, Connecticut. He was 94. 1 3 1 McKee and Branand 2 The Levys with Max Emanuel 3 Thompson Hitched, Hatched, Hired Inside the industry’s celebrations and news Weddings CAA music agent Kasey McKee married Brian Branand on Dec. 2 at the Belmond El Encanto in Santa Barbara in front of 85 guests. The couple will honeymoon in Bali. Births Matthew Levy and wife Mariya Levy, partners at Hansen, Jacobson, Teller, Hoberman, Newman, Warren, Richman, Rush, Kaller & Gellman, welcomed son Max Emanuel Levy on Dec. 27 at CedarsSinai Medical Center in Los Angeles. Indigo Films named Erin Howard senior vp development Jan. 15. Dinsmore FremantleMedia North America appointed Jayson Dinsmore president of alternative programming and development Jan. 10. UTA named partner Blair Kohan to its board of directors Jan. 10. Congrats Paramount named David Sameth president of worldwide marketing Jan. 11. Protagonist Pictures tapped Isabelle Stewart as head of acquisitions Jan. 8. Jenna Block joined Rhiannon Harries Verve as a feature agent Jan. 8. was named ﬁnance director at STX International and Brandon Fong senior vp business development at STX Digital, and Jack Teed, Shari Hardison and Elizabeth Stephens earned senior vp positions at STX Films on Jan. 12. Ziffren Brittenham upped associates Dean Bahat, Logan Clare and Benjamin Rubinfeld to partner on Jan. 9. Deaths Terence Marsh, the Keith Jackson, art director and production designer who received Oscars for Doctor Zhivago and Oliver!, died Jan. 9 in Paciﬁc Palisades after a four-year battle with cancer. He was 86. the folksy voice of ABC college football whose rumblin’, stumblin’ descriptions of the game made him a favorite of viewers, died Jan. 12 in Los Angeles. He was 89. Doreen Tracey, John Thompson, the longtime head of production at Millennium Films, died Jan. 9 in Los Angeles of leukemia. He was 71. 1971-2018 Pavlic Dolores O’Riordan Michael Pavlic joined Annapurna Pictures as president of creative advertising Jan. 10. The Cranberries’ lead singer and lyricist died suddenly at 46 olores O’Riordan of The Cranberries had been in London to work with the L.A. hard rock band Bad Wolves. She had heard D Zoe Rogovin was promoted to vp development at Bravo on Jan. 10. To submit, send email to email@example.com T H E HOL LY WO OD R EP ORT ER 40 J A N U A R Y 1 7, 2 01 8 one of the original Mouseketeers on The Mickey Mouse Club, died Jan. 10 in Thousand Oaks, California, of cancer. She was 74. their rendition of “Zombie” and was going to add her vocals to their track. That never happened. O’Riordan died suddenly Jan. 15 (the cause of death was unknown). “My first time hearing her voice was unforgettable,” Hozier, like O’Riordan from Ireland, wrote on Twitter. “I’d never heard somebody use their instrument in that way.” Jean Porter, a petite supporting player in such 1940s MGM movies as Bathing Beauty and Andy Hardy’s Blonde Trouble and the widow of ﬁlm noir directing legend Edward Dmytryk, died Jan. 13 in Canoga Park, California. She was 95. Greta Thyssen, a Danish beauty who doubled for Marilyn Monroe, dated Cary Grant and starred opposite The Three Stooges, died Jan. 7 in New York of pneumonia. She was 90. Donnelly Rhodes, who played the hapless escaped con Dutch on Soap and Doc Cottle on Battlestar Galactica, died Jan. 8 of cancer in Maple Ridge, British Columbia. He was 80. O’Riordan melded alternative rock with Celtic-infused pop. WEDDING: BRITTANY TAYLOR PHOTO. BABY: COURTESY OF SUBJECT. THOMPSON: COURTESY OF EWPR. DINSMORE: COURTESY OF FREMANTLE. PAVLIC: COURTESY OF ANNAPURNA. O’RIORDAN: XAVI TORRENT/WIREIMAGE. 2 EE BRITISH ACADEMY FILM AWARDS SUNDAY 18 FEBRUA RY 2018 www.bafta.org | #EEBAFTAs BEST FIL M CALL ME BY YOUR NA ME Emilie Georges, Luca Guadagnino, Marco Morabito, Peter Spears DARKEST HOUR Tim Bevan, Lisa Bruce, Eric Fellner, Anthony McCarten, Douglas Urbanski DUNKIRK Christopher Nolan, Emma Thomas THE SHAPE OF WATER Guillermo del Toro, J Miles Dale THREE BILLBOARDS OUTSIDE EBBING, MISSOURI Graham Broadbent, Pete Czernin, Martin McDonagh OUTSTA NDING BRITISH FIL M DARKEST HOUR Joe Wright, Tim Bevan, Lisa Bruce, Eric Fellner, Anthony McCarten, Douglas Urbanski THE DEATH OF STALIN Armando Iannucci, Kevin Loader, Laurent Zeitoun, Yann Zenou, Ian Martin, David Schneider GODÕS OWN COUNTRY Francis Lee, Manon Ardisson, Jack Tarling LADY MACBETH William Oldroyd, Fodhla Cronin OÕReilly, Alice Birch PADDINGTON 2 Paul King, David Heyman, Simon Farnaby THREE BILLBOARDS OUTSIDE EBBING, MISSOURI Martin McDonagh, Graham Broadbent, Pete Czernin OUTSTA NDING DEBUT BY A BRITISH WRITER, DIRECTOR OR PRODUCER THE GHOUL Gareth Tunley (Writer/Director/Producer), Jack Healy Guttmann & Tom Meeten (Producers) I A M NOT A WITCH Rungano Nyoni (Writer/Director), Emily Morgan (Producer) JAWBONE Johnny Harris (Writer/Producer), Thomas Napper (Director) KINGDOM OF US Lucy Cohen (Director) LADY MACBETH Alice Birch (Writer), William Oldroyd (Director), Fodhla Cronin OÕReilly (Producer) FIL M NOT IN THE ENGLISH L A NGUAGE ELLE Paul Verhoeven, Sa•d Ben Sa•d FIRST THEY KILLED MY FATHER Angelina Jolie, Rithy Panh THE HANDMAIDEN Park Chan-wook, Syd Lim LOVELESS Andrey Zvyagintsev, Alexander Rodnyansky THE SALESMAN Asghar Farhadi, Alexandre Mallet - Guy NOMINATIONS ANNOUNCED ON 9 JANUARY 2018 DOCUMENTA RY SUPPORTING ACTOR M A KE UP & HA IR CITY OF GHOSTS Matthew Heineman I A M NOT YOUR NEGRO Raoul Peck ICARUS Bryan Fogel, Dan Cogan AN INCONVENIENT SEQUEL Bonni Cohen, Jon Shenk JANE Brett Morgen CHRISTOPHER PLUMMER All the Money in the World HUGH GRANT Paddington 2 SA M ROCKWELL Three Billboards Outside Ebbing, Missouri WILLEM DAFOE The Florida Project WOODY HARRELSON Three Billboards Outside Ebbing, Missouri BLADE RUNNER 2049 Donald Mowat, Kerry Warn DARKEST HOUR David Malinowski, Ivana Primorac, Lucy Sibbick, Kazuhiro Tsuji I, TONYA Deborah La Mia Denaver, Adruitha Lee VICTORIA & ABDUL Daniel Phillips WONDER Naomi Bakstad, Robert A Pandini, Arjen Tuiten A NIM ATED FIL M COCO Lee Unkrich, Darla K Anderson LOVING VINCENT Dorota Kobiela, Hugh Welchman, Ivan Mactaggart MY LIFE AS A COURGETTE Claude Barras, Max Karli DIRECTOR BLADE RUNNER 2049 Denis Villeneuve CALL ME BY YOUR NA ME Luca Guadagnino DUNKIRK Christopher Nolan THE SHAPE OF WATER Guillermo del Toro THREE BILLBOARDS OUTSIDE EBBING, MISSOURI Martin McDonagh ORIGINA L SCREENPL AY GET OUT Jordan Peele I, TONYA Steven Rogers LADY BIRD Greta Gerwig THE SHAPE OF WATER Guillermo del Toro, Vanessa Taylor THREE BILLBOARDS OUTSIDE EBBING, MISSOURI Martin McDonagh A DA PTED SCREENPL AY CALL ME BY YOUR NA ME James Ivory THE DEATH OF STALIN Armando Iannucci, Ian Martin, David Schneider FILM STARS DONÕT DIE IN LIVERPOOL Matt Greenhalgh MOLLYÕS GA ME Aaron Sorkin PADDINGTON 2 Simon Farnaby, Paul King LEA DING ACTRESS ANNETTE BENING Film Stars DonÕt Die in Liverpool FRANCES McDORMAND Three Billboards Outside Ebbing, Missouri MARGOT ROBBIE I, Tonya SALLY HAWKINS The Shape of Water SAOIRSE RONAN Lady Bird LEA DING ACTOR DANIEL DAY-LEWIS Phantom Thread DANIEL KALUUYA Get Out GARY OLDMAN Darkest Hour JA MIE BELL Film Stars DonÕt Die in Liverpool TIMOTHƒE CHALA MET Call Me by Your Name SUPPORTING ACTRESS ALLISON JANNEY I, Tonya KRISTIN SCOTT THOMAS Darkest Hour LAURIE METCALF Lady Bird LESLEY MANVILLE Phantom Thread OCTAVIA SPENCER The Shape of Water SOUND ORIGINA L MUSIC BLADE RUNNER 2049 Benjamin Wallfisch, Hans Zimmer DARKEST HOUR Dario Marianelli DUNKIRK Hans Zimmer PHANTOM THREAD Jonny Greenwood THE SHAPE OF WATER Alexandre Desplat CINEM ATOGR A PHY BLADE RUNNER 2049 Roger Deakins DARKEST HOUR Bruno Delbonnel DUNKIRK Hoyte van Hoytema THE SHAPE OF WATER Dan Laustsen THREE BILLBOARDS OUTSIDE EBBING, MISSOURI Ben Davis EDITING BABY DRIVER Jonathan Amos, Paul Machliss BLADE RUNNER 2049 Joe Walker DUNKIRK Lee Smith THE SHAPE OF WATER Sidney Wolinsky THREE BILLBOARDS OUTSIDE EBBING, MISSOURI Jon Gregory BABY DRIVER Tim Cavagin, Mary H Ellis, Julian Slater BLADE RUNNER 2049 Ron Bartlett, Doug Hemphill, Mark Mangini, Mac Ruth DUNKIRK Richard King, Gregg Landaker, Gary A Rizzo, Mark Weingarten THE SHAPE OF WATER Christian Cooke, Glen Gauthier, Nathan Robitaille, Brad Zoern STAR WARS: THE LAST JEDI Ren Klyce, David Parker, Michael Semanick, Stuart Wilson, Matthew Wood SPECIA L VISUA L EFFECTS BLADE RUNNER 2049 Gerd Nefzer, John Nelson DUNKIRK Scott Fisher, Andrew Jackson THE SHAPE OF WATER Dennis Berardi, Trey Harrell, Kevin Scott STAR WARS: THE LAST JEDI Nominees TBC WAR FOR THE PLANET OF THE APES Nominees TBC BRITISH SHORT ANIM ATION HAVE HEART Will Anderson MA MOON Ben Steer POLES APART Paloma Baeza, Ser En Low BRITISH SHORT FIL M PRODUCTION DESIGN BEAUTY AND THE BEAST Sarah Greenwood, Katie Spencer BLADE RUNNER 2049 Dennis Gassner, Alessandra Querzola DARKEST HOUR Sarah Greenwood, Katie Spencer DUNKIRK Nathan Crowley, Gary Fettis THE SHAPE OF WATER Paul Austerberry, Jeff Melvin, Shane Vieau COSTUME DESIGN BEAUTY AND THE BEAST Jacqueline Durran DARKEST HOUR Jacqueline Durran I, TONYA Jennifer Johnson PHANTOM THREAD Mark Bridges THE SHAPE OF WATER Luis Sequeira A A MIR Vika Evdokimenko, Emma Stone, Oliver Shuster COWBOY DAVE Colin OÕToole, Jonas Mortensen A DROWNING MAN Mahdi Fleifel, Signe Byrge S¿rensen, Patrick Campbell WORK Aneil Karia, Scott OÕDonnell WREN BOYS Harry Lighton, Sorcha Bacon, John Fitzpatrick THE EE RISING STAR AWARD (VOTED FOR BY THE PUBLIC) DANIEL KALUUYA FLORENCE PUGH JOSH OÕCONNOR TESSA THOMPSON TIMOTHƒE CHALA MET Congratulations to all nominees All nominations correct at the time of going to press. CONGRATULATIONS TO THE WINNERS OF THE 201718 Alfred P. SLOAN Film Awards Film School Winners 2017 A M E R I CA N F I L M I N ST I T U T E Tuition Award MARINA HOAG Production Award FIDO Ruby Mateo, Producer; Anna Golin, Director/Writer; Jake Stock, Writer; Carlo Mendoza, Cinematographer; Alex Tsagmilis, Editor; and David Lawrence, Production Designer Screenwriting Award LITTLE LEPER Greg Wayne, Writer Screenwriting Award SEMYA Niki Sharirli, Writer CA R N E G I E M E L LO N U N I V E R S I T Y S C H O O L O F D R A M A Screenwriting Award PERCY SPENCER AND THE RADARANGE Jess Honovich, Writer Screenwriting Award SHEEPISH Daniel Hirsch, Writer Screenwriting Award THE BUZZBOTS Whitney Rowland, Writer Production Award Production Award Screenwriting Award Screenwriting Award COLUMBIA UNIVERSITY NOW OR LATER Nick Singer, Writer/Director KNIGHTS IN NEWARK Christopher Abeel, Writer/Producer BLUESHIFT Tim O’Connor, Writer UNDER GLASS Noelia Rodriguez Deza, Writer N E W YO R K U N I V E R S I T Y These awards, in screenwriting, ﬁlm development, and ﬁlm production, recognize exceptionally talented work that explores science and technology themes and characters in an accurate and dramatically compelling fashion. The awards provide ﬁnancial support and are part of a nationwide program to stimulate the next generation of ﬁlmmakers to tackle science and technology subjects and to challenge existing stereotypes of scientists, engineers and mathematicians. The program has supported 600 ﬁlm projects and developed seventeen feature ﬁlms for theatrical release to date. Screenwriting Award SEVEN ETERNITIES Mirella Christou, Writer Screenwriting Award IMPRINT Jennifer Sherman, Writer First Feature Award A NEW PROPHET Rezwan Sumit, Director/Writer U N I V E R S I T Y O F CA L I FO R N I A , LO S A N G E L E S Directing Award LAMARA Bo Yoon (Amber) Ha, Director/Writer Screenwriting Award DESIGNER KIDS Raeann Giles Dunn, Writer Screenwriting Award IVORY HUNT David Calbert, Writer Production Award Production Award Screenwriting Award Screenwriting Award U N I V E R S I T Y O F S O U T H E R N CA L I FO R N I A VARIABLES Sabina Vajraca, Director/Writer HANGER’S LIMB Joel Santner, Director/Writer THE MARS GENERATION Alyson Nicholas, Writer THE VALLEY OF DRY BONES Jeremy Palmer, Writer Film Institute Winners 2017 FILM INDEPENDENT Distribution Grant THE HOUSE OF TOMORROW Peter Livolsi Director/Writer; Tarik Karam, Producer; Danielle Renfrew Behrens, Producer Episodic Grant AGE OF REPTILES Michael Kogge, Creator/Writer Fast Track Grant RADIANT Annika Glac Director/Writer, Robyn Kershaw, Producer Producing Grant ADVENTURES OF A MATHEMATICIAN Thor Klein, Director/Writer; Producers Joanna Szymanska, Lena Vurma, and Mary Young Leckie SAN FRANCISCO FILM SOCIETY BELL Darcy Brislin and Dyana Winkler, Co-writers Science in Cinema Filmmaker Fellowship DARK WEB Mark Eaton and Ron Najor, Co-writers Science in Cinema Prize (2016) HIDDEN FIGURES Ted Melﬁ, Director Science in Cinema Filmmaker Fellowship S U N D A N C E I N ST I T U T E Commissioning Grant UNTITLED SMALLPOX ERADICATION PROJECT Jamie Dawson, Writer; Howard Gertler, Producer; Anthony Bregman; Producer; Stefanie Azpiazu, Producer Episodic Grant LEVITTOWN Adam Benic, Creator/Writer Feature Film Prize MARJORIE PRIME Michael Almereyda, Director/Writer Fellowship BELL Darcy Brislin and Dyana Winkler, Co-writers 2018 AWARDS Commissioning Grant WHAT THE EYES DON’T SEE based on the book by Dr. Mona Hanna-Attisha; Cherien Dabis, Director/Writer; Rosalie Swedlin, Producer for Anonymous Content; Michael Sugar, Executive Producer for Anonymous Content Episodic Grant UNTITLED JP MORGAN PROJECT John Lopez, Creator/Writer Feature Film Prize SEARCH Aneesh Chaganty, Director/Co-writer Fellowship KATIE WRIGHT C. Wrenn Ball, Writer Filmmaker Fund Award Filmmaker Fund Award Filmmaker Fund Award Student Grand Jury Prize Student Grand Jury Prize Honorable Mention T R I B E CA F I L M I N ST I T U T E ADVENTURES OF A MATHEMATICIAN INVISIBLE ISLANDS Emily Lobsenz, Director/Writer ONE MAN DIES A MILLION TIMES Jessica Oreck, Director/Writer THE GLOWING GENE Annie Pulsipher, Writer A MOTIVATED MAN Christopher Abeel, Writer The Business Executive Suite Andrew Karpen Bleecker Street’s CEO on the first post-Harvey Sundance, indie film’s future and how to get movie fans to actually go to theaters By Tatiana Siegel W hen it comes to gaining insight on what movies play well in indie-owned movie theaters, Bleecker Street CEO Andrew Karpen need look no further than his wife of 25 years, Pam Karpen. “She actually owns a fourscreen movie theater in Bethel, Connecticut. And yes, she plays Bleecker Street ﬁlms,” he says with a laugh. “And no, I am not involved in any of the negotiations on what the terms are.” Still, the intel on what drives increasingly distracted audiences out to a theater comes in handy when the former Focus Features co-CEO is looking to buy a ﬁlm at a market like the upcoming Sundance Film Festival. This year marks Bleecker Street’s fourth year in Park City and the ﬁrst that all three of his avid skier children — two sons, 22 and 20, and a daughter, 17 — will join him. Karpen, 51, founded the ﬁlm distributor in 2014 with backing from 5-Hour Energy founder Manoj Bhargava and named it with a nod to the old Focus headquarters at 65 Bleecker St. Now 1 2 3 RÉSUMÉ CURRENT TITLE CEO, Bleecker Street Media PREVIOUS JOB Co-CEO of Focus Features BIG HIT Oversaw the Focus release of Wes Anderson’s Moonrise Kingdom, which grossed $68.3 million worldwide 1 “Outside of the film business, my biggest passion is the New York Giants,” says Karpen, photographed Jan. 5 in Bleecker Street’s Manhattan office. 2 A football signed by former Giants quarterback Phil Simms. 3 Bleecker released a 2016 adaptation of David Grann’s The Lost City of Z. Photographed by Mackenzie Stroh T H E HOL LY WO OD R EP ORT ER 45 J A N U A R Y 1 7, 2 01 8 The Business Executive Suite 1 employing 21 people, the company has proved savvy with its picks: The Helen Mirren-starring drone thriller Eye in the Sky turned out to be one of the biggest art house releases of 2016, with $18.7 million at the U.S. box ofﬁce. And after releasing Steven Soderbergh’s Logan Lucky in 2017 ($27.8 million), Bleecker Street will release Soderbergh’s thriller Unsane, starring The Crown’s Claire Foy, on March 23. That’s one of nine ﬁlms it has on deck for 2018 (up from six last year), including two that will debut at Sundance, the Jon Hamm-Rosamund Pike starrer Beirut and the Hilary Swank-led Alzheimer’s drama What They Had. Karpen, who lives in Weston, Connecticut, invited THR to his ofﬁce in Manhattan’s NoMad neighborhood to discuss the state of indie ﬁlm in the streaming era. This year marks the first Sundance without Harvey Weinstein. How will that change the market’s vibe? For the past couple of years, I don’t think The Weinstein Co. has acquired many titles out of Sundance, so I don’t think it really will impact the marketplace. The bigger impact will continue to be the new buyers that have come over the past couple years. Companies like us, Netﬂix, Amazon, Annapurna. Do you think it will be a buyer’s or seller’s market this year? It really comes down to a ﬁlmto-ﬁlm situation. It’s the quality of the ﬁlms and ﬁguring out which will be traditionally theatrically released and which might go on alternative platforms. Out of last year’s crop, only three films made more than $4 million at the box office — The Big Sick, Beatriz at Dinner and The Hero. Do you think there will be a market correction this year? Buyers have different mandates and different rationales for what they buy and spend. There were a number of ﬁlms the past couple years that had large price tags, go to this week. So having other distributors out there releasing similar kinds of ﬁlms for similar audiences is actually a good thing. How would you characterize the state of independent film now? The good news is more people are seeing independent ﬁlm than ever before. The opportunity and the avenues to see indie ﬁlm are greater, whether it’s in a theater, on your computer, on your TV or on your phone. The difﬁcult part is there’s so much content out there that connecting the content with audiences and having them see a ﬁlm, whether it’s in a theater or streaming, is changing. 2 3 4 You worked with Amazon on The Lost City of Z, Elvis & Nixon and Patterson. Will you partner again? 1 “I go to every Giants game,” says Karpen. “Some people joke I married my wife for her season tickets.” 2 “When a film allows people to see another person’s point of view, that’s a win,” says Karpen of Eye in the Sky. 3 Beirut’s world premiere is slated for Jan. 22 at Sundance. 4 To get through New York’s winters, he says, “A little whiskey helps keep you warm.” and there were ﬁlms that weren’t as widely reported that had smaller price tags. We’ll continue to see both, but slowly we have seen the number of ﬁlms with the big, big price tags come down. We’ll see that continue this year. What’s the festival acquisition you wish you had landed that got away? The very ﬁrst year at Sundance for Bleecker, I loved Brooklyn. And I worked with many of the people involved with that ﬁlm before at Focus. But it was very clear that it was going to go to a studio specialty division. Explain the Bleecker Street model. Our goal is to distribute interesting, entertaining ﬁlms for a discerning audience and primarily theatrical ﬁrst. Most of our ﬁlms follow a platform release strategy, but we have done wide releases. We did Logan Lucky wide, and we’re doing another ﬁlm with Steven in March, Unsane. With Logan Lucky, you spent $20 million to market it and targeted red-state audiences. But T H E HOL LY WO OD R EP ORT ER it still wound up performing best in blue-state, big-city markets. The big lesson from that ﬁlm is, especially now when people have the opportunity to do so much more with their time, to ﬁrst and foremost target moviegoing audiences and then break down the subset to your core audience. Trying to get people who don’t go to the movies to change their habit is a much harder task. Who do you see as your biggest competitors? Look, I think in some ways aren’t we all competitors? You’re probably not competing with, say, Saban Films for any films. But I would think you would be with Sony Pictures Classics, Focus, Roadside Attractions. True. And we also want them to succeed because I think the more people who go to the movies as a habit, the better off we all are. [Convincing] someone who hasn’t gone to the movies in nine months to go to a movie is twice as hard as convincing someone which movie they’re going to 46 J A N U A R Y 1 7, 2 01 8 My understanding is they’ll now be doing their own distribution. They were working with people like myself and Roadside as they were ramping themselves up. But you’d have to ask them. How would you describe the typical Bleecker Street film? I don’t think there is a typical Bleecker Street ﬁlm. You go from Nostalgia, opening in February, to Unsane in March, to Beirut in April, to Disobedience, which is a ﬁlm we picked up in Toronto, in April. They’re all very different ﬁlms. The one thing I would say is I think they all have a core audience, and, hopefully, not only can we reach the core audience, but we can expand beyond that. Where do you see Bleecker Street five years from now? Technically, the company name is Bleecker Street Media, and it wasn’t Bleecker Street Films because as the marketplace changes, would we ever get into TV or digital or short-term content? That’s to be determined. I think the key for Bleecker is to ﬁnd compelling stories, interesting stories that we can bring to an audience for them to enjoy. Some people will like some of our movies. Some people might not. But I’d like to think when they see a Bleecker movie, it’s at least thought-provoking. What form that takes in the next ﬁve years, we’ll have to wait and see. SAG-AFTRA CONGRATULATES ALL OF OUR NOMINEES! INDIVIDUAL NOMINEES: UZO ADUBA ORANGE IS THE NEW BLACK ANTHONY ANDERSON BLACK-ISH AZIZ ANSARI MASTER OF NONE JASON BATEMAN OZARK MARY J. 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SAG-AFTRA and Screen Actors Guild Awards are registered trademarks and the Actor statuette and SAG-AFTRA logo are TM and © SAG-AFTRA. © 2018 Screen Actors Guild Awards, LLC. All Rights Reserved. STUNT ENSEMBLE NOMINEES: BABY DRIVER DUNKIRK GAME OF THRONES GLOW HOMELAND LOGAN STRANGER THINGS THE WALKING DEAD WAR FOR THE PLANET OF THE APES WONDER WOMAN The Business Media Missteps in the MeToo Age: Why ‘No Comment’ Isn’t an Option Flubs over Weinstein and Woody are putting stars like Greta Gerwig and Matt Damon on the hot seat and creating complex, nuanced new rules for what to say (and not say) on the red carpet and beyond. Warns one crisis PR guru: ‘You can’t wing it’ By Kim Masters W hen Greta Gerwig made her way into the press room after winning a Golden Globe for Lady Bird on Jan. 7, her victory lap was interrupted by a difﬁcult but predictable question: Did she regret having worked with Woody Allen, who directed her in the 2012 movie To Rome With Love? Granted, that kind of sharpedged question might not have been thrown at a Hollywood award winner in the past, but this year it was obvious that the Time’s Up movement was going to dominate the Globes ceremony. In December, Dylan Farrow had written an op-ed in the Los Angeles Times explicitly calling out Gerwig, along with Kate Winslet and Blake Lively, for their praise of her father, whom Farrow has long insisted molested her when she was young. (Allen has denied the allegations.) Farrow noted that Gerwig had fumbled a question on the subject in a November interview on public radio’s Fresh Air. And just two days before the Globes, the issue gained fresh currency when The Washington Post published a widely circulated piece in which author Richard Morgan said he had analyzed Allen’s voluminous archives and found Krumholtz them brimming with evidence of an obsession with young girls. Weeks earlier, Ellen Page, Gerwig’s co-star in To Rome With Love, had posted on Facebook that working with Allen was the “biggest regret” of her career. Yet Gerwig still wasn’t ready for the question at the Globes. “You know, it’s something that I’ve thought deeply about and I care deeply about, and I haven’t had an opportunity to have an in-depth discussion where I come down on one side or the other,” she stammered. The dodge did not go unnoticed in press reports. Gerwig’s fumble — she felt compelled to do a follow-up interview with The New York Times the next day in which she praised Farrow and said of Allen, “I will not work for him again” — is another sign of Hollywood’s new reality. For those who have been associated with alleged perpetrators — and even those who haven’t — evading questions about sexual misconduct and the Time’s Up movement no longer is possible. “Everyone should presume that every time they stand in front of a camera, microphone or iPhone, this is going to Illustration by Nicholas Dehghani T H E HOL LY WO OD R EP ORT ER 48 J A N U A R Y 1 7, 2 01 8 be asked about, and they should have a concise and thoughtful response,” says Terry Press, president of CBS Films. Press adds that any publicist who doesn’t explain this reality and plan for possible questions is providing “very poor client service.” Kelly Bush Novak, CEO of the ID public relations ﬁrm, agrees. “A lot of publicists think you can sidestep it and say, ‘I’m here to talk about my movie,’ but those days are over,” says Bush Novak. She points out that some of the hard questions are originating not with reporters but rather with stars calling people out on social media. Those challenges not only beg for a response but make it much easier for journalists who might normally avoid a difﬁcult topic to ask about it instead. Coming up with the right answer can be daunting. “The trial in the court of public opinion in the age of social media is something to behold,” says one talent rep whose client has drawn ire for a shaky answer to a Time’s Up question. A publicist with a client who had the same experience adds that online critics can be implacable: “It’s like, you can’t even be honest.” Matt Damon is a vivid example of what can go wrong when a question isn’t answered well. Normally at ease when talking with reporters, Damon got into trouble in October when he was promoting Suburbicon and offered a muddled explanation of what he knew about Harvey Weinstein and when he knew it. Things got worse when he told Rolling Stone in December that “there’s … a difference between, you know, patting someone on the butt and rape or child molestation.” Though he said all such behavior had to be “confronted and eradicated without question,” Damon nonetheless got pulverized. (I would note that I’ve repeatedly said what seems obvious — that there is a continuum of conduct — in TV and radio interviews without any pushback.) KRUMHOLTZ: JASON KEMPIN/GETTY IMAGES FOR NETFLIX. Publicity BAFTA LOS ANGELES THANKS OUR MEMBERS, GUESTS AND PARTNERS FOR CELEBRATING WITH US AT THE BAFTA TEA PARTY, AND WISH YOU ALL THE BEST FOR THE SEASON AHEAD. THANK YOU TO OUR SPONSORS: EE BRITISH ACADEMY FILM AWARDS SUNDAY 18 FEBRUARY 2018 #EEBAFTAS #BAFTATEA Publicity CBS Films’ Press notes that Damon faced undeserved condemnation because he had not framed his answers with care. “Nobody in Hollywood thinks for one minute that Matt Damon is abusive or inappropriate,” she says. “He is a completely upstanding, honorable person. He got into a situation where he answered truthfully but without consideration.” (Damon’s reps declined comment.) More recently, actor David Krumholtz, who appears in Woody Allen’s new Wonder Wheel, also faced blowback and seemed to display a learning curve in real time. On the day the Post ran its piece on Allen’s archives, Sitrick Krumholtz tweeted that working with the director was “one of my most heartbreaking mistakes.” He was quickly attacked on Twitter by some who felt the statement rang hollow given how recently he had worked with Allen. And he didn’t handle the criticism with grace. “Easy to scrutinize me, eh?” he tweeted back at one point. “Go fuck yourself. And also, eat shit.” But the next day, when Krumholtz appeared on a panel before the Television Critics Association to promote his new CBS show, Living Biblically, he came prepared with a lengthier and more nuanced statement explaining that Allen had been a childhood idol but that he is now “ashamed” of the decision to work with him. After Gerwig and Krumholtz corrected course, others who are likely to face questions about Allen also seem to have understood that silence will no longer be an option. On Jan. 10, Mira Sorvino, who won an Oscar for Allen’s Mighty Aphrodite and herself has alleged abuse by Weinstein, wrote an emotional open letter of apology to Farrow. Three days later, Rebecca Hall said she would never work with him again and had donated her wages from Allen’s upcoming ﬁlm, A Rainy Day in New York. Visualization for Film, TV and Immersive Entertainment LOS ANGELES | LONDON | VANCOUVER | SYDNEY CONGRATULATES CHARLES ROVEN Recipient of the 2018 David O. Selznick Award “A lot of publicists think you can sidestep it and say, ‘I’m here to talk about my movie,’ but those days are over.” Kelly Bush Novak, publicist, of Gerwig’s Globes fumble A communications executive at one studio says the fault for earlier missteps in some cases lies with publicists who failed to anticipate hard questions. “They come from an arrogant place where people want access to their clients,” he says. While they may be good at picking and choosing among media requests, “they’re not prepared to defend a position or head off a problem.” Crisis PR guru Michael Sitrick insists that it’s often star clients who fail to think ahead about how they should handle the press. “Some people think it looks easy,” he says. “They think, ‘I can wing it.’ You can’t wing it.” He says his ﬁrm prepares clients facing hard questions “the way a lawyer would prepare a client to testify.” As with every issue in Hollywood right now, gender parity affects this debate as well. After the Globes, some wondered why Gerwig was questioned about Allen but Justin Timberlake and Ewan McGregor weren’t. Following the ceremony, Girls actor and activist Benjamin O’Keefe tweeted, “Not one dude Golden Globes Winner talked about the #MeToo movement in his speech. Knowing this industry their publicists probably told them it would be better for them.” Male or female, Bush Novak says that some clients fail to answer questions gracefully simply because they are nervous or lack conﬁdence. “A lot of people think they need to be an expert” to address political issues, she says. “They say, ‘I’m not going to talk about that.’ But if we’re really going to make change, everybody should think about what they stand for. Get educated and talk about it and take a position.” SITRICK: JOE KOHEN/WIREIMAGE. GERWIG: FREDERIC J. BROWN/AFP/GETTY IMAGES. The Business If Oscar is walking on eggshells this season, it’s because potential nominees already are drawing fire for alleged offscreen behavior as the Academy aims to head off yet another year of controversy By Gregg Kilday E ven as James Franco was accepting his best comedy actor Golden Globe on Jan. 7 for his performance as oddball ﬁlm director Tommy Wiseau in The Disaster Artist, the fallout began. Several women tweeted, accusing him of sexually exploitative behavior, which then was detailed in a Jan. 11 Los Angeles Times story. While Franco disputed their claims, he told Stephen Colbert, “I completely support people coming out and being able to have a voice,” adding, “If there’s restitution to be made, I will make it.” While Ashley Judd, in an interview with the BBC, said, “I think what James said was terriﬁc,” not everyone agreed. In a Jan. 14 L.A. Times follow-up about how the controversy could affect Franco’s chances of scoring an Oscar nom, one actress who had voted for him said: “I wish I could have that vote back. We had the Casey Afﬂeck thing last year. It detracts from what we should be doing — celebrating the work.” But wait. So does this mean that to “celebrate the work” we must consider the person’s behavior beyond the work? There’s no way of knowing if the current uproar surrounding Franco will cost him an Oscar slot. The nomination balloting began Jan. 5 and closed Jan. 12, so many of the ballots already would have been cast. But if he is nominated Jan. 23, his nomination will become problematic. Last year, Afﬂeck, the eventual best actor winner for Manchester by the Sea, survived stories about two 2010 lawsuits accusing him of unwanted sexual advances and harassment that were settled out of court. But given the current climate of heightened awareness about gender inequality and sexual harassment, it’s an open question whether Afﬂeck could have prevailed this season — and if he participates in the March 4 Oscar ceremony, it’s likely to trigger another outpouring of outrage. All of this leaves the Academy walking on eggshells. Within the organization, there already was a lot of nervousness that the noms, if lacking in diversity, could open the Oscars up to renewed charges of #OscarsSoWhite and #OscarsSoMale. The recent Directors Guild nominations, which included Get Out’s Jordan Peele and Lady Bird’s Greta Gerwig — along with The Shape of Water’s Guillermo del Toro, Illustration by Riki Blanco T H E HOL LY WO OD R EP ORT ER 52 J A N U A R Y 1 7, 2 01 8 FRANCO: VENTURELLI/WIREIMAGE. CAUTION, MINEFIELDS STRAIGHT AHEAD Three Billboards Outside Ebbing, Missouri’s Martin McDonagh and Dunkirk’s Christopher Nolan — set a bar. If the Oscar noms fall short in either the directing or acting categories, the Academy will feel the heat. And now it also has to worry about the alleged behavior of potential nominees. Franco isn’t the only one drawing ﬁre. Darkest Hour’s Gary Oldman had barely ﬁnished his Golden Globe acceptance speech when fans of Call Me by Your Name’s Timothee Chalamet began circulating a Daily Beast piece that called Oldman to task for a 2001 incident of alleged spousal abuse, which he has denied, and a 2014 Playboy interview where he wondered aloud why he wasn’t allowed to use the C-word. Such “opposition research” used to be the stuff of so-called whisper campaigns, used by Oscar strategists to spread the word within the industry that a given awards prospect wasn’t worthy. Sometimes, such talk surfaced in the sniping of awards bloggers, but it rarely reached the ears of the general public. That has all changed with the explosion of social media, where anyone is now free to lob a charge online and retweets travel faster than any denials. That wouldn’t matter if Oscar voters truly concentrated on judging the work itself rather than the personalities involved. But the Oscars have always been, in part, a popularity contest. Why else would ﬁlmmakFranco ers spend so much time chatting at everything from cocktail parties to postscreening Q&As? It’s not just to explain the ﬁlmmaking challenges they encountered but also to ingratiate themselves with the voters as friendly, likable, deserving candidates. In an ideal world, they shouldn’t have to do that. The work should speak for itself. But then we don’t live in an ideal world. Heartiest congratulations Donna from all of us at Gold Circle ! ← Strategic editing made two key characters, played by Rockwell JUST BY MOVING ONE CRITICAL SCENE, THREE BILLBOARDS WON OVER AUDIENCES Director Martin McDonagh and editor John Gregory worried that moviegoers might find Frances McDormand’s character too extreme. Then they hit on a solution By Carolyn Giardina F rances McDormand, Sam Rockwell and writer-director Martin McDonagh have all collected Golden Globes for their work on Three Billboards Outside Ebbing, Missouri, but if it were not for ﬁlm editor John Gregory, himself recently nominated for an American Cinema Editors Eddie award, that might not have been the case. For as Gregory and McDonagh cut the ﬁlm, they realized that McDormand’s Mildred, who uses billboards to urge police to solve the case of her daughter’s rape and murder, could come across as an off-putting, even alienating character. And so, in a key decision, they decided to move a ﬂashback of Mildred’s ﬁnal conversation with her daughter, which ends in an ugly argument, to an earlier point in the story. In so doing, they quickly realized that their decision changed the character. Gregory explains that in the original script, the ﬂashback occurred deeper into the ﬁlm, but the ﬁlmmakers became concerned that “by leaving it so late, you’re going to lose sympathy with this woman.” When her billboards burn down, Mildred sets ﬁre to the police station, “which is really very neurotic,” he admits. But by setting the ﬂashback earlier in the ﬁlm, “You know that it’s not really about the burning of the billboards; it’s about her trying to come to terms with the last conversation with her daughter. If you know her story a lot earlier, you are more sympathetic with Mildred no matter what she does.” Similarly, careful editing helped shape Rockwell’s character of Dixon, a racist police ofﬁcer. “On the surface of it, he’s a really nasty guy,” says Gregory. “His change, to the point where you do kind of like him in the end, is a hell of an arc. We had to play that very carefully.” But by selecting the right takes, especially Rockwell’s reaction shots, the ﬁlmmakers were able to show that Dixon also is a “vulnerable young boy. It’s just a look in his face and his eyes.” congratulates our client BRUCE MILLER on a well-deserved accolade for your amazing talent and faithfulness to your craft. With special recognition to Tracy for her unwavering support and counsel over the years. GOLDEN GLOBE® WINNER Best TV Series – Drama “The Handmaid’s Tale” MERRICK MORTON/TWENTIETH CENTURY FOX (3) and McDormand, each more sympathetic. On your recoognittion frrom the Prooduccers Guildd of Amerricca as recippient of th he A well--deeservved hoonor Froom Henry Win nterrsterrn an nd youur friiends at Higghland Fillm Group PRODUCERS GUI LD AWARDS NO M I N E E S B R E A K FA S T PR ESEN T ED BY JA N UA RY 2 0, 2 0 1 8 at the S A B A N T H E A T R E MODE R AT ED BY GARY LUC C H E SI President, Producers Guild of America Nominees for the Darr yl F. Zanuck Award for outstanding producer of theatrical motion pictures: THE BIG SICK CA L L M E BY YO U R NA M E DUNKIRK GET OUT I , T ON YA L A DY B I R D M O L LY ’ S G A M E THE POST T H E S H A P E O F WA T E R THREE BILLBOARDS OUTSIDE EBBING, MISSOURI WON DER WOM A N By Invitation Only Fashion PRODUCTS: COURTESY OF BRAND (7). HOULT: DAVID BECKER/GC IMAGES/GETTY IMAGES. HAMMER: BRYAN STEFFY/GC IMAGES/GETTY IMAGES. HEDLUND: RANDY SHROPSHIRE/GETTY IMAGES FOR AT&T. MITCHELL: JONATHAN LEIBSON/GETTY IMAGES FOR PEPSICO CREATORS LEAGUE STUDIOS. ICICLES: ISTOCK. Hedlund Hammer Hoult Helly Hansen Pointnorth waterproof puffer coat with ventilation to prevent overheating; $425, hellyhansen.com Parka City, Utah Tackle freezing Sundance temps in style while shuffling between premieres and parties Frame L’homme Slim straight-leg jeans in dark gray wash; $219, frame-store.com Mitchell By Carol McColgin Barneys New York Leather-accented cashmere gloves with touchscreenfriendly thumb and index-finger slits; $375, barneys.com Connolly Oversize wool knit sweater; $590, mrporter.com Ugg Waterproof leather and suede Halfdan boot with wool lining; $190, ugg.com Elder Statesman Rib-knit cashmere hat; $265, barneys.com Frame Suede Western jacket; $949, frame-store.com ↑ Armie Hammer, Nicholas Hoult, Garrett Hedlund and Jason Mitchell keeping warm at Sundance. T H E HOL LY WO OD R EP ORT ER 57 J A N U A R Y 1 7, 2 01 8 Style 2 Boseman’s tribal-meets-tech uniform. 3 From left: Nyong’o, Bassett and Martin Freeman in Dogon-inspired costumes. 4 African-dress references, such as Tuareg textiles (pictured) inform many of the looks in the film. Costumes 3 3 4 1 1 Mandela (inset), in ceremonial dress, was an inspiration; Bassett’s character, wearing a futuristic interpretation. 2 Black Panther’s Chic African Influences For Marvel’s new film, ‘an army’ of culturally attuned costume designers leaned on Winnie Mandela’s birthday ensemble, high-tech touches and tribal artifacts — from Maasai and Tuareg dress — to inform the distinctive garb By Booth Moore Panther, or T’Challa — created in 1966. Played by Chadwick Boseman, he rules over the fantastical African country of Wakanda, which is rich with vibranium — a mythic metal that comprises Captain America’s shield, is woven into the Black Panther’s suit and has positioned the nation a century ahead of the rest of the world. The ﬁght for vibranium has T’Challa facing off with Michael B. Jordan’s Erik Killmonger, whose tattoos are patterned after those of Ethiopia’s Mursi and Surma tribes. 5 5 A digital rendering of the garb worn by the Dora Milaje, the secret service of Black Panther’s country. 6 An Ndebele woman sporting neck rings, remade in rubber for the film. 6 Carter worked with ﬁve illustrators, 14 designers, mold makers, fabric dyers and jewelry makers and dispatched shoppers to Ghana and South Africa to ﬁnd artifacts, textiles and Carter jewelry to use as prototypes. “It was an army,” she says. On her mood boards were images of dress Coogler from the Maasai, Tuareg, Ndebele and Dinka peoples (including a men’s beaded corset from the Metropolitan Museum of Art). She also examined garments by avant-garde pleating master Issey Miyake and African-inspired fashions by Yves Saint Laurent and Donna Karan. Lupita Nyong’o plays undercover agent Nakia, who dresses in a hundred shades of green, each worn only once. Says Nyong’o, who dons a body-hugging, chartreuse neoprene gown for a glamorous casino scene: “Ruth, Ryan and I wanted Nakia to look both elevated and grounded in her work as a spy, and each costume reﬂects those things.” 58 The Walking Dead’s Danai Gurira is a member of Wakanda’s secret service, the Dora Milaje, dressed in colorful armor. “For the Dora Milaje, I wanted to see how heavy Ndebele neck rings were,” Carter says, noting that the rings were remade in rubber for ﬁlming. One scene has T’Challa and his mother, Ramonda (Angela Bassett), on a mission to a mountain tribe, the Jabari. “I used the Dogon tribe [a remote civilization in Mali] as inspiration for all things Jabari,” says Carter. “The Jabari also wear these phenomenal grass skirts that Ryan Coogler just fell in love with.” Bassett’s costumes were inspired by reallife royalty. “I looked at footage of Winnie Mandela arriving to her birthday party in South Africa wearing a traditional Zulu woman’s ceremonial costume that was just beautiful,” says Carter. As a futuristic touch, Bassett wears a shoulder piece patterned from African lace that was 3D-printed at a studio in Belgium. Says Carter, “I thought the queen should represent her technologically advanced nation.” PANTHER: MATT KENNEDY/MARVEL (3). MANDELA: REUTERS/SIPHIWE SIBEKO/SOUTH AFRICA SOCIETY. TAUREG: MARKA/UIG VIA GETTY IMAGES. SKETCH: ANTHONY FRANCISCO/MARVEL. NDEBELE: DEAGOSTINI/GETTY IMAGES. COOGLER: ALBERTO E. RODRIGUEZ/WIREIMAGE. CARTER: DAVID LIVINGSTON/GETTY IMAGES. uth Carter has created costumes for Do the Right Thing, Amistad, Malcolm X, Selma and many more ﬁlms, but nothing prepared her for the scope of Walt Disney’s Black Panther, directed by Ryan Coogler. For the super-stylish superhero ﬁlm opening Feb. 12, she imagined a new African diaspora with 700 costumes fusing futurism, indigenous dress and high fashion, drawing on sources from the Rose Bowl Flea Market to textile dealers in Accra, Ghana. The ﬁlm brings to life Marvel’s ﬁrst black superhero — Black R 357 West 17th StreetWest Chelsea, New York $29,500,000 BeG)XOO)ORRU0DVWHU | Bath Tomer Fridman 310.926.3777 firstname.lastname@example.org By Appointment Only CalBRE 01750717. Compass is a licensed real estate broker (01991628) in the State of California and abides by Equal Housing Opportunity laws. All material presented herein is intended for informational purposes only. Information is compiled from sources deemed reliable but is subject WRHUURUVRPLVVLRQVFKDQJHVLQSULFHFRQGLWLRQVDOHRUZLWKGUDZZLWKRXWQRWLFH7RUHDFKWKH&RPSDVVPDLQRƅFHFDOO Style Real Estate Pasadena Just Sold $7M 1 1 Albert and Elsa Einstein in front of their home in Pasadena, where they spent three winters during the 1930s when he was a visiting professor at Caltech. 2 This 1959 home, built by architects Whitney Smith and Wayne Williams, hadn’t changed hands in 50 years before Streep bought it in December. Posh. Private. Prestigious. Pasadena? A-listers are suddenly snapping up historic homes in the grande dame of L.A. suburbs, where it ‘takes an act of God’ (or perhaps Meryl Streep) to get some residents to sell By Peter Kiefer restrictions on new development, some of hen Meryl Streep and Kristen Wiig buy similar homes within blocks of each other in the span of the strictest in L.A. County, keep some residential developers at bay. a week, the question inevitably arises: What hot Streep and Wiig purchased mid-century new enclave is drawing Hollywood now? Here, the neighMoore homes — for $3.6 million and $3 million, borhood in question — Pasadena — may be hot, but it’s respectively (Wiig’s is one of the original Case the opposite of new. The grande dame of L.A. suburbs and Study Houses). They join Mandy Moore, who the region’s de facto intellectual capital (home to Caltech, the Jet Propulsion Laboratory and a half-dozen major bought in Pasadena in 2017 ($2.6 million), as cultural institutions), Pasadena and its storied mid-cendid Rachel Bilson ($3.25 million). tury and post-and-beam homes have welcomed a steady “The perception that Pasadena is in the Streep stream of stars and execs. “I have certainly seen an uptick boondocks has kept it lower on Hollywood’s in entertainment industry people coming here from all radar,” says Paciﬁc Union International’s Maggie Navarro, levels — costume designers, actors and producers. There along with a certain “impenetrability” due to limited housare people that I would never expect to be calling me,” says ing supply. “There is very little turnover or spontaneous agent Matthew Berkley of brokerage Deasy/Penner, who construction,” says Navarro. “Getting some [residents] out of their houses, some of whom have lived there 40, 50, even has worked with star clients including the late Paul Walker. 60 years, takes an act of God,” she jokes, adding homes are In 2017, the median sales price of a home in Pasadena often passed down for generations. — about $1.2 million in the fourth quarter — climbed But the visibility of Pasadena, 6 percent, according to Paciﬁc convenient to the studios in Union International. Compared to Burbank, is growing amid the east17 percent year-over-year growth ward creep of such production in Paciﬁc Palisades, Pasadena companies as Blumhouse (based in prices — even in the ritzier South Echo Park) and Justin Lin’s Perfect Pasadena neighborhood — seem (almost) modest. Keeping them in Storm Entertainment (DTLA). Says check, in part, is the abundance of producer Barry Mendel, who has historic districts and landmarked lived in Pasadena for two decades: homes: Not every buyer is up for the “It’s great to see the artistic comhassles that often come with legacy munity migrate east to where the Wiig bought Case Study House No. 10, designed in 1947 by properties. And Pasadena’s zoning bohemians live.” father-son team Kemper Nomland and Kemper Nomland Jr. W GOOD IN MY HOOD Barry Mendel Producer, The Big Sick and Trainwreck ◄ Nicole’s Market & Cafe “My wife and I eat potato and truffle egg white omelettes ($12) and read the paper in mutually adoring silence.” 921 Meridian Ave. T H E HOL LY WO OD R EP ORT ER 60 This 20,000-squarefoot mansion where Mad Men once filmed — commissioned by John S. Cravens, president of the Edison Electric Co., and completed in 1930 — was built for $1.25 million, for several decades the most expensive home built in Pasadena. The home was listed, originally for $10.5 million, by Josie Tong and Gretchen Seager of Sothebys. On the Market 601 ORANGE GROVE BLVD. Soon to be listed for $3 million-plus by Deasy/Penner’s Matthew Berkley, this 6,000-squarefoot English Tudor was owned by Morton Pinsky and actress wife Helene, parents of star doctor Drew Pinsky, who is selling the home with his sister. The Central Library Pie ‘n Burger “It’s gorgeous, the resources are nonpareil in L.A., and people there really care about books, can you imagine?” 285 E. Walnut St. “Millionaires sit next to gardeners next to cheerleaders and Caltech geniuses. I get a turkey burger and fries ($11.25).” 913 E. California Blvd. J A N U A R Y 1 7, 2 01 8 EINSTEIN: ULLSTEIN BILD VIA GETTY IMAGES. SMITH: CAMERON CAROTHERS/COURTESY OF CROSBY DOE ASSOCIATES, INC. MOORE: FREDERICK M. BROWN/GETTY IMAGES. STREEP: MIKE COPPOLA/GETTY IMAGES. WIIG: SHAWN BISHOP/COURTESY OF CYNTHIA LUCZYSKI AND LAUREN LUCZYSKI. CRAVENS: DOUGLAS HILL/DOUGLAS HILL PHOTOGRAPHY/COURTESY OF AMERICAN RED CROSS LOS ANGELES REGION. ORANGE: CAMERON CAROTHERS. PINSKY: JB LACROIX/WIREIMAGE. MARKET: COURTESY OF SUBJECT. 430 MADELINE DRIVE 2 NYU TISCH AT THE SUNDANCE FILM FESTIVAL For 25 years, NYU Tisch School of the Arts has had a presence at the Sundance Film Festival. 7KLV\HDURIWKH´OPVDQGSURMHFWVDWWKHIHVWLYDODUHDI´OLDWHGZLWK 7LVFKDOXPQLDQGRIWKHIHDWXUH´OPVLQFRPSHWLWLRQDUH7LVFKGLUHFWHG ZULWWHQRUSURGXFHG In celebration of our alumni, and our continued support of independent and FUHDWLYHVWRU\WHOOLQJZHUHSURXGWRKRVW TISCH ON MAIN TISCH ALUMNI RECEPTION 317 Main Street 1167 Woodside Avenue Park City Park City This space is reserved Jan. 19-21 exclusively for NYU Tisch Alumni and invited guests. 11 a.m.-1 p.m., Saturday, Jan. 20 7LVFKVSUHVHQFHDWWKHIHVWLYDOLVPDGHSRVVLEOHE\SKLODQWKURSLFVXSSRUWIURP Amy P. & Frank M. Garrison, Molly & Sean Durkin, Jon & Jeanette Tullis, Pat & Walter Moore, Stefania & Mark Magidson, and Carol & Ben Greenspan. #TischSundance HOW I FOUGHT TO BECOME TV’S $20 MILLION WOMAN Grey’s Anatomy star Ellen Pompeo reveals in her own words the personal struggles and behind-the-scenes negotiations that led to a well-deserved new title: highest-paid actress on a primetime drama As told to LACEY ROSE On March 27, 2005, ABC debuted a medical drama titled Grey’s Anatomy from an unknown creator, Shonda Rhimes. The show was an instant smash, and everybody involved was ecstatic. Everybody, that is, except for the series’ star, Ellen Pompeo, the Grey of Grey’s Anatomy. “I knew I was fucked,” she recalls thinking at the time. After all, Pompeo was supposed to be a movie star. Following a rocky childhood in a blue-collar, mob-heavy Boston suburb, where she and several siblings were raised by her father and grandparents (her mother died of an overdose when Pompeo was just 5), she headed to Hollywood. Before long, her breakout role as the love interest in the 2002 ﬁlm Moonlight Mile sparked interest from major ﬁlmmakers. “Sam Mendes, Steven Spielberg, Warren Beatty,” she rattles off the names. “They were all, ‘We were blown away by this performance’ and ‘You’re a superstar.’ ” But by 2004, her movie career had stalled and she was perilously close to broke. Then her agent, CAA’s Rick Kurtzman, brought her the script for Grey’s Anatomy. “I was like, ‘I’m not going to be stuck on a medical show for ﬁve years,’ ” she remembers telling him. “ ‘Are you out of your fuckin’ mind? I’m an actress.’ ” He convinced her to audition anyway, if only to pay the rent. Fourteen years later, Pompeo is no longer a renter. In late 2017, she signed a new deal that covers the current Grey’s season as well as two more, and will make her dramatic television’s highest-earning actress. (Though a 15th and 16th season have not been formally ordered, Rhimes says, “The show will go on as long as Ellen wants to do it.”) Pompeo credits her boss and mentor — who recently signed a nine-ﬁgure pact of her own at Netﬂix — with empowering her to demand the best possible deal. “As a woman, what I know is you can’t approach anything from a point of view of ‘I don’t deserve’ or ‘I’m not going to ask for because I don’t want other people to get upset,’ ” Rhimes says now. “And I know for a fact that when men go into these negotiations, they go in hard and ask for the world.” Pompeo had plenty of leverage. Grey’s has been drawing nearly 12 million viewers 300-plus episodes in, making it ABC’s No. 2 drama, behind only fall 2017 entry The Good Doctor. And the show, which airs in some 220 territories around the world, is a multibillion-dollar franchise for ABC parent Disney. Rhimes recalls giving her star a simple piece of advice: “Decide what you think you’re worth and then ask for what you think you’re worth. Nobody’s just going to give it to you.” The result: Pompeo’s new pact will have her earning more than $20 million a year — $575,000 per episode, along with a seven-ﬁgure signing bonus and two full backend equity points on the series, estimated to ← “Where I grew up, the men around me always had all of the power and money, which definitely ties into my whole experience,” says Pompeo, photographed Dec. 9 at Doheny Room in L.A. Styling by Petra Flannery. The Row top, Anita Ko earrings. Photographed by Mike Rosenthal PART 2 PAY D I S PA R IT Y bring in another $6 million to $7 million. She also will get a producing fee plus backend on this spring’s Grey’s spinoff as well as put pilot commitments and ofﬁce space for her Calamity Jane production company on Disney’s Burbank lot. Already, she has a legal drama in contention at ABC, and she recently sold an anthology drama to Amazon, which will focus each season on a different American fashion designer’s rise to prominence. Actors typically hate discussing their paychecks in the press, but Pompeo, a married mother of three, has chosen to do so with THR now in the hope of setting an example for others as women in Hollywood seize a new moment of empowerment and opportunity. An edited version of the conversation follows. I’m 48 now, so I’ve ﬁnally gotten to the place where I’m OK asking for what I deserve, which is something that comes only with age. Because I’m not the most “relevant” actress out there. I know that’s the industry perception because I’ve been this character for 14 years. But the truth is, anybody can be good on a show season one and two. Can you be good 14 years later? Now, that’s a fuckin’ skill. I’m not necessarily perceived as successful, either, but a 24-yearold actress with a few big movies is, even though she’s probably being paid shit — certainly less than her male co-star and probably with no backend. And they’re going to pimp her out until she’s 33 or 34 and then she’s out like yesterday’s trash, and then what does she have to take care of herself? These poor girls have no real money, and the studio is making a fortune and parading them like ponies on a red carpet. I mean, Faye Dunaway is driving a fuckin’ Prius today. Now, there’s nothing wrong with a Prius, but my point is, she had no ﬁnancial power. If we’re going to invoke change, that has to be part of it. For me, Patrick [Dempsey] leaving the show [in 2015] was a deﬁning moment, deal-wise. They could always use him as leverage against me — “We don’t need you; we have Patrick” — which they did for years. I don’t know if they also did that to him, because he and I never discussed our deals. There were many times where I reached out about joining together to negotiate, but he was never interested in that. At one point, I asked for $5,000 more than him just on principle, because the show is Grey’s Anatomy and I’m Meredith Grey. They wouldn’t give it to me. And I could have walked away, so why didn’t I? It’s my show; I’m the number one. I’m sure I felt what a lot of these other actresses feel: Why should I walk away from a great part because of a guy? You feel conﬂicted but then you ﬁgure, “I’m not going to let a guy drive me out of my own house.” So, what does it look like when he leaves the show? First, it looks like a ratings spike, and I had a 4 1 “Shonda had her evolution and brought us all along with her,” says Pompeo (above right with Rhimes). 2 Pompeo is one of the few left from the ABC drama’s original cast; she calls co-star Dempsey’s 2015 exit a major turning point for her. 3 Though she says she doesn’t consider it a passion, she has directed multiple episodes. 4 Pompeo with music producer husband Chris Ivery and Stella Luna, one of the couple’s three kids. nice chuckle about that. But the truth is, the ink wasn’t even dry on his exit papers before they rushed in a new guy. I was on vacation in Sicily, decompressing — it was a long working relationship and it was a tumultuous end and I needed a moment to just chill with some rosé — and they’re calling me, going, “What do you think of this guy?” “What do you think of this guy?” And they’re sending pictures. I was like, “Are you people fucking nuts? Why do you feel that you have to replace this person?” I couldn’t believe how fast the studio and the network felt like they had to get a penis in there. We brought in Martin Henderson, but they didn’t love the storyline, so that ended. Things have changed, though. In Shonda ﬁnding her power and becoming more comfortable with her power, she has empowered me. And that took her a while to get to, too. It was part of her evolution. It’s also why our relationship is so special. I was always loyal to her, and she responds well to loyalty. So, she got to a place where she was so empowered that she was generous with her power. Now, what did that look like? It looked like her letting me be the highest-paid woman on television, letting me be a producer on this show, letting me be a co-executive producer on the spinoff and signing off on the deal that the studio gave me, which is unprecedented. Let me back up. What happened is that I went to Shonda and I said, “If you’re moving on to Netﬂix and you want the show to go down, I’m cool with that. But if you want it to continue, I need to be incentivized. I need to feel empowered and to feel ownership of this show.” And she was like, “I absolutely want to keep the show going. It’s the mothership, so let’s ﬁnd a way to make you happy. What do you want?” Now, maybe it’s my Irish Catholic upbringing, but you never want to [be perceived as] too greedy. Or maybe it’s just that as women, that’s our problem; a guy wouldn’t have any problem asking for $600,000 an Hear Pompeo reveal which Meredith Grey character trait she most admires at THR.COM/VIDEO T H E HOL LY WO OD R EP ORT ER 64 J A N U A R Y 1 7, 2 01 8 PREVIOUS SPREAD: ON-SITE STYLING BY MARCO MILANI. HAIR BY SASCHA BREUER AT STARWORKS ARTISTS. MAKEUP BY KAYLEEN MCADAMS AT STARWORKS ARTISTS. THIS SPREAD: RHIMES: FREDERICK M. BROWN/GETTY IMAGES. GREY’S: ABC/PHOTOFEST. GROUP SHOT: ABC/RICHARD CARTWRIGHT. IVERY: JOHN SCIULLI/GETTY IMAGES FOR CHILDREN MENDING HEARTS. ORTIZ: ABC/MITCH HAASETH. + 1 PART 2 PAY D I S PA R IT Y 3 2 episode. And as women, we’re like, “Oh, can I ask for that? Is that OK?” I’d call Shonda and say, “Am I being greedy?” But CAA compiled a list of stats for me, and Grey’s has generated nearly $3 billion for Disney. When your face and your voice have been part of something that’s generated $3 billion for one of the biggest corporations in the world, you start to feel like, “OK, maybe I do deserve a piece of this.” What I said to Shonda is the truth: “I don’t get to do anything else, and that’s frustrating for me creatively. I make 24 episodes of TV a year, and as part of this deal, I cannot appear anywhere else. And directing is cool but, to be honest, it just takes me away from my kids.” Then I said, “So, it’s got to be a ton of money. And it has to help me with my producing because producing is something I really enjoy. That’s my creativity now.” Acting, to me, is boring. An actor is the least powerful person on set, so I don’t care about chasing roles. Plus, at my age, it’s pretty unrealistic. Not that I can’t do a cool cable thing, but I’m not going to have this whole second life as a movie star. I’m not fuckin’ Julia Roberts. In the last few weeks, a lot of us actresses in town have been having these meetings [as part of the Time’s Up initiative]. We’ve been sharing stories and trying to ﬁgure out how we can promote change and use our voices to help other people. And I’ll tell you, sitting in rooms full of Oscar-winning actresses listening to how they’ve been preyed upon and assaulted is frightening. And it conﬁrmed that my path really was the right one for me, because I’ve chosen to ﬁnancially empower myself so that I never have to be ducking predators and chasing trophies. It’s not for everyone. You have to be more interested in business than you are in acting. By the way, I saw the other path. My agent once sent me to see Harvey, too. I went right up to his room at the Peninsula, which I would never normally do, but Harvey was a New York guy, so it made sense. Plus, it was in the middle of the day, and he had an assistant there. He didn’t try anything on me. Had he, I’m a little rough around the edges and I grew up around some very tough people, so I probably would have picked up a vase and cracked him over the fucking head. But I also feel completely comfortable saying that I walked into that room batting the shit out of my eyelashes. My goal in that room was to charm him, as it is in most rooms like that. You think, “Not only do I have to show that I’m a good actress, T H E HOL LY WO OD R EP ORT ER but that director also has to in some way fall in love with me and at least become enamored with me.” That never felt right or good to me. And I’ve had conversations with my agent 17 years later where I said, “You sent me into that room knowing …” They claim they didn’t know. I think we need to get to a place where actors have more ownership over what they do. That should be part of this conversation we’re having now. I don’t know if you listened to Jay Z’s latest album, but in one song he talks about how all the white guys own the record labels and they say to these artists, “Oh, here’s a $3 million advance,” while they’re making billions. The artists are chasing Grammys and Lamborghinis, so they think, “Oh yeah, I’m rich.” Meanwhile, Sony just made fucking $500 million, and they gave you $3 million and 65 you think you’re doing amazing. With Tidal, Jay Z’s empowered artists by giving them a piece, and it makes them more invested. I love it. When I’m directing an episode, as soon as I get the script, I give it to the actors. Then I let them come to the casting sessions and make them feel part of the process; I get so much more out of them that way. You have a choice. You can hold actors down and try to control them, but it kills their spirit and they resent being there. I should also say this: I don’t believe the only solution is more women in power, because power corrupts. It’s not necessarily a man or a woman thing. But there should be more of us women in power, and not just on Shonda Rhimes’ sets. Look, I only have a 12th-grade education and I wasn’t a great student, but I’ve gotten an education here at Shondaland. And now my 8-yearold daughter gets to come here and see ﬁerce females in charge. She loves to sit in the director’s chair with the headphones on yelling “Action” and “Cut.” She’s growing up in an environment where she’s completely comfortable with power. I don’t know any other environment in Hollywood where I could provide that for her. Now I hope that changes … and soon. P O M P E O ’ S P AY C H E C K S : A BRIEF BREAKDOWN STAR SALARY BACKEND POINTS PRODUCING DEAL Fourteen Grey’s seasons in, Pompeo now earns $575,000 per episode. The deal will take her through a notyet-ordered 15th and 16th season. She also scored a seven-figure signing bonus plus two backend points on the series. The latter is estimated to bring in another $6 million to $7 million. Pompeo gets a producing fee plus backend on the Grey’s spinoff, due in March — an easy decision, suggested Rhimes’ producing partner, Betsy Beers. “We know how invested Ellen can get,” she says, “and we really wanted her voice.” Pompeo is guaranteed put pilot commitments for other projects and office space for her company on the Disney lot. ← Jaina Lee Ortiz (left) and Pompeo on the Grey’s spinoff, for which Pompeo gets a producing fee. J A N U A R Y 1 7, 2 01 8 OPTICS VS. REALITY THE HARD TRUTH ABOUT PAY DISPARITY Rallying cries aside, it’s not simple misogyny that is responsible for Hollywood’s gender pay gap — it’s greed. And only greed (and maybe some new data) will close it: ‘A studio’s job is to make money, not to be social engineers’ By LACEY ROSE On Jan. 7, Debra Messing stood before E! cameras and slammed the network’s executives for, as she put it, “[not] paying their female co-hosts the same as male co-hosts.” The swipe followed Catt Sadler’s December departure, which, the former host wrote in a now-viral blog post, came after E! wouldn’t pay her what Jason Kennedy was making. “So,” Messing continued, on-message in her black gown, “we stand with [Catt].” And just like that, Sadler’s situation got swept up in the #MeToo movement, with prominent actresses from Eva Longoria to Sarah Jessica Parker actively piling on. A deluge of news reports followed, with headlines blasting E! as the latest perpetrator of overt gender disparity — a position corporate sibling NBC found itself in days before when stories surfaced that Hoda Kotb would make $7 million co-anchoring Today, whereas outgoing host Matt Lauer pulled in $25 million. Days later, a massive gap between Mark Wahlberg’s and Michelle Williams’ All the Money in the World reshoot earnings caused an outcry. Often lost in such swirls of publicity, however, are the nuance and complexity of Hollywood dealmaking; and, per a half-dozen dealmakers surveyed on the subject, the fact that widespread parity may be harder to achieve than Messing and her committed cohorts suggest. “If all things are equal, there should be parity, but when are all things ever equal?” says one prominent attorney, before Stotsky echoing several others in arguing that trying to regulate equal pay in a creative industry where roles are rarely identical and talent has an intangible value is, at best, unrealistic and, at worst, Berwick impossible. All say that dealmaking is, at its core, about simple economics, with greed trumping all. “In the trenches,” adds another representative, “the buyer is just trying to pay as little as possible and, as a representative, I’m trying to get [my client] paid as much as possible.” Which is not to suggest that women or people of color are on equal footing. To the contrary, Hollywood pacts are determined by a combination of leverage and precedent in a system where industrywide assumptions have long beneﬁtted white men. Among those assumptions: that only male action stars can open a movie abroad, and that women are willing to see “male” movies with men but men are less likely to see “female” movies with women. Such biases have led to ingrained practices, including, as Jessica Chastain recently told THR, the fact that a male star’s ﬁlm deal often is negotiated ﬁrst, leaving the actress to make due with “what was left over.” That Illustrations by Jenn Liv T H E HOL LY WO OD R EP ORT ER 66 J A N U A R Y 1 7, 2 01 8 WO M E N O F C O LO R FAC E A ST E E P E R C L I M B there also are considerably more quality opportunities for men, both in front of and behind the camera, has only contributed to their ability to take a hard line (and show a real willingness to walk away) during a tense negotiation. As America Ferrera told THR in a 2017 interview, “The entire system is built to keep [women] from asking for more.” And she is including actresses’ representation in that: “I feel like most of the times that I have had to ask for something, I had to convince my agents to ask with me, and them saying, ‘We don’t think you should ask for that.’ ” At least a few reps say they’re hopeful that the bounty of data streaming services are gathering — who watches what, and when exactly viewers tune out — could prove useful in dismantling some of the notions that have led to such systemic gender bias. “Look, a studio’s job is to make money, not to be social engineers,” says attorney Neil Meyer, who has represented Halle Berry and Taraji P. Henson. “That said, we’re a community, and to the extent that any or all of us do something to perpetuate inequality, we’re all complicit; either you’re trying to be a part of the solution or you’re trying to be part of the problem.” STOTSKY: DIA DIPASUPIL/GETTY IMAGES FOR NBCUNIVERSAL. BERWICK, WILLIAMS: KEVIN WINTER/GETTY IMAGES. SADLER: TAYLOR HILL/FILMMAGIC. KOTB: PETER KRAMER/NBC/NBC NEWSWIRE VIA GETTY IMAGES. 1 1 The drama over the nearly $20 million disparity between Kotb’s and Lauer’s Today salaries died quickly. 2 The gap between Wahlberg’s and Williams’ reshoot pay on All the Money in the World sparked more public outrage. 3 Other actresses adopted the salary disparity between E!’s Sadler and Kennedy as a red carpet rallying cry. Though the brouhaha surrounding Kotb and Lauer died down quickly — thanks in part to several next-day press reports that pointed to Lauer’s two decades in the anchor chair to justify the wage gap — the Sadler/ Kennedy narrative was slower to lose steam, which is why E! brass are opting to weigh in, arguing that the chasm between the optics and the reality is signiﬁcant. At issue, they say, is the personalities’ respective workloads, with Kennedy a primetime host and Sadler primarily a daytime one. “These situations are apples and oranges,” says E! president Adam Stotsky, who adds that his network has a long history of fairly compensating women, rattling off highly paid examples from Chelsea Handler to the Kardashians. Still, per Frances Berwick, president of NBCUniversal Cable Entertainment’s lifestyle networks, the When it comes to pay, race compounds inequity + 2 3 decision to speak publicly about the disparity is not without complications. “You don’t want to stop the ﬂow of this positive mechanism for change, but we also have to be cautious about running with a little bit of information that then explodes into something that’s actually not true,” she says, adding: “There’s a danger that a lot of other things get wrapped into it in service of this movement.” In the case of Williams vs. Wahlberg, the optics were that much more abysmal: To return to the All the Money in the World set to reshoot scenes that once featured disgraced star Kevin Spacey, Williams was reportedly paid $80 per day (for 10 days) while her male co-star pocketed $1.5 million. Though the reality — how it happened and what exactly she and her agent, WME’s Brent Morley, knew — remains murky, what is clear is that the WME-repped Wahlberg, who has fronted major global franchises and whose box ofﬁce track record overseas distributors relied on to sell the ﬁlm, had considerably more leverage and used it. Of course, those speciﬁcs hardly mattered when it spilled out into public view (see “#MeToo and the Power of Salary Transparency,” page 68). If there is a silver lining for future dealmaking, it is that the current climate can be (and arguably already is) used as a bargaining chip. Take Wonder Woman director Patty Jenkins, whose team was able to negotiate a deal last summer that took her from $1 million on the original — which shattered a theatrical glass ceiling, reinvigorated the DC ﬁlm universe and became a symbol of strength for women — to somewhere between $7 million and $9 million plus backend to write and helm the sequel. The pact not only sets a new precedent by making her the highest-paid female director in history but also puts her on par with what any male director would receive after such a box ofﬁce triumph. Sure, Jenkins warranted the massive payday, having just delivered an $822 million ﬁlm; but in this case, with hers a face of a movement, studio Warner Bros. also couldn’t afford not to pay her. Asked whether he intends to continue using the increasingly charged environment to his female clients’ advantage, one top lawyer jokes: “Abso-fucking-lutely,” adding: “If you don’t use it, you’re not doing everything you can for your client.” To play Brad Pitt’s mother in The Curious Case of Benjamin Button, Taraji P. Henson was paid in the low-six figures and had to cover her own lodging. “The math really is pretty simple: There are way more talented black actresses than there are intelligent, meaningful roles for them,” she wrote in her 2016 memoir, Around the Way Girl. “This is exactly how a studio can get away with paying [the third lead] less than 2 percent what it’s paying the person … listed first [on the call sheet].” The institutional obstacles that contribute to the gender pay gap are compounded for women of color, who experience even fewer significant opportunities than white women. Less experience means lower pay, which means a lower quote — a vicious cycle. Perceptions that there’s less of an audience for stories featuring people of color — that “black projects” don’t play overseas, and Asian- and other minority-led projects don’t perform domestically — contribute to lowballing. “If your analysis starts with, ‘We can’t even fill out the line item for foreign,’ you are immediately discounted,” says attorney Darrell Miller, whose clients include Angela Bassett, Courtney B. Vance and Luke Cage showrunner Cheo Hodari Coker. “That myth is still a problem with middle-aged buyers.” As a result, adds Miller, “People of color concede in negotiations quicker because they get less golden opportunities. When there’s more diverse content being made, that shifts the ability to have real leverage for people who are fortunate enough to be there the one year they’re making Black Panther.” — REBECCA SUN W R I T E R P AY D I S P A R I T Y : G EN D ER VS . R AC E According to the WGA’s 2016 Hollywood Writers Report, race is a bigger factor in pay disparity than gender, putting minority women — even at the top levels — at the greatest disadvantage. $700K $646K MEDIAN EARNINGS 95TH PERCENTILE 600 500 $447K $387K 400 300 200 $134K $118K $101K 100 WHITE MEN WOMEN MINORITIES Source: 2016 Hollywood Writers Report. T H E HOL LY WO OD R EP ORT ER 67 J A N U A R Y 1 7, 2 01 8 PART 2 PAY D I S PA R IT Y #METOO AND THE POWER OF SALARY TRANSPARENCY Actresses are chipping away at studio leverage by sharing openly about their pay and bucking a system ‘created to pit them against one another’ B y TAT I A N A S I E G E L Don’t ask. Don’t tell. That has been the Hollywood modus operandi when it comes to paydays, which are guarded with the secrecy of CIA black ops missions — until now. Thanks to the Time’s Up initiative, more actresses are feeling emboldened to share salary information with one another, both in person and on social media. Previous lack of transparency hurt actresses negotiating ﬁlm and TV salaries, and one antidote to the widespread occurrence of gender pay disparity appears to be sunshine. Take the example of All the Money in the World stars Mark Wahlberg and Michelle Williams. THR has conﬁrmed that Wahlberg was paid nearly 10 times what Williams made ($5 million vs. $625,000) despite both having roughly the same amount of screen time — and Williams is the one being pushed for an Oscar nomination. On the day after the Golden Globes ceremony, where the issue of gender pay disparity was thrust T H E HOL LY WO OD R EP ORT ER 68 into the spotlight as a red carpet rallying cry, Melissa Silverstein, founder of the nonproﬁt Women and Hollywood and director of the Athena Film Festival, tweeted about that “egregious pay gap” between Wahlberg and Williams. That prompted Jessica Chastain to retweet, adding “I heard Silverstein for the reshoot she got $80 a day compared to his MILLIONS. Would anyone like to clarify?” By Jan. 9, USA Today conﬁrmed the reshoot disparity. (Neither star was technically paid for reshoots. Williams received a per diem of $80 vs. the $1.5 million that Wahlberg’s agent was able to negotiate as a salary bump because the actor had cast approval and could potentially W O M E N : H O W T O N E G O T I AT E F O R M O R E D O U G H O N YO U R N E X T G I G + The gender pay gap is expected to close by 2059 (according to the Institute for Women’s Policy Research). In the meantime, here are three tactics to secure a better deal for your next job: DON’T PLAY CATCH-UP Your starting salary can create ripple effects throughout the rest of J A N U A R Y 1 7, 2 01 8 your tenure at a company. It may be tempting to wait for a few years of experience (and courage) before negotiating for a raise, but “the difference in starting pay has an enormous effect on pay disparity,” says employment lawyer Ann Fromholz, because bonuses or future increases are typically calculated as a percentage of current salary. “The gap becomes wider and wider as years go by. It’s important for women to negotiate what they’re worth at the outset.” BE WILLING TO WALK “The best deals are gotten when there’s a willingness to walk away unless you’ve got a certain amount,” says a top talent rep. And never say, “I really want to work with you, but PART 2 PAY D I S PA R IT Y BLACK-ISH: ABC/ERIC MCCANDLESS. SILVERSTEIN: LARS NIKI/GETTY IMAGES FOR ATHENA FILM FESTIVAL. CHASTAIN: PRESLEY ANN/GETTY IMAGES. 1 torpedo the ﬁlm, already reeling in the wake of the Kevin Spacey sex scandal.) The story then went viral, and four days later, Wahlberg agreed to give $1.5 million to the Time’s Up campaign; WME, which reps both actors, donated another $500,000. “For women in Hollywood, the system was created to isolate them from each other and to pit them against one another,” says Silverstein. “Women are taking back the power by sharing the information in a way that has never been done before.” In the past, it would have been a major faux pas for Chastain to publicly comment on another actress’ salary, especially before it had been published. But that’s what happened thanks to a recent Time’s Up meeting. According to a source who attended, the Wahlberg-Williams discrepancy was discussed at length, as was Tracee Ellis Ross getting paid signiﬁcantly less than her Black-ish co-star Anthony Anderson. With negotiations for the ﬁfth season ongoing, sources say Ellis Ross feels that if she isn’t brought up to Anderson’s level, she may opt to appear in fewer episodes to make up the disparity by guesting on another show. The tactic has split opinions within Time’s Up, with some worried that it’s more a retreat than a forwardlooking solution (ﬁtting in extra work isn’t always feasible, and often an actress wouldn’t earn as much guesting as she would as a 1 Ellis Ross reportedly earns significantly less than her Black-ish co-star Anderson. 2 Chastain’s tweet about the pay gap between Williams and Wahlberg would have been taboo before #MeToo. network star). A network source says a new deal will signiﬁcantly increase her compensation and cautioned that Anderson and Ellis Ross’ roles aren’t equal given that he has been attached to Black-ish from the start and is an executive producer. Still, until a few weeks ago, this type of candid conversation would never have taken place outside an actress’ agency. Open discussion about pay is not without precedent in other high-proﬁle industries. In the sports world, the public knows what everyone makes, from Tom Brady to a middle reliever on the Yankees. Hollywood’s secrecy is easily explained by those it empowers — the studios, who until now have beneﬁted from holding all the cards and have discouraged other parties from disclosing details of deals. Turns out, that might run afoul of certain laws. In several states including California, it’s illegal for a company to prevent its employees from discussing their pay. During the Obama administration, the National Labor Relations Board stepped up enforcement of these pay secrecy laws, stating can you give me more money?” adds executive coach Katie Donovan of Equal Pay Negotiations. “That surrenders all leverage. A better line would be, ‘I’m having difficulty saying yes to this offer, and here’s why.’ ” EMBRACE SISTERHOOD Women pay a higher social cost for negotiating their pay than men, often branded as being difficult or aggressive and alienating the other party, says Hannah Riley Bowles, senior lecturer that anything designed to discourage employees from exercising the right to discuss their salaries is unlawful. “The intent behind all of the statutes is [to rectify] the fact that traditionally, women and minorities have made less than Caucasian males because they didn’t know that they could ask for more, because it was a secret,” says Wendy Lane, head of Greenberg Glusker’s labor and employment group. The laws apply to both direct employers (like studios) and people acting as an intermediary (like a talent agency). “Transparency absolutely beneﬁts women when negotiating,” says ICM Partners ﬁlm ﬁnancing agent Jessica Lacy. “It’s paramount that we better understand how much disparity there is. Transparency is vital to ignite the spark for that conversation.” Now there’s talk of the Trump administration rolling back those actions. “If nobody is allowed to discuss it, how will we ever know that there are these disparities?” Lane asks. “If employees can speak about it, then that can be the beginning of the process of having the discussions for higher pay.” Silverstein won’t say where she heard about the WilliamsWahlberg gap but says she would tweet about a similar case in a heartbeat. “This statement made women powerful,” she says. “The industry reaction and response are huge indicators that more revelations add to the conversation that things need to change.” in public policy at the Harvard Kennedy School. However, they experience more success when advocating on someone else’s behalf. Bowles recommends adopting what she calls the “I-We” approach, whereby a woman positions her refusal to settle for less not as oppositional but rather as an asset to the team. Says Donovan: “Women actually get more than men in negotiations when we use the collaborative approach.” 2 Touted as a boost for gender parity, the new rule may empower female execs but could hamper talent deals + Under a Jan. 1 California law intended as a step toward closing the gender pay gap, an employer can no longer ask for salary history from a potential hire. Female execs seeking to make a move seem the most likely to benefit. If a lower starting salary and fewer raises than male counterparts have deflated a woman’s earnings, the law offers a clean slate on which she can negotiate. “It might mean that somebody wanting to hire an executive is going to be willing to pay what they think she is worth,” not simply what she’s been paid, says attorney Linda Lichter, who reps both talent and execs. But the effect on female talent isn’t so easy to predict. “The first step to cutting a deal was to call a representative and ask for quotes.” says attorney Bob Darwell, who represents companies like Amazon Studios and calls this “a fundamental change. The new law makes it more challenging to address disparity in compensation. If the information isn’t flowing as freely, there’s less information available to try to address that gap.” Reps will now need advance permission from clients in order to disclose past pay. “Assuming our clients agree, we have the choice of whether to share a quote,” says lawyer Joel McKuin, whose clients include Kristen Stewart and Noah Hawley. “If a quote is going to help the client, we’re going to use it.” While some fear the law could encourage studios to lowball anyone who doesn’t offer a quote, McKuin says it could help talent whose quotes are artificially low because they had focused on indie projects or TV. However, “if the market is unfair because it’s imposing disparity on people’s income based on gender, it’s up to all of us to keep fighting, quote or no quote.” — ASHLEY CULLINS — REBECCA SUN T H E HOL LY WO OD R EP ORT ER WI LL TH E SALARY H I S TO RY L AW HELP WOMEN? 69 J A N U A R Y 1 7, 2 01 8 t he specter of Harvey Weinstein — onetime Sundance king and now pariah — looms large as dealmakers descend on Park City for this year’s festival and market. The indie ﬁlm world continues to soul search in the wake of revelations that its most visible ﬁgure allegedly raped and sexually harassed women, including actresses Rose McGowan and Louisette Geiss, at the festival itself. Weinstein’s footballviewing party on the fest’s ﬁrst Sunday was always a must for sellers and talent; he presided over it like the Mayor of Park City — which, at least for 10 days in January, he essentially was (witness the thinly veiled depiction of him on Entourage’s Sundance episode). This year, gone the way of the disgraced mogul will be the bacchanalian behavior of fests as recent as 2014’s, when jury president Bryan Singer seemed to spend more time on Grindr than at screenings, or 2013’s, when CAA party guests were shocked to see female burlesque dancers performing simulated sex acts. “I don’t think you’ll see those massive parties that we all remember from 10, 15 years ago,” says Verve’s Amy Beecroft. “Listen, it is a really serious time in our business. We have identiﬁed the problem, and we are taking meaningful steps to change. People are much more aware, which, let’s face it, obviously needed to happen.” Verve won’t be hosting a party as it has Allain done in past years. Ditto for CAA, which abandoned its shindig after THR reported details of its wild 2013 Bernard event. UTA again will hold a daytime brunch instead of a late-night party. WME is keeping the doors open on its Main Street lounge for three nights — but is winnowing the guest list and will for the second year host the Horizon Award (with Cassian Elwes) for up-and-coming female ﬁlmmakers. ICM will throw its ﬁrst Sundance bash in years, T H E HOL LY WO OD R EP ORT ER also toasting female ﬁlmmakers. The fest itself updated its code of conduct Jan. 11, stating a commitment to “allowing attendees to experience [Sundance] free of harassment, discrimination, sexism and threatening or disrespectful behavior,” and local organizers are planning a Respect Rally on Jan. 20 (see page 75) as a follow-up to last year’s women-powered March on Main. While Sundance lore is rife with tales of all-night hotel dealmaking and boozy shindigs, some industryites welcome the new restraint. “I hate that [drinking] part of it. I’m too old for all of that,” says producer Stephanie Allain, heading to Park City this year with the TV series Leimert Park. “Young girls are aware of what’s happening. Young guys are aware of what’s happening. They’re having conversations about what is appropriate and what isn’t appropriate. So that’s going to be in the back of every greeting, every meeting and every gathering.” The market itself also may feel the absence of Weinstein. 70 J A N U A R Y 1 7, 2 01 8 Although The Weinstein Co. hadn’t made a signiﬁcant Sundance acquisition in years, it nonetheless drove up the prices for ﬁlms it pursued (think 2016’s The Birth of a Nation and 2015’s Brooklyn, which both sold to Fox Searchlight — for $17.5 million and $9 million, respectively). But Sony Pictures Classics’ Tom Bernard dismisses the notion of a signiﬁcant post-Harvey effect at a fest where progressive indie values rule. “The dealmaking will be the same. Harvey Weinstein was never a factor in Sundance,” he insists. “And Sundance was bigger than his behavior. He stood out like a sore thumb. Sundance does not accept those kinds of people.” Whether acquisition price tags will remain high — as with last year’s The Big Sick ($12 million, Amazon), Patti Cake$ ($9.5 million, Searchlight) and Mudbound ($12.5 million, Netﬂix) — without TWC in the mix remains to be seen. Only three ﬁlms from Festival films with buzz, from left: Sorry to Bother You, Ophelia, A Kid Like Jake, The Catcher Was a Spy, White Fang, Hearts Beat Loud and Wildlife. JAKE, LOUD: JON PACK/SUNDANCE. OPHELIA: COVERT MEDIA/SUNDANCE. SORRY: DOUG EMMETT/SUNDANCE. SPY: DUSAN MARTINCEK/SUNDANCE. WILDLIFE, FANG: COURTESY OF SUNDANCE. ALLAIN: JASON LAVERIS/FILMMAGIC. BERNARD: JIM SPELLMAN/WIREIMAGE. D’SOUZA: MICHAEL KOVAC/WIREIMAGE. A CHILL OVER 201 — AN D IT’ S N OT TH E WEATH E 8 R Harvey’s gone and with him the formerly freewheeling party scene as insiders hope a more sober and serious festival won’t throw cold water on last year’s hot sales market: ‘We really haven’t lost any buyers’ BY TAT I A N A S I E G E L 12 FILMS ON THE HOT LIST: A ‘FUCKED UP’ THRILLER, SPIES AND SHAKESPEARE with period pieces (noms for Pride & Prejudice and The Imitation Game). And Westmoreland directed Julianne Moore to a best actress trophy for Still Alice. Hearts Beat Loud WME DIRECTOR Brett Haley BUZZ The closing-night film features Nick Offerman as a Brooklyn dad who forms an unlikely songwriting duo with his college-bound daughter (Kiersey Clemons). The Parks and Recreation alum and Clemons both sing in the film. A Kid Like Jake CAA DIRECTOR Silas Howard BUZZ The Transparent last year’s crop earned $4 million or more at the box ofﬁce: Big Sick ($43 million), Beatriz at Dinner ($7 million) and The Hero ($4 million). Another question is whether Searchlight, typically a big spender, will tighten its purse strings in anticipation of the pending Disney-Fox megadeal. WME’s Christine D’Souza Gelb isn’t expecting any kind of market D’Souza correction. “It will Gelb be a seller’s market because we haven’t really lost any buyers,” she notes. “It will be interesting to see how aggressive streamers will be on the acquisitions front after having made such a big shift into production recently.” Sellers are particularly excited about Neon, the 1-year-old distributor that picked up Beach Rats, among other titles, at 2017’s fest and made good on its Toronto acquisition I, Tonya (bought with 30West), which landed a Golden Globe nom for star Margot Robbie and a win for Allison Janney. Despite revelations of sexual misdeeds that have jeopardized three major acquisitions the past two years — Nate Parker’s Birth of a Nation (before #MeToo and Time’s Up) and Louis C.K.’s I Love You, Daddy and Morgan Spurlock’s Super Size Me sequel (both after) — there’s no talk of morality clauses being inserted into contracts. “I don’t think they’d be enforceable,” says a top buyer. “It’s just going to be ‘buyer beware.’ ” Though the market noise won’t be quite as loud as it was in 2017, there is plenty of buzz surrounding several ﬁlms making their Park City debuts, including many with ties to Hulu’s Emmy-dominating drama The Handmaid’s Tale: See helmer Reed Morano’s postapocalyptic love story, I Think We’re Alone Now, and ﬁve ﬁlms featuring Ann Dowd (both on page 72). Festbound insiders have identiﬁed 12 standout titles that should make solid sales (see sidebar). And if the post-acquisition toasting takes place at a demure dinner rather than a late-night bash, say fest veterans, it’s all to the good. — ADDITIONAL REPORTING BY CHRIS GARDNER Assassination Nation WME DIRECTOR Sam Levinson BUZZ “Polarizing.” “Fucked up.” Just a couple of the phrases buyers are using to describe Levinson’s script. The official logline calls it “a thousand percent true story about how the quiet, all-American town of Salem absolutely lost its mind.” Curiosity surrounding this film from the son of Barry Levinson is off the charts. The Catcher Was a Spy UTA DIRECTOR Ben Lewin BUZZ Considered perhaps the most commercial film available (it originally was poised to debut at Toronto), the Paul Rudd starrer chronicles the true story of Moe Berg, a major leaguer who lived a double life working for CIA precursor the OSS during World War II. Guy Pearce, Jeff Daniels and Paul Giamatti also star. Colette CAA/WME DIRECTOR Wash helmer takes on a family drama that centers on a couple (Claire Danes and Jim Parsons) who struggle to get on the same page when their 4-yearold, Jake, embraces a female identity. Leave No Trace WME DIRECTOR Debra Granik BUZZ Granik, whose 2010 Winter’s Bone nabbed a best picture Oscar nom, is back with a drama starring Ben Foster as a reclusive father on the run with his 13-year-old daughter. It bows in the Premieres section, where contenders Call Me by Your Name, The Big Sick and Mudbound debuted in 2017. Sorry to Bother You WME DIRECTOR Boots Riley BUZZ Riley makes his feature directing debut in a film set in an alternate present-day version of his native Oakland, California, where a black telemarketer (Sundance regular Lakeith Stanfield) discovers a magical key that gives him kick-ass selling skills but propels him into a macabre universe. The Tale ICM DIRECTOR Jennifer Fox BUZZ With #MeToo now embedded in the national psyche, this film might prove to be the festival’s most relevant, centering on a woman (Laura Dern) who is forced to reexamine her first sexual relationship and the stories women tell themselves in order to survive. Elizabeth Debicki, Common and Jason Ritter also star in the film, based on writer-director Fox’s real-life experience. White Fang UTA DIRECTOR Alexandre Espigares BUZZ This animated The Miseducation of Cameron Post UTA/WME DIRECTOR Desiree Akhavan BUZZ Sundance alum Akhavan (Appropriate Behavior) returns with a comedy about a teen girl (Chloe Grace Moretz) grappling with her sexual identity. Promiscuous prom queens plus gay conversion therapy should add up to laughs. Sasha Lane, Jennifer Ehle and John Gallagher Jr. also star. Westmoreland Ophelia BUZZ This depiction CAA DIRECTOR Claire of the French author screams “Oscar bait” given star Keira Knightley’s track record of the Star Wars fandom for this empowered spin on Shakespeare’s Hamlet, in which the previously passive Ophelia takes a page from Rey’s playbook? Buyers seem to think so, if the film is well executed. Naomi Watts and Clive Owen co-star. McCarthy BUZZ Can Daisy Ridley bring in even a fraction kids’ pic — based on the Jack London classic about a wolf torn between domestication and life in the wild — is playing in the same slot as the acclaimed Eagle Huntress did in 2016. Rashida Jones, Eddie Spears, Offerman and Giamatti provide the voices. Wildlife WME DIRECTOR Paul Dano BUZZ Dano makes his helming debut with an adaptation of Richard Ford’s acclaimed novel (Dano and partner Zoe Kazan wrote the screenplay). Jake Gyllenhaal and Carey Mulligan star as a couple whose marriage falls apart amid infidelity. ANN DOWD HAS 5 FI LM S AT THE FEST, BUT SHE STILL WON’T NEED A PARKA “They’re as different as can be,” says Dowd (with Evan Peters in American Animals) of her five Sundance films. h “If they’ve seen Handmaid’s Tale, they already know the weirdest thing they could get,” says Morano of making The Rhythm Section for Paramount. She was photographed Jan. 5 at Company 3 in New York. ‘SOMETHING WEIRD, , ROMANTIC WITH VIOLENCE’ i t’s a postapocalyptic kind of morning in Manhattan. The temperature outside hovers in the single digits, and the streets are largely empty amid a so-called “bomb cyclone” that just dumped more than a foot of snow. The backdrop ﬁts given that director Reed Morano is here in a Chelsea editing bay to put the ﬁnishing touches on her postapocalyptic drama I Think We’re Alone Now, making its world premiere Jan. 21 at Sundance. “I love magenta,” she says facetiously as she and colorist Tom Poole tweak hues in the ﬁlm, which stars Peter Dinklage and Elle Fanning as the last two people on Earth. (Or are they? The title’s IMDb credits are purposefully misleading.) “The ﬁrst forms of real, noticeable color come when Elle’s character shows up,” says Morano, 40, pointing to a muted image of Dinklage dragging a dead body to a mass grave. “She changes his perspective.” The colors onscreen might appear bleak, but Morano’s horizon is rosy indeed. With studios now scrambling to get women behind the camera, the Emmy-winning Handmaid’s Tale helmer (who in 2013 became the youngest member of the American Society of Cinematographers, only its 14th woman at the time) might be the hottest hand at Sundance. And if she’s feeling any pressure that Alone isn’t locked 16 days from its debut, the Brooklynbased mom of two boys (7 and 9) and breast cancer survivor isn’t showing it. “Reed is an absolute force,” says her ﬁlm’s producer, Fred Berger (La La Land). “She did not hear the word ‘No.’ And as a producer, I never like to say that word, but the nature of an independent ﬁlm has boundaries and constraints, and she is the best version of a ﬁlmmaker who does not accept those constraints and who is constantly pushing the capacity of the movie bigger and better.” Photographed by Jai Lennard HAIR AND MAKEUP BY NICOLE BLAIS FOR CHANEL PALETTE ESSENTIELLE AND T3 TOOLS AT EXCLUSIVE ARTISTS. ALONE: COURTESY OF SUNDANCE. HANDMAID’S: GEORGE KRAYCHYK/HULU. AMERICAN: COURTESY OF BRIGADE. DOWD: RICH FURY/GETTY IMAGES. aving five films at Sundance over the course of a career would be impressive. Try five in one year. That’s what Ann Dowd can boast after the 2018 fest wraps, with the Handmaid’s Tale Emmy winner appearing in a quintet of world premieres, all shot in the past 11 months — from horror (Ari Aster’s Hereditary) to crime thriller (Bart Layton’s American Animals) to drama (Silas Howard’s A Kid Like Jake, Christina Choe’s Nancy, Sebastian Silva’s Tyrel). “I have a wonderful manager and agent, Marsha McManus and Gary Gersh, who were so generous in trying to work the schedules because if that were up to me, I would just — I couldn’t. I couldn’t manage it, shooting in Utah and upstate New Dowd York and North Carolina. I don’t even know where I was,” jokes Dowd. “They make it possible.” Tyrel, which centers on a young man (Mudbound’s Jason Mitchell) who spirals out of control when he realizes he’s the only black person attending a weekend birthday party at a secluded winter cabin, proved particularly gratifying because it offered an opportunity for Dowd, 61, to work with her then-12-year-old son, Trust Arancio, a newcomer to the screen but one who has spent ample time on sets. “Sebastian called, and we were having a conversation about what the film was about and what are the dynamics, especially between cultures. Black. White. And I said, ‘You know, I’m very interested because my son is African-American. I have to know the subtleties,’ ” recalls Dowd. “He said, ‘Would he be in the film?’ I almost dropped the phone. The generosity of that — I don’t want to ever leave him home, right?” Dowd won’t be doing a victory lap down Park City’s Main Street — currently shooting season two of Handmaid’s in Toronto, she’ll get only a two-day “break” to travel to L.A. for the SAG Awards on Jan. 21 (the Hulu drama scored an outstanding cast nom). “I would love to be there to support them because all five of these films are so deserving,” says Dowd. “Then again, one should have such problems.” — T.S. , , in the lead and Barbara Broccoli producing, Morano wasn’t able to squeeze directing on the second season of Handmaid’s Tale into her schedule, but her acclaimed work on the Hulu drama led to a meeting with Star Wars gatekeeper Kathleen Kennedy about, um, something. “I guess she was watching with her daughter and then called people and was like, ‘Who’s this Reed person?’ She thought I was a guy,” says Morano of her two-anda-half-hour sit-down with the Lucasﬁlm president. “She’s amazing. We’re talking about adventure movies, and I’m not even remembering that she produced Goonies. Any movie that I put my ﬁnger on that I loved when I was growing up was a movie that she produced. Anyway, it was a great meeting. Obviously, I can’t say anything about what else we were talking about.” Morano’s nomadic hippie upbringing fostered an adaptability that served her well when it came to breaking into showbiz. “We moved around every winter. I don’t know. Maybe my dad was, like, on the run from the law,” she says of her late stepfather, a restaurateur who moved their extended clan from Fire Island to Wyoming to New Mexico to Vermont and New Hampshire. After graduating from NYU, she spent a year in L.A. working at The Cheesecake Factory in Brentwood (“the least successful Cheesecake Factory in the United States because everybody there is not eating,” she jokes). Nothing much happened, so she returned to New York and worked her way up the indie ﬁlm ladder on shorts before landing her breakout gig shooting the Director Reed Morano has an Emmy Melissa Leo starrer Frozen for The Handmaid’s Tale, an envied indie River. That led to more film pedigree and, oh yeah, she beat DP jobs on The Skeleton cancer. Now she’s at Sundance with an Twins and Kill Your Darlings end-of-the-world love story that could before she was entrusted to be the talk of the festival (and a direct Meadowland. prelude to Star Wars?) BY TAT I A N A S I E G E L By 2016, Morano was looking for her follow-up. A violin player, she sparked to the Jennifer Yee script First Chair about a She’s used to pushing her career bigger too: self-obsessed virtuoso violinist who’s forced to To helm the Handmaid’s Tale pilot, Hulu and move back in with his estranged wife, with Jeff MGM were looking for a Ridley Scott type. But Bridges and Diane Lane attached. But the script Morano had a vision for Margaret Atwood’s was “sort of melodramatic,” says Morano. “I dystopia and fought hard for the gig. Star didn’t want to do another really sad movie. I Elisabeth Moss also campaigned for Morano, wanted to do a full Page 1 rewrite [with Stuart who had cast her as the lead in her 2015 feature Blumberg] because I liked the concept, but I directing debut, the grief drama Meadowland. wanted to adapt it.” (She plans to make the ﬁlm (The two met through Susan “Goldie” later this year.) Goldberg, now an Annapurna executive who Instead, she told her agents at WME to be worked at Mad Men home AMC.) Currently on the lookout for something in the vein of shooting Paramount’s La Femme NikitaEternal Sunshine of the Spotless Mind or Fight esque The Rhythm Section with Blake Lively Left: Says Fanning, with Dinklage in I Think We’re Alone Now, “I felt more open to express myself because Reed’s behind the camera. I just felt so safe.” Right: Morano on the set of The Handmaid’s Tale with Moss (left). Women at the Helm: Hollywood vs. Sundance 31% 28% 4% 1,100 top-grossing films 2007-2017 73 J A N U A R Y 1 7, 2 01 8 Sundance Narrative Competition 2018 Source: USC Annenberg Inclusion Initiative Club. “Something weird that has maybe a slight sci-ﬁ element to it, slightly romantic, some violence,” she says. That’s when she ﬁrst read Mike Makowsky’s Black List script for I Think We’re Alone Now, which shares a throughline with Fight Club — the main character “thought he was living one thing, and then it turns out it’s all a lie.” She pitched her take to Berger. “I’ve rarely had so many incoming calls on a script in my life,” he says. “But Meadowland was a ﬁlm that struck me as so stylish and conﬁdent that it didn’t take a lot of convincing to bring Reed on.” Dinklage, 48, already was attached to star and produce. The casting of Fanning, 19, opposite him is sure to raise eyebrows in the current entertainment climate. Yet somehow their pairing seems organic. “Reed understands human connection so well. ... You hear, ‘Oh it’s an apocalyptic ﬁlm,’ but that’s not actually what the ﬁlm is about at all,” says Fanning. “And she was very clear about, ‘No it’s about this relationship between two people, and maybe they’re an odd coupling or the age, but it’s a love story there.’ ” Fans of Handmaid’s Tale (Morano directed the show’s ﬁrst three episodes, creating its visual palette) will appreciate the similar feel. “That’s my look,” she says of both. But her look is changing with Rhythm Section as Morano enjoys the perks of a nearly $50 million budget. For one thing, she agreed to hire a director of photography (12 Years a Slave’s Sean Bobbitt). For another, “We can shoot a car-chase scene that takes ﬁve days, you know? And make Blake look like nothing anybody’s ever seen before with great wigs and prosthetics.” What the two ﬁlms have in common is that they both represent genres (postapocalyptic drama and assassin thriller) where female directors aren’t typically seen. “Whenever a woman wields a gun in a ﬁlm, it ends up looking like they’re trying to be sexy rather than they actually know what they’re doing,” she says. And, for the ﬁrst time during our interview, Morano (who has at least glimpsed the galaxy’s most formidable glass ceiling for female directors — the Star Wars franchise), volunteers a reference to her gender. “I hate to be a dick, but I kind of think it’s because men are directing those ﬁlms.” Find out what classic ’80s movie Morano watched over and over as a kid at THR.COM/VIDEO T H E HOL LY WO OD R EP ORT ER Sundance Narrative Competition 2007-2017 OYEZ, OYEZ, OYEZ! FOR THE NOTORIOUS RBG Millennials moniker, heap scorn — Ruth Bader have embraced the Supreme Court justice with the hip-hop liberals view her as their champion and conservatives now with RBG, a new documentary about her life and legacy, Ginsburg is ready to take Sundance by storm BY G R E G G K I LDAY Ginsburg, pictured with granddaughter Clara Spera, “was the legal architect of the women’s rights movement in the ’70s,” says filmmaker West. a t 84, Supreme Court Justice Ruth Bader Ginsburg — who is expected to attend the world premiere of RBG, the documentary about her life and legacy that ﬁrst screens at Sundance on Jan. 21 — could be the toast of the fest. “Millennials are big fans of hers,” says Julie Cohen, who directed the ﬁlm along with Betsy West. “What they love about her is the contrast between her seriousness of purpose and her lighter side.” Having embraced the hip-hop moniker Notorious RBG (originally bestowed upon her by an NYU law student), Ginsburg doesn’t shy away from the notoriety or pop culture currency her nearly 25 years on the court have brought (though in October 2016 she said she’d never seen Kate McKinnon’s portrayal of her on Saturday Night Live). She allowed the ﬁlmmakers, who worked on the project for three years, into her chambers and into her life outside the court. They tag along as she mingles with her fans; visits the Sante Fe Opera (opera being a passion she shared with her ideological opposite but still close friend, the late Antonin Scalia); and even as she goes through her daily workout routine. Adds West, “She’s very proud, as an 84-year-old woman, that she keeps herself in shape.” CNN Films signed on as producer in the project’s early stages. Explains Amy Entelis, who as CNN Worldwide’s exec vp FOU R LIVE S THAT HAVE D E FI N E D TH E I R TI M E S Jane Fonda in Five Acts Seeing Allred Won’t You Be My Neighbor? HBO DOCUMENTARY FILMS NETFLIX FOCUS FEATURES DIRECTOR Susan Lacy BUZZ At 80, Jane Fonda has become a feminist DIRECTORS Sophie Sartain, Roberta Grossman BUZZ High-profile ambulance chaser or idealistic DIRECTOR Morgan Neville BUZZ The Oscar-winning director of 2013’s icon — although earlier in her career she was often defined by the men in her life, a reality that Lacy’s film doesn’t gloss over as it traces the actress, activist and Academy Award winner’s self-transformation. women’s rights champion? The filmmakers retrace Gloria Allred’s 40-year-career as an attorney who often seems to spend as much time before the cameras as she does in court, taking on men from Bill Cosby to Donald Trump. 20 Feet From Stardom turns his attention to the late Fred Rogers, the Presbyterian minister turned children’s entertainer and longtime PBS mainstay, in this doc that is already scheduled for a June 8 theatrical release. T H E HOL LY WO OD R EP ORT ER 74 J A N U A R Y 1 7, 2 01 8 RGB: CNN FILMS/SUNDANCE. ENTELIS: ARAYA DIAZ/GETTY IMAGES FOR SUNDANCE. JANE: COURTESY EVERETT COLLECTION/ COURTESY OF SUNDANCE. ALLRED: ALEX POLLINI/SUNDANCE. NEIGHBOR: JIM JUDKIS/SUNDANCE. ROBIN: MARK SENNET/ SUNDANCE. WILLIAMS: FRED DUVAL/FILMMAGIC. MARCH: RICH POLK/GETTY IMAGES FOR IMDB. FISHBACK: STEVE ZAK. ASTER, HARCOURT: COURTESY OF SUBJECT. FRIZZELL: EMMA MCINTYRE/GETTY IMAGES. SKARSGARD: COURTESY OF PARADIGM. The doc lineup looks at personalities as different as the gentle Fred Rogers and the confrontational Gloria Allred talent and content development oversees the cable net’s documentary ﬁlm unit, “Our audience is familiar with the court and its decisions, but putting her entire life’s work in context — we don’t get to do that on a daily basis.” In fact, the ﬁlm argues, Ginsburg, who co-founded the Women’s Rights Project at the American Civil Liberties Union in 1973, was instrumental in educating the court about gender inequality even before she became a Supreme. Beginning with 1973’s Frontiero v. Richardson, the ﬁrst case she argued before SCOTUS — she successfully made the case that female service members deserve housing allowances just like their male counterparts — she won ﬁve of the six cases she brought to the Supreme Court. “That’s a theme of the ﬁlm,” says West. “When the justice began her career as a litigator, From left: CNN Films’ Vinnie Malhotra, network president Jeff Zucker, Entelis and CNN Films’ Courtney Sexton at a 2015 Sundance screening of The Hunting Ground. there were thousands of laws that discriminated against women — they couldn’t get a credit card without their husband’s permission, husbands in 12 states couldn’t be prosecuted for raping their wives, and it went on and on. She took it on very strategically and systemically, a step-by-step strategy to convince justices, many of them male, that discrimination did exist. She says in the ﬁlm, ‘I felt like I was a kindergarten teacher.’ ” As the doc analyzes it, once Ginsburg was installed on the court — she was nominated by President Clinton and approved by the Senate on a 96-3 vote — she initially staked out a relatively moderate, consensus-building position, but as subsequent appointments have driven the court to the right, she has become the great dissenter, unafraid to take her fellow justices to task. Although she appears diminutive, her voice carries great weight and is heard throughout the ﬁlm. While cameras have never been allowed into the court, there are audio recordings, which the RBG ﬁlmmakers make use of to capture those arguments. “We made the decision we were not going to shy away from those recordings even though there was no obvious picture to cover them,” says Cohen. “The force of her voice, even in her very ﬁrst Supreme Court argument, is so impressive. It’s fun to hear her going from being a little tentative and nervous to being super-forceful.” Robin Williams: Come Inside My Mind JIGSAW PRODUCTIONS DIRECTOR Marina Zenovich BUZZ Working with Alex Gibney’s production company, the director, whose résumé includes two Roman Polanski documentaries, this time re-examines the life of the lightning-quick comedian, drawing on new interviews with those who knew him and fresh archival material like outtakes from Mork & Mindy. — G.K. 75 FIVE COULD-BE BREAKOUTS WITH BIG PRE-FEST BUZZ Ari Aster HEREDITARY WHY HIM The snowbound horror film starring Toni Collette and Gabriel Byrne could cement the 31-year-old director as the next genre rising star in the same vein as The Witch’s Robert Eggers. The AFI grad previously helmed a visceral 30-minute short, The Strange Thing About the Johnsons, that became a viral sensation in 2017, five years after its creation. Dominique Fishback NIGHT COMES ON WHY HER Recently seen on HBO’s The Deuce, the Brooklyn native plays a young woman who gets out of juvenile detention and must face her past. The NEXT section feature is a leading-role stepping-stone for the 26-year-old actress who has proven her versatility with parts in FX’s The Americans, Showtime’s The Affair and upcoming YA film The Hate U Give. Augustine Frizzell NEVER GOIN’ BACK WHY HER The Texas native, a writer-editor-helmer who also acts, makes her feature directorial debut with a high-energy drama about two teen BFFs who ditch school to head to the beach but find themselves broke and in trouble (think Spring Breakers). The 38-year-old (who is married to director David Lowery) has seen two of her shorts debut at SXSW. Thomasin Harcourt McKenzie LEAVE NO TRACE WHY HER Director Debra Granik made Jennifer Lawrence into a sensation with 2010’s Winter’s Bone. Now she’s finally returning to Sundance with Leave No Trace, which stars 17-year-old McKenzie, who hails from New Zealand, as a young girl secretly living on a nature reserve near Portland, Oregon, with her troubled father (Ben Foster). Valter Skarsgard LORDS OF CHAOS WHY HIM His name may be familiar: He’s the younger brother of actors Alexander (Big Little Lies) and Bill (It) Skarsgard (all sons of Stellan Skarsgard). While he plays a supporting role in the Norwegian black metal movie starring Rory Culkin, it’s a promising American film debut for the 22-year-old, who starred in the Swedish drama Black Lake. — REBECCA FORD Park City Women’s March to Skip the Marching a fter an estimated 7,000 people swept down Park City’s main drag during 2017’s Women’s March on Main, this year’s Jan. 20 event — on the ﬁrst anniversary of President Trump’s inauguration — will be a stationary Respect Rally. “We wanted to be thoughtful of what was already happening in such a small town,” says organizer Cynthia Levine. Williams “It was an incredible event last year that made Park City history, so we wanted to leave it as just that and do something Harvey Weinstein was among those participating in 2017’s snowy march, which ended in a rally with speakers including Handler and Williams. different.” The rally will take place at City Park in North Park City, with an hourlong program of speakers including local activists and entertainment industry ﬁgures (Chelsea Handler and Jessica Williams issued memorable calls to action at the 2017 event). The rally will address issues from the environment to the #MeToo movement. Says Levine, “I want everyone to lock arms and recognize the victory of the past year.” — MIA GALUPPO 2018 SAG AWA R D S PREVIEW I 1 I knew of Morgan Freeman before I met him. I was a big fan of The Electric Company and I knew him from Street Smart and a couple of other movies, so I was a big fan of his. When we met in person, I was immediately struck by his warmth, his serenity, his calm. I came to really love him not only as a partner in doing Shawshank Redemption but also as a friend. There are different types of actors. There are actors who demand attention and focus, who can be really exhausting to work with. With Morgan, his generosity and the giving that he approaches the work with not only make you a better actor but also make it so much easier to be on a set. I think that has everything to do with conﬁdence. People who tend to demand a lot of attention and drain the energy from others are doing so out of a lack of conﬁdence or some insecurity. I always felt Morgan was quite secure in his talent. He had a strong sense of conﬁdence in the way he approached the character, and that conﬁdence rubs off on people who work with him. There was a great understanding in him of what should be prioritized ‘ There Is a Zihuatanejo for Everyone' TIM ROBBINS, WHO STARRED WITH MORGAN FREEMAN IN 1994’S SHAWSHANK REDEMPTION, REVEALS WHAT MAKES THE LEGEND — THE SAG AWARDS’ LIFE ACHIEVEMENT HONOREE — SO EXTRAORDINARY on a movie set and how energy should be spent. We would hang out on weekends and sometimes have dinner after shooting. Morgan has a great sense of humor. Occasionally, he would say something out of the side of his mouth that would make me laugh on the set. I always felt, going into rehearsal on a new scene, that we had a bond, a common belief in what that script was, to ﬁnd every piece of the scene — every detail, every unspoken moment that wasn’t written. I think one of the reasons Shawshank continues to resonate is that it’s one of the few movies about a loving relationship — really a love story about two men — that doesn’t involve car chases or is a buddy comedy. It’s about two people coming to know each STAR , P RO D U C E R , W YS IW YG Lori McCreary on her 22-year Revelations producing partner, ‘a great pointer toward true north’ What might surprise people about Morgan Freeman? I come from the tech industry, so I call him WYSIWG: What you see is what you get. It’s a computer term, but it’s exactly who Morgan is. Sometimes, when you meet an actor, you don’t know if they’re acting or that’s them. Morgan is just who he is. How did you decide on the mission for your company? We’re committed to stories that haven’t been told or haven’t been told from a particular point of view. And Morgan is extremely loyal, not only with his team but with projects. We’ve had projects on our slate for 20 years that we’ve gotten T H E HOL LY WO OD R EP ORT ER 76 other very well under very difﬁcult circumstances. I also think its staying power has to do with the overall theme of the movie, which is that there is redemption in holding on to your dream and that regardless of the obstacles in your path, there is a Zihuatanejo for everyone somewhere. I still have dinner with Morgan every year or two. Over the years, we’ve been amazed at the people calls about in the last year, saying, “Do you have this project about Bass Reeves?” [Reeves was the first black U.S. marshal west of the Mississippi.] Some of these projects are just now coming into their time to be told. What has he taught you as your producing partner? We worked on a project about Nelson Mandela for years that ended up going away. I was quite upset. Morgan said, “Lori, every project has its time and J A N U A R Y 1 7, 2 01 8 its team. That door closed, but there’s going to be windows that open.” Two weeks later, we got a treatment for a book that eventually became Invictus. Had I not listened to him and been open for something else, I’m not sure I would have noticed that coming across my desk. He’s a great pointer toward true north. Anything else? He’s an amazing singer. We’re dying to get him in a musical. — REBECCA FORD 2 ‘ YO U F E E L TH E E N E RGY ’ A female host and an all-women presenter lineup put the focus on ‘this cultural shift we’re looking for,’ says SAG-AFTRA president Gabrielle Carteris By Ashley Lee I 3 ROBBINS: FRAZER HARRISON/GETTY IMAGES FOR AFI. MCCREARY: JB LACROIX/WIREIMAGE. INVICTUS: WARNER BROS./PHOTOFEST. SHAWSHANK: PHOTOFEST. BELL: STEVE GRANITZ/WIREIMAGE. SPENCER: KEVIN WINTER/GETTY IMAGES. STONE: CHARLEY GALLAY/GETTY IMAGES FOR VANITY FAIR. NYONG'O: AXELLE/BAUER-GRIFFIN/FILMMAGIC. BERRY: KARWAI TANG/WIREIMAGE. FANNING: VENTURELLI/WIREIMAGE. TRAN: ALBERTO E. RODRIGUEZ/GETTY IMAGES FOR DISNEY. STATUE: COURTESY OF TBS. 1 Freeman (left) and Robbins reunited in 2011, when Freeman was honored with AFI’s Life Achievement Award. 2 As Mandela in 2009’s Invictus. 3 Shawshank Redemption. who would stop us to say that Shawshank is their favorite movie of all time, or that they’ve seen it 40 times, or that it changed their life, saved them in some way. That’s pretty remarkable and it’s quite a gift, I must say. I don’t think that anyone knew when we were doing it that it would resonate as deeply as it did. We all knew it was an extraordinary script, one of the best we’ve ever read, but I don’t think we had any idea. Our job was just to stay true to what Frank [Darabont] had written and the poetry of that. The three of us had enough experience and enough love for that script to, at times, be stubborn, but we made an extraordinary ﬁlm together. What else is there to say about Morgan? Just that he’s a handsome devil. — AS TOLD TO PATRICK SHANLEY t wasn't until December that SAG-AFTRA announced that the 24th annual SAG Awards, taking place Jan. 21 at the Shrine Auditorium and airing live on TNT and TBS, will feature a lineup of all-women presenters — including Halle Berry, Dakota Fanning, Lupita Nyong’o, Emma Stone and Star Wars: The Last Jedi breakout Kelly Marie Tran. On the heels of weeks of sexual misconduct scandals that have rocked Hollywood, it seemed a timely choice, but in fact it’s a plan that had been in the works for more than a year, says SAG-AFTRA president Gabrielle Carteris. “We work so hard on creating economic and creative equity,” she explains. “We’re celebrating all of our actors but are really looking to highlight and celebrate the women and the great work they’re doing.” Bell Indeed, the show will also celebrate female talent with another first: a host. The Good Place star Kristen Bell will emcee the event, which presents 15 honors that include the coveted outstanding cast award, which frequently presages Oscar’s best picture (though it did not in 2017, when Hidden Figures took the top SAG Award). And while actresses aren’t expected to be wearing black as they did at the Golden Globes in a show of support for the Time’s Up movement — an industry-wide response to concerns about workplace safety, pay parity and other issues affecting women’s progress and power in entertainment, which was announced Jan. 1 — Carteris notes that SAG-AFTRA has been actively collaborating with various human rights organizations and initiatives, in addition to Time’s Up. “These are our members, and they’re looking to create a meaningful future for all of us,” she says. “I’m interested in true systemic change, and if we’re really going to make a shift, we have to deal with it on not just an industry level but an international and global level.” T H E HOL LY WO OD R EP ORT ER 77 J A N U A R Y 1 7, 2 01 8 From left: Hidden Figures’ Octavia Spencer, Janelle Monae and Taraji P. Henson accepted the cast prize at 2017's awards. Although solidarity may be the theme, controversy could be lurking in the awards envelopes. Golden Globe wins for The Disaster Artist’s James Franco and Darkest Hour’s Gary Oldman, both nominated for SAG Awards, led to heated discussion on social media about their past conduct. After stories about Franco’s alleged sexual misconduct surfaced, he chose not to attend the Jan. 11 Critics’ Choice Awards, where he won best comedy actor. Carteris had no comment on these potentially problematic nominees, pushing instead for a focus on the bigger picture, beyond the little gold statues: “Let’s talk about the real thing, because it’s not the awards. We are in a certain time in our history, and it is clear that the time is now for all of us to come together and really move forward and create this cultural shift we’re looking for. That’s the real truth, and the awards can be a platform [for that] or not. The time is now — you feel the energy behind it and people are ready. I would like to see us create from that energy.” From left: SAG Awards presenters Stone, Nyong'o, Berry, Fanning and Tran. AKICITA: THE BATTLE OF STANDING ROCK: Anka Malatynska, Additional Cinematographer | AWAVENA, Adam Cosco, VR Editor | BELIEVER: Anton Floquet, Cinematographer, Wes Lofgren, Production Sound Recordist | THE BLAZING WORLD: Ed Wu, Cinematographer, Farhad Ahmed Dehlvi, Gaffer, Stephen St. Peter, Grip | BLINDSPOTTING: Tom Hammock, Production Designer, Leo Leung Chan, Assistant Editor, Tarek Karkoutly, Assistant Editor, Hunter Venable, Assistant Editor | CHERRIES: Azazel Jacobs, Producer, Gabriela Gonzalez, Co-Producer, Ava Berkofsky, Cinematographer, Daniella Nowitz, Gaffer, Leslie Bumgarner, Key Grip | THE CLIMB: Jon Aguirresarobe, Cinematographer | COME SUNDAY: Francesca Galesi, Researcher | DARK MONEY: Rick Rosenthal, Executive Producer | THE DEVIL WE KNOW: Rick Rosenthal, Executive Producer | DON’T WORRY, HE WON’T GET FAR ON FOOT: Steve Golin, Producer | EIGHTH GRADE: Allison Jones, Casting, Claire Fowler, Additional Script Supervisor | EMERGENCY: Joenique C. Rose, Producer, Farhad Ahmed Dehlvi, Best Boy | A FUTILE AND STUPID GESTURE: Allison Jones, Casting Director | GARFIELD: Todd Banhazl, Cinematographer | GENESIS 2.0: Peter Indergand, Cinematographer | HALFWAY THERE: C O N G R ATU L ATI O N S Rick Rosenthal, Director, Noah Rosenthal, Cinematographer, Edd Lukas, Additional Cinematographer, Shayar Bhansali, Additional Editor | HEARTS BEAT LOUD: Erin A F I C O N S E RVAT O RY A L U M N I Magill, Production Designer | HEREDITARY: Ari Aster, Director/Writer, Pawel Pogorzelski, Cinematographer | HIGH & MIGHTY: Martim Vian, Cinematographer, Chris A T T H E 2018 S U N D A N C E F I L M F E S T I V A L Hamilton, Camera Operator, Edd Lukas, Camera Operator, Jeff Powers, Camera Operator, Amanda Treyz, Camera Operator | INVENTING TOMORROW: Diane Becker, Producer, Berenice Chavez, Assistant Editor, Alison Kelly, Additional Cinematography | LAZERCISM, Patrick Russo, Cinematographer | LEIMERT PARK: Mel 57 ALUMNI Jones, Executive Producer/Director/Writer (Creator), Gabriela Gonzalez, Line Producer, Cesar Ochoa, Locations, Caleb Tou, Gaffer | THE LONG DUMB ROAD: Edward 39 FIL MS Salerno Jr., Gaffer | MANDY: Brett W. Bachman, Editor | MATANGI/MAYA/M.I.A.: Catherine Goldschmidt, Cinematographer | THE OSLO DIARIES: Daniella Nowitz, Camera Operator | PUZZLE: Lynarion Hubbard, Assistant Editor | ROBIN WILLIAMS: COME INSIDE MY MIND: Nick Higgins, Cinematographer, Poppy Das, Editor | SEEING ALLRED: Roberta Grossman, Director/Producer | THE SHIVERING TRUTH: Tarin Anderson, Visual Consultant | SKATE KITCHEN: Claire Fowler, Additional Script Supervisor | SPHERES: “SONGS OF SPACETIME”: Darren Aronofsky, Executive Producer/Key Collaborator | THE TALE: Ellen Burstyn, Cast | WAR PAINT: Katrelle N. Kindred, Director/Writer | WHAT THEY HAD: Holly Dorff, ADR Voice Casting, Brian Wessel, Additional Editor | WHITE RABBIT: Elizabeth Sung, Cast | WILD WILD WEST: A BEAUTIFUL RANT BY MARK BRADFORD: Dime Davis, Director | WON’T YOU BE MY NEIGHBOR?: Rick Rosenthal, Executive Producer SCREENWRITING | DIRECTING | PRODUCING | EDITING | PRODUCTION DESIGN | CINEM ATOGR APHY Reviews Television ← Stone, with Paul Reubens, is a writer ensnared in a love triangle that turns deadly. Mosaic CLAUDETTE BARIUS/HBO Starring Sharon Stone and Garrett Hedlund, the HBO miniseries version of Steven Soderbergh’s murder-mystery app fails to satisfy By Tim Goodman A good rule of thumb is that it’s always unwise to pass on whatever Steven Soderbergh is up to. He famously quit making ﬁlms to focus entirely on TV, directing every episode of Cinemax’s The Knick, executive producing a Starz series based on his ﬁlm The Girlfriend Experience and then pivoting to create an app-based murder-mystery experience that he agreed to cut into a limited series for HBO. And then, of course, he proceeded to resume making ﬁlms. As an app, Mosaic asked users to follow one narrative path, along which you could access detours and alternatives, before arriving at an “ending” that was essentially the beginning of another narrative path recounting a different side of the same story (with the same scenes shot from new vantage points and characters you hadn’t really met yet taking center stage). It was exhausting — seven T H E HOL LY WO OD R EP ORT ER hours of content overall — especially for viewers easily distracted or bored, or just hungry for an oldfashioned, linear storyline (though in that case, why did you download the app in the ﬁrst place?). The HBO version offers up the story in linear fashion. Successful but lonely children’s book author Olivia (Sharon Stone) has a boytoy, Joel (Mudbound’s Garrett Hedlund), but is then seduced by con man Eric (Frederick Weller), who was hired by Olivia’s neighbor AIRDATE 8 p.m. Monday, Jan. 22 (HBO) CAST Sharon Stone, Frederick Weller, Garrett Hedlund, Jennifer Ferrin, Paul Reubens, Allison Tolman, Beau Bridges DIRECTOR Steven Soderbergh 79 J A N U A R Y 1 7, 2 01 8 Michael (James Ransone), who covets her property. Eric ends up truly falling in love with Olivia and then backing out of the con, ill-advisedly coming clean to her. Olivia ﬂips out, sending remorseful Eric away mere minutes before she’s murdered. It’s an attention-grabbing tale. Unfortunately, the HBO miniseries iteration never quite escapes the impression that it originated as something else and was then repurposed. There are some odd cuts — especially odd given Soderbergh’s usually precise storytelling prowess — and the jumpy, staccato style takes some getting used to. There is also an excessive number of close-ups, probably so that it would all play better on a phone. Most problematically, the pace feels off, though it’s hard to put your ﬁnger on why. Mosaic intrigues in bits and pieces but fails to cohere into a uniﬁed or satisfying TV experience. The writing, from Ed Solomon (Now You See Me, Charlie’s Angels, Men in Black), is serviceable if never subtle, though good mysteries don’t need to be. And unsurprisingly, Soderbergh gets excellent performances from everyone, even if certain moments register as overwrought — again, probably because that worked best for the app. In the end, that’s the problem with this post-app version of Soderbergh’s experiment: Every instance where something feels off will make the viewer wonder if the app may have been better than this more traditional version, if the removal of the interactive elements somehow smudged or skewed the essence of the endeavor. Perhaps there are people who used the app and then will enjoy the HBO episodes, too, but the likelier scenario is that neither Mosaic vets nor novices will be fulﬁlled. Reviews Film 12 Strong THR’S SOCIAL CLIMBERS A ranking of the week’s top actors, comedians and personalities based on social media engagement across Instagram, Twitter, Facebook and more This Week Last Week T H E HOL LY WO OD R EP ORT ER Last Week Comedians 1 ← → I 1 I Dwayne Johnson 1 ← → I 1 I Kevin Hart 2 ← → I 2 I Millie Bobby Brown 2 ← → I 2 I Joe Rogan 3 ↑ I - I Emma Watson 3 ↑ I 5 I D.L. Hughley 4 ↑ I 6 I Mike Epps 5 ↑ I - I Marlon Wayans The Jerry Bruckheimer-produced, fact-based actioner starring Chris Hemsworth is simplistic but rousing and red-state ready By Todd McCarthy Set in Afghanistan just after 9/11, when a dirty dozen American Special Forces operatives were dropped in to take down Taliban and al-Qaida perpetrators, this entertaining, mildly risible real-life-inspired yarn comes off as much like a Western as a modern war ﬁlm — right down to having the Americans ride into battle on horseback. This may be the ﬁrst big studio release that feels like it was made by and for Trump’s America, which could mean muscular business in red states. Apart from the Pirates of the Caribbean and National Treasure sequels, this is also the ﬁrst feature that feels like a real Jerry Bruckheimer production in at least a decade. It’s got it all: the military swagger, the high-tech hardware and the one-dimensional approach to character, geopolitics and military adventurism. Go, USA! The ﬁlm is based on an action, fully detailed for the ﬁrst time in Doug Stanton’s 2009 book, Horse Soldiers, that was long classiﬁed — a risky incursion of Americans, along with Gen. Abdul Rashid Dostum’s Northern Alliance of Afghan ﬁghters, into the Taliban-controlled northern town of Mazar-i-Sharif. The objective was clear: Take the town, and you control the North. With Thor himself, aka Chris Hemsworth, leading the charge, how can the outcome be in doubt? Still, as Hemsworth’s Capt. Mitch Nelson puts it, “There is no playbook here. We’re gonna have to write it ourselves.” A few team members are played by recognizable actors — Michael Shannon, Michael Pena and Trevante Rhodes — but little effort is made to differentiate them, so it’s Hemsworth’s show and he’s up to the task: charismatic, conﬁdent, jokey, a Kentucky boy who just wants to get the job done and return to his wife and daughter. The script by Ted Tally (The Silence of the Lambs) and Peter Craig (two Hunger Games entries) is tight. The biggest challenge for some of the Americans was the one thing they weren’t trained for: riding horses, the ordinary means of transport in this difﬁcult OPENS Friday, Jan. 19 terrain. All the same, the tone is (Warner Bros.) familiar and unvarying — it’s CAST Chris Hemsworth, Michael Shannon, Michael all macho, all the time. Danish Pena, Navid Negahban, commercials wiz Nicolai Fuglsig, Trevante Rhodes, William directing his ﬁrst feature, does Fichtner, Geoff Stults a capable job getting the action DIRECTOR Nicolai Fuglsig convincingly on the screen. Rated R, 130 minutes This Week Actors In her first Instagram posts since June, she announced her support for the Time’s Up legal defense fund battling harassment and assault, posting multiple times about the fund and from the Globes red carpet. She accrued 18 million Instagram favorites. “As an alumni of In Living Color, I must say this was dooooope as fuck,” wrote Wayans on Instagram, posting part of Bruno Mars and Cardi B’s new “Finesse” music video that honors the ’90s sketch show. Wayans’ Instagram favorites jumped 153 percent to 389,000. 4 ↓ I 3 I Finn Wolfhard 5 ↑ I 9 I Gal Gadot 6 ↑ I 11 I Dove Cameron 6 ↑ I - I Bill Maher 7 ← → I 7 I Noah Schnapp 7 ↑ I 8 I Ricky Gervais 8 ↑ I 20 I Gaten Matarazzo 8 ↑ I 9 I Kumail Nanjiani 9 ↓ I 6 I Jennifer Lopez 9 ↑ I 10 I Amy Schumer 10 ↓ I 4 I Kevin Hart 10 ↓ I 4 I Colleen Ballinger 11 ↑ I 25 I Ian Somerhalder 12 ↑ I 18 I Lily Collins 13 ↓ I 10 I Hugh Jackman 14 ↓ I 12 I Nina Dobrev 15 ↑ I - I Reese Witherspoon Witherspoon tweeted that it was “the deepest honor” to give Oprah Winfrey the Cecil B. DeMille Award at the Globes, sharing a portion of Winfrey’s viral speech. With that and other tweets from the ceremony, she earned 231,000 likes, a 461 percent boost. 16 ↓ I 14 I Lucy Hale 17 ↑ I 23 I Vanessa Hudgens 18 ↑ I - I Caleb McLaughlin 19 ↑ I - I Zac Efron 20 ↓ I 8 I Priyanka Chopra 21 ↓ I 13 I Cara Delevingne 22 ↑ I - I Bella Thorne 23 ↑ I - I Shay Mitchell 24 ↑ I - I Deepika Padukone 25 ↑ I - I Jason Momoa 80 J A N U A R Y 1 7, 2 01 8 This Week Last Week TV Personalities 1 ↑ I 2 I Joanna Gaines 2 ↑ I - I Chip Gaines Though his wife usually steals the spotlight on the this chart, Gaines re-enters one spot below her with 1.7 million Instagram favorites after a Jan. 2 post showing off Joanna’s baby bump and announcing that their fifth child is on the way. 3 ↑ I 7 I Jake Tapper 4 ↓ I 3 I Tamera Mowry 5 ↑ I - I Jimmy Fallon 6 ← → I 6 I Gordon Ramsay 7 ↑ I - I Stephen Colbert 8 ↑ I - I Tyra Banks 9 ↓ I 1 I Chelsea Handler 10 ← → I 10 I Steve Harvey Data Compiled By Source: The week’s most active and talked-about entertainers on leading social networking sites Facebook, Google Plus, Instagram, Twitter and YouTube for the week ending Jan. 10. Rankings are based on a formula blending weekly additions of fans as well as cumulative weekly reactions and conversations, as tracked by MVP Index. 12: DAVID JAMES/WARNER BROS. ENTERTAINMENT. WATSON: JB LACROIX/WIREIMAGE. WAYANS: JIM SPELLMAN/WIREIMAGE. WITHERSPOON: STEVE GRANITZ/WIREIMAGE. GAINES: ROY ROCHLIN/FILMMAGIX. Hemsworth plays Capt. Mitch Nelson, who led a U.S. Special Forces team into Afghanistan on a high-risk mission. PROMOTION AUCTION JAN 31 | WITHOUT RESERVE TODAY IN EN TE RTAI NM EN T NEWSLETTER Get an early brief of what matters in entertainment now. 252 Ridge Road, Palm Springs, California Currently Listed for $14.5M. Selling to the Highest Bidder. Open Daily 2–4PM & by Appointment Sign up at THR.COM/NEWSLETTERS Listed by Scott Lyle of Douglas Elliman Real Estate BID AT CONCIERGEAUCTIONS.COM | 214.477.7852 $_bv ruor;u| bv Ѳbv|;7 =ou v-Ѳ; 0 "1o Ѳ; Ŏ! ! ŰƍƍƓƍƍƏƎƒŏ o= o]Ѳ-v ѲѲbl-m !;-Ѳ v|-|; ŉ ƑѴƐ ĸ -Ѳl -momĶ -Ѳl "rubm]vĶ ĸ ƔƏƏѳƏķ ŎƓѳƍŏ ƓƓѴňѳƏƍƍĸ om1b;u]; 1ࢼomvĶ bv - l-uh;ࢼm] v;ub1; ruob7;u =ou -1ࢼomvĶ bv mo| - Ѳb1;mv;7 !;-Ѳ v|-|; 0uoh;uĶ -m7 rovv;vv;v -Ѳb=oumb- 1ࢼom;;uĻvom7ŰƒƎƎƑƓƒŊƓƓƓ"Ѳ-]Ѳ;uub;Ķ);v|-Ѳl;-1_ĶѲoub7-ƐƐƑƍƎķƱƎŎƏƎƏŏƏƍƏňƏƔƑƍĸb1;mv;71ࢼom;;uu-mh$umoŎom7 ŰƒƎƎƒƏƏŏĸѲѲl;-vu;l;m|vĶruor;u|1oum;uvĶ;|1ĸ|o0;;ubC;700;u|o0;uĻv=ѲѲv-ࢼv=-1ࢼomĸ$_;v;ub1;vu;=;uu;7|o_;u;bm-u;mo|--bѲ-0Ѳ; |o u;vb7;m|v o= -m v|-|; _;u; ruo_b0b|;7 0 -rrѲb1-0Ѳ; v|-|; Ѳ-ĸ om1b;u]; 1ࢼomvĶ Ķ b|v -];m|v -m7 -LѲb-|;vĶ 0uoh;u r-u|m;uvĶ -1ࢼom;;uĶ -m7 v;ѲѲ;uv 7o mo| -uu-m| ou ]-u-m| |_; -11u-1 ou 1olrѲ;|;m;vv o= -m bm=oul-ࢼom -m7 v_-ѲѲ _-; mo Ѳb-0bѲb| =ou ;uuouv ou olbvvbomv ou bm-11u-1b;v m7;u-m1bu1lv|-m1;vbm|_bvou-mo|_;uruor;u|Ѳbvࢼm]vou-7;uࢼvbm]Ķruoloࢼom-Ѳour0Ѳb1b|v|-|;l;m|v-m7l-|;ub-Ѳvĸ$_bvbvmo|l;-m|-v- voѲb1b|-ࢼom=ouѲbvࢼm]vĸuoh;uv-u;ruo|;1|;7-m7;m1ou-];7|or-uࢼ1br-|;ĸt-Ѳovbm]rrou|mb|ĸ";;1ࢼom$;ulv-m7om7bࢼomv=ou=ѲѲ7;|-bѲvĸ Backlot Innovators, Events, Honors ‘I’m Not Looking to Fill a Quota, I’m Looking for Quality’ Universal chief Donna Langley on Get Out and film’s future By Pamela McClintock Awards Season U T H E HOL LY WO OD R EP ORT ER 82 ↑ Langley, who has been with the studio since 2001, was named chairman in 2013. What are your goals for 2018? Oh gosh, nothing that I can tell you on the record. (Laughs.) But the landscape is shifting — just look at Disney’s bid for Fox. As a company, we are very well positioned with our owners and with our management team to meet the challenges of the current climate and ﬁgure out the solution. That’s certainly what we’re all putting our heads together about as business leaders, with [Universal Filmed Entertainment Group chairman] Jeff Shell leading the charge. How do you think the Disney-Fox union would change the landscape? I have no idea because it’s unclear how the [merged] company is going to run — who is going to be doing what, and what kinds of movies they’re going to be making. Buying the rest of the Marvel universe, that seems like a good ﬁt. But it’s too early to tell. Consolidation potentially brings turmoil. J A N U A R Y 1 7, 2 01 8 FILMS AND FILMMAKERS BEING FETED AVA DUVERNAY The filmmaker behind Selma and the upcoming A Wrinkle in Time will be honored with the PGA’s Visionary Award. RYAN MURPHY The prolific TV force behind American Crime Story and Feud will receive the Norman Lear Achievement Award. CHARLES ROVEN The David O. Selznick Achievement honor will go to the veteran producer, whose work includes Wonder Woman. GET OUT The Stanley Kramer Award, focused on a project that raises social issues, will go to Jordan Peele’s racial satire. LANGLEY: MILLER MOBLEY. MURPHY: ALBERTO E. RODRIGUEZ/GETTY IMAGES. niversal Pictures chairI don’t open a script and say, “OK, man Donna Langley has this is the one that hits the diversity angle.” Like I always say, I’m steered the studio ship not looking to ﬁll a quota, I’m lookduring a tumultuous time for the ing for quality. It’s about putting ﬁlm industry, with hits includfamiliar stories in the hands of origiing Jordan Peele’s Get Out (which nal voices, and therefore it becomes grossed $254 million against a something slightly different. $4.5 million production budget) and Girls Trip, which was one of the few comedies that clicked in Have movies gotten easier to make, 2017, earning $139 million against or harder? a $19 million budget. And The Fate What is increasingly under siege of the Furious — the eighth installis how much money you spend ment in the franchise — was the to make a movie. The audience is year’s No. 3 ﬁlm at the becoming more discernglobal box ofﬁce ($1.236 biling because they have PGA Awards lion). Langley, 49, who is other avenues to entertain Jan. 20 involved in the new Time’s themselves. The digital Beverly Hilton Up initiative, is one of only platforms are friction-free two women currently run— you can just sit on the ning a Hollywood ﬁlm studio, a gig couch and watch a movie. We have she’s held since 2013. Ahead of to deliver movies that are worthy being honored with the Producers of being seen in a theater. We’re Guild of America’s Milestone Award, not Disney — we don’t have a long she spoke about the changes comroster of giant global franchises. ing in 2018 and the pressing issues We certainly have some nice ones, facing the industry. but in order for us to do what we do, we have to make other kinds of movies that are targeting a very Was Get Out a big risk? speciﬁc audience and that have It wasn’t a big risk ﬁnancially the potential to break out if they’re because there was no way we could executed to a high degree. We’ve lose. It was a year before the election made a real business out of that when we greenlighted it, and we kind of diversity. had a real conversation about how it would be received in the marketplace and whether it would be What does it mean for the film alienating. Obviously, Jordan knew industry that Disney is aggressively in his mind exactly what movie moving into the streaming space? he was making. The picture wasn’t There’s more opportunity. The completely clear to us, however, potential of over-the-top platforms and we didn’t have any idea it would means movies that aren’t considbecome the phenomenon it was. ered worthy of a theatrical release — and all of the risk and ﬁnancial outlay — can be made for a streamHow do you go about finding these ing service. That’s not a bad thing. diverse stories? Backlot Awards Season ‘Let’s Get the World Right’ Casting vet Victoria Thomas on building stories, one face at a time 2 3 By Rebecca Ford to life. The Los Angeles native, who ﬁrst found her love of casting while studying ﬁlm at UCLA, will be honored with the Hoyt Bowers Award for outstanding contribution to the casting profession at the Casting Society of America’s 33rd annual Artios Awards, held Jan. 18 with simultaneous events in New York and L.A. Would you say your job has gotten easier or harder with the way the business has changed over the years? 1 1 Thomas was photographed Nov. 17 at The Fig House in L.A. 2 Smith in Detroit. 3 Washington and Viola Davis in Fences. said that wasn’t a reason to pass. Even after we got him on tape, we were still considering him and other actors for all the parts. We took weeks mixing and matching to decide whom we wanted to play what. Easier on a process level because of email — not having to wait for actors to pick up Diversity has been a big topic of discussion in sides. I do miss going through headshots, casting since the #OscarsSoWhite issue. How has one by one — the physical act of going that affected your work? CSA Artios through them. I like to see what In the past, you maybe had to try to Awards people have done; that is valuable to pry open some minds about how peoJan. 18 me. It’s also gotten harder just because ple of color do all sorts of things and Beverly Hilton casting is done by committee, espeare all types of people. Today, it’s not Hotel, L.A. cially in some television. It sometimes necessarily casting directors bringStage 48, NYC gets a little less personal, and with ing it up — it’s the studio or network. some television, to be honest, it just They’re ﬁnding it more important becomes about the 20 people who have to than it was ﬁve years ago. My feeling is that it’s make this decision. You have to adjust to that. about getting the world right, whatever that world is, and some of those worlds may not be diverse. If that is the case, then that’s the case. What’s a role from a film of yours that took you a long time to cast, and how did you finally do it? It’s not about diversity for diversity’s sake — let’s get the world right. It took us about four months to cast Algee Smith as Larry [in Detroit]. He was doing the New Edition movie, and his dad thought he was Has the sexual harassment scandal affected too busy and didn’t have time to audition, so casting? For example, would an actor reading a they passed. We read a lot of people — profes- sex scene be met with more concern today? sional actors, nonprofessional actors, singers, Most casting directors have always tried to acting students from performing arts colleges be sensitive to those types of scenes when and high schools, so that took time. As we went you’re reading them — where there is nudity further into the casting process, we went over or sexually suggestive scenes. Especially since actors who passed to see if there was anyone we a lot of casting directors are women, we’ve could re-approach. When I found out the reaalways been a little protective of actors and son Algee had passed, I called his manager and actresses coming in to do those sorts of things. What do you love most about your work? THEY’VE ALSO BOOKED ROLES AS HONOREES LYNN STALMASTER AWARD Kevin Huvane Longtime client Nicole Kidman will present the CAA partner and managing director with the award named after the first casting director to win an honorary Oscar. MARION DOUGHERTY NEW YORK APPLE AWARD Barry Levinson The honor will be presented in New York to the Oscar-winning director of Rain Man and prolific producer (HBO’s The Wizard of Lies). Photographed by Sami Drasin T H E HOL LY WO OD R EP ORT ER 84 J A N U A R Y 1 7, 2 01 8 I love being in the room with actors and actually doing the thing that is going to potentially get them the part — going though the scenes and acting with them. The job can be very challenging and it’s hard sometimes, and we all work really hard, but are you kidding me? I’m lucky to have worked with the directors that I have worked with and the ﬁlms I’ve been a part of. DETROIT: FRANCOIS DUHAMEL/UNIVERSAL PICTURES. FENCES: DAVID LEE/PARAMOUNT PICTURES. HUVANE: KEVIN MAZUR/GETTY IMAGES. LEVINSON: DIMITRIOS KAMBOURIS/GETTY IMAGES. O ver the years, casting director Victoria Thomas has helped a slew of auteur ﬁlmmakers, including Kathryn Bigelow (Detroit), Denzel Washington (Fences), Tim Burton (Edward Scissorhands) and Quentin Tarantino (Django Unchained), ﬁnd just the right actor to bring their stories PROMOTION THE HOLLYWOOD REPORTER WOULD LIKE TO THANK ENTERTAINMENT ONE FOR PROVIDING THE 2017 WOMEN IN ENTERTAINMENT GIFT BAG AND THE FOLLOWING COMPANIES FOR THEIR GENEROUS CONTRIBUTIONS. 8 Green / Alex and Ani / Amazingcosmetics / American Airlines / Aquis / Aura Frame / Better Skin / Beyond Yoga / Bio Effect / Bio Oil Bite Beauty / Blue Bottle / Bombas / CalPak / Cannabliss / Cat Studio / Charlotte Tilbury / Christian Lacroix / Coola / Detox Water Disney / doTerra / Dr. Dennis Gross / Dr. Jart+ / Dream Water / Edie Parker / Elegies / Epicuren / Erno Laszlo / Foreo / Gallany Cosmetics GHD / GimMe Organics / Gloss Moderne / GrassFed Coffee / Happy Plugs / HBO / Herban Essentials / Honest Beauty / Hudson + Bleeker HydroFlask / Invisibobble / JetSuiteX / Kevyn Aucoin / Kopari Beauty / Kosas / L’Occitaine en Provence / Living Proof / LMU / Lumee Luna Bar / MAC Cosmetics / Magnolia Market / MDNA Skin / Michael Aram / Model Meals / Musely / Obliphica / Olio e Osso / OWN OXO / Pattern LA / Peloton / Penguin Random House / Pop Sockets / Rifle Paper Co. / RX Bar / Saje Natural Wellness / Shea Moisture Shhh Silk / Simon & Schuster / Soap by Selena / South Coast Plaza / Soylent / Spanx / Sterling Forever / SuperSmile / The Wet Brush TYKU Sake / Universal / Uptime / Vernon François / Vivan Lou / Warner Brothers / Yoga Zeal / Youth to the People PROMOTION THE SUNDANCE TV ORIGINAL SERIES RETURNS C A N D I D R O U N D TA B L E S W I T H T O P F I L M TA L E N T THE DIRECTORS From Left: Joe Wright, Guillermo Del Toro, Patty Jenkins, Anjelina Jolie, Denis Villeneuve, Greta Gerwig with DIRECTORS JANUARY 21 ACTORS JANUARY 28 ACTRESSES FEBRUARY 4 PRODUCERS FEBRUARY 11 WRITERS FEBRUARY 18 CINEMATOGRAPHERS FEBRUARY 25 ACTORS & ACTRESSES (LIVE AUDIENCE) MARCH 4 CABLE 10AM ET / 7AM PT • SATELLITE 10AM ET / 7AM PT DISH CHANNEL 126 • DIRECTV CHANNEL 557 89 Years of THR Memorable moments from a storied history 1 9788 199799 1980 199 8 1 19 9 82 1983 1984 4 1988 5 1986 1987 1988 1989 1990 0 1991 199 92 1 999 3 199 94 1 999 5 1999 6 199 977 199 988 In 1988, Oprah and Donald First Crossed Paths Oprah Winfrey, 63, and Donald Trump, 71, have a history that stretches back long before the recent speculation — ignited by her ﬁery Golden Globes speech — that she could challenge him in the 2020 election. Just two years after her talk show went national, the future media mogul had the future president of the United States — whose fame had risen after the publication of his 1987 book, The Art of the Deal — appear as a guest. (When The Oprah Winfrey Show launched Sept. 8, 1986, on L.A.’s KABC as a replacement for Tom Snyder and a new challenger to Phil Donahue’s daytime dominance, THR’s review said it was “heavily slanted towards the realm of pop psychology” and was “not exactly the apogee of intellectualism, but it doesn’t bill itself as such.”) On the April 25, 1988, show, Winfrey asked Trump about full-page newspaper ads he’d taken out attacking U.S. foreign policy. When she said their content sounded like “political presidential talk,” Trump replied, “Probably not, but I do get tired of seeing the country get ripped off.” (He stressed topics like allies taking trade advantage of the U.S. and not paying their fair share for defense — the same issues he ran on in the 2016 election.) When Winfrey asked if he thought he’d win a presidential bid, Trump answered: “Well, I don’t know, I think I’d win. I’ll tell you what: I wouldn’t go in to lose. I’ve never gone in to lose in my life.” And while his affection might diminish if Winfrey runs against him in 2020 (he appeared on her show nine times), when asked by Larry King on CNN in 1999 if he “had a vice presidential candidate in mind,” Trump replied: “Oprah. I love Oprah. Oprah would always be my ﬁrst choice.” Asked Jan. 9 in the Cabinet Room how he felt about a Trump-Winfrey matchup, the president said, “I’d beat Oprah … [but] I don’t think she’s going to run.” — BILL HIGGINS The Hollywood Reporter, Vol. CDXXIV, No. 3 (ISSN 0018-3660; USPS 247-580) is published weekly; 39 issues — two issues in April, July, October and December; three issues in January and June; four issues in February, March, May, August and September; and five issues in November — with 15 special issues: Jan. (1), Feb. (2), June (4), Aug. (4), Nov. 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T H E HOL LY WO OD R EP ORT ER 88 J A N U A R Y 1 7, 2 01 8 JEFFREY ASHER/GETTY IMAGES ↑ Trump and Winfrey sat next to promoter Don King (far right) at the Mike Tyson-Michael Spinks fight in Atlantic City on June 27, 1988, two months after Trump was a guest on her daytime talk show.