AWARDS SEASON | OSCARS WINNERS
Earlier today, The Academy Awards announced the nominees for the 96th Oscars which ends the road to Awards Season on Sunday, March 10th! WIth a number of our favorite movies getting recognition, we can’t wait to see what’s in store for us when it airs on ABC. Our predictions are in bold, the ones we correctly identified as winners are in bold italics and winners that we didn’t predict are in italics.
Best Picture
American Fiction (Ben LeClair, Nikos Karamigios, Cord Jefferson and Jermaine Johnson, Producers)
Anatomy of a Fall (Marie-Ange Luciani and David Thion, Producers)
Barbie (David Heyman, Margot Robbie, Tom Ackerley and Robbie Brenner, Producers)
The Holdovers (Mark Johnson, Producer)
Killers of the Flower Moon (Dan Friedkin, Bradley Thomas, Martin Scorsese and Daniel Lupi, Producers)
Maestro (Bradley Cooper, Steven Spielberg, Fred Berner, Amy Durning and Kristie Macosko Krieger, Producers)
Oppenheimer (Emma Thomas, Charles Roven and Christopher Nolan, Producers)
Past Lives (David Hinojosa, Christine Vachon and Pamela Koffler, Producers)
Poor Things (Ed Guiney, Andrew Lowe, Yorgos Lanthimos and Emma Stone, Producers)
The Zone of Interest (James Wilson, Producer)
Best Directing
Justine Triet (Anatomy of a Fall)
Martin Scorsese (Killers of the Flower Moon)
Christopher Nolan (Oppenheimer)
Yorgos Lanthimos (Poor Things)
Jonathan Glazer (The Zone of Interest)
Best Actor in a Leading Role
Bradley Cooper (Maestro)
Colman Domingo (Rustin)
Paul Giamatti (The Holdovers)
Cillian Murphy (Oppenheimer)
Jeffrey Wright (American Fiction)
Best Actress in a Leading Role
Annette Bening (Nyad)
Lily Gladstone (Killers of the Flower Moon)
Sandra Hüller (Anatomy of a Fall)
Carey Mulligan (Maestro)
Emma Stone (Poor Things)
Best Actor in a Supporting Role
Sterling K. Brown (American Fiction)
Robert De Niro (Killers of the Flower Moon)
Robert Downey Jr. (Oppenheimer)
Ryan Gosling (Barbie)
Mark Ruffalo (Poor Things)
Best Actress in a Supporting Role
Emily Blunt (Oppenheimer)
Danielle Brooks (The Color Purple)
America Ferrera (Barbie)
Jodie Foster (Nyad)
Da’Vine Joy Randolph (The Holdovers)
Best Writing (Adapted Screenplay)
American Fiction (Written for the screen by Cord Jefferson)
Barbie (Written by Greta Gerwig & Noah Baumbach)
Oppenheimer (Written for the screen by Christopher Nolan)
Poor Things (Screenplay by Tony McNamara)
The Zone of Interest (Written by Jonathan Glazer)
Best Writing (Original Screenplay)
Anatomy of a Fall (Screenplay by Justine Triet and Arthur Harari)
The Holdovers (Written by David Hemingson)
Maestro (Written by Bradley Cooper & Josh Singer)
May December (Screenplay by Samy Burch; Story by Samy Burch & Alex Mechanik)
Past Lives (Written by Celine Song)
Best Animated Feature
The Boy and the Heron (Hayao Miyazaki and Toshio Suzuki)
Elemental (Peter Sohn and Denise Ream)
Nimona (Nick Bruno, Troy Quane, Karen Ryan and Julie Zackary)
Robot Dreams (Pablo Berger, Ibon Cormenzana, Ignasi Estapé and Sandra Tapia Díaz)
Spider-Man: Across the Spider-Verse (Kemp Powers, Justin K. Thompson, Phil Lord, Christopher Miller and Amy Pascal)
Best Documentary Feature Film
Bobi Wine: The People’s President (Moses Bwayo, Christopher Sharp and John Battsek)
The Eternal Memory (Nominees to be determined)
Four Daughters (Kaouther Ben Hania and Nadim Cheikhrouha)
To Kill a Tiger (Nisha Pahuja, Cornelia Principe and David Oppenheim)
20 Days in Mariupol (Mstyslav Chernov, Michelle Mizner and Raney Aronson-Rath)
Best International Feature Film
Io Capitano (Italy)
Perfect Days (Japan)
Society of the Snow (Spain)
The Teacher’s Lounge (Germany)
The Zone of Interest (United Kingdom)
Best Animated Short Film
Letter to a Pig (Tal Kantor and Amit R. Gicelter)
Ninety-Five Senses (Jerusha Hess and Jared Hess)
Our Uniform (Yegane Moghaddam)
Pachyderme (Stéphanie Clément and Marc Rius)
War Is Over! Inspired by the Music of John & Yoko (Dave Mullins and Brad Booker)
Best Live-Action Short Film
The After (Misan Harriman and Nicky Bentham)
Invincible (Vincent René-Lortie and Samuel Caron)
Knight of Fortune (Lasse Lyskjaer Noer and Christian Norlyk)
Red, White and Blue (Nazrin Choudhury and Sara McFarlane)
The Wonderful Story of Henry Sugar (Wes Anderson and Steven Rales)
Best Documentary Short Film
The ABCs of Book Banning (Sheila Nevins and Trish Adlesic)
The Barber of Little Rock (John Hoffman and Christine Turner)
Island in Between (S. Leo Chiang and Jean Tsien)
The Last Repair Shop (Ben Proudfoot and Kris Bowers)
Nǎi Nai & Wài Pó (Sean Wang and Sam Davis)
Best Cinematography
El Conde (Edward Lachman)
Killers of the Flower Moon (Rodrigo Prieto)
Maestro (Matthew Libatique)
Oppenheimer (Hoyte van Hoytema)
Poor Things (Robbie Ryan)
Best Costume Design
Barbie (Jacqueline Durran)
Killers of the Flower Moon (Jacqueline West)
Napoleon (Janty Yates and Dave Crossman)
Oppenheimer (Ellen Mirojnick)
Poor Things (Holly Waddington)
Best Makeup and Hairstyling
Golda (Karen Hartley Thomas, Suzi Battersby and Ashra Kelly-Blue)
Maestro (Kazu Hiro, Kay Georgiou and Lori McCoy-Bell)
Oppenheimer (Luisa Abel)
Poor Things (Nadia Stacey, Mark Coulier and Josh Weston)
Society of the Snow (Ana López-Puigcerver, David Martí and Montse Ribé)
Best Original Song
“The Fire Inside” from Flamin’ Hot (Music and Lyric by Diane Warren)
“I’m Just Ken” from Barbie (Music and Lyric by Mark Ronson and Andrew Wyatt)
“It Never Went Away” from American Symphony (Music and Lyric by Jon Batiste and Dan Wilson)
“Wahzhazhe (A Song for My People)” from Killers of the Flower Moon (Music and Lyric by Scott George)
“What Was I Made For?” from Barbie (Music and Lyric by Billie Eilish and Finneas O’Connell)
Best Original Score
American Fiction (Laura Karpman)
Indiana Jones and the Dial of Destiny (John Williams)
Killers of the Flower Moon (Robbie Robertson)
Oppenheimer (Ludwig Göransson)
Poor Things (Jerskin Fendrix)
Best Production Design
Barbie (Production Design: Sarah Greenwood; Set Decoration: Katie Spencer)
Killers of the Flower Moon (Production Design: Jack Fisk; Set Decoration: Adam Willis)
Napoleon (Production Design: Arthur Max; Set Decoration: Elli Griff)
Oppenheimer (Production Design: Ruth De Jong; Set Decoration: Claire Kaufman)
Poor Things (Production Design: James Price and Shona Heath; Set Decoration: Zsuzsa Mihalek)
Best Film Editing
Anatomy of a Fall (Laurent Sénéchal)
The Holdovers (Kevin Tent)
Killers of the Flower Moon (Thelma Schoonmaker)
Oppenheimer (Jennifer Lame)
Poor Things (Yorgos Mavropsaridis)
Best Sound
The Creator (Ian Voigt, Erik Aadahl, Ethan Van der Ryn, Tom Ozanich and Dean Zupancic)
Maestro (Steven A. Morrow, Richard King, Jason Ruder, Tom Ozanich and Dean Zupancic)
Mission: Impossible — Dead Reckoning Part One (Chris Munro, James H. Mather, Chris Burdon and Mark Taylor)
Oppenheimer (Willie Burton, Richard King, Gary A. Rizzo and Kevin O’Connell)
The Zone of Interest (Tarn Willers and Johnnie Burn)
Best Visual Effects
The Creator (Jay Cooper, Ian Comley, Andrew Roberts and Neil Corbould)
Godzilla: Minus One (Takashi Yamazaki, Kiyoko Shibuya, Masaki Takahashi and Tatsuji Nojima)
Guardians of the Galaxy Vol. 3 (Stephane Ceretti, Alexis Wajsbrot, Guy Williams and Theo Bialek)
Mission: Impossible — Dead Reckoning, Part One (Alex Wuttke, Simone Coco, Jeff Sutherland and Neil Corbould)
Napoleon (Charley Henley, Luc-Ewen Martin-Fenouillet, Simone Coco and Neil Corbould)
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Featured
AWARD WINNING SIPS | CHARLES JOLY
We're in the thick of Awards Season and whether you enjoy this time of year for the red carpet looks, hearing behind the scenes information on your favorite shows and artists, or the atmosphere of predicting wins, we all love how we celebrate these shows whether solo or with friends and family.
During Awards Season the days leading up to the ceremonies as well as the big night is filled with big moments and there's nothing like the perfect sip. We caught up with Charles Joly, DIAGEO Reserve World Class Award Winning Mixologist who poured Johnnie Walker Blue Label as the Official Spirits Partner of the 75th Emmy® Awards.
We talked about how he got into the industry, being a mixologist, being a leader in the industry, how he prepares to create cocktails at one of the largest events, and more.
ATHLEISURE MAG: What was the cocktail that made you realize that you wanted to know more about this industry?
CHARLES JOLY: I can remember the cocktail that gave me my “a-ha!” moment. The one that made me question everything and wonder what I’d been drinking before then.
It was a simple, freshly made whiskey sour. Nothing fancy - just a solid bourbon, fresh
citrus, simple syrup, egg white & bitters; perfectly balanced. I never looked back.
AM: When did you realize that you wanted to be a mixologist?
CJ: When I began to meet people like my dear friend and mentor Bridget Albert, Tony Abou-Ganim, and Francesco Lafranconi, my eyes were opened to a new realm of possibilities in hospitality.
I’d already been in the industry for years running several successful bars. When I was introduced to the craft cocktail side of things, it all clicked. I already loved the hospitality aspect of the business. Hosting a party every night was a dream job. Adding in the history, flavors and creativity of craft bartending brought it all together. The bar is a stage, no matter what type of venue you work in. The mixology world gave me something I could be really excited about sharing with my guests.
AM: You're known as a leader in the international craft cocktail and the spirits movement. What are you looking for when it comes to a well-crafted cocktail?
CJ: It’s of the utmost importance to me that every ingredient plays an integral role. It all boils down to being intentional and having an understanding of how and why you may be using a particular spirit, modifier, technique, glass etc.
It’s this intentionality that can make even the most simple classic cocktail shine from one bartender, while another falls short. This is the difference between a perfectly acceptable, good cocktail and one that makes your eyes light up.
AM: You have created cocktail pairings with Dominique Crenn, Stephanie Izard, and Jose Andrés. What is the synergy between an amazing dish and a cocktail that you're looking for?
CJ: Food and cocktail pairing is one of my favorite exercises.
At the time I opened my first craft cocktail bar, The Drawing Room in Chicago circa 2007, the best palates in the building were in the kitchen. We were just figuring things out behind the bar, so I got very close with the chefs and spent as much time as they’d allow in the kitchen. The head chef, Nick Lacasse, and I would often go to the Green City Farmer’s Market together and begin to talk about pairing ideas as we made our way through.
When I look at cocktails to pair with food, I prefer to let the chef create their dish first. I can more easily adjust a cocktail than they can rebalance an entire plate. From there, I think about complementary & contrasting flavors, textures, colors, temperatures, regionality, season, theme etc.
AM: As a bartender, you were on the judging panel with Andrew Zimmern and Emeril at Eric Ripert's Cayman Cookout. What did you enjoy about being part of this event?
CJ: It’s a massive honor to continue to be part of Cayman Cookout for so many years. They just celebrated their 15th anniversary. It’s one of the best around. Cayman Cookout is much more intimate than other festivals, so you can really interact with all of guests and talent.
Many food and wine events are dominated by chefs and sommeliers, so it’s important to have cocktail and spirit representation along the way. Our guests are certainly on board and excited about expanding the diversity of beverage offerings, so it makes sense.
I’ve always had a focus on the culinary side of cocktails and enjoyed working with chefs, whether at the Drawing Room, The Aviary or hosted dinners. It makes me so happy to see bartenders standing side-by-side with top culinary talent.
AM: You are the only American to ever win World Class by Diageo, you have been James Beard Awards Nominated and you're known for doing a number of signature events at Awards Season, the Kentucky Derby, celebrity parties, weddings, and more. What do you love about being someone who is involved in the process and bringing these moments together with a great sip!
CJ: I absolutely LOVE creating cocktails for events, dinners and special occasions. Designing a signature menu with such a specific occasion in mind is so much fun. You get to really unleash your creativity while taking into account the theme, event, attendees etc.
It also comes with challenges that I enjoy embracing. How do you create a striking cocktail worthy of the Emmys or Oscars, while making the flavor profile accessible to a couple thousand guests and then recreate that several thousand times over the course of an evening? It’s always a thrill to go through the process.
AM: You're in your 5th year of creating and serving signature cocktails at the Oscars and Emmys. When you're thinking of serving at these key red carpet moments, where do you start in terms of inspiration and creation?
CJ: I absolutely love working on both of these events and am so appreciative of the opportunity. We work with amazing teams on the brand side, like Johnnie Walker Blue Label.
We really look at the occasion. These are major award shows - the artists being nominated have worked their entire lives on their respective crafts and are being honored at the highest level. We want the drinks to match the occasion.
We talk to the Academy members to get insights into any particular themes, color schemes etc that they are focusing on and take that into account. Of course we look to the amazing lead spirits and all the ways we can showcase them. The final menu needs to have a diverse array of cocktail flavors, styles, glassware and profiles. In the 4-5 drinks we offer, I want to be able to find a favorite for every guest that comes up to the bar.
AM: In looking at the Emmys, Johnnie Walker Blue Label had a curated selection of cocktails as they were the Official Spirits Partner of the 75th Emmy® Awards. What do you enjoy about Johnnie Walker and for those that may not be familiar with Johnnie Walker Blue Label, can you tell us some tasting notes or what makes it different?
CJ: To say that Johnnie Walker Blue label is an iconic and revered spirit is an understatement. People were so excited to see those bottles gracing the bar and at the lead of our cocktails. I mean, what better way to celebrate?
We really worked hard to present this flagship Whisky in unexpected ways. You can make bright, refreshing drinks with scotch whisky, you can make Tiki cocktails with it and you can showcase it with progressive serve styles. Scotch can be for everyone.
The Johnnie Walker team, headed up by Master Blender Dr. Emma Walker, has access to over 10 million casks of whisky in Scotland. These whiskies cover a massive breadth of flavor and aroma profiles. Upon tasting the final product, especially with something as nuanced as Johnnie Walker Blue Label, you’ll find everything from fruity tropical notes, to spices and dried herbs, to woody-earthy-smoky tones and beyond. When we design a cocktail, we can focus in on any one or more of these notes and use that as a springboard for inspiration. The possibilities are literally endless.
AM: The drinks that you served show the versatility of scotch. What were the 3 drinks that were served and what was the inspiration behind them?
CJ: The three core cocktails each represented a unique style.
First up was the Rhapsody in Gold. This was playful and approachable. It turned what one may expect from a scotch cocktail on its head. A pour of Johnnie Walker Blue Label was accompanied by a splash of Zacapa No. 23 Rum. We pulled in seasonal citrus by way of lemon juice, a much more interesting, aromatic way to add acidity to the cocktail. Next, we layered in a golden spice syrup; introducing a hint of turmeric, cinnamon, cardamom and other spices. All of this was served in a hammered, gold aluminum cup over crushed ice. We topped this off with mint and an inverted 50ml bottle of Johhnie Walker Blue Label filled with Sidral soda. The result was a little bit Tiki and very celebratory.
Next we had The 75th, a cocktail directly inspired by the exceedingly popular Espresso Martini. Let me tell you, once you have this classic cocktail with scotch at the lead, you may never go back. It was of course named in honor of the 75th anniversary of the Emmy® Awards. I was designing the drinks heading into the holidays and must have had seasonal cookies on my mind, because this cocktail draws inspiration directly from a traditional ginger-snap cookie. We did a soft infusion of ginger and cinnamon to play on the inherent spice notes in Johnnie Walker Blue Label. A key part was using pure blackstrap molasses to balance the cocktail. This is much less sweet than typical sugar, has a mineral quality and heaps of complexity. The flavor bridge between the espresso, spices, molasses and scotch are perfect.
Last but not least was the Sleight of Hand. This one was a lot of fun, as it was meant to trick the mind a bit. The presentation looked like a classic, spirit-forward, stirred scotch cocktail (think Rob Roy, Old Fashioned etc), but the flavor ended up being crisp and relatively refreshing. I combined Johnnie Walker Blue Label with sweet vermouth, Pedro
Ximénez Sherry and Ume (plum) extract. This was brightened with a bit of lemon juice so the cocktail remained translucent but tasted like a whisky sour. We poured the cocktail over a perfect large-format cube from Abstract Ice in northern California, etched with the Johnnie Walker monogram. Finally, it was garnished with a bubble filled with bergamot orange vapor and released the aroma when the bubble would burst.
AM: The 75th Emmys was a great show to watch as we navigate a super-packed Award Season this year. What was it like to be there on that big night?
CJ: We love to be an oasis for guests at these events. I think a lot of attendees now expect us to be there and seek out our specialty bar. They know we’ll have something special waiting for them and give them a spot to hang out for a bit. The bar was absolutely hopping this year, but we have an amazing team with the expert crew from Liquid Productions and myself.
AM: What was it like for you to prepare for the Emmys and how long was the bar open for everyone to enjoy your creations?
CJ: It takes many months of planning and coordination to pull an event like this together. I can’t begin to tell you how many moving parts there are and the countless hours people put into it. From brand teams, to marketing and PR, the event staff, sound, lighting, catering, floral, photographers etc...there are a lot of unsung heroes. Being part of the team that makes it all happen is part of the fun.
We served our cocktails over the course of several events. While only one night of the awards is televised, there are several evenings of presentations, winners and parties. A typical event may have the bar open for around 6 hours. We are prepping on-site many days in advance and off-site for months prior.
AM: You've had a busy season from Awards Season to the Sundance Film Festival, how do you take some time for yourself?
CJ: 2024 certainly came strong out of the gates! It’s been such an exciting start to the year. I’m definitely aware of work-life balance, although it’s certainly not always perfect. I make sure to carve out quality time to see friends. I’ll often get up early and go for a run to clear my mind while traveling. The second I get home from a trip, I pretty much tackle my dog and we have a good snuggle session
IG @charlesjoly
PHOTOGRAPHY CREDITS | PG 74 + 81 Rich Polk/Invision for the Television Academy/AP Image | PG 77 + 78 DIAGEO
Read the JAN ISSUE #97 of Athleisure Mag and see AWARD WINNING SIPS | Charles Joly in mag.
Featured
AWARDS SEASON | OSCAR NOMINATIONS
Earlier today, The Academy Awards announced the nominees for the 96th Oscars which ends the road to Awards Season on Sunday, March 10th! WIth a number of our favorite movies getting recognition, we can’t wait to see what’s in store for us when it airs on ABC. Our predictions are in bold, the ones we correctly identified as winners are in bold italics and winners that we didn’t predict are in italics.
Best Picture
American Fiction (Ben LeClair, Nikos Karamigios, Cord Jefferson and Jermaine Johnson, Producers)
Anatomy of a Fall (Marie-Ange Luciani and David Thion, Producers)
Barbie (David Heyman, Margot Robbie, Tom Ackerley and Robbie Brenner, Producers)
The Holdovers (Mark Johnson, Producer)
Killers of the Flower Moon (Dan Friedkin, Bradley Thomas, Martin Scorsese and Daniel Lupi, Producers)
Maestro (Bradley Cooper, Steven Spielberg, Fred Berner, Amy Durning and Kristie Macosko Krieger, Producers)
Oppenheimer (Emma Thomas, Charles Roven and Christopher Nolan, Producers)
Past Lives (David Hinojosa, Christine Vachon and Pamela Koffler, Producers)
Poor Things (Ed Guiney, Andrew Lowe, Yorgos Lanthimos and Emma Stone, Producers)
The Zone of Interest (James Wilson, Producer)
Best Directing
Justine Triet (Anatomy of a Fall)
Martin Scorsese (Killers of the Flower Moon)
Christopher Nolan (Oppenheimer)
Yorgos Lanthimos (Poor Things)
Jonathan Glazer (The Zone of Interest)
Best Actor in a Leading Role
Bradley Cooper (Maestro)
Colman Domingo (Rustin)
Paul Giamatti (The Holdovers)
Cillian Murphy (Oppenheimer)
Jeffrey Wright (American Fiction)
Best Actress in a Leading Role
Annette Bening (Nyad)
Lily Gladstone (Killers of the Flower Moon)
Sandra Hüller (Anatomy of a Fall)
Carey Mulligan (Maestro)
Emma Stone (Poor Things)
Best Actor in a Supporting Role
Sterling K. Brown (American Fiction)
Robert De Niro (Killers of the Flower Moon)
Robert Downey Jr. (Oppenheimer)
Ryan Gosling (Barbie)
Mark Ruffalo (Poor Things)
Best Actress in a Supporting Role
Emily Blunt (Oppenheimer)
Danielle Brooks (The Color Purple)
America Ferrera (Barbie)
Jodie Foster (Nyad)
Da’Vine Joy Randolph (The Holdovers)
Best Writing (Adapted Screenplay)
American Fiction (Written for the screen by Cord Jefferson)
Barbie (Written by Greta Gerwig & Noah Baumbach)
Oppenheimer (Written for the screen by Christopher Nolan)
Poor Things (Screenplay by Tony McNamara)
The Zone of Interest (Written by Jonathan Glazer)
Best Writing (Original Screenplay)
Anatomy of a Fall (Screenplay by Justine Triet and Arthur Harari)
The Holdovers (Written by David Hemingson)
Maestro (Written by Bradley Cooper & Josh Singer)
May December (Screenplay by Samy Burch; Story by Samy Burch & Alex Mechanik)
Past Lives (Written by Celine Song)
Best Animated Feature
The Boy and the Heron (Hayao Miyazaki and Toshio Suzuki)
Elemental (Peter Sohn and Denise Ream)
Nimona (Nick Bruno, Troy Quane, Karen Ryan and Julie Zackary)
Robot Dreams (Pablo Berger, Ibon Cormenzana, Ignasi Estapé and Sandra Tapia Díaz)
Spider-Man: Across the Spider-Verse (Kemp Powers, Justin K. Thompson, Phil Lord, Christopher Miller and Amy Pascal)
Best Documentary Feature Film
Bobi Wine: The People’s President (Moses Bwayo, Christopher Sharp and John Battsek)
The Eternal Memory (Nominees to be determined)
Four Daughters (Kaouther Ben Hania and Nadim Cheikhrouha)
To Kill a Tiger (Nisha Pahuja, Cornelia Principe and David Oppenheim)
20 Days in Mariupol (Mstyslav Chernov, Michelle Mizner and Raney Aronson-Rath)
Best International Feature Film
Io Capitano (Italy)
Perfect Days (Japan)
Society of the Snow (Spain)
The Teacher’s Lounge (Germany)
The Zone of Interest (United Kingdom)
Best Animated Short Film
Letter to a Pig (Tal Kantor and Amit R. Gicelter)
Ninety-Five Senses (Jerusha Hess and Jared Hess)
Our Uniform (Yegane Moghaddam)
Pachyderme (Stéphanie Clément and Marc Rius)
War Is Over! Inspired by the Music of John & Yoko (Dave Mullins and Brad Booker)
Best Live-Action Short Film
The After (Misan Harriman and Nicky Bentham)
Invincible (Vincent René-Lortie and Samuel Caron)
Knight of Fortune (Lasse Lyskjaer Noer and Christian Norlyk)
Red, White and Blue (Nazrin Choudhury and Sara McFarlane)
The Wonderful Story of Henry Sugar (Wes Anderson and Steven Rales)
Best Documentary Short Film
The ABCs of Book Banning (Sheila Nevins and Trish Adlesic)
The Barber of Little Rock (John Hoffman and Christine Turner)
Island in Between (S. Leo Chiang and Jean Tsien)
The Last Repair Shop (Ben Proudfoot and Kris Bowers)
Nǎi Nai & Wài Pó (Sean Wang and Sam Davis)
Best Cinematography
El Conde (Edward Lachman)
Killers of the Flower Moon (Rodrigo Prieto)
Maestro (Matthew Libatique)
Oppenheimer (Hoyte van Hoytema)
Poor Things (Robbie Ryan)
Best Costume Design
Barbie (Jacqueline Durran)
Killers of the Flower Moon (Jacqueline West)
Napoleon (Janty Yates and Dave Crossman)
Oppenheimer (Ellen Mirojnick)
Poor Things (Holly Waddington)
Best Makeup and Hairstyling
Golda (Karen Hartley Thomas, Suzi Battersby and Ashra Kelly-Blue)
Maestro (Kazu Hiro, Kay Georgiou and Lori McCoy-Bell)
Oppenheimer (Luisa Abel)
Poor Things (Nadia Stacey, Mark Coulier and Josh Weston)
Society of the Snow (Ana López-Puigcerver, David Martí and Montse Ribé)
Best Original Song
“The Fire Inside” from Flamin’ Hot (Music and Lyric by Diane Warren)
“I’m Just Ken” from Barbie (Music and Lyric by Mark Ronson and Andrew Wyatt)
“It Never Went Away” from American Symphony (Music and Lyric by Jon Batiste and Dan Wilson)
“Wahzhazhe (A Song for My People)” from Killers of the Flower Moon (Music and Lyric by Scott George)
“What Was I Made For?” from Barbie (Music and Lyric by Billie Eilish and Finneas O’Connell)
Best Original Score
American Fiction (Laura Karpman)
Indiana Jones and the Dial of Destiny (John Williams)
Killers of the Flower Moon (Robbie Robertson)
Oppenheimer (Ludwig Göransson)
Poor Things (Jerskin Fendrix)
Best Production Design
Barbie (Production Design: Sarah Greenwood; Set Decoration: Katie Spencer)
Killers of the Flower Moon (Production Design: Jack Fisk; Set Decoration: Adam Willis)
Napoleon (Production Design: Arthur Max; Set Decoration: Elli Griff)
Oppenheimer (Production Design: Ruth De Jong; Set Decoration: Claire Kaufman)
Poor Things (Production Design: James Price and Shona Heath; Set Decoration: Zsuzsa Mihalek)
Best Film Editing
Anatomy of a Fall (Laurent Sénéchal)
The Holdovers (Kevin Tent)
Killers of the Flower Moon (Thelma Schoonmaker)
Oppenheimer (Jennifer Lame)
Poor Things (Yorgos Mavropsaridis)
Best Sound
The Creator (Ian Voigt, Erik Aadahl, Ethan Van der Ryn, Tom Ozanich and Dean Zupancic)
Maestro (Steven A. Morrow, Richard King, Jason Ruder, Tom Ozanich and Dean Zupancic)
Mission: Impossible — Dead Reckoning Part One (Chris Munro, James H. Mather, Chris Burdon and Mark Taylor)
Oppenheimer (Willie Burton, Richard King, Gary A. Rizzo and Kevin O’Connell)
The Zone of Interest (Tarn Willers and Johnnie Burn)
Best Visual Effects
The Creator (Jay Cooper, Ian Comley, Andrew Roberts and Neil Corbould)
Godzilla: Minus One (Takashi Yamazaki, Kiyoko Shibuya, Masaki Takahashi and Tatsuji Nojima)
Guardians of the Galaxy Vol. 3 (Stephane Ceretti, Alexis Wajsbrot, Guy Williams and Theo Bialek)
Mission: Impossible — Dead Reckoning, Part One (Alex Wuttke, Simone Coco, Jeff Sutherland and Neil Corbould)
Napoleon (Charley Henley, Luc-Ewen Martin-Fenouillet, Simone Coco and Neil Corbould)
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Featured
9LIST R3DCARP3T
PHOTO CREDIT | ABC
AWARDS SEASON | 95TH OSCARS WINNERS
Awards Season comes to an end on Mar 12th for the 95th Oscars! We enjoyed watching the red carpet as people arrived at the Academy Awards. Tonight’s show allows us to see our favorite movies and who won what! Tonight’s show was hosted by Jimmy Kimmel on ABC. Below are the nominations with our predictions are italicized, winners are in bold and those that we guessed correctly that won are italicized in bold.
ACTOR IN A LEADING ROLE
NOMINEES
AUSTIN BUTLER
Elvis
COLIN FARRELL
The Banshees of Inisherin
BRENDAN FRASER
The Whale
PAUL MESCAL
Aftersun
BILL NIGHY
Living
ACTOR IN A SUPPORTING ROLE
NOMINEES
BRENDAN GLEESON
The Banshees of Inisherin
BRIAN TYREE HENRY
Causeway
JUDD HIRSCH
The Fabelmans
BARRY KEOGHAN
The Banshees of Inisherin
KE HUY QUAN
Everything Everywhere All at Once
ACTRESS IN A LEADING ROLE
NOMINEES
CATE BLANCHETT
Tár
ANA DE ARMAS
Blonde
ANDREA RISEBOROUGH
To Leslie
MICHELLE WILLIAMS
The Fabelmans
MICHELLE YEOH
Everything Everywhere All at Once
ACTRESS IN A SUPPORTING ROLE
NOMINEES
ANGELA BASSETT
Black Panther: Wakanda Forever
HONG CHAU
The Whale
KERRY CONDON
The Banshees of Inisherin
JAMIE LEE CURTIS
Everything Everywhere All at Once
STEPHANIE HSU
Everything Everywhere All at Once
ANIMATED FEATURE FILM
NOMINEES
GUILLERMO DEL TORO'S PINOCCHIO
Guillermo del Toro, Mark Gustafson, Gary Ungar and Alex Bulkley
MARCEL THE SHELL WITH SHOES ON
Dean Fleischer Camp, Elisabeth Holm, Andrew Goldman, Caroline Kaplan and Paul Mezey
PUSS IN BOOTS: THE LAST WISH
Joel Crawford and Mark Swift
THE SEA BEAST
Chris Williams and Jed Schlanger
TURNING RED
Domee Shi and Lindsey Collins
CINEMATOGRAPHY
NOMINEES
ALL QUIET ON THE WESTERN FRONT
James Friend
BARDO, FALSE CHRONICLE OF A HANDFUL OF TRUTHS
Darius Khondji
ELVIS
Mandy Walker
EMPIRE OF LIGHT
Roger Deakins
TÁR
Florian Hoffmeister
COSTUME DESIGN
NOMINEES
BABYLON
Mary Zophres
BLACK PANTHER: WAKANDA FOREVER
Ruth Carter
ELVIS
Catherine Martin
EVERYTHING EVERYWHERE ALL AT ONCE
Shirley Kurata
MRS. HARRIS GOES TO PARIS
Jenny Beavan
DIRECTING
NOMINEES
THE BANSHEES OF INISHERIN
Martin McDonagh
EVERYTHING EVERYWHERE ALL AT ONCE
Daniel Kwan and Daniel Scheinert
THE FABELMANS
Steven Spielberg
TÁR
Todd Field
TRIANGLE OF SADNESS
Ruben Östlund
DOCUMENTARY FEATURE FILM
NOMINEES
ALL THAT BREATHES
Shaunak Sen, Aman Mann and Teddy Leifer
ALL THE BEAUTY AND THE BLOODSHED
Laura Poitras, Howard Gertler, John Lyons, Nan Goldin and Yoni Golijov
FIRE OF LOVE
Sara Dosa, Shane Boris and Ina Fichman
A HOUSE MADE OF SPLINTERS
Simon Lereng Wilmont and Monica Hellström
NAVALNY
Daniel Roher, Odessa Rae, Diane Becker, Melanie Miller and Shane Boris
DOCUMENTARY SHORT FILM
NOMINEES
THE ELEPHANT WHISPERERS
Kartiki Gonsalves and Guneet Monga
HAULOUT
Evgenia Arbugaeva and Maxim Arbugaev
HOW DO YOU MEASURE A YEAR?
Jay Rosenblatt
THE MARTHA MITCHELL EFFECT
Anne Alvergue and Beth Levison
STRANGER AT THE GATE
Joshua Seftel and Conall Jones
FILM EDITING
NOMINEES
THE BANSHEES OF INISHERIN
Mikkel E.G. Nielsen
ELVIS
Matt Villa and Jonathan Redmond
EVERYTHING EVERYWHERE ALL AT ONCE
Paul Rogers
TÁR
Monika Willi
TOP GUN: MAVERICK
Eddie Hamilton
INTERNATIONAL FEATURE FILM
NOMINEES
ALL QUIET ON THE WESTERN FRONT
Germany
ARGENTINA, 1985
Argentina
CLOSE
Belgium
EO
Poland
THE QUIET GIRL
Ireland
MAKEUP AND HAIRSTYLING
NOMINEES
ALL QUIET ON THE WESTERN FRONT
Heike Merker and Linda Eisenhamerová
THE BATMAN
Naomi Donne, Mike Marino and Mike Fontaine
BLACK PANTHER: WAKANDA FOREVER
Camille Friend and Joel Harlow
ELVIS
Mark Coulier, Jason Baird and Aldo Signoretti
THE WHALE
Adrien Morot, Judy Chin and Anne Marie Bradley
MUSIC (ORIGINAL SCORE)
NOMINEES
ALL QUIET ON THE WESTERN FRONT
Volker Bertelmann
BABYLON
Justin Hurwitz
THE BANSHEES OF INISHERIN
Carter Burwell
EVERYTHING EVERYWHERE ALL AT ONCE
Son Lux
THE FABELMANS
John Williams
MUSIC (ORIGINAL SONG)
NOMINEES
APPLAUSE
from Tell It like a Woman; Music and Lyric by Diane Warren
HOLD MY HAND
from Top Gun: Maverick; Music and Lyric by Lady Gaga and BloodPop
LIFT ME UP
from Black Panther: Wakanda Forever; Music by Tems, Rihanna, Ryan Coogler and Ludwig Goransson; Lyric by Tems and Ryan Coogler
NAATU NAATU
from RRR; Music by M.M. Keeravaani; Lyric by Chandrabose
THIS IS A LIFE
from Everything Everywhere All at Once; Music by Ryan Lott, David Byrne and Mitski; Lyric by Ryan Lott and David Byrne
BEST PICTURE
NOMINEES
ALL QUIET ON THE WESTERN FRONT
Malte Grunert, Producer
AVATAR: THE WAY OF WATER
James Cameron and Jon Landau, Producers
THE BANSHEES OF INISHERIN
Graham Broadbent, Pete Czernin and Martin McDonagh, Producers
ELVIS
Baz Luhrmann, Catherine Martin, Gail Berman, Patrick McCormick and Schuyler Weiss, Producers
EVERYTHING EVERYWHERE ALL AT ONCE
Daniel Kwan, Daniel Scheinert and Jonathan Wang, Producers
THE FABELMANS
Kristie Macosko Krieger, Steven Spielberg and Tony Kushner, Producers
TÁR
Todd Field, Alexandra Milchan and Scott Lambert, Producers
TOP GUN: MAVERICK
Tom Cruise, Christopher McQuarrie, David Ellison and Jerry Bruckheimer, Producers
TRIANGLE OF SADNESS
Erik Hemmendorff and Philippe Bober, Producers
WOMEN TALKING
Dede Gardner, Jeremy Kleiner and Frances McDormand, Producers
PRODUCTION DESIGN
NOMINEES
ALL QUIET ON THE WESTERN FRONT
Production Design: Christian M. Goldbeck; Set Decoration: Ernestine Hipper
AVATAR: THE WAY OF WATER
Production Design: Dylan Cole and Ben Procter; Set Decoration: Vanessa Cole
BABYLON
Production Design: Florencia Martin; Set Decoration: Anthony Carlino
ELVIS
Production Design: Catherine Martin and Karen Murphy; Set Decoration: Bev Dunn
THE FABELMANS
Production Design: Rick Carter; Set Decoration: Karen O'Hara
SHORT FILM (ANIMATED)
NOMINEES
THE BOY, THE MOLE, THE FOX AND THE HORSE
Charlie Mackesy and Matthew Freud
THE FLYING SAILOR
Amanda Forbis and Wendy Tilby
ICE MERCHANTS
João Gonzalez and Bruno Caetano
MY YEAR OF DICKS
Sara Gunnarsdóttir and Pamela Ribon
AN OSTRICH TOLD ME THE WORLD IS FAKE AND I THINK I BELIEVE IT
Lachlan Pendragon
SHORT FILM (LIVE ACTION)
NOMINEES
AN IRISH GOODBYE
Tom Berkeley and Ross White
IVALU
Anders Walter and Rebecca Pruzan
LE PUPILLE
Alice Rohrwacher and Alfonso Cuarón
NIGHT RIDE
Eirik Tveiten and Gaute Lid Larssen
THE RED SUITCASE
Cyrus Neshvad
SOUND
NOMINEES
ALL QUIET ON THE WESTERN FRONT
Viktor Prášil, Frank Kruse, Markus Stemler, Lars Ginzel and Stefan Korte
AVATAR: THE WAY OF WATER
Julian Howarth, Gwendolyn Yates Whittle, Dick Bernstein, Christopher Boyes, Gary Summers and Michael Hedges
THE BATMAN
Stuart Wilson, William Files, Douglas Murray and Andy Nelson
ELVIS
David Lee, Wayne Pashley, Andy Nelson and Michael Keller
TOP GUN: MAVERICK
Mark Weingarten, James H. Mather, Al Nelson, Chris Burdon and Mark Taylor
VISUAL EFFECTS
NOMINEES
ALL QUIET ON THE WESTERN FRONT
Frank Petzold, Viktor Müller, Markus Frank and Kamil Jafar
AVATAR: THE WAY OF WATER
Joe Letteri, Richard Baneham, Eric Saindon and Daniel Barrett
THE BATMAN
Dan Lemmon, Russell Earl, Anders Langlands and Dominic Tuohy
BLACK PANTHER: WAKANDA FOREVER
Geoffrey Baumann, Craig Hammack, R. Christopher White and Dan Sudick
TOP GUN: MAVERICK
Ryan Tudhope, Seth Hill, Bryan Litson and Scott R. Fisher
WRITING (ADAPTED SCREENPLAY)
NOMINEES
ALL QUIET ON THE WESTERN FRONT
Screenplay - Edward Berger, Lesley Paterson & Ian Stokell
GLASS ONION: A KNIVES OUT MYSTERY
Written by Rian Johnson
LIVING
Written by Kazuo Ishiguro
TOP GUN: MAVERICK
Screenplay by Ehren Kruger and Eric Warren Singer and Christopher McQuarrie; Story by Peter Craig and Justin Marks
WOMEN TALKING
Screenplay by Sarah Polley
WRITING (ORIGINAL SCREENPLAY)
NOMINEES
THE BANSHEES OF INISHERIN
Written by Martin McDonagh
EVERYTHING EVERYWHERE ALL AT ONCE
Written by Daniel Kwan & Daniel Scheinert
THE FABELMANS
Written by Steven Spielberg & Tony Kushner
TÁR
Written by Todd Field
TRIANGLE OF SADNESS
Written by Ruben Östlund
Read the latest issue of Athleisure Mag.
Featured
PHOTO CREDIT | ABC
AWARDS SEASON | 95TH OSCARS NOMINATIONS
This morning, the nominations for the Academy Awards was announced! Awards Season comes to an end on Mar 12th for the 95th Oscars! You can watch the red carpet (there are a number of channels and streaming platforms that air this that start as early as 5pm ET) as well as the awards show itself hosted by Jimmy Kimmel on ABC at 8pm ET. Below are the nominations with our predictions are italicized, winners are in bold and those that we guessed correctly that won are italicized in bold.
ACTOR IN A LEADING ROLE
NOMINEES
AUSTIN BUTLER
Elvis
COLIN FARRELL
The Banshees of Inisherin
BRENDAN FRASER
The Whale
PAUL MESCAL
Aftersun
BILL NIGHY
Living
ACTOR IN A SUPPORTING ROLE
NOMINEES
BRENDAN GLEESON
The Banshees of Inisherin
BRIAN TYREE HENRY
Causeway
JUDD HIRSCH
The Fabelmans
BARRY KEOGHAN
The Banshees of Inisherin
KE HUY QUAN
Everything Everywhere All at Once
ACTRESS IN A LEADING ROLE
NOMINEES
CATE BLANCHETT
Tár
ANA DE ARMAS
Blonde
ANDREA RISEBOROUGH
To Leslie
MICHELLE WILLIAMS
The Fabelmans
MICHELLE YEOH
Everything Everywhere All at Once
ACTRESS IN A SUPPORTING ROLE
NOMINEES
ANGELA BASSETT
Black Panther: Wakanda Forever
HONG CHAU
The Whale
KERRY CONDON
The Banshees of Inisherin
JAMIE LEE CURTIS
Everything Everywhere All at Once
STEPHANIE HSU
Everything Everywhere All at Once
ANIMATED FEATURE FILM
NOMINEES
GUILLERMO DEL TORO'S PINOCCHIO
Guillermo del Toro, Mark Gustafson, Gary Ungar and Alex Bulkley
MARCEL THE SHELL WITH SHOES ON
Dean Fleischer Camp, Elisabeth Holm, Andrew Goldman, Caroline Kaplan and Paul Mezey
PUSS IN BOOTS: THE LAST WISH
Joel Crawford and Mark Swift
THE SEA BEAST
Chris Williams and Jed Schlanger
TURNING RED
Domee Shi and Lindsey Collins
CINEMATOGRAPHY
NOMINEES
ALL QUIET ON THE WESTERN FRONT
James Friend
BARDO, FALSE CHRONICLE OF A HANDFUL OF TRUTHS
Darius Khondji
ELVIS
Mandy Walker
EMPIRE OF LIGHT
Roger Deakins
TÁR
Florian Hoffmeister
COSTUME DESIGN
NOMINEES
BABYLON
Mary Zophres
BLACK PANTHER: WAKANDA FOREVER
Ruth Carter
ELVIS
Catherine Martin
EVERYTHING EVERYWHERE ALL AT ONCE
Shirley Kurata
MRS. HARRIS GOES TO PARIS
Jenny Beavan
DIRECTING
NOMINEES
THE BANSHEES OF INISHERIN
Martin McDonagh
EVERYTHING EVERYWHERE ALL AT ONCE
Daniel Kwan and Daniel Scheinert
THE FABELMANS
Steven Spielberg
TÁR
Todd Field
TRIANGLE OF SADNESS
Ruben Östlund
DOCUMENTARY FEATURE FILM
NOMINEES
ALL THAT BREATHES
Shaunak Sen, Aman Mann and Teddy Leifer
ALL THE BEAUTY AND THE BLOODSHED
Laura Poitras, Howard Gertler, John Lyons, Nan Goldin and Yoni Golijov
FIRE OF LOVE
Sara Dosa, Shane Boris and Ina Fichman
A HOUSE MADE OF SPLINTERS
Simon Lereng Wilmont and Monica Hellström
NAVALNY
Daniel Roher, Odessa Rae, Diane Becker, Melanie Miller and Shane Boris
DOCUMENTARY SHORT FILM
NOMINEES
THE ELEPHANT WHISPERERS
Kartiki Gonsalves and Guneet Monga
HAULOUT
Evgenia Arbugaeva and Maxim Arbugaev
HOW DO YOU MEASURE A YEAR?
Jay Rosenblatt
THE MARTHA MITCHELL EFFECT
Anne Alvergue and Beth Levison
STRANGER AT THE GATE
Joshua Seftel and Conall Jones
FILM EDITING
NOMINEES
THE BANSHEES OF INISHERIN
Mikkel E.G. Nielsen
ELVIS
Matt Villa and Jonathan Redmond
EVERYTHING EVERYWHERE ALL AT ONCE
Paul Rogers
TÁR
Monika Willi
TOP GUN: MAVERICK
Eddie Hamilton
INTERNATIONAL FEATURE FILM
NOMINEES
ALL QUIET ON THE WESTERN FRONT
Germany
ARGENTINA, 1985
Argentina
CLOSE
Belgium
EO
Poland
THE QUIET GIRL
Ireland
MAKEUP AND HAIRSTYLING
NOMINEES
ALL QUIET ON THE WESTERN FRONT
Heike Merker and Linda Eisenhamerová
THE BATMAN
Naomi Donne, Mike Marino and Mike Fontaine
BLACK PANTHER: WAKANDA FOREVER
Camille Friend and Joel Harlow
ELVIS
Mark Coulier, Jason Baird and Aldo Signoretti
THE WHALE
Adrien Morot, Judy Chin and Anne Marie Bradley
MUSIC (ORIGINAL SCORE)
NOMINEES
ALL QUIET ON THE WESTERN FRONT
Volker Bertelmann
BABYLON
Justin Hurwitz
THE BANSHEES OF INISHERIN
Carter Burwell
EVERYTHING EVERYWHERE ALL AT ONCE
Son Lux
THE FABELMANS
John Williams
MUSIC (ORIGINAL SONG)
NOMINEES
APPLAUSE
from Tell It like a Woman; Music and Lyric by Diane Warren
HOLD MY HAND
from Top Gun: Maverick; Music and Lyric by Lady Gaga and BloodPop
LIFT ME UP
from Black Panther: Wakanda Forever; Music by Tems, Rihanna, Ryan Coogler and Ludwig Goransson; Lyric by Tems and Ryan Coogler
NAATU NAATU
from RRR; Music by M.M. Keeravaani; Lyric by Chandrabose
THIS IS A LIFE
from Everything Everywhere All at Once; Music by Ryan Lott, David Byrne and Mitski; Lyric by Ryan Lott and David Byrne
BEST PICTURE
NOMINEES
ALL QUIET ON THE WESTERN FRONT
Malte Grunert, Producer
AVATAR: THE WAY OF WATER
James Cameron and Jon Landau, Producers
THE BANSHEES OF INISHERIN
Graham Broadbent, Pete Czernin and Martin McDonagh, Producers
ELVIS
Baz Luhrmann, Catherine Martin, Gail Berman, Patrick McCormick and Schuyler Weiss, Producers
EVERYTHING EVERYWHERE ALL AT ONCE
Daniel Kwan, Daniel Scheinert and Jonathan Wang, Producers
THE FABELMANS
Kristie Macosko Krieger, Steven Spielberg and Tony Kushner, Producers
TÁR
Todd Field, Alexandra Milchan and Scott Lambert, Producers
TOP GUN: MAVERICK
Tom Cruise, Christopher McQuarrie, David Ellison and Jerry Bruckheimer, Producers
TRIANGLE OF SADNESS
Erik Hemmendorff and Philippe Bober, Producers
WOMEN TALKING
Dede Gardner, Jeremy Kleiner and Frances McDormand, Producers
PRODUCTION DESIGN
NOMINEES
ALL QUIET ON THE WESTERN FRONT
Production Design: Christian M. Goldbeck; Set Decoration: Ernestine Hipper
AVATAR: THE WAY OF WATER
Production Design: Dylan Cole and Ben Procter; Set Decoration: Vanessa Cole
BABYLON
Production Design: Florencia Martin; Set Decoration: Anthony Carlino
ELVIS
Production Design: Catherine Martin and Karen Murphy; Set Decoration: Bev Dunn
THE FABELMANS
Production Design: Rick Carter; Set Decoration: Karen O'Hara
SHORT FILM (ANIMATED)
NOMINEES
THE BOY, THE MOLE, THE FOX AND THE HORSE
Charlie Mackesy and Matthew Freud
THE FLYING SAILOR
Amanda Forbis and Wendy Tilby
ICE MERCHANTS
João Gonzalez and Bruno Caetano
MY YEAR OF DICKS
Sara Gunnarsdóttir and Pamela Ribon
AN OSTRICH TOLD ME THE WORLD IS FAKE AND I THINK I BELIEVE IT
Lachlan Pendragon
SHORT FILM (LIVE ACTION)
NOMINEES
AN IRISH GOODBYE
Tom Berkeley and Ross White
IVALU
Anders Walter and Rebecca Pruzan
LE PUPILLE
Alice Rohrwacher and Alfonso Cuarón
NIGHT RIDE
Eirik Tveiten and Gaute Lid Larssen
THE RED SUITCASE
Cyrus Neshvad
SOUND
NOMINEES
ALL QUIET ON THE WESTERN FRONT
Viktor Prášil, Frank Kruse, Markus Stemler, Lars Ginzel and Stefan Korte
AVATAR: THE WAY OF WATER
Julian Howarth, Gwendolyn Yates Whittle, Dick Bernstein, Christopher Boyes, Gary Summers and Michael Hedges
THE BATMAN
Stuart Wilson, William Files, Douglas Murray and Andy Nelson
ELVIS
David Lee, Wayne Pashley, Andy Nelson and Michael Keller
TOP GUN: MAVERICK
Mark Weingarten, James H. Mather, Al Nelson, Chris Burdon and Mark Taylor
VISUAL EFFECTS
NOMINEES
ALL QUIET ON THE WESTERN FRONT
Frank Petzold, Viktor Müller, Markus Frank and Kamil Jafar
AVATAR: THE WAY OF WATER
Joe Letteri, Richard Baneham, Eric Saindon and Daniel Barrett
THE BATMAN
Dan Lemmon, Russell Earl, Anders Langlands and Dominic Tuohy
BLACK PANTHER: WAKANDA FOREVER
Geoffrey Baumann, Craig Hammack, R. Christopher White and Dan Sudick
TOP GUN: MAVERICK
Ryan Tudhope, Seth Hill, Bryan Litson and Scott R. Fisher
WRITING (ADAPTED SCREENPLAY)
NOMINEES
ALL QUIET ON THE WESTERN FRONT
Screenplay - Edward Berger, Lesley Paterson & Ian Stokell
GLASS ONION: A KNIVES OUT MYSTERY
Written by Rian Johnson
LIVING
Written by Kazuo Ishiguro
TOP GUN: MAVERICK
Screenplay by Ehren Kruger and Eric Warren Singer and Christopher McQuarrie; Story by Peter Craig and Justin Marks
WOMEN TALKING
Screenplay by Sarah Polley
WRITING (ORIGINAL SCREENPLAY)
NOMINEES
THE BANSHEES OF INISHERIN
Written by Martin McDonagh
EVERYTHING EVERYWHERE ALL AT ONCE
Written by Daniel Kwan & Daniel Scheinert
THE FABELMANS
Written by Steven Spielberg & Tony Kushner
TÁR
Written by Todd Field
TRIANGLE OF SADNESS
Written by Ruben Östlund
Read the latest issue of Athleisure Mag.
Featured
IT'S ALL JUST STORY | RODNEY BARNES
This year when the NBA unveiled their 75th Anniversary Team of retired and active players, it included 17 members who played for the Lakers which includes the Showtime era of the 70/80s with players Kareem Abdul-Jabbar and Magic Johnson. To understand the importance of this era and what it did to how we enjoy the game, and how it moved the game forward in terms of commerce and making players brand, Winning Time: The Rise of the Lakers Dynasty illustrates the dynamics at play.
We talked with Rodney Barnes, who has written for STARZ Heels, STARZ American Gods, Everybody Hates Chris and more. He shares how he got into the industry, the positions he has held, his approach to his work, being the Executive Producer and writer for Winning Time, Zombie Love Studios and his passion for comic books and graphic novels.
ATHLEISURE MAG: You’ve worked in various positions in the entertainment industry as a Production Assistant, showrunner, Executive Producer and an award-winning screenwriter. With all of these roles, what was the moment that you realized that you wanted to work in this industry?
RODNEY BARNES: I was going to Howard University and I was in the School of C (Howard University Cathy Hughs School of Communication) and I was working at Georgetown Law Center as a campus cop at night and I found out that the movie The Pelican Brief was coming to my job to film some scenes. So I was really excited because it’s one thing to go to school for this and it’s another thing to actually be able to see it up close. So I signed up for all of the overtime details and I got them all. I started watching the movie being put together and it was so exciting! So I met a guy and he was the PA, he was a Key Set PA. So I asked him how I could get a job doing what he did. He said that that weekend, they had some big scenes that were taking place at the Washington Monument and that if I wanted to come and do it for a day, they'd be happy to have me.
So I did it and it was the most exciting, fun and best $100 that I ever made in my entire life! It was something about it that felt right. I felt more purpose in doing that and being close to this thing that I wanted to be close to then I did doing anything else that paid a lot better. I quit my job at Georgetown and started working as a PA full time.
AM: What a story, we always tell people that we embrace the multi-hyphenate. As someone who has worked in a number of roles and continues to do so from writing and producing, when did you know that you wanted to take on these areas and what the specific area was that you wanted to start in first? Or was there just a confluence that took place to make all of this come together?
RB: I knew I wanted to be a writer, but I knew what I didn’t know. I knew that I didn’t understand how any of this worked and I had a very fundamental understanding of what writing was and telling stories. Quite frankly, emotionally and psychologically, I wasn’t mature enough or evolved enough to be able to take on the big job. So, working as a PA, I look at it as being an apprentice. I had an opportunity to meet people, to sort of find my tribe, to figure out the psychology of how it would work and to just get my legs under me which was a bit like bootcamp. It was always writing, but I had to build up to the idea of being able to take my shot at it because it just felt too big.
AM: What do you think was the biggest thing that you learned from being a PA that has helped you with your career or was it just being able to see all the parts that were moving and to be able to understand how they connect?
RB: There was that. I think that the thing for me was that I always had this idea that everybody in Hollywood must be a genius and I haven’t met a genius yet. But, what I have met are some folks that have worked really really hard at their craft. It sort of demystified the entire process for me in being able to see it up close and to be able to observe. I wouldn’t say that I was a vital part although I know that some people would disagree. It was sort of the type of thing where getting to know people as friends and mentors even though that’s a problematic word as no one put their arm around me and said, “son this is what you do.” But they allowed me to be in their circle and to be able to see how the sausage is made. I got an opportunity to be able to just see things up close and to decide whether or not I could do it, if I wanted to do it and the closer I got to the thing that I wanted, the better that things got for me, but I wouldn’t have been able to do any of it if I hadn’t been a PA.
AM: From a screenwriting aspect, you have written a number of things. I loved your work in American Gods which I loved that show and obviously Winning Time and then you look at shows like Everybody Hates Chris. How do you get inspiration to write and then where do you start from when you’re trying to put words to paper to create these worlds for us?
RB: I never looked at it from a place of inspiration because if I need the emotional investment to do it, then I’m not going to be inspired some of those days and I’m still going to have to do it. For me, the difference was, approaching every day like I’m at work which was no different then when I was at Walmart or Target or any of those places that I worked at along the way. I had to get up, I had to work, I didn’t feel like it and then somewhere midday or so, it got a little bit better and then a little bit better. I sort of approach writing in the same way. I have a lot of resistance on the days that I don’t feel like doing it, but it needs to be done because I have a deadline. 78% of the time, I’m able to be disciplined and I’m able to get it done and the other times, I might go to the movies, sit and watch a game or do something else when I’m supposed to be writing. But I think it’s more of a discipline of doing the thing than an emotional component to it. There are days where I feel it and if I'm writing something like a horror driven thing like in my graphic novels, I'm enjoying it a great deal so it’s easier to do, but whether I feel it or I don’t feel it or am some place in between, I still do it.
AM: Just to circle back to American Gods, one of my minors in college was Classical Civilization so it covered mythologies of the world in addition to Greece and Rome and included African and Asian nations. So when I watched it, I loved seeing all of these stories that came to life. What was it like writing for that?
RB: It was great! The best thing that came out of it was my relationship with Orlando Jones (Sleepy Hollow, American Gods, The Good Lord Bird) who played Anansi/Mr. Nancy on our show. I had a similar thing as you, I didn’t do it in college but I studied a lot of different types of mythology and some of these characters like Anansi and Bilquis and others, you don’t really get to hear a lot about them. Because of comic books, you get Thor and Zeus, Odin and Hercules and those guys but oftentimes, Gods of color don’t get a lot of love. Even when they do, it’s in secondary roles. Working for American Gods and I’m a huge Neil Gaiman fan. So to be able to play in that sort of world and get some genre credits under my name was great as I have a comic book company and I also tell a lot of genre driven stories so being able to legitimize that beyond wanting to do it was always something that I wanted to do.
AM: It was such a phenomenal series. I remember seeing the episodes and being able to see some of these characters that I had read about being brought to life so fully, it kept me glued and it was truly incredible.
So as a screenwriter, what is that process like in terms of getting attached to a project and how does one pitch themselves to get into this work?
RB: Well my agents do a lot of my pitching. They typically open doors, but I’d say that about 75% of the work that I get, outside of the things that I create, really comes from via word of mouth. Right now it’s a good time because of Winning Time and people seemingly are enjoying it and you get a lot of offers to do things because they like it which I am grateful for and it is a blessing. More often than not, it’s about putting yourself in the right position you know? People know that I write graphic books and comic books so whenever a project like that comes around and it seems like they can use a writer like me, oftentimes, they’ll call or not so much now because I have been doing it for awhile but maybe 7 or 8 years ago, if it was something that I had heard about that was coming down the pike, I would tell my agents to keep an eye out on it and then see if maybe they could get me up there to be considered.
AM: Is it a different flow for you when you’re writing for the BET Awards or the Oscars – is there a different approach because it’s a live audience or a different format then just a show or even the comic books?
RB: Not really, I look at all of it like it’s story whether it’s writing a joke, Chris Rock or one of his specials or whoever I’m working for for the Oscars or an awards show. Even a joke is a story. It has a beginning, a middle and an end. Whether I’m telling a funny story or a horrifying story or a dramatic story, at the end of the day, it’s all a story. So, I approach it all the same way. The biggest thing for me is really understanding who’s going to be interpreting the words. Like, I work a lot with Chris Rock, and I know him really, really well so if I’m going to pitch something to him, I incorporate that knowledge into the pitch. Like, I can sort of filter myself and know that he wouldn’t like this or he would really like that part. In writing the shows, I have built a great relationship with a lot of our cast and so, I try to write to their strengths as well as to the story that I am trying to tell. When I am saying that I’m writing to their strengths, I'm talking dialogue. There is a cadence to how people talk and if you can make it easier for them to interpret the words, I think that they become more comfortable with it so it's really more so about having familiarity with it for the task at hand.
AM: Also in your body of work, you have been a co-producer and a producer in shows like Heels, Winning Time and Wu-Tang: An American Saga. We’ve had a number of WWE wrestlers as our cover and shared their stories so seeing Heels was another show that we enjoyed. When did you realize that you wanted to add these roles into your body of work and how does that change your perspective especially when you're also writing the show as well?
RB: Well it’s funny, those titles of producing can mean a lot of different things. Earlier in my career, say on My Wife and Kids, when I was a producer, it wasn’t really a lot more to do than sitting in a room and writing. It’s sort of like the government, government jobs they have G-1, G-2 as you work up and it’s sort of like that in television in writing as well. If you do it long enough, you start out as a staff writer and then you move up to a story editor and then an executive story editor and then you go up through the WGA (Writers Guild of America) classifications that go with moving up. But then, in certain gigs like in Everybody Hates Chris, I was in the writer’s room and wrote a number of episodes, but I also produced the voiceover that you would hear in every show. So I would write the lines and go with Chris Rock and go record the lines together and then I would place them in the show in editing. So, to me that was actually the beginning of actually producing and so on different shows, that idea of what a producer means is something different.
On Winning Time, I actually work with the actors whether it’s working on set with their lines, working with the director to see whether or not a shot is sort of lining up with how we saw it when we were writing the show – it can mean a lot of different things. There are some shows where I have been an EP and it didn't mean anything more than just writing a show and putting it together or on some shows I'm actually tangibly doing something different. On American Gods, I wrote and also worked on the set with the actors and the director as well and putting it all together. On Heels, not so much. Marvel's Runaways – not so much. But it’s different with each one, so it’s a classification that comes with being a TV writer and as the responsibilities go, it has more to do with what that show requires.
AM: When I first heard about Winning Time last fall, I knew I was going to love it, I remember as a kid in 1986 loving this team even though I grew up in Indiana and it continues even though I live in NY now. So seeing this story, hearing about this story and getting this inside scoop of what was going on has made it really enjoyable to watch. How did you get attached to this project and what made you want to be involved?
RB: Max Borenstein (Kong: Skull Island, Worth, Godzilla vs Kong) who is our showrunner and the other Executive Producer as well, he and I have been writing together for about 10 years and when Jim Hecht (Fairly OddParents, Ice Age 2: The Meltdown, The Ice Age Adventures of Buck Wild) first optioned the book, he got the book to Adam McKay (Talladega Nights: The Ballad of Ricky Bobby, Vice, Don’t Look Up), and he got it to HBO and they said they would do a pilot I believe, I don’t know if the project was picked up then. They hired Max, Max called me and I said yes that I would want to be a part of it. That’s how it started.
AM: It’s an incredible cast and I love McKay films and the people that are in it. In terms of writing this where you had Jeff Pearlman’s book Showtime: Magic, Kareem, Riley and the Los Angeles Lakers Dynasty of the 1980s, how much source material did you have as I know players of that time as well as the franchise didn’t reach out to you on this. How did you coalesce these things all together to create this story and to provide that insider feel?
RB: Well we were really fortunate that book. So we studied a lot of books and Rick Fox, former Laker was our technical advisor, we talked to a lot of folks who were around the team at that time who worked for the organization, YouTube – we did a lot of research everywhere – articles anything that we could find. We sort of incorporated into the narrative and some stuff we had to tie in together for dramatization purposes.
AM: Obviously with the people that were involved, John C Reilly (Gangs of New York, The Aviator, Anchorman II: The Legend Continues), Jason Clarke (Brotherhood, Chappaquiddick, Silk Road), Rob Morgan (Stranger Things, The United States vs. Billie Holiday, Don’t Look Up), Jason Segel (How I Met Your Mother, Dispatches from Elsewhere, Hotel Artemis) and Adrien Brody (The Grand Budapest Hotel, Peaky Blinders, Succession) etc, there are actors in there where there is a lot of secret sauce. You have actors who were athletic but didn’t play basketball and having to do so for this role, having Quincy Isaiah play such a key and iconic person who was new to this platform, how did all of this come together to get that energy, to make an audience believe that these people who be playing this game even though they didn’t necessarily have this background?
RB: Francine Maisler (Uncut Gems, Being the Ricardos, Dune) is our casting director and she did a great job finding folks. Sometimes you get lucky like in the case of Quincy who is from Michigan and was an athlete – a football player. He had to lose 80lbs or so to come down to being able to have a Magic Johnson-like look. Solomon Hughes who plays, Kareem Adbul-Jabbar is an educator, is 7-feet tall, plays jazz and he played basketball on a professional level before. You just get lucky sometimes. I think that that’s across the board in finding people that not only have the talent but also the emotional stuff.
If you think about our players, they have to learn how to play the game because some had never played the game before, they had to be convincing to learn how to play a particular way that their character played, they had to go through physical training everyday and then they had to learn their lines and then they had to act. So there would be times when they would have to come from training, be on set, leave their work, leave set and go and play basketball everyday for however long – for a year or so. Then there is the training that went into it before hand and always having a good attitude about it as they were going. We got really really fortunate to find the folks that we found.
AM: When did you realize that you were going to be Maurice?
RB: I’ll tell you when I was working, Max was working on a movie called Worth in NY that’s on Netflix now. I was working on the first season of Wu-Tang: An American Saga. I was in Staten Island, he was in Manhattan. We would meet on the weekends and we would go over it with Jim Hecht and Rebecca Bertuch (Worth) and we would work on putting the show together. Every now and then, this name would pop up, Maurice, Maurice, Maurice – like who the hell is Maurice? Oh, you’re going to see and it was like an inside joke. They knew that I didn’t know. When we were officially on board and we started in the writer’s room in LA, we had all the pictures up of the actors on the wall and then there was a picture of me. I was like, “why is my picture on the wall?” They said, you’re going to play Maurice and I was like, “oh, ok – haha Maurice.” So Max actually wrote Maurice’s lines and the only scene that I had at one time was the scene with Pat Reily where I don’t let him in The Forum. I thought, “ok, I can do that, I’ve been a security guard my whole damn life!” I know how to say you can’t come in. You don’t even need to even write out the lines just let me stand there and I know how to not let you in some place. Then, all of a sudden, I started seeing Maurice pop up in other scripts! He's like a leprechaun where he sort of shows up in different places and I'm like, "why am I popping up?” and then I had a walk and talk which is very difficult as an actor because you have to walk, you have to think and you have to move which was in episode 5 where I had that scene. I was nervous about that scene. Actually, I messed up the scene that is on. I messed up a line but Gabby Hoffman (High Maintenance, Girls, Transparent) who plays Claire Rothman is so great, you would never know because she kept going and I kept going and so that was it and they cut and we went on with the day – but I messed up.
It's cool, the network likes it, everyone likes him and I think that Maurice is going to come back and probably say more words.
AM: We always like when he pops up!
RB: Well, thank you! As long as I stay big and relatively menacing and intimidating, Maurice will probably be around.
AM: What has been your biggest takeaway of being part of this particular project, seeing it come together and the reception of people loving this?
RB: Anytime you work hard at a thing for a long time that is intended to entertain people, you always want that to land the way it is intended so that people are entertained. I think that we’ve got a great reception and that people really seem to like it and it’s sort of gratifying because I and a lot of people give a lot when you do these sort of things and it’s not easily assembled. For me certainly being able to talk about African American culture as it pertains to sports in a way that is sort of elevated is always an honor. It’s a good thing.
AM: Well, you guys have been greenlit for a second season. What does that look like, what do you want to tackle – will it continue with these same players or will it be another part of Laker history or even another time in NBA history for a Winning Time situation?
RB: As of the moment, the plan is to continue on in the same narrative and to just keep telling the story as we have been. Even now, when we first started the process before, we were going in the third or fourth iteration of what you see on screen now – we were going to go a lot faster. Then, the decision was made during COVID to slow down the process of storytelling and we had to go back to the drawing board a couple of times to slow it down. I say all of that to say that you never know. We could speed up a couple of seasons, we can keep going the way that it is, but I think that the plan for now is to continue going in the direction that it is.
AM: One of the things that I enjoy especially with a lot of the HBO shows is that there is a companion podcast and literally, I can’t wait until Mon to listen to the show which drops right after the episode airs on Sun. I listen to JB Smoove and then I listen to your podcast. It’s great to get your insights, what’s going on – the Rob Morgan episode was really great to hear. Every episode is great as there are so many tidbits that can be enjoyed. How did you get attached to hosting this podcast and how much input do you have over who ends up being on the episode with you?
RB: Very similar to how I became Maurice. Somebody thought that it would be a good idea to have me do it and my first reaction was, I have never done a podcast before and they were like, “oh you can do it.” I think that I tried to back out a couple of times and they were like no just give it a shot. I think that I got better as time went on which is sort of the course of life, the more you do it, the better you get at the thing that you do. But, it also helps that I know everybody. Everybody that I have had on so far whether it was Snoop Dogg, Rob Morgan or Quincy, or Max or whoever, I know them. It’s like having a conversation with someone who is a friend and not so much like talking to someone who is a stranger.
They always ask me who I would like to have on and I try to spread it around between the cast members, but also the people behind the scenes. I had Todd Banhazl (Janelle Monae: Dirty Computer, They Call Me Magic, Hustlers), I had Max, I had Jim Hecht, Rebecca, I had Sarah Scott (Pam & Tommy, The Offer, The Flight Attendant) our intimacy coordinator. I had Idan Ravin whose the basketball coordinator. I had our director Salli Richardson (The Chi, Altered Carbon, The Wheel of Time) and Tanya Hamilton (Big Sky, The Deuce, Snowfall). I try to mix it up where you have one of the cast members and then someone who is a technical part of the team so that for people who are interested in being part of the business as one time I was, you can actually hear some of what they do and realize that there are a number of jobs besides the big 4 or 5 at producer, director, writer. There are a lot of other things to be done and some things may spark to someone and hopefully that podcast can help a little bit.
AM: We love seeing the birth of the NBA as we know it today as this entertainment platform with next level dancers, club lounges and had this came together with Dr. Buss. This has become the standard for what it means to go to a NBA game. Being able to hear more about Jack McKinney and his time with the Lakers. I knew he was a coach for the Pacers, but I didn’t know about his backstory. What is it that you want audiences to walk away with after watching this season or subsequent seasons?
RB: Always with our show, we have what you know and the thing that you can Google and find out. Who won the game, who lost the game and those types of things. But there’s also those things that you didn’t know. Like in the case of Jack McKinney, a lot of people had forgotten not just him, but the accident that he was in – the basketball accident and how that changed the course of the Lakers coaching dynamic. So, being able to tell some of those stories and show the Shakespearean dynamic of the coaching system with Paul West head and Pat Riley, most people know Pat Riley being the Lakers coach and they sort of identify with just him, but there were other guys too.
I think that the other side of that coin is Spencer Haywood who was a big part of NBA free agency and a lot of how we look at basketball today in the fact that we can look at James Harden and see him go from team to team to team or LeBron just being able to go to the Heat and all of that – a lot of that has to do with Spencer Haywood and going to court to battle for free agency rights for players. When I was growing up watching the NBA, I’m from Maryland so we had the Bullets, now the Wizards. Usually if a player got drafted, he played with one team for his entire career. It was big news when a player would move from one team to another.
Now, when you look at the change and the evolution both in the style of play when you look at the Showtime offense of Jack McKinney that evolved and to Spencer Haywood’s contribution, that you see in these 2 gentleman, it has a lot to do with the way that the game is played and it’s rarely recognized over the course of history. Anytime we can incorporate things that folks don’t know, it’s always a treat!
AM: Usually, when an episode concludes, we’re usually Googling about 4 things! It becomes a great way to understand how far the game has come in really such a short period of time and how things are so different and the shoulders that people stood on to get to where we are now.
RB: Exactly.
AM: Where did your love for comic books come from. You have Killadelphia that you’re writing, Marvel, Star Wars universes and Lucas Film Studios – where did this come from?
RB: The only inciting influence that I can find in my mind and my heart was that my mother was a school teacher. Before computers and all of that stuff, she would go to the public library to do her lesson plans and she would bring me. There was always this area where you would have kids like in a pen, your Cat in the Hat, Curious George books etc. I had no interest in any of those books because under those books was a box and in that box was comic books. I knew exactly where it was and I don’t think that they ever changed them in all the years that I went. I would just sit in the corner and read them for hours. It sort of became a thing where it was infectious you know? The moral throughline and some of the stories were more evolved than what my 5 or 6 year old mind could handle but I was intrigued by that idea. Then later, people would give them to me and my grandfather would call them funny books back then. They would give me a stack of them and it was a way to keep me quiet. Later on, when I would have odd jobs, I would buy them. This was during a period of time where you could get comic books anywhere – the convenience store, liquor store, virtually any place that had a spinner rack full of comics. Now, you have to go to a comic shop on Wed to get them. But back then, they were readily available and they were only 20 cents or a quarter. Now they’re $4 if not more.
It was just a love that just evolved along with my life. In the beginning, it was mostly about the art and the story. Then in my teen and later years, there were guys like Alan Moore (Watchmen, V for Vendetta, Swamp Thing) and Grant Morrison (Doom Patrol, New X-Men, Fantastic Four 1234) and Frank Miller (Daredevil, The Dark Knight Returns, Sin City), they sort of made it like literature and evolved into something that was more serious and that kept me involved and then later television and film like most people. So there has always been this relationship.
When I was younger, I tried to write comics professionally, but couldn’t find a way in. Like a lot of things that I’m sure people feel with television and film, it’s a tough nut to crack. But even more so back then, there weren’t a whole lot of African American characters and there wasn’t a big indie space when I was coming up. It was just Marvel and DC and every once in a while there’d be a new company that would pop in. They didn’t have the same distribution chain as DC so you were relegated to those 10 characters maybe if there were 10. I think that a lot of times, companies back then felt like unless you were writing for a character of color, what’s the point of hiring this person? So for me, I wanted to take a shot at writing a comic so when I was on the show Runaways which was a Marvel show, they liked my work and I sort of leveraged the appreciation of my work to say, “hey if you guys have any relationship with Marvel Publishing, I’d love to write a comic book.” They gave me Falcon. I quickly realized that I had no idea what the hell I was doing or how to write a comic book. I just took my shot. It was received ok-ish. Then again like the podcast, I kept doing it again and again and again and I got better and better and better at it and then I had the idea for Killadelphia and started a whole new thing. Now I write 10 books a month and I have my own company and it’s taken on a life all of it’s own.
AM: Which is amazing and I know in looking at your IG, you were talking about The Mandalorian which I’m a fan of. You have a project coming out in June – can you tell us more?
RB: Yes, it’s June the 22nd, The Mandalorian adaptation of the TV show and it’s the first adaptation that Marvel and Lucas Film have done with a project. It’s basically straight adaptation of that story. They don’t let you deviate too far from the story because it’s Star Wars cannon and you can’t really interfere or add new things because it’s connected to the television show. So I basically do my version of the television show would be.
AM: It’s still very cool though!
RB: Yes, it’s an honor to play in that space.
I just finished IG-88 Star Wars: War of the Bounty Hunters and I did Lando Double or Nothing earlier. I love to play in the space. I have a Luke Cage short that’s coming up and maybe a Luke Cage miniseries coming up for Marvel. So anytime you get to play in that space, it’s always fun because it’s such a big fan base that you get to connect with that many people is always an honor.
AM: You created Zombie Love Studio which deals with creating original graphic novels and things of that nature, what are some things coming out of there that you want to highlight?
RB: The first book is Blacula, a reboot of the Blacula character from Blaxploitation era in Oct/Nov which should be dropping then. I also have another book, Florence and Normandie and alien attack story that takes place on the corner of Florence and Normandie famous because of the Rodney King riots that started from there. I’m writing that with Xzibit. I have Tales from the Crip with Snoop Dogg which is the Crip Keeper. I have a book called Crownsville which is set in one of the first black mental asylums in America that’s a ghost story.
There's a bunch of other things that we’re developing that are moving along. There aren’t enough hours in the day, but I’m really excited about it all and it’s coming together slowly but surely.
AM: The depth of what you’ve done is truly phenomenal. What are things on your bucket list that you have yet to do or areas that you want to put into that body of work that you haven’t but that you’re still interested in tackling.
RB: Well certainly, developing the Zombie Love books and Killadelphia and things like that into my Substack page where I do 4 of the books. 3 that are connected to the Killadelphia world which is the book that I do at Image. There are 3 books that I do at Image, Killadelphia, Nita Hawes’ Nightmare Blog and Monarch an alien attack miniseries that I am doing. My Substack page has 3 other series, Johnny Gatlin who is a gun slinger in hell and hell is like the Wild West. 20 Degrees Past Rigor which is a zombie story set in Flint, Michigan where zombies are connected to the polluted waters of Flint. The Butcher of Black Bottom which is a serial killer story set in 1920’s Black Bottom section of Detroit. Then there’s Elysium Gardens which is in the back of Killadelphia which has an ongoing story on a Substack page. So, there are those books as well. There’s a lot of stuff and next, I hope to adopt a lot of those things into other forms of media whether it’s animated, live action or television or those kinds of things.
AM: Because you have so many projects that are just in constant rotation, how do you deal with the overlap? Do you have to be at a certain point before you take other things on – do you slice it up like a pizza and mix it the best that you can?
RB: Ha! That’s basically it. I try to tackle each thing as the day comes at me. I usually get up at 4 in the morning and then I start writing and I get the comic book stuff done in the morning. Then I tackle my day jobs like Winning Time or anything else that I have in front of me and I take it as the day comes. Whoever is yelling the most that is owed the thing to them – so yeah! Whoever’s voice is the loudest at the moment!
AM: I think that the time that we’re living in right now, although there is still a need for a lot more representation, to think of myself now versus the younger me who wouldn’t have thought to know that there would be an Ava Du Vernay (A Wrinkle in Time, Queen Sugar, Girls Trip), yourself, Shonda Rhimes (Bridgerton, Inventing Anna, Grey’s Anatomy) all these people that are moving storytelling forward. How important is it for you to reflect that in your work and to have POC be able to see themselves as well as for others to understand why they need to be an ally and to make these spaces more open?
RB: Well I think it’s important because the world doesn’t connect in the same way anymore like physically. We don’t talk to each other the way that we used to and it wasn’t perfect back then either. It’s more important than ever to be able to tell stories that have a ring of truth or some semblance of honesty. That way you get to see people as they are good, bad and indifferent more so than as a caricature or something that feels contrived in some way. I think that a lot of the biases that we hold with each other comes from those depictions. I know since 1619, a concerted effort was made speaking directly to African American culture to make us less than human. There’s one idea of being less than human, but you have to reinforce that on a regular basis. So you either make them caricatures or villains – one extreme or the other. If that idea has the ability to sort of ferment for 400 years or more then you’re at a place where it almost becomes truth because you’re so used to seeing that be the case.
So when you have this culture that is fighting for a slice of the pie or some semblance for respect and dignity, living in a culture and you’re sort of burdened by living with that depiction. It's really a hard thing to overcome because then even the culture itself starts to believe it – is this who I am and some people do. That can be problematic in its own way because you start to devalue yourself and people who look like you.
So I think that the more folks that can get in for various gender, sexual orientation, race or whatever it may be – to be able to speak to your truth in an honest way cannot only help you and the group that you’re in but also people outside of that group so that they have a better understanding of who you are and the struggle that you navigate just to be a human being and to have a human experience.
AM: Who are 3 people that you feel were profound, instrumental or helpful to be in your career?
RB: Damon Wayans (My Wife and Kids, Lethal Weapon, Major Payne) is always first! He was the first person that gave me an opportunity to work on a television show. Were it not for him, I wouldn’t be here. Don Reo (Everybody Hates Chris, Two and a Half Men, The Ranch) who was the showrunner and creator with Damon on My Wife and Kids. He helped take whatever raw ability I had and allowed me into a space in a way that pushed me to a space where I was able to see for myself what I had to do. I’m eternally grateful to him as well. I have to say that there is a tie for number 3 Allen Hughes (Dead Presidents, Menace II Society, The Book of Eli) of the Hughes Brothers, a director. He helped me to bridge art and commerce. He gave me an opportunity to write in a different type of way and helped me find my way of doing art. He was very supportive in that. Then, Max Borenstein who is our showrunner on Winning Time who sort of did the same thing but in a different way. There’s a push sometimes that you need to get out of where you have been to where you want to be and Max was very helpful in being able to push me. Beyond him pushing me, was me pushing me as well. There are a lot of other people and if you had given me 10 or 20, I could have continued on with other people who have helped me even if it was just survival – that’s important as well. So when it comes to writing and being a professional writer, those people come to mind.
PHOTOGRAPHY CREDITS | PG 78 Warrick Page/HBO MAX | PG 81 - 85 STARZ/American Gods | PG 87 + 88 STARZ/Heels | PG 91 -102 HBO MAX/Winning Time |
Read the APR ISSUE #77 of Athleisure Mag and see IT’S ALL JUST STORY | Rodney Barnes in mag.
Featured
AWARDS SEASON | OSCARS WINNERS
This morning, nominations for the Academy Awards, known as The Oscars were announced. It’s definitely going to be interesting to see who the winners will be. Ahead of the big night. we’re sharing who we predict will win in bold, winners that we predicted correctly will be in bold italic and those that won that we didn’t get correct will be in italics.
BEST PICTURE
“Belfast,” Laura Berwick, Kenneth Branagh, Becca Kovacik and Tamar Thomas, producers
“CODA,” Philippe Rousselet, Fabrice Gianfermi and Patrick Wachsberger, producers
“Don’t Look Up,” Adam McKay and Kevin Messick, producers
“Drive My Car,” Teruhisa Yamamoto, producer
“Dune,” Mary Parent, Denis Villeneuve and Cale Boyter, producers
“King Richard,” Tim White, Trevor White and Will Smith, producers
“Licorice Pizza,” Sara Murphy, Adam Somner and Paul Thomas Anderson, producers
“Nightmare Alley,” Guillermo del Toro, J. Miles Dale and Bradley Cooper, producers
“The Power of the Dog,” Jane Campion, Tanya Seghatchian, Emile Sherman, Iain Canning and Roger Frappier, producers
“West Side Story,” Steven Spielberg and Kristie Macosko Krieger, producers
BEST DIRECTOR
Kenneth Branagh (“Belfast”)
Ryûsuke Hamaguchi (“Drive My Car”)
Paul Thomas Anderson (“Licorice Pizza”)
Jane Campion (“The Power of the Dog”)
Steven Spielberg (“West Side Story”)
BEST LEAD ACTOR
Javier Bardem (“Being the Ricardos”)
Benedict Cumberbatch (“The Power of the Dog”)
Andrew Garfield (“Tick, Tick … Boom!”)
Will Smith (“King Richard”)
Denzel Washington (“The Tragedy of Macbeth”)
BEST LEAD ACTRESS
Jessica Chastain (“The Eyes of Tammy Faye”)
Olivia Colman (“The Lost Daughter”)
Penélope Cruz (“Parallel Mothers”)
Nicole Kidman (“Being the Ricardos”)
Kristen Stewart (“Spencer”)
BEST SUPPORTING ACTOR
Ciarán Hinds (“Belfast”)
Troy Kotsur (“CODA”)
Jesse Plemons (“The Power of the Dog”)
J.K. Simmons (“Being the Ricardos”)
Kodi Smit-McPhee (“The Power of the Dog”)
BEST SUPPORTING ACTRESS
Jessie Buckley (“The Lost Daughter”)
Ariana DeBose (“West Side Story”)
Judi Dench (“Belfast”)
Kirsten Dunst (“The Power of the Dog”)
Aunjanue Ellis (“King Richard”)
BEST ADAPTED SCREENPLAY
“CODA,” screenplay by Siân Heder
“Drive My Car,” screenplay by Ryusuke Hamaguchi, Takamasa Oe
“Dune,” screenplay by Jon Spaihts and Denis Villeneuve and Eric Roth
“The Lost Daughter,” written by Maggie Gyllenhaal
“The Power of the Dog,” written by Jane Campion
BEST ORIGINAL SCREENPLAY
“Belfast,” written by Kenneth Branagh
“Don’t Look Up,” screenplay by Adam McKay; story by Adam McKay and David Sirota
“King Richard,” written by Zach Baylin
“Licorice Pizza,” written by Paul Thomas Anderson
“The Worst Person in the World,” written by Eskil Vogt, Joachim Trier
BEST CINEMATOGRAPHY
“Dune,” Greig Fraser
“Nightmare Alley,” Dan Laustsen
“The Power of the Dog,” Ari Wegner
“The Tragedy of Macbeth,” Bruno Delbonnel
“West Side Story,” Janusz Kaminski
BEST ANIMATED FEATURE FILM
“Encanto,” Jared Bush, Byron Howard, Yvett Merino and Clark Spencer
“Flee,” Jonas Poher Rasmussen, Monica Hellström, Signe Byrge Sørensen and Charlotte De La Gournerie
“Luca,” Enrico Casarosa and Andrea Warren
“The Mitchells vs. the Machines,” Mike Rianda, Phil Lord, Christopher Miller and Kurt Albrecht
“Raya and the Last Dragon,” Don Hall, Carlos López Estrada, Osnat Shurer and Peter Del Vecho
BEST ANIMATED SHORT FILM
“Affairs of the Art,” Joanna Quinn and Les Mills
“Bestia,” Hugo Covarrubias and Tevo Díaz
“Boxballet,” Anton Dyakov
“Robin Robin,” Dan Ojari and Mikey Please
“The Windshield Wiper,” Alberto Mielgo and Leo Sanchez
BEST COSTUME DESIGN
“Cruella,” Jenny Beavan
“Cyrano,” Massimo Cantini Parrini and Jacqueline Durran
“Dune,” Jacqueline West and Robert Morgan
“Nightmare Alley,” Luis Sequeira
“West Side Story,” Paul Tazewell
BEST ORIGINAL SCORE
“Don’t Look Up,” Nicholas Britell
“Dune,” Hans Zimmer
“Encanto,” Germaine Franco
“Parallel Mothers,” Alberto Iglesias
“The Power of the Dog,” Jonny Greenwood
BEST SOUND
“Belfast,” Denise Yarde, Simon Chase, James Mather and Niv Adiri
“Dune,” Mac Ruth, Mark Mangini, Theo Green, Doug Hemphill and Ron Bartlett
“No Time to Die,” Simon Hayes, Oliver Tarney, James Harrison, Paul Massey and Mark Taylor
“The Power of the Dog,” Richard Flynn, Robert Mackenzie and Tara Webb
“West Side Story,” Tod A. Maitland, Gary Rydstrom, Brian Chumney, Andy Nelson and Shawn Murphy
BEST ORIGINAL SONG
“Be Alive” from “King Richard,” music and lyric by Dixson and Beyoncé Knowles-Carter
“Dos Oruguitas” from “Encanto,” music and lyric by Lin-Manuel Miranda
“Down To Joy” from “Belfast,” music and lyric by Van Morrison
“No Time To Die” from “No Time to Die,” music and lyric by Billie Eilish and Finneas O’Connell
“Somehow You Do” from “Four Good Days,” music and lyric by Diane Warren
BEST DOCUMENTARY FEATURE
“Ascension,” Jessica Kingdon, Kira Simon-Kennedy and Nathan Truesdell
“Attica,” Stanley Nelson and Traci A. Curry
“Flee,” Jonas Poher Rasmussen, Monica Hellström, Signe Byrge Sørensen and Charlotte De La Gournerie
“Summer of Soul (…Or, When the Revolution Could Not Be Televised),” Ahmir “Questlove” Thompson, Joseph Patel, Robert Fyvolent and David Dinerstein
“Writing With Fire,” Rintu Thomas and Sushmit Ghosh
BEST DOCUMENTARY SHORT SUBJECT
“Audible,” Matt Ogens and Geoff McLean
“Lead Me Home,” Pedro Kos and Jon Shenk
“The Queen of Basketball,” Ben Proudfoot
“Three Songs for Benazir,” Elizabeth Mirzaei and Gulistan Mirzaei
“When We Were Bullies,” Jay Rosenblatt
BEST FILM EDITING
“Don’t Look Up,” Hank Corwin
“Dune,” Joe Walker
“King Richard”, Pamela Martin
“The Power of the Dog,” Peter Sciberras
“Tick, Tick…Boom!” Myron Kerstein and Andrew Weisblum
BEST INTERNATIONAL FEATURE FILM
“Drive My Car” (Japan)
“Flee” (Denmark)
“The Hand of God” (Italy)
“Lunana: A Yak in the Classroom” (Bhutan)
“The Worst Person in the World” (Norway)
Best Makeup and Hairstyling
“Coming 2 America,” Mike Marino, Stacey Morris and Carla Farmer
“Cruella,” Nadia Stacey, Naomi Donne and Julia Vernon
“Dune,” Donald Mowat, Love Larson and Eva von Bahr
“The Eyes of Tammy Faye,” Linda Dowds, Stephanie Ingram and Justin Raleigh
“House of Gucci,” Göran Lundström, Anna Carin Lock and Frederic Aspiras
BEST PRODUCTION DESIGN
“Dune,” production design: Patrice Vermette; set decoration: Zsuzsanna Sipos
“Nightmare Alley,” production design: Tamara Deverell; set decoration: Shane Vieau
“The Power of the Dog,” production design: Grant Major; set decoration: Amber Richards
“The Tragedy of Macbeth,” production design: Stefan Dechant; set decoration: Nancy Haigh
“West Side Story,” production design: Adam Stockhausen; set decoration: Rena DeAngelo
BEST VISUAL EFFECTS
“Dune,” Paul Lambert, Tristan Myles, Brian Connor and Gerd Nefzer
“Free Guy,” Swen Gillberg, Bryan Grill, Nikos Kalaitzidis and Dan Sudick
“No Time to Die,” Charlie Noble, Joel Green, Jonathan Fawkner and Chris Corbould
“Shang-Chi and the Legend of the Ten Rings,” Christopher Townsend, Joe Farrell, Sean Noel Walker and Dan Oliver
“Spider-Man: No Way Home,” Kelly Port, Chris Waegner, Scott Edelstein and Dan Sudick
BEST LIVE ACTION SHORT FILM
“Ala Kachuu – Take and Run,” Maria Brendle and Nadine Lüchinger
“The Dress,” Tadeusz Łysiak and Maciej Ślesicki
“The Long Goodbye,” Aneil Karia and Riz Ahmed
“On My Mind,” Martin Strange-Hansen and Kim Magnusson
“Please Hold,” K.D. Dávila and Levin Menekse
Read the latest issue of Athleisure Mag.
Featured
AWARDS SEASON | OSCARS NOMINATIONS
This morning, nominations for the Academy Awards, known as The Oscars were announced. It’s definitely going to be interesting to see who the winners will be. Ahead of the big night. we’re sharing who we predict will win in bold, winners that we predicted correctly will be in bold italic and those that won that we didn’t get correct will be in italics.
BEST PICTURE
“Belfast,” Laura Berwick, Kenneth Branagh, Becca Kovacik and Tamar Thomas, producers
“CODA,” Philippe Rousselet, Fabrice Gianfermi and Patrick Wachsberger, producers
“Don’t Look Up,” Adam McKay and Kevin Messick, producers
“Drive My Car,” Teruhisa Yamamoto, producer
“Dune,” Mary Parent, Denis Villeneuve and Cale Boyter, producers
“King Richard,” Tim White, Trevor White and Will Smith, producers
“Licorice Pizza,” Sara Murphy, Adam Somner and Paul Thomas Anderson, producers
“Nightmare Alley,” Guillermo del Toro, J. Miles Dale and Bradley Cooper, producers
“The Power of the Dog,” Jane Campion, Tanya Seghatchian, Emile Sherman, Iain Canning and Roger Frappier, producers
“West Side Story,” Steven Spielberg and Kristie Macosko Krieger, producers
BEST DIRECTOR
Kenneth Branagh (“Belfast”)
Ryûsuke Hamaguchi (“Drive My Car”)
Paul Thomas Anderson (“Licorice Pizza”)
Jane Campion (“The Power of the Dog”)
Steven Spielberg (“West Side Story”)
BEST LEAD ACTOR
Javier Bardem (“Being the Ricardos”)
Benedict Cumberbatch (“The Power of the Dog”)
Andrew Garfield (“Tick, Tick … Boom!”)
Will Smith (“King Richard”)
Denzel Washington (“The Tragedy of Macbeth”)
BEST LEAD ACTRESS
Jessica Chastain (“The Eyes of Tammy Faye”)
Olivia Colman (“The Lost Daughter”)
Penélope Cruz (“Parallel Mothers”)
Nicole Kidman (“Being the Ricardos”)
Kristen Stewart (“Spencer”)
BEST SUPPORTING ACTOR
Ciarán Hinds (“Belfast”)
Troy Kotsur (“CODA”)
Jesse Plemons (“The Power of the Dog”)
J.K. Simmons (“Being the Ricardos”)
Kodi Smit-McPhee (“The Power of the Dog”)
BEST SUPPORTING ACTRESS
Jessie Buckley (“The Lost Daughter”)
Ariana DeBose (“West Side Story”)
Judi Dench (“Belfast”)
Kirsten Dunst (“The Power of the Dog”)
Aunjanue Ellis (“King Richard”)
BEST ADAPTED SCREENPLAY
“CODA,” screenplay by Siân Heder
“Drive My Car,” screenplay by Ryusuke Hamaguchi, Takamasa Oe
“Dune,” screenplay by Jon Spaihts and Denis Villeneuve and Eric Roth
“The Lost Daughter,” written by Maggie Gyllenhaal
“The Power of the Dog,” written by Jane Campion
BEST ORIGINAL SCREENPLAY
“Belfast,” written by Kenneth Branagh
“Don’t Look Up,” screenplay by Adam McKay; story by Adam McKay and David Sirota
“King Richard,” written by Zach Baylin
“Licorice Pizza,” written by Paul Thomas Anderson
“The Worst Person in the World,” written by Eskil Vogt, Joachim Trier
BEST CINEMATOGRAPHY
“Dune,” Greig Fraser
“Nightmare Alley,” Dan Laustsen
“The Power of the Dog,” Ari Wegner
“The Tragedy of Macbeth,” Bruno Delbonnel
“West Side Story,” Janusz Kaminski
BEST ANIMATED FEATURE FILM
“Encanto,” Jared Bush, Byron Howard, Yvett Merino and Clark Spencer
“Flee,” Jonas Poher Rasmussen, Monica Hellström, Signe Byrge Sørensen and Charlotte De La Gournerie
“Luca,” Enrico Casarosa and Andrea Warren
“The Mitchells vs. the Machines,” Mike Rianda, Phil Lord, Christopher Miller and Kurt Albrecht
“Raya and the Last Dragon,” Don Hall, Carlos López Estrada, Osnat Shurer and Peter Del Vecho
BEST ANIMATED SHORT FILM
“Affairs of the Art,” Joanna Quinn and Les Mills
“Bestia,” Hugo Covarrubias and Tevo Díaz
“Boxballet,” Anton Dyakov
“Robin Robin,” Dan Ojari and Mikey Please
“The Windshield Wiper,” Alberto Mielgo and Leo Sanchez
BEST COSTUME DESIGN
“Cruella,” Jenny Beavan
“Cyrano,” Massimo Cantini Parrini and Jacqueline Durran
“Dune,” Jacqueline West and Robert Morgan
“Nightmare Alley,” Luis Sequeira
“West Side Story,” Paul Tazewell
BEST ORIGINAL SCORE
“Don’t Look Up,” Nicholas Britell
“Dune,” Hans Zimmer
“Encanto,” Germaine Franco
“Parallel Mothers,” Alberto Iglesias
“The Power of the Dog,” Jonny Greenwood
BEST SOUND
“Belfast,” Denise Yarde, Simon Chase, James Mather and Niv Adiri
“Dune,” Mac Ruth, Mark Mangini, Theo Green, Doug Hemphill and Ron Bartlett
“No Time to Die,” Simon Hayes, Oliver Tarney, James Harrison, Paul Massey and Mark Taylor
“The Power of the Dog,” Richard Flynn, Robert Mackenzie and Tara Webb
“West Side Story,” Tod A. Maitland, Gary Rydstrom, Brian Chumney, Andy Nelson and Shawn Murphy
BEST ORIGINAL SONG
“Be Alive” from “King Richard,” music and lyric by Dixson and Beyoncé Knowles-Carter
“Dos Oruguitas” from “Encanto,” music and lyric by Lin-Manuel Miranda
“Down To Joy” from “Belfast,” music and lyric by Van Morrison
“No Time To Die” from “No Time to Die,” music and lyric by Billie Eilish and Finneas O’Connell
“Somehow You Do” from “Four Good Days,” music and lyric by Diane Warren
BEST DOCUMENTARY FEATURE
“Ascension,” Jessica Kingdon, Kira Simon-Kennedy and Nathan Truesdell
“Attica,” Stanley Nelson and Traci A. Curry
“Flee,” Jonas Poher Rasmussen, Monica Hellström, Signe Byrge Sørensen and Charlotte De La Gournerie
“Summer of Soul (…Or, When the Revolution Could Not Be Televised),” Ahmir “Questlove” Thompson, Joseph Patel, Robert Fyvolent and David Dinerstein
“Writing With Fire,” Rintu Thomas and Sushmit Ghosh
BEST DOCUMENTARY SHORT SUBJECT
“Audible,” Matt Ogens and Geoff McLean
“Lead Me Home,” Pedro Kos and Jon Shenk
“The Queen of Basketball,” Ben Proudfoot
“Three Songs for Benazir,” Elizabeth Mirzaei and Gulistan Mirzaei
“When We Were Bullies,” Jay Rosenblatt
BEST FILM EDITING
“Don’t Look Up,” Hank Corwin
“Dune,” Joe Walker
“King Richard”, Pamela Martin
“The Power of the Dog,” Peter Sciberras
“Tick, Tick…Boom!” Myron Kerstein and Andrew Weisblum
BEST INTERNATIONAL FEATURE FILM
“Drive My Car” (Japan)
“Flee” (Denmark)
“The Hand of God” (Italy)
“Lunana: A Yak in the Classroom” (Bhutan)
“The Worst Person in the World” (Norway)
Best Makeup and Hairstyling
“Coming 2 America,” Mike Marino, Stacey Morris and Carla Farmer
“Cruella,” Nadia Stacey, Naomi Donne and Julia Vernon
“Dune,” Donald Mowat, Love Larson and Eva von Bahr
“The Eyes of Tammy Faye,” Linda Dowds, Stephanie Ingram and Justin Raleigh
“House of Gucci,” Göran Lundström, Anna Carin Lock and Frederic Aspiras
BEST PRODUCTION DESIGN
“Dune,” production design: Patrice Vermette; set decoration: Zsuzsanna Sipos
“Nightmare Alley,” production design: Tamara Deverell; set decoration: Shane Vieau
“The Power of the Dog,” production design: Grant Major; set decoration: Amber Richards
“The Tragedy of Macbeth,” production design: Stefan Dechant; set decoration: Nancy Haigh
“West Side Story,” production design: Adam Stockhausen; set decoration: Rena DeAngelo
BEST VISUAL EFFECTS
“Dune,” Paul Lambert, Tristan Myles, Brian Connor and Gerd Nefzer
“Free Guy,” Swen Gillberg, Bryan Grill, Nikos Kalaitzidis and Dan Sudick
“No Time to Die,” Charlie Noble, Joel Green, Jonathan Fawkner and Chris Corbould
“Shang-Chi and the Legend of the Ten Rings,” Christopher Townsend, Joe Farrell, Sean Noel Walker and Dan Oliver
“Spider-Man: No Way Home,” Kelly Port, Chris Waegner, Scott Edelstein and Dan Sudick
BEST LIVE ACTION SHORT FILM
“Ala Kachuu – Take and Run,” Maria Brendle and Nadine Lüchinger
“The Dress,” Tadeusz Łysiak and Maciej Ślesicki
“The Long Goodbye,” Aneil Karia and Riz Ahmed
“On My Mind,” Martin Strange-Hansen and Kim Magnusson
“Please Hold,” K.D. Dávila and Levin Menekse
Read the latest issue of Athleisure Mag.
Featured
AWARDS SEASON 2021 | ACADEMY AWARD WINNERS
The 93rd annual Academy Awards -known as the Oscars. The awards show takes place live tonight. As always, we like to share who we think will win, who actually won and whether we were correct on our predictions. It’s been quite an awards season as we have navigates the pandemic for over the past year and we’re always looking forward to who will hit the red carpet and come home with the Oscar.
ACTOR IN A LEADING ROLE
RIZ AHMED Sound of Metal
CHADWICK BOSEMAN Ma Rainey’s Black Bottom
ANTHONY HOPKINS The Father
GARY OLDMAN Mank
STEVEN YEUN Minari
ACTOR IN A SUPPORTING ROLE
SACHA BARON COHEN The Trial of the Chicago 7
DANIEL KALUUYA Judas and the Black Messiah
LESLIE ODOM, JR. One Night in Miami…
PAUL RACI Sound of Metal
LAKEITH STANFIELD Judas and the Black Messiah
ACTRESS IN A LEADING ROLE
VIOLA DAVIS Ma Rainey’s Black Bottom
ANDRA DAY The United States vs. Billie Holiday
VANESSA KIRBY Pieces of a Woman
FRANCES MCDORMAND Nomadland
CAREY MULLIGAN Promising Young Woman
ACTRESS IN A SUPPORTING ROLE
MARIA BAKALOVA Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan
GLENN CLOSE Hillbilly Energy
OLIVIA COLMAN The Father
AMANDA SEYFRIED Mank
YUH-JUNG Minari
ANIMATED FEATURE FILM
ONWARD Dan Scanlon and Kori Rae
OVER THE MOON Glen Keane, Gennie Rim and Peillin Chou
A SHAUN THE SHEEP MOVIE: FARMAGEDDON Richard Phelan, Will Becher and Paul Kewley
SOUL Pete Docter and Dana Murray
WOLFWALKERS Tomm Moore, Ross Stewart, Paul Young and Stephan Roelants
CINEMATOGRAPHY
JUDAS AND THE BLACK MESSIAH Sean Bobbitt
MANK Erik Messerschmidt
NEWS OF THE WORLD Dariusz Wolski
NOMADLAND Joshua James Richards
THE TRIAL OF THE CHICAGO 7 Phedon Papamichael
COSTUME DESIGN
EMMA Alexandra Byrne
MA RAINEY’S BLACK BOTTOM Ann Roth
MANK Trish Summerville
MULAN Joshua Bina Daigeler
PINOCCHIO Massimo Cantini Parrini
DIRECTING
ANOTHER ROUND Thomas Vinterberg
MANK David Fincher
MINARI Lee Isaac Chung
NOMADLAND Chloe Zhao
PROMISING YOUNG WOMAN Emerald Fennell
DOCUMENTARY (FEATURE)
COLLECTIVE Alexander Nanau and Bianca Oana
CRIP CAMP Nicole Newnham, Jim LeBrecht and Sara Bolder
THE MOLE AGENT Maite Alberdi and Marcela Santibanez
MY OCTOPUS TEACHER Pippa Ehrlich, James Reed and Craig Foster
TIME Massimo Garrett Bradley, Lauren Domino and Kellen Quinn
DOCUMENTARY (SHORT SUBJECT)
COLETTE Anthony Glacchino and Alice Doyard
A CONCERTO IS A CONVERSATION Ben Proudfoot and Kris Bowers
DO NOT SPLIT Anders Hammer and Charlotte Cook
HUNGER WARD Skye Fitzgerald and Michael Scheuerman
A LOVE SONG FOR LATASHA Sophia Nahli Allison and Janice Duncan
FILM EDITING
THE FATHER Rorgos Lamprinos
NOMADLAND Chloe Zhao
PROMISING YOUNG WOMAN Frederic Thoraval
SOUND OF METAL Mikkel E. G. Nielsen
THE TRIAL OF THE CHICAGO 7 Alan Baumgarten
INTERNATIONAL FEATURE FILM
ANOTHER ROUND Denmark
BETTER DAYS Hong Kong
COLLECTIVE Romania
THE MAN WHO SOLD HIS SKIN Tunisia
QUO VADIS, AIDA? Bosnia and Herzegovina
MAKEUP AND HAIRSTYLING
EMMA Marese Langan, Laura Allen and Claudia Stolze
HILLBILLY ELEGY Eryn Krueger Mekash, Matthew Mungle and Patricia Dehaney
MA RAINEY’S BLACK BOTTOM Sergio-Lopez RIvera, Mia Neal and Jamika Wilson
MANK Gigi Williams, Kimberley Spiteri and Colleen LaBaff
PINOCCHIO Mark Coullier, Dalia Colli and Francesco Pegoretti
MUSIC (ORIGINAL SCORE)
DA 5 BLOODS Terence Blanchard
MANK Trent Reznor and Atticus Ross
MINARI Emile Mosseri
NEWS OF THE WORLD James Newton Howard
SOUL Trent Reznor, Atticus Ross and Jon Batiste
MUSIC (ORIGINAL SONG)
FIGHT FOR YOU From Judas and the Black Messiah; Music by H.E.R. and Dernst Emile II; Lyric by H.E.R. and Tiara Thomas
HEAR MY VOICE From the Trial of the Chicago 7; Music by Daniel Pemberton; Lyric by Daniel Pamberton and Celeste Waite
HUSAVIK From Eurovision Song Contest: The Story of Fire Saga; Music and Lyric by Savan Kotecha, Fat Max Gsus and Rickard Goransson
IO SI (SEEN) From the Life Ahead (La Vita Davanti a Se); Music by Diane Warren; Lyric by Diane Warren and Laura Pausini
SPEAK NOW From One Night in Miami…; Music and Lyric by Leslie Odom, Jr. and Sam Ashworth
BEST PICTURE
THE FATHER David Parfitt, Jean-Louis Livi and Phillippe Carcassonne, Producers
JUDAS AND THE BLACK MESSIAH Shaka King, Charles D. King and Ryan Coogler, Producers
MANK Cean Chaffin, Eric Roth and Douglas Urbanski, Producers
MINARI Christina Oh, Producer
NOMADLAND Frances McDormand, Peter Spears, Mollye Asher, Dan Janvey and Chloe Zhao, Producers
PROMISING YOUNG WOMAN Ben Browning, Ashley Fox, Emerald Fennell and Josey McNamara, Producers
SOUND OF METAL Bert Hamelinck and Sacha Ben Harroche, Producers
THE TRIAL OF THE CHICAGO 7 Marc Platt and Stuart Besser, Producers
PRODUCTION DESIGN
THE FATHER Production Design: Peter Francis; Set Decoration: Cathy Featherstone
MA RAINEY’S BLACK BOTTOM Production Design: Mark Ricker; Set Decoration: Karen O’Hara and Diana Stoughton
MANK Production Design: Donald Graha, Burt; Set Decoration: Jan Pascale
NEWS OF THE WORLD Production Design: David Crank; Set Decoration; Elizabeth Keenan
TENET Production Design: Nathan Crowley; Set Decoration: Kathy Lucas
SHORT FILM (ANIMATED)
BURROW Madeline Sharafian and Michael Capbarat
GENIUS LOCI Adrien Merigeau and Amaury Ovise
IF ANYTHING HAPPENS I LOVE YOU Will McCormack and Michael Govier
OPERA Erick Oh
YES-PEOPLE Gisli Darri Halidorsson and Arnar Gunnarsson
SHORT FILM (LIVE ACTION)
FEELING THROUGH Doug Roland and Susan Ruzenski
THE LETTER ROOM Elvira Lind and Sofia Sondervan
THE PRESENT Farah Nabulsi and Ossama Bawardi
TWO DISTANT STRANGERS Travon Free and Martin Desmond Roe
WHITE EYE Tomer Shushan and Shira Hochman
SOUND
GREYHOUND Warren Shaw, Michael Minkler, Beau Borders and David Wyman
MANK Ren Klyce, K+Jeremy Molod, David Parker, Nathan Nance and Drew Kunin
NEWS OF THE WORLD Oliver Tarney, Mike Prestwood Smith, William Miller and John Pritchett
SOUL Ren Klyce, Coya Elliott and David Parker
SOUND OF METAL Nicolas Becker, Jaime Baksht, Michelle Couttolenc, Carlos Cortes and Phillip Bladh
VISUAL EFFECTS
LOVE AND MONSTERS Matt Sloan, Genevieve Camilleri, Matt Everitt and Brian Cox
THE MIDNIGHT SKY Matthew Kasmir, Christopher Lawrence, Max Solomon and David Watkins
MULAN Sean Faden, Anders Langlands, Seth Maury and Steve Ingram
THE ONE AND ONLY IVAN Nick Davis, Greg Fisher, Ben Jones and Santiago Colomo Martinez
TENET Andrew Jackson, David Lee, Andrew Lockley and Scott Fisher
WRITING (ADAPTED SCREENPLAY)
BORAT SUBSEQUENT MOVIEFILM: DELIVERY OF PRODIGIOUS BRIBE TO AMERICAN REGIME FOR MAKE BENEFIT ONCE GLORIOUS NATION OF KAZAKHSTAN Screenplay by Sacha Baron Cohen & Anthony Hines & Dan Swimer & Peter Baynham & Eric Rivinoja & Dan Maxer & Jena Friedman & Lee Kern; Story by Sacha Baron Cohen & Anthony Hines & Dan Swimer & Nina Pedrad
THE FATHER Screenplay by Christopher Hampton and Florian Zeller
NOMADLAND Written for the screen by Chlow Zhao
ONE NIGHT IN MIAMI… Screenplay by Kemp Powers
THE WHITE TIGER Written for the screen by Ramin Bahrani
WRITING (ORIGINAL SCREENPLAY)
JUDAS AND THE BLACK MESSIAH Screenplay by Will Benson & Shaka King; Story by Will Berson & Shaka King and Kenny Lucas & Keith Lucas
MINARI Written by Lee Isaac Chung
PROMISING YOUNG WOMAN Written by Emerald Fennell
SOUND OF METAL Screenplay by Darius Marder & Abraham Marder; Story by Darius Marder & Derek Clanfrance
THE TRIAL OF THE CHICAGO 7 Written by Aaron Sorkin
JEAN HERSHOLT HUMANITARIAN AWARD
MOTION PICTURE AND TELEVISION FUND
TYLER PERRY
Featured
AWARDS SEASON 2021 | ACADEMY AWARDS
The 93rd annual Academy Awards -known as the Oscars. The awards show takes place live on April 25th from the Dolby Theatre at the Hollywood & Highland Center in Los Angeles. As always, we like to share who we think will win, who actually won and whether we were correct on our predictions. This particular awards show allows the industry to vote on their colleagues and is always a nice one to watch throughout the night.
ACTOR IN A LEADING ROLE
RIZ AHMED Sound of Metal
CHADWICK BOSEMAN Ma Rainey’s Black Bottom
ANTHONY HOPKINS The Father
GARY OLDMAN Mank
STEVEN YEUN Minari
ACTOR IN A SUPPORTING ROLE
SACHA BARON COHEN The Trial of the Chicago 7
DANIEL KALUUYA Judas and the Black Messiah
LESLIE ODOM, JR. One Night in Miami…
PAUL RACI Sound of Metal
LAKEITH STANFIELD Judas and the Black Messiah
ACTRESS IN A LEADING ROLE
VIOLA DAVIS Ma Rainey’s Black Bottom
ANDRA DAY The United States vs. Billie Holiday
VANESSA KIRBY Pieces of a Woman
FRANCES MCDORMAND Nomadland
CAREY MULLIGAN Promising Young Woman
ACTRESS IN A SUPPORTING ROLE
MARIA BAKALOVA Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan
GLENN CLOSE Hillbilly Energy
OLIVIA COLMAN The Father
AMANDA SEYFRIED Mank
YUH-JUNG Minari
ANIMATED FEATURE FILM
ONWARD Dan Scanlon and Kori Rae
OVER THE MOON Glen Keane, Gennie Rim and Peillin Chou
A SHAUN THE SHEEP MOVIE: FARMAGEDDON Richard Phelan, Will Becher and Paul Kewley
SOUL Pete DOcter and Dana Murray
WOLFWALKERS Tomm Moore, Ross Stewart, Paul Young and Stephan Roelants
CINEMATOGRAPHY
JUDAS AND THE BLACK MESSIAH Sean Bobbitt
MANK Erik Messerschmidt
NEWS OF THE WORLD Dariusz Wolski
NOMADLAND Joshua James Richards
THE TRIAL OF THE CHICAGO 7 Phedon Papamichael
COSTUME DESIGN
EMMA Alexandra Byrne
MA RAINEY’S BLACK BOTTOM Ann Roth
MANK Trish Summerville
MULAN Joshua Bina Daigeler
PINOCCHIO Massimo Cantini Parrini
DIRECTING
ANOTHER ROUND Thomas Vinterberg
MANK David Fincher
MINARI Lee Isaac Chung
NOMADLAND Chloe Zhao
PROMISING YOUNG WOMAN Emerald Fennell
DOCUMENTARY (FEATURE)
COLLECTIVE Alexander Nanau and Bianca Oana
CRIP CAMP Nicole Newnham, Jim LeBrecht and Sara Bolder
THE MOLE AGENT Maite Alberdi and Marcela Santibanez
MY OCTOPUS TEACHER Pippa Ehrlich, James Reed and Craig Foster
TIME Massimo Garrett Bradley, Lauren Domino and Kellen Quinn
DOCUMENTARY (SHORT SUBJECT)
COLETTE Anthony Glacchino and Alice Doyard
A CONCERTO IS A CONVERSATION Ben Proudfoot and Kris Bowers
DO NOT SPLIT Anders Hammer and Charlotte Cook
HUNGER WARD Skye Fitzgerald and Michael Scheuerman
A LOVE SONG FOR LATASHA Sophia Nahli Allison and Janice Duncan
FILM EDITING
THE FATHER Rorgos Lamprinos
NOMADLAND Chloe Zhao
PROMISING YOUNG WOMAN Frederic Thoraval
SOUND OF METAL Mikkel E. G. Nielsen
THE TRIAL OF THE CHICAGO 7 Alan Baumgarten
INTERNATIONAL FEATURE FILM
ANOTHER ROUND Denmark
BETTER DAYS Hong Kong
COLLECTIVE Romania
THE MAN WHO SOLD HIS SKIN Tunisia
QUO VADIS, AIDA? Bosnia and Herzegovina
MAKEUP AND HAIRSTYLING
EMMA Marese Langan, Laura Allen and Claudia Stolze
HILLBILLY ELEGY Eryn Krueger Mekash, Matthew Mungle and Patricia Dehaney
MA RAINEY’S BLACK BOTTOM Sergio-Lopez RIvera, Mia Neal and Jamika Wilson
MANK Gigi Williams, Kimberley Spiteri and Colleen LaBaff
PINOCCHIO Mark Coullier, Dalia Colli and Francesco Pegoretti
MUSIC (ORIGINAL SCORE)
DA 5 BLOODS Terence Blanchard
MANK Trent Reznor and Atticus Ross
MINARI Emile Mosseri
NEWS OF THE WORLD James Newton Howard
SOUL Trent Reznor, Atticus Ross and Jon Batiste
MUSIC (ORIGINAL SONG)
FIGHT FOR YOU From Judas and the Black Messiah; Music by H.E.R. and Dernst Emile II; Lyric by H.E.R. and Tiara Thomas
HEAR MY VOICE From the Trial of the Chicago 7; Music by Daniel Pemberton; Lyric by Daniel Pamberton and Celeste Waite
HUSAVIK From Eurovision Song Contest: The Story of Fire Saga; Music and Lyric by Savan Kotecha, Fat Max Gsus and Rickard Goransson
IO SI (SEEN) From the Life Ahead (La Vita Davanti a Se); Music by Diane Warren; Lyric by Diane Warren and Laura Pausini
SPEAK NOW From One Night in Miami…; Music and Lyric by Leslie Odom, Jr. and Sam Ashworth
BEST PICTURE
THE FATHER David Parfitt, Jean-Louis Livi and Phillippe Carcassonne, Producers
JUDAS AND THE BLACK MESSIAH Shaka King, Charles D. King and Ryan Coogler, Producers
MANK Cean Chaffin, Eric Roth and Douglas Urbanski, Producers
MINARI Christina Oh, Producer
NOMADLAND Frances McDormand, Peter Spears, Mollye Asher, Dan Janvey and Chloe Zhao, Producers
PROMISING YOUNG WOMAN Ben Browning, Ashley Fox, Emerald Fennell and Josey McNamara, Producers
SOUND OF METAL Bert Hamelinck and Sacha Ben Harroche, Producers
THE TRIAL OF THE CHICAGO 7 Marc Platt and Stuart Besser, Producers
PRODUCTION DESIGN
THE FATHER Production Design: Peter Francis; Set Decoration: Cathy Featherstone
MA RAINEY’S BLACK BOTTOM Production Design: Mark Ricker; Set Decoration: Karen O’Hara and Diana Stoughton
MANK Production Design: Donald Graha, Burt; Set Decoration: Jan Pascale
NEWS OF THE WORLD Production Design: David Crank; Set Decoration; Elizabeth Keenan
TENET Production Design: Nathan Crowley; Set Decoration: Kathy Lucas
SHORT FILM (ANIMATED)
BURROW Madeline Sharafian and Michael Capbarat
GENIUS LOCI Adrien Merigeau and Amaury Ovise
IF ANYTHING HAPPENS I LOVE YOU Will McCormack and Michael Govier
OPERA Erick Oh
YES-PEOPLE Gisli Darri Halidorsson and Arnar Gunnarsson
SHORT FILM (LIVE ACTION)
FEELING THROUGH Doug Roland and Susan Ruzenski
THE LETTER ROOM Elvira Lind and Sofia Sondervan
THE PRESENT Farah Nabulsi and Ossama Bawardi
TWO DISTANT STRANGERS Travon Free and Martin Desmond Roe
WHITE EYE Tomer Shushan and Shira Hochman
SOUND
GREYHOUND Warren Shaw, Michael Minkler, Beau Borders and David Wyman
MANK Ren Klyce, K+Jeremy Molod, David Parker, Nathan Nance and Drew Kunin
NEWS OF THE WORLD Oliver Tarney, Mike Prestwood Smith, William Miller and John Pritchett
SOUL Ren Klyce, Coya Elliott and David Parker
SOUND OF METAL Nicolas Becker, Jaime Baksht, Michelle Couttolenc, Carlos Cortes and Phillip Bladh
VISUAL EFFECTS
LOVE AND MONSTERS Matt Sloan, Genevieve Camilleri, Matt Everitt and Brian Cox
THE MIDNIGHT SKY Matthew Kasmir, Christopher Lawrence, Max Solomon and David Watkins
MULAN Sean Faden, Anders Langlands, Seth Maury and Steve Ingram
THE ONE AND ONLY IVAN Nick Davis, Greg Fisher, Ben Jones and Santiago Colomo Martinez
TENET Andrew Jackson, David Lee, Andrew Lockley and Scott Fisher
WRITING (ADAPTED SCREENPLAY)
BORAT SUBSEQUENT MOVIEFILM: DELIVERY OF PRODIGIOUS BRIBE TO AMERICAN REGIME FOR MAKE BENEFIT ONCE GLORIOUS NATION OF KAZAKHSTAN Screenplay by Sacha Baron Cohen & Anthony Hines & Dan Swimer & Peter Baynham & Eric Rivinoja & Dan Maxer & Jena Friedman & Lee Kern; Story by Sacha Baron Cohen & Anthony Hines & Dan Swimer & Nina Pedrad
THE FATHER Screenplay by Christopher Hampton and Florian Zeller
NOMADLAND Written for the screen by Chlow Zhao
ONE NIGHT IN MIAMI… Screenplay by Kemp Powers
THE WHITE TIGER Written for the screen by Ramin Bahrani
WRITING (ORIGINAL SCREENPLAY)
JUDAS AND THE BLACK MESSIAH Screenplay by Will Benson & Shaka King; Story by Will Berson & Shaka King and Kenny Lucas & Keith Lucas
MINARI Written by Lee Isaac Chung
PROMISING YOUNG WOMAN Written by Emerald Fennell
SOUND OF METAL Screenplay by Darius Marder & Abraham Marder; Story by Darius Marder & Derek Clanfrance
THE TRIAL OF THE CHICAGO 7 Written by Aaron Sorkin
Featured
DARLING ON THE RISE WITH SOFIA TILBURY
We have been fans of Charlotte Tilbury for a number of years as we love her approach to creating inclusive products, ensuring that these items truly work as well as including innovations within her assortment of makeup and skincare. You also know that she's just as passionate at making her celebs and red carpet beauties look fantastic as well as her fans. Her niece, Sofia Tilbury has this same passion and works with her aunt to continue her initiatives. We find out more about the brand, her makeup journey and more.
ATHLEISURE MAG: What is it about the beauty industry that inspired you to work in this field?
SOFIA TILBURY: Growing up in Ibiza, makeup, fashion, art and beauty were always around, so it’s hard to remember when I first became inspired by the creative world, but I always looked up to my aunt Charlotte in her career as a makeup artist. Photography and art were my favourite subjects at school, so my first real experience with makeup was looking at fashion magazines and trying to recreate Charlotte’s cover looks on my friends so we could take photographs!
When I started to get into beauty, Charlotte’s biggest blessing was to let me come and work for her. She said the most important thing for a career in beauty was assisting someone, so you can watch and learn first-hand, and she was SO right. Working with Charlotte is the best makeup training you could ever get!
AM: A number of people dream of working with as well as being mentored by a visionary in their field. How is it to work so closely to an industry icon as a makeup artist as well as to learn the business from your aunt?
ST: When your aunt is Charlotte Tilbury and you want to be a makeup artist, there’s a huge pressure to be incredible, and you definitely feel like you have a lot to prove, but Charlotte is all about confidence and she empowered me every step of the way! I had to start where any other makeup artist would, and I had to work my way up, but it was the best way to learn. Charlotte is the most incredible mentor, so I feel super lucky to have been able to follow her and learn how she works her magic!
AM: What has been the best beauty tip that Charlotte has shared with you?
ST: One of the best makeup tricks I ever discovered through Charlotte was the power of a feline flick! It’s something she taught me from a young age. Your eyes are the most mesmerising part of your face, and when you use a gorgeous, creamy liner (like the Pillow Talk eyeliner) to elongate their shape and make them look more feline, it transforms your whole look! It works on everyone!
AM: Can you tell us about the positions that you have held at Charlotte Tilbury and what you do currently at Charlotte Tilbury, what is your role like and what areas do you cover for the brand?
ST: When I was 18, I worked full-time at the Charlotte Tilbury counter as an artist for two years and I learned so much. Retail is hard work. I was surrounded by all these incredibly talented and experienced makeup artists and I had to learn fast! I loved it. Then, behind the scenes, Charlotte started asking me questions about what was selling well, which products customers were asking for and what was missing from the range. That was how I started working closely with Charlotte on product development and the brand side of things.
I’m currently a Brand Ambassador and Product & Content Creator at Charlotte Tilbury Beauty. No two days are ever the same! One day I could be part of a campaign, the next I’m testing colours with the product development team or dashing to do a VIP’s makeup for an event like the Golden Globes or the Oscars. I particularly love the opportunity I have to create content for Instagram. It's always amazing and inspiring to see my followers trying a look I’ve created and feeling like a more beautiful, confident version of themselves as a result. Charlotte has always talked about the power of makeup to transform your energy, and in those moments, you do feel incredibly humbled by it.
AM: As a Celebrity Makeup Artist, what have been some of your favorite projects or people that you have worked on?
ST: I’m fortunate enough to work with some of the world’s most inspirational, beautiful women—from Sienna Miller to Irina Shayk; Romee Strijd to Candice Swanepoel—and at events like the Met Gala, the Golden Globes and the Oscars, so it is impossible to choose a favourite!
One of the highlights of my career was my first ever time as the Lead Makeup Artist at London Fashion Week in September 2019. I created the makeup looks for Agent Provocateur, Temperley London and Olivia Rubin shows. It is incredibly fast paced and exciting backstage and working with the designers to create looks that complemented their vision and artistry—from the prints and fabrics to the cuts of the dresses—was an absolute dream come true!
AM: What are your 3 must have products in the line that are your essentials?
ST: This is always SUCH a hard question!! I can’t live without any of our products! I’m a lip liner girl so my first pick would have to be a Lip Cheat. I never apply lipstick without liner! My favourites are Hot Gossip—a peachy nude—and Supersize Me—the perfect rosy-pink shade that resizes and reshapes the appearance of your lips instantly!
Magic Cream is always in my handbag. I have a tiny little travel sized pot that I use whenever my skin is dry—whether it is for priming my skin for a makeup tutorial or hydrating my arms and legs before a night out! I also love to use Charlotte’s new Magic Cream Light—which is a lightweight, supercharged version of Magic Cream. It’s perfect for combination skin going through an oilier phase, or for humid summer weather! It just leaves your skin looking glowing and hydrated with a satin-matte finish.
And third, Magic Away Concealer is my ultimate skin saviour. I wear it every day. It has incredible stretch and coverage so when I’m tired or my skin is not looking so great, it just blurs out all the imperfections and lifts your confidence straight away. You could event wear it on its own without foundation if you wanted to!
AM: You do several tutorials for the brand with a focus on an array of looks, how important is it to have that content and education?
ST: On social media, people are constantly asking me for tips and tricks on how to recreate my celebrity makeup looks from red carpet events, how to get the perfect smokey eye, how to cheat the perfect lip shape—so it’s super important to me that I’m constantly creating content to answer those questions and decodify those makeup secrets!
While I’ve been in isolation, I have spent my time creating content that hopefully will uplift and empower people through the magic of makeup, whether it’s how to make your eyes look bigger and brighter with the Pillow Talk Luxury Palette or how to use your night-time skincare routine to carve out a little selfcare. Makeup and skincare are incredibly powerful, so I love to share that knowledge with everyone!
AM: With a number of us doing a lot more video calls, what is the best way to get a healthy glow to our skin as well as adding a pop of color?
ST: I think the key to looking good on video calls is having gorgeous, glowing skin so you look happy, healthy and radiant!
For the past few months I’ve been using Charlotte’s new Magic Serum Crystal Elixir and the way my skin looks and feels is AMAZING! It has never been so hydrated, smooth and poreless—and that really is the key if you’re going to be in front of a camera all day! It has a magic matrix of supercharged ingredients, including Polyglutamic Acid—which is four times more hydrating than Hyaluronic Acid—so it creates a beautiful, hydrating filter effect on the skin and it makes makeup application so much easier too!
I layer Magic Cream over the top to intensely hydrate my skin and give it a dewy look, and then I glide Hollywood Flawless Filter over my cheekbones to really give my complexion a boost. There is nothing like glow for transforming your mood!
When you look tired, you feel tired, so my next tip would be Magic Away concealer. It has incredible stretch and coverage so you can use it on its own as a base if you’re being called into a last-minute Zoom and want to look fresh and bright-eyed! I always like to use a lighter shade under my eyes to bounce the light and counteract any darkness, and then I use a shade that matches my complexion to conceal any redness or imperfections.
To lock that in, I use Airbrush Flawless Finish Powder—this is the best powder EVER. I don’t know a single makeup artist or celebrity who doesn’t swear by this! It is so finely milled, it glides on like silk and blurs out pores and fine lines in an instant. It’s like a filter for your skin!
For a glowing pop of colour, I like to swish and pop the Pillow Talk Cheek to Chic Blush over the apples of my cheeks. I love that it has a highlighter shade in the middle for the perfect kiss of glow!
AM: We’re fans of Instant Eye Palette in Pillow Talk and loved seeing it throughout the red carpets during Awards Season. In April, the brand dropped Charlotte’s New Magic Serum Crystal Elixir. Can you tell us about this new launch and feel free to share any other products that we should know about?
ST: The Magic Serum launch was incredible! We launched it with the first ever virtual press day for the brand and beauty industry, and it created a huge buzz, so it was super exciting to be a part of that. It had a huge 10k waitlist, which is just incredible!
So many people are obsessed with how this serum has transformed the look of their skin—myself included! It’s a high-performance, potent yet comforting formula and it’s great for sensitive skin too.
It has Golden Vitamin C in it, which is a non-irritating alternative for anyone who has ever struggled with traditional Vitamin C serums like I have. It helps even and brighten your complexion without causing breakouts or redness. The Magic Serum also contains Niacinamide, which is like a bootcamp for your pores.
Another thing I love about this serum is that it actually has CRYSTALS such as Rose Quartz, Moonstone and Amethyst in it! I’m from Ibiza, so I grew up around crystals and a bohemian way of life. I wear crystals every day; I really do believe in the mood-boosting, holistic healing aura of crystals, so this feels extra special and powerful right now.
I like to use 4-6 drops on cleansed skin, really taking the time to warm it between my fingertips and massage upwards and outwards over my face.
We’ve also just launched the most incredible new smoothing, pore-blurring Airbrush Bronzer that literally makes you look airbrushed! I like to apply it to my cheekbones, temples and across my nose using the new Air-Brush bronzing brush— creating broad strokes wherever the sun naturally hits you. It smoothes, blurs and enhances the look of your facial architecture. It also contains Hyaluronic Acid, so it actually hydrates the skin while you wear—it never looks dry or cakey like some bronzers! It mimics the look of a sun-kissed tan!
AM: As someone who has a number of makeup tips, how can we find a nude lipstick that works for our skin tone?
ST: For fair skin, I find cool blue-pink nude lipsticks like Charlotte’s award-winning Pillow Talk and Matte Revolution Lipstick in Very Victoria look fantastic. Glossy textures like the Lip Lustre in Pillow Talk can also help create that plump, kissable look that is amazing for a day look.
With medium skin tones, you’ve really got the option of going cool or warm. For a more cool or neutral nude, opt for a shade like Penelope Pink or Nude Kate and use a lip liner in a slightly peachy shade, such as Hot Gossip, to help it blend into your natural lip shade. My skin is a little warmer, so I love tawny-nude shades like Superstar Lips in Glow Kiss or Hot Lips 2 in Glowing Jen. They give a really beachy, sun-kissed nude that looks amazing on olive skin too!
For deeper skin, the key really is the lip liner. I love to use the Lip Cheat in Pillow Talk Intense or Foxy Brown to really give the lips a perfected, rich brown colour that helps any lip shade blend beautifully without washing out the skin! The shades Stoned Rose, Angel Alessandra and Superstar Lips in Everlasting Kiss look stunning as nude lipsticks on deep skin tones. They give you an instant goddess pout!
AM: What is your go to skincare products to prep your skin prior to makeup as well as after washing it off?
ST: The first thing I do when prepping my skin or removing makeup is double cleansing with the Goddess Cleansing Ritual. I begin with the Citrus Oil Radiance Cleanse, which is a coconut-oil based, citrus-oil blend that melts your makeup away. I then follow this with the second ritual, which is a purifying charcoal cleanse. It draws out impurities and tackles deeper-rooted environmental dirt, helping to unblock pores and eliminate excess online, which I love.
Next, I’ll use my Instant Magic Facial Dry Sheet Mask or my Goddess Skin Clay Mask. When we were working on the dry sheet mask, Charlotte was super inspired by Korean beauty, so we worked with some amazing labs to create this formula of genius ingredients–including vitamin B3, crocus bulb extract, peptides, oils and butters–to penetrate deep into the skin using a biomimetic vector delivery system. If my skin is a little oily or congested, I’ll use the clay mask—which is rich with almond oil and Spanish Clay. It doesn’t crack or dry like other clay masks do! Every time I use this on myself or one of my clients, I’m blown away by the way it makes the skin look baby smooth!
Another one of my favourite tricks I learned from Charlotte is facial massage— her celebrity clients call this the “Tilbury Tap!” When prepping a client’s complexion before makeup, I pinch along the jawline and cheekbones, tap my fingers around the eye area and massage Charlotte’s Magic Serum and Magic Cream up and out with sweeping, open palms to help stimulate lymphatic drainage and micro- circulation.
PHOTOGRAPHY COURTESY | Sofia Tilbury
Read the June Issue #54 of Athleisure Mag and see Darling on the Rise with Sofia Tilbury in mag.
Featured Beauty
R3DCARP3T
OSCARS 2020 | WINNERS
This portion of Awards Season comes to a close with tonight’s Oscars 2020. As usual, those names in italics are our predictions, those in bold are winners and those that bold italicized are the ones that we guessed correctly. Make sure you check out the Academy Awards show and the presentation of the Oscars on NBC on Feb 9th!
BEST PICTURE
1917
Ford v Ferrari
The Irishman
Jojo Rabbit
Joker
Little Women
Marriage Story
Once Upon a Time in Hollywood
Parasite
BEST ACTOR
Antonio Banderas for Pain and Glory
Leonardo DiCaprio for Once Upon a Time in Hollywood
Adam Driver for Marriage Story
Joaquin Phoenix for Joker
Jonathan Pryce for The Two Popes
BEST ACTRESS
Cynthia Erivo for Harriet
Scarlett Johansson for Marriage Story
Saoirse Ronan for Little Women
Charlize Theron for Bombshell
Renée Zellweger for Judy
BEST SUPPORTING ACTOR
Tom Hanks for A Beautiful Day in the Neighborhood
Anthony Hopkins for The Two Popes
Al Pacino for The Irishman
Joe Pesci for The Irishman
Brad Pitt for Once Upon a Time in Hollywood
BEST SUPPORTING ACTRESS
Kathy Bates for Richard Jewell
Laura Dern for Marriage Story
Scarlett Johansson for Jojo Rabbit
Florence Pugh for Little Women
Margot Robbie for Bombshell
BEST DIRECTOR
Martin Scorsese for The Irishman
Todd Phillips for Joker
Sam Mendes for 1917
Quentin Tarantino for Once Upon a Time in Hollywood
Bong Joon-ho for Parasite
BEST ORIGINAL SCREENPLAY
Knives Out
Marriage Story
1917
Once Upon a Time in Hollywood
Parasite
BEST ADAPTED SCREENPLAY
The Irishman
Jojo Rabbit
Joker
Little Women
The Two Popes
BEST FILM EDITING
Ford v Ferrari
The Irishman
Jojo Rabbit
Joker
Parasite
BEST VISUAL EFFECTS
1917
Avengers: Endgame
The Irishman
The Lion King
Star Wars: The Rise of Skywalker
BEST CINEMATOGRAPHY
1917
The Irishman
Joker
The Lighthouse
Once Upon a Time in Hollywood
BEST PRODUCTION DESIGN
1917
The Irishman
Jojo Rabbit
Once Upon a Time in Hollywood
Parasite
BEST COSTUME DESIGN
The Irishman
Jojo Rabbit
Joker
Little Women
Once Upon a Time in Hollywood
BEST MAKEUP AND HAIRSTYLING
1917
Bombshell
Joker
Judy
Maleficent: Mistress of Evil
BEST ORIGINAL SCORE
1917 (Thomas Newman)
Joker (Hildur Guðnadóttir)
Little Women (Alexandre Desplat)
Marriage Story (Randy Newman)
Star Wars: The Rise of Skywalker (John Williams)
BEST ORIGINAL SONG
"I Can't Let You Throw Yourself Away" from Toy Story 4
"(I'm Gonna) Love Me Again" from Rocketman
"I'm Standing With You" from Breakthrough
"Into the Unknown" from Frozen II
"Stand Up" from Harriet
BEST SOUND EDITING
1917
Ford v Ferrari
Joker
Once Upon a Time in Hollywood
Star Wars: The Rise of Skywalker
BEST SOUND MIXING
1917
Ad Astra
Ford v Ferrari
Joker
Once Upon a Time in Hollywood
BEST ANIMATED FEATURE FILM
How to Train Your Dragon: The Hidden World
I Lost My Body
Klaus
Missing Link
Toy Story 4
BEST ANIMATED SHORT FILM
Dcera (Daughter)
Hair Love
Kitbull
Sister
BEST DOCUMENTARY FEATURE
American Factory
The Cave
The Edge of Democracy
For Sama
Honeyland
BEST DOCUMENTARY SHORT SUBJECT
In the Absence
Learning to Skateboard in a Warzone (If You’re a Girl)
Life Overtakes Me
St. Louis Superman
Walk Run Cha-Cha
BEST INTERNATIONAL FEATURE FILM
Corpus Christi (Poland)
Honeyland (North Macedonia)
Les Misérables (France)
Pain and Glory (Spain)
Parasite (South Korea)
BEST LIVE ACTION SHORT FILM
Brotherhood
Nefta Football Club
The Neighbors' Window
Saria
A Sister
Read the latest issue of Athleisure Mag.
Featured Awards Season
OSCARS 2020 | NOMINEES + PREDICTIONS
Earlier today, the nominees for Oscars 2020 took place. As usual, we’re sharing who we predict will win. Those names in italics are our predictions, those in bold are winners and those that bold italicized are the ones that we guessed correctly. Make sure you check out the Academy Awards show and the presentation of the Oscars on NBC on Feb 9th!
BEST PICTURE
1917
Ford v Ferrari
The Irishman
Jojo Rabbit
Joker
Little Women
Marriage Story
Once Upon a Time in Hollywood
Parasite
BEST ACTOR
Antonio Banderas for Pain and Glory
Leonardo DiCaprio for Once Upon a Time in Hollywood
Adam Driver for Marriage Story
Joaquin Phoenix for Joker
Jonathan Pryce for The Two Popes
BEST ACTRESS
Cynthia Erivo for Harriet
Scarlett Johansson for Marriage Story
Saoirse Ronan for Little Women
Charlize Theron for Bombshell
Renée Zellweger for Judy
BEST SUPPORTING ACTOR
Tom Hanks for A Beautiful Day in the Neighborhood
Anthony Hopkins for The Two Popes
Al Pacino for The Irishman
Joe Pesci for The Irishman
Brad Pitt for Once Upon a Time in Hollywood
BEST SUPPORTING ACTRESS
Kathy Bates for Richard Jewell
Laura Dern for Marriage Story
Scarlett Johansson for Jojo Rabbit
Florence Pugh for Little Women
Margot Robbie for Bombshell
BEST DIRECTOR
Martin Scorsese for The Irishman
Todd Phillips for Joker
Sam Mendes for 1917
Quentin Tarantino for Once Upon a Time in Hollywood
Bong Joon-ho for Parasite
BEST ORIGINAL SCREENPLAY
Knives Out
Marriage Story
1917
Once Upon a Time in Hollywood
Parasite
BEST ADAPTED SCREENPLAY
The Irishman
Jojo Rabbit
Joker
Little Women
The Two Popes
BEST FILM EDITING
Ford v Ferrari
The Irishman
Jojo Rabbit
Joker
Parasite
BEST VISUAL EFFECTS
1917
Avengers: Endgame
The Irishman
The Lion King
Star Wars: The Rise of Skywalker
BEST CINEMATOGRAPHY
1917
The Irishman
Joker
The Lighthouse
Once Upon a Time in Hollywood
BEST PRODUCTION DESIGN
1917
The Irishman
Jojo Rabbit
Once Upon a Time in Hollywood
Parasite
BEST COSTUME DESIGN
The Irishman
Jojo Rabbit
Joker
Little Women
Once Upon a Time in Hollywood
BEST MAKEUP AND HAIRSTYLING
1917
Bombshell
Joker
Judy
Maleficent: Mistress of Evil
BEST ORIGINAL SCORE
1917 (Thomas Newman)
Joker (Hildur Guðnadóttir)
Little Women (Alexandre Desplat)
Marriage Story (Randy Newman)
Star Wars: The Rise of Skywalker (John Williams)
BEST ORIGINAL SONG
"I Can't Let You Throw Yourself Away" from Toy Story 4
"(I'm Gonna) Love Me Again" from Rocketman
"I'm Standing With You" from Breakthrough
"Into the Unknown" from Frozen II
"Stand Up" from Harriet
BEST SOUND EDITING
1917
Ford v Ferrari
Joker
Once Upon a Time in Hollywood
Star Wars: The Rise of Skywalker
BEST SOUND MIXING
1917
Ad Astra
Ford v Ferrari
Joker
Once Upon a Time in Hollywood
BEST ANIMATED FEATURE FILM
How to Train Your Dragon: The Hidden World
I Lost My Body
Klaus
Missing Link
Toy Story 4
BEST ANIMATED SHORT FILM
Dcera (Daughter)
Hair Love
Kitbull
Sister
BEST DOCUMENTARY FEATURE
American Factory
The Cave
The Edge of Democracy
For Sama
Honeyland
BEST DOCUMENTARY SHORT SUBJECT
In the Absence
Learning to Skateboard in a Warzone (If You’re a Girl)
Life Overtakes Me
St. Louis Superman
Walk Run Cha-Cha
BEST INTERNATIONAL FEATURE FILM
Corpus Christi (Poland)
Honeyland (North Macedonia)
Les Misérables (France)
Pain and Glory (Spain)
Parasite (South Korea)
BEST LIVE ACTION SHORT FILM
Brotherhood
Nefta Football Club
The Neighbors' Window
Saria
A Sister
Read the latest issue of Athleisure Mag.
Featured Awards Season
OSCARS 2019 | NOMINEES + WINNERS
Hours ago, the nominations for the Oscars, which will air on ABC on Feb 24th at 8pm EST live took place this morning. Although there has been a lot of chatter about hosts or not having hosts over the past few weeks, we can all agree that there are a number of amazing films and talents that will be recognized on Hollywood’s biggest night! As we do each Awards Season, we share who we think will win and throughout the night, we’ll update who the winners are.
You can also enjoy all the red carpet looks at E! Live From the Red Carpet starting at 4pm EST.
BOLD | Athleisure Mag’s Prediction
BOLD ITALICS | Winners predicted correctly by Athleisure Mag
ITALICS | Winners that we didn’t predict
See the full list of Oscar nominations below:
BEST PICTURE
“Green Book"
"BlacKkKlansman"
"Bohemian Rhapsody"
"The Favourite"
"Black Panther"
"Roma"
"A Star Is Born"
"Vice"
ACTRESS IN A SUPPORTING ROLE
Regina King, “If Beale Street Could Talk”
Marina de Tavira, "Roma"
Amy Adams, “Vice”
Emma Stone, "The Favourite"
Rachel Weisz, "The Favourite"
ACTOR IN A SUPPORTING ROLE
Mahershala Ali, "Green Book"
Adam Driver, "BlackKKlansman"
Sam Elliott, "A Star Is Born"
Richard E. Grant, "Can You Ever Forgive Me"
Sam Rockwell, "Vice"
FOREIGN LANGUAGE FILM
"Roma"
"Cold War"
"Never Look Away"
"Capernaum"
"Shoplifters"
DOCUMENTARY (SHORT)
"Period. End of Sentence."
"End Game"
"Lifeboat"
"A Night at the Garden"
"Black Sheep"
DOCUMENTARY FEATURE
"Free Solo"
"Hale County This Morning, This Evening"
"Minding the Gap"
"Of Fathers and Sons"
"RBG"
ORIGINAL SONG
"Shallow" - "A Star is Born"
"I'll Fight" - "RBG"
“All The Stars” - Black Panther
"The Place Where Lost Things Go" - "Mary Poppins Returns"
"When A Cowboy Trades His Spurs For Wings" - "The Ballad of Buster Scruggs"
ANIMATED FEATURE FILM
“Spider-Man: Into the Spider-Verse Incredibles 2"
"Isle of Dogs"
"Mirai"
"Ralph Breaks the Internet"
"Incredibles 2”
ADAPTED SCREENPLAY
"BlacKkKlansman"
"The Ballad of Buster Scruggs"
"Can You Ever Forgive Me?"
"If Beale Street Could Talk"
"A Star Is Born"
ORIGINAL SCREENPLAY
"Green Book"
"First Reformed"
"Roma"
"The Favourite"
"Vice"
ACTOR IN A LEADING ROLE
Rami Malek, "Bohemian Rhapsody"
Bradley Cooper, "A Star Is Born
Willem Dafoe, "At Eternity's Gate"
Christian Bale, "Vice"
Viggo Mortensen, "Green Book"
ACTRESS IN A LEADING ROLE
Olivia Coleman, ”The Favourite”
Glenn Close, "The Wife"
Lady Gaga, "A Star Is Born"
Yalitza Aparicio, Roma”
Melissa McCarthy, "Can You Ever Forgive Me?"
DIRECTOR
Alfonso Cuarón
Pawel Pawlikowski
Yorgos Lanthimos
Spike Lee
Adam McKay
PRODUCTION DESIGN
"Black Panther"
"The Favourite"
"First Man"
"Mary Poppins Returns"
"Roma"
CINEMATOGRAPHY
"Roma"
"The Favourite"
"Never Look Away"
"Cold War"
"A Star Is Born"
COSTUME DESIGN
"Black Panther"
"The Ballad of Buster Scruggs”
"The Favourite"
"Mary Poppins Returns"
"Mary Queen of Scots"
SOUND EDITING
"Bohemian Rhapsody"
"Black Panther"
"A Quiet Place"
"First Man"
"Roma"
SOUND MIXING
"Bohemian Rhapsody"
"Black Panther"
"First Man"
"Roma"
"A Star Is Born"
ANIMATED SHORT FILM
"Bao"
"Animated Behaviour"
"Late Afternoon"
"One Small Step"
"Weekends"
LIVE ACTION SHORT FILM
"Skin"
"Fauve"
"Marguerite"
"Mother"
"Detainment"
ORIGINAL SCORE
"Black Panther"
"BlacKkKlansman"
"If Beale Street Could Talk"
"Isle of Dogs"
"Mary Poppins Returns"
VISUAL EFFECTS
"First Man"
"Christopher Robin"
"Avengers: Infinity War"
"Ready Player One"
"Solo: A Star Wars Story"
FILM EDITING
"Bohemian Rhapsody"
"BlacKkKlansman"
"Green Book"
"The Favourite"
"Vice"
MAKEUP AND HAIRSTYLING
"Vice”
"Mary Queen of Scots"
“Border”
Catch the latest issue of Athleisure Mag and check out the latest episode on Athleisure Studio.
Featured Awards Season
TO THE SLOPES WITH LINDSEY VONN
One of our favorite Olympians to hit PyeongChang during the Winter Games last month, was none other than Lindsey Vonn. The stunning Alpine Skier not only went home with a little more bling, but went on to continue competitions. We caught up with her here in NYC to find out when she fell in love with the sport, what it's like to perform at a high level, her partnership with Bounty and her personal style.
ATHLEISURE MAG: Tell us about how you got into the sport of Alpine Skiing.
LINDSEY VONN: My Grandfather was the pioneer of skiing for our family and he passed that love onto his kids and my Dad passed it onto me.
AM: We have interviewed a number of Olympians and have heard various fitness levels when preparing for the Olympics versus maintaining fitness goals. What was your training like leading up to the Olympics and then while you were there?
LV: Well, I’ve been training for this Olympics for 8 years! I’ve been in and out of rehab for my knee and elbow, but have still maintained a strict training program to keep me in shape. In between racing, I work out every day and during races I get up early and ride my stationary bike for a warm up.
AM: You're fresh off winning your Bronze Medal at PyeongChang - what was your biggest take away from the experience?
LV: The best part of my experience was just accomplishing my goals of getting a medal for my Grandfather. This Olympics has been such a long time coming that I’m just thankful I made it, I was healthy, and I did the very best I could.
AM: We know that you partnered with Bounty as we saw your commercials throughout the Olympic Games, tell us about this and why was it a natural fit to do?
LV: Bounty is a natural fit if you have 3 dogs! It was a great experience filming the commercial with my dog, Lucy. She is now more famous than I am!
AM: The schedules of Olympians are always crazy, but you left the games and continued on with other races - tell us what you've been up to in terms of races that you have participated in as we know you were at The World Cup Finals.
LV: Yeah, I couldn’t take as much time off after the Olympics as I would have wanted. I had a press tour and then had to head to Sweden for the World Cup Finals. Getting 1st and 3rd in finals was a great ending to a perfect year. I’m that much closer to beating Ingmar’s record. I think I may have a chance to beat it next year!
AM: What does the racing season look like for you in terms of how much of the year it takes up?
LV: Well it’s not just the racing that takes up time, but the training—and that’s a full-time job. So I have a weeklong vacation once a year and then it’s back to the gym, training, and head to Europe for the World Cup--I don’t give myself room to slow down.
AM: As we've been fans of yours for a while, we checked out your IG and see that you were on the set of Ballers - does this mean that we'll see you on the upcoming season with The Rock?
LV: I wish! I’ll have to work that out with Dwayne next time I see him :) I was on Law & Order though, so I have some experience with acting.
AM: Tell us about going to the Oscars and share with us details about your dress as it looked beautiful.
LV: The Oscars was amazing! I just took in every moment of it because it was such an honor to be invited. Well, my dress was supposed to be long-sleeved! It was too tight to get my arm through so we had to cut the sleeves at the very last minute. It was crazy, but I loved that dress and I felt great it in.
AM: What are you working on now professionally coming off of so much activity?
LV: I have been busy in New York on a press tour and am headed back home to Colorado for my Foundation Gala event and to spend some time with my family and my dogs.
AM: What are you working on?
LV: Personally, I’m working on just taking it easy and having fun. Now that the Olympics are over I can relax!
AM: We know that this fall, you have a Signature Skiwear Collection with Under Armour coming out which we're excited to see. Tell us about your personal style - what would we see you wearing when you're going out for cocktails and a night out versus running errands about time?
LV: 99.9% of the time I’m in sweats. I live in head to toe Under Armour, so it's nice to dress up and feel pretty. For cocktails, I like to wear maybe leather pants and a fun top. And heels… I love a great pair of heels.
AM: Wherever you're based, where could we find you grabbing drinks and a meal, shopping and then your favorite fitness studio to go to.
LV: You can find me at Starbucks anywhere. I need my coffee! For a meal it depends where I am—probably at the hotel restaurant. For shopping, I love going to boutiques where you can find one-of-a-kind things. I am either in my gym at home, at the Red Bull gym in LA, a hotel gym or outside.
AM: Tell us about the Lindsey Vonn Foundation - why it was created, what it focuses on and who it assists.
LV: My Foundation was created because Picabo Street inspired me as a young girl to be an Olympian within five minutes of meeting her. I know the impact that a little encouragement and inspiration can do, and I want to give that to girls. We have had three free camps helping 300 girls to be friends, leaders, and gain confidence. I stay with them the entire 2-day camp and work with them. We will have our 4th camp in LA this summer with 200 girls. We just relaunched our Scholarship Program this spring focusing on enrichment activities for both girls and boys to help find their passions outside of school. Whether it’s a ski club, violin lessons, or cooking class—we want them to be able to find and do what they love.
PHOTO CREDITS | PG 128 Under Armour Launch of Lindsey Vonn's FW18 Under Armour Signature Skiwear Collection | PG 130 Bounty | PG 132 Bstefanov Lindsey Vonn (USA) at Audi FIS Alpine Ski World Cup Ladies' Super G on February 26, 2012 in Bansko, Bulgaria |
Read more from the March Issue and see On the Slopes with Lindsey Vonn in mag.
Featured Athletes
AWARDS SEASON | OSCARS RED CARPET
NICOLE KIDMAN | PHOTOGRAPHY Steve Granitz/Getty Images | STYLIST ___ | ARMANI PRIVE Gown | CHRISTIAN LOUBOUTIN Shoes | FRED LEIGHTON Jewelry | OMEGA Watch |
The Red Carpet for the Oscars didn't disappoint. There was glamour, color, nudes/neutrals and of course a lot of bling. As always, we're sharing some of our favorites. We will continue to update the looks in terms of the stylist, pieces and how to get the look. Are favorites are throughout this post.
LAURA DERN | PHOTOGRAPHY Kevin Mazur/WireImage | STYLIST Cristina Ehrlich | CALVIN KLEIN BY APPOINTMENT Dress | SWAROVSKI Jewelry | ___ Shoes | ___ Watch |
CHADWICK BOSEMAN | PHOTOGRAPHY Kevin Mazur/WireImage | STYLIST Ashley Weston | GIVENCHY HAUTE COUTURE Suit | DAVID YURMAN Jewelry |
BETTY GABRIEL | PHOTOGRAPHY David Frasier/REX Shutterstock | STYLIST ___ | TONY WARD COUTURE Gown |
LINDSEY VONN/Team USA PyeongChang Bronze Medalist Winter Olympian | PHOTOGRAPHY Frazer Harrison/Getty Images | STYLIST ___ | CHRISTIAN SIRIANO Dress | BULGARI Jewelry | GIUSEPPE ZANOTTI Shoes | ROLEX Watch | PRADA Clutch |
ALLISON JANNEY/Oscar 2018 Winner - Best Supporting Actress | PHOTOGRAPHY Kevin Mazur/Wire Images | STYLIST Tara Swennen | REEM ACRA Dress | FOREVER MARK Jewelry | JIMMY CHOO Shoes | ROGER VIVIER Clutch |
JANE FONDA | PHOTOGRAPHY Kevin Mazur/Wire Images | STYLIST Tanya Gill | 44 FRANCOIS PREMIER/Balmain's Couture Capsule Collection White Beaded Dress | CHOPARD Jewelry | SALVATORE FERRAGAMO Shoes | PERRIN PARRIS Clutch |
AWARDS SEASON | OSCARS 2018
It's Hollywood's biggest night to honor the creativity of so many that have made films that have inspired us and kept us buzzing. Whether you watch for the awards or for the red carpet action, we're pretty excited to see what will take place tonight! As always, we enjoy seeing how many of our predictions become winners.
As usual, we will update throughout the night. Names in BOLD ITALICIZED reflect the winner that we correctly guessed, ITALICIZED reflects nominations that we guessed but are not correct and finally BOLD means winners that we did not guess.
We'll be watching E! Live From the Red Carpet leading up to the big night this evening which is hosted by Jimmy Kimmel and airs tonight live, on ABC.
BEST PICTURE
“Call Me by Your Name”
“Darkest Hour”
“Dunkirk”
“Get Out”
“Lady Bird”
“Phantom Thread”
“The Post”
“The Shape of Water”
“Three Billboards Outside Ebbing, Missouri”
LEAD ACTOR
Timothée Chalamet, “Call Me by Your Name”
Daniel Day-Lewis, “Phantom Thread”
Daniel Kaluuya, “Get Out”
Gary Oldman, “Darkest Hour”
Denzel Washington, “Roman J. Israel, Esq.”
LEAD ACTRESS
Sally Hawkins, “The Shape of Water”
Frances McDormand, “Three Billboards Outside Ebbing, Missouri”
Margot Robbie, “I, Tonya”
Saoirse Ronan, “Lady Bird”
Meryl Streep, "The Post"
SUPPORTING ACTOR
Willem Dafoe, “The Florida Project”
Woody Harrelson, “Three Billboards Outside Ebbing, Missouri”
Richard Jenkins, “The Shape of Water”
Christopher Plummer, “All the Money in the World”
Sam Rockwell, “Three Billboards Outside Ebbing, Missouri”
SUPPORTING ACTRESS
Mary J. Blige, “Mudbound”
Allison Janney, “I, Tonya”
Lesley Manville, “Phantom Thread”
Laurie Metcalf, “Lady Bird”
Octavia Spencer, “The Shape of Water”
DIRECTOR
"Dunkirk," Christopher Nolan
“Get Out,” Jordan Peele
"Lady Bird," Greta Gerwig
“Phantom Thread,” Paul Thomas Anderson
“The Shape of Water,” Guillermo del Toro
ANIMATED FEATURE
“The Boss Baby,” Tom McGrath, Ramsey Ann Naito
“The Breadwinner,” Nora Twomey, Anthony Leo
“Coco,” Lee Unkrich, Darla K. Anderson
“Ferdinand,” Carlos Saldanha
“Loving Vincent,” Dorota Kobiela, Hugh Welchman, Sean Bobbitt, Ivan Mactaggart, Hugh Welchman
ANIMATED SHORT
“Dear Basketball,” Glen Keane, Kobe Bryant
“Garden Party,” Victor Caire, Gabriel Grapperon
“Lou,” Dave Mullins, Dana Murray
“Negative Space,” Max Porter, Ru Kuwahata
“Revolting Rhymes,” Jakob Schuh, Jan Lachauer
ADAPTED SCREENPLAY
“Call Me by Your Name,” James Ivory
“The Disaster Artist,” Scott Neustadter & Michael H. Weber
“Logan,” Scott Frank & James Mangold and Michael Green
“Molly’s Game,” Aaron Sorkin
“Mudbound,” Virgil Williams and Dee Rees
ORIGINAL SCREENPLAY
“The Big Sick,” Emily V. Gordon & Kumail Nanjiani
“Get Out,” Jordan Peele
“Lady Bird,” Greta Gerwig
“The Shape of Water,” Guillermo del Toro, Vanessa Taylor
“Three Billboards Outside Ebbing, Missouri,” Martin McDonagh
CINEMATOGRAPHY
“Blade Runner 2049,” Roger Deakins
“Darkest Hour,” Bruno Delbonnel
“Dunkirk,” Hoyte van Hoytema
"Mudbound." Rachel Morrison
“The Shape of Water,” Dan Laustsen
BEST DOCUMENTARY FEATURE
“Abacus: Small Enough to Jail,” Steve James, Mark Mitten, Julie Goldman
“Faces Places,” JR, Agnès Varda, Rosalie Varda
“Icarus,” Bryan Fogel, Dan Cogan
“Last Men in Aleppo,” Feras Fayyad, Kareem Abeed, Soren Steen Jepersen
“Strong Island,” Yance Ford, Joslyn Barnes
BEST DOCUMENTARY SHORT SUBJECT
“Edith+Eddie,” Laura Checkoway, Thomas Lee Wright
“Heaven is a Traffic Jam on the 405,” Frank Stiefel
“Heroin(e),” Elaine McMillion Sheldon, Kerrin Sheldon
“Knife Skills,” Thomas Lennon
“Traffic Stop,” Kate Davis, David Heilbroner
BEST LIVE ACTION SHORT FILM
“DeKalb Elementary,” Reed Van Dyk
“The Eleven O’Clock,” Derin Seale, Josh Lawson
“My Nephew Emmett,” Kevin Wilson, Jr.
“The Silent Child,” Chris Overton, Rachel Shenton
“Watu Wote/All of Us,” Katja Benrath, Tobias Rosen
BEST FOREIGN LANGUAGE FILM
“A Fantastic Woman” (Chile)
“The Insult” (Lebanon)
“Loveless” (Russia)
“On Body and Soul (Hungary)
“The Square” (Sweden)
FILM EDITING
“Baby Driver,” Jonathan Amos, Paul Machliss
“Dunkirk,” Lee Smith
“I, Tonya,” Tatiana S. Riegel
“The Shape of Water,” Sidney Wolinsky
“Three Billboards Outside Ebbing, Missouri,” Jon Gregory
SOUND EDITING
“Baby Driver,” Julian Slater
“Blade Runner 2049,” Mark Mangini, Theo Green
“Dunkirk,” Alex Gibson, Richard King
“The Shape of Water,” Nathan Robitaille, Nelson Ferreira
“Star Wars: The Last Jedi,” Ren Klyce, Matthew Wood
SOUND MIXING
“Baby Driver,” Mary H. Ellis, Julian Slater, Tim Cavagin
“Blade Runner 2049,” Mac Ruth, Ron Bartlett, Doug Hephill
“Dunkirk,” Mark Weingarten, Gregg Landaker, Gary A. Rizzo
“The Shape of Water,” Glen Gauthier, Christian Cooke, Brad Zoern
“Star Wars: The Last Jedi,” Stuart Wilson, Ren Klyce, David Parker, Michael Semanick
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 D. Austerberry, Jeffrey A. Melvin, Shane Vieau
ORIGINAL SCORE
“Dunkirk,” Hans Zimmer
“Phantom Thread,” Jonny Greenwood
“The Shape of Water,” Alexandre Desplat
“Star Wars: The Last Jedi,” John Williams
“Three Billboards Outside Ebbing, Missouri,” Carter Burwell
ORIGINAL SONG
“Mighty River” from “Mudbound,” Mary J. Blige
“Mystery of Love” from “Call Me by Your Name,” Sufjan Stevens
“Remember Me” from “Coco,” Kristen Anderson-Lopez, Robert Lopez
“Stand Up for Something” from “Marshall,” Diane Warren, Common
“This Is Me” from “The Greatest Showman,” Benj Pasek, Justin Paul
MAKEUP AND HAIR
“Darkest Hour,” Kazuhiro Tsuji, David Malinowski, Lucy Sibbick
“Victoria and Abdul,” Daniel Phillips and Lou Sheppard
“Wonder,” Arjen Tuiten
COSTUME DESIGN
“Beauty and the Beast,” Jacqueline Durran
“Darkest Hour,” Jacqueline Durran
“Phantom Thread,” Mark Bridges
“The Shape of Water,” Luis Sequeira
“Victoria and Abdul,” Consolata Boyle
VISUAL EFFECTS
“Blade Runner 2049,” John Nelson, Paul Lambert, Richard R. Hoover, Gerd Nefzer
“Guardians of the Galaxy Vol. 2,” Christopher Townsend, Guy Williams, Jonathan Fawkner, Dan Sudick
“Kong: Skull Island,” Stephen Rosenbaum, Jeff White, Scott Benza, Mike Meinardus
“Star Wars: The Last Jedi,” Ben Morris, Mike Mulholland, Chris Corbould, Neal Scanlan
“War for the Planet of the Apes,” Joe Letteri, Dan Lemmon, Daniel Barrett, Joel Whist
Featured Awards Season
