Naomi Watts chooses teen son Sasha Schreiber as Critics Choice Awards date
When picking a plus-one to accompany her at Friday's Critics Choice Awards ceremony, Naomi Watts brought her son, who was 5 the last time she was nominated.
The British star, 56, walked the red carpet with Sasha Schreiber, 17, for an awards season mother-son date. The pair matched in black formal attire at the Barker Hangar in Santa Monica, California.
Watts was nominated for best actress in a limited series in her role as Babe Paley in FX's "Feud: Capote vs. The Swans." However, Cristin Milioti took home the trophy for playing Sofia Falcone in HBO's "The Penguin."
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But Sasha was on hand to cheer on his dad, Liev Schreiber, who won best supporting actor in a limited series for TV for Netflix's "The Perfect Couple."
The star said he almost skipped the show because he thought "there's no way on God's earth and in that company that I would win this award."
Watts was previously nominated at the Critics Choice Awards in 2013 for "The Impossible" (for which she won) and in 2004 for "21 Grams."
Who is Sasha Schreiber?
Sasha Schreiber is the eldest child of Naomi Watts.
Watts and her then-partner Liev Schreiber welcome their first child in 2007, according to People. The following year, the two welcomed daughter Kai before splitting in 2016 after an 11-year relationship.
Contributing: Kim Willis
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We'll start shooting around the move and film for three weeks and see what happens. It was a test. 'We'll see if you like us. If this whole experiment is something that you hate.'' Nothing was off-limits 'We knew early on that we wanted to approach this like a documentary,' says Johnston, who produced all four seasons of the show, which ran from 2002 to 2005, and won an Emmy in 2002 for Outstanding Non-Fiction Program. 'We filmed pretty much 24/7. There was nothing scripted or planned. The best I could do was to ask Sharon: 'Do you know what you're doing this week? Are you traveling somewhere?' I would book a crew to follow that… If we tried to suggest anything to them, they would tell us, rightfully so, to f*** off.' A control room was set up in the Osbournes' guest quarters, with the crew climbing in and out of the window so as not to disrupt the family. 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While they were trying to make a comedy, real-life issues came up, including Sharon's colon cancer diagnosis in 2002 and Ozzy's ATV accident in 2003. 'It was very delicate,' Johnston says. 'We didn't want to exploit those things. We were with Ozzy in the U.K. when his quad bike [accident] happened. Thank God we were able to also call the ambulance… We would follow their lead. If they didn't want us to shoot something, we wouldn't, but I would say, 99% of the time that never happened. They always just sort of let us be, but we also had respect for them. We knew: All right, we've got this piece. They need a private moment, we're going to step out. With Sharon's cancer, we didn't want to encroach on that and her treatment, so we said we'd follow as much as they want us to. And Sharon wanted us to be there and tell the story of what she was going through. It was a delicate balance.' The relationship between the family and the crew was a deep one. 'We were an extension of their family — that's how they treated us,' he says. 'That was part of the magic too. If Thanksgiving or Christmas rolled around and we were filming, Sharon would bring in caterers to make sure that the whole crew had dinner. This was out of her pocket [before the show took off]... She also flew the whole crew to Vegas. Ozzy was doing a show, we were going to film it, and she was like: 'Let's get everybody. I'm gonna charter this plane.'' The cops are coming Of course, the show's greatest selling point was seeing Ozzy do anything — talking to the cats, working out, trying to have a heart-to-heart with Kelly and getting screamed at. Johnston's favorite scene was 'Ozzy chasing the cat in the backyard, because of the context. He had fallen, his leg was in a cast, and he was laid up at home. Sharon was upstairs or out. It goes to Ozzy's heart. He loved the animals. The cat had gotten out, and he was convinced that a coyote was going to get it. Even though he had the broken leg, he was going to [save it] — but every time he inched within reach of the cat, it moved two inches, and he's like: 'God damn it,' and yelling for Sharon. We didn't want to step in, even though we wanted to step in.' He recalls getting a call when Sharon threw the ham over the neighbor's wall, which stemmed from the neighbor's loud music. 'People, even friends or acquaintances, ask, 'How did you get her to throw the ham?' I'm like: 'Man, we didn't get her. That just happened.' … That night, a producer called, 'Greg, the cops are coming. What should I do?' … I said, 'Look, just keep rolling. You're not going to get arrested, but just film it.' The episode also saw Ozzy, who was sleeping through much of the action, wake up and roll a log over the fence. 'It was a feeble attempt,' Johnston says. 'It barely goes over the wall. It's not like he's hucking giant pieces of wood at the neighbors.' They used the footage, however, playing the log drop with a sound effect of glass breaking. Johnston's phone rang. 'God bless Ozzy,' he says. 'I never got calls from him about anything — because I didn't think he'd watch it — but he must have watched the cut of this episode or a promo. He said: 'Greg, you can't show that. They've got kids. I could have killed somebody.' I'm like, 'Ozzy, it's just a sound effect. You barely rolled the piece of wood over.' But he [insisted]: 'You can't show that.' He didn't want to hurt anybody.' Why magic could never be replicated The runaway success of the show was a lightning-in-a-bottle moment that was never replicated. The Osbournes succeeded because MTV gave them the time, resources and creative freedom to truly document the family's real life. 'After The Osbournes, networks were like: 'Oh, we want something similar, but we want to know what's going to happen [ahead of time],'' Johnston says. 'That defeats the whole purpose of a great non-scripted show because real life is much better, funnier, interesting than anything a producer may come up with. And you want people to deal with their own life, their own consequences, to their own decisions. You don't want [a producer] making decisions for them.' Johnston adds that most networks today probably lack the patience, imagination and budget to do that kind of 24/7 filming. Plus, 'there's no other family like the Osbournes, quite honestly; I've worked on thousands of shows, and there's just no family like them.' At the center of it all, of course, was Ozzy. Asked what he'll remember most about the Osbourne patriarch, Johnston says his humility and humor. Despite his fame, Ozzy stayed grounded, often carrying a wad of $100 bills with a rubber band around them and handing them to people in need with zero fanfare. It was a habit rooted in his working-class upbringing and early years of having nothing. Johnston also recalls never laughing 'as much or as hard as I did' with the star, who was effortlessly funny through his timing, reactions and offhand remarks. 'The world is a much less magical, funny and interesting place without Ozzy in it,' Johnston says. 'We were all lucky to be in his orbit.' Solve the daily Crossword
