Latest news with #SpiritAwards
Tatler Asia
20-05-2025
- Entertainment
- Tatler Asia
5 times Emma Stone nailed cool-girl beauty on the red carpet
2. Vintage dream at the Oscars 2025 Emma Stone made a striking appearance at the 97th Academy Awards, presenting the Best Actress award in a custom Louis Vuitton gown that blended vintage charm with modern elegance. The champagne-hued dress featured a plunging neckline and was adorned with shimmering sequins, catching the light with every movement. Styled by Petra Flannery, the gown's minimalist design was complemented by diamond drop earrings, allowing the dress to take centre stage. Stone's pixie cut, styled into soft waves by hairstylist Mara Roszak, paid homage to 1920s flapper aesthetics, while her makeup, crafted by Rachel Goodwin, highlighted her features with rosy tones, including a subtle pink blush and a muted lip. This ensemble marked a return to the Oscars red carpet for Stone, who had previously won Best Actress for her role in Poor Things in 2024. 3. Cool girl next door at the Spirit Awards 2025 At the 2025 Film Independent Spirit Awards in Santa Monica, Emma Stone embraced a playful yet polished aesthetic that perfectly suited the event's laid-back atmosphere. Departing from her recent Louis Vuitton ensembles, she opted for a bespoke Emilia Wickstead outfit, featuring a black beaded top with a plunging centre cutout and a contrasting vibrant green satin mini skirt. The ensemble was styled by Petra Flannery and drew comparisons to Prada's distinctive design language. Stone's accessories included Irene Neuwirth's green tourmaline huggie earrings, adding a subtle touch of luxury to her look. Her makeup, crafted by longtime collaborator Rachel Goodwin, featured a bold pink lip and a soft, smoky eye, enhancing her natural features without overpowering the ensemble. Her pixie haircut, first debuted at the Golden Globes, was styled effortlessly, complementing the outfit's modern vibe. 4. Gamine edge at the Golden Globes 2025 Emma Stone debuted a striking transformation at the 2025 Golden Globes, unveiling a super-short pixie cut that marked a significant departure from her previous styles. The cut, styled by her longtime hairstylist Mara Roszak, was inspired by '90s icons like Winona Ryder and Liv Tyler. Roszak used her RŌZ Evergreen Styling Cream to achieve a soft, piecey texture that framed Stone's face beautifully. Complementing her new hairstyle, Stone's makeup was kept minimal, featuring rosy lips and cheeks that highlighted her natural features. Her hair colour, a rich chestnut brown dubbed nutmeg by colourist Tracey Cunningham, added warmth and depth to the overall look. 5. Playful popcorn glam at SNL 50 At the Saturday Night Live 50th Anniversary Special, Emma Stone embraced a whimsical approach to red carpet fashion. She wore a custom red Louis Vuitton halter dress featuring oversized pockets filled with actual popcorn, a playful nod to the event's entertainment theme. The gown's structured silhouette and front slit added a touch of elegance, while the popcorn-filled pockets showcased Stone's signature humour and charm. She accessorised with matching red satin heels, gold star-shaped earrings and a classic red-and-white striped popcorn box. Her makeup was kept fresh and minimal, highlighting her natural features, and her pixie cut, styled in her signature deep-auburn hue, added a modern edge to the ensemble. This look perfectly encapsulated Stone's ability to blend glamour with a sense of fun and individuality.
Yahoo
07-05-2025
- Entertainment
- Yahoo
Bella Ramsey Says ‘It's Important' to Keep Gendered Awards for Best Actor and Actress: ‘Recognition for Women in the Industry' Must Be ‘Preserved'
Bella Ramsey Says 'It's Important' to Keep Gendered Awards for Best Actor and Actress: 'Recognition for Women in the Industry' Must Be 'Preserved' Bella Ramsey appeared on the latest episode of 'The Louis Theroux Podcast' and defended having gendered categories at awards shows. In recent years, ceremonies such as the Gotham Awards and Spirit Awards have done away with separate best actress and actor categories in favor of gender neutral lead and supporting ones. Ramsey, who identifies as non-binary and uses they/them pronouns, was nominated for lead actress in a drama series at the Emmys for the first season of HBO's 'The Last of Us.' 'I don't have the answer and I wish that there was something that was an easy way around it, but I think that it is really important that we have a female category and a male category,' Ramsey said, adding that it's important that 'recognition for women in the industry is preserved.' More from Variety ADVERTISEMENT Ramsey tried to come up with a solution and thought about a category such as 'best performance in a female character,' but they realized that would then create problems for actors playing non-binary character in films and TV shows. Even though Ramsey does not identify as female and says being labeled an 'actress' does not feel quite right, they are comfortable being put in the actress category at the Emmys for 'The Last of Us.' At least for now. 'I have a guttural, 'That's not quite right,' instinct to [being called an actress],' Ramsey said. 'But I just don't take it too seriously… it doesn't feel like an attack on my identity.' Ramsey explained that they aren't non-binary to be 'trending' but because they 'grew up more as a little boy than I did a little girl. It's been very obvious since I was young. I always called myself a tomboy, but it wasn't that I was a boyish girl, I was always like a bit of an in-between. Leaning to most of the boys side.' 'To be honest, I grew up more as a little boy than I did a little girl,' they continued. 'I always felt more masculine or more on that side of the spectrum. I guess at the moment I don't feel like I have access to femininity.' Ramsey currently appears on the second season of 'The Last of Us,' for which they will once again be in contention for an Emmy nomination in the lead actress category. Listen to Ramsy's full 'The Louis Theroux Podcast' interview here. ADVERTISEMENT Best of Variety Sign up for Variety's Newsletter. For the latest news, follow us on Facebook, Twitter, and Instagram.
Yahoo
05-03-2025
- Entertainment
- Yahoo
Jesse Eisenberg Granted Polish Citizenship Days After Poland-Set ‘A Real Pain' Takes An Oscar
Jesse Eisenberg, who says he reconnected with his family's Polish roots while filming A Real Pain in the country, was granted Polish citizenship yesterday by President Andrzej Duda. 'While we were filming this movie in Poland and I was walking the streets and starting to get a little more comfortable in the country, something so obvious occurred to me, which is that my family had lived in this place far longer than we've lived in New York,' Eisenberg said at the ceremony in New York. More from Deadline Kieran Culkin Doubles Down In Building Out Family After Winning Oscar For 'A Real Pain' Spirit Awards: 'Anora' Takes Best Feature, Director & Lead Performance; Three Wins For 'Baby Reindeer' & Two Each For 'A Real Pain' & 'Didi' - Full List Spirit Awards: 'A Real Pain' Winner Jesse Eisenberg On "Spontaneous" Kieran Culkin; Whether He'll Reteam With 'Zombieland' Star Emma Stone Watch his speech, via Radio RAMPA, below. 'And of course, the history ended so tragically,' he continued, 'but in addition to that tragedy of history is also the tragedy that my family didn't feel any connection anymore to Poland, and that saddened me and confirmed for me that I really wanted to try to reconnect as much as possible. And I really hope that tonight in this ceremony and this amazing honor is the first step for me and my family to reconnect with this beautiful country.' A Real Pain, which Eisenberg wrote, directed and starred in (along with Kieran Culkin, who won the Best Supporting Actor Oscar Sunday), chronicles the journey of two American cousins who set out for Poland to honor, and learn more about, their recently deceased grandmother, a Holocaust survivor. Eisenberg's screenplay was nominated for an Oscar. Eisenberg applied for Polish citizenship after filming there. Poland allows citizenship for those whose direct ancestors were born there or lived there after 1920. 'I'm so unbelievably honored,' Eisenberg said in a speech at the ceremony (via Radio RAMPA). 'This is an honor of a lifetime and something I have been very interested in for two decades.' Eisenberg has said that his real-life inspiration behind A Real Pain was his great aunt Doris, who died at 106 in 2019. While she left Poland for the U.S. in 1938, other Eisenberg family members perished in the Holocaust. Aktor Jesse Eisenberg – twórca filmu oskarowego 'Prawdziwy Ból' – otrzymał właśnie w Nowym Jorku obywatelstwo polskie z rąk @prezydentpl @AndrzejDuda . Aktor powiedział, że jest zaszczycony i że czuje głęboką więź z Polską – podkreślił, że jego rodzina ma dłuższe więzi z Polską… — Radio RAMPA (@RadioRAMPA) March 5, 2025 Best of Deadline 'Poker Face' Season 2: Everything We Know So Far A Full Timeline Of Blake Lively & Justin Baldoni's 'It Ends With Us' Feud In Court, Online & In The Media How Jon Gries' Return To 'The White Lotus' Could Shape Season 3
Yahoo
28-02-2025
- Entertainment
- Yahoo
Oscar-Nominated and Broke
BRADY CORBET AND SEAN BAKER, the directors, respectively, of The Brutalist and Anora are using their awards campaigns to raise awareness of the financial condition of indie film. We should listen to them: Independent cinema is in trouble. The state of the industry is so dire that accurate descriptions would normally be dismissed as hyperbole. But it really is that bad right now. Both Corbet and Baker have talked about how they, and other creatives in this space, get paid. The following is from Baker's acceptance speech at the recent Spirit Awards where Anora won best picture and best director: The system has to change because this is simply unsustainable. We are creating product that creates jobs and revenue for the entire industry. We shouldn't be barely getting by. Creatives that are involved with projects that span years have to begin getting higher—much higher—upfront fees. And again, because back end simply is not—it can't be relied upon any longer, we have to demand that. If not, indie films will simply become calling-card films, and that's—I know that's not what I signed up for. So let's demand what we're worth. Corbet echoed these thoughts on a recent WTF with Marc Maron podcast. Here is Indiewire's summary of his thoughts: The 'Brutalist' writer/director said during the 'WTF with Marc Maron' podcast that he made 'zero dollars' from 'The Brutalist.' The indie notably had a budget of less than $10 million. The sprawling 215-minute drama spans 30 years in the life of Adrien Brody's lead character, fictional architect László Tóth. To financially sustain himself, Corbet directed three advertisements in Portugal. 'This is the first time I've made any money in years,' Corbet said of the ads. It was the same story with 2018's 'Vox Lux.' 'Both my partner [Mona Fastvold] and I made zero dollars on the last two films we made. Yes, actually zero. So we had to just live off of a paycheck from three years ago,' Corbet said, 'And obviously, the timing during an awards campaign and travel every two or three days was less than ideal, but it was an opportunity that landed in my lap, and I jumped at it.' It is worth emphasizing that Baker and Corbet are both at the top of their game, professionally: Both have made several films and both are nominated for Best Director at the Academy Awards this year. Yet they are struggling to reap any sort of reward. Why? Join now In the simplest terms, it takes time—years and years—to make an indie movie. First, one must write a script and start development on a film. That by itself can take years: writing, gathering funding, attaching stars, etc. Then it takes months (or longer) to shoot and complete post-production on a film. Then it takes more time for a movie to be released by a distributor. Anora, for example, premiered at the Cannes Film Festival in May 2024 and is still in the initial phase of its Neon release In March, it will hit its third and final major phase of exploitation—its streaming debut on Hulu—around eleven months after its festival premiere. Baker and his creative team got paid when the budget was fully paid for, typically a few months or weeks before the film starts shooting. And that's it. They may have access to any profit the film makes with the distributor but that won't occur until months or years after the film has been released. It may never happen. First, the distributor has to recoup their costs to release the movie, the cost for them to acquire the film—which is the money used to pay for part or all of the film's budget—and their fees to release the film. From start to finish, that's at least two or three years of commitment in which nothing but initial fees are earned. Share AND LOOK: ARTISTS KNOW THE DEAL. They get paid 'up front' (that is, after a year or two of development) with the understanding it will involve years of work. They enter into this deal willingly. The problem in 2025 is twofold. First, the fees that creatives get have been reduced considerably. In Corbet's case, it sounds like he forewent any fees at all to keep the budget at a level where the film had a chance of finding investors. Second, even with the relatively low budgets for Anora and The Brutalist, their share of the profits may never materialize, and not because of the dreaded 'Hollywood math' or because their movies failed. It's because the markets have been reduced so much in 2025 that the opportunity for a film to break out and make money for all parties, not just the distributor, is akin to hitting the lottery. Indie films have been considerably devalued in the marketplace. Yes, the industry as a whole has been hit hard by the one-two punch of COVID and strikes, but it's actually worse for indie films. Quoting Baker again from his Spirit Awards speech: Gone are the days of DVD sales that allowed for a greater risk to be taken on challenging films. That revenue stream is gone, and the only way to see significant back end is to have a box office hit with profits that far exceed what any of our films will ever see unless you are Damien Leone and strike gold with a franchise like 'Terrifier.' But as we all know, that's an extreme rarity. It's not just the collapse in DVD sales: Streaming has effectively replaced all transactional activity—which used to be DVDs and is now the digital rentals and purchases one makes on Amazon Prime or Apple TV. On top of that, the theatrical window for indie releases has almost entirely collapsed. Where once there were three revenue windows—theatrical, then transactional, and then broadcast/streaming—there now are three half-windows that overlap and allow audiences to be content to just wait for streaming, the traditionally least lucrative of the windows. Baker is absolutely correct that this is unsustainable. Share The Bulwark It's also worth observing that the main streamers are also paying far less to license these films than in the initial days of streaming. Yes, the biggest streaming services go to festivals and pay millions—sometimes upwards of $20 million—to license a few films every year. And a handful of indie distributors like Neon, A24, Bleecker Street, Roadside Attractions, Magnolia, and IFC/RLJ Entertainment have output deals with a streamer that guarantees a license fee. (Indeed, IFC/RLJ Entertainment is owned by AMC, a cable channel with premium streaming services.) Again, this is like hitting the lottery. These deals go to around 10 percent of films that play at major film festivals. (Needless to say, for the countless indies that never play at a major festival, things are even worse.) Additionally some streamers have told distributors that work on indie films that the services flat out do not want indie films any longer, and those that do are offering less than half of what was on the table a few years ago. That's why the fees that creatives earn—and the overall budgets of indie films—have declined so precipitously. It's a vicious cycle: Streaming has largely replaced the other windows for indie movies, meaning that streaming is where most of these films make any money, and the streamers know this so they're offering less than ever. Too many independent filmmakers find themselves in an untenable 'take it or leave it' situation. Well, you might say, it's a free market and the market has lowered the price because consumer demand simply isn't there. What's the problem? From my perspective, indie films are needed to create the healthiest ecosystem for the entire film industry. In part because they are incubators of talent: Without Memento, there may be no Christopher Nolan; without Reservoir Dogs, there may be no Quentin Tarantino. But I'd also argue that even in a landscape dominated by intellectual property (IP) plays—your comic-book movies, your reboots and your retreads—diversification and advancement of the product is essential in any healthy industry. What happens when the value of IP films diminishes? Look what's happening to the value of the biggest IPs: Star Wars, Marvel, Pixar, Fast and the Furious, etc., are all seeing diminishing returns. Nothing sustains its peak time after time. The algorithms will keep feeding itself the same type of film until that type of film is run into the ground because they are the only type of films getting any eyeballs. Indie film has been and will remain the best way of refreshing the types of movies that can get made and the creatives who can make them. Keep up with all our articles, newsletters, podcasts, and livestreams: WHAT'S THE SOLUTION THEN? If the movies are only making so much money, how do you create more value for them? I'll start with something Baker alluded to in another acceptance speech, this time at the Directors Guild Awards: Let's do whatever we can do for us feature filmmakers to expand that theatrical window again; demand it. Let's get it back to what it used to be, at least ninety days, and really support movie theaters. If we can return to fully exploiting all films in three windows (theatrical, transactional, and streaming/broadcast) again, then the amount of money each film makes can be greater. Much has been written about the value of an exclusive theatrical release (see Entertainment Strategy Guy's excellent piece here). Give a movie time to make money in each window. Give it three full bites at the apple instead of a few nibbles. Theatrical windows need to return to at least 45 days even if most of the revenue is generated in the first three weeks. The other three weeks is necessary to protect that exclusive window so consumers don't just wait three weekends to watch a movie at home, where it will be cheaper and more convenient for them. Then give the movie an exclusive transactional release so it doesn't hit streaming until at least six months after its initial release. It's either that or hope there are enough wealthy individuals or companies who want to fully subsidize indie film, like when Criterion was saved by Indian Paintbrush. While I wish there were dozens of billionaires desperate to subsidize the indie game, it's far more pragmatic for the industry to commit to three windows again. That's what the strikes should have been about, not about streaming residuals. Without a realistic business model, it will be impossible for filmmakers like Corbet and Baker—and the dozens of people they employ on every production—to get paid their full worth. Send this article to a friend or post it to social media: Share
Yahoo
25-02-2025
- Entertainment
- Yahoo
'Anora' Continues Its Winning Streak by Sweeping Film Independent's Spirit Awards
At Film Independent's 40th annual Spirit Awards on Feb. 22, Anora continued its recent winning streak — taking home three of the big film awards, for Best Feature, Best Director for Sean Baker and Best Lead Performance for Mikey Madison. "Indie film is struggling right now, more than ever," said Baker — who in his Best Director acceptance speech for his Brighton Beach, Brooklyn-set story about a sex worker who falls for a Russian oligarch, spoke about the state of the indie film industry. "I think for many of my peers, if we're lucky, the average number of years dedicated to making a film is around three. ... How do you support yourself with little or no income for three years?" He continued: "I personally do not have children, but I know for a fact that if I did, I would not be able to make the movies that I make." Baker declared himself an "indie film life." "And I know that there are other indie film lifers in this room," he said. "Those who don't see indie films as calling cards, those who don't make these films to land a series or a studio film. Some of us want to make personal films that are intended for theatrical release with subject matter that would never be greenlit by the big studios." His plea: "The system has to change because this is simply unsustainable. We are creating product that creates jobs and revenue for the entire industry; we shouldn't be barely getting by. Creatives that are involved in projects that span years have to begin getting much higher upfront fees. ... So let's demand what we're worth." Upon arrival at the beachside event in Santa Monica, guests mingled during a cocktail hour with stations offering Bulleit Frontier Whiskey drinks and Miraval rose. Then, they continued inside the tent for a healthy gourmet box lunch and a seated program hosted for the second year in a row by Aidy Bryant. This year included a moving tribute and (double) standing ovation for Josh Welsh, the longtime president of Film Independent who recently passed away after a five-year battle with cancer, but whose spirit and legacy remain, per the team. Among the other films honored, A Real Pain won Best Supporting Performance for Kieran Culkin and Best Screenplay for Jesse Eisenberg — who thanked producer Emma Stone. "I met Emma when we were in Zombieland together in 2009," he said, "and since then, I write little magazine articles and things on McSweeney's, and she's like the only person — I'm including my mom here — who would take little screenshots of it over the last 15 years, and send me things like, 'This is such a funny line.'' He went on, "And at the time, she was definitely — and still [is], the most famous person I know — and yet also the most dedicated to encouraging me as a writer. And I think about her not as my producer, but like a fairy godmother that I am like riding the coattails of her goodwill." Also on the film front, Maisy Stella won Best Breakthrough Performance for My Old Ass; Dìdi won Best First Feature and Best First Screenplay for Sean Wang; Flow won Best International Film; No Other Land won Best Documentary; Best Cinematography went to Jomo Fray for Nickel Boys; and Hansjörg Weissbrich won Best Editing for September 5. The 17th annual Robert Altman Award went to His Three Daughters director Azazel Jacobs, along with casting director Nicole Arbusto, and ensemble cast members Jovan Adepo, Jasmine Bracey, Carrie Coon, Jose Febus, Rudy Galvan, Natasha Lyonne, Elizabeth Olsen, Randy Ramos Jr. and Jay O. Sanders. Baby Reindeer swept the television category by winning three awards: Best Lead Performance in a New Scripted Series for Richard Gadd, Best Supporting Performance in a New Scripted Series for Nava Mau and Best Breakthrough Performance in a New Scripted Series for Jessica Gunning. Shōgun took home Best New Scripted Series; Hollywood Black won Best New Non-Scripted or Documentary Series; and How to Die Alone won Best Ensemble Cast in a New Scripted Series. "The show was about finding humor, and heart, and humanity, and life's messiness; and having it celebrated in this way really truly means everything," said creator and star Natasha Rothwell — who got emotional. ("I took a beta blocker so this wasn't supposed to happen!" she quipped.) "And for Black stories, this ability isn't a privilege, it is a necessity," continued Rothwell, who currently stars as spa manager Belinda Lindsey on The White Lotus. "We deserve to take up space, to be complex, to be hilarious and to be fully human. Although our time with this show was cut regrettably short, I know that I created something with you all that is so special ... beta blockers need more beta blocking!" She finished, "And for those of you who connected with the show and felt alone and you long to be seen, don't worry — this is just one of many stories that I have to tell for us." Then she spoke about another marginalized group: "And lastly, to the trans community that is under attack right now, know that you are not alone. I see you, we see you, we all see you, we stand with you." Read our story with Natasha Rothwell from the September 2024 issue of Los Angeles magazine here.
