Witness Infection [Film]

“Witness Infection tells the story of two rival mob families who are transferred from the Witness Protection Program to the same city by mistake. Life has always been pretty protected for Carlo Serrelli. But his past is about to come back and bite him. Carlo’s father has kept him out of the deadly mob business by giving him a job at the family dog groomers, while his younger brother, Dominic, has always done the dirty work. All that is coming to an end as Carlo’s father has to force him into an arranged marriage with the daughter of the rival Miola family boss. Carlo’s two best friends, Gina and Vince, vow to help him get out of this predicament, but they all get in way over their heads when a serious infection starts eating the town. The good news is that Carlo may not have to get married after all — but the bad news is that everyone might die.” – Justin Cook PR

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Folks, while the world seems to be returning to normal, albeit slowly, it is still a time of much stress for many people. So you know what? Take some time out for a good laugh. And that is exactly what you are sure to do if you all do the right thing and watch Witness Infection. It’s just an absolute delight of a film that has the ability to simply take you out of the continuing hellscape for 80 minutes, while you watch a fictional and ultimately more hilarious hellscape occur.

If Witness Infection sounds familiar to you regular readers, you may remember reading about it when we had the fortunate experience to share some words with the legend himself, Carlos Alazraqui, who co-wrote, co-produced, and starred brilliantly in the film. He promised us that it would be a lot of fun, and he certainly did not let us down. The entire cast as a whole is absolutely incredible and very funny. Legendary voice performer Tara Strong is there, showing that she is a brilliant performer in front of the camera as well.

So, Folks, I implore you all to check out this film ASAP. It’s a fun light-hearted romp that is sure to leave you in stitches! Enjoy!

Witness Infection is available now wherever you purchase fine media.

Kelly Walker [Interview]

Hello Folks! I am so very excited about this one! If you are a regular reader here, or simply returning from yesterday, you know how much I loved the film My Fiona, which we featured yesterday. Well, now we are so fortunate to be able to have the film’s brilliant writer & director here to grace our digital pages today! It’s Kelly Walker, Everyone!

I was completely unaware that My Fiona is actually Walker’s feature film directorial debut. It’s actually quite insane that it is, because it is so damn good! Kelly is also a performer, editor, all of the things! I dare say that Kelly Walker is the future of film and television. I’m not even kidding. Everyone NEEDS to see My Fiona. Read this interview, read what we talked about previously, and then just get it done. You will be thanking me later.

So, I am going to relinquish and further babbling, and let you all get to some wonderful words from the great Kelly Walker! Enjoy!

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What inspired you to get into the world of entertainment? Was it something you aspired to do since your youth, or did you happen to find yourself in this world one day?

Growing up in Australia, my Mom loved sharing films with me as I was growing up. I was probably too young to see the films I did (Gypsy and Flashdance at six years old? Questionable). I think that’s what got me into filmmaking at such a young age. I started making feature-length films with my best friend when we were 12 years old. These films were terrible, but our hearts were all in! We would write, direct, act, produce and edit one feature a year and then force everyone we knew to watch them. I think it was inevitable that I would go on to pursue filmmaking. Also, my aunt lived in Los Angeles and is a sitcom writer. So I think having that connection to the industry made it feel doable and not just a fantasy. I moved to Los Angeles when I was seventeen and the rest is history! 

What was your first paid gig in the world of entertainment? And were there any sort of lessons learned from this experience that still affects your work to date?

Good question! I didn’t have many money-making skills outside of filmmaking. I had worked at Subway for a hot minute in high school, but it didn’t last long because I was a slow sandwich maker. (Their words, not mine!) When I landed in LA, I jumped right into freelance video editing. I think it taught me to be super-efficient with my time since I was creating my own schedule. All those years of editing made me feel confident to jump into directing. The film lives and dies in the editing room and I think my biggest strength as a director is being able to reverse engineer the process. 

I absolutely LOVED your film My Fiona. It’s seriously one of the best films I have seen this year, by a long shot. Could you tell our readers a bit about this project? What made you want to bring this story to the world?

Thank you!!! The story is based on experiences from life. When I was 12 years old, my babysitter passed away from suicide. It left a real impact on my life and I developed a fear of people I love dying. And with each loved one’s death I’ve experienced, it’s made me realize that no grief is alike, and the journey is navigated at your own pace. I really wanted to liberate the stigma around grief and look at it from a judge-free perspective. 

Another aspect of the film is the exploration of sexual identity. I identify as bisexual, but it wasn’t until I was happily married to my husband that I started talking about it openly. Actually, it was through writing My Fiona that I really took ownership of this part of myself. I wanted to explore the idea that love can be circumstantial; it can be forever or for just a moment, and more importantly, it can be with anyone. Jane’s story showed me that the only identity that matters is the one we give ourselves, and we should celebrate our ownership over our identity. 

Lastly, My Fiona is a love letter to female friendships. The women in my life have been magical soul mates and also the source of intense heartbreak. Sometimes your friends know you more than you know yourself, and our identities can be wrapped up in those relationships. I think friendship is less explored on film, and I wanted to honor my ladies and my incredible love for them. 

I have several of my own takeaways from the film that I formulated in my own mind. But, I am curious to know what you believe viewers of My Fiona should (hopefully) take away from this incredibly emotional journey? Without spoiling too much, what should our readers be on the lookout for? And should tissues be readily available?

Grief is unwritten, and there’s no right or wrong way to experience loss. Don’t judge yourself, don’t judge others. You are never cured of grief, you learn to live alongside it. That may sound depressing, but I actually find it liberating. Humans are resilient, and we can survive just about anything. There’s nothing better in life than surprising yourself. 

I also raise questions about the problematic doctor/patient relationship regarding mental health in our country. I hope if the audience is interested in this aspect of the film, they’ll do their own research. Who knows, maybe when they or a loved one needs help, they’ll have a more informed perspective that in turn could save a life.

If you were handed the opportunity to create the biopic of any legendary figure in American history, who would it be?

Woah! You wanna hear something wild?! The two scripts I’m working on right now are Bio Pics!!! I have a feature about Audrey Hepburn and her marriage to Mel Ferrer. I am a HUGE Audrey fan, and I think there are elements of her story that haven’t been told, and I would love to put a voice to her experience. I am also developing a limited series called Vice Versa. It’s based on the hidden life of Edythe Eyde, a naive secretary in the 1940s. She covertly created the first-ever magazine for lesbians during a time of suspicion, communism and vice raids in America. I randomly stumbled upon Edythe’s story last year and have fallen completely in love with her writing, outlook on life, and what she did for the queer community. Her story is relatively unknown, and I feel this sense of responsibility to get her message out there! 

What does the future hold for you? Anything you would like to plug to our readers?

Hehe. I think I just did above 🙂 You can follow me @girldownunda on Instagram or check out www.kellywalker.tv to stay up to date with all things filmmaking. 

What was the last thing that made you smile?

The little things in life fill me up with so much joy. My dogs’ tails wagging when I walk in the door. My husband squeezing my shoulder as he passes me in the hallway. The plants in my office, the crystals all over the house. Texts from friends that simply say – I love you. It’s been a rough year for all of us, and I think we need to make it a priority to look for the little wins and little joys. That’s what life is all about. 

Bryce Wagoner [Interview]

Hello Folks! We have an absolutely wonderful interview to share with you all. Bryce Wagoner is an actor, writer, filmmaker, just about everything! On screen you may recognize him from roles in projects like Gingerdead Man 2: The Passion of the Crust. Behind the camera he created the captivating documentary, After Porn Ends, which would then spawn two further additions. And, as if that weren’t enough, he was kind enough to let me know about his 2017 documentary, Parrot Heads, which is intriguing as hell! I have an unabashed love for Jimmy Buffett, so a look beyond those proverbial curtains was an absolute delight.

Wagoner answers a few of standard questions below, and gives us some wonderful insight into the world of filmmaking. We are honored to have Bryce with us today, and I think you are going to love what we have for you today. So Folks, please enjoy some wonderful words from the great Bryce Wagoner!

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What inspired you to get into the world of entertainment? Was it something you aspired to do since your youth, or did you happen to find yourself in this world one day?

Phil Hartman’s performance in So I Married An Axe Murderer and the DVD extras from Seven were the two biggest things that inspired me to accept the calling of working in entertainment. My fraternity brothers would endlessly quote Phil’s Alcatraz speech and it would bring such joy to us all, that it got the wheels turning to the point where I said to myself, “Hey I would like to create something that would do the same for some other group of idiot friends.” Then, when Seven came out on DVD, I was enthralled with not only Fincher’s approach to story and world building, but the process of how the movie was cast, shot, and the studio script process. The curtain had been pulled, and I was hooked!

What was your first paid gig in the world of entertainment? And were there any sort of lessons learned from this experience that still affects your work to date?

In 1999 I made $97 as an extra for two days on Sally Hemmings: An American Scandal, a TV movie that shot in Richmond, VA; starring Sam Neil and Mario Van Peebles.

I learned that the days on set would be long, but worth it, and that positivity is a huge factor in pulling anything off. We were doing this big protest scene and the AD says “Now really get into it and sell your anger so you can make it into the shot.” Sam was right there with us and he says “They ALL deserve to be in the shot.” And gives us this warm look of acceptance as equals. I will NEVER forget that moment and it’s why I am so grateful to anyone that agrees to be in front of a camera that I’m directing.

I thoroughly enjoyed your highly original 2012 documentary, After Porn Ends, which would then spawn two additional films. The subject matter is one that I think a lot of people actually think about a lot, but don’t like to think about it too often, I would imagine. With that, what was it that made you want to bring this story to the world?

It started as a simple question when I was doing some motion capture work for the WWE, where some of the guys on set were aghast at a website one of them did cyber security for that involved sex with vegetables. I was running my lines and suddenly this guy named Alby says “HOLY $h!t, HOW IN THE F&@K DO YOU DO ANYTHING IN YOUR LIFE AFTER DOING…THAT?!?!?”

Something clicked, and I asked myself “what does happen after you leave the XXX business?” Did some research and saw mostly one sided/negative stories that courted sensationalism, and I wanted to give these folks a fair say into their life stories. Not just cautionary tales that took no regard for them as human beings. 

Note to aspiring documentary film makers: It’s NOT hard to humanize people if you let them tell their own story without an agenda. 

Can you tell us a bit about your 2017 documentary Parrot Heads? What made you want to document this insanely loyal fan base? And how was your experience bringing this project to life? Do you have any significant memories that still make you smile when you think about them?

I’m an insanely loyal fan, and I knew there was a deeper story there than what most people see at the tailgates. 

Bringing the project to life started with a rum-induced phone call to my longtime ECU cohort Vance Daniels with the idea, three years of pitching said idea, to me working a door at the Bar Marmont and lamenting to a regular that no one in Hollywood gets Jimmy Buffett, leading him to say “I get Jimmy Buffett, how much do you need?”

Then as a result of doing it in earnest, we were able to get it to Frank Marshall (Indiana Jones, Back to the Future, Jurassic Park, etc), who loved it and advised Jimmy to be a part of it, to which he agreed to not only take part, but to become our distributor as well. 

That is one of the literal hundreds of memories that make me smile throughout the life of this movie, but the one that means the most to me is when I first showed it to my dad and he leans into me after the first 10 minutes and says “This movie is just too much fu@$ing fun!”

In front of the camera, you appeared in one of the most hilarious comedy horror franchises of all time, and one of the greatest sequel titles of all time, which would be Gingerdead Man 2: The Passion of the Crust, which also happens to feature our dear friend and past guest Junie Hoang. So, I am curious to know what drew you to this project? What made you want to dig into the world of the killer cookie?

When I was an actor I’d actually auditioned for the producer (William Butler) on other projects and we became friends. So Billy emails me one day and says “Wanna come play for a few weeks?” And knowing his sense of humor and my penchant for the absurd, I accepted without hesitation. Junie was lovely, as was the incomparable Michelle Bauer, and the now TV famous Parker Young. But of course I gravitated to hang with the creative/technical guys all doing Billy a favor, like Greg Nicotero, Mike Deak, and the late John Vulich/John Carl Buechler.  Talk about getting some free film school cookies in!

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If you were handed the opportunity to create the biopic of any legendary figure in American history, who would it be?

Legends are created by campfire stories, authors, filmmakers, the media, and the occasional viral video. Which is why my producing partner (Cara Kidwell) and I are trying to make a film about a certain woman who SHOULD be a legend, and most certainly will be when it’s all said and done.  

But in the meantime, if a studio called me and said “Here’s a pile of money, now go make this biopic of Chuck Yeager.” I’d break my wrist from signing that contract so fast! 

What does the future hold for you? Anything you would like to plug to our readers?

As a writer, I’ve had three scripts optioned but not made, so hopefully the future allows me to get one (or all) of them on screen. But until that time avails itself; I’m currently producing a nature documentary in the Outer Banks of North Carolina that I can’t say much about, other than it’s been another great experience and opportunity for creative growth that we all feel has a noble purpose and is appealing to just about anyone.

What was the last thing that made you smile?

Hugging my big sister a few hours ago for the first time in over a year.

Everyone please get vaccinated so we can can ALL do the same (and have cocktails afterwards). Cheers!

My Fiona [Film]

“My Fiona tells the poignant story of grief and loss, while exploring sexual identity in today’s reality. In the wake of an unexpected suicide, Jane finds herself overwhelmed by the loss of her best friend, Fiona. As she begins helping Fiona’s widow Gemma care for their seven-year old son, the relationship helps them cope but threatens their ability to heal.”

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Holy buckets, Folks. Prepare to experience them feels! My Fiona has a premise that seems pretty direct able, but it certainly is not. It’s a complex and emotional journey, and it is told absolutely wonderfully! Writer and Director Kelly Walker  has created an absolute masterpiece, if I am being blunt. And the stars seemed to have aligned beautifully, as the film centers around two incredibly interesting characters who both happened to be portrayed wonderfully by two amazing performers.

What got me the hardest about My Fiona is the relatability that I wasn’t expecting to have with the character of Jane. Sure, there are wildly specific differences, but ultimately, the film is about grief. Plain and simple (well, not that simple, but you get it). And we as humans experience grief differently, but it is a commonplace emotion for all of us, and sometimes we have to allow ourselves to heal. And for some of us, that can be harder than it seems.

The dynamic and tension displayed between Corbin Reid and Jeanette Maus is absolutely phenomenal. Clearly it’s well written, but there is a chemistry between Reid and Maus that is simply undeniable. It’s an absolute pain to know that Jeanette Maus recently passed away following an eight month long battle with colon cancer, and that the world will be deprived of her brilliance. 

So Folks, I implore you all to check out this incredible film. I’m saying it now, although I know it’s only April, My Fiona is one of the best films of 2021, if not the best thus far. And with the world being as insane as it is now, it’s actually quite possible that you don’t have to wait too long to see it!

You can check it out virtually at the Outshine LGBTQ Film Festival, available April 28th to May 2nd.

2021 Oscar Preview with Chris & Ron [Exclusive]

IT’S THAT TIME OF YEAR AGAIN, FOLKS! HEAD ON OVER TO OUR FACEBOOK EVENT PAGE AND CAST YOUR VOTE FOR WHO YOU BELIEVE HAD THE BEST PREDICTIONS FOR THE CHANCE TO WIN SOME EXTREMELY AVERAGE PRIZES! ENJOY!

TO VOTE, SIMPLY LEAVE A COMMENT ON THE EVENT PAGE STATING WHO YOU BELIEVE PICKED THE BEST.

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Introduction from Mr. Eaves:

I will always remember the night the State Lock Down announcements began. It was March 11th, 2020 and I was at the Rose Garden (Moda Center) in Portland, Oregon. My friend Brice had gifted me a ticket to see Tool with him – a band I have loved since Jr. High but had never found an opportunity to see perform live. An exceedingly kind gesture and one I will always treasure. The show was a mesmerizing spectacle of sound and sight collectively experienced by 20,000 people. A soul shocking juxtaposition slamming right into the coming uncertainty and isolation of the developing pandemic. What would ultimately become a Marathon without mile markers.

The first people to feel the pains of the Lock Down were those who operated our favorite neighborhood establishments. The places we seek out, to hang out, with our friends and family, build comradery and share experiences with each other. Our favorite restaurant, the Friday night movie theater and the local music venue all shuttered their doors. Somethings’ importance is not easily recognized until it is no longer around. How important these neighborhood institutions are to our culture and fueling our humanity.

The first few weeks of the pandemic carried a sense of optimism as we worked to flatten the infection curve. Although, weeks turned into months and waves 2 and 3 began hammering our cities. What we had thought and naively hoped for early on was a quick return to the old world, instead, missed the stealthily acceleration of convenience into our homes. And as the world stayed at home the streaming of content presented an opportunity for most to find moments of escapist entertainment.

We all learned about Tiger King and how Nicolas Cage would star in the film adaptation. Disney+ returned us to a past, and frankly quaint, approach to television, with their crazy notion of releasing a single episode each week. Disney+ dominated the pop culture conversation for weeks on end with The Mandalorian, WandaVision and The Falcon & the Winter Soldier. Warner Brothers decided to release all their Feature Films onto HBO Max at only 14.99 a month without informing their movie creators. And “The Snyder Cut” was finally released digitally after only a small additional 70-million-dollar investment and three years of Twitter outrage. Streaming became the race to acquire new Subscribers at all costs via fracturing content into hundreds of new Fill-In-The-Blank + apps.

Everything is so convenient now. Restaurant food delivered right to your front door. Groceries delivered right to your front door. Pencils and pressure washers delivered right to your front door. A new car delivered and parked right in your driveway. I just refinanced my home via signing all my documents with an E-Signature. And this is such a sorrowful notation for me. In person interactions create empathy. Human contact builds empathy just like a bench press builds muscular strength. Empathy requires practice and work, or it will wither away. Convenience has its cost. And this is coming from an introvert who conceals his anxiety.

If you have made it this far you are probably wondering why I am rambling on like this for an Academy Award Ballet Prediction write up. The Movies are cultural markers. They shine a light on our accomplishments as well as our tragedies. The Movies make us laugh and they make us weep. Movies are wonderful empathy machines. And the medium of theaters is an institution for building empathy through collective experience. A comedy is never as funny as when you watch it with a group of people fueling each other’s enjoyment.

The Theater Experience is like a restaurant or a music hall or a museum or an air show or a dozen other similar places. A place for us to share experience with one another and to experience the humanity within each other’s unique perspectives. These places are our cultural watering holes. While 2020 delivered an overabundance of collective pain and hardships, it also isolated us from one another and allowed for are more devilish instincts to bubble to the surface.

Late showing summer movies are my favorite experience. When the theater house lights come up and everyone starts looking around the auditorium, reading each other’s experiences across their faces. Some people clapping and others laughing. People slowly start to rustle their way towards the lobby. Small groups form up to talk about what they just witnessed. And my absolute favorite feeling – the rush of warm summer air upon my face as we step out of the air-conditioned lobby, the last bits of orange twilight shining above the horizon line. The conversations of the lobby have continued out under the Marquee and then meander their way out into the parking lot. All our social institutions have these similar kinds of experiences.

The theater experience will not be snuffed out by 2020 but it will forever be changed. The prerequisite for an OSCAR qualification is a theatrical release. The 2021 Academy Awards have made the exception for streaming nominations if the film had a planned theatrical release prior to the Lock Down. And as Subscription continues to dominate and watching from home continues to grow, the weight of Netflix, Amazon Prime and HBO Max’s consolidation of power over the Theatrical Exhibitionists of AMC, Regal, Cinemark and NATO (National Association of Theater Owners) will undoubtedly lead to more changes in how the Academy will operate. The theater will not die but the power of the theater has greatly diminished like an old bulb of a projector.

My goal was not to be a downer on the subject. Chloé Zhao and Nomadland deserve to win big this year! Zhao captures the complexities of humanity without judgment. Chadwick Boseman will win posthumously. Judas and the Black Messiah is a positive kick to the soul and should also win big. Delroy Lindo’s snub for Best Actor is nothing less than outrageous and a front to his craft. A few of the nominated films received limited releases but most found their way onto Premium Streaming VOD Platforms to which like most years most people still did not watch.

Cinema is a medium of storytelling. At one point Movie Palaces sold out 5,000 seat auditoriums each night before television found its way into every home. But what makes the act of Cinema so powerful was the experience of witnessing the spectacle of sight and sound collectively. Without the human interaction, a movie struggles to be more than just flickering light. Of course, a film will still affect you at home, but the reinforcement of the experience will solidify it as part of you. Just like that kind gesture of my friend Brice to see Tool with him. Just like the time Ron, I, Adam, Mike and Tyler all saw the Midnight showing of Inglourious Basterds (2009) at Cinetopia and Mike yelled out “Oh Fuck” after Hitler got blow away (because that is always the correct response after that scene). Or the first date I had with my wife to see The Hangover (2009). Or the time I saw the unforgivable trash heap that was Independence Day 2 (2016) with Adam, Cody, Brett, and Zac. Sharing the misery of that bullshit with those Sirs brought me so much joy. If I had watched Resurgence at home, it would have just been another forgotten memory.

The world is changing. We have been on this path for a while and 2020 simply accelerated its pace. Please keep watching movies. It is okay to watch movies at home. But remember why we watch movies. We watch to experience these emotions with other people. We still want to connect with people. And if the opportunity arises, please support your local theater. I hope to see you in the lobby and want to hear all about what you experienced. Until then – safe journey.

Introduction from Mr. Trembath:

Fuck COVID. Let’s all go the movies (soon?). Also Trial of the Chicago 7 was absolute trash. I recommend the 3 part podcast episode that our friends at The Dollop about Abbie Hoffman. And get vaccinated. NOW.

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BEST PICTURE

THE FATHER – David Parfitt, Jean-Louis Livi and Philippe Carcassonne, Producers

JUDAS AND THE BLACK MESSIAH – Shaka King, Charles D. King and Ryan Coogler, Producers

MANK – Ceán Chaffin, Eric Roth and Douglas Urbanski, Producers

MINARI – Christina Oh, Producer

NOMADLAND – Frances McDormand, Peter Spears, Mollye Asher, Dan Janvey and Chloé 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

WHO CHRIS WANTS TO WIN:

NOMADLAND

WHO RON WANTS TO WIN: 

JUDAS AND THE BLACK MESSIAH

WHO CHRIS THINKS WILL ACTUALLY WIN:

NOMADLAND

WHO RON THINKS WILL ACTUALLY WIN: 

NOMADLAND

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

WHO CHRIS WANTS TO WIN:

DELROY LINDO – Da 5 Bloods (Write In)

WHO RON WANTS TO WIN: 

CHADWICK BOSEMAN – Ma Rainey’s Black Bottom

WHO CHRIS THINKS WILL ACTUALLY WIN:

CHADWICK BOSEMAN – Ma Rainey’s Black Bottom

WHO RON THINKS WILL ACTUALLY WIN: 

CHADWICK BOSEMAN – Ma Rainey’s Black Bottom

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

WHO CHRIS WANTS TO WIN:

DANIEL KALUUYA – Judas and the Black Messiah

WHO RON WANTS TO WIN:

DANIEL KALUUYA – Judas and the Black Messiah

WHO CHRIS THINKS WILL ACTUALLY WIN:

DANIEL KALUUYA – Judas and the Black Messiah

WHO RON THINKS WILL ACTUALLY WIN:

DANIEL KALUUYA – 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

WHO CHRIS WANTS TO WIN:

ANDRA DAY – The United States vs. Billie Holiday

WHO RON WANTS TO WIN:

VIOLA DAVIS – Ma Rainey’s Black Bottom

WHO CHRIS THINKS WILL ACTUALLY WIN:

FRANCES MCDORMAND – Nomadland

WHO RON THINKS WILL ACTUALLY WIN:

FRANCES MCDORMAND – Nomadland

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 Elegy

OLIVIA COLMAN – The Father

AMANDA SEYFRIED – Mank

YUH-JUNG YOUN – Minari

WHO CHRIS WANTS TO WIN:

MARIA BAKALOVA – Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan

WHO RON WANTS TO WIN:

MARIA BAKALOVA – Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan

WHO CHRIS THINKS WILL ACTUALLY WIN:

AMANDA SEYFRIED – Mank

WHO RON THINKS WILL ACTUALLY WIN:

MARIA BAKALOVA – Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan

ANIMATED FEATURE FILM

ONWARD – Dan Scanlon and Kori Rae

OVER THE MOON – Glen Keane, Gennie Rim and Peilin 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 Stéphan Roelants

WHO CHRIS WANTS TO WIN:

SOUL – Pete Docter and Dana Murray

WHO RON WANTS TO WIN:

SOUL – Pete Docter and Dana Murray

WHO CHRIS THINKS WILL ACTUALLY WIN:

SOUL – Pete Docter and Dana Murray

WHO RON THINKS WILL ACTUALLY WIN:

SOUL – Pete Docter and Dana Murray

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

WHO CHRIS WANTS TO WIN:

MANK – Erik Messerschmidt

WHO RON WANTS TO WIN:

JUDAS AND THE BLACK MESSIAH – Sean Bobbitt

WHO CHRIS THINKS WILL ACTUALLY WIN:

MANK – Erik Messerschmidt

WHO RON THINKS WILL ACTUALLY WIN:

NOMADLAND – Joshua James Richards

COSTUME DESIGN

EMMA – Alexandra Byrne

MA RAINEY’S BLACK BOTTOM – Ann Roth

MANK – Trish Summerville

MULAN – Bina Daigeler

PINOCCHIO – Massimo Cantini Parrini

WHO CHRIS WANTS TO WIN:

MANK – Trish Summerville

WHO RON WANTS TO WIN:

MA RAINEY’S BLACK BOTTOM – Ann Roth

WHO CHRIS THINKS WILL ACTUALLY WIN:

MANK – Trish Summerville

WHO RON THINKS WILL ACTUALLY WIN:

MA RAINEY’S BLACK BOTTOM – Ann Roth

DIRECTING

ANOTHER ROUND – Thomas Vinterberg

MANK – David Fincher

MINARI – Lee Isaac Chung

NOMADLAND – Chloé Zhao

PROMISING YOUNG WOMAN – Emerald Fennell

WHO CHRIS WANTS TO WIN:

NOMADLAND – Chloé Zhao

WHO RON WANTS TO WIN:

PROMISING YOUNG WOMAN – Emerald Fennell

WHO CHRIS THINKS WILL ACTUALLY WIN:

NOMADLAND – Chloé Zhao

WHO RON THINKS WILL ACTUALLY WIN:

NOMADLAND – Chloé Zhao

DOCUMENTARY (FEATURE)

COLLECTIVE – Alexander Nanau and Bianca Oana

CRIP CAMP – Nicole Newnham, Jim LeBrecht and Sara Bolder

THE MOLE AGENT – Maite Alberdi and Marcela Santibáñez

MY OCTOPUS TEACHER – Pippa Ehrlich, James Reed and Craig Foster

TIME – Garrett Bradley, Lauren Domino and Kellen Quinn

WHO CHRIS WANTS TO WIN:

MY OCTOPUS TEACHER – Pippa Ehrlich, James Reed and Craig Foster

WHO RON WANTS TO WIN:

CRIP CAMP – Nicole Newnham, Jim LeBrecht and Sara Bolder

WHO CHRIS THINKS WILL ACTUALLY WIN:

MY OCTOPUS TEACHER – Pippa Ehrlich, James Reed and Craig Foster

WHO RON THINKS WILL ACTUALLY WIN:

MY OCTOPUS TEACHER – Pippa Ehrlich, James Reed and Craig Foster

DOCUMENTARY (SHORT SUBJECT)

COLETTE – Anthony Giacchino 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

WHO CHRIS WANTS TO WIN:

A LOVE SONG FOR LATASHA – Sophia Nahli Allison and Janice Duncan

WHO RON WANTS TO WIN:

A LOVE SONG FOR LATASHA – Sophia Nahli Allison and Janice Duncan

WHO CHRIS THINKS WILL ACTUALLY WIN:

A LOVE SONG FOR LATASHA – Sophia Nahli Allison and Janice Duncan

WHO RON THINKS WILL ACTUALLY WIN:

A CONCERTO IS A CONVERSATION – Ben Proudfoot and Kris Bowers

FILM EDITING

THE FATHER – Yorgos Lamprinos

NOMADLAND – Chloé Zhao

PROMISING YOUNG WOMAN – Frédéric Thoraval

SOUND OF METAL – Mikkel E. G. Nielsen

THE TRIAL OF THE CHICAGO 7 – Alan Baumgarten

WHO CHRIS WANTS TO WIN:

SOUND OF METAL – Mikkel E. G. Nielsen

WHO RON WANTS TO WIN:

SOUND OF METAL – Mikkel E. G. Nielsen

WHO CHRIS THINKS WILL ACTUALLY WIN:

SOUND OF METAL – Mikkel E. G. Nielsen

WHO RON THINKS WILL ACTUALLY WIN:

NOMADLAND – Chloé Zhao

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

WHO CHRIS WANTS TO WIN:

ANOTHER ROUND – Denmark

WHO RON WANTS TO WIN:

ANOTHER ROUND – Denmark

WHO CHRIS THINKS WILL ACTUALLY WIN:

ANOTHER ROUND – Denmark

WHO RON THINKS WILL ACTUALLY WIN:

ANOTHER ROUND – Denmark

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 Coulier, Dalia Colli and Francesco Pegoretti

WHO CHRIS WANTS TO WIN:

MANK – Sergio Lopez-Rivera, Mia Neal and Jamika Wilson

WHO RON WANTS TO WIN:

MA RAINEY’S BLACK BOTTOM – Sergio Lopez-Rivera, Mia Neal and Jamika Wilson

WHO CHRIS THINKS WILL ACTUALLY WIN:

MANK – Sergio Lopez-Rivera, Mia Neal and Jamika Wilson

WHO RON THINKS WILL ACTUALLY WIN:

MA RAINEY’S BLACK BOTTOM – Sergio Lopez-Rivera, Mia Neal and Jamika Wilson

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

WHO CHRIS WANTS TO WIN:

SOUL – Trent Reznor, Atticus Ross and Jon Batiste

WHO RON WANTS TO WIN:

DA 5 BLOODS – Terence Blanchard

WHO CHRIS THINKS WILL ACTUALLY WIN:

SOUL – Trent Reznor, Atticus Ross and Jon Batiste

WHO RON THINKS WILL ACTUALLY WIN:

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 Pemberton and Celeste Waite

HUSAVIK – from Eurovision Song Contest: The Story of Fire Saga; Music and Lyric by Savan Kotecha, Fat Max Gsus and Rickard Göransson

IO SÌ (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

WHO CHRIS WANTS TO WIN:

SPEAK NOW – from One Night in Miami…; Music and Lyric by Leslie Odom, Jr. and Sam Ashworth

WHO RON WANTS TO WIN:

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

WHO CHRIS THINKS WILL ACTUALLY WIN:

SPEAK NOW – from One Night in Miami…; Music and Lyric by Leslie Odom, Jr. and Sam Ashworth

WHO RON THINKS WILL ACTUALLY WIN:

SPEAK NOW – from One Night in Miami…; Music and Lyric by Leslie Odom, Jr. and Sam Ashworth

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 Graham 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

WHO CHRIS WANTS TO WIN:

TENET – Production Design: Nathan Crowley; Set Decoration: Kathy Lucas

WHO RON WANTS TO WIN:

MA RAINEY’S BLACK BOTTOM – Production Design: Mark Ricker; Set Decoration: Karen O’Hara and Diana Stoughton

WHO CHRIS THINKS WILL ACTUALLY WIN:

TENET – Production Design: Nathan Crowley; Set Decoration: Kathy Lucas

WHO RON THINKS WILL ACTUALLY WIN:

MANK – Production Design: Donald Graham Burt; Set Decoration: Jan Pascale

SHORT FILM (ANIMATED)

BURROW – Madeline Sharafian and Michael Capbarat

GENIUS LOCI – Adrien Mérigeau and Amaury Ovise

IF ANYTHING HAPPENS I LOVE YOU – Will McCormack and Michael Govier

OPERA – Erick Oh

YES-PEOPLE – Gísli Darri Halldórsson and Arnar Gunnarsson

WHO CHRIS WANTS TO WIN:

GENIUS LOCI – Adrien Mérigeau and Amaury Ovise

WHO RON WANTS TO WIN:

IF ANYTHING HAPPENS I LOVE YOU – Will McCormack and Michael Govier

WHO CHRIS THINKS WILL ACTUALLY WIN:

GENIUS LOCI – Adrien Mérigeau and Amaury Ovise

WHO RON THINKS WILL ACTUALLY WIN:

GENIUS LOCI – Adrien Mérigeau and Amaury Ovise

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

WHO CHRIS WANTS TO WIN:

WHITE EYE – Tomer Shushan and Shira Hochman

WHO RON WANTS TO WIN:

FEELING THROUGH – Doug Roland and Susan Ruzenski

WHO CHRIS THINKS WILL ACTUALLY WIN:

WHITE EYE – Tomer Shushan and Shira Hochman

WHO RON THINKS WILL ACTUALLY WIN:

FEELING THROUGH – Doug Roland and Susan Ruzenski

SOUND

GREYHOUND – Warren Shaw, Michael Minkler, Beau Borders and David Wyman

MANK – Ren Klyce, 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, Michellee Couttolenc, Carlos Cortés and Phillip Bladh

WHO CHRIS WANTS TO WIN:

SOUND OF METAL – Nicolas Becker, Jaime Baksht, Michellee Couttolenc, Carlos Cortés and Phillip Bladh

WHO RON WANTS TO WIN:

SOUND OF METAL – Nicolas Becker, Jaime Baksht, Michellee Couttolenc, Carlos Cortés and Phillip Bladh

WHO CHRIS THINKS WILL ACTUALLY WIN:

GREYHOUND – Warren Shaw, Michael Minkler, Beau Borders and David Wyman

WHO RON THINKS WILL ACTUALLY WIN:

SOUND OF METAL – Nicolas Becker, Jaime Baksht, Michellee Couttolenc, Carlos Cortés 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

WHO CHRIS WANTS TO WIN:

TENET – Andrew Jackson, David Lee, Andrew Lockley and Scott Fisher

WHO RON WANTS TO WIN:

THE MIDNIGHT SKY – Matthew Kasmir, Christopher Lawrence, Max Solomon and David Watkins

WHO CHRIS THINKS WILL ACTUALLY WIN:

TENET – Andrew Jackson, David Lee, Andrew Lockley and Scott Fisher

WHO RON THINKS WILL ACTUALLY WIN:

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 & Erica Rivinoja & Dan Mazer & 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 Chloé Zhao

ONE NIGHT IN MIAMI… – Screenplay by Kemp Powers

THE WHITE TIGER – Written for the screen by Ramin Bahrani

WHO CHRIS WANTS TO WIN:

ONE NIGHT IN MIAMI… – Screenplay by Kemp Powers

WHO RON WANTS TO WIN:

ONE NIGHT IN MIAMI… – Screenplay by Kemp Powers

WHO CHRIS THINKS WILL ACTUALLY WIN:

ONE NIGHT IN MIAMI… – Screenplay by Kemp Powers

WHO RON THINKS WILL ACTUALLY WIN:

NOMADLAND – Written for the screen by Chloé Zhao

WRITING (ORIGINAL SCREENPLAY)

JUDAS AND THE BLACK MESSIAH – Screenplay by Will Berson & 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 Cianfrance

THE TRIAL OF THE CHICAGO 7 – Written by Aaron Sorkin

WHO CHRIS WANTS TO WIN:

JUDAS AND THE BLACK MESSIAH – Screenplay by Will Berson & Shaka King; Story by Will Berson & Shaka King and Kenny Lucas & Keith Lucas

WHO RON WANTS TO WIN:

JUDAS AND THE BLACK MESSIAH – Screenplay by Will Berson & Shaka King; Story by Will Berson & Shaka King and Kenny Lucas & Keith Lucas

WHO CHRIS THINKS WILL ACTUALLY WIN:

PROMISING YOUNG WOMAN – Written by Emerald Fennell

WHO RON THINKS WILL ACTUALLY WIN:

THE TRIAL OF THE CHICAGO 7 – Written by Aaron Sorkin

Annette Arnold [Interview]

Hello Folks! We have another absolutely wonderful interview to share with you all. We have a brilliant and legendary performer of the screen and stage, it’s Annette Arnold, Everyone! Annette jumped into the public eye when she performed in Tamara Jenkin’s Sundance Special Jury award winning film Family Remains, alongside fellow greats like Kevin Corrigan and Donna Mitchell. She was amazing in it, and has been taking on some amazing projects ever since. In fact, two of those projects were the original reason I initially reached out to receive the honor of having Annette grace our digital pages, and we will discuss them below. Suffice to say that they are two of my Top Ten films of all time, and whenever we have a cast member, or anyone who was involved with the project on the site, we simply HAVE to ask about it. Today will be no exception. 

So, Folks, please enjoy some brilliant words from the even more brilliant performer, Annette Arnold!

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 What inspired you to get into the world of performance? Was it something you had wanted to do since your youth? Or did you happen to find yourself in this world one day?


I don’t come from a family of performing artists, but, my father was always a great storyteller. I learned early on the power to move, excite, anger or captivate people through storytelling. I began putting on ‘backyard plays’ at a very young age. When you’re eight, and you create a living breathing character in front of your neighbors, then stand back and observe the very unique and different ways in which each of them reacts to or responds to it, well, let’s just say, that is very powerful and I’ve been enthralled ever since.  

What was your first paid gig in the world of entertainment? And were there any sort of lessons learned from this experience that still affect your work to date?

My very first paid gig in the entertainment world was the Sundance Jury Prize winning film Family Remains. I was honored to be directed by the very brilliant Tamara Jenkins for my debut film. It was also the very first time I stepped foot on a set. Tamara taught me so much then, about both film and artistic integrity. Tamara and Gabor (our cinematographer) would set up each and every shot, step back, call me over, and then have me look through the lens. Tamara allowed me to view each shot, assess my parameters, and understand and actually see what the camera was seeing. When does that ever happen to an actor?? Ummm…NEVER (and never has it happened again). The opportunity to learn about space, angles, close ups, to see the difference between a two shot, master, medium, and experience the importance of lighting, taught me lessons that still inform my work today. No matter what my approach to a role is, my goal is always a truthful performance. But, film is a medium and that lens is there for a reason. There is a world to view through/inside of it. I learned to know what it is, then forget it is there. It was the ultimate MASTER CLASS! I am so lucky to have worked with Tamara several more times after that. I’m not sure she would even remember those moments, but, I hope she knows how grateful I am. 

You have done some amazing work on both big and silver screens, the stage, & beyond. With that in mind, what would you consider to be your most beloved type of performance?


Well…my most beloved role is yet to come! Having said that, at this stage in my life and creativity, I feel the most uninhibited, unencumbered and inspired, than I have ever been. I have a lifetime of stories, humor, love, anger, and unbridled rage to share. And, no walls. Maybe that came with age? I don’t know, but, I am able to access parts of me I didn’t know existed or didn’t want to, and it’s unpredictable and exciting. So my most beloved types of performances have been ones that both challenge me and are just that, unpredictable. I recently played a housewife who dreams of being a stand up comedienne. In the last minutes of [a particular] play, my character finally takes the stage and delivers her first crack at stand up. Although the play and that final routine was written by the wonderful Alyssa Haddad, just like real stand up, it could and would change every evening depending on the audience response. I often had to improvise or change things up, based off of their reactions, comments or even heckling. It was both terrifying and exhilarating! 

In back to back years, you worked on two of my absolute favorite films of all time. The first would be the seminal indie classic film Trees Lounge, which also features our old friend Michael Buscemi. So, I am curious to know what drew you to this project? And how was your experience working on this project?

TREES LOUNGE!! One of my favorites too! I remain a huge fan of both Steve and Michael Buscemi. Steve drew me to this project. He had seen me in Family Remains (at Sundance I believe) and called me at home! Now remember, there was no internet, no email. Just an answering machine. My boyfriend Chris Wilson (now my husband) and I, came home to a message on the answering machine from Steve. Steve Buscemi!! My husband and I kept replaying the message and screaming…’Mr. Pink’!! I think we did that about 15 times before we actually listened to it. Steve invited me to be a part of a reading he was having at Nuyorican Poets Cafe. Again, because it was the old days, we met at a coffee shop so he could hand me the script (or else he would have had to send it snail mail, remember that?). The reading went extremely well and not surprisingly, the script was incredibly well received. It was about a year later I received a call offering me the role of Sandy. Not only did I get to work with an enormously talented cast that included Steve and Michael Buscemi, but Kevin Corrigan, Michael Imperioli, Seymour Cassel and Chloe Sevigny, but, I earned my SAG card!! I will never forget it. 

The next year, you worked on another classic film, in my opinion, Deconstructing Harry, which features another dear friend of ours, Hazelle Goodman. So, same question basically, what drew you to the project, and how was your experience?

It seems like all roads lead back to Family Remains, so I guess, this is no different. Casting director Laura Rosenthal, who cast Family Remains, worked out of Juliet Taylor’s Casting office at the time. Juliet Taylor was the casting director on most, if not all, of Woody Allen’s films back then. A few years after Family Remains was released, Juliet Taylor called me in to audition for Deconstructing Harry. I read for her and was asked if I was available to meet with Woody Allen the very next day. I not only read for him, I read with him! I guess it went well because I was offered the role that evening. My experience was fantastic. You’ve seen the film, so you know, there are so many famous faces in it. For an actor in their early career, it can often be intimidating, but, every actoron set (famous or not) seemed equally nervous/terrified and excited to just be in a Woody Allen film. 

If you were handed the opportunity to portray any legendary figure in American history, who would it be?


Carol Burnett. The very first woman ever to host a variety sketch show (and the most awarded tv shows of all time). She’s groundbreaking. She is fierce, fearless, and a superior physical comedian. Throughout her devastating personal tragedies, she revealed herself through her comedy. As a young girl I was always attracted to dark material: films, poetry, etc, art that revealed the darkest depths of the soul. Yet, every evening when I heard the musical opening of The Carol Burnett show, I knocked over whomever was in my way at the time and would sit directly in front of the television…it was transcendent. Like some of my favorite confessional poets, her humor always revealed her humanity. I NEVER felt like she was wearing a mask. She is one of the most influential women (and people) in television history.

What does the future hold for you? Anything our readers should be on the lookout for?


With an actor/singer/filmmaker daughter and writer husband, we have many performing opportunities/collaborations on the horizon. However, these quarantine and pandemic times had me writing! I wrote a short film and a series pilot titled Apartment 3RN. Without giving too much away, I took the age old advice ‘write what you know’. It’s about a family of artists living in Hell’s Kitchen. They encounter a series of racial, fantastical and even violent missteps, all while seemingly never leaving their sofa.    

What was the last thing that made you smile?

My daughter, Zoe Wilson, as I mentioned, is also a professional actor, just booked a great role. No matter how long you’ve been doing this, or even who got the gig, that feeling, that excitement, never gets old.