LOS ANGELES (Jan. 7, 2018) – Tonight, the Hollywood Foreign Press Association (HFPA) announced the winners of the 75th Annual Golden Globe Awards at Hollywood’s Party of the Year™. Show host Seth Meyers led the star-studded event which aired on NBC live from The Beverly Hilton. Oprah Winfrey was honored with the Cecil B. de Mille Award, and Simone Garcia Johnson, carried out her duties as the first-ever Golden Globe Ambassador.
This year’s trophies were presented by an all-star list of celebrities including Jennifer Aniston, Roseanne Barr, Halle Berry, Carol Burnett, Mariah Carey, Jessica Chastain, Emilia Clarke, Kelly Clarkson, Common, Darren Criss, Penelope Cruz, Viola Davis, Geena Davis, Kirk Douglas, Zac Efron, Gal Gadot, Greta Gerwig, John Goodman, Hugh Grant, Kit Harington, Neil Patrick Harris, Salma Hayek, Garrett Hedlund, Chris Hemsworth, Christina Hendricks, Ron Howard, Kate Hudson, Isabelle Huppert, Allison Janney, Dakota Johnson, Dwayne Johnson, Angelina Jolie, Michael Keaton, Shirley MacLaine, Ricky Martin, Helen Mirren, Sarah Jessica Parker, Robert Pattinson, Sarah Paulson, Amy Poehler, Natalie Portman, Edgar Ramirez, Seth Rogen, Andy Samberg, Susan Sarandon, J.K. Simmons, Octavia Spencer, Sebastian Stan, Sharon Stone, Emma Stone, Barbra Streisand, Aaron Taylor-Johnson, Keith Urban, Alicia Vikander, Kerry Washington, Emma Watson, Reese Witherspoon and Catherine Zeta-Jones.
Produced by dick clark productions (dcp) in association with the HFPA, the Golden Globe Awards are viewed in more than 236 countries worldwide and are one of the few awards ceremonies to include both motion picture and television achievements.
Award-Winner Transcripts + Pics Below!
(all pics and transcripts from HFPA. They may not be copied/reused.)
First, the Cecile B. DeMille Award Speech…
Cecil B. DeMille® Award
OPRAH WINFREY: Hi. Thank you. Thank you. Thank you all. OK. OK. Thank you, Reese. In 1964 I was a little girl sitting on the linoleum floor of my mother’s house in Milwaukee watching Anne Bancroft present the Oscar for Best Actor at the 36th Academy Awards. She opened the envelope, and said five words that literally made history: “The winner is Sidney Poitier.” Up to the stage came the most elegant man I had ever seen. I remember his tie was white and, of course, his skin was black. And I’d never seen a black man being celebrated like that. And I have tried many, many, many times to explain what a moment like that means to a little girl, a kid watching from the cheap seats as my mom came through the door, bone tired from cleaning other people’s houses. But all I can do is quote and say that the explanation in Sidney’s performance in “Lilies of the Field,” “Amen, amen. Amen, amen.” (Applause.)
In 1982 Sidney received the Cecil B. DeMille Award right here at the Golden Globes, and it is not lost on me that at this moment, there are some little girls watching as I become the first black woman to be given this same award. (Applause.)
It is an honor ‑‑ it is an honor and it is a privilege to share the evening with all of them and also with the incredible men and women who inspire me, who challenge me, who sustain me, and made my journey to this stage possible. Dennis Swanson, who took a chance on me for “AM Chicago.” Quincy Jones, who saw me on that show and said to Steven Spielberg, “Yes, she is Sofia in ‘The Color Purple.’” Gayle, who has been the definition of what a friend is. And Stedman, who has been my rock. Just a few to name.
I’d like to thank the Hollywood Foreign Press Association because we all know that the press is under siege these days, but we also know that it is the insatiable dedication to uncovering the absolute truth that keeps us from turning a blind eye to corruption and to injustice ‑‑ (Applause.)
‑‑ to tyrants and victims and secrets and lies. I want to say that I value the press more than ever before as we try to navigate these complicated times, which brings me to this: What I know for sure is that speaking your truth is the most powerful tool we all have. And I’m especially proud and inspired by all the women who have felt strong enough and empowered enough to speak up and share their personal stories. Each of us in this room are celebrated because of the stories that we tell. And this year we became the story. But it’s not just a story affecting the entertainment industry. It’s one that transcends any culture, geography, race, religion, politics, or workplace. So I want tonight to express gratitude to all the women who have endured years of abuse and assault because they, like my mother, had children to feed and bills to pay and dreams to pursue. (Applause.)
They’re the women whose names we’ll never know. They are domestic workers and farm workers. They are working in factories, and they work in restaurants, and they’re in academia and engineering and medicine and science. They’re part of the word of tech and politics and business. They are athletes in the Olympics, and they are soldiers in the military. And there’s someone else: Recy Taylor, a name I know and I think you should know too. In 1944 Recy Taylor was a young wife and a mother. She was just walking home from the church service she’d attended in Abbeville, Alabama, when she was abducted by six armed white men, raped, and left blindfolded by the side of the road coming home from church. They threatened to kill her if she ever told anyone, but her story was reported to the NAACP, where a young worker by the name of Rosa Parks became the lead investigator on her case. And together they sought justice. But justice wasn’t an option in the era of Jim Crow. The men who tried to destroy her were never persecuted. Recy Taylor died 10 days ago, just shy of her 98th birthday. She lived as we all have lived, too many years in a culture broken by brutally powerful men. For too long women have not been heard or believed if they dared to speak their truth to the power of those men, but their time is up. (Applause.)
Their time is up. Their time is up. And I just hope ‑‑ I just hope that Recy Taylor died knowing that her truth, like the truth of so many other women who were tormented in those years and even now tormented, goes marching on. It was somewhere in Rosa Parks’s heart almost 11 years later when she made the decision to stay seated on that bus in Montgomery. And it’s here with every woman who chooses to say, “Me too” and every man, every man who chooses to listen. In my career what I’ve always tried my best to do, whether on television or through film, is to say something about how men and women really behave, to say how we experience shame, how we love and how we rage, how we fail, how we retreat, persevere, and how we overcome. I’ve interviewed and portrayed people who have withstood some of the ugliest things life can throw at you, but the one quality all of them seem to share is an ability to maintain hope for a brighter morning, even during our darkest nights. So I want all the girls watching here now to know that a new day is on the horizon. (Applause.)
And when that new day finally dawns, it will be because of a lot of magnificent women, many of whom are right here in this room tonight, and some pretty phenomenal men fighting hard to make sure that they become the leaders who take us to the time when nobody ever has to say, “Me too” again. Thank you. (Applause.)
OPRAH WINFREY: Okay. Hi. How does this work? Oh, you ask questions of me. All right. Hello.
Q Your speech tonight was so — I’m right here.
OPRAH WINFREY: There you are.
Q Your speech was so amazing and inspirational. I want to know what you feel is the greatest lesson you’ve learned throughout your life and career?
OPRAH WINFREY: The greatest lesson I’ve learned throughout my career came from Maya Angelou, actually, when I was first meeting her. And after I’d known her for a while, she said, “Baby, you know, you need to know that when people show you who they are, you believe them the first time.” Oh, you know that lesson, too, now? Yes, I do. The first time. And your problem is it takes you 29 times. This is the same lesson coming in a different skirt wearing a different pair of pants. So I think that has been one of my greatest wisdom teachings, is to assess from people’s behavior their actions, not just towards me, but towards other people, who they are and how they behave. Because if people talk about other people, they’ll talk about you. So I think in business and personal relationships, that’s always been my greatest lesson. Also staying grounded, you know, has been really great for me.
Q You are on top of the world. We love you. What humbles you right now?
OPRAH WINFREY: What humbles me?
OPRAH WINFREY: This humbles me. When I first got — when they first called me and said they wanted me to accept this, I said, “I shouldn’t be the person to get the Cecil B. Demille award.” I was working with Reese Witherspoon this past spring and winter, and I happened to just say in the makeup room one morning, “Oh, how many movies have you done?” “I don’t know. It’s been so many.” And then I thought, “I hope they don’t ask me because I think it’s been five.” And so I didn’t understand it, and then they explained that it’s about overall entertainment. Now, what I was able to do with the Oprah show and the cultural statement we were able to make throughout the world, I feel very, very, very proud of that, but I think that when it comes to films, that I am really the new kid on the block, and I always feel like when I’m acting, that I am out of my box. It’s the most intimidated I ever feel.
Q I’m curious what wisdom you could pass on to me and my friends who were filmmaker scholarship recipients of the Hollywood Foreign Press. What could you pass on to the future generations of Hollywood that wants to make films?
OPRAH WINFREY: The way you make movies is to do stuff you love. You know, for 25 years I worked on the Oprah show, and I will tell you there were nights when I came home and it was hard to even take off my clothes because I knew I was going to be getting up four hours later. But I never really felt exhausted, like depleted. I felt exhausted, but I never felt depleted. So do the work that comes straight from the soul of you, from your background, from stories that you’ve grown up with, from stories that bring you passion, from stories that you are not just drawn to tell it, but if you don’t tell them, they don’t get told. And when you are operating, you know, the single greatest wisdom I think I’ve ever received, other than when people show you who they are, is that the key to fulfillment, success, happiness, contentment in life is when you align your personality with what your soul actually came to do. I believe everybody has a soul and has their own personal spiritual energy. So when you can use your personality to serve whatever that thing is, you can’t help but be successful. So if you do film that come from the interior of your soul, you do work, you do art that comes from the interior of you, you cannot miss. It’s only when you are doing stuff that you think might make money, you think it may be a hit, or you think it may bring you some level of attention or success, that isn’t what does it. I would have to say that all of the great, wonderful experiences of my life that have brought me to this moment have come from working from the interior of myself, and so that’s why I feel so authentic, because it actually is. So when you do that, you’ll win.
Q You always give such great advice to everyone else, and I’m just curious, as you look over your life, what advice would you give to a seven-year-old about surviving as a woman in this world?
OPRAH WINFREY: Seven, I was so sad. At seven, all of my real love came from my teachers, and so my teachers — I would say this to anybody in this room. You have no idea the power of noticing another human being and what it feels like when somebody knows that they have been seen, truly seen by you. It is the greatest offering you can give, and all of those years of the Oprah show, the greatest lesson I learned was that after every show, someone would say, invariably, in one way or another, how was that? I finished an interview with a father who killed twin daughters, followed an interview with politician George Bush, Beyonce. They all say the same thing. How is that? And so I started to see that there this common thread in humanity where everybody wants to know how was that? Did I do okay? Did you hear me? And did what I say mean something to you? So I would have to say that recognizing that in other people has helped me to become, you know, a person of compassion, a person of understanding, a person who can interview anybody about anything because I know that at the core of you is the same as the core of me. You just want to be heard. So anyway.
Q Last year Meryl Streep won this award. It felt a very different time. Trump had just won. We had all of the allegations last year. With your speech, with everyone in solidarity in black tonight, do you feel the country together as a whole is moving in the better direction than we moved last year?
OPRAH WINFREY: I certainly feel that what happened — you know, I always think, and know, having watched it over the years through thousands and thousands of interviews and watching people in their dysfunction, that when something really negative is brewing, that there is the direct opposite reaction that is also possible. Because for every action, there is an equal and opposite reaction. So when something as big as what started to happen in October with Harvey Weinstein, sorry to unfold, I thought, whoa, whoa, whoa, whoa, whoa, and with every day’s revelation, I thought here is an opportunity for something powerfully — a powerful growth, and how do we use this moment to elevate what is happening instead of continually victimize ourselves. And so I think that wearing black in solidarity is one step. I think that what time’s up is doing with the legal defense fund is a major step. It was very important to all of us involved with time’s up that it not just about the women of Hollywood, because we are already a privileged group, but to extend to the women of the world. Because as I said tonight, there isn’t a culture, a race, a religion, a politic, a workplace that hasn’t been affected by it. And one of the reasons why I wanted to tell Reese Taylor’s [phonetic] story is to let people know it’s been happening for a very long time. When people didn’t feel that they could speak up, and there’s so many women who have endured so much and remained silent and kept going because there was no other recourse, and now that we’ve all joined as one voice, I think that it feels like empowerment to those women who never had it. Thank you so much.
Best Performance by an Actress in a Series, Limited Series or Motion Picture Made for Television
Nicole Kidman ‑ “Big Little Lies”
NICOLE KIDMAN: Oh, first cab off the rank. Yikes. That means my daughters are still awake. So, Sunny, Faith, I love you. I’m bringing this home to you, babies. Thank you to the Hollywood Foreign Press for supporting us. Thank you to HBO, Richard Plepler for supporting and committing to us. And when I say “us,” I’m talking about Reese Witherspoon and myself. We did this because of our friendship, our creative union, and our support of each other, and I love you. Also, I want to say, Laura Dern, Shailene Woodley, and Zoe Kravitz, we sat at a table. We pledged allegiance to each other and commitment to each other, and this is ours to share. Wow, the power of women. (Applause.)
Also, I speak on behalf of the five of us because we would not be in existence without this show, and it wouldn’t be as good as it has been, without the mastery of Jean‑Marc Vallee and David E. Kelley. And also Liane Moriarty. And I have to say, Bruna Papandrea and Per Saari, your tenacity is amazing. Thank you. There’s been people in my life, please, for decades who I just ‑‑ if I get a chance to thank them, I’m thanking them. Kevin Huvane , Susan Baxen , Alan Werthheimer Guyer , Chris Andrews , Wendy Day , Antochio Brown , all of you, Miranda, Liz, all of you. I love you. And my mama. My mama was an advocate for the women’s movement when I was growing up. And because of her, I’m standing here. My achievements are her achievements. Antonia Kidman, my sister, and I say thank you, Janelle Kidman, for what you fought for so hard.
And this character that I played represents something that is the center of our conversation right now, abuse. I do believe and I hope we can elicit change through the stories we tell and the way we tell them. Let’s keep the conversation alive. Let’s do it. And, Keith Urban, when my cheek is against yours, everything melts away, and that is love. It’s true. I love you so much. God bless you. Thank you.
Best Performance by an Actor In A Supporting Role in a Motion Picture
SAM ROCKWELL: Yeah baby. Wow. Woo. Man, forgive me. I’m a little excited so I may need this piece of paper and I may need some Imodium.
I’m very grateful to the Hollywood Foreign Press. Thank you to everybody at Fox Searchlight for your hard work.
Martin, Frances, we did a good thing here. I’ve been in a lot of indies and it’s nice to be in a movie that people see, you know?
So thanks to everyone who worked on this film, from our costume designer, Melissa, to Peter and Graham, our producers. It’s an amazing cast, a very generous Woody Harrelson.
Martin McDonagh ‑‑ I’m shaking. My hands are shaking. I am forever grateful to you for this amazing part. Where are you, Martin? Every actor knows to say great words is a blessing, and these are such beautiful words. You’re such an actor, friendly director. Thanks for not being a dick. Thanks.
Frances McDormand, I’ve said it before ‑‑ you’re a badass. You’re a force of nature. And it was really fun to be your sparring partner, and thanks for making me a better actor.
To everyone, to Jason Weinberg, Alise, Liz Mahoney, my acting coach for 20 years, Tera Nickerbocker, my acting teacher William Esberg, Liz Hamelstein, the dialect coach to the stars, my hilarious and beautiful Leslie Bibb, who makes me laugh when I’m taking myself too seriously, which I do a lot.
So this movie’s about compassion, and I think we need some of that these days. Thanks a lot.
SAM ROCKWELL: Thanks, man. Hey everybody. How is it going? What’s happening?
Q My question comes from the fans of the HFPA Facebook.
SAM ROCKWELL: Okay. Lay it on me.
Q Yes. So the first question would be: Who were you looking forward to seeing tonight here?
SAM ROCKWELL: You know, I’ve already seen so many beautiful and fellow actors, you know. Isabella Huppert, Jude Law, I saw them in the bathroom, Ewan McGregor. It’s pretty stellar seeing all of the fellows. Can I just say I forgot to thank my fellow nominees up there on the stage. So I want to just thank them and tell — say that I’m really honored and humbled to be in their company. So thanks.
Q For you, what was the hardest part?
SAM ROCKWELL: What’s that?
Q What was the hardest scene or part about this?
SAM ROCKWELL: You know, it was all really fun. I think the only — the logistics of making a movie are strange sometimes. Sometimes you get sick because you are working long hours, you know, stuff like that. There’s a lot — we did the scene with the fire, and there’s a lot of smoke, and so a lot of us got sick. Abbie Cornish, she had some bad allergies. It’s little things like that you lose in the light, but the actual acting of it was really fun.
Q Thank you.
SAM ROCKWELL: Yeah, thanks. Yeah.
Q Do you think that making a movie like the kid where somebody kind of takes justice into their own hands or tries to move for justice?
SAM ROCKWELL: I missed the first part of that. Do you think that what?
Q Well, do you think that making this movie as you did about someone who really pursues justice relentlessly, how do you think that plays against today’s political climate?
SAM ROCKWELL: Well, I think taking justice into your own hands — many with, I think this is a fictional movie, you know, and it’s more like a Western. If we all behave like people in Westerns, we’d all be arrested. So you can’t do that. But it’s a fantasy, you know. It’s a little — it’s sort of a Western fairytale, I guess. Yes. Yes. Yes. And anybody else? I just want to thank my agent, Rhonda Price.
Q Could I ask you, you are wearing all black. You are wearing all black tonight. I’m guessing maybe normally you would not wear a black shirt?
SAM ROCKWELL: Yes.
Q Will you tell us why you decided to join the women in this room tonight?
SAM ROCKWELL: I guess because it’s really powerful that women feel empowered to say something. I think they deserve that. I think the rest of us should just listen, you know. Yeah.
Q Sam, what else can men in this industry do? Obviously, women came together in a major way?
SAM ROCKWELL: Yeah.
Q What else can men do in this industry to help really create sustaining, long-lasting change?
SAM ROCKWELL: You know, I don’t really know the answer to that, but I suppose — I think really the issue is bullying. I think people have to stop being bullies, you know. I think that’s really what it comes down to. I think it starts with compassion and not being a bully.
Q Do you think it requires, like, kind of an in-depth look because I’ve read somewhere that you’ve got to really look inside yourself, everybody, not just men?
SAM ROCKWELL: Yeah.
Q Kind of take a deep look?
SAM ROCKWELL: I do, and I think this is — I think that’s what we’ve all been doing since this happened is taking a big, deep look into ourselves. Yeah, yeah, for sure. Yeah.
Q Thank you. SAM ROCKWELL: Yeah. Q Sam, over on your left?
SAM ROCKWELL: Yeah. Yes.
Q What does he do that other writers and actors aren’t doing?
SAM ROCKWELL: He’s just really — he’s a genius. He’s up there with Tarantino and David Mamet and Tennessee Williams and everybody, you know, all of those greats. He’s Sam Shepherd. He’s one of the greats. Yeah.
Q Sam, congratulations.
SAM ROCKWELL: Thanks.
Q What is next for you?
SAM ROCKWELL: Just trying to, you know, get my head straight and think about the next thing. Where are you? Oh, there you are. Yeah, just kind of get my head straight and think about the next thing. Thank you.
Q Sam, we had a lot of service members watching the Golden Globes overseas. Do you have any messages for them?
SAM ROCKWELL: What’s that?
Q We have a lot of service members watching the Golden Globes overseas. Do you have a message for them?
SAM ROCKWELL: Hang in there, man. Hang in there, and stay safe.
Q Thank you. After winning all of these awards, how do you stay motivated to keep doing better?
SAM ROCKWELL: You know, I think downtime is important, refuel the battery, you know, and kind of rethink everything, you know, and then keep working. Yeah. Yeah. Thank you very much.
Best Actress – Television Series, Musical or Comedy
RACHEL BROSNAHAN: Hi. Thank you to the HFPA. Thank you to ‑‑ I don’t know where you are anymore ‑‑ our fearless creators and leaders, Amy Sherman Palladino and Dan Palladino. There are many things. Thank you to everyone at Amazon ‑‑ to Dana. I’m going to have to write a whole lot of thank you notes. My brain is scrambled eggs. Thank you to Ken and my entire team, to Carol ‑‑ hi, Oprah. Wow. Look.
This is a story about a bold and brilliant and complicated woman, and I am endlessly proud to be a part of it. But there are so many women stories out there that still need and deserve to be told. So as we end with this new year, let’s continue to hold each other accountable and invest in and make and champion these stories.
Thank you, so much.
RACHEL BROSNAHAN: Hi, guys. Oh, that’s loud.
Q I was curious, you were so poised and calm on stage.
RACHEL BROSNAHAN: Did you think so?
Q Yes. Because Oprah was sitting in front of you, Jennifer Aniston and Carol Burnett are presenting you with your award. Has any of this sunken in yet? And what were you thinking when you walked up on stage? Because I would have been losing my mind. And you were very calm and collected.
RACHEL BROSNAHAN: I’m so glad you think so. No. I don’t remember any of it other than Oprah. At which point, I forgot everything I might say and forgot to thank a lot of people who I have to thank quickly right now: My friends and family who are very, very important, our cast and crew, also very, very important, and probably still more that I’ll think about when I go to sleep tonight.
RACHEL BROSNAHAN: Thank you.
Q There’s a thing called buts when people just start talking about a show and whispering and saying, “Have you heard? Have you seen?” When did you get the feeling that people had their minds around this that it was part of the conversation that your show was going to be this kind of success?
RACHEL BROSNAHAN: I think that’s so ongoing in the most wonderful way. We aired shortly before the holidays, and right before these nominations were announced, and so it feels like every single day, as happens often with the streaming services, people are still discovering the show, and the constant discovery process and how connected people feel to it, and it’s been one of the most exciting and remarkable things about being a part of it.
Q How does it hit you? Just people coming up to you reading about it? I mean, how do you begin to understand the phenomenon of it?
RACHEL BROSNAHAN: Not — not yet. I don’t know if you ever do. We feel like we are living in a little bubble sometimes, you know. It doesn’t — it doesn’t quite reach you until moments like this, I suppose.
RACHEL BROSNAHAN: Thank you.
Q Congratulations, Rachel.
RACHEL BROSNHAN: Thanks.
Q My questions come from the fans of Facebook and the HFPA fans of Facebook. They want to know what made you want to tell this story. What was it about the story that you wanted to tell?
RACHEL BROSNAHAN: That’s a wonderful question. Thank you. This — when I read the script, the thing that stood out to me the most was that Midge is maybe the most unapologetically confident woman that I have ever read in a script, and that scared the crap out of me and made me desperate to play this part and tell this story.
Q And my other question: What advice would you give a beginner that would like to write a story and script right now?
RACHEL BROSNAHAN: Just do it. Open your mouth. Write a script. Just do it. There are so many different platforms available now. To put stories out into the world: Do it. Do it. Do it.
Q What lessons did you learn most for your character that you’ll keep forever?
RACHEL BROSNAHAN: I mentioned confidence before. I’m fortunate that in my real life, that’s not debilitating self-confidence issues, is not something I’ve struggled with for an extended period of time, although I don’t think there’s not anyone in this room that hasn’t felt that some way or another. Finding the confidence in my work to bring this woman to life was challenging and terrifying. I’ve never done comedy. This whole thing was like a nightmare and a dream at the same time, and I hope to be able to carry that with me, that sense of self-empowerment that has been a constant discovery process through telling this story. Thank you, guys.
Best Performance by an Actress in a Television Series – Drama
Elisabeth Moss – “The Handmaid’s Tale”
ELISABETH MOSS: Thank you. Carol Burnett. OK. I have to go fast. HFPA, thank you so much. Hulu and MGM, thank you to my incredible crew, including especially Colin, Ann and Julie. To my incredible cast, I couldn’t do it without you. Especially to Bruce and Warren. You two are the kind of men that we need more of in this business, and I thank you. (Applause.)
To my team. You know who you are, and I love you. My mom and my brother, you are the hero and heroine in my life. I brought this because I can’t be trusted. This is from Margaret Atwood. “We were the people who were not in the papers. We lived in the blank white spaces at the edge of print. It gave us more freedom. We lived in the gaps between the stories.” Margaret Atwood, this is for you and all of the women who came before you and after you who were brave enough to speak out against intolerance and injustice and to fight for equality and freedom in this world. We no longer live in the blank white spaces at the edge of print. We no longer live in the gaps between the stories. We are the story in print, and we were writing the story ourselves. Thank you.
Best Actor – TV Series, Drama
Sterling K. Brown ‑ “This Is Us”
STERLING K. BROWN: Right?
Don’t want to run out of time, so let me thank my wife, Ryan Michelle Bathe, I love you so much. Thank you for supporting me through this whole thing.
To my kids, Andrew and Amari, Daddy will see you. I will take to you school in the morning, I promise.
I want to thank my cast, which is absolutely amazing, and we take turns leading and supporting one another. I love each and every one of you.
To my network, NBC, to Bob and Jennifer, to Fox, to Gary, to Dana. But also, I want to thank Dan Fogelman. Now, Dan Fogelman, throughout the majority of my career, I have benefited from colorblind casting which means, you know, like hey, let’s throw a brother in this room, right? It’s always really cool. But, Dan Fogelman, you wrote a role for a black man, like, that can only be played by a black man. And so what I appreciate so much about this thing is that I’m being seen for who I am and being appreciated for who I am and it makes it that much more difficult to dismiss me or dismiss anybody who looks like me. (Applause.)
So thank you, Dan. Thank you Hollywood Foreign Press. Peace.
Q These come from the HFPA fans and Facebook. They want to know how you ended up creating this great part.
STERLING BROWN: Good. So much of the work was already done in the pilot. What Dan had written was something that made me laugh out loud. It made me cry into the page, but I think what was interesting for me was this fish-out-of-water individual. Even within his own family, who loves him, who appreciates him, who makes him feel a part of, but he knows he doesn’t look exactly like they do, and also try to find his way in the world. He recognizes that things are going to be different for him than they are for his brother or his sister. So growing up for me, my mom always told me, you have to work twice as hard to get just as far, that the way in which the world is going to react and respond to you is not going to be the same as it is for some of your white counterparts. So when you see little boys playing around and horsing around and maybe getting into trouble, you don’t have the same latitude necessarily to get into the same kind of trouble with the same repercussions. The repercussions for you may be different. So that experience informs a lot of how I sort of view Randall walking this line of perfection, not only because he recognizes that it can be dangerous in the world for him, but because he needs and wants the love of his family. And so he’s now in a position where he’s trying to release that pressure that he puts on himself to be perfect, recognizing that it can be debilitating sometimes and leading to his own anxiety. He has such a big heart. He’s such a loving and caring person. And when he feels disappointment, he feels it immensely. But when he feels joy, he feels that immensely as well. So I tried to just live in the moment as this person and feel everything and hopefully everybody feels everything with me.
Q What inspires you at this moment in life?
STERLING BROWN: My children. I’ve got two beautiful baby boys that are six and two years old. And if I have a hard day at work or a great day at work, they just want to be hugged and played with and sang to, and we do times tables together and subtraction problems. My boys are everything. Thank you.
Q I don’t know if you are aware that you actually made history tonight. You are the fist African-American actor to win in this category. So congratulations.
STERLING BROWN: Thank you very much.
Q What does that mean to you?
STERLING BROWN: You know, so I did know, and I was thinking I’ve never been the first brother to do anything. I was the fourth student council president African-American at my high school, the fourth black one. I was like the second black J.V. captain of my basketball team, but to finally be, like, the first of something is really interesting. Because I never considered myself to be a trailblazer or whatnot. But I just try to stand in my truth all the time, and if it comes — if I come from a place of truth, then that’s all I can do. I can’t worry about trying to be Jackie Robinson or anybody else, but I’m honored by the HFPA that they took a character from our little network television show where we have 42 minutes and 30 seconds to tell the same kinds of stories that other people get 60 minutes to do the same thing with. So I feel a tremendous amount of pride, and I look forward to seeing somebody else stand up here, holding this trophy, not 75 years from now. Thank you very much. Good-bye, everyone.
Best Television Series – Drama
THE HANDMAID’S TALE
BRUCE MILLER: Thank you so much.
We have a big cast. Thank you to the Hollywood Foreign Press and all the journalists who championed the show from the very beginning. To Lizzie and to Margaret Atwood, who is the mother of us all. And to my wife, Tracy, and my children Ben, Duncan, and Tess. To those at MGM who have been braver than I could possibly imagine. And to all the people in this room and this country and this world who do everything they can to stop “The Handmaid’s Tale” from becoming real. Keep doing that. Thank you.
Q Now that you’ve won twice, you have to give us something. Tell us something about Season 2.
BRUCE MILLER: It starts after Season 1. It’s really good. How’s that?
Q So something in the broad strokes, something about tone. Give us something.
BRUCE MILLER: It’s a comedy. It’s hilarious. No. We are just expanding on the world created by Margaret in the first season. We go to the colonies. Is that giddy enough for you? We just won for Season — can’t we rest? This is for Season 1.
BRUCE MILLER: Thank you.
Q My questions are from the fans of the FHPA and Facebook, and they want to know, where does your drive to create come from?
BRUCE MILLER: You know, it’s a good question. I’ve been doing this since I was just writing. I’ve been writing since high school. So I think it’s always what I’ve liked to do. I mean, I come from a big storytelling family, but I’m sure everybody up here has a different circuitous route that got them to a storytelling profession. But, for me, I think it was just, you know, genetically encoded for me.
Q What is your biggest challenge when starting a project, and how do you overcome it?
ELISABETH MOSS: I think our biggest challenge as a group is probably trying to do this incredible book justice, this particular show. My challenge in general when starting a project is I set a, kind of, high bar for myself, and so I’m always trying to do something I haven’t done before. So, for me, it’s just about, I suppose, the challenge that I set for myself that nobody else does, really, for me. And sleep. Sleep always, always a challenge.
Q I don’t know if you drove here and you saw the Hollywood “Handmaid’s” outside. Just, what do you make of all of this response to the show that is, you know, in line with what’s going on in Hollywood this evening, a political social movement of sorts? And everything is, sort of, in line with themes that fell out of your show, I would say.
LEE UNKRICH: Yeah. Please, Ann, come on up. There were a lot of times we wish we weren’t as relevant as we are. We went into development and then into production, and the world was a very different-looking place. It was not a Trump world, and midway through the first season, the reality changed. And I think each and every day we are reminded of what we care to follow, a responsibility to live up to Margaret Atwood’s vision and also to be a part of the resistance. And, today, we also join the resistance for “Time’s Up.” So that feels, I think for all of us, a really important and good place to be, and we love that our work is being celebrated.
Q Elisabeth, I’m here. If I could ask you, you worked in Australia this year as well on “China Girl” and “Top of the Lake,” and two very female-centered projects have not been nominated tonight, which have been getting lots and lots of viables [ph]. You see these people watching and enjoying. Is this a way, in itself, of empowering women, telling our stories that have a female social problem?
BRUCE MILLER: Yeah, absolutely. We want to tell stories that reflect our lives back at us. And many, many women watch television, and many, many women go to the movies, sometimes more than men, and so we want to see those stories. We want to see ourselves, and we also believe, not only in “Top of the Lake” but in “The Handmaid’s Tale,” having as many women behind the cameras as possible, as many producers, directors — there she is — it’s really, really important to us to take a part in that movement, and that’s what people want to see. I think that Hollywood is learning that that makes money, that that’s popular. This is a show led by a woman, and it’s doing well, and I think that is something that people are listening to.
Q Following up on the “Time’s Up” movement, what simply are you guys doing in joining it?
BRUCE MILLER: I think just to be able to have people start to be comfortable talking about all of these things that are so uncomfortable because when they are not spoken about is when they, you know, proliferate in the darkness. So the more we can talk about it, the more we can bring these conversations to the floor. Things have changed a lot since I started in television, and this seems like a tipping point where things are going to change quite a bit, and we are thrilled to just be here and be part of it.
Q Really for all of the actors, Elisabeth, all of you. You were debating things on the screen, some out of the book, that you think, “This could never happen. This could never happen.” Now you pick up the newspapers, you turn on the news, and you think, “Hey, that could never happen. That could never happen.” For all of you, have they expanded your ideas of possibilities, both positive and negative? And congratulations, of course.
ANN DOWD: Sweetheart, would you say that question again. I’m sorry.
Q Some of the things in the plot —
ANN DOWD: I think I remember.
Q — and some things in the news seem impossible to happen, and they are happening. Has this expanded your idea of what can and cannot happen in the world on the upside and the downside?
ANN DOWD: Well, I think women know that it’s certainly about attention. And so some of them are not surprised, not for a minute, that Margaret Atwood’s story could be possible. We are going to make sure that that doesn’t happen, but the story is very worth telling and living. But, no, I don’t think — I’m not surprised, and I’m not going to be surprised when it all turns around either, which I think it is well on its way of doing.
Q This show was passed over on Amazon, and after that, we learned a little bit about the Voss family, and I just wonder if you can say if you think that was a coincidence or not.
BRUCE MILLER: I have no idea, and I wouldn’t dare to answer the inner workings of Amazon, how they decide what project they are going to do or not.
LEE UNKRICH: What I will say is both at Hulu and at MGM, there’s never been, ever, a message in any way to cut back, curtail, soften any of our content. We have partners that basically just look at us and say, “Go forward. Do the work you are doing.” They are amazing, for us to go out there. And our greatest fear is to disappoint them or disappoint Margaret’s readers and her loyal following. It’s an amazing role, that world that we get to live in, to do this kind of work.
Best Performance by an Actor in a Supporting Role in a Series, Limited Series or Motion Picture Made for Television
Alexander Skarsgard ‑ “Big Little Lies”
ALEXANDER SKARSGARD: Hi. I have a friend who is 8 years old, and he was perplexed when I didn’t thank him at the Emmys. I will not make that mistake tonight. Alsto Noshson, this is for you. I also want to thank the Hollywood Foreign Press Association for this honor. I am here tonight because I had the privilege of working with a group of extraordinarily talented women. Most of them are in this room tonight. Liane, who wrote the novel, thank you. Bruna, our producer, thank you. Our extraordinary cast, who are all here, especially Nicole. Hi. Not that you’re, like, more talented than the other girls. I say “especially Nicole” because most of my scenes were with Nicole. You guys are amazing. Nicole, I love you. Thank you for making this the greatest experience of my career.
Best Original Score – Motion Picture
Alexandre Desplat ‑ “The Shape of Water”
ALEXANDRE DESPLAT: Thank you. Merci beaucoup. Different color from the previous one.
Thank you Hollywood Foreign Press. Thanks to Fox Searchlight, to Miles Dale, producer. And, Guillermo, your movie, your movie has moved me so much, inspired me so much because it’s made of your humanity, your passion, and I think, most of all, the dinners we had in Paris and the ones to come.
I want to thank all the musicians who recorded that score. They are marvelous. All the crew and cast, Richard, Sally, Doug. The music department at Fox Searchlight. Queen Rudy Faree , Laura Angel Lancaster, my friend Katz. And Sonre , this is for you. Thank you so much.
Q Congratulations, Mr. Desplat.
ALEXANDER DESPLAT: Desplat.
ALEXANDER DESPLAT: Thank you.
Q How do you come up with the inspiration — by the way, this is for Facebook. The Facebook fans sent it. How do you come up with the inspiration to create a story?
ALEXANDER DESPLAT: Actually, I decided to do music for films because I like cinema. So by watching images, I dive into a story, into emotions, and these emotions just resonate in my system, and I transcribe it into music. It’s as simple as that. It’s a lot of work, a lot of passion. You have to love, I think as much cinema than music, and then you just make sure that you can communicate with the director, which is also very difficult that you have to learn and you have to be able to hear, listen. It’s not just you and your music; your collective artwork.
Q Sometimes at the age of… it comes to you in your sleep?
ALEXANDER DESPLAT: Oh, yes. I sleep a lot. No, I don’t sleep a lot, but I sleep regularly. When I can’t find an idea, I have a couch, and I crash on my couch, and when I wake up, usually, my brain is fresh and comes up with ideas — good or bad — we don’t know yet, but at least there are ideas coming up. And, you know, it’s, well, that you constantly have to work. You are a great reporter. Thank you, buddy.
Q I want you to please tell your mother what you did that night.
ALEXANDER DESPLAT: Yes, my mother is Greek, and when I went on stage with the Oscar, I thank my Greek mother, and the French for TV translator. The French TV translator translated my grandmother, which is very different from your Greek mother, as you can see. So that’s corrected now, and my Greek heritage is — you know, when you are 15, 16, you are looking for your roots, trying to find who you are, what legacy is putting on you. Of course a French legacy from my father, a lot, but there was something about the Greek environment around me that was — I don’t know — talking to me a lot, and I like the sun, the sea, the kindness of the Greek people. I like scents when you arrive in Greece, the food, and I like to dive far in the water to watch the octopus. Yes?
Q Benicio Del Toro had so many different genres in this movie. I’m wondering how you started to approach finding the thread for music?
ALEXANDER DESPLAT: Well, definitely the stories and make a puzzle and, you know, when you start watching a film that you are going to score, you have to figure out what is it about? What is the music going to do? What is it going to bring to the film? And at the end of the day, this movie is a movie about love, nothing else. It’s love. Love, sharing, humanism, and respect. So the music just had to convey that and not any kind of genre or danger. There’s some moments of chases and things, but most of the time it’s what can resonate in you when you are longing for love, when you are under water, the sounds that you look for, that you can hear in the water if you are from afar. It’s all that. It’s all of these things. Thank you. Thank you very much. Thank you.
Best Original Song – Motion Picture
This is Me
BENJ PASEK: Thank you to the HFPA. Thank you to Michael Gracie, who was our third collaborator on all of these songs, our amazing director.
JUSTIN PAUL: Thank you to Fox, and our producers, who fought a lot of uphill battles making this movie. And also to the incredible group of people that brought the music to life. Everyone from Fox Music, to Atlantic Records, to the beautiful team of arrangers, orchestrators, musicians, and vocalists.
BENJ PASEK: I want to thank you our entire cast, led by the annoyingly handsome, charming Hugh Jackman.
JUSTIN PAUL: Disgusting. Disgustingly charming.
BENJ PASEK: And, most importantly, we want to thank K. Alice Settle.
JUSTIN PAUL: K. Alice performed this song, and her story inspired our song, and you inspire us every day.
BENJ PASEK: Thank you. And we want to see you on the big screen again. Thank you.
JUSTIN PAUL: Love you, Ash. Love you, Mom and Dad. Thank you.
Q Hi. Congratulations. When you have people of the talent like Hugh Jackman, Michelle Williams, everyone in the cast, are you pretty relaxed about the future of this film? And congratulations on being No. 1 on Google top 200 for the sound track?
BENJ PASEK: Thank you so much. Yeah, it was quite intimidating to have those. In one sense, good. Our songs will be in great hands because these are not only great film stars, but they are true, legitimate musical theater actors who have been in live shows and can sing and dance and all of that. But it also made us very intimidated that we had to write something that all of a sudden made it very real that we wrote something that Hugh would sing, that Zach would sing. So we could immediately write something and test it in his head: “Would Hugh sound good singing that or not?” It was through the litmus test to be able to write for notorious actors, which was a real gift.
Q Hi. Congratulations, guys.
BENJ PASEK: Thanks.
Q Congratulations. You’ve had an incredible new year of Oscars and Tonys. And what did that feel like? And what’s next for both of you?
BENJ PASEK: It’s been very surreal, and I guess to capture — the first time we saw when we won was Emma Stone was going to coming to present her award, and it felt really full circle, and an amazing moment. It’s been incredible. I guess we are just focused on writing new musicals, and we feel that this is giving us permission to keep doing that, and it’s a real source of encouragement, and we just really appreciate that music is something that audiences are embracing again and come and see and we get to be lucky to be among the writers that are creating this.
Q Gentlemen, over here on your right. What specifically — congratulations, first, to both of you. But what’s significant about the story that inspired you to write the song?
BENJ PASEK: The song was written for a different character. It was a different song. There was a final workshop of the film where we had to write a song, and the idea was to write it for the bearded lady. So as we wrote every piece of lyric and music in that song, we wrote it with Zendaya in mind, and who she is. She is an incredibly confident, inspiring person who so very much owns who she is and has had a little bit of a winding path to where she is now, and that resonates with us so much, and it’s such a huge field to go see her actually go all the way through and getting her performing on the big screen.
Q You said you wanted to thank audiences coming back on the big screen. You guys wrote this. Was it was a huge risk?
BENJ PASEK: Yeah.
Q Was there a chance that movie was dead and you felt vindicated that people are going to see musicals again?
BENJ PASEK: I know before The Greatest Showman — while we were working on it, they would always say the first — or the last movie musical got made was in — or enchanted. And it felt like a really big risk in a long time in development to make it happen, and I think thanks to Damian Schiff [phonetic], and his vision, it gave the studio more confidence that audiences might come and see a musical.
JUSTIN PAUL: But, also, thankfully we think about Miranda, the Lopezes, a lot of — they’ve written shows that have really transcended popular culture and have just become part of mainstream culture, and that really opened the gates back up to people thinking it wasn’t the least cool thing in the world like the musical and come see a musical.
Q This film is so much about diversity and really accepting yourself and who you are. Can you just talk a little bit about the process that you went through in bringing it into music?
BENJ PASEK: Yeah, absolutely. Again, I would say Kendaya was a big inspiration. And a lot of actors in the film that played these oddities, people who have been kept in the shade their whole lives, and through the process of the circumstance, they came out of the shadows and were forced themselves to be seen, we really sparked what that meant and try to get inside the heads of those characters and were really inspired by stories, real stories of people who have experienced those kinds of personal journeys. So that really inspired the songwriting process.
Best Performance by an Actor in a Motion Picture – Comedy or Musical
James Franco ‑ “The Disaster Artist”
JAMES FRANCO: First person I have to thank is the man himself, Tommy Wiseau. Come on up here, Tommy. Nineteen years ago ‑‑
(Tommy Wiseau tries to take the mic.)
Whoa, whoa, whoa. Nineteen years ago he was stuck in traffic from the Golden Globes. He said to his best friend Greg, “Golden Globes? So what? I’m not invited. I know they don’t want me, guy with accent, long hair. So I show them. I don’t wait for Hollywood. I make my own movie.” I’m very happy to share this moment with him today. Thank you to the Hollywood Foreign Press for all your support over the years. Also Steve, Daniel, Hugh, Ansel, you’re all my brothers. You know that. Thank you. This was billed as a movie about the best ‑‑ making the best worst movie ever made, but, in fact, it’s a story of friendship. This year I’ve learned from all my friends and collaborators, my longest friend in entertainment, Seth Rogen. Known him since “Freaks and Geeks.” Kevin Goldberg , James Weaver , Vince Jolivette, thank you so much. Alex McAtee. You all taught me to be a better director, a more responsible person, thank you. A24 , you had me since Spring Break. New Line, Good Universe, thank you for all your love. Finally, my brother. When I went to NYU, I always said I wanted my own Coen brother, someone to collaborate with. I realized this year I had my own Franco brother. I love him more than anything. Thanks to my mother for giving him to me.
Best Supporting Actress – Series, Limited Series, TV and Motion Picture
Laura Dern ‑ “Big Little Lies”
LAURA DERN: God. Thank you, HFPA, for the honor of joining in the company of these extraordinary fellow nominees who inspire me so deeply. And namely, to the brilliant Shailene, Zoe, Reese, and Nicole, my new family. To our fearless leader Jean‑Marc, to HBO, and to our magical producers and especially for caring so much to make things work so that I could be part of this. I’m so forever grateful. To David E. Kelley, our superhero, who took Liane’s words and gave me, particularly, the most outrageous, complicated woman and terrified mother, terrified because her little girl was being abused and bullied and she was too afraid to speak up.
Many of us were taught not to tattle. It was a culture of silence and that was normalized. I urge all of us to not only support survivors and bystanders who are brave enough to tell their truth but to promote restorative justice. May we also please protect and employ them. May we teach our children that speaking out without the fear retribution is our culture’s new north star.
Bless you, bless everyone who worked on this, Alden Bruce, Courtney, and my beautiful children. Thank you for all of your work and love. Good night.
Best Motion Picture, Animated
LEE UNKRICH: My heart is pounding out of my chest. Thank you to the Hollywood Foreign Press for this honor, and thanks to every last member of “Coco’s” talented crew who gave their all during the six years that we spent making the film. Thank you to the executive teams at Pixar and Disney for trusting us to tell this unique story and empowering us to tell it with the respect and the dignity that it deserved. Thank you to our loved ones who are no longer with us, who in ways, great and small, paved for us to be the people that we are today. We love you, we honor you, you inspire us. And, finally, “Coco” would not exist without the incredible people of Mexico and their beautiful traditions of Diana Martos. Muchimas gracias.
DARLA ANDERSON: I’m Darla Anderson, the producer.
Q Can you talk more about it? This represents someone from Mexico, and most of the times in the United States, when we hear or see a Mexican, we only see a very little part of it. We don’t see how rich the culture is. So can you tell us how important it was for you to represent the culture in this movie?
DARLA ANDERSON: Yes. From the very beginning when we first pitched this idea to Pixar and they gave us the green light to pursue it, I knew that we had an enormous responsibility because the story, the subject matter was so culturally specific. We had this enormous responsibility to be as authentic and respectful as possible. So from the very beginning, we made every effort to travel down to Mexico and do as much research as we could. We tried to surround ourselves with cultural advisors. And every step of the way, we made it our goal to never lapse into stereotypes or cliches, but to try to be as specific as possible. We knew that it would be impossible to make the definitive Mexican film. That was never what we were trying to do. But we were trying to at least, with the story that we were telling, you know, be as specific and respectful and as authentic as possible. It was also — in addition to the responsibility, it was an incredible opportunity for us to display all of the things about the culture, which as a Mexican-American, we take pride in, and that we want to share and we want the world to see and to be able to reflect that in a family on a national and international level. That’s something that we are very touched, if people have really come to love this story and this family.
Q This movie is clearly historic, but it’s striking a multicultural cord, and strangest of all things, it’s famous in China. How do you explain that?
ADRIAN MOLINA: Well, it was as big a surprise to us as anyone that it has been such a big hit in China, and I talked to a lot of people about it, and I think at its core, it’s that our film, “Coco,” is very rooted in family, and China is a culture that really values the importance of family. So between that and how emotional the film is and the fact that the Chinese culture celebrates some holidays and traditions, that while they are quite different from Mexico’s dia de los muertos, they do share some commonalities. So somehow our film resonated with them, even though the culture is so very different. But we couldn’t be happier because it just tells us that we did what we set out to do, which was to not only celebrate Mexico and its traditions, but also make a film that could be as universal as possible. And the fact that halfway around the world in China it’s a huge hit, tells us that we did something right.
Q Hello. Congratulations on a really terrific, sweet film, but I do have to ask a very sort of serious question. You know, this whole — this whole event is reflecting the impact of this incredible outpouring of accusations that have really rocked this industry. Pixar has not been untouched by allegations of an environment that could be difficult for women. Can you talk about has anything — has there been any changes at Pixar? Can you talk about sort of going through that experience even within your own company?
DARLA ANDERSON: Yes. Tonight, obviously, we wanted to focus on being in solidarity with tonight’s movement, and we have been looking at a lot of things at making our environment as safe as possible and with as much integrity as possible for sure.
ADRIAN MOLINA: It was really vital to all of us. And Darla is kind of the general of our Army. Being a producer of the film, from the very beginning, we tried to create an environment that really welcomed as many diverse voices as possible, not only through the consultants that we brought in, but through the crew that we assembled. It was a very diverse crew, and we are proud of that, and we believe that all of those voices that we brought together really did help make the movie as successful as it was. And so, yes, moving ahead, we are learning from the lessons of what we did on Coco, and as it’s clear from everything going on in the industry, we all can improve. We all can be better. And at Pixar we have been taking steps, and we will continue to move towards making it an even better place for people to create art.
Q Do you think of yourselves to the research work even more serious than other features that try to portray the Mexican culture? Because everybody says you are out of the edge, you are into the Mexican culture really deep, and you portrayed it very well?
ADRIAN MOLINA: Yes. This film, in particular, at Pixar, we are always very adamant about about doing research. But because this is a film that takes place within a specific culture with a specific tradition, we knew only more so that it was our responsibility to represent that faithfully. So part of that process was making many trips to Mexico, connecting with families, having a core team within the studio of Mexican and Mexican-American consultants who could always keep us aware of the tone and the storytelling, so that it reflected all of the things, again, that the Mexicans and myself love about our culture. That was present every single day in every single meeting, and I have to say, this picture has been one of the most encouraging films for me personally, but I know for a lot of people at the studio, because of the care and because it reflects what you can do when you take that time and you open the door and invite many voices into the room.
Q Robert Lopez told me on the red carpet earlier that the song — the memory of his Filipino grandmother was part of this song. I wanted to ask you how big of an impact this song has had, you know, on the movie.
ADRIAN MOLINA: Well, the song, “Remember Me,” written by Bobby Lopez and Kristen Anderson Lopez, was always the bedrock of our film. It was one of the very first things we did many years ago as we reached out to Bobby and Kristen, and we asked them to write a song for us that reflected the themes of dia de los muertos. But it was a very weird, specific assignment because we asked them to write a song that could be sung in different ways at different points in the film and that it would take on very different meanings depending on how it was arranged and how it was sung, and they had never done anything like that before. So they locked themselves away, and they came back with “Remember Me,” which is a very beautiful song. And clearly from what Bobby told you, he tapped into some very real emotions in his own heart to try to find the core of that song, and while many, many things on the film changed over time, as they always do on Pixar films, we spent three and a half, four years working on the story. Many, many things changed, but one of the few things that remained constant was that song. We always knew it was going to be an important part of the film. We always knew that it was going to be a vital part of the emotional climax of the film, and so it really provided us our true north for the whole time that we were making the film.
Q What’s the message for the Mexican people who love this movie, for you guys to work with that wonderful team?
ADRIAN MOLINA: Yeah. I think the message is — the message is the same across the world about the power of remembering where you come from, who you come from. But especially if you are the Mexican people, I think there’s also a special message to take pride in their traditions, to take pride in their families, and to see yourself on screen is a transformative experience. And I think a lot of the feedback that we’ve been hearing, especially from Mexico, especially from Latino or Hispanic families, is that this is a very special moment watching your story on the screen to see that that story relates universally, to see that that story has legs and can touch people all over the world gives you a validation that once you have it, you can’t take it away.
Q This movie has touched so many people around the world, in Mexico and China and everywhere else, and given its commercial success, its success, as we see in nations and sports, there hasn’t been very many Latinos represented in the award season. But a movie like this that has done so well, what do you hope to see this movie send a message about the viability commercially of other projects, live-action or animated, that are routed in a very Latino story?
ADRIAN MOLINA: Well, I think one of the things — it has been really encouraging, is that we’ve shown that you can make a film that isn’t filled with the usual cliches and stereotypes, that you can tell a very honest, specific story about a culture and have it resonate with people around the world and do well both critically and commercially. And so we hope that this does lead to more Latino voices in film, and, frankly, voices from many different cultures, even beyond the Latino community.
Best Supporting Actress – Motion Picture
Allison Janney ‑ “I, Tonya”
ALLISON JANNEY: Oh, my gosh. Thank you to the members of the Hollywood Foreign Press, indeed, for this. My gosh. None of us are here if it weren’t for great scripts. And I certainly wouldn’t be standing here tonight if it weren’t for a great friend who wrote a great script and insisted I be in it. Mr. Steven Rogers, thank you for this very distinctive, unique mother of a character.
I thank you for that. Margot, thank you for your unbelievable brave, fearless portrayal of Tonya. You set the bar for everyone. I love you. Craig Gillespie, your sense of humor and your passion for what you do is infectious. Nobody else could have done 285 million scenes in 40 days, and you’re a genius. I love you. Tonya Harding is here tonight.
I just ‑‑ I just I’d like to thank Tonya for sharing her story with Steven and allowing him to tell all the different sides of the story. And what I love about this movie. What this entire ‑‑ Sebastian, Julianne, everyone in this movie did is tell a story about class in America, tell the story about the disenfranchised, tell a story about a woman who was not embraced for her individuality, tell a story about truth and the perception of truth in the media and the truths we all tell ourselves when we wake up in bed every morning and go out and live our lives. It’s an extraordinary movie. I’m so proud of it. Thank you to Neon and 30WEST and AI Films and Tom and Bryan and Margot. My God, Margot and Steven produced this too. It’s ridiculous. She’s a quadruple threat. I don’t even know. I want to thank my team: Chris Hensley , Alonna Rice , Leslie Seiber , Karen Sample Abode , Peter Nelson . And, of course, I owe this all to a little bird named Little Man in Smyrna, Georgia. And I thank you all very much from the bottom of my heart. Thank you.
ALLISON JANNEY: Oh, I forgot my bird on the table. That was not a live bird. I may get a bird now. Q Allison, congratulations. Brilliant performance.
ALLISON JANNEY: Thank you.
Q What was your sense of this woman that you played? Because from our perspective, she seemed not super likable?
ALLISON JANNEY: Yeah. That was a challenge for me. I always like to, you know — I found a way to like her myself, and I had to be satisfied with that. I had to find a way to make her human. I didn’t get the luxury of speaking to the real woman, and Tanya wasn’t much help. She didn’t really know who her mother was and didn’t care and the screenwriter couldn’t find her. I had to go about being a detective, putting together the pieces of a person’s life, the story, and I had to believe that she came from an abusive family herself, had to believe that life disappointed her every turn. I had to believe that she saw an opportunity for her daughter to succeed and do well and, of course, by being with her would take her to a different place in life. And I think she loved her the only way she knew how, and it was not a way that I would condone, you know, for mothering a child. I think she loved her in her own way, and I think she was a woman who had — who suffered and made her angry and resentful and a monster.
Q Congratulations. After seven Emmy award wins, this is your first Golden Globe win. How does it feel different?
ALLISON JANNEY: It feels pretty great. I have been here a number of times and never won. So it feels extraordinary. I feel really proud of this one. I feel proud to be in the film arena and to be singled out for my individual work. I’ve been a part of so many great movies, but never in this way to be recognized, and I feel pretty proud and especially having a friendship with the screenwriter for so many years is extra special and meaningful for me at this moment. It’s wonderful.
Q Allison, what was it like for you working being a woman on this project?
ALLISON JANNEY: It’s funny, I’ve gotten to know Margo better promoting this film. I was rehearsing for a play on Broadway, “Six Degrees of Separation” that I did, and I had no — I literally had two hiatuses. I shot each week four days, and I went back to do “Mom” in reverse and went back to shoot the other movie, and Margo and I had no time to spend hanging out and getting — when she wasn’t working onset with me in a scene, she was preparing for the next scene or working on her accent or working on — she had so much on her plate, and I just watched her and admired her courage in all of this. I can’t even imagine taking just a story, Margo not knowing this was a real story. Gosh, this is a crazy story. How did you come up with it? And it’s actually a true story. And I just love her bravery, taking on an American iconic sports figure, Tonya, just watching her tear it up. She’s an extraordinary woman. I loved watching her. I have so much admiration for her.
Q Thank you. Hello, Allison. Directly in front of you. Have you — obviously we saw Tonya just recently did an interview. Has she reached out to anybody on the cast or anything about this movie, and does she have the support of the film being produced?
ALLISON JANNEY: Tonya is here tonight. She’s at my table.
Q Is she?
ALLISON JANNEY: Yeah. She’s totally sitting at our table. She loves the movie. I don’t think she loves all of it, as she told Steven. She spent time with Steven Rogers, and she agreed to let him take her story and tell other character stories from their point of view, but I think she’s pretty proud of it. I think she should be. I think that — I mean, we don’t exonerate her, but I think she comes out looking okay. I think people have a lot more understanding and compassion and empathy for her, what she went through and what she was up against and what she achieved in spite of it. She is — I think she’s a huge supporter, and she’s out there tonight. I should have brought her back here with me.
Q The times initiative has been huge tonight here at the Golden Globes. There is some concern. I’ve seen some reports that things may just go back to the old days, the way they were, to the boys club, so on and so forth. What is it going to take to create sustained change?
ALLISON JANNEY: Well, I was just talking about this with some other friends of mine saying how I don’t know if it will ever be able to end abuse and sexual harassment, but I think that people now will be — there will be repercussions for that kind of behavior. People will be held accountable for it. I think with these times, the funds they are creating is going to help people who might not have access to legal defense, get counsel, and I just think there will be more accountability. I don’t think we can ever eradicate the abuses of power. This has been around since the beginning of all time, but I just think it just won’t be tolerated anymore. And hopefully the repercussions for it will make people think twice or go get help, you know. That’s what I’m hoping.
Q Thank you. Kevin Watson sends his love. But first, I wanted to ask, you were talking about times up and this whole movement that’s going on right now. Where do you feel “I, Tonya” and the sort of different type of abuse that’s showcased in this film fits into the conversation and the movement?
ALLISON JANNEY: Well, I was sort of talking about Tonya’s — you know, how she was not embraced for her individuality. She didn’t fit in. She watched the figure skating world wanting her to be who they wanted her to be, what they wanted her to wear, to look like, to act like, and that’s a shame that she was not appreciated for that, that she struggled to fit in. And I think I’m losing myself here in the lights because I get — you know, the film looks at people who are disenfranchised, people who aren’t represented, who aren’t — I think the time’s up movement is an extraordinary step in terms of accountability. And I’m sorry. I’m completely — this is a terrible answer I’m giving to this question. I sort of started getting lost in Kevin Watson and what’s going on out there, and I’m sort of lost in your question. Do you want to ask it again? Because I really fucked that up.
Q It was just how —
ALLISON JANNEY: Seriously.
Q — how the different types of abuse —
ALLISON JANNEY: It’s gone. I’m gone.
Q — showcased in this film at large?
ALLISON JANNEY: Okay. I feel should I answer any part of that question?
ALLISON JANNEY: I was more interested in Tonya and what she had to go through and what she was up against and what she achieved, what she was up against. She was just not embraced, and they did not let her be who she was, and I think — I don’t know if it has something to do with the time’s up movement. People need to be seen for who they are and seen for what they are and not kept back because of what sex they are, you know. It all ties in, and I’m just doing a bad job of tying it up for you in a nice knot. Thank you. Cheers.
Best Screenplay – Motion Picture
Martin McDonagh ‑ “Three Billboards Outside Ebbing, Missouri”
MARTIN MCDONAGH: Jesus. It’s my mom’s birthday tomorrow and she likes this kind of thing, so happy birthday, Mom ‑‑ even though I think she wanted “Lady Bird” to win, so ‑‑
Mostly, I would like to thank Sam Rockwell and Frances McDormand for their amazing performances and their amazing friendship, and Woody Harrelson, too, whenever he might be tonight.
I’d like to thank Carter Burwell for his amazing score. And I’ve worked with Graham Broadbent, my producer, three times now. And he’s brilliant. He’s a brilliant producer, and he’s a really, really decent human being, and I love. Thanks very much. Thanks to the Hollywood Foreign Press. Thank you.
Best Performance by an Actor in a Limited Series or a Motion Picture Made for Television
Ewan McGregor ‑ “Fargo”
EWAN McGREGOR: Oh, goodness. Thank you very much. Thanks to the Hollywood Foreign Press Association for this. It’s really lovely. I want to thank FX and MGM for having me on board and Noah Hawley for giving us such amazing writing to do, putting our an amazing crew together up in Calgary and giving us brilliant directors to work with. Liz Himmelstein, thanks for helping me with that bonkers accent. Rich Klubeck, thanks for everything you do for me. Lindy King, I wouldn’t being standing up here without you, and I love you. I want to take a moment to just say thank you to Ev, who always stood by me for 22 years, and my four children, Clara, Esther, Jamyan, and Anouk, I love you, and you know. I’ve always loved being an actor, and I love hanging out with actors. And I got amazing actors to work with on this. There wouldn’t have been any Emmit Stussy without David Thewlis and Michael Stuhlbarg and Carrie Coon. And there would have been no Ray without Mary Elizabeth Winstead. So thank you very much.
Q Obviously, congratulations for this, and we love all of your work, especially Obi-Wan Kenobi. I know there’s been a lot of talk of wanting you back. You’d be interested in it. What’s the situation right now with that?
EWAN McGREGOR: Just that. There’s a lot of talk, and I’d be happy to play him again, but I don’t know anymore about it than you do. There’s no plan at the moment. I loved the new one. I saw the new one just over Christmas, and I thought it was really, really beautiful. I loved it.
Yes. Q There’s also some speculation that you might be playing Carl Young?
EWAN McGREGOR: That’s cool. I didn’t know that. Yeah, I don’t know. No, I’ve never heard that.
Q What might you be doing next?
EWAN McGREGOR: Right now, I’m not doing anything. I’ve been working — I’m working and working, and I’m — I just finished making the Winnie the Pooh film, Christopher Robin in London just before Christmas. Sorry. I took this big mint just before I came on, and now I’m stuck with this big fucking mint. Anyway, Christopher Robin, that was beautiful. It was nice to work with Mark Forrester again, who I worked with years ago on a film called Stay, and we made a beautiful film about Winnie the Pooh and me, Christopher Robin. It was lovely, but it was at the end of a lot of work. I Transformers two. I did Fargo. I did a small film, and then I did the Walt Disney film, and I just haven’t stopped for so long. And so now I have decided to stop and take a little break. So I have no plans. I’d like to direct again. So I’m maybe going to spend the next couple of months trying to find the story that I like. You like to make something — I loved making American Pastoral, and I’m very proud of the thing I made. I’d like to make something smaller and rougher and maybe focus my mind a bit on that, and see what else crops up. Fargo sort of opened my life up to television in a way that I didn’t imagine, and I loved it. I loved it so much. I like working that fast. I like the pace of it after 25 years of working and sitting in Winnebagos. I don’t want to sit in a Winnebago. I just like to be onset and work, work, work. So that suited me a lot. So it would be nice to find another television series to do. I don’t know. Let’s see what happens. But for the moment, I wake up in the morning not thinking, oh, I’ve only got four weeks before I have to go off to do, and that’s what my life has been like for years because I’ve been lucky.
Q Where did this fit professionally on a scale of acting difficulty, and what did you get out of the challenge of this role?
EWAN McGREGOR: I’ve done it a couple of times before. I played two characters in the Jesus film that I did, “Last Days in the Desert” with Rodrigo Garcia, and then I did it in Michael Bays’ movie “The Island,” some scenes with myself, but this was very different, two completely radically different characters who were brothers, had to be — feel like brothers but unique, and my challenge was to try and play them so that the audience wasn’t thinking about me playing both parts but just seeing the characters. And because I had such great help, makeup and hair and with the great writing of Noah Hawley and his writing team, I like to think that we pulled that off. So it was a great challenge. I’ll tell you the most — the most difficult thing was I got there, and I had been thinking so much about the look and the physicality and how to play two brothers, and I totally forgot I’m going to have to learn two roles. So the first week I was like, oh, fuck. I was just learning lines all the time. I was playing one brother, learning lines for the other, and I just never got a chance to stop learning lines. I was learning in the car. I was learning at breakfast, at dinner. So that was the biggest challenge, just the amount of words to learn. Anyway, I should go because I’ve got to get back out there for Fargo, but thank you very much. Thanks, guys.
Best Television Series, Musical or Comedy
“The Marvelous Mrs. Maisel” ‑ Amy Sherman‑Palladino
AMY SHERMAN-PALLADINO: They make it a little hard to get up here. Quite the space.
Okay. Hollywood Foreign Press, thank you very much for inviting us to the dance. We appreciate it very much. I want to thank our crew who turned New York into 1958 New York on a daily basis and nobody killed us or walked out. Many food trucks are coming your way. Love you all.
I want to thank Amazon because, ha, their support was completely unwavering at all times. Every check cleared. We could not have found a better partner. Thank you. We’re never leaving thank you’s for fixing the door.
And the last thing is my murderer’s row actors up here: Michael, Marin, Alex, Tony, and Rachel Brosnahan, half human, half Tolkien character.
I’m going backstage. Is there cheese backstage? Let’s go backstage. Bye.
Best Director – Motion Picture
Guillermo Del Toro ‑ “The Shape of Water”
GUILLERMO DEL TORO: Oh, wow. I was hoping to wipe my nose with this (notecard).
Since childhood, I’ve been faithful to monsters. I have been saved and absolved by them because monsters, I believe, are patron saints of our blissful imperfection and they allow and embody the possibility of fail and live. For 25 years, I have helped crafted very strange little tales made of motion, color, light, and shadow. And in many of these instances, in three precise instances, these strange stories, these fables have saved my life. One through “Devil’s Backbone,” one through “Pan’s Labyrinth,” and now with “Shape of Water,” because as directors, these things are not just entries in a filmography. We have made a deal with a particularly inefficient devil that trades three years of our life for one entry and I am living proof. And these things are biography and they are life.
And I want to thank the Hollywood Foreign Press Association, Fox Searchlight. And I wouldn’t be here ‑‑ lower the music, guys. Come on. It’s taken 25 years. Give me a minute. Give me a minute.
I wouldn’t be here without my cast, my crew, and I want to mention a few fantastic women sitting at the table ‑‑ *Sharon, Nancy, Octavia, Sally, *Kimmy, and Vanessa ‑‑ without whom I wouldn’t be here. I thank you. My monsters thank you. And somewhere Lon Chaney is smiling upon all of us. Thank you very much.
Best Television Limited Series or Motion Picture Made For Television
Big Little Lies
DAVID E. KELLEY: I’m going to talk really fast, and then pass this off to Reese. This one has been a real joy. It started with HBO’s unflinching support. This man here, Jean Marc Vollee, he directed every single episode. He took this material into his heart and, more importantly, he delivered it from his heart, elevating every page, every performance. We are all so grateful.
As far as the cast ‑‑ take a look at this cast ‑‑ many of which have already been honored. But two in particular are also ferocious producers, Nicole and Reese.
And, Reese, you come here and get this
REESE WITHERSPOON: Okay. I just want to say thank you so much. This show is so much about the life we present to the world that could be very different than the life we live behind closed doors, so I want to thank everyone who broke their silence this year and spoke up about abuse and harassment. You are so brave. And, hopefully, shows like this, more will be made so people out there who are feeling silenced by harassment, discrimination, abuse ‑‑ time is up. We see you, we hear you, and we will tell your stories. Thank you.
Q On such a pivotal night as tonight, a special time in Hollywood, does the success of such a female centric story make this win a little more special, a little more significant somehow?
NICOLE KIDMAN: Yeah, absolutely. It feels like — Shane and I were just talking about this for this show to be resonating right now at this time is extraordinarily. We are incredibly grateful, but it also allows us to speak and be heard. And as Reese was saying, to be heard and to be seen and to stand up for what this show is about and the issues that this show has dealt with.
Q This is for Reese Witherspoon. Hi. Congratulations. I would love for you to talk about the transition to Andrea, Season 2. Oprah really did a cute impression of you. I was wondering if you have one of her?
REESE WITHERSPOON: First, to say we are so deeply grateful to Jean-Marc Vallee. His vision for these characters, the way he guided us, everything he did. He put his artistry and his heart and soul into it. His musical taste is all over this miniseries. Unfortunately, he was busy. We did try and accommodate, but we wanted to get the show — the second season started soon because I do think the public wants it soon, and so we were very lucky to have Andrea Arnold, and David wrote an incredible script. Leon wrote an incredible piece that he’s adapting, and so we were just thrilled to welcome her to our family. Jean-Marc has welcomed her to the family, and we are just thrilled we all get to do this again with each other. Do I have an Oprah impression? “You get a Golden Globe, and you get a Golden Globe, and you get a Golden Globe.” Thank you.
Q For Reese and Nicole, first of all, congratulations to all of you, but to Reese and Nicole, you are both in black. Can you leave a message? Do you have a message for a woman as well tonight?
REESE WITHERSPOON: Oh, okay. Yeah. I think all of the women should answer this question why we wore black tonight. I think it’s important. Do you all want to come up and talk? Okay. We all decided it’s been a really — it’s been a difficult year for our industry discovering a lot of things. A lot of things have come out of the darkness and into the light. I think there was a collective feeling that it wouldn’t be business as usual because I think we have to be forever changed in this moment. We are more united as an industry than we have ever been, men and women, determined to change our own industry but also shine a light on other industries because we get a lot of attention. We are very privileged to be here. We get to tell stories, and there are a lot of people in other industries who don’t get this opportunity to speak up. So hopefully this is a small gesture that will continue to resonate.
Q And your message?
NICOLE KIDMAN: Well, I’ve been working for two decades for young women to try to eradicate violence to young women. It is so hard to be heard amongst all of the noise, and so I think right now we have the chance to be heard, and that’s why we are doing it. We are all doing it because we are asking to try and elicit change and that everyone will help and participate so that we can do that.
Q I’m curious. There’s so many strides being taken now with time out, with the legal fund that will be helping for women. How can we actually get more — and you are all producers. How can we get more production extending into female-centric projects, female-directed projects?
ANDREA ARNOLD: Well, I think the success of shows like this that have five women at the center help. I’ve been saying this sentence lately that I think rings true for all of us up here, is putting women at the center of our stories is not just the right thing to do; it’s also great business. And I think given the fact that you think “Handsmaid’s Tale” this year, and shows like “Insecure” with women at the center, people want them. We shouldn’t be confined because women are the center of the show. Men flock to the show, and it’s been a great gift for all audiences of the show. We just have to keep doing it, and we have to keep encouraging other women to do it.
NICOLE KIDMAN: And, also, I may be wrong at this, but I think the three top grossing movies, or some of the highest grossing movies, were women-centric with women leads. So it’s not just in television. And it’s about as women saying we are going to have female directors. I’m in the midst of working with not just a female director, but a female VP. They are so rare. I’ve made over 60 films. I’ve worked with one other female VP. So this is the second one ever, which is not right, you know. So we are just trying to change the statistics, and we need the help.
Q For Reese and Nicole, you guys really pioneered this show and worked really hard and talked about how to get it. I’m kind of curious about your bond working together on and off camera. Can you kind of talk about that and your special friendship that you formed?
REESE WITHERSPOON: Well, we have special friendships with everyone in this group. It’s been an extraordinary experience. I think so much of my career, for 27 years, I never got to work with another woman. To be able to have incredible scenes and the opportunity to have a spectrum of female behavior that women look different, they have different socioeconomic backgrounds, they have different experiences in life, I think to start to talk about seeing a more dynamic woman on film, I think this is just the beginning, and we hope to continue that and even make it more diverse and make it more inclusive, make it more look like the world really looks. It’s really important. When women are the architects of the story, the stories change, and you see things differently. So we need to hear stories from different types of people, every type of person, and I think that’s been going on too long, the same people telling stories over and over again. It feels like it’s changing. It really does.
Best Actress – Motion Picture, Musical or Comedy
Saoirse Ronan ‑ “Lady Bird”
SAOIRSE RONAN: Oh, thank you. My mom’s on FaceTime over there on someone’s phone right now. So hi. I have no time at all to say thank you, but I just want to say how inspirational it’s been to be in this room tonight. I’m here with my best friend, Eileen. And I just want to thank HFPA for the award, A24, Greta, all the producers on the film, all of the women who I love so much in my own life who support me every single day, my mother, who is on FaceTime, and Margot and all of my friends and my family and, actually, everyone in this room. So thank you so much for this. Thank you.
Best Motion Picture – Musical or Comedy
“Lady Bird” ‑ Eli Bush
ELI BUSH: The only person who should speak for “Lady Bird” is Greta Gerwig.
GRETA GERWIG: Thank you. Thank you so much. Thank you to the HFPA. Thank you to my producers, Eli Bush, Evelyn O’Neill, and Scott Rudin. Thank you to A24 for everything you’ve done. Thank you to Barry Diller. Thank you to my cast, my beautiful cast, the goddesses Saoirse Ronan and Laurie Metcalf are incredible, and Timmy and Lucas and Beanie and Odeya, and ‑‑ I have eight seconds left. I want to say thank you to my mom and dad and the people of Sacramento who gave me roots and wings and helped me to get where I am today. Thank you. Thank you. Thank you.
Best Motion Picture – Foreign Language
“In the Fade”
FAITH AKIN: How did this happen? This is another one of them thousand admissions in Germany. Thank you, very much Hollywood Foreign Press. Thank you very much Magnolia Pictures for releasing the film. Johannes, you’re the best. Thank you very much my co‑producers, Warner Brothers. If you see a cop, warn a brother. I want to thank Patty from fans. I want to thank everybody from Bear International, Heno Hansha Kajek, you made this. I want to thank my producer Herman, the German Weigel. I want to thank my co‑producer Tina Mersmann and Marie‑Jeanne. I want to thank Chelee Mor. Chelee, thank you very much. You opened the door. Thank you, German Films. Thank you.
Diane, say something. Thank you, Monique, my wife, my kids. I couldn’t have done this without you. This is yours. This is ours.
DIANE KRUGER: Thank you, so much. I’m so privileged to do what I love. And thank you for elevating this movie, even though it’s foreign language. Thank you.
FATIH AKIN: We did not really expect this, you know, and it was — I’m a bit jet-lagged. I was kind of, like, very tired, and when this came up, I was, like, it was exactly what I needed. So thank you very much, yeah.
Q Do you think that this Golden Globe opens the door to a Hollywood career?
FATIH AKIN: Well, it opens first — I think it will help to sell more tickets in Germany, you know.
Q And friends?
FATIH AKIN: And friends too, and all over the place, all over this place. I don’t know. I’m thinking about this because I’m a curious filmmaker, and I want to learn and I want to progress and I want to discover spaces, you know, but it’s, like, I mean, this is the most personal film I did, and it brought me — it brought me here. So maybe it’s kind of like it feels like an awful good question, should I just continue the path I go or try new things? I have to think about it.
Q Congratulations, first of all, for your film.
FATIH AKIN: You are from Greece, right?
Q Yes. I want to ask you about us, about the state of filmmaking in Turkey and how much freedom is there really right now under the President? I would like your opinion on that as a filmmaker and hopefully talking to your brothers and sisters in Turkey that are filmmakers, do you feel they have the same freedom you have doing their work in Turkey?
FATIH AKIN: This is very difficult to answer because although my background is Turkish, my parents are from Turkey, but I’m a German filmmaker, you know. I mean, I lived in Germany. I was born in Germany. I was educated and raised in film school in Germany. I was part of the German film industry. And Turkey is my heart, and I always try to support filmmakers over there, you know, with everything I can, you know. I support them no matter if it’s day or night, you know.
Q This film affected me so much. You are just on the edge of your seat the whole film. What made you think Diane could do this? Because I know she said how fearful she was and how much preparation she did and how much this changed her? What gave you confidence in her? And then I’ll ask Diane about her — how you got the confidence to play somebody so affected and so emotional and so bold?
FATIH AKIN: My instinct told me that she would be the right one, and my instinct was right.
DIANE KRUGER: Well, for me I wasn’t sure in the beginning. It was a very challenging part. You know, you want to try to be as truthful as you can be, and I wasn’t sure how I would do that. I don’t even have children. And truly, I think I found a force by meeting victims over six months because I realized that I had to put all vanity behind and that I’m really their voice. And so, over time, it just became a duty and it became a responsibility. I tried my best.
Q When you see terrorist incidents on the news now, when you see terrorist incidents on the news now, does it affect you differently?
DIANE KRUGER: Yes.
Q Do you feel —
DIANE KRUGER: Yes.
Q — does it feel more real? Do you feel more connected to it?
DIANE KRUGER: It’s not that it feels more real. It always felt real, but I’m acutely aware of Kottias, that’s my character’s name, that it affected them each day, and it touches all of us, that it’s not something that happens in another country. It hits home, and I got to witness what those families go through, and so I feel for them more, and I know that they have a name and a life to live, and I don’t know how they do it.
Q Congratulations. I just want to know if you saw the other nominees in your category this year?
FATIH AKIN: I saw two other films. I saw “Loveless,” and I saw “Fantastic Woman” from the Golden Globe movies. The others I will watch. I will do my own work, and I have seen Foxtrot. I have seen it at Toronto, and I loved it, and Katja is my brother from another mother. That’s it, right? Thank you very much.
Best Performance by an Actress in a Motion Picture – Drama
Frances McDormand ‑ “Three Billboards Outside Ebbing, Missouri”
FRANCES McDORMAND: Well, I have a few things to say. I’m going to keep it short because we’ve been here a long time and we need some tequila. All you ladies in this category, bar. Tequila’s on me.
Thank you to the Hollywood Foreign Press Association. I’m still not quite sure who they are when I run into them over the last 35 years, but I love seeing their faces. And let’s face it, they managed to elect a female president.
I’m just saying. Martin McDonagh, you know how I feel about being your Mildred Hayes, her every ragged inhalation and tearous exhalation is evidence of my gratitude. Our producer, Graham Broadbent, thank you for listening to me and valuing my input. To Fox Searchlight, for ‑‑ who allowed our film to find its audience. And we are still putting people in the seats of brick‑and‑mortar cinemas around the country. Call me old‑fashioned, but I love that.
And if I mention my two favorite cowboys, Sam and Woody ‑‑ because they are ‑‑ then I will have to list the entire cast and crew of our film because everybody brought their best game to this one, their very best game. For instance, I cannot throw a baseball for shite. (Loss of audio) one building to another across a two‑lane street. That was really fun, but don’t try it at home.
So many of you know I keep my politics private, but it was really great to be in this room tonight and to be a part of a (loss of audio) in our industry’s power structure. Trust me, the women in this room tonight are not here for the food.
We are here for the work. Thank you.
Best Performance by an Actor in a Motion Picture – Drama
Gary Oldman – “Darkest Hour”
GARY OLDMAN: Well, I feel very humbled and surprised to have been asked to this stage. I would like to congratulate my fellow nominees for your beautiful work. I am in very fine company this evening, indeed. Winston Churchill said, “My taste is simple. I am easily satisfied with the very best,” and I was surrounded by the very best. Kristin Scott Thomas, thank you for my beautiful clementine. Your work is exquisite. And thank you for putting up with all those awful cigars.
Lily James, Ben Mendelsohn, Stephen Dillane, Ronald Pickup, you are gifted, you’re supported, you’re passionate, and it was a joy to work around you.
I would like to thank my magnificent make‑up team, Kazuhiro Tsuji, Lucy Spific, and David Malinnowski, your artistry has no equal. You were kind, and you were funny, and you were patient, and we got through 63 applications.
I would like to thank producers Doug Sabanski, Tim Bevin, Eric Felner, Alise Burse, and Anthony McCarten, and my wife, who put up with my crazy for over a year. She would say to friends, “I go to bed with Winston Churchill, but I wake up with Gary Oldman, which I suppose is better than the other way around.
I am very proud of “Darkest Hour.” It illustrates that words and actions can change the world, and, boy, oh, boy, does it need some changing.
Thank you to the Hollywood Foreign Press Association, and thank you, Winston Churchill.
Q You’ve shown us your lucky charm. Do you have it in your pocket today? It paid off. It’s a little book of —
GARY OLDMAN: It’s a book of — it’s Churchill’s speech, you know, the fight among the speeches. Yeah. It was given to me as a little talisman by my wife.
GARY OLDMAN: Thank you very much.
Q How does it feel?
GARY OLDMAN: It feels good.
Q Can you talk about — because I’m sure you grew up as a young boy being told about Churchill. Knowing about Churchill, he’s certainly in the mind of people over there like many of our presidents are here. What does it mean to play this role? What responsibility did you feel you had in playing the role?
GARY OLDMAN: Well, I think that when you play someone who has lived, they have family. They have ancestors. They have relatives. So there is a certain sort of responsibility. The good news is that the Churchill family has embraced this film and have embraced the portrayal so much so that occasionally Randolph Churchill will call me “great-grandpa-pa. So we are safe there. My mother, God bless her. She’s 98 and still really kicking and going strong, and she would tell me stories about The Blitz. My father was in the Navy. He fought in the North Atlantic in the convoys, and then he fought in Okinawa back in ’48, ’47. So there is a, sort of, connection. He would have been under the command of the great man. And when I was — when my mother brought me to school and I was four years old, there would be these terrorist houses, and there would be two houses that were missing and then a row of three houses and then a whole block that had been hit by Nazi — by the Luftwaffe, by the bombs. So, for me, this doesn’t feel — for my kids, this is ancient history, you know. For me, it wasn’t — it didn’t feel like that. It felt familiar. And to be an actor and be given the chance — I mean, first of all, the role, I mean, it’s like being offered Four Star [ph] or “King Lear,” you know. I trained for the theater and love words, what words can do, the shape of words, the sounds of them, the feel of them in your mouth, and we get to do that a lot in the theater. You don’t always get the chance to do it in film. So to play him, to have a chance to have a role like some things was an extraordinary thing. I’m proud to have played him. I was very honored to play him, and to get this for playing him is extraordinary.
Q Obviously, this has really put you well beyond the villains of the past that you’ve had to play and really changed the kind of roles that will probably be coming your way because you’ve shown the extraordinary range and capabilities that you have. So could you just talk a little bit — you probably just want to go on vacation, but could you talk a little bit about what projects might be coming up. And in particular, I heard you might be playing Sigmund Freud.
GARY OLDMAN: Well, I heard it first from you. I don’t know about that. I don’t know. Sometimes people come up to me, and they say, “Oh, you are going to be doing this?” Or an actor will come up and say, “Oh, I’m in this movie, and I hear that you are going to be doing it.” So that’s the first time — it’s interesting, though. I’ll have to think about that one, but that’s the first time I’ve heard it. You always are at the mercy of the industry, the kind of films, or you are at the mercy of the imagination of the people that are hiring you. I don’t get to see everything. There are directors that I would like to work with who haven’t — no names, but people that you hope would — it’s nice to get a telephone call from and, you know, “So and so wants to meet you.” I’ve worked with some extraordinary directors over the time — over the years, but I really have nothing that comes to me, truly. We have to do this — you know, we are on this ride, and if it goes all the way to March 4th, I’ll be out of work after that. This is my job at the moment.
Q So there’s been so much talk about your extraordinary physical transformation, what they did. I just couldn’t believe it. I know sometimes you couldn’t. But being in this man’s soul, eccentric guy, all of the crazy failings about him we know but a hero, a leader, did he change you mentally? Did it change your outlook on what we need in our heroes and what you need to be?
GARY OLDMAN: Well, there are certain — I mean, there are certain figures that are indispensable figures; and, really, looking at Churchill as I did obviously more specifically — more closely than him just being a figure in our British history as arguably the greatest Britain who ever lived, looking in — really, sort of, diving into it, our world order that we’ve kind of enjoyed under the last 17 years, I think, is arguably down to one man, and I think it’s interesting. It’s harmonic in a way that we have Reese and we have America and we have this spearheading, this “Time’s Up.” But as I said out there, I’m proud of the movie because it shows and illustrates the power of words and actions, that words and actions can literally change the world. And the courage that someone like — and he made mistakes, and I’m not saying that Churchill is better. We assume. But the courage that someone had, he had no Army. Not everybody hated him in his own cabinet. There was really no one on his side, and he didn’t have America in the race at the time, you know, behind him. And he took on this racist thug, this dictator. It shows extraordinary, extraordinary courage. And I look at — like you said, the sort of essential people I look at. I look at people like Washington and Lincoln. That’s who I believe you can compare him to, but yeah. Do you know that he wrote — do you know that Churchill was foremost a writer? He wrote more words than Shakespeare and Dickens put together. If you look at the two volumes that he wrote about his ancestors, the Duke of Marlborough, in his circle of romance years when he was really outfavored and he could refer to them as the “wilderness years,” he wrote over a million words in that period. So it’s astounding, and my curiosity and my interest doesn’t stop here with the film and here with this (Referring to his award). I’ll be learning about the man for many, many, many years to come.
Q I wanted to ask what it meant to you to participate in the movement tonight and what you think men in Hollywood can do to ensure that real change continues.
GARY OLDMAN: Well, I’ve only seen it when the curtain came down on Harvey, and I was flabbergasted and shocked only because — fortunately, he was never in my orbit. We met him in ’92. He gave me the creeps, and I said, “Let’s not work with that guy,” and never did. I never did a Weinstein film. But when the curtain came down on that, I thought, “I’d love to get his” — it’s evolution. A wheel is turning. There’s another — you know, it’s turned a notch in the evolutionary world that we are still coming out of the mists of time. So what we do, what we say, how we do it, how we say it, and who we say it to and who we do it to is very important, and if that is exposed, then it’s a good thing. I wore, obviously, black tonight. I was in solidarity with this “time’s up” movement. And as I said, the film illustrates what can come from standing up and saying no more. We are not going to take it anymore. You know, it’s that famous line from network, “We are sick as hell, and we are not going to take it anymore.”
Best Motion Picture – Drama
“Three Billboards Outside Ebbing, Missouri” ‑ Graham Broadbent
GRAHAM BROADBENT: Thank you, thank you. You can tell we had a wonderful time making this film. It was a truly extraordinary experience, like we all have. It had a beautiful heart. It had beautiful people. Thank yous are due to Fox Searchlight, to Film4, who financed the movie for us and left us to make a wonderful film. Thank you to our crew who just made every day going to work a pleasure. Everything worked great. Everyone upped their game, and it was fantastic. Thanks to our cast ‑‑ to Sam, to Fran, to Woody, and the others who are all terrific. Thank you finally to Martin McDonagh. We’ve made three films together. He is a true creative genius and extraordinary talent and a lovely friend, and we wouldn’t be here but for him. Thank you.
SAM ROCKWELL: Just want to thank my agent Rhonda Price and thank you.