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Ray Pride

By Ray Pride Pride@moviecitynews.com

Academy Speeches And Backstage

ALFONSO CUARÓN (Director): “I want to thank the Academy for recognizing a film centered around an indigenous woman, one of the 70 million domestic workers in the world without work rights, a character that has historically been relegated in the background in cinema. As artists our job is to look where others don’t. This responsibility becomes much more important in times when we are being encouraged to look away. Muchas gracias. Muchas gracias a mi familia. Muchas gracias, Mexico, y sobre todo muchas gracias. Gracias, gracias, gracias.”

PETER FARRELLY (Best Picture): “Thank you very much. You know, he’s right, this is, the whole story, is about love. It’s about loving each other despite our differences. And finding the truth about who we are, we’re the same people. And this doesn’t start, by the way, without Viggo Mortensen, right there. We have no movie, all these awards are because Viggo and Mahershala and Linda, but it started with Viggo… And I want to thank my sister Kathy. She died a week before we started shooting this but she never left my side.”

PETER FARRELLY: (Best Original Screenplay): “They say if you want to go somewhere fast, go alone. If you want to go far, go together. I gotta lot of people to than, starting with the entire state of Rhode Island.”

CHARLES B. WESSLER (Best Picture): “Hey, thanks very much for this to the Academy but I just want to dedicate this to our great friend Carrie Fisher.”

PETER RAMSEY (Best Animated Feature): “Yeah.  It’s a huge responsibility.  This is something that is going to be seen and taken to heart by millions of people… Miles had a lot of backup. He had a lot of people who really loved him as a character, believed in this story and knew how important it was going to be to, you know, black kids, Latino kids, kids who just want to be their best selves, no matter who they are. So everybody gave it 110%, and we are very gratified that people are receiving his story in the spirit in which we put it out.”

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“I was checking through stuff the other day for technical reasons. I came across The Duellists on Netflix and I was absolutely stunned to see that it was exquisitely graded. So, while I rarely look up my old stuff, I stopped to give it ten minutes. Bugger me, I was there for two hours. I was really fucking pleased with what it was and how the engine still worked within the equation and that engine was the insanity and stupidity of war. War between two men, in that case, who fight on thought they both eventually can’t remember the reason why. It was great, yeah. The great thing about these platforms now is that, one way or another, they’ll seek out and then put out the best possible form and the long form. Frequently, films get cut down because of that curse in which the studio felt or feels that they have to preview. And there’s nothing worse than a preview to diminish the original intent.Oh, yeah, how about every fucking time? And I’ve stewed about films later even more because when you tell the same joke 20 times the joke’s no longer funny. When you tell a bad joke once or twice? It’s fine. But come on, now. Here’s the key on the way I feel when I approach the movie: I try to keep myself as withdrawn from the project as possible once I’ve filmed it. And – this is all key on this – then getting a really excellent editor so I never have to sit in on editing. What happens if you sit in is you become stale and every passage or joke, metaphorically speaking, gets more and more tired. You start cutting it all back because of fatigue. So what you have to do is keep your distance and therefore, in a funny kind of way, you, as the director, should be the preview and that’s it.”
~ Sir Ridley Scott