Quoted

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Thank you, thank you very much. I don’t really speak English. I’m very bad student. I can say I’m very happy and I want to thank my producer Fabrice Goldstein and Antoine Rein and my wife Gaby and my son Sebastien. And merci beaucoups& [speaking French] &Merci au revoir.
– Phillippe Pollet-Villard on receiving the Oscar for “The Mozart of Pickpockets”

CATEGORY: ACHIEVEMENT IN ART DIRECTION

Dante Ferretti:
Thank you to the Academy. And thank you to Tim Burton, fantastic director. Thank you to Richard Zanuck. Thank you to everybody, thank you to my team, all the department, everyone. Thank you, Johnny. And I’m sorry, i forgot something, but I’m very — thank you anyway.
Francesca Lo Schiavo:
Just i would like to say, this time, thank you, thank you to the Academy. I’m so happy, so grateful. And thank you to Tim Burton. Great director. Johnny Depp and all the actors, Everybody, for this fantastic movie.
– Dante Ferretti and Francesca Lo Schiavo on receiving the Oscar for “Sweeney Todd: The Demon Barber of Fleet Street”

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Suzie Templeton:
This is for everyone. This for our fantastic crew and this for everybody who worked so passionately on our film to make our dream come true.
Hugh Welchman:
Yeah, no this really is a fairy tale ending for us, but hopefully it’s only the beginning for Peter and this amazing award, and it will help keep Prokofiev’s “Peter and the Wolf” in the hearts and minds of children all over the world. So, the Academy, thank you so much. it’s been amazing.
– Suzie Templeton and Hugh Welchman on receiving the Oscar for “Peter and the Wolf”

BEST ANIMATED FEATURE FILM OF THE YEAR

I think I’m gonna throw up, too. I want to thank the Academy and I also want to thank my junior high guidance counselor for a meeting we had where he asked me, “What do you want to do with your life?” And I said, “I want to make movies.” And he said, “What else do you want to do with your life?” And I said, “Make movies,” and he said, “What if you couldn’t make movies,” and I said, “I’d find a way that I could.”
“What if movies didn’t exist?”
“I’d have to invent them.” And it went on like this until we were sick of each other and i only realized just recently that he gave me the perfect training for the movie business.
So, I want to thank my wife Liz, who I love, my sons, all the dreamers at Pixar and Disney, John Lasseter, Steve Jobs, Ed Catmull. Wrap it up. I hate that thing. Producer Brad Lewis, Jan Pinkava, and Dick Cook, and all the dreamers who are supporting a rat who dreams. Thanks.
– Brad Bird on receiving the Oscar for Ratatouille

ACHIEVEMENT IN MAKEUP

Didier Lavergne:
Thank you very much. Thank you to the Academy and what can I say? I’m really happy and proud to be here with you. Bye.
Jan Archibald:
Thank you to the academy for this huge honor. I’m overwhelmed. It’s just amazing. I have a lot of people to thank. My assistants, particularly, my Czech crew that worked with us in Prague and in Paris, they were amazing. They worked very hard and I owe a lot to them. And just, it’s so exciting to be here. I don’t know what to say. Thank you.
– Didier Lavergne and Jan Archibald on receiving the Oscar for La Vie en Rose

ACHIEVEMENT IN VISUAL EFFECTS

Michael Fink:
We just want to say “Thank you!” We just brought a small quote from Walt Disney, who said “It’s kind of fun to do the impossible.”
And along with that, I want to extend some thanks to Phil Pullman, Chris Weitz, Susan MacLeod, our producers, our incredible crew from all over the world. And to especially to our families and to my wife, Melissa, my handsome son Alex.
Bill Westenhofer:
And to my family, Rhythm & Hues, Sue Rose out there watching this, Thank you.
Ben Morris:
Thank you to my family and my wonderful crew at Framestore CFC. Trevor Wood:
A great crew and a great family. Thank you very much indeed.
Ben Morris:
Thank you!
– Michael Fink, Bill Westenhofer, Ben Morris and Trevor Wood on receiving the Oscar for The Golden Compass

ACHIEVEMENT IN COSTUME DESIGN

“Wow. Thank you to the Academy. Thank you to Working Title and Universal. To Shekhar and Cate. And a huge thank you to my brilliant team and to my family.”
– Alexandra Bryne, on receiving the Oscar for Elizabeth: The Golden Age

Red carpet awe ..

“I never even thought I’d say an Italian name, let alone wear a dress by an Italian designer”
– 13 year old Saoirse Ronan

Blogging the good times

“Holy crap?!? Is that Gary Busey giving Jennifer Garner a hickey?!? Garner’s reaction to Seacrest is priceless. “You’re not going to ask me about getting kissed on the neck on the red carpet by this man?” Please please PLEASE show us the video footage when Busey gets tasered.”
Peter Hartlaub’s Red Carpet Blog, who “Like most straight males, I love love love the red carpet shows that precede the Academy Awards.”

Gushing praise …

“It’s amazing how real it looks.”
– Jason Bateman from the red carpet, talking about George Clooney’s hair

The Spirited Awards

“Greetings indie weirdos. Here come the first motherf—–s to present the first motherf—–g award.”
– Rainn Wilson, opening the 2008 Indie Spirit Awards [winners are listed here]

Just click your heels three times …

“I must have somehow missed the part where my shoes cost a MILLION FUCKING DOLLARS and my “choice” of footwear would be publicized nationwide. I honestly thought they were just sparkly shoes. Mr. Weitzman did mention that the diamonds were real when I tried them on, but I’m not Nancy Rockman, Expert Gemologist. I didn’t, you know, bust out my miniature spyglass and assess the potential worth of my kicks. …
“They’re using me to publicize their stupid shoes and NOBODY ASKED ME. I would never consent to a lame publicity stunt at a time when I already want to hide.”
– Diablo Cody, on the difference between taking free shoes before they were worth a million dollars but not when they are very expensive free shoes

Oscar's Fifth Man

“The great joy of knowing you’re not going to win is that you don’t really have to be nervous. As a director, I feel very lucky to be in that group; I am definitely the fifth man in and it’s a thrill to be nominated and it allows me to just enjoy the evening.”
– Juno’s Jason Reitman on his Oscar nom for best director

Not feeling the Juno love at home in Canada …

“It’s a Canadian director, Canadian stars, Canadian cast, Canadian crew, shot in Canada – how are we not eligible for a Genie when David Cronenberg’s film about Russians living in London shot in England with a British crew and British cast is eligible?”
– Jason Reitman on being ineligible for a Canadian Genie Award

"I worry about Meryl …"

“I worry about Meryl. She’s so smart. She’s so talented. I felt so bad for her last year at this event. I had the highest expectations for her because of the role she was nominated for.”
– Tim Gunn on his fashion hopes for Meryl Streep

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon