Frances McDormand turns 66 today. For nearly forty years, she has brought her presence to the silver screen, making her debut in the 1984 film Blood Simple. Over the course of her illustrious career, she has flawlessly embodied a multitude of diverse characters. However, there is one particular role that remains etched in my memory: her remarkable portrayal of Marge Gunderson in the highly acclaimed Coen brothers' masterpiece, Fargo. Her performance as a feisty and yet gentle pregnant police chief in the snowy Minnesota town remains an iconic performance, showcasing her unmatched ability to bring complex characters to life. Fargo follows Jerry Lundegaard, a financially troubled car salesman who hatches a scheme to have his wife kidnapped and collect the ransom from her wealthy father. Jerry hires two inept criminals, Carl Showalter and Gaear Grimsrud, to carry out the plan. However, things quickly spiral out of control when the kidnapping goes awry, resulting in a string of murders.&nbsp;

Enter Marge Gunderson, a sharp and affable pregnant police chief, who is assigned to investigate the murders.&nbsp;

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<h2>A unique character</h2>

Marge is a local police chief with a refreshingly grounded and down-to-earth demeanour. She is unlike the traditional detectives we often see in such gritty crime dramas. She is neither a hard-boiled investigator nor a brooding, troubled cop. Instead, McDormand breathes life into Marge as a warm and relatable character, combining strength, intelligence, and a deep sense of compassion.

Marge Gunderson is a remarkable departure from the stereotypical cop archetype. She is depicted as a devoted wife, supportive friend, and, above all, a dedicated and skilled law enforcement officer. McDormand's nuanced performance as Marge deftly captures her unwavering moral compass, commitment to justice, and her innate ability to see the humanity in everyone she encounters.

<h2>Realism and empathy</h2>

One of the most remarkable aspects of McDormand's is the realistic and empathetic nature she brings to the character. Marge's interactions with others are filled with genuine kindness and an unyielding belief in the goodness of people. McDormand expertly navigates the complex emotional landscape of Marge, displaying a mix of strength, vulnerability, and unwavering determination.

Through her performance, McDormand brings a unique sense of authenticity to the role, allowing the audience to connect with Marge on a deep and emotional level. McDormand's ability to portray genuine empathy without veering into sentimentality is a testament to the oodles of talent she has at her disposal as an actress.

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<h2>Impact and recognition</h2>

Frances McDormand's performance as Marge Gunderson in Fargo garnered widespread critical acclaim and earned her numerous accolades, including an Academy Award for Best Actress.&nbsp;

WATCH WION LIVE HERE

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Frances McDormand turns 66 today. For nearly forty years, she has brought her presence to the silver screen, making her debut in the 1984 film Blood Simple. Over the course of her illustrious career, she has flawlessly embodied a multitude of diverse characters.

Frances McDormand turns 66 today. For nearly forty years, she has brought her presence to the silver screen, making her debut in the 1984 film Blood Simple. Over the course of her illustrious career, she has flawlessly embodied a multitude of diverse characters. However, there is one particular role that remains etched in my memory: her remarkable portrayal of Marge Gunderson in the highly acclaimed Coen brothers' masterpiece, Fargo. Her performance as a feisty and yet gentle pregnant police chief in the snowy Minnesota town remains an iconic performance, showcasing her unmatched ability to bring complex characters to life. Fargo follows Jerry Lundegaard, a financially troubled car salesman who hatches a scheme to have his wife kidnapped and collect the ransom from her wealthy father. Jerry hires two inept criminals, Carl Showalter and Gaear Grimsrud, to carry out the plan. However, things quickly spiral out of control when the kidnapping goes awry, resulting in a string of murders. Enter Marge Gunderson, a sharp and affable pregnant police chief, who is assigned to investigate the murders. A unique character Marge is a local police chief with a refreshingly grounded and down-to-earth demeanour. She is unlike the traditional detectives we often see in such gritty crime dramas. She is neither a hard-boiled investigator nor a brooding, troubled cop. Instead, McDormand breathes life into Marge as a warm and relatable character, combining strength, intelligence, and a deep sense of compassion. Marge Gunderson is a remarkable departure from the stereotypical cop archetype. She is depicted as a devoted wife, supportive friend, and, above all, a dedicated and skilled law enforcement officer. McDormand's nuanced performance as Marge deftly captures her unwavering moral compass, commitment to justice, and her innate ability to see the humanity in everyone she encounters. Realism and empathy One of the most remarkable aspects of McDormand's is the realistic and empathetic nature she brings to the character. Marge's interactions with others are filled with genuine kindness and an unyielding belief in the goodness of people. McDormand expertly navigates the complex emotional landscape of Marge, displaying a mix of strength, vulnerability, and unwavering determination. Through her performance, McDormand brings a unique sense of authenticity to the role, allowing the audience to connect with Marge on a deep and emotional level. McDormand's ability to portray genuine empathy without veering into sentimentality is a testament to the oodles of talent she has at her disposal as an actress. Impact and recognition Frances McDormand's performance as Marge Gunderson in Fargo garnered widespread critical acclaim and earned her numerous accolades, including an Academy Award for Best Actress. WATCH WION LIVE HERE You can now write for wionews.com and be a part of the community. Share your stories and opinions with us here.

Frances McDormand turns 66: Looking back at her superlative performance in Fargo

It’s his first film set in France, and the first done as an anthology. But Wes Anderson’s 10th movie, “The French Dispatch,” was made in much the same way, and with much the same cast, as many of the features that preceded it. Along with his fastidious and vibrant visual sense and staccato pacing, his company of free spirits has become his signature.

 
“I don’t know who gravitated toward whom,” Anderson said, in a voice message sent from the production of his 11th film, outside Madrid. “But as soon as Owen Wilson and I started making a movie, well, I wanted Owen to be involved with the other movies I would do. As soon as I had Bill Murray, I wanted him on the next one. I wanted Jason Schwartzman. It was natural to me.”

 
“The French Dispatch,” about writers at a midcentury magazine based on The New Yorker, is set in the fictional town of Ennui-sur-Blasé and was filmed in Angoulême, France. “What I like to do is go to a place and have us all live there and become a real local sort of production, like a little theater company — everything works better for me that way,” said Anderson, who lives in Paris. He even likes verisimilitude in the extras: “I often employ people with their own pets in the background.”

 
Anderson’s exacting, formalist vision — in his suits on set, “he doesn’t look like a Hollywood director, he looks like a Wes Anderson character,” his frequent star Adrien Brody said — is balanced by the camaraderie he creates when each day’s filming is wrapped. His cast and crew often take up a local hotel, and dine together, too; his post-shoot feasts are a creative’s fantasy. As Frances McDormand put it: “We all share a deeply obsessive, compulsive ordering of our artistic pursuits.”

 
In phone and email interviews from around the globe, his collaborators (including the newbies Jeffrey Wright, who plays a James Baldwinesque food writer, and Léa Seydoux, as a prison guard who models for an artist-inmate) spoke about inhabiting his inventive world together. The conversations have been edited; some spoilers follow.

 
I. Introductions

 
FRANCES McDORMAND: By chance, I saw “Bottle Rocket” (Anderson’s 1996 feature debut) by myself the day it opened in NYC. I went home and told Joel (Coen, her filmmaker husband) there was somebody out there doing something familiar. We went back to see it together and he concurred. I have seen all of Wes’ films since.

 
ADRIEN BRODY: Probably 2005, we met in New York. He’s a gentleman, he took me to dinner, we walked around downtown. He surprised me — here was a director who I admired so much and he had known of my work for years, and told me he had actually gone with Owen to see “King of the Hill,” a film Steven Soderbergh had done, and I was cast in it at 19. Even then I would have done any role that Wes would have come to me for.

 
TILDA SWINTON: I saw “Bottle Rocket” and I’ve seen each film since as it came out — in awe. After “The Darjeeling Limited” in 2007, I wrote him a fan letter, to which he replied. Soon after that he asked me to be in “Moonrise Kingdom.”

 
WES ANDERSON: Léa Seydoux, she had a small part in “Grand Budapest Hotel,” that was because I had done a Prada commercial with her. It was sort of a silly little thing, and she was so clearly better than the material I was giving her, and so quick to adapt to whatever I suggested. There was such confidence in how she played these things, plus I loved her in movies.

 
LÉA SEYDOUX: I think he liked my taste — we share this passion for French cinema and la Nouvelle Vague — films from François Truffaut, Jean-Luc Godard. I feel very comfortable with Wes and his world. I feel that I understand him, I understand his vision.

 
JEFFREY WRIGHT: He wanted to have a call with me because he was in Paris, but as it turned out I was heading to Paris. We ended up meeting over lunch at Le Select, which was a very fitting beginning — it’s a very Wes environment. But also, it was one of James Baldwin’s old haunts.

 
I think he had an office in New York. I tried on my red jacket as the narrator of “Moonrise Kingdom” and possibly a funny hat. From the very beginning, it was all kind of magical.

 
II. The Inspiration

 
He described this amalgam of nonfictional characters that made up (the “French Dispatch” character) Roebuck Wright — Baldwin being one of them; A.J. Liebling; Tennessee Williams. He sent me the script several weeks later because in typical Wes fashion, he was still working on it.

 
(Playing a Midwestern art collector with an unerring eye) We talked about Kansas and the hillbilly accent (in the script). The main character that he presented to me was certainly Dominique de Menil, she and her husband, John de Menil. He sent me a huge book about their lives and their collection.

 
(Playing a journalist covering a youth uprising) Wes suggested I read (the short story writer) Mavis Gallant’s work. Which I did and enjoyed very much. Lo and behold, a friend of mine was a dear friend of hers in Paris and the executor of her will. My depiction is based on a photo that Wes gave me of Mavis Gallant, photos my friend showed me of her smoking cigarettes and typing and of time I spent with Lillian Ross years ago.

 
He and I had had a long-standing conversation about the joys of Rosamond Bernier (a lecturer on art), on whom we drew for J.K.L. Berensen. It became clearer over several years where a portrait inspired by her might fit. The general rule of thumb is usually this sort of gentle teasing out — like with raw wool for spinning — of the overall function of a character into the finest detail of shape and sound.

 
III. On Set: The Work

 
He sent me just the lines, I didn’t have the whole script. It was abstract at first. I didn’t know if he wanted me to speak French or English; he said maybe both. I didn’t know (there would be full-frontal nudity), I didn’t understand, I think. I went with the flow — oh OK, I’ll get naked. I have no problem with nudity when it has a purpose. I also love the fact that she’s completely naked and then in her uniform. You could think she’s objectified, but she’s not, she’s very powerful. It’s her choice.

 
Baldwin for me was a window through which I could kind of justify this Black gay man at that time fleeing America for the place we find in the film; the language, as written, is more Liebling. He’s, I hope, very much a man who has found comfort in his own skin and dignity in his aloneness, which was for me, at least after months enduring this pandemic, really resonant.

 
I told Wes that I felt strongly that (her character) Krementz and Zeffirelli (a revolutionary played by Timothée Chalamet) did have sexual relations. Wes was very diplomatic with me but did not agree. He asked me not to share my thoughts on this with Timothée. However, I did. Timothée’s reaction was basically, “Huh.” Our differing opinions didn’t seem to change the outcome: Wes was able to convey his choice by having the sound of creaking bedsprings over a shot outside Krementz’s bedroom door. I think it works.

 
There’s a lot of room in his precision — he does give you room to breathe emotionally. A large amount of his shots are with a moving camera; sometimes both cameras are moving at the same time as the actors are moving. It’s a choreographed ballet. There’s a tremendous amount of synchronicity that has to happen, because he often looks for a perfect take. It’s not like he does close-up, close-up, close-up, and cuts them together.

 
(In a complicated scene in “Moonrise Kingdom”) I’m in the foreground letting go of a weather balloon and in the background are about 20 scouts (paddling) a canoe. I had a little wind machine and monitor; I have to walk into the water and be talking all the time. We maybe did 100 takes of it, for almost three hours.

 
You would think it would become tedious and the truth is, it’s somewhat hypnotically relaxing to do this thing over and over again, feeling the dolly moving, and knowing you’re in the right position doing the right thing.

 
Lois would nail the soliloquy and then Tilda would have another big patch to rapid-fire nail following that. And I felt such a responsibility to not blow those takes. Everybody has to hold up the next person. That’s the one thing that you must understand — the level of responsibility. You will burn everyone if you don’t [get it right]. You don’t want to be that person. It keeps you really strong and focused.

 
IV. Off Set: Le Dîner

 
It’s this beautiful and intense workday, and then, when that is completed, there is (deep breath) a giant exhale and we all kind of go home together, and it’s a giant familial dinner.

 
It’s a very clever mechanism for creating focus and efficiency, but it also creates a cohesion. I just finished my second film with him (in Spain). It’s a highly palatable asylum. It’s extremely well-catered. 
The only big decision was, what end of the table do I sit at today? And wherever you went, there was a friend.

 
(At dinner) you have all the technicians — there’s no hierarchy. Sometimes you can feel isolated when you make a film, American films especially — the stars are in their trailers. With Wes, he needs a deep connection with his actors, that’s why I think he works with the same people all the time. He’s very shy too. And they’re all his friends — even me, I saw that now, he’s a friend.

 
V. The Lure of Wes

 
There’s a kind of traveling circus that Wes is the ringmaster of. The idea that his films are shows and that the frame is a kind of cinematic proscenium, and he wants &lt;em&gt;performance&lt;/em&gt; — I really dig that. It’s refreshing to break away from the hyper-realism that cinema often gets sucked into.

 
This one (in Spain) really feels like I’m in an actors’ summer camp. I like all my bunkmates, my mom’s visiting me — she’s been coming everywhere since “Darjeeling.” (His mother is the photographer Sylvia Plachy. Wes’ll put her in the background. My mom’s having the time of her life.

 
Working with him is a deeply different experience in the best sense. Aside from the fact that he’s endlessly aware of every moment in the movie — how it looks, how it feels — he has a remarkable way of being in general. He’s the same on set as he is at dinner as he is at a meeting. He’s steady like a rock. I’ve never seen him be unnerved by anything.

 
I show up because Wes keeps asking — I love his movies. And also to torture Bill.

It’s his first film set in France, and the first done as an anthology. But Wes Anderson’s 10th movie, “The French Dispatch,” was made in much the same way, and with much the same cast, as many of the features that preceded it.

It’s his first film set in France, and the first done as an anthology. But Wes Anderson’s 10th movie, “The French Dispatch,” was made in much the same way, and with much the same cast, as many of the features that preceded it. Along with his fastidious and vibrant visual sense and staccato pacing, his company of free spirits has become his signature. “I don’t know who gravitated toward whom,” Anderson said, in a voice message sent from the production of his 11th film, outside Madrid. “But as soon as Owen Wilson and I started making a movie, well, I wanted Owen to be involved with the other movies I would do. As soon as I had Bill Murray, I wanted him on the next one. I wanted Jason Schwartzman. It was natural to me.” “The French Dispatch,” about writers at a midcentury magazine based on The New Yorker, is set in the fictional town of Ennui-sur-Blasé and was filmed in Angoulême, France. “What I like to do is go to a place and have us all live there and become a real local sort of production, like a little theater company — everything works better for me that way,” said Anderson, who lives in Paris. He even likes verisimilitude in the extras: “I often employ people with their own pets in the background.” Anderson’s exacting, formalist vision — in his suits on set, “he doesn’t look like a Hollywood director, he looks like a Wes Anderson character,” his frequent star Adrien Brody said — is balanced by the camaraderie he creates when each day’s filming is wrapped. His cast and crew often take up a local hotel, and dine together, too; his post-shoot feasts are a creative’s fantasy. As Frances McDormand put it: “We all share a deeply obsessive, compulsive ordering of our artistic pursuits.” In phone and email interviews from around the globe, his collaborators (including the newbies Jeffrey Wright, who plays a James Baldwinesque food writer, and Léa Seydoux, as a prison guard who models for an artist-inmate) spoke about inhabiting his inventive world together. The conversations have been edited; some spoilers follow. I. Introductions FRANCES McDORMAND: By chance, I saw “Bottle Rocket” (Anderson’s 1996 feature debut) by myself the day it opened in NYC. I went home and told Joel (Coen, her filmmaker husband) there was somebody out there doing something familiar. We went back to see it together and he concurred. I have seen all of Wes’ films since. ADRIEN BRODY: Probably 2005, we met in New York. He’s a gentleman, he took me to dinner, we walked around downtown. He surprised me — here was a director who I admired so much and he had known of my work for years, and told me he had actually gone with Owen to see “King of the Hill,” a film Steven Soderbergh had done, and I was cast in it at 19. Even then I would have done any role that Wes would have come to me for. TILDA SWINTON: I saw “Bottle Rocket” and I’ve seen each film since as it came out — in awe. After “The Darjeeling Limited” in 2007, I wrote him a fan letter, to which he replied. Soon after that he asked me to be in “Moonrise Kingdom.” WES ANDERSON: Léa Seydoux, she had a small part in “Grand Budapest Hotel,” that was because I had done a Prada commercial with her. It was sort of a silly little thing, and she was so clearly better than the material I was giving her, and so quick to adapt to whatever I suggested. There was such confidence in how she played these things, plus I loved her in movies. LÉA SEYDOUX: I think he liked my taste — we share this passion for French cinema and la Nouvelle Vague — films from François Truffaut, Jean-Luc Godard. I feel very comfortable with Wes and his world. I feel that I understand him, I understand his vision. JEFFREY WRIGHT: He wanted to have a call with me because he was in Paris, but as it turned out I was heading to Paris. We ended up meeting over lunch at Le Select, which was a very fitting beginning — it’s a very Wes environment. But also, it was one of James Baldwin’s old haunts. I think he had an office in New York. I tried on my red jacket as the narrator of “Moonrise Kingdom” and possibly a funny hat. From the very beginning, it was all kind of magical. II. The Inspiration He described this amalgam of nonfictional characters that made up (the “French Dispatch” character) Roebuck Wright — Baldwin being one of them; A.J. Liebling; Tennessee Williams. He sent me the script several weeks later because in typical Wes fashion, he was still working on it. (Playing a Midwestern art collector with an unerring eye) We talked about Kansas and the hillbilly accent (in the script). The main character that he presented to me was certainly Dominique de Menil, she and her husband, John de Menil. He sent me a huge book about their lives and their collection. (Playing a journalist covering a youth uprising) Wes suggested I read (the short story writer) Mavis Gallant’s work. Which I did and enjoyed very much. Lo and behold, a friend of mine was a dear friend of hers in Paris and the executor of her will. My depiction is based on a photo that Wes gave me of Mavis Gallant, photos my friend showed me of her smoking cigarettes and typing and of time I spent with Lillian Ross years ago. He and I had had a long-standing conversation about the joys of Rosamond Bernier (a lecturer on art), on whom we drew for J.K.L. Berensen. It became clearer over several years where a portrait inspired by her might fit. The general rule of thumb is usually this sort of gentle teasing out — like with raw wool for spinning — of the overall function of a character into the finest detail of shape and sound. III. On Set: The Work He sent me just the lines, I didn’t have the whole script. It was abstract at first. I didn’t know if he wanted me to speak French or English; he said maybe both. I didn’t know (there would be full-frontal nudity), I didn’t understand, I think. I went with the flow — oh OK, I’ll get naked. I have no problem with nudity when it has a purpose. I also love the fact that she’s completely naked and then in her uniform. You could think she’s objectified, but she’s not, she’s very powerful. It’s her choice. Baldwin for me was a window through which I could kind of justify this Black gay man at that time fleeing America for the place we find in the film; the language, as written, is more Liebling. He’s, I hope, very much a man who has found comfort in his own skin and dignity in his aloneness, which was for me, at least after months enduring this pandemic, really resonant. I told Wes that I felt strongly that (her character) Krementz and Zeffirelli (a revolutionary played by Timothée Chalamet) did have sexual relations. Wes was very diplomatic with me but did not agree. He asked me not to share my thoughts on this with Timothée. However, I did. Timothée’s reaction was basically, “Huh.” Our differing opinions didn’t seem to change the outcome: Wes was able to convey his choice by having the sound of creaking bedsprings over a shot outside Krementz’s bedroom door. I think it works. There’s a lot of room in his precision — he does give you room to breathe emotionally. A large amount of his shots are with a moving camera; sometimes both cameras are moving at the same time as the actors are moving. It’s a choreographed ballet. There’s a tremendous amount of synchronicity that has to happen, because he often looks for a perfect take. It’s not like he does close-up, close-up, close-up, and cuts them together. (In a complicated scene in “Moonrise Kingdom”) I’m in the foreground letting go of a weather balloon and in the background are about 20 scouts (paddling) a canoe. I had a little wind machine and monitor; I have to walk into the water and be talking all the time. We maybe did 100 takes of it, for almost three hours. You would think it would become tedious and the truth is, it’s somewhat hypnotically relaxing to do this thing over and over again, feeling the dolly moving, and knowing you’re in the right position doing the right thing. Lois would nail the soliloquy and then Tilda would have another big patch to rapid-fire nail following that. And I felt such a responsibility to not blow those takes. Everybody has to hold up the next person. That’s the one thing that you must understand — the level of responsibility. You will burn everyone if you don’t [get it right]. You don’t want to be that person. It keeps you really strong and focused. IV. Off Set: Le Dîner It’s this beautiful and intense workday, and then, when that is completed, there is (deep breath) a giant exhale and we all kind of go home together, and it’s a giant familial dinner. It’s a very clever mechanism for creating focus and efficiency, but it also creates a cohesion. I just finished my second film with him (in Spain). It’s a highly palatable asylum. It’s extremely well-catered. The only big decision was, what end of the table do I sit at today? And wherever you went, there was a friend. (At dinner) you have all the technicians — there’s no hierarchy. Sometimes you can feel isolated when you make a film, American films especially — the stars are in their trailers. With Wes, he needs a deep connection with his actors, that’s why I think he works with the same people all the time. He’s very shy too. And they’re all his friends — even me, I saw that now, he’s a friend. V. The Lure of Wes There’s a kind of traveling circus that Wes is the ringmaster of. The idea that his films are shows and that the frame is a kind of cinematic proscenium, and he wants performance — I really dig that. It’s refreshing to break away from the hyper-realism that cinema often gets sucked into. This one (in Spain) really feels like I’m in an actors’ summer camp. I like all my bunkmates, my mom’s visiting me — she’s been coming everywhere since “Darjeeling.” (His mother is the photographer Sylvia Plachy. Wes’ll put her in the background. My mom’s having the time of her life. Working with him is a deeply different experience in the best sense. Aside from the fact that he’s endlessly aware of every moment in the movie — how it looks, how it feels — he has a remarkable way of being in general. He’s the same on set as he is at dinner as he is at a meeting. He’s steady like a rock. I’ve never seen him be unnerved by anything. I show up because Wes keeps asking — I love his movies. And also to torture Bill.

In the company of Wes Anderson

It was the night of a lifetime for Chloe Zhao, as the 'Nomadland' director created history for being the first woman of colour and only the second woman in the 93 years of Academy history to bag the Best Director trophy. Not only that, the film also took home the biggest award of the night - Best Film. Frances McDorman also won the Oscar for Best Actress for the nomadic drama.&nbsp; 
 
Zhao's film about transient Americans roaming the West in vans was tipped to be one of the top winners overall on a night when Tinseltown A-listers reunited for the first time in more than a year.

"What a crazy, once-in-a-lifetime journey we went on together," said Zhao to her crew and cast, including the real-life "nomads" who played fictionalised versions of themselves in the movie and were in attendance in Los Angeles. 
 
Anthony Hopkins won&nbsp;the best actor Oscar for 'The Father', in a nod to the early predictions by various analysts.&nbsp; Hopkins won the award over posthumously nominated Chadwick Boseman, and the first Muslim actor to be nominated in the category - Riz Ahmed.

The unorthodox Oscars ceremony, which was moved from a Hollywood theatre to a glammed-up downtown train station to abide by strict Covid-19 protocols,&nbsp;began with a movie-style opening credits sequence, as actor-director Regina King strode into the venue clutching a gold statuette.

Beijing-born Zhao's best director win makes her the first woman of colour ever honoured in the category, and the second female after Kathryn Bigelow, who broke the glass ceiling in 2010 when she won the prize for "The Hurt Locker."&nbsp;

With movie theatres closed all year, and blockbuster content delayed, Zhao's film captured the pandemic zeitgeist with its stunning portrait of the isolated margins of society and has swept most of the awards shows in the run-up to the Oscars. 
 
<a href="https://www.wionews.com/entertainment/check-out-oscars-2021-live-news-updates-93rd-academy-award-nominees-red-carpet-oscars-2021-live-news-full-winners-list-oscars-full-nomination-list-nomadland-helmer-chloe-zhao-becomes-first-woman-of-colour-to-win-best-director-380238" hreflang="en">Oscars 2021 Live: 'Nomadland' wins Best Film as director Zhao makes history</a>

The directing award was presented by last year's winner Bong Joon-ho, whose South Korean movie "Parasite" became the first film not in the English language to win best picture. He spoke from Seoul via videolink in Korean, with a translator, finishing with a few words in English.

But "Nomadland" lost out early in the gala for best adapted screenplay to "The Father," adapted from his own stage production by French playwright Florian Zeller, who added to the international flavour by accepting from Paris. 
 
<a href="https://www.wionews.com/entertainment/hollywood/news-oscars-2021-complete-list-of-winners-380269">Oscars 2021: Complete list of winners</a> 
 
"Promising Young Woman," won best original screenplay, the night's first award.

Emerald Fennell, who was seven months pregnant when she shot the #MeToo revenge thriller, thanked her son who "did not arrive until a couple of weeks after shooting, thank God, because I was crossing my legs."

Fellow Brit Daniel Kaluuya won best supporting actor for his portrayal of slain 1960s Black Panther leader Fred Hampton in "Judas and the Black Messiah." 
 
<a href="https://www.wionews.com/entertainment/hollywood/news-oscars-2021-daniel-kaluuya-wins-supporting-award-for-judas-and-the-black-messiah-380264" hreflang="en">Oscars 2021: Daniel Kaluuya wins for 'Judas and the Black Messiah'</a>

References to racism and police violence were threaded throughout the show's speeches, starting with King's opening comments, in which she mentioned the conviction of a former police officer for the murder of African American man George Floyd.

"If things had gone differently this past week in Minneapolis, I may have traded in my heels for marching boots," she said.

<h5><a href="https://www.wionews.com/entertainment/hollywood/news-oscars-2021-chloe-zhao-emerald-fennel-ann-roth-women-create-history-on-sunday-380286" hreflang="en">Oscars 2021: Chloe Zhao, Emerald Fennel, Ann Roth; women create history</a></h5>

This year's 93rd Oscars arrived at their Union Station venue two months late due to the pandemic -- organisers have said it would have been "impossible" without the delay.

Before the show, stars paused briefly for pictures and socially distanced interviews on what organisers called a "teeny-tiny red carpet," where actresses Carey Mulligan and Andra Day dazzled fashion fans in Oscars gold.

The pre-show featured a performance of best song nominee "Husavik" from the tiny Icelandic port of the same name, complete with a choir of children singing in woolly sweaters and a backdrop of fishing boats. Other musical performances came from the Academy's new film museum.

An honorary award for the Motion Picture and Television Fund, which has supported struggling actors and crew particularly during the pandemic, was awarded at the Oscars' traditional Hollywood theatre base.

But the bulk of the awards handed out at the 1930s-built Union Station, chosen for its grand scale and outdoor courtyards, where white tents sheltering everything from Covid testing booths to catering were installed.

"We're here, isn't it crazy?" said best actor nominee and "Sound of Metal" star Riz Ahmed. "Human beings in the flesh!" 
 
(With inputs from agencies)

It was the night of a lifetime for Chloe Zhao, as the 'Nomadland' director created history for being the first woman of colour and only the second woman in the 93 years of Academy history to bag the Best Director trophy.

It was the night of a lifetime for Chloe Zhao, as the 'Nomadland' director created history for being the first woman of colour and only the second woman in the 93 years of Academy history to bag the Best Director trophy. Not only that, the film also took home the biggest award of the night - Best Film. Frances McDorman also won the Oscar for Best Actress for the nomadic drama. Zhao's film about transient Americans roaming the West in vans was tipped to be one of the top winners overall on a night when Tinseltown A-listers reunited for the first time in more than a year. "What a crazy, once-in-a-lifetime journey we went on together," said Zhao to her crew and cast, including the real-life "nomads" who played fictionalised versions of themselves in the movie and were in attendance in Los Angeles. Anthony Hopkins won the best actor Oscar for 'The Father', in a nod to the early predictions by various analysts. Hopkins won the award over posthumously nominated Chadwick Boseman, and the first Muslim actor to be nominated in the category - Riz Ahmed. The unorthodox Oscars ceremony, which was moved from a Hollywood theatre to a glammed-up downtown train station to abide by strict Covid-19 protocols, began with a movie-style opening credits sequence, as actor-director Regina King strode into the venue clutching a gold statuette. Beijing-born Zhao's best director win makes her the first woman of colour ever honoured in the category, and the second female after Kathryn Bigelow, who broke the glass ceiling in 2010 when she won the prize for "The Hurt Locker." With movie theatres closed all year, and blockbuster content delayed, Zhao's film captured the pandemic zeitgeist with its stunning portrait of the isolated margins of society and has swept most of the awards shows in the run-up to the Oscars. Oscars 2021 Live: 'Nomadland' wins Best Film as director Zhao makes history The directing award was presented by last year's winner Bong Joon-ho, whose South Korean movie "Parasite" became the first film not in the English language to win best picture. He spoke from Seoul via videolink in Korean, with a translator, finishing with a few words in English. But "Nomadland" lost out early in the gala for best adapted screenplay to "The Father," adapted from his own stage production by French playwright Florian Zeller, who added to the international flavour by accepting from Paris. Oscars 2021: Complete list of winners "Promising Young Woman," won best original screenplay, the night's first award. Emerald Fennell, who was seven months pregnant when she shot the #MeToo revenge thriller, thanked her son who "did not arrive until a couple of weeks after shooting, thank God, because I was crossing my legs." Fellow Brit Daniel Kaluuya won best supporting actor for his portrayal of slain 1960s Black Panther leader Fred Hampton in "Judas and the Black Messiah." Oscars 2021: Daniel Kaluuya wins for 'Judas and the Black Messiah' References to racism and police violence were threaded throughout the show's speeches, starting with King's opening comments, in which she mentioned the conviction of a former police officer for the murder of African American man George Floyd. "If things had gone differently this past week in Minneapolis, I may have traded in my heels for marching boots," she said. Oscars 2021: Chloe Zhao, Emerald Fennel, Ann Roth; women create history This year's 93rd Oscars arrived at their Union Station venue two months late due to the pandemic -- organisers have said it would have been "impossible" without the delay. Before the show, stars paused briefly for pictures and socially distanced interviews on what organisers called a "teeny-tiny red carpet," where actresses Carey Mulligan and Andra Day dazzled fashion fans in Oscars gold. The pre-show featured a performance of best song nominee "Husavik" from the tiny Icelandic port of the same name, complete with a choir of children singing in woolly sweaters and a backdrop of fishing boats. Other musical performances came from the Academy's new film museum. An honorary award for the Motion Picture and Television Fund, which has supported struggling actors and crew particularly during the pandemic, was awarded at the Oscars' traditional Hollywood theatre base. But the bulk of the awards handed out at the 1930s-built Union Station, chosen for its grand scale and outdoor courtyards, where white tents sheltering everything from Covid testing booths to catering were installed. "We're here, isn't it crazy?" said best actor nominee and "Sound of Metal" star Riz Ahmed. "Human beings in the flesh!" (With inputs from agencies)

Oscars 2021: 'Nomadland' becomes the big winner of a historic night

It was a February day so overcast that noon looked like dusk, and Frances McDormand felt a little rattled. She told me this as we ambled down the main street of the small coastal town where she lives, a modest, hidden place so far from Hollywood that studio searchlights would have a hard time finding it. Still, someone had managed.

Earlier that day, the phone rang at McDormand’s house, and while she didn’t recognize the man on the other end, he certainly knew who &lt;em&gt;she &lt;/em&gt;was. When the caller told her he was watching “Three Billboards Outside Ebbing, Missouri,” the 2017 movie in which she plays an avenging mother named Mildred, McDormand realized she was on the phone with a fan who had tracked down her unlisted landline.

“It was the first creepy call I’ve gotten in 16 years here,” she told me. Though she hung up right away, McDormand now wondered what she might have asked him: “OK, what part were you watching? The scene where I threw the Molotov cocktail at the police station?”

Maybe the fan had hoped to speak with righteous Mildred, who harangues priests and cops and hurls fire bombs in the pursuit of justice. Instead, he reached Frances McDormand, a 63-year-old woman who chats up everybody she comes across in her small town, doesn’t like to think of herself as famous, and has won two Oscars.

This is the tricky thing about how persuasively McDormand embodies her characters: You think you know&lt;em&gt; her&lt;/em&gt; because you’re certain you know them. Whether it’s kindhearted Marge from “Fargo,” tetchy Olive from “Olive Kitteridge,” or bohemian Jane in “Laurel Canyon,” McDormand specializes in playing women with worldviews. You can tell right away what they like and don’t like, who they would be friendly with and who they can’t stand.

Since she rarely grants interviews, most people only see the real McDormand blazing an iconoclastic streak through televised awards shows, where she is barefaced instead of Botoxed and once wore her own jean jacket in lieu of borrowed couture. (In Hollywood, this mild noncompliance is tantamount to a declaration of war.) McDormand is highly skeptical of any ceremony where actors are done up like glamorous gladiators, and when her husband, filmmaker Joel Coen, was once asked to produce the Oscars alongside his brother, Ethan, McDormand suggested they set the telecast at Coney Island, which would have forced Hollywood glitterati to mingle with the freak show.

That irreverence is McDormand’s most endearing trait: On the day we met, she ducked into a liquor store to satisfy her craving for Fritos — “You know they’re gooood, right?” she teased — and before we sat together on a concrete wall by the coastline, McDormand clambered on top of it and used the length of her splayed body to measure a pandemic-appropriate distance between us. She makes a concerted effort not to treat herself like a precious movie star in the hopes that you won’t, either.

That’s why she lives where she lives and why, as she perched on the wall opposite me in an olive puffer jacket, she asked me not to divulge the name of her town. That morning’s phone call aside, “I get to live my more authentic self here,” she said, “and I don’t have to pretend to be anybody else.”

She nodded toward the beach, where a handful of people cavorted with their dogs and surfboards. “I don’t mind being&lt;em&gt; their&lt;/em&gt; movie star,” she said. “I’m just not going to be yours.”

STILL, THE LINE BETWEEN McDORMAND and her characters will only grow blurrier with the release of her intimate new film, “Nomadland.” In this sunset-dappled drama from the director Chloé Zhao, McDormand plays Fern, a widow who packs her things into a van and joins up with a tribe of older itinerant workers to spend their golden years working odd jobs all across the American West.

“Nomadland” would eventually require more from this private star than she is used to giving, but when McDormand first met with Zhao in early 2018, she was mostly curious what the up-and-coming director would think of her: “I was like, ‘Man, I just want to be relevant. Do you think I’m relevant?’”

Perhaps that’s a surprising admission for a woman who was then on the verge of winning her second Oscar, for “Three Billboards,” but McDormand had just entered her 60s and worried that good opportunities could prove harder to find. Even before that, most of her best-known roles had required some hustle to obtain, which is part of the reason McDormand has lately become a producer, too.

“Our industry is such an ageist industry,” Zhao told me by phone. “Someone like Frances McDormand who is just so authentically herself, who has not tried to erase those lines on her face or cover that up to fit into the industry — to me, she’ll be relevant forever.”

And it was exactly that authentic self that intrigued Zhao. In her previous films, “The Rider” and “Songs My Brothers Taught Me,” Zhao had cast nonprofessionals and built character arcs for them that were inspired by their actual experiences. “Nomadland,” based on a nonfiction book by Jessica Bruder, would offer her the same opportunity: Real nomads from Bruder’s book, like Linda May and Swankie, were enticed to play pivotal supporting roles in the film.

But since Zhao wanted those women to simply be themselves in front of the camera, she decided that for the sake of coherence, McDormand would need to play a version of herself, too. “It’s very interesting, the layers of it,” Zhao said. “Fran is playing Fern, but even the name ‘Fern’ came from herself and who she thinks she might be if she hit the road.”

In fact, McDormand had long harbored a fantasy of turning her back on Hollywood, changing her name, and setting off in an RV upon reaching her 60s. “Chloé tapped into the truth of it,” McDormand said, “which was at different points of my life, I’ve said to my husband, ‘I can’t take this anymore, I’m dropping out.’”

“Nomadland” let McDormand play out that dream and a few others. Many of the people McDormand interacts with in the film had no idea she was a famous actress — they figured she was just another nomad, and spoke to her like a normal person in exactly the way that she craves.

In some ways, all that verisimilitude could be grueling, too — McDormand was surprised at how exhausted she would feel after long days of simply being present in front of the camera, reacting to the stories real people unspooled. Zhao also asked McDormand to put in actual hours at Fern’s odd jobs, like harvesting beets in Nebraska or working at a warehouse in California.

But the result is a performance that McDormand has never given before, one that has less to do with acting and more to do with simply &lt;em&gt;being&lt;/em&gt;. As Los Angeles Times critic Justin Chang wrote in his “Nomadland” review, “McDormand doesn’t disappear into Fern; she’s revealed by Fern, and Fern is revealed by her.”

That sort of ineffable, hard-to-pin-down portrait was exactly Zhao’s intention. “I like to think that we have captured a great performance,” she said, “but also, an essence of Fran as well.”

Still, the director and her star sometimes disagreed on just how much of that essence to use. Details both large and small have been pulled directly from McDormand’s real life: Fern proudly shows off a set of plates that McDormand’s father bought her as a college graduation gift, and Zhao cast one of the actress’s oldest friends as Fern’s sister so the recriminations they air in the film could have a real weight.

But when Zhao floated the idea of finding a role in the film for McDormand’s son, Pedro, or suggested that Fern’s dead spouse, glimpsed only in a photograph, should be played by McDormand’s actual husband, Joel Coen, her lead drew a line in the sand. “I have to believe that it’s not just a documentary of me,” McDormand said. “I did create a character, just like I’ve created myself in 63 years, too.”

FOR MOST OF HER LIFE, McDormand has been fascinated by the formula through which one concocts a self-image. How much does it have to do with authenticity, and to what extent is it constructed by playing pretend?

“I would say probably fifth grade is the first time I can remember, ‘Oh, I know what they think I am, and I’m going to subvert it,’” she told me.

What they knew about McDormand then was that she was the adopted daughter of Vernon McDormand, a minister for the Disciples of Christ. That sort of role in that sort of family required a certain amount of public respectability, but as she got older, and an English teacher at McDormand’s school in Monessen, Pennsylvania, asked her to read the role of Lady Macbeth in a workshop, she found herself thrilled to leave propriety at the door.

“That was the hook,” McDormand said. “It was the power of being a really shy, slightly suspect seventh-grader who could stand in front of a group of people and keep their attention.” She loved, too, that Shakespeare’s female characters were as power-hungry as the men: “It’s like I used to say to Joel, ‘Why don’t you guys write better roles for women? In fact, why don’t you just write a role for men and then let me play it?’”

She had married Coen not long after making her screen debut in the 1984 noir “Blood Simple,” which he directed with Ethan. Twelve years later, the Coen brothers would give McDormand her signature role, one that could only be played by a woman: Marge, the chirpy, pregnant police chief in “Fargo.”

That film made her famous, a condition that McDormand considered a fire to be stomped out: After hiring a publicist, she almost immediately instructed him to turn down most requests.

“I made a very conscious effort not to do press and publicity for 10 years in what other people would think would be a very dangerous moment in a female actor’s career, but it paid off for exactly the reasons I wanted it to,” she said. “It gave me a mystery back to who I was, and then in the roles I performed, I could take an audience to a place where someone who sold watches or perfume and magazines couldn’t.”

To her, “Nomadland” is the culmination of that effort to keep herself unspoiled in the public eye. “That’s why it works,” she said. “That’s why Chloé could bear to even think of doing this with me, because of what I’ve created for years not just as an actor, but in my personal life.”

We traipsed back through town, and as we walked up a hill covered in overgrowth and eucalyptus trees, McDormand drew one final line: “So I’m going to pass my house, and then I’m going to leave you,” she said. She asked if I had dinner plans, and directed me to a farm stand I could stop by on the way home. “They’ve got gorgeous little gems and some good old arugula,” she said, “but no eggs right now because the chickens are all cold.”

As McDormand offered me kindly advice while standing in front of a felled eucalyptus trunk, I could have sworn I was talking to Fern, who is so practical and self-reliant. It reminded me of a story she had told me earlier: Not long ago, for the drive-in premiere of “Nomadland” in Pasadena, California, McDormand had decided to pull the van from the film out of storage. She thought it would be fun to sit in during the screening, but when she came face to face with the car she had lovingly named “Vanguard,” McDormand found herself overcome.

She had considered that van “the interior life of Fern, and therefore me,” she said, and to see Vanguard dirty and filled with junk after two years apart was almost too much to bear. An hour and a half into their reunion, Coen found McDormand still scrubbing the car, dripping sweat, insisting that she needed just a little more time with Vanguard. “I’m cleaning her,” McDormand told him. “I can’t let her go!”

It isn’t easy to move on when you’ve made something that requires so much of you. Before we parted ways, I asked McDormand how she felt after making “Nomadland.” I thought she scoffed at me, but she was laughing at the very idea.

“Well, at what point?” she said. “&lt;em&gt;Is&lt;/em&gt; it afterwards? I don’t know!” Then she shoved her hands into the pockets of her puffer jacket and disappeared into the eucalyptus grove, taking Fern with her.

It was a February day so overcast that noon looked like dusk, and Frances McDormand felt a little rattled. She told me this as we ambled down the main street of the small coastal town where she lives, a modest, hidden place so far from Hollywood that studio searchlights would have a hard time finding it.

It was a February day so overcast that noon looked like dusk, and Frances McDormand felt a little rattled. She told me this as we ambled down the main street of the small coastal town where she lives, a modest, hidden place so far from Hollywood that studio searchlights would have a hard time finding it. Still, someone had managed. Earlier that day, the phone rang at McDormand’s house, and while she didn’t recognize the man on the other end, he certainly knew who she was. When the caller told her he was watching “Three Billboards Outside Ebbing, Missouri,” the 2017 movie in which she plays an avenging mother named Mildred, McDormand realized she was on the phone with a fan who had tracked down her unlisted landline. “It was the first creepy call I’ve gotten in 16 years here,” she told me. Though she hung up right away, McDormand now wondered what she might have asked him: “OK, what part were you watching? The scene where I threw the Molotov cocktail at the police station?” Maybe the fan had hoped to speak with righteous Mildred, who harangues priests and cops and hurls fire bombs in the pursuit of justice. Instead, he reached Frances McDormand, a 63-year-old woman who chats up everybody she comes across in her small town, doesn’t like to think of herself as famous, and has won two Oscars. This is the tricky thing about how persuasively McDormand embodies her characters: You think you know her because you’re certain you know them. Whether it’s kindhearted Marge from “Fargo,” tetchy Olive from “Olive Kitteridge,” or bohemian Jane in “Laurel Canyon,” McDormand specializes in playing women with worldviews. You can tell right away what they like and don’t like, who they would be friendly with and who they can’t stand. Since she rarely grants interviews, most people only see the real McDormand blazing an iconoclastic streak through televised awards shows, where she is barefaced instead of Botoxed and once wore her own jean jacket in lieu of borrowed couture. (In Hollywood, this mild noncompliance is tantamount to a declaration of war.) McDormand is highly skeptical of any ceremony where actors are done up like glamorous gladiators, and when her husband, filmmaker Joel Coen, was once asked to produce the Oscars alongside his brother, Ethan, McDormand suggested they set the telecast at Coney Island, which would have forced Hollywood glitterati to mingle with the freak show. That irreverence is McDormand’s most endearing trait: On the day we met, she ducked into a liquor store to satisfy her craving for Fritos — “You know they’re gooood, right?” she teased — and before we sat together on a concrete wall by the coastline, McDormand clambered on top of it and used the length of her splayed body to measure a pandemic-appropriate distance between us. She makes a concerted effort not to treat herself like a precious movie star in the hopes that you won’t, either. That’s why she lives where she lives and why, as she perched on the wall opposite me in an olive puffer jacket, she asked me not to divulge the name of her town. That morning’s phone call aside, “I get to live my more authentic self here,” she said, “and I don’t have to pretend to be anybody else.” She nodded toward the beach, where a handful of people cavorted with their dogs and surfboards. “I don’t mind being their movie star,” she said. “I’m just not going to be yours.” STILL, THE LINE BETWEEN McDORMAND and her characters will only grow blurrier with the release of her intimate new film, “Nomadland.” In this sunset-dappled drama from the director Chloé Zhao, McDormand plays Fern, a widow who packs her things into a van and joins up with a tribe of older itinerant workers to spend their golden years working odd jobs all across the American West. “Nomadland” would eventually require more from this private star than she is used to giving, but when McDormand first met with Zhao in early 2018, she was mostly curious what the up-and-coming director would think of her: “I was like, ‘Man, I just want to be relevant. Do you think I’m relevant?’” Perhaps that’s a surprising admission for a woman who was then on the verge of winning her second Oscar, for “Three Billboards,” but McDormand had just entered her 60s and worried that good opportunities could prove harder to find. Even before that, most of her best-known roles had required some hustle to obtain, which is part of the reason McDormand has lately become a producer, too. “Our industry is such an ageist industry,” Zhao told me by phone. “Someone like Frances McDormand who is just so authentically herself, who has not tried to erase those lines on her face or cover that up to fit into the industry — to me, she’ll be relevant forever.” And it was exactly that authentic self that intrigued Zhao. In her previous films, “The Rider” and “Songs My Brothers Taught Me,” Zhao had cast nonprofessionals and built character arcs for them that were inspired by their actual experiences. “Nomadland,” based on a nonfiction book by Jessica Bruder, would offer her the same opportunity: Real nomads from Bruder’s book, like Linda May and Swankie, were enticed to play pivotal supporting roles in the film. But since Zhao wanted those women to simply be themselves in front of the camera, she decided that for the sake of coherence, McDormand would need to play a version of herself, too. “It’s very interesting, the layers of it,” Zhao said. “Fran is playing Fern, but even the name ‘Fern’ came from herself and who she thinks she might be if she hit the road.” In fact, McDormand had long harbored a fantasy of turning her back on Hollywood, changing her name, and setting off in an RV upon reaching her 60s. “Chloé tapped into the truth of it,” McDormand said, “which was at different points of my life, I’ve said to my husband, ‘I can’t take this anymore, I’m dropping out.’” “Nomadland” let McDormand play out that dream and a few others. Many of the people McDormand interacts with in the film had no idea she was a famous actress — they figured she was just another nomad, and spoke to her like a normal person in exactly the way that she craves. In some ways, all that verisimilitude could be grueling, too — McDormand was surprised at how exhausted she would feel after long days of simply being present in front of the camera, reacting to the stories real people unspooled. Zhao also asked McDormand to put in actual hours at Fern’s odd jobs, like harvesting beets in Nebraska or working at a warehouse in California. But the result is a performance that McDormand has never given before, one that has less to do with acting and more to do with simply being. As Los Angeles Times critic Justin Chang wrote in his “Nomadland” review, “McDormand doesn’t disappear into Fern; she’s revealed by Fern, and Fern is revealed by her.” That sort of ineffable, hard-to-pin-down portrait was exactly Zhao’s intention. “I like to think that we have captured a great performance,” she said, “but also, an essence of Fran as well.” Still, the director and her star sometimes disagreed on just how much of that essence to use. Details both large and small have been pulled directly from McDormand’s real life: Fern proudly shows off a set of plates that McDormand’s father bought her as a college graduation gift, and Zhao cast one of the actress’s oldest friends as Fern’s sister so the recriminations they air in the film could have a real weight. But when Zhao floated the idea of finding a role in the film for McDormand’s son, Pedro, or suggested that Fern’s dead spouse, glimpsed only in a photograph, should be played by McDormand’s actual husband, Joel Coen, her lead drew a line in the sand. “I have to believe that it’s not just a documentary of me,” McDormand said. “I did create a character, just like I’ve created myself in 63 years, too.” FOR MOST OF HER LIFE, McDormand has been fascinated by the formula through which one concocts a self-image. How much does it have to do with authenticity, and to what extent is it constructed by playing pretend? “I would say probably fifth grade is the first time I can remember, ‘Oh, I know what they think I am, and I’m going to subvert it,’” she told me. What they knew about McDormand then was that she was the adopted daughter of Vernon McDormand, a minister for the Disciples of Christ. That sort of role in that sort of family required a certain amount of public respectability, but as she got older, and an English teacher at McDormand’s school in Monessen, Pennsylvania, asked her to read the role of Lady Macbeth in a workshop, she found herself thrilled to leave propriety at the door. “That was the hook,” McDormand said. “It was the power of being a really shy, slightly suspect seventh-grader who could stand in front of a group of people and keep their attention.” She loved, too, that Shakespeare’s female characters were as power-hungry as the men: “It’s like I used to say to Joel, ‘Why don’t you guys write better roles for women? In fact, why don’t you just write a role for men and then let me play it?’” She had married Coen not long after making her screen debut in the 1984 noir “Blood Simple,” which he directed with Ethan. Twelve years later, the Coen brothers would give McDormand her signature role, one that could only be played by a woman: Marge, the chirpy, pregnant police chief in “Fargo.” That film made her famous, a condition that McDormand considered a fire to be stomped out: After hiring a publicist, she almost immediately instructed him to turn down most requests. “I made a very conscious effort not to do press and publicity for 10 years in what other people would think would be a very dangerous moment in a female actor’s career, but it paid off for exactly the reasons I wanted it to,” she said. “It gave me a mystery back to who I was, and then in the roles I performed, I could take an audience to a place where someone who sold watches or perfume and magazines couldn’t.” To her, “Nomadland” is the culmination of that effort to keep herself unspoiled in the public eye. “That’s why it works,” she said. “That’s why Chloé could bear to even think of doing this with me, because of what I’ve created for years not just as an actor, but in my personal life.” We traipsed back through town, and as we walked up a hill covered in overgrowth and eucalyptus trees, McDormand drew one final line: “So I’m going to pass my house, and then I’m going to leave you,” she said. She asked if I had dinner plans, and directed me to a farm stand I could stop by on the way home. “They’ve got gorgeous little gems and some good old arugula,” she said, “but no eggs right now because the chickens are all cold.” As McDormand offered me kindly advice while standing in front of a felled eucalyptus trunk, I could have sworn I was talking to Fern, who is so practical and self-reliant. It reminded me of a story she had told me earlier: Not long ago, for the drive-in premiere of “Nomadland” in Pasadena, California, McDormand had decided to pull the van from the film out of storage. She thought it would be fun to sit in during the screening, but when she came face to face with the car she had lovingly named “Vanguard,” McDormand found herself overcome. She had considered that van “the interior life of Fern, and therefore me,” she said, and to see Vanguard dirty and filled with junk after two years apart was almost too much to bear. An hour and a half into their reunion, Coen found McDormand still scrubbing the car, dripping sweat, insisting that she needed just a little more time with Vanguard. “I’m cleaning her,” McDormand told him. “I can’t let her go!” It isn’t easy to move on when you’ve made something that requires so much of you. Before we parted ways, I asked McDormand how she felt after making “Nomadland.” I thought she scoffed at me, but she was laughing at the very idea. “Well, at what point?” she said. “Is it afterwards? I don’t know!” Then she shoved her hands into the pockets of her puffer jacket and disappeared into the eucalyptus grove, taking Fern with her.

What Frances McDormand would (and wouldn’t) give to 'Nomadland'

Frances McDormand's Oscar-tipped road movie 'Nomadland'&nbsp;raced from Venice to Toronto to California on Friday as major global festivals joined forces to jump-start the pandemic-struck film industry.

The movie about a community of elderly, nomadic idealists who roam across America in worn-out vans was greeted by raucous honking horns and flashing headlights at a drive-in US premiere in Pasadena, on the outskirts of Los Angeles.

Hours earlier, double Oscar-winner McDormand had received loud applause in Venice for her role as a widow forced to take to the road after a mine closes, wiping her tiny community from the map.

"I told my husband... when I turned 65 I was gonna change my name to Fern, start smoking Lucky Strikes, drinking Wild Turkey and hit the road in my RV. I got to do that four years early," McDormand told the California screening.

Speaking to an audience of Hollywood industry and press -- unable to travel to foreign festivals this year due to coronavirus -- McDormand said living on the road in basic conditions during filming had taught her humility.

"I didn't know how to take a dump in my five-gallon bucket," she joked. The movie has received glowing reviews, with the Hollywood Reporter calling it "a unique portrait of outsider existence" and Variety a "tender ode to American independence."

It's fast-rising director Chloe Zhao will oversee next year's Marvel superhero epic 'Eternals'.

In regular years, movie festivals compete to host world premieres of such buzzy titles.

But a truce has been struck in 2020, with Toronto festival co-head Cameron Bailey telling AFP it "didn't make sense to be competitive this year, with so much at stake."

The night's California screening was organized by the Telluride festival -- one of several forced to entirely cancel its regular screenings due to a pandemic that has delayed the Oscars and halted filming across Hollywood.

In pics:&nbsp;<a href="https://www.wionews.com/photos/toronto-film-festival-2020-9-movies-to-watch-at-this-years-festival-326638" hreflang="en">Toronto Film Festival 2020: 9 movies to watch at this year's festival</a>

Also debuting in multiple timezones this week was 'One Night in Miami',&nbsp;an adaptation of a play imagining a heated 1964 motel room conversation between Malcolm X, Muhammad Ali, Sam Cooke and Jim Brown. 
Director Regina King 'Watchmen' told a Toronto festival virtual press conference she "wanted to do a film that was a love story with a historical backdrop."

As well as depicting the four men's real-life friendship, the movie examines how each coped with the hostility faced by successful African-American men in the civil rights era.

In pics:&nbsp;<a href="https://www.wionews.com/photos/who-to-watch-out-for-this-emmys-2020-our-picks-of-noteworthy-nominees-326551" hreflang="en">Who to watch out for this Emmys 2020: Our picks of noteworthy nominees</a>

Completed in the wake of George Floyd's killing and mass anti-racism protests this summer, the movie's themes are "just as relevant now as they were 60 years ago," added King.

Halle Berry, another Academy Award-winning actress showing her debut feature as director in Toronto, said it was "heartbreaking" no other black woman had won the best actress Oscar since her triumph for 'Monster's Ball'&nbsp;almost two decades ago.

She stars as a former martial arts fighter struggling to regain custody of her son in 'Bruised',&nbsp;reportedly purchased by Netflix Friday, hours before its Toronto premiere.

The Venice film festival concludes on Saturday (September 12), while Toronto runs through September 20.

Frances McDormand's Oscar-tipped road movie 'Nomadland' raced from Venice to Toronto to California on Friday as major global festivals joined forces to jump-start the pandemic-struck film industry.

Frances McDormand's Oscar-tipped road movie 'Nomadland' raced from Venice to Toronto to California on Friday as major global festivals joined forces to jump-start the pandemic-struck film industry. The movie about a community of elderly, nomadic idealists who roam across America in worn-out vans was greeted by raucous honking horns and flashing headlights at a drive-in US premiere in Pasadena, on the outskirts of Los Angeles. Hours earlier, double Oscar-winner McDormand had received loud applause in Venice for her role as a widow forced to take to the road after a mine closes, wiping her tiny community from the map. "I told my husband... when I turned 65 I was gonna change my name to Fern, start smoking Lucky Strikes, drinking Wild Turkey and hit the road in my RV. I got to do that four years early," McDormand told the California screening. Speaking to an audience of Hollywood industry and press -- unable to travel to foreign festivals this year due to coronavirus -- McDormand said living on the road in basic conditions during filming had taught her humility. "I didn't know how to take a dump in my five-gallon bucket," she joked. The movie has received glowing reviews, with the Hollywood Reporter calling it "a unique portrait of outsider existence" and Variety a "tender ode to American independence." It's fast-rising director Chloe Zhao will oversee next year's Marvel superhero epic 'Eternals'. In regular years, movie festivals compete to host world premieres of such buzzy titles. But a truce has been struck in 2020, with Toronto festival co-head Cameron Bailey telling AFP it "didn't make sense to be competitive this year, with so much at stake." The night's California screening was organized by the Telluride festival -- one of several forced to entirely cancel its regular screenings due to a pandemic that has delayed the Oscars and halted filming across Hollywood. In pics: Toronto Film Festival 2020: 9 movies to watch at this year's festival Also debuting in multiple timezones this week was 'One Night in Miami', an adaptation of a play imagining a heated 1964 motel room conversation between Malcolm X, Muhammad Ali, Sam Cooke and Jim Brown. Director Regina King 'Watchmen' told a Toronto festival virtual press conference she "wanted to do a film that was a love story with a historical backdrop." As well as depicting the four men's real-life friendship, the movie examines how each coped with the hostility faced by successful African-American men in the civil rights era. In pics: Who to watch out for this Emmys 2020: Our picks of noteworthy nominees Completed in the wake of George Floyd's killing and mass anti-racism protests this summer, the movie's themes are "just as relevant now as they were 60 years ago," added King. Halle Berry, another Academy Award-winning actress showing her debut feature as director in Toronto, said it was "heartbreaking" no other black woman had won the best actress Oscar since her triumph for 'Monster's Ball' almost two decades ago. She stars as a former martial arts fighter struggling to regain custody of her son in 'Bruised', reportedly purchased by Netflix Friday, hours before its Toronto premiere. The Venice film festival concludes on Saturday (September 12), while Toronto runs through September 20.

Oscar-tipped Frances McDormand's road movie 'Nomadland' races between global festivals

The man who allegedly<a href="http://www.wionews.com/world/entertainment-oscars-best-actress-frances-mcdormands-trophy-stolen-then-found-34802" target="_blank"> stole&nbsp;Frances&nbsp;McDormand&#39;s Oscar</a> pleaded not guilty at a court in Los Angeles Wednesday to a charge of felony grand theft.

Identified as Terry Bryant, 47, he had been in police custody on a grand theft charge and was being held on $20,000 bond. After Wednesday&#39;s court arraignment, Bryant was released without bail after the judge ruled that he did not pose a flight risk.

Bryant was arrested on March 4 night after&nbsp;<a href="http://www.wionews.com/world/frances-mcdormand-wins-best-actress-at-oscars-2018-34731" target="_blank">McDormand&#39;s award</a> went missing briefly at the lavish Governors Ball party in Hollywood, where <a href="http://www.wionews.com/world/oscars-2018-full-list-of-winners-34699" target="_blank">Academy Award winners </a>have their statuettes engraved.

The Oscar was retrieved and later returned to&nbsp;McDormand.

Bryant posted a video of himself in a tuxedo at the event holding an Oscar statuette and telling other guests he was a winner. It was not immediately clear in what capacity he was attending the event, but police said he had a ticket.

McDormand, 60, won her second acting Oscar for her role as an angry, grieving mother in &quot;Three Billboards Outside Ebbing, Missouri.&quot;

As of now, Bryant is due back in court later this month.

Man identified s Terry Bryant stole Frances' Oscar trophy from the Governors Ball and was seen posing with it, claiming the statuette as his own

The man who allegedly stole Frances McDormand's Oscar pleaded not guilty at a court in Los Angeles Wednesday to a charge of felony grand theft. Identified as Terry Bryant, 47, he had been in police custody on a grand theft charge and was being held on $20,000 bond. After Wednesday's court arraignment, Bryant was released without bail after the judge ruled that he did not pose a flight risk. Bryant was arrested on March 4 night after McDormand's award went missing briefly at the lavish Governors Ball party in Hollywood, where Academy Award winners have their statuettes engraved. The Oscar was retrieved and later returned to McDormand. Bryant posted a video of himself in a tuxedo at the event holding an Oscar statuette and telling other guests he was a winner. It was not immediately clear in what capacity he was attending the event, but police said he had a ticket. McDormand, 60, won her second acting Oscar for her role as an angry, grieving mother in "Three Billboards Outside Ebbing, Missouri." As of now, Bryant is due back in court later this month.

Man who stole Frances McDormand's Best Actress Oscar trophy pleads 'not guilty'

Frances McDormand has won Best Actress at the 90th Academy Awards for her roll in the drama film Three Billboards Outside Ebbing, Missouri.

Frances Louise McDormand was born on June 23, 1957 in Gibson City Illinois and was adopted by a couple from Canada when she was one and a half years old.&nbsp;

She won her first Academy Award in 1997 for playing Marge Gunderson in Fargo. She is the recipient of numerous accolades, including two Academy Awards, two Primetime Emmy Awards, and a Tony Award, which makes her one of the few performers to receive the Triple Crown of Acting.

McDormand&#39;s first professional acting job was in Derek Walcott&#39;s play Trinidad and Tobago, which was funded by the MacArthur Foundation. In 1984 she made her film debut in Blood Simple, the first film by the Coen brothers.&nbsp;

Her other film roles include Mississippi Burning (1988), Almost Famous (2000), and North Country (2005), for which she received three nominations for the Academy Award for Best Supporting Actress.&nbsp;

McDormand made her Broadway debut in a 1984 revival of the drama Awake and Sing!, and received a nomination for the Tony Award for Best Actress in a Play for her acclaimed performance as Stella Kowalski in a 1988 revival of A Streetcar Named Desire.&nbsp;

In the black comedy-drama, Three Billboards Outside Ebbing, Missouri, McDormand plays Mildred, the disillusioned and angry mother of a young woman whose murder has gone unsolved in her small-town American community.

McDormand has appeared in over 60 movies and TV series and has received 85 nominations and 80 awards as well as two Oscars in total. &nbsp;

Several prominent celebrities congratulated the actor for the win.&nbsp;

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Another love tweet to Frances McDormand. You&rsquo;re my everything ❤️
&mdash; P!nk (@Pink) <a href="https://twitter.com/Pink/status/970518808644366336?ref_src=twsrc%5Etfw">March 5, 2018</a></blockquote>
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Frances McDormand ❤️❤️❤️ and all the amazing women. ????
&mdash; Ruby Rose (@RubyRose) <a href="https://twitter.com/RubyRose/status/970518758635614208?ref_src=twsrc%5Etfw">March 5, 2018</a></blockquote>
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Frances McDormand Period
&mdash; Macaulay Culkin (@IncredibleCulk) <a href="https://twitter.com/IncredibleCulk/status/970518731142172672?ref_src=twsrc%5Etfw">March 5, 2018</a></blockquote>
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Thank you Frances McDormand.
&mdash; Johnny Weir (@JohnnyGWeir) <a href="https://twitter.com/JohnnyGWeir/status/970518597318729729?ref_src=twsrc%5Etfw">March 5, 2018</a></blockquote>
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She won her first Academy Award in 1997 for playing Marge Gunderson in Fargo

Frances McDormand has won Best Actress at the 90th Academy Awards for her roll in the drama film Three Billboards Outside Ebbing, Missouri. Frances Louise McDormand was born on June 23, 1957 in Gibson City Illinois and was adopted by a couple from Canada when she was one and a half years old. She won her first Academy Award in 1997 for playing Marge Gunderson in Fargo. She is the recipient of numerous accolades, including two Academy Awards, two Primetime Emmy Awards, and a Tony Award, which makes her one of the few performers to receive the Triple Crown of Acting. McDormand's first professional acting job was in Derek Walcott's play Trinidad and Tobago, which was funded by the MacArthur Foundation. In 1984 she made her film debut in Blood Simple, the first film by the Coen brothers. Her other film roles include Mississippi Burning (1988), Almost Famous (2000), and North Country (2005), for which she received three nominations for the Academy Award for Best Supporting Actress. McDormand made her Broadway debut in a 1984 revival of the drama Awake and Sing!, and received a nomination for the Tony Award for Best Actress in a Play for her acclaimed performance as Stella Kowalski in a 1988 revival of A Streetcar Named Desire. In the black comedy-drama, Three Billboards Outside Ebbing, Missouri, McDormand plays Mildred, the disillusioned and angry mother of a young woman whose murder has gone unsolved in her small-town American community. McDormand has appeared in over 60 movies and TV series and has received 85 nominations and 80 awards as well as two Oscars in total. Several prominent celebrities congratulated the actor for the win. Another love tweet to Frances McDormand. You’re my everything ❤️ — P!nk (@Pink) March 5, 2018 × Frances McDormand ❤️❤️❤️ and all the amazing women. ???? — Ruby Rose (@RubyRose) March 5, 2018 × Frances McDormand Period — Macaulay Culkin (@IncredibleCulk) March 5, 2018 × Thank you Frances McDormand. — Johnny Weir (@JohnnyGWeir) March 5, 2018 ×

Frances McDormand wins best actress at Oscars 2018

Actress <a href="http://www.wionews.com/world/frances-mcdormand-wins-best-actress-at-oscars-2018-34731" target="_blank">Frances McDormand</a> could not take home the Best Actress Oscar&#39;s trophy even though she won the coveted award at the gala ceremony on Sunday night.&nbsp;

According to Los&nbsp;Angeles&nbsp;police, a man identified as Terry&nbsp;Bryant stole McDormand&#39;s trophy from the Governors Ball after party for which Bryant had a ticket.&nbsp;

LA police spokeswoman, Rosario Herrera said in a statement that 47-year-old Bryant was arrested on the suspicion of felony grand theft and was being held&nbsp;on $20,000 bail Monday morning.&nbsp;

The issue came to light when McDormand raised an alarm for her missing trophy while Bryant posted a Facebook live&nbsp;in which he appeared to be kissing and flaunting a statuette during the Ball.&nbsp;

<a href="http://www.wionews.com/world/oscars-2018-frances-mcdormand-oldman-shape-of-water-win-top-honours-as-the-academy-talks-about-inclusion-34696" target="_blank">Also Read:&nbsp;Oscars 2018: Frances McDormand, Oldman, Shape Of Water win top honours as the Academy talks about inclusion</a>

Caught on camera, Bryant could be seen saying:&nbsp;&quot;Look it, baby. My team got this tonight. This is mine,&quot; as he kissed the trophy.&nbsp;

<a href="http://www.wionews.com/world/entertainment-sridevi-shashi-kapoor-honoured-at-oscars-in-their-in-memorium-segment-34689" target="_blank">Also Read:&nbsp;Bollywood stars Sridevi and Shashi Kapoor honoured at Oscars</a>

He went on to ask those around him,&nbsp;&quot;Who wants to wish me congratulations?&quot; and added,&nbsp;&quot;You know what, I can&#39;t believe I got this.&quot;

No one named Terry Bryant won an Oscar on Sunday.

McDormand&nbsp;received the Academy Award for Best Actress&nbsp;for her performance in &quot;Three Billboards Outside Ebbing, Missouri&quot; on 2018. She is a two-time Oscar winner as she won her first&nbsp;for the 1996 film&nbsp;&quot;Fargo,&quot; directed by her husband Joel Coen and his brother Ethan.

&nbsp;

A man identified as Terry Bryant reportedly stole McDormand's trophy from Governors ball after party

Actress Frances McDormand could not take home the Best Actress Oscar's trophy even though she won the coveted award at the gala ceremony on Sunday night. According to Los Angeles police, a man identified as Terry Bryant stole McDormand's trophy from the Governors Ball after party for which Bryant had a ticket. LA police spokeswoman, Rosario Herrera said in a statement that 47-year-old Bryant was arrested on the suspicion of felony grand theft and was being held on $20,000 bail Monday morning. The issue came to light when McDormand raised an alarm for her missing trophy while Bryant posted a Facebook live in which he appeared to be kissing and flaunting a statuette during the Ball. Also Read: Oscars 2018: Frances McDormand, Oldman, Shape Of Water win top honours as the Academy talks about inclusion Caught on camera, Bryant could be seen saying: "Look it, baby. My team got this tonight. This is mine," as he kissed the trophy. Also Read: Bollywood stars Sridevi and Shashi Kapoor honoured at Oscars He went on to ask those around him, "Who wants to wish me congratulations?" and added, "You know what, I can't believe I got this." No one named Terry Bryant won an Oscar on Sunday. McDormand received the Academy Award for Best Actress for her performance in "Three Billboards Outside Ebbing, Missouri" on 2018. She is a two-time Oscar winner as she won her first for the 1996 film "Fargo," directed by her husband Joel Coen and his brother Ethan.

Oscars: Best Actress Frances McDormand's trophy stolen, then found

It was a night when Mexico and Me Too Movement got the most acknowledgment as Guillermo del Toro, Coco won big at the 90th Academy Awards. &nbsp;Del Toro won Best Director for his film Shape Of Water which also won the Best Film Award while Coco won the Best Animated Feature Film award along with Best Song.&nbsp; 
 
Academy in its own way made a statement which highlighted the importance of inclusion giving out a strong message the Donald Trump. The award ceremony also saw Frances McDormand delivering the best speech of the night as she went up on the stage to accept her Best Actress award for Three Billboards Outside Ebbing, Missouri.&nbsp;

<a href="http://www.wionews.com/world/oscars-2018-full-list-of-winners-34699">Here&#39;s the complete list of winners</a> 
 
In her acceptance speech, McDormand thanked her family and asked all the other female nominees to stand up. She also urged producers to back small and independent films 
&quot;I have two words to leave with you tonight, &#39;inclusion&#39; and &#39;writer&#39;,&quot; an emotional McDormand said.

<a href="http://www.wionews.com/world/entertainment-sridevi-shashi-kapoor-honoured-at-oscars-in-their-in-memorium-segment-34689">Also see: Bollywood stars Sridevi and Shashi Kapoor remembered at the Oscars</a> 
 
Veteran actor Gary Oldman took home the Best Actor award for his stupendous performance as Winston Churchill in Darkest Hour.&nbsp;

<a href="http://www.wionews.com/world/entertainment-oscars-2018-all-the-notable-looks-from-the-red-carpet-34659">Also see: Oscars red carpet</a> 
 
&quot;I would just like to salute Sir Winston Churchill, who has been marvellous company on what can be described as an incredible journey,&quot; Oldman told the Oscars audience on Sunday. 
 
Oscars host Jimmy Kimmel tackled Hollywood`s sexual misconduct scandal with jokes on a night heavy with nods to activism on issues ranging from LGBT issues and school shootings to sexism and racism. 
 
Gay romance Call Me by Your Name&nbsp;won best-adapted screenplay and racial satire &quot;Get Out&quot; won best original screenplay. 
 
A Fantastic Woman,&nbsp;Chile`s groundbreaking story about a transgender woman, played by transgender actress Daniela Vega, won best foreign language film. 
 
Sam Rockwell and Allison Janney took home their first Oscars for their supporting roles Three Billboards&nbsp;and independent ice-skating movie I, Tonya,&nbsp;respectively.

Del Toro won Best Director for his film Shape Of Water which also won the Best Film Award while Coco won the Best Animated Feature Film award along with Best Song.

It was a night when Mexico and Me Too Movement got the most acknowledgment as Guillermo del Toro, Coco won big at the 90th Academy Awards. Del Toro won Best Director for his film Shape Of Water which also won the Best Film Award while Coco won the Best Animated Feature Film award along with Best Song. Academy in its own way made a statement which highlighted the importance of inclusion giving out a strong message the Donald Trump. The award ceremony also saw Frances McDormand delivering the best speech of the night as she went up on the stage to accept her Best Actress award for Three Billboards Outside Ebbing, Missouri. Here's the complete list of winners In her acceptance speech, McDormand thanked her family and asked all the other female nominees to stand up. She also urged producers to back small and independent films "I have two words to leave with you tonight, 'inclusion' and 'writer'," an emotional McDormand said. Also see: Bollywood stars Sridevi and Shashi Kapoor remembered at the Oscars Veteran actor Gary Oldman took home the Best Actor award for his stupendous performance as Winston Churchill in Darkest Hour. Also see: Oscars red carpet "I would just like to salute Sir Winston Churchill, who has been marvellous company on what can be described as an incredible journey," Oldman told the Oscars audience on Sunday. Oscars host Jimmy Kimmel tackled Hollywood`s sexual misconduct scandal with jokes on a night heavy with nods to activism on issues ranging from LGBT issues and school shootings to sexism and racism. Gay romance Call Me by Your Name won best-adapted screenplay and racial satire "Get Out" won best original screenplay. A Fantastic Woman, Chile`s groundbreaking story about a transgender woman, played by transgender actress Daniela Vega, won best foreign language film. Sam Rockwell and Allison Janney took home their first Oscars for their supporting roles Three Billboards and independent ice-skating movie I, Tonya, respectively.

Oscars 2018: Frances McDormand, Oldman, Shape Of Water win top honours as the Academy talks about inclusion

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