L.A, 2022-03-27 19:36:00. Oscar 2022: Canadians take awards home
Canadians took home the Academy Awards for Best Production Design and a Documentary Short Film at the revamped Academy Awards Sunday that “Dune” artist Patrice Vermet called a “dream come true.”
Vermette won Best Production Design for his work on Montreal director Denis Villeneuve’s “Dune,” which finished with the second most nominations at 10 and received six.
Vermette and Halifax director Ben Proudfoot grabbed their wins in an hour-long party right before the star-studded broadcast where Villeneuve was one of many Canadians chasing gear for top nominees to film “Dune,” “The Power of the Dog,” and “Nightmare Alley.” Those films lost the first prize to CODA, a family of the deaf.
“I still can’t believe it,” Vermit said on a phone call from Los Angeles during the party.
“We’ve worked really hard on this. (This movie) has been Dennis’s dream since he was 13, and seeing everyone from ‘Dune’ get recognition now, it’s all in Dennis’s honor and because of the way he steered a ship.
“I’ve been dreaming about this since I was a kid and was watching the Oscars with my family, and we were allowed to stay up late at night, on Sundays. Years. So it’s unbelievable.”
Vermette shared his win with Hungarian interior designer Zsuzsanna Sipos, and was previously nominated for the 2010 Young Victoria Award and the 2017 film The Arrival, also directed by Villeneuve.
In his acceptance speech, he also thanked the late Quebec director and producer Jean-Marc Vallee, with whom he worked on the 2005 films ‘CRAZY’ and 2011’s ‘Café de Flore’.
Vallée, best known for the Emmy-winning HBO series “Big Little Lies” and the Academy Award-nominated movie “Dallas Buyers Club,” died in December at the age of 58.
He appeared in the channel’s “In Memory” segment, which also featured Toronto-born director Evan Reitman, who died in February at the age of 75.
Bill Murray, who starred in Reitman’s beloved Ghostbusters, said during the clip, “He made some movies and some really good movies, married a pretty girl, raised some kids, and made movies too. Evan, love your work.”
“Dune” won four categories in the pre-air and two more during the first hour of the live show, thanking cinematographer Greg Fraser and visual effects artist Paul Lambert Villeneuve for including them in his ambitious project.
Meanwhile, Halifax’s Proudfoot earned a Best Documentary Short Film award with his “Queen of Basketball” about Lucy Harris, the only woman to have been drafted by the NBA.
“It proves that the Lucy Harris story, after 45 years of being ignored, really means something profound to America and the world,” Proudfoot, who was previously nominated in 2021 for “A Concerto Is a Conversation,” told The Canadian Press upon access. Early text bash.
In a recorded acceptance speech later broadcast on broadcast, Broadfoot paid tribute to the late Harris who had passed away before the film was nominated, and noted that her family was present.
“If there is anyone who still doubts that there is a math audience, let this be the answer to the Oscars,” he said before calling on US President Joe Biden to bring back Olympic gold medalist Britney Greiner from Russia.
She has been in custody since February when local authorities said a search of her luggage revealed e-cigarette cartridges allegedly containing cannabis oil.
The Academy of Motion Picture Arts and Sciences announced the early wins on Twitter, but footage of presentations and acceptance letters was captured for an edited version that aired as part of the ABC/CTV live broadcast.
The new format saw early awards in eight categories, half of which included Canadians: Documentary Short, Film Editing, Makeup and Hairstyling, Original Score, Production Design, Short Animation, Short Live Action, and Sound.
In the live segment, Villeneuve came up empty-handed to be nominated in the Best Adapted Screenplay category, which went to “CODA”. It was also nominated in the Best Picture category alongside “Dion” producers Mary Barnett and Agent Potter.
Montreal-based producer Roger Frapper was also poised for Best Picture along with director Jane Campion and the cast of The Power of the Dog, which overall had 12 nominations.
The first race also featured Toronto producer J. Miles Dell as part of the team behind “Nightmare Alley” along with Mexican director Guillermo del Toro and actor/producer Bradley Cooper. Toronto fashion designer Luis Sequeira was nominated for his work in the black period but lost to “Cruella”.
Other Canadian contenders to lose in pre-TV include Tamara Deverell of Saskatoon and Shane View of Halifax, who co-nominated for Best Production Design in “Nightmare Alley” and “Dune” makeup artist Donald Mowat of Montreal. Toronto producer Jeff McClain lost to Broadfoot in the Documentary Shorts category while the National Film Board of Canada and UK co-production “Art Matters” lost in the Animated Shorts category.
In a statement issued in the days leading up to the new show, NFB had strong words for the format change, predicting that it would “further marginalize short films, which are already struggling to find large audiences”.
The academy said the change was intended to keep the three-hour broadcast “more compact and efficient” for viewers, but it was met with fierce criticism from many in the film community, including Proudfoot who said the move “degrades some categories”.
Co-hosts Regina Hall, Amy Schumer and Wanda Sykes were the party’s first hosts in three years, opening the show with touches of industry sexism, non-television categories, and a Golden Globe.
Other moments included a moment of silence for the people of Ukraine, and Troy Kotsor of “CODA” became the first deaf man to win an Academy Award for acting.
Among the local stars who participated in the show, “Shang-Chi” star Simu Liu, who starred in a red tuxedo to present an award and participate in a COVID-themed sitcom with Hall, and Elliot Page, who appeared alongside “Juno” Starring JK Simmons and Jennifer Garner to celebrate the 15th anniversary of the teen pregnancy comedy.
This report was first published by The Canadian Press on March 27, 2022.
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