What the Winners Say About Their Oscars
See what Colin Firth, Christian Bale and Natalie Portman had to say backstage.
Natalie Portman says winning a best actress Oscar for Black Swan "feels very dreamlike. I don't really know where I am, I suppose." But, she told reporters, she won't be naming her baby Oscar. "I think that's probably definitely out of the question, yeah," she said while laughing. For more, go here.
Best actor winner Colin Firth spoke up backstage when asked about The King's Speech rating going down to a PG-13. "I don't support it," he told The Hollywood Reporter backstage at the Academy Awards. "I think the film has its integrity as it stands." For more, go here.
Christian Bale won his first Oscar for his supporting role in The Fighter, and the actor -- who dropped a significant amount of weight for the wrestling film -- said he probably wouldn't be doing that again. "I'm getting a little bit older now," he admitted to reporters backstage. "I'm starting to recognize that if I do too much, there's no coming back from it. I don't have quite the mentality I did a few years back when I thought I was invincible. I've got a child now. I know too many of them. There's only so much a body can take." For more, go here.
Melissa Leo, who won the supporting actress Oscar for The Fighter, apologized backstage for cursing onstage during her acceptance speech. "I had no idea. This words … I apologize to anyone that they offended," she said backstage. For more, go here.
First-time Oscar winner Aaron Sorkin of The Social Network, taking home the statuette for adapted screenplay, felt the nerves backstage. "I've been hyper aware that whatever I write next will be the thing I write after Social Network," Sorkin told reporters. For more on Sorkin's first reactions to winning -- and jokes about his "bromance" with original screenplay winner David Seidler, go here.
"I don’t want to be the first person to go on Oprah drunk," laughed Tom Hooper after winning the Oscar for best director, admitting that he had an interview scheduled Monday morning. “I don’t think I’m going to bed tonight.” He also talked about the “love” between the cast. “I think Geoffrey (Rush), Colin (Firth) and I had three weeks of work-shopping the script, and we became incredibly good friends. There is something about the way I was shooting …that kindness and compassion is in the DNA of the movie.” For more, go here.
Even if The King's Speech screenwriter David Seidler hadn't taken home the golden statue tonight for original screenplay, he said he felt his work had already made a crucial difference. "A very high-ranking person called me the other day and wanted to talk, ex-stutterer to ex-stutterer, and his expressed his guilt about hiding it for so many years, staying in the closet," he said, who's been very public about his own struggle with the speech impediment. "The film has come out and given so many people the courage to talk about their stutters. I've been flooded with amazing emails and calls. I’m still a stutterer. I know all the tricks ... but all these personal stories move me to tears." Of becoming a first-time Oscar winner in his seventies, Seidler said it had been "a long haul" and owed his success to one discernible trait. "I'm just a very stubborn man. It took a while," he added. On what theme he most tried to celebrate in his script, Seidler said it was what he calls "the social contract." "With privilege and position comes responsibility and duty. Bertie really understood that; his brother did not. He wasn’t meant to be king, he wasn’t suited to be king. But when his brther let the nation down. He knew it was his duty to make up for it." All said, Seidler dismissed any notion that that The King's Speech revived interest in the royal family. "I don’t think the royal family needs me to put them on the map. This may surprise people, I’m not a monarchist. There goes my knighthood! Seeing the royals work, it’s a miserable job. No one would want that job!"
Composing team Trent Reznor and Atticus Ross took home the original score Oscar for The Social Network, which ultimately took home three statuettes. Reznor was visibly shocked by the win, his first. "[Inception] composer, Hans Zimmer, who I’ve been battling at awards shows all year, told me, ‘In a lot of ways, I hope you win because it’s helped open up the field a bit for texture of what film scores can be,’ ” Reznor told reporters backstage. “I am truly stunned by this." For more, go here.
The Social Network editing team of Angus Wall and Kirk Baxter took home the trophy for film editing. Wall discussed helmer David Fincher’s -- who was upset by The King's Speech's Tom Hooper for director -- reputation for doing a lot of takes backstage. “It’s a great gift to get a lot of different performances, it allows us to do our job better," Wall said. "There is a rumor that the opening scene had 99 takes — we didn’t see 99 takes. Sometimes he can get it in [various number of] takes … He always delivers the most amazing footage for us to work with.”
Toy Story 3 director Lee Unkrich, who won the animated feature Oscar for the film, said it was "fear-based filmmaking that drove us to make" the third. For more, go here.
Charles Ferguson, director of The Inside Job, accepted the Oscar for documentary feature. Backstage, Ferguson talked about the subject matter covered by his documentary. “There is a great deal of despair and anger that nothing has been done about this," he said. "Unfortunately, I think the reason is predominately the financial industry has become so political and a powerful it can inhibit the process of justice." Ferguson went on to say, "I think something will be done if and only if the America people get angry enough." He did mention that while making the documentary, Ferguson and his team did not receive threats. "But the biggest surprise and biggest disappointment is that nobody in the Obama administration would speak off the record, even people I have known for years."
Wally Pfister, taking home the Academy Award for best cinematography for his work on Christopher Nolan's Inception. “Chris is a brilliant filmmaker with an incredible vision,” Pfister said about his collaborations with Nolan getting nominated for Oscars. Not a fan of 3D, he explained why. "It doesn’t really work for me. I don’t like the glasses and I don’t like the dark images. It feels a little gimmicky for me," he said. "We like to do things like put things on Imax." But he's not alone in his thinking. "Chris and I are like-minded in that way. I don’t know if there will be a 3D [home entertainment] version of Inception. It’s just something that I’m not interested in.” Pfister did talk about the state of unions and his support for them backstage. “What the union has give to me is security and health care … I stand strong behind union members. All we are trying to do is get a decent wage and medical care.”
Richard King, sound editor for Inception, picked up the Oscar for his work in Christopher Nolan's mind-bending film. “Art direction, visual effects, sound — are absolutely creative categories," he told reporters backstage. "These are not technical categories, they are artistic — every one of them. I barely know how to boot a computer." King went on to talk about what sound editors do in the film process. "We are hired for the quality of our ideas, not our ability to operate a piece of machinery. It’s about coming up with ideas for what Chris [Nolan] wants to put on a screen. We figure out technically how accommodate those creative challenges.”
The visual effects team of Inception was victorious Sunday night, taking home the Oscar. VFX supervisor Paul Franklin said winning an Oscar and folding Paris “are both dream-like situations. I hope I don’t wake from this one.” For more, go here.
The 83rd Academy Awards started off with the first award, art direction, which was given to the Alice in Wonderland team. Production designer Robert Stromberg wasn't expecting his second Oscar in a row. (He won his first for Avatar.) "I was not expecting it, I thought Inception had the upper hand this year. All the nominees I take my hat off to," he said backstage with a chuckle. "I should probably retired." Stromberg discussed the ways in which advancements in technology are helping pave the way for filmmakers. "We have new technology that we are pioneering. I’m very proud of that because the next generation of kids will know what they are doing.”
For native Australian Shaun Tan, the journey to Oscar was a long one. "I wrote this story in 1998," he said backstage after winning the Academy Award for best animated short film, The Lost Thing, about a boy who finds a strange creature on a beach, and decides to find a home for it. "I was an unemployed illustrator at the time, worked on it for a year, developed it as a picture book, and shortly thereafter it was exhibited, which is where Andrew came across the story. We discussed developing it into an animated film. So, this has spanned 13 years." Tan also spoke to his homeland's burgeoning buzz in the animation world, but clarified the reputation shouldn't be taken so narrowly. "It has a lot to do that we didn't have an existing tradition in that realm." There is a lot going on Down Under, he said. Andrew Ruhemann, Tan's British co-director on the film, spoke of his natural tendencies to want to produce, and that helming a film isn't a decision he or Tan take lightly. "Neither of us wants to direct for the sake of directing. It has to be a story that really grabs us.”
Carolyn Giardina, Lindsay Powers, Stacey Wilson and Philiana Ng contributed to this report.