Oscars: How a Slew of Awards Shows and an 'SNL' Visit Could Impact the Race

9:00 AM 2/1/2020

by Scott Feinberg

USC boosts 'Little  Women's' adapted screenplay chances, while '1917's' absence from sound mixing leaves room for the film's chief competitor to pick up a win.

Courtesy of Neon; Netflix

  • Best Picture


    Courtesy of Neon

    The South Korean drama was screened in Los Angeles on Jan. 26 accompanied by a 37-piece orchestra conducted by composer Jung Jae-il. Plus, a black-and-white version of the film is set to debut Jan. 30 in New York and Jan. 31 in Los Angeles.

  • Best Actor

    Adam Driver ('Marriage Story')

    Wilson Webb/Netflix

    The actor, best known for his turn as Kylo Ren in the latest Star Wars trilogy, hosted Saturday Night Live on Jan. 25. It was his third time presiding over the NBC show, following appearances in 2016 and 2018.

  • Best Adapted Screenplay

    Little Women

    Greta Gerwig's adaptation of Louisa May Alcott's classic novel was awarded the USC Scripter Award on Jan. 25 — it has predicted this Oscar in eight of the past 10 years — and Gerwig presented at the Jan. 26 Grammy Awards.

    The Irishman

    It was a bit surprising that Steven Zaillian's adaptation of Charles Brandt's book I Heard You Paint Houses came up short at the Scripter Awards. It could have used a boost heading into final Oscar voting.

  • Best Cinematography


    François Duhamel/Universal Pictures

    Legendary cinematographer Roger Deakins' work on Sam Mendes' World War I film, which is shot and edited to appear as one continuous shot, brought him his fifth ASC award, positioning him to collect his second Oscar in three years.

  • Best Sound Mixing

    'Ford v Ferrari'

    Courtesy of Twentieth Century Fox

    Without 1917 in the mix (it was not screened in time for consideration), the racing pic won best mixed motion picture, live action — top honors — at the Cinema Audio Society Awards, which has predicted the Oscar in this category in 13 of the past 23 years.

    This story first appeared in a February stand-alone issue of The Hollywood Reporter magazine. Click here to subscribe.