Y8 - THE ACADEMY AWARDS (Bronx Wins Picture, Director, and Ensemble, Last Airbender Wins 5 Awards)

[Ezen Baklattan]

Coming next year...

 

Spoiler

 

COOKIE PICTURES

presents...

 

***

 

The Northern Oblast is a land of feeble summers and relentless winters. Of stalking creatures by night, and of raging monsters by day. Even in the quiet, no soul wandering will know true peace.

 

It is a land where boys become men; where men become wolves; and where wolves… become beasts.

 

***

 

(Hugh Jackman) "Have you memorized everything I've taught you?"

 

(Alex Wolff) "Every word of it."

 

(Jackman) "Then you'll know what to do when the day comes?"

 

(Wolff) "Down to the last step."

 

(Jackman)

"There's one thing I haven't taught you yet... That day may be the worst of your life. It will come at you when you least expect it. And I won't be there."

 

(Wolff) "Then how will I know I'm ready?

 

(Jackman) "You won't."

 

We open with a long take shot of a young man (Alex Wolff) — we presume he is a man, that is, what with his wolf-like ears, bushy hair, and faint strokes of fur appearing along his arms, even if he's wearing human-like clothes like jacket, pants, a torn hunting flat cap, and even has a metal glove covering his left arm — lying face down in pebbles and rocks on a river's shoreline. The shot continues as he regains consciousness, slowly getting up as we hear him grunting and groaning, as if he had sustained great pains before he got there.

 

He stumbles to stand up straight, lumbering along as his sight locks towards the cliffs in the horizon. Before he leaves, however, he finds a rifle, resembling an old soviet SVT-40, but its wooden stock instead made of what appears to be hard-coated aluminium, and with a sharp, obsidian-colored blade attached to its front. The young man raises his metal glove, and through magnetic energy, he is able to make the rifle fly straight into his hand. We see the rifle wasn't built for him, being larger than what it should be, and it becomes a bit of a struggle for him to carry it. Nevertheless, he presses on.

 

(Wolff) "I am ready, dad. You'll just have to believe in me."

 

(Jackman) "That's the thing... As much as I want to..."

 

The camera pulls back, revealing that beyond the cliffs, away from where the young man is heading, lies a large, Soviet-style city in flames, smokes and embers rising high into the morning twilight.

 

Cut to black.

 

(Jackman) "...I'm not sure if I could."

 

 

 

(0:00-)

 

From the studio behind

THE SCAVENGER WARS I / II / III

THE NUMBER ONE DIME

VOLTRON: RISE OF LOTOR
RIPPER
HILDA AND THE MIDNIGHT GIANT
FLIGHTLESS BIRD

EVERYTHING WE MISS

 

and

RIAN JOHNSON

the director of

LOOPER
STAR WARS: THE LAST JEDI
KNIVES OUT

 

(0:13-)

 

We cut to an overhead shot of the same city in ruins, likely in the aftermath of the fire. A large, soviet-style army has gathered in the city's central square, and a man who appears to be their leader (Kenneth Branagh) — with features similar to Wolff we saw earlier, but like a grizzly bear rather than a wolf — stands on the roof of a palace-style building overlooking them.

 

We then see a large mine/factory, situated in a massive circular hole going kilometers into the earth. Molten metal is transported via troughs and tunnels, even as large amounts of it spill over and plunge into the dark abyss. Deep beneath the earth, we see thousands of factory workers using machines to forge everything from weapons to armor to even bigger machines, and taking on a leadership position is a wolf-eared man walking around with a cane (Michael Shannon), putting on goggles as sparks fly in front of him.

 

We see a massive library, with its shelves able to levitate and fly all over the place and rearrange themselves in any order and position. What we presume to be its keeper, a cloaked man with owl features on his head (Jason Mantzoukas), waves his arms and has books fly to him, allowing him to open them and read their contents within without having to move an inch.

 

We then see a shooting range, where an expert marksman (Jake Gyllenhall) — with wolf ears similar to Wolff and Shannon — hitting bullseye on targets situated several miles away. However, he doesn't seem all that proud of that accomplishment.

 

Lastly, we see a massive labor camp, spanning as far as the eye can see, where men, women, and children, most of them with fox ears, are slaving away while guards with wolf ears, all of them twice as tall as those they're enslaving, watch over them. One fox slave tries to escape only to be captured, and we see a young fox man (Ferdia Walsh-Peelo) shield himself from seeing any further as this attempted escapee, after being kicked to the ground by the wolf guards, is blasted to bits by propulsion cannons in a shot held out of focus.

 

We cut back to Wolff, traversing the barren tundra landscape, through dense winter forests, and up and down creeks and rivers. He comes to a sudden stop when he finds a gun pointed straight at him as he rounds a corner.

 

(Branagh) "Your father taught you many things..."

 

We cut to what's presumably inside Branagh's palace, where Wolff, presumably being held captive by Branagh, is forced to sit on a chair next to him in a study room, while the Branagh leans his back against a fancy-looking couch. Wolff appears intimidated, especially since it's quickly made apparent that Branagh is twice as tall as him.

 

Branagh: Did he teach you to be afraid?

Wolff: N... No, sir...

Branagh: Then he's not much of a father, is he?

 

Cut to black. (Music stops.)

 

(Branagh) "For you should be very afraid."

 

(Music resumes from 1:04. The following clips happen in rapid succession)

 

THIS YEAR

 

• Overhead shot of Wolff running along another barren wasteland, this time pursuing what appears to be Walsh-Peelo and a woman in combat gear and with ears of an asian black bear (Kelly Marie Tran).
• Shannon and Gyllenhaal teaming up, being fired at by an unseen agitator on a battlefield.
• Branagh looking into a snow globe which shows a winter forest with an aurora hovering over it.
• Mantzoukas being approached by Wolff, Walsh-Peelo, and Tran, and he greets them with a bow.
• A woman (Awkwafina) covered in cloaks and wears multiple layers of masks and beads, and only whose lower half of their face can be seen, revealing molded skin and sharp, grisly teeth, is seen intimidating someone who appears to be her underling (Kimiko Glenn), dressed in a similar getup but without a mask, and with a normal appearance on her face. Glenn looks frightened.

 

OUT IN HOSTILE LANDS

 

• While following Walsh-Peelo and Tran, Wolff trips, and Walsh-Peelo comes to his aid. He grabs his hand, and the two end up sharing a gaze. 

 

(Kelly Marie Tran) "It doesn't matter who you think you are, or who you claim to be..."

 

• Wolff finds himself being stared at by a whole legion of fox-like people. The crowd is broken up by a tall woman with wolf ears (Golshifteh Farahani) approaching him, herself in combat gear looking like she wishes to speak with him. Wolff doesn't know whether to be calm or intimidated.
• Wolff gets shoved by an angry-looking Tran as she shouts things at him, prompting Walsh-Peelo to run between the two and hold her off.

 

(Tran, continued) "...Once a wolf, always a wolf."

 

• Wolff finds himself isolated when Walsh-Peelo approaches him with a kind smile, and it looks like the two are going to bond.

 

A NEW SAGA BEGINS

 

• A massive, scorpion-like machine bursts out of the ground, destroying a whole forest around it, and Wolff, Walsh-Peelo, Tran, Farahani, and other fox-like people have to escape it.
• Gyllenhaal and Shannon find themselves staring at a holographic map, revealing what appears to be an army marching towards an unknown location.

 

(Branagh) "It is no longer a war between nations, or between ideas..."

 

• We see an older man with coyote ears (Steve Buscemi) standing firm as a pair of wolf-eared patrol guards appear to be entering his home. Behind him is a younger pregnant woman with similar features (Andrea Riseborough), being shielded by her husband (Jack Lowden), who himself has wolf ears.
• Thim finds himself in a room with a girl with coyote ears (Bella Ramsey) who's sitting on the side of a bed. She gets up, revealing that she's actually taller than him, and she remains expressionless as Wolff gulps a bit.
• Branagh, armed with a mechanical suit, is fending off what appears to be insurgents storming his palace.

 

(Branagh, continued) "But between those who can starve off the inevitable..."

 

• We see a girl with golden fox ears (Kaitlyn Dever) emerging out of a scorched crater and approaching Wolff, Walsh-Peelo, and Tran out in a wasteland. Unlike everyone else, she has a large, brush-like tail that wraps itself around her body, giving off a golden glow. She smiles at them, and Wolff is awed by her appearance.

 

(Branagh, concluding) "...And those who can not."

 

• A large battle occurs within the labor camp we saw earlier, with explosives being deployed and bodies flying all over the place.
• We see Gyllenhaal and Wolff together, revealing the two share a connection, as the two sit and watch the sunset. Gyllenhaal, should be noted, is twice as tall as Wolff.

 

(Wolff) "You think dad will ever be proud of me?"

(Gyllenhaal) "I wish I knew the answer."

 

• Gyllenhaal gives Wolff a comforting grip on the shoulder, as Wolff lowers his head, contemplating.

 

(Gyllenhaal) "But there's one thing I need you to promise me..."

 

• Wolff, engaging in battle, attacks a combatant by leaping at him, stabbing him to death with the knife attached to his rifle, before he turns to use his metal arm to swipe away another assailant's gun before he leaps at him, clawing at him just like a wolf would.

 

Cut to black. (Music ends at 1:36)

 

(Gyllenhaal) "...Don't ever become like him."

 

We cut to a battle-scarred Wolff standing in the ruins of the labor camp, where telling by the flames in the background, the large battle we saw before had just occurred. He hears someone approaching from behind, and he turns.

 

Down a narrow stretch of path stands his father (Hugh Jackman — looking ragged and bushy like he did in Logan, just with wolf ears), wearing similar getup as his son, including a metal arm on his right. The two stare each other down, both realizing that Wolff's rifle lies on the ground right in the middle between them. They each don't look like they actually want to fight one another, but they fear that they must.

 

Their standoff ends with them both trying to swipe the gun at the same time using their magnetic powers, and just as the gun is torn between them, we cut to black before the film's title appears.

 

 

Rian Johnson's

T H E

H U N T E D

 

 

(Lance Reddick, with a heavy, distorted breath) "At long last."

 

Wolff finds himself captive in a dark chamber. A door opens, letting a blinding light in. In that blinding light, we see a sinister figure (Lance Reddick) approaching, and we soon see he has tubes coming out of his back feeding some sort of ooze that powers the rest of his body, including a mask covering the lower half of his face. His shadow grows larger over Wolff, and Wolff trembles before him.

 

(Reddick) "The last piece of a puzzle man has spent its existence trying to solve..."

 

The figure shows his face, revealing he has pure white eyes and his skin is cracked, illuminating white veins spreading all over his body. He raises his long, bony arm in front of Wolff's face as if he's about to grab it.

 

(Reddick, continued) "The key... to life eternal."

 

Instead of grabbing Wolff, however, Reddick hovers his skeletal hand in front of his face. A loud ringing sound is heard, and Wolff begins to cry out in immense pain.

 

Alex Wolff | Hugh Jackman

Jake Gyllenhaal | Michael Shannon

Steve Buscemi | Kenneth Branagh

Ferdia Walsh-Peelo | Kelly Marie Tran

Awkwafina | Kimiko Glenn

Golshifteh Farahani | Kaitlyn Dever

Jason Mantzoukas | Andrea Riseborough

Bella Ramsey | Jack Lowden

and Lance Reddick

 

Director of Photography - Steve Yedlin, A.S.C

 

Original score by Hans Zimmer and Nathan Johnson

 

Original song by Thom Yorke

 

Filmed in IMAX

 

in theaters

SPRING Y9

 

More information dropping later this month

 

Head to CAYOM MAGAZINE for an exclusive reveal of

 

 

 

[4815162342]

2 minutes ago, Ezen Baklattan said:

Coming next year...

 

  Hide contents

 

COOKIE PICTURES

presents...

 

***

 

The Northern Oblast is a land of feeble summers and relentless winters. Of stalking creatures by night, and of raging monsters by day. Even in the quiet, no soul wandering will know true peace.

 

It is a land where boys become men; where men become wolves; and where wolves… become beasts.

 

***

 

(Hugh Jackman) "Have you memorized everything I've taught you?"

 

(Alex Wolff) "Every word of it."

 

(Jackman) "Then you'll know what to do when the day comes?"

 

(Wolff) "Down to the last step."

 

(Jackman)

"There's one thing I haven't taught you yet... That day may be the worst of your life. It will come at you when you least expect it. And I won't be there."

 

(Wolff) "Then how will I know I'm ready?

 

(Jackman) "You won't."

 

We open with a long take shot of a young man (Alex Wolff) — we presume he is a man, that is, what with his wolf-like ears, bushy hair, and faint strokes of fur appearing along his arms, even if he's wearing human-like clothes like jacket, pants, a torn hunting flat cap, and even has a metal glove covering his left arm — lying face down in pebbles and rocks on a river's shoreline. The shot continues as he regains consciousness, slowly getting up as we hear him grunting and groaning, as if he had sustained great pains before he got there.

 

He stumbles to stand up straight, lumbering along as his sight locks towards the cliffs in the horizon. Before he leaves, however, he finds a rifle, resembling an old soviet SVT-40, but its wooden stock instead made of what appears to be hard-coated aluminium, and with a sharp, obsidian-colored blade attached to its front. The young man raises his metal glove, and through magnetic energy, he is able to make the rifle fly straight into his hand. We see the rifle wasn't built for him, being larger than what it should be, and it becomes a bit of a struggle for him to carry it. Nevertheless, he presses on.

 

(Wolff) "I am ready, dad. You'll just have to believe in me."

 

(Jackman) "That's the thing... As much as I want to..."

 

The camera pulls back, revealing that beyond the cliffs, away from where the young man is heading, lies a large, Soviet-style city in flames, smokes and embers rising high into the morning twilight.

 

Cut to black.

 

(Jackman) "...I'm not sure if I could."

 

 

 

(0:00-)

 

From the studio behind

THE SCAVENGER WARS I / II / III

THE NUMBER ONE DIME

VOLTRON: RISE OF LOTOR
RIPPER
HILDA AND THE MIDNIGHT GIANT
FLIGHTLESS BIRD

EVERYTHING WE MISS

 

and

RIAN JOHNSON

the director of

LOOPER
STAR WARS: THE LAST JEDI
KNIVES OUT

 

(0:13-)

 

We cut to an overhead shot of the same city in ruins, likely in the aftermath of the fire. A large, soviet-style army has gathered in the city's central square, and a man who appears to be their leader (Kenneth Branagh) — with features similar to Wolff we saw earlier, but like a grizzly bear rather than a wolf — stands on the roof of a palace-style building overlooking them.

 

We then see a large mine/factory, situated in a massive circular hole going kilometers into the earth. Molten metal is transported via troughs and tunnels, even as large amounts of it spill over and plunge into the dark abyss. Deep beneath the earth, we see thousands of factory workers using machines to forge everything from weapons to armor to even bigger machines, and taking on a leadership position is a wolf-eared man walking around with a cane (Michael Shannon), putting on goggles as sparks fly in front of him.

 

We see a massive library, with its shelves able to levitate and fly all over the place and rearrange themselves in any order and position. What we presume to be its keeper, a cloaked man with owl features on his head (Jason Mantzoukas), waves his arms and has books fly to him, allowing him to open them and read their contents within without having to move an inch.

 

We then see a shooting range, where an expert marksman (Jake Gyllenhall) — with wolf ears similar to Wolff and Shannon — hitting bullseye on targets situated several miles away. However, he doesn't seem all that proud of that accomplishment.

 

Lastly, we see a massive labor camp, spanning as far as the eye can see, where men, women, and children, most of them with fox ears, are slaving away while guards with wolf ears, all of them twice as tall as those they're enslaving, watch over them. One fox slave tries to escape only to be captured, and we see a young fox man (Ferdia Walsh-Peelo) shield himself from seeing any further as this attempted escapee, after being kicked to the ground by the wolf guards, is blasted to bits by propulsion cannons in a shot held out of focus.

 

We cut back to Wolff, traversing the barren tundra landscape, through dense winter forests, and up and down creeks and rivers. He comes to a sudden stop when he finds a gun pointed straight at him as he rounds a corner.

 

(Branagh) "Your father taught you many things..."

 

We cut to what's presumably inside Branagh's palace, where Wolff, presumably being held captive by Branagh, is forced to sit on a chair next to him in a study room, while the Branagh leans his back against a fancy-looking couch. Wolff appears intimidated, especially since it's quickly made apparent that Branagh is twice as tall as him.

 

Branagh: Did he teach you to be afraid?

Wolff: N... No, sir...

Branagh: Then he's not much of a father, is he?

 

Cut to black. (Music stops.)

 

(Branagh) "For you should be very afraid."

 

(Music resumes from 1:04. The following clips happen in rapid succession)

 

THIS YEAR

 

• Overhead shot of Wolff running along another barren wasteland, this time pursuing what appears to be Walsh-Peelo and a woman in combat gear and with ears of an asian black bear (Kelly Marie Tran).
• Shannon and Gyllenhaal teaming up, being fired at by an unseen agitator on a battlefield.
• Branagh looking into a snow globe which shows a winter forest with an aurora hovering over it.
• Mantzoukas being approached by Wolff, Walsh-Peelo, and Tran, and he greets them with a bow.
• A woman (Awkwafina) covered in cloaks and wears multiple layers of masks and beads, and only whose lower half of their face can be seen, revealing molded skin and sharp, grisly teeth, is seen intimidating someone who appears to be her underling (Kimiko Glenn), dressed in a similar getup but without a mask, and with a normal appearance on her face. Glenn looks frightened.

 

OUT IN HOSTILE LANDS

 

• While following Walsh-Peelo and Tran, Wolff trips, and Walsh-Peelo comes to his aid. He grabs his hand, and the two end up sharing a gaze. 

 

(Kelly Marie Tran) "It doesn't matter who you think you are, or who you claim to be..."

 

• Wolff finds himself being stared at by a whole legion of fox-like people. The crowd is broken up by a tall woman with wolf ears (Golshifteh Farahani) approaching him, herself in combat gear looking like she wishes to speak with him. Wolff doesn't know whether to be calm or intimidated.
• Wolff gets shoved by an angry-looking Tran as she shouts things at him, prompting Walsh-Peelo to run between the two and hold her off.

 

(Tran, continued) "...Once a wolf, always a wolf."

 

• Wolff finds himself isolated when Walsh-Peelo approaches him with a kind smile, and it looks like the two are going to bond.

 

A NEW SAGA BEGINS

 

• A massive, scorpion-like machine bursts out of the ground, destroying a whole forest around it, and Wolff, Walsh-Peelo, Tran, Farahani, and other fox-like people have to escape it.
• Gyllenhaal and Shannon find themselves staring at a holographic map, revealing what appears to be an army marching towards an unknown location.

 

(Branagh) "It is no longer a war between nations, or between ideas..."

 

• We see an older man with coyote ears (Steve Buscemi) standing firm as a pair of wolf-eared patrol guards appear to be entering his home. Behind him is a younger pregnant woman with similar features (Andrea Riseborough), being shielded by her husband (Jack Lowden), who himself has wolf ears.
• Thim finds himself in a room with a girl with coyote ears (Bella Ramsey) who's sitting on the side of a bed. She gets up, revealing that she's actually taller than him, and she remains expressionless as Wolff gulps a bit.
• Branagh, armed with a mechanical suit, is fending off what appears to be insurgents storming his palace.

 

(Branagh, continued) "But between those who can starve off the inevitable..."

 

• We see a girl with golden fox ears (Kaitlyn Dever) emerging out of a scorched crater and approaching Wolff, Walsh-Peelo, and Tran out in a wasteland. Unlike everyone else, she has a large, brush-like tail that wraps itself around her body, giving off a golden glow. She smiles at them, and Wolff is awed by her appearance.

 

(Branagh, concluding) "...And those who can not."

 

• A large battle occurs within the labor camp we saw earlier, with explosives being deployed and bodies flying all over the place.
• We see Gyllenhaal and Wolff together, revealing the two share a connection, as the two sit and watch the sunset. Gyllenhaal, should be noted, is twice as tall as Wolff.

 

(Wolff) "You think dad will ever be proud of me?"

(Gyllenhaal) "I wish I knew the answer."

 

• Gyllenhaal gives Wolff a comforting grip on the shoulder, as Wolff lowers his head, contemplating.

 

(Gyllenhaal) "But there's one thing I need you to promise me..."

 

• Wolff, engaging in battle, attacks a combatant by leaping at him, stabbing him to death with the knife attached to his rifle, before he turns to use his metal arm to swipe away another assailant's gun before he leaps at him, clawing at him just like a wolf would.

 

Cut to black. (Music ends at 1:36)

 

(Gyllenhaal) "...Don't ever become like him."

 

We cut to a battle-scarred Wolff standing in the ruins of the labor camp, where telling by the flames in the background, the large battle we saw before had just occurred. He hears someone approaching from behind, and he turns.

 

Down a narrow stretch of path stands his father (Hugh Jackman — looking ragged and bushy like he did in Logan, just with wolf ears), wearing similar getup as his son, including a metal arm on his right. The two stare each other down, both realizing that Wolff's rifle lies on the ground right in the middle between them. They each don't look like they actually want to fight one another, but they fear that they must.

 

Their standoff ends with them both trying to swipe the gun at the same time using their magnetic powers, and just as the gun is torn between them, we cut to black before the film's title appears.

 

 

Rian Johnson's

T H E

H U N T E D

 

 

(Lance Reddick, with a heavy, distorted breath) "At long last."

 

Wolff finds himself captive in a dark chamber. A door opens, letting a blinding light in. In that blinding light, we see a sinister figure (Lance Reddick) approaching, and we soon see he has tubes coming out of his back feeding some sort of ooze that powers the rest of his body, including a mask covering the lower half of his face. His shadow grows larger over Wolff, and Wolff trembles before him.

 

(Reddick) "The last piece of a puzzle man has spent its existence trying to solve..."

 

The figure shows his face, revealing he has pure white eyes and his skin is cracked, illuminating white veins spreading all over his body. He raises his long, bony arm in front of Wolff's face as if he's about to grab it.

 

(Reddick, continued) "The key... to life eternal."

 

Instead of grabbing Wolff, however, Reddick hovers his skeletal hand in front of his face. A loud ringing sound is heard, and Wolff begins to cry out in immense pain.

 

Alex Wolff | Hugh Jackman

Jake Gyllenhaal | Michael Shannon

Steve Buscemi | Kenneth Branagh

Ferdia Walsh-Peelo | Kelly Marie Tran

Awkwafina | Kimiko Glenn

Golshifteh Farahani | Kaitlyn Dever

Jason Mantzoukas | Andrea Riseborough

Bella Ramsey | Jack Lowden

and Lance Reddick

 

Director of Photography - Steve Yedlin, A.S.C

 

Original score by Hans Zimmer and Nathan Johnson

 

Original song by Thom Yorke

 

Filmed in IMAX

 

in theaters

SPRING Y9

 

More information dropping later this month

 

Head to CAYOM MAGAZINE for an exclusive reveal of

 

 

 

 

16 minutes ago, 4815162342 said:

The furries are coming

 

 

I said what I said

[Ezen Baklattan]

Introducing Thomasin McKenzie and John David Washington.

 

Washington: Part of the thrill of performance is getting to work with incredible material. 

McKenzie: A script is the roadmap that carries a film to what it needs to be.

Washington: We know you already see how it works, so we'll cut to the chase. These five excellent features spun their own take on existing books, both literary, nonfiction, and graphic, thus comprising the five nominees for Best Adapted Screenplay.

 

The Bronx is Burning

Everything I Never Told You

Everything We Miss

The Space Between Trees

World of Trouble

 

Washington: The Academy award goes to...

 

Spoiler

THE BRONX IS BURNING

 

Cheo Hodari Coker, Kevin Willmott, and Steven Zaillian: We're not ones for big speeches, but thank you Academy for this wonderful honor. We can already tell it's gonna be a long night, wanna make it to the bar before commercials. I'm sure the lot of you understand.

 

Willmott gives a handshake to Washington before the three leave the stage.

[Ezen Baklattan]

McKenzie: These five films, on the other hand, forged material seemingly out of thin air, but inspiration can strike from life events, personal stories, and even a film you loved so much, you wanted to find a way to make something like it your own. For Best Original Screenplay, the Academy has nominated...

 

Holland Hannah

Learning to Care

Sandboy

Strangers in the Town

Sins of their Fathers

 

Washington: The Academy award goes to...

 

Spoiler

LEARNING TO CARE

 

Brett Haley: Thank you so much for this award. It means the world to me; so often, it's the people in life we take for granted who have the most human stories. When I knew I wanted to write a movie about those who work with children, the obvious answer felt like writing something about teachers. But there's more than just teachers and parents in raising a child, and I realized that in caring about those on-the-line workers, we could all... well, it's the title of the movie, you know? I'd like to thank my parents, my brother and the rest of my family for never discouraging my dreams in film, and this means so much to me. Thank you.

Edited September 11, 2021 by Ezen Baklattan

[Ezen Baklattan]

Song #3, Suburban Santa, is performed by Phoebe Wallers. The stage emulates one of her concerts with Christmas lighting lining the stage.

 

Henry Golding and Rachel Weisz are introduced.

 

Weisz: It can take a lot to make great visuals shine.

Golding: Not a lot for us two.

Weisz: A bit egotistical, don't you think?

Golding: Am I wrong?

Weisz: No.

Golding: And it's also not wrong to say that Cinematography is hailed as one of the richest elements of film creation for a reason. A film is only as good as what the camera can capture, as well as how it does to.

Weisz: Here are the nominees.

 

The Bronx is Burning

Everything I Never Told You

Floodbath

Holland Hannah

Sandboy

The Space Between Trees

 

Golding: Wait, there were six? Anyway, the Oscar goes to....

 

Spoiler

SANDBOY

 

Sturla Brandth Grøvlen: I was so pleased when Benh called me up for Sandboy. His shoots are always interesting and intimate in a sense that I rarely find on other films. I'd like to thank him for his push, and for being the reason the film truly resonates. Whereas I try to capture childhood, he knows it deeply, keeping it alive in himself. Thank you, Academy.

 

[Ezen Baklattan]

Introducing two legendary actors, Al Pacino and Robert DeNiro.

 

They do a bit where it feels like they're represing their roles from Heat. It's hard to pick up everything. Everyone just kind of plays along with it. Eventually, DeNiro breaks things up.

 

DeNiro: Okay, we should probably focus. Here are the nominees for Best Use of Action.

 

Castaways

Far Cry

Holland Hannah

The Last Airbender: The Boy in the Iceberg

Mass Effect: Revelation

 

DeNiro: The Oscar goes to.... *Pacino swipes the envelope and says the winner*

 

Spoiler

THE LAST AIRBENDER: THE BOY IN THE ICEBERG

 

We were not expecting this. With the kinetic energy of Holland Hannah and the pure poetic simplicity of Castaways, this was a year with a lot of great options to award in this category. We'd like to thank Jon for letting us work in this space, and the original animation team for giving us such great ideas to pull from. Thank you for this award, even if it doesn't feel like it belongs to us.

 

[Ethan Hunt]

Whoa hWhoasandboya

[Ezen Baklattan]

The time has come for our third preview of the evening.

 

Spoiler

Open to a POV shot staring up at treetops from the ground.

 

Ollie (Timothee Chalamet) lays down in a field of fallen leaves—somewhat frazzled, but at peace, whether he likes it or not.

 

Ollie (V.O.): I wish I could tell you how I really felt. But I can't.

 

Cut to a close-up shot of Ollie's body, which is carried over the shoulder of a serial killer as they walk through the woods.

 

Ollie (V.O.): That's because I'm not alive anymore.

 

Fade to black. (Cue a children's-choir-driven, orchestral rendition of "Follow You Follow Me" by Genesis.)

 

 

 

from

STUDIO GROUNDSWELL

 

A car pulls up to a secluded cabin in the woods. A group of young adults step out of the car and bring their belongings inside. This group includes James (Austin Abrams), Frank (Henry Hunter Hall), Anne (Tiffany Espensen), Gwen (Madison Iseman), Sarah (Rachel Sennott), and, of course, Ollie (Chalamet).

 

Frank: Things could go all Evil Dead on us in a cabin like this.

Anne: Don't even talk like that.

James: He does have a point. It's a perfect horror film setting.

Gwen: Perfect for something else, too, right? (twirls hair and eyes James in a sensual manner)

 

By the next shot, they're inside the cabin. Sarah looks around in awe. Ollie looks at her and smiles.

 

and the director of

The Saint

The Bone Collector

Rabbit-Proof Fence

and The Giver

 

Ollie storms out of the cabin.

 

Inside, Sarah paints on a canvas. She cranes her head and sees James and Frank hurrying to a window. Anne is reading next to a window.

 

James: Where's Ollie headed?

Anne: (staring at her book) He said he's going on a walk.

Frank: Alone?

 

Comes A New Vision

For Slasher Horror

 

In the woods, Ollie sees something and darts away. He's chased after and eventually pinned down. His pursuer raises a knife. Ollie, in vain, pleads for his life. The killer plunges the knife.

 

Cut to black, and quickly fade to Ollie standing alone in the woods—a doorway of white light appears before him, and a voice calls to him. But Ollie looks back toward the cabin.

 

Ollie: I'll be back. I promise.

 

He runs toward the cabin and away from the light.

 

(The song begins its chorus.)

 

- James and Frank argue about whether they should try to find Ollie.

- Anne says "there's something here with us, but I don't think it's harmful"—a voiceover as Sarah paints her Pollock-esque painting and an invisible poltergeist grabs paint and chucks it onto the Canvas. Sarah is scared at first, but begins to enjoy painting with the unknown entity, which is, of course, revealed to be Ollie. Another voiceover—"oh my god. Oh my god!"

- James and Gwen are alone in a separate one-room cabin, and they look out a window in fear. Out in the field is The Beekeeper (Caleb Landry Jones), a killer in a hornet mask, who is marching to them with a knife in his hand.

- The Beekeeper's voiceover as he attacks James and Gwen—"I will pick you off one by one."

- Ollie sprinting through the woods. His voiceover—"THOSE ARE MY FRIENDS!"

- A terra-cota flower pot "throws itself" at the Beekeeper's head. James runs away in fear, but Gwen, still inside, calls out for James to come back. The Beekeeper sets his gaze on her, but Ollie stands between Gwen and the killer.

 

Timothee Chalamet

 

- Ollie, in a florist's shop, happily collects flowers for a bouquet.

- Fade to Ollie on his back, frantically crawling backwards as he tries to escape The Beekeeper.

- Ollie paces in a leafy field, shouting at nothing in particular, saying "why should I have to wait around for Heaven if I'm already dead!"

 

Rachel Sennott

 

- Sarah roasts a marshmallow around a campfire, and she's cracking up at someone's comment.

- Fade to a quick car backseat POV shot of her in shotgun, where she stretches by placing her hands on the roof of the car and slides them backward—thus, toward the camera.

- Fade to Sarah backing up from her painting and staring at something in horror. Her voiceover—"I'm not letting you kill anyone else!"

- She takes a fire hydrant and bashes a wall in an attempt to escape the killer.

 

Caleb Landry Jones

 

- In a cave, The Beekeeper is on his knees, hovering over a female body that's chained up and lying on a bed of flowers. He lifts his head up and breathes in an exaggerated breath.

- The Beekeeper stumbles through the woods. His voiceover—"we're just pollen in the breeze. That's all we are. That's all we ever will be."

- The Beekeeper draws a bow and arrow. Frank and Anne are in a canoe on the lake, and they see his bow and arrow and react in fear. They jump out of the canoe, and we get underwater shots of them crashing through the water.

 

Final Flurry of Shots

- James hides behind a corridor; he is armed with a baseball bat.

- Anne hides underneath a dock.

- Frank catches his breath and looks around frantically in the woods.

- Gwen tries to crawl through a small gap near the floor of the one-room cabin.

- Ollie sprints on the lake, running toward the canoe.

- Sarah stands over something with a big rock, and she hurls the rock down on it.

 

Cut to black, and then fade to Sarah sitting under a tree and weeping. Ollie stoops to her and wipes away her tears. His voiceover—"you're going to live. Even if I can't."

 

The Last Victim

 

Only in Theaters April 18th, Y9

 

[Ezen Baklattan]

Please welcome to the stage, Benicio Del Toro!

 

Del Toro: A mysterious classmate obsessed with the darkness, a headstrong sister desparate to survive the end, a kindhearted caretaker exploring themselves, a starship captain with an ominous agenda, and a lesbian video game avatar. These are the five nominees for Best Supporting Actress.

 

Olivia Colman (Sins of their Fathers)

Spoiler

Staring into space, she talks into a video journal, her words narrating a montage of the scenes mentioned above about since the day her father was told that Earth was going to die, her parents, and then her, worked to find any way possible to save humanity, but she has realized the truth: Humanity is an ugly species that is selfish and cruel, and to tame the beast one must embrace the inner cruelty, so that the weakness and self-destructive tendencies can be purged. “Do I regret anything I have done? Only that I did not act sooner.”

 

Kaitlyn Dever (World of Trouble)

Spoiler

It’s maybe a year after Nico’s SAT test, and Hank finds her in the same barn, drinking more whiskey. They’re dressed up like they were at a funeral and we learn that their grandfather is dead. He had killed himself. Nico acidly comments “well guess that we’re adults he figured no reason to stick around. Fucker.” Hank says the loss of their grandmother, and their parents before that, hit him hard. Nico calls the guy a “rat-shit coward” for running away from his responsibility. The two sit, looking out the barn window, and Hank reaches for the flask and Nico, eyebrow raised, hands it to Hank, and Hank takes a big swig. Nico says she’s getting to be a bad influence on her big brother. Hank replies “Only about as much as I’m a good influence on you”, and the two share a laugh.

 

Brigette Lundy-Paine (Learning to Care)

Spoiler

After a brief silence, he asks if he’s the only coworker they came out too, and Ash answers that yeah. He seemed like he wouldn’t act weird about it like a lot of their friends did when they first came out. Rob points out that coming out as non-binary by following him on Twitter is a pretty nonchalant way to do it, and Ash teasingly asks him if he wanted a huge theatrical number about it. Rob says that he just thought it was cool, it’s just that they’ve never actually talked about it, and it meant a lot to him that Ash trusted him with this. Ash says that they’re friends, so of course they’d trust him.

 

Diana Silvers (The Space Between Trees)

Spoiler

The group heads to the table for dinner and Evie asks Hadley to pass her the bread. Hadley intentionally drops the basket but Evie catches it in time. Ray jokingly cries “watch out!” and Hadley softly repeats it to Evie. Ray compliments Evie’s reflexes and relates it to the time Elizabeth took tennis lessons. Hadley bursts out that Zabet threw her racket and Ray delightly remembers. Hadley’s demeanor changes and she sweetly asks Evie if she remembers that moment. Evie gawks awkwardly, unsure what to say, as Hadley prompts her about when it happened last Summer. Evie continues to flounder and forces out that Zabet threw the racket because she had a lot of spirit. Ray excitedly agrees, startling both girls. Hadley prompts Evie to tell her own story about Zabet, though Evie tries to shut her down, Ray softly agrees.

 

Tilda Swinton (Wii Fit)

Spoiler

[In The Trainer's yoga studio.] The session wraps up. Elise approaches The Trainer.

 

Elise: Hey. I'm planning a pizza party with the others. You wanna come?

 

The Trainer stares blankly—astonished by the notion.

 

The Trainer: Pizza?

Elise: Do you know what that is? You've had it before, right?

 

The Trainer thinks for a moment.

 

The Trainer: Why, I've never had pizza. I've been so focused on yoga that I suppose I never got around to it.

 

Del Toro: And the Oscar goes to...

 

Spoiler

BRIGETTE LUNDY-PAINE (LEARNING TO CARE)

 

This feels so weird! Uh, thank you. To win an award meant for actresses feels weird for this role, but Ash, like so many enby folks, doesn't feel comfortable being out at work. For them, that is a place they're uncomfortable being at the moment. To be honest, that's why I chose to submit my performance here. For the many aspiring actors who may think they're actresses now, like I was just a few years ago. I'd like to thank you all for this honor, one I know will follow me the rest of my life. I'd like to thank my family for supporting me and my partner, Jake. Jimmy, Nick and the rest of the cast, you were great to work with. And of course, I have to thank Brett, for not only casting me, but for writing such a delicate role for a non-binary performer like myself and then actually casting a non-binary actor in the role. It's still sadly quite rare those things happen, and the fact that I even got to play Ash meant the world to me. This? This feels unimaginable. Thank you so much.

 

[Ezen Baklattan]

David Byrne, accompanied by his American Utopia band and Ted Danson, perform a unique rendition of the fourth nominee for Best Original Song, I Don't Hate Everything.

 

Mads Mikkelsen and Natasha Lyonne follow the act.

 

Lyonne: Costumes. Gotta love em.

Mikkelsen: You don't have more of a bit?

Lyonne: I'm a busy woman.

Mikkelsen: I don't think you write these.

Lyonne: Someone's trying to sabotage me. I don't beleive it.

Mikkelsen: Let's cut this banter. You can go right to the award.

Lyonne: Thanks for the save. Here are the nominees for Best Costume Design.

 

The Last Airbender: The Boy in the Iceberg

The Lost Empire

Olive’s Hollowed Eve

Strangers in the Town

The World That We Knew

 

Lyonne: The Oscar goes to...

 

Spoiler

THE LAST AIRBENDER: THE BOY IN THE ICEBERG

 

Tim Yip: Thank you so much for this. Jon bringing me on board this project has been a professional joy; rarely do I get to work so hard to bring a new world to life for the first time. The original designs are iconic for a generation, and it was my pleasure to honor those while adding practicality and adjusting for a new medium. I'd like to thank my parents and my family as well.

 

[Ezen Baklattan]

Lyonne: ...why are we still up here.

Mikkelsen: I have another envelope.

Lyonne: God damnit.

Mikkelsen: I'll make it quick, here are the nominees for Best Makeup & Hairstyling.

 

Heartman

The Last Airbender: The Boy in the Iceberg

The Lost Empire

Mass Effect: Revelation

Olive’s Hollowed Eve

 

Lyonne: The Oscar goes to...

 

Spoiler

THE LAST AIRBENDER: THE BOY IN THE ICEBERG

 

Makeup artist: This team would like to thank Jon for bringing us onto this project. From the tattoos of an Airbender to the scars of a prince, there was a lot of opportunity to really let our work shine.

 

Hairstylist: And despite the lead having a shaved head, there was plenty of cool hairstyles to go around too!

 

Both: Thank you!

 

[Ezen Baklattan]

We interrupt this program for another message from Y9:

 

Spoiler

With no score in the background, we see a young man (Noah Centineo) walking in his house, headed towards the bathroom to wash his face. As he walks, he passes by a picture of himself, as a young child, with his two parents. The sorrow overtakes the look in his eyes.

 

Unknown male (Paul Giamatti) (O.S.): I did... everything to save them. When they died, I brought you in as my son. I made you who you are today!

 

A suspense crescendo begins. The young man then approaches the mirror and looks at his reflection. He clutches his hands aggressively.

 

Unknown male (Giamatti) (O.S.): So now... I want you to prove me you're grateful... again.

 

 

(0:00-0:40)

 

PHOENIX FIRE ENTERTAINMENT

 

ROCKSTAR GAMES

 

Jump cut to the body of a man who was shot in the heart. In the room, looking at his body, is the child version of Centineo's character. He is shaken by what he is witnessing. The voice of Giamatti's character calls upon him... "Kieran?", he says. The boy looks upwards. We match cut to Giamatti's character, a fat, middle-aged, brown-haired man with a smug smile in his face.

 

Giamatti's character: Welcome home.

 

Cut to Centineo as grown up Kieran.

 

Giamatti's character: It's time for your second trial to join our family.

Kieran: What if I just don't wanna do it?

Giamatti's character: (emotionless but firm) My son... do you really wanna find out?

 

Kieran holds his emotions back.

 

Cut to Kieran and a few other mob men driving to a forest. They are greeted to a couple other men.

 

Kieran (O.S.): What do you want me to do?

Giamatti's character (O.S.): You will deliever a package to these clients. They will pay extraordinarily well. Complete this job, and you will have passed the trial.

 

FROM S. CRAIG ZAHLER

DIRECTOR OF BONE TOMAHAWK AND DRAGGED ACROSS CONCRETE

 

Kieran has a package in his possession, and gives them to the clients.

 

Young female (Jaylen Barron) (O.S.): What exactly do you hide, Kieran?

 

Kieran is then seeing opening the package and putting his hand on it, to steal something. Cut to Kieran, looking determined.

 

Kieran (O.S.): All I want... is vindication.

 

(1:12-1:44)

 

BASED ON THE REVOLUTIONARY VIDEO GAME SERIES

 

We get a montage of the following:

 

- Kieran driving a car around like a madman, running over plants and getting over the sidewalk;

- A white middle aged police officer (Vince Vaughn) and his partner, a Filipino American younger officer (Michael Copon), looking at each other in a car;

- A middle aged white couple (Don Johnson and Jennifer Carpenter) looking confused;

- An African American girl (Jaylen Barron) looking worried, on the phone;

- Young Kieran getting punched by some men at Giamatti's character's house;

- Adult Kieran headbutting a man;

- Kieran speeding in his car and carreering off the road;

- Kieran walking and pointing a gun at someone.

 

Music stops.

 

Giamatti's character, on the phone, shaken: Kid... who do you think you are?

Kieran: I'm mob boss Bubby's son. (smiles)

 

(2:18-2:25)

 

 

 

NOAH CENTINEO

JAYLEN BARRON

VINCE VAUGHN

MICHAEL COPON

JENNIFER CARPENTER

with DON JOHNSON

and PAUL GIAMATTI

 

 

MEMORIAL DAY WEEKEND Y9

see it in IMAX

 

[Ezen Baklattan]

Introducing Carey Mulligan!

 

Mulligan: From live action CGI to straight up live action for a bit, to bursting off the screen in an animated world, these voice performances truly exemplify what's possible in our craft. Here are the nominees for Best Leading Voice Performance.

 

Sean Giambrone (New Tricks)

Spoiler

We cut to Greg and Ken walking outside.

 

Greg: So you throw the ball, I run to it, I bring it back, and we do that over and over again?

Ken: Yeah, that’s fetch.

Greg: Well, I don’t know, Dad—that sounds really repetitive, and I shouldn’t be getting slobber on our baseball, and—

 

Ken tosses the ball up and down in his hand. Greg looks at it and fixates on it; he wags his tail and pants. Ken smiles and tosses the ball across the yard—Greg runs to get it, and when bringing it back, he drops the ball at Ken’s feet and looks up at him.

 

Greg: Again.

 

Anna Kendrick (The Un-Title-Able Squirrel Girl Sequel)

Spoiler

Kim asks about Doreen’s next plan after Squirrel Girl much to her confusion as Kim notes Doreen is getting older and not handling herself as well, as the conversation escalates as Doreen feels more pressure. Doreen notes she’s fine but needs to take a walk and will meet them at the showcase.  

 

George MacKay (Everything We Miss)

Spoiler

“It’s not my fault you’re a miserable [****] who never wants to do anything fun,” Will recites to himself in a murmur, staring at his pint. With the drink having fizzled hours ago, he finally looks around to see how busy the rest of the establishment has grown since he entered. Like they hadn’t noticed him as they walked in, he barely noticed as they crowded up the place.

 

He grabs his glass and walks into the crowd, not saying a word to anyone but still hoping he can bump into someone to talk to.

 

 

“Just cruising the town… having a good time… how hard can it be…?”

 

 

His attempts to establish contact with anyone, man or woman, prove unsuccessful. Instead, he finds an empty table at a far off corner. He’s not ready to give up just yet, though.

 

 

“I just need to set up base… pretend I’m checking my phone… wait for anything to happen… that won’t take long, right?”

 

Raven Symone (Up in the Sky)

Spoiler

On her trip back home, she notices a visibly upset Kelly, who just skims through the usual mom questions ("how was your day?", etc.), and she asks her mom what is going on. Kelly says everything is fine. Love says that her face and "her voice" says otherwise. Kelly almost asks her how does she know what her voice sound like, but stops herself from doing that and instead kisses her daughter and says she loves her. When they get back home, on the kitchen table, Love finds an empty wine bottle... and a resignation letter signed by Kelly. She is taken aback.

 

Zendaya (Olive's Hallowed Eve)

Spoiler

Olive isn’t entirely opposed but states that for Martini’s first actual Halloween, an office party isn’t exactly getting to the heart of what Olive and so many others love about the holiday. It’s a start, but it’s not the whole thing. Martini says he does have tomorrow off, and maybe they can trick-or-treat then instead? Olive says she’s not sure it works like that, but they can try. Olive apologizes for being a little cold at dinner, and Martini says he wasn’t bothered. He asks her how the book writing went, and Olive just sighs. Martini tells her if she ever needs to talk about anything, he’s for her. She is still more important to him as a friend than his job would ever be. Olive thanks him for this, but insists she’s fine.

 

Mulligan: And the Oscar goes to...

 

Spoiler

ZENDAYA (OLIVE'S HALLOWED EVE)

 

Thank you so much. This has really been a journey, playing Olive. What started as a chance to work with a director I really admire became a character that I feel truly close to. And although I know this go-around it wasn't fully a voice role, I do appreciate this award. Because when it comes down to it, Olive is who she is not just because of me, but because of the wonderful animators and visual effects workers. I only bring the voice to her; it's a group effort to really bring her alive. Thank you Taika and Jemaine, for giving me such a great role to play, hopefully for years to come, but if this is it, it still is a duo of movies I'm insanely proud of. Thank you Mom and Dad, and everyone else who has helped me on this great journey that is acting. Thank you so much, Academy, this means so much. Thanks!

 

[Blankments]

We interrupt this program with another commercial, for a film coming December...

 

 

[SLAM!]

1 minute ago, Blankments said:

We interrupt this program with another commercial, for a film coming December...

 

 

 

That'll win Best Use of Action for sure!

[Ezen Baklattan]

Now for two of the stars of Olive's Hallowed Eve, Ted Danson and Jake Gyllenhaal.

 

Gyllenhaal: It's been said that we both gave delightfully cartoonish performances.

Danson: Yeah, like we're animated.

Gyllenhaal: No. We're people.

Danson: Have some real animation! Don't try to paint us as what we're not!

Gyllenhaal: Here are the nominees for Best Animated Feature.

 

Everything We Miss

Funny Business

The Un-Title-Able Squirrel Girl Sequel

 

Danson: And the winner is...

 

Spoiler

EVERYTHING WE MISS

 

Thank you for these two Academy Awards, maybe three in a bit! We don't know! Also apologies, I'm not one for public speaking, but I truly appreciate the support you gave this project. Okay, I'm off.

 

[Alpha]

3 minutes ago, Blankments said:

We interrupt this program with another commercial, for a film coming December...

 

 

 

Wow, impressive song choice. Wonder where the WB marketing department got the inspiration to use "White Rabbit" in its entirety for a trailer.

[Rorschach]

Welp, if I was gonna lose to someone, I'm glad it was Zendaya.

[Ezen Baklattan]

Flightless Bird is the final song of the night. Sting performs it on guitar. It is dedicated to those who lost their lives due to Boeing's negligence.

 

Commercial break because it would be weird to follow that with Eric Andre, Lil Rel Howery, and Tiffany Haddish. All are wearing ridiculous, camp sci-fi costumes.

 

Haddish: We're here to blow the mind.

Howery: We're here to make you see werid stuff.

Andre: We're here to show you. SAND.

 

*They do weird stuff with bizarre sound and light effects.*

 

Andre: And all of those...were visual effects.

Howery: And sound effects.

Haddish: Five had the very best of last year.

Andre: They blew our minds.

Howery: Here are the nominees for Best Visual Effects.

 

The Last Airbender: The Boy in the Iceberg

Mass Effect: Revelation

Mighty Fall

Sandboy

Up in the Sky

 

Haddish: The Oscar goes to...

 

Spoiler

THE LAST AIRBENDER: THE BOY IN THE ICEBERG

 

We're beyond ecstatic to be part of the creative and technical team of this extraordinary film that have been honored tonight. Thank you for supporting us every step of the way. To all the other nominees, we are proud to have been nominated among you, and you each brought something truly unique and incredible to the table. To have such talented peers makes this craft deeply rewarding.

 

 

[Ezen Baklattan]

And now, a special message from....me?!

 

Spoiler

 

*Establishing shots of a dead mall, clearly dated in its 80s or 90s, but with a bright neon aesthetic of the time showing, set over radio silence and filmed from the perspective of an abandoned shop interior. A few blurry individuals walk past the scene.*

 

*A woman (Zendaya) walks through the mall's interior.*

 

Stephanie (Zendaya): Hello?

 

*A woman storms out of a bathroom hall (Toni Collette), tumbling towards the ground, coughing up a lung.*

 

Meredith (Collette): Oh, I'm fine? Huh. Well, sorry. Didn't mean to spook ya.

Stephanie: I think I'm spooked enough at this point. You're not making a difference.

Meredith: I don't even know how it started. I just remembered being somewhere else. You feel the same way?

Stephanie: Like you wanna just spew everywhere?

Meredith: ...no.

 

*Stephanie flashes back to a falling electrical wire and the streams of strangers.*

 

Stephanie: Oh, that whole thing. It's hard to explain. I just know that I'm not supposed to be here.

 

 

(0:04) FROM TAIKA WAITITI

 

*Five more strangers appear in the mall, Eli, an old magician (Richard E. Grant), Diego, a young hacker (Anthony Ramos), and Thom, a charming billionaire heir (Sam Heughan)*

 

(0:15) The director of OLIVE THE OTHER REINDEER and JOJO RABBIT

 

*Jump a bit to 0:34*

*Sam is sitting in his home, putting on his costume with a glum look*

*Diego escapes into a city subway line, holding a tablet for dear life*

*Meredith sits in a kitchen, drinking coffee*

 

Stephanie: I just know we're here for a reason.

 

*Thom and Stephanie sit on a yacht together, but something seems artificial.*

 

Thom: Don't tell me you're one of those laws of attraction bozos.

Stephanie: I'm not. Have you been in a situation like this?

Thom: What's the last thing you remember before coming here?

 

*We see edited shots of children screaming, paramedics being called, a ship crashing, an elevator closed down, and police cars pulling up to a crowded block. Cut to black while the music stops.*

 

Diego: Oh my god, I think we're dead.

Jack (Taika Waititi): Took you long enough to remember that little detail!

 

*The directory map of the mall turns into an anthropomorphic blocky character, voiced by Waititi.*

 

Jack: Welcome to the In Between Center.

Eli: Wait, is this heaven or?

Jack: Hell? I never understood why you treated that word as total profanity. It's so bizarre. It's like if I said to you, hey, hey. Listen closely. See you in Arizona!

*awkward silence*

Jack: See, it doesn't make it any sense.

Eli: Can you just get to the point?

Jack: Ugh, fine. Something something purgatory purgatory I'll bring the worthiest of you back to life and there's twenty four - 

 

*The five souls' eyes widen, staring at each other in disbelief.*

 

Jack: This is new territory for me. I don't want to get in trouble, so we'll have to make this quick.

 

(4:28)

*Meredith runs through the streets excitedly, holding a phone close to her head.*

*Eli looks at the sunlight and smiles.*

 

(4:29) RICHARD E. GRANT

*Eli does a magic trick and later gives Meredith a hug.*

 

ZENDAYA

*Stephanie gives a speech to a college lecture hall and laughs with her friends.*

 

TONI COLLETTE

*Meredith sits in the back of a theatre and looks through video boxes in the mall.*

 

ANTHONY RAMOS

*He opens a door and looks around, then plays Dance Dance Revolution*

 

SAM HEUGHAN

*He kisses a woman and runs towards a glass bottle on a bar*

 

and TAIKA WAITITI

*The neon lights in the mall form a shape similar to the map earlier, winking.*

 

*A montage of snippets of their past lives, and snippets of a mysterious chase through the facility, are seen, but are too hard to make out by and large. The five try to make do in the mall, but it's clear that something truly fantastical is going on here.*

 

Stephanie: No matter what, we won't remember what happened here?

Jack: You're not supposed to know I exist. Would cause a BIG poop storm down below. If you do remember and write a tell all novel, *he raspberries* we're sending a lightning bolt on your butt. So don't!

Diego: If we have to put up with this for twenty four hours, I'll volunteer to meet my maker early. Good luck to the rest of ya.

 

THE WAITING ROOM

RICHARD E. GRANT - ZENDAYA - TONI COLLETTE - ANTHONY RAMOS - SAM HEUGHAN - TAIKA WAITITI

Original Score by Dan Romer - Costume Design by Traycee Gigi Field - Production Design by Stefania Cella

Cinematography by Natasha Braier - Film Editing by Pamela Martin

Produced by Michelle Haywood, Taika Waititi, Carthew Neal, Kimberly Steward

Written and Directed by Taika Waititi

 

COMING Y9