‘Oppenheimer’ Keeps Devouring Awards with Top Prize at Producers Guild, with Oscars up Next 

Christopher Nolan, nominated for Best Director for "Oppenheimer" which is also nominated for Best Adapted Screenplay and Best Picture, and his wife Emma Thomas, producer of "Oppenheimer", attend the Nominees Luncheon for the 96th Oscars in Beverly Hills, California, US, February 12, 2024. (Reuters)
Christopher Nolan, nominated for Best Director for "Oppenheimer" which is also nominated for Best Adapted Screenplay and Best Picture, and his wife Emma Thomas, producer of "Oppenheimer", attend the Nominees Luncheon for the 96th Oscars in Beverly Hills, California, US, February 12, 2024. (Reuters)
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‘Oppenheimer’ Keeps Devouring Awards with Top Prize at Producers Guild, with Oscars up Next 

Christopher Nolan, nominated for Best Director for "Oppenheimer" which is also nominated for Best Adapted Screenplay and Best Picture, and his wife Emma Thomas, producer of "Oppenheimer", attend the Nominees Luncheon for the 96th Oscars in Beverly Hills, California, US, February 12, 2024. (Reuters)
Christopher Nolan, nominated for Best Director for "Oppenheimer" which is also nominated for Best Adapted Screenplay and Best Picture, and his wife Emma Thomas, producer of "Oppenheimer", attend the Nominees Luncheon for the 96th Oscars in Beverly Hills, California, US, February 12, 2024. (Reuters)

With two weeks to go before the Oscars, "Oppenheimer" looks unstoppable.

Director and producer Christopher Nolan’s tale of the life of J. Robert Oppenheimer and the birth of the atomic age won the top prize Sunday at the 35th Producers Guild of America Awards — a frequent predictor of Oscar best picture winners — the night after doing the same at the Screen Actors Guild Awards.

"Oppenheimer" won the PGA's Darryl F. Zanuck Award for Outstanding Producer of Theatrical Motion Pictures over the exact same set of 10 nominees up for best picture at the March 10 Academy Awards, including "Barbie,Poor Things" and "Killers of the Flower Moon," whose director, Martin Scorsese, was honored Sunday for his concurrent career as a producer.

The Zanuck Award winner has gone on to take the best picture Oscar for five of the past six years, and 12 of the past 15, including last year with "Everything, Everywhere All At Once."

From the stage at the Ray Dolby Ballroom in Hollywood, in the same complex where the Academy Awards will be held at the Dolby Theatre, Nolan thanked his fellow producer Charles Royen for giving him "American Prometheus," the book that led to "Oppenheimer," and "starting a chain reaction that’s spread all over the world."

Earlier in the show, Robert Downey Jr. called it "the highest-grossing film about theoretical physics yet made."

Downey on Saturday won best supporting actor at the SAG Awards, where "Oppenheimer" also won best ensemble, part of an awards season sweep that also included wins at the Golden Globes and Directors Guild Awards.

"Succession" and "The Bear" took the top television prizes at the PGA Awards after doing the same at the SAG Awards and last month's Emmy Awards.

"Spider-Man: Across the Spider-Verse," nominated for the animated feature Oscar, won the PGA's animated motion picture award. Its predecessor, "Spider-Man: Into the Spider-Verse," won the PGA award in 2019 before going on to win the Academy Award.

Scorsese joined Tom Cruise, Steven Spielberg and Kevin Feige as winners of the David O. Selznick award for an outstanding body of work as a producer of motion pictures.

Scorsese said the first film he remembers seeing, at age 4, was the Selznick written and produced "Duel in the Sun."

"It was condemned by the Catholic church, and my mother wanted to see it," Scorsese told the audience. "She said, ‘The kid likes westerns, I’m taking him.’"

Scorsese said: "The very first impact of classic Hollywood cinema starts right there for me. Slashes of color, movement, the landscapes, stunning set pieces."

He called them "Proustian sense memories" of early cinema.

"I was frightened by them," he said, "and thrilled."

The 81-year-old said he was grateful for the privilege of getting to spend his life exploring "beauty that’s at the core of what we all strive to do."

Scorsese-produced films include his own "Hugo,The Wolf of Wall Street,Silence" and "Killers of the Flower Moon," along with dozens of films for younger directors including Spike Lee’s "Clockers," the Safdie brothers’ "Uncut Gems" and Joanna Hogg’s "The Souvenir."

Other career achievement awards went to producers Charles D. King and Gail Berman.

King became the first Black winner of the PGA's Milestone Award, whose previous winners include Walt Disney, Clint Eastwood and George Lucas, for historic career contributions to the motion picture industry.

King was lauded for leaving his job as a Hollywood agent in 2015 to found MACRO, a media company dedicated to amplifying the voices of black artists and other people of color.

The company has produced films including 2016's "Fences" starring Denzel Washington and Viola Davis, who won an Oscar for the role, and 2021's "Judas and the Black Messiah," for which King was personally nominated for an Oscar as a producer.

King thanked "our ancestors who kicked down doors, made sacrifices and blazed a trail for me to be able to do what I’m blessed to do."

Berman, the only woman to have held the top job at both a major film company and television network, was given the Norman Lear Achievement Award in Television. Berman was the driving force behind the creation and airing of "Buffy the Vampire Slayer," whose star, Sarah Michelle Gellar, presented her with the award.

"Not a single person on this earth was interested in buying that television show," Berman said. "But I just couldn’t ignore my gut telling me there was something unique there."

The PGA announced an initiative during the show that seeks to provide healthcare coverage for its member producers who are not covered other ways. Members of the actors and writers guilds have long used the unions for health insurance.

"Producers deserve to be covered," PGA Co-President Stephanie Allain said.

The effort involves asking production companies, including major studios and streamers, to include contributions to producers’ health coverage on its production budgets.

Film companies Blumhouse, Legendary and King's MACRO already have signed on.



Blake Lively Sues ‘It Ends With Us’ Director Justin Baldoni Alleging Harassment and Smear Campaign

Blake Lively attends the LACMA Art+Film Gala at the Los Angeles County Museum of Art (LACMA) in Los Angeles, California, on November 2, 2024. (AFP)
Blake Lively attends the LACMA Art+Film Gala at the Los Angeles County Museum of Art (LACMA) in Los Angeles, California, on November 2, 2024. (AFP)
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Blake Lively Sues ‘It Ends With Us’ Director Justin Baldoni Alleging Harassment and Smear Campaign

Blake Lively attends the LACMA Art+Film Gala at the Los Angeles County Museum of Art (LACMA) in Los Angeles, California, on November 2, 2024. (AFP)
Blake Lively attends the LACMA Art+Film Gala at the Los Angeles County Museum of Art (LACMA) in Los Angeles, California, on November 2, 2024. (AFP)

Actor Blake Lively sued "It Ends With Us" director Justin Baldoni and several others tied to the romantic drama on Tuesday, alleging harassment and a coordinated campaign to attack her reputation for coming forward about her treatment on the set.

The federal lawsuit was filed in New York just hours after Baldoni and many of the other defendants in Lively's suit sued The New York Times for libel for its story on her allegations, saying the newspaper and the star were the ones conducting a coordinated smear campaign.

The lawsuits are major developments in a story emerging from the surprise hit film that has already made major waves in Hollywood and led to discussions of the treatment of female actors both on sets and in media.

Lively's suit said that Baldoni, the film's production company Wayfarer Studios and others engaged in "a carefully crafted, coordinated, and resourced retaliatory scheme to silence her, and others, from speaking out."

She accuses Baldoni and the studio of embarking on a "multi-tiered plan" to damage her reputation following a meeting in which she and her husband, actor Ryan Reynolds, addressed "repeated sexual harassment and other disturbing behavior" by Baldoni and a producer Jamey Heath, who is also named in both lawsuits.

The plan, the suit said, included a proposal to plant theories on online message boards, engineer a social media campaign and place news stories critical of Lively.

The alleged mistreatment on set included comments from Baldoni on the bodies of Lively and other women on the set.

Baldoni's attorney Bryan Freedman did not immediately respond to a request for comment on Lively's lawsuit. But he previously called the same allegations "completely false, outrageous and intentionally salacious."

Lively's lawsuit comes the same day as the libel lawsuit filed in Los Angeles Superior Court by Baldoni and others against the Times seeking at least $250 million. The Times stood by its reporting and said it plans to "vigorously defend" against the lawsuit.

Others who are defendants in Lively's suit and plaintiffs in the libel suit include Wayfarer and crisis communications expert Melissa Nathan, whose text message was quoted in the headline of the Dec. 21 Times story: "‘We Can Bury Anyone’: Inside a Hollywood Smear Machine."

Written by Megan Twohey, Mike McIntire and Julie Tate, the story was published just after Lively filed a legal complaint with the California Civil Rights Department, a predecessor to her new lawsuit.

The libel lawsuit says the newspaper "relied almost entirely on Lively’s unverified and self-serving narrative, lifting it nearly verbatim while disregarding an abundance of evidence that contradicted her claims and exposed her true motives. But the Times did not care."

A spokesperson for the Times, Danielle Rhoades, said in a statement that "our story was meticulously and responsibly reported."

"It was based on a review of thousands of pages of original documents, including the text messages and emails that we quote accurately and at length in the article. To date, Wayfarer Studios, Mr. Baldoni, the other subjects of the article and their representatives have not pointed to a single error," the statement said.

But Baldoni's lawsuit says that "If the Times truly reviewed the thousands of private communications it claimed to have obtained, its reporters would have seen incontrovertible evidence that it was Lively, not Plaintiffs, who engaged in a calculated smear campaign."

Lively is not a defendant in the libel lawsuit. Her lawyers said in a statement that "Nothing in this lawsuit changes anything about the claims advanced in Ms. Lively’s California Civil Rights Department Complaint, nor her federal complaint, filed earlier today."

The romantic drama "It Ends With Us," an adaptation of Colleen Hoover’s bestselling 2016 novel, was released in August, exceeding box office expectations with a $50 million debut. But the movie’s release was shrouded by speculation over discord between Lively and Baldoni. Baldoni took a backseat in promoting the film while Lively took centerstage along with Reynolds, who was on the press circuit for "Deadpool & Wolverine" at the same time.

Lively came to fame through the 2005 film "The Sisterhood of the Traveling Pants," and bolstered her stardom on the TV series "Gossip Girl" from 2007 to 2012. She has since starred in films including "The Town" and "The Shallows."

Baldoni starred in the TV comedy "Jane the Virgin," directed the 2019 film "Five Feet Apart" and wrote "Man Enough," a book pushing back against traditional notions of masculinity. He responded to concerns that "It Ends With Us" romanticized domestic violence, telling the AP at the time that critics were "absolutely entitled to that opinion."

He was dropped by his agency, WME, immediately after Lively filed her complaint and the Times published its story. The agency represents both Lively and Reynolds.

Baldoni's attorney, Freedman, said in a statement on the libel suit that "the New York Times cowered to the wants and whims of two powerful ‘untouchable’ Hollywood elites."

"In doing so, they pre-determined the outcome of their story, and aided and abetted their own devastating PR smear campaign designed to revitalize Lively’s self-induced floundering public image and counter the organic groundswell of criticism amongst the online public," he added. "The irony is rich."