Check out the Oscar winners’ reactions from backstage, plus candid red carpet photos and video below:
Daniel Day Lewis, Best Actor for “Lincoln” — “I think I’m definitely out of character at this moment, but if I slip back into it by mistake you can do an intervention of some kind. The Heimlich maneuver.” He elaborated on his comment about his wife living with multiple men; “She knew how to handle all of them. In their own particular way. Yeah. Ha, ha, ha, ha!”
On his speech: “I wish. No, they haven’t. If you can’t find the words for occasions like this, it would be kind of sad. I kind of love it when people are completely inarticulate when making speeches.” How about wearing that Lincoln beard? “How do you mean wearing it? Do you wear your hair? No, it’s just a beard. No, it’s mine. My very own beard.” What’s next? “It’s really hard to think of doing anything after this.”
Jennifer Lawrence, Best Actress for “Silver Linings Playbook” — “It’s just so bizarre in this world…as soon as you have to take medication for your mind, there’s such a stigma for it.” She hopes the movie helps, and knows David O. Russell will never stop fighting. “The process getting ready was so hard, I felt like Steve Martin in ‘Father of the Bride.'” She’s giggly and admits, “Sorry, I did a shot before I came in here.” Someone asks her if she’s afraid of peaking too soon, she throws her arms up, “I hope not!”
Christoph Waltz, Best Supporting Actor for “Django Unchained” — Has he considered working with Quentin Tarantino again? “This is seven moments old, so somehow I forgot to catch the moment to remind Quentin that’s I’m around.” But he adds, “Quentin writes poetry, and I like poetry.”
“When I read the script for the first time, I realized that there was something special about this film. I know Quentin and I read the pages more or less as they came out of the printer. Page by page, I realized that something special was in the making.”
“The fact that I was nominated with [these other nonimees]–I don’t know if it can mean more, but if it can, than it does.”
Quentin Tarantino, Best Original Screenplay for “Django Unchained” — “There’s nothing about these movies in the subject matter that suggests they’d be popular. Not making every movie for teenagers is kind of a cool thing, especially now that I’m not a teenager anymore.” On the film’s global popularity; “I’ve actually always prided myself on being an international filmmaker. I’m not an American filmmaker. I’m an American and I’m a filmmaker, but I make movies for the planet Earth, and I have from the very beginning, since Reservoir Dogs. To me, America is just another market. I make my movies for Earth.”
Anne Hathaway, Best Supporting Actress for “Les Miserables” — “I do feel this evening the respect of my peers and I’m going to ride that wave as long as I can. But you’re always looking for your next job.”
Mark Andrews, Brenda Chapman, Best Animated Featured for “Brave” — “It is absolutely a vindication,” Chapman says on winning, after being replaced by Andrews. “I wanted to honor her when I came on board,” he says, and she agrees that he did.
Adele Adkins & Paul Epworth, Best Original Song for “Skyfall” — “Maybe I’ll do an HBO special like Beyonce did,” she joked about getting closer to EGOT. But first, she plans to go to the Vanity Fair party, but “I have to get up at 6. One glass of champagne and I’m gone these days.”
Claudio Miranda, Best Cinematography for “Life of Pi”— “I really thought this movie was going to be smaller than it was. This movie was really supported by the studios.” Miranda is Chilean born and would love to return to do a small project there.
Multiple winners, Visual Effects for “Life of Pi” — The winners states, that “We aren’t just technicians; we’re artists” and add that the film really shows that visual effects is part of filmmaking. Visual effects has gotten to the point where it is about artistry going forward.
Jacqueline Durran, Best Costume Design for “Anna Karenina” — “The director always has a plan, and then he uses it it ways you’d never imagine.” She gushes about working with Joe Wright and dressing Keira Knightley.
Malik Bendjelloul & Simon Chinn, Best Documentary for “Searching for Sugar Man” — They thought “The Gatekeepers” was going to win, but are happy to be proven wrong. They plan to celebrate at the Vanity Fair Party. Bendjelloul happily says, “As we speak, Rodriguez has three albums on the chart.” Why ins’t the star here? “He’s been touring in South Africa, so he’s kind of tired. He genuinely didn’t want to take credit for this. This was Malik’s movie.”
Paul Ottosson, Best Sound Editing for “Zero Dark Thirty” (tie) — “Just before our category came up another fellow nominee sat next to me and I said, ‘What if there’s a tie, what would they do?’ and then we got a tie. It’s quite extraordinary,..Anytime that you get involved in some kind of history making, that would be good. Paul [Hallberg] (Skyfall) is also a very good friend of ours… We could have shared this with anyone one of [the nominees] and it would have felt quite right.”
Karen Baker Landers and Per Hallberg, Best Sound Editing for “Skyfall” (tie) — On being the only woman nominated, Landers says “It’s an honor to represent women in the industry and hang with the big boys; I just hope I represent well.”
William Goldenberg, Best Editor for “Argo” (he was also nominated for “Zero Dark Thirty”) — “Ben leads by being inspiring and powerful…George and Grant were perfect producers…they stayed back and let us do our jobs and just guided us in the way that great producers do.”
Lisa Westcott & Julie Dartnell, Best Hair and Makeup for “Les Miserables” — They praised Anne Hathaway’s haircut; “That decision was hers before we were even a twinkle in the eyes of the producers. It was a wonderful opportunity for her. We could have easily done it with wigs and a bald cap, it would have been very easy to do, but she really wanted to do it herself, and I think the whole crew was as emotional as she was.” Of difficulties, they say; “It was very important to make sure that everything was spot on before the cameras turned.”
Andy Nelson, Mark Paterson & Simon Hayes — Best Sound Mixing for “Les Miserables” — “All the actors knew what we were doing was ground breaking,” Hayes says says of their live singing, “There were so many challenges, so many noises we had to cut through. When a musical is sung through like this one, it’s very hard to go from song to song.”
Rick Carter, Production Design for “Lincoln” — He calls the film “a culmination of a series of movies that Steven has done that have dealt with the nature of war,” noting “Munich,” “War Horse” etc. “This film was really about “creating a portrait.”