BEST MOTION PICTURE DRAMA
GRAHAM KING: Wow. Now, that was unexpected. Thank you so much to the Hollywood Foreign Press Association. That's amazing.
The power of movies is that it brings us all together. Freddie Mercury and Queen did that so successfully through their music, and that's what we always wanted to accomplish in the cinemas. To see that magic come alive and to see the incredible response of this film has been truly humbling to everyone.
I want to thank everyone. A huge thank you to Brian May, Roger Taylor.
This is my producing partner, "Miami" Beach. I want to thank him.
Thank you so much for trusting me to put your lives on the screen. I know how tough that is.
Thank you to everyone at Fox and New Regency. Stacy Snider, Emma Watts. Big thank you to Kira Goldberg, Yori Melcham*. And a huge, special thank you to Arnon. I want to thank Denis O'Sullivan for all his hard work. To our incredible cast and crew, I wish I could thank them all. There's just so many of them.
One person I do want to say deserves a special mention is the guy who just where is he? Rami Malek, guys. I mean, come on. What a performer. Unbelievable.
All my family, Haley, Sammy, wherever you are.*.
I know I've forgotten some people, and I apologize for that.
And finally, to Freddie Mercury. Thank you for showing us the power of embracing your true self. This one's for you.
Thank you so much.
BEST ACTOR MOTION PICTURE, DRAMA
RAMI MALEK "BOHEMIAN RHAPSODY"
RAMI MALEK: Oh, my God. Oh, I am beyond moved. I am beyond moved. My heart is pounding out of my chest right now. This is a profound honor to receive this and to be counted among such extraordinary actors. I am privileged to be counted among you, truly, and to be in the movement with all of you. Thank you to the Hollywood Foreign Press Association for this incredible recognition. I have to thank everyone who worked so tirelessly to make this film what it is and, in the process, gave me this incredible family, this ensemble of actors, wherever the hell you are right now, celebrating. I am going to tackle you in a moment. I'm going to jump all over you guys. I have to thank I have to thank Graham King and Denis O'Sullivan. You've worked over a decade to ensure that this story was told. Thank you, man. Thank you. Thank you to Fox, 20th Century Fox, New Regency. You guys, you believed in us when so few would, and I appreciate that so much. Wow. I've got to thank my mom and my family. I've got to thank Doug Lucterhand, Cynthia Pett, Annabel Gualazzi, Ben Curtis, Marissa Martins, and Michele Margolis for all of this. And, of course, to Queen. To you, Brian May. To you, Roger Taylor, for ensuring that authenticity and inclusivity exists in the music and in the world and in all of us. Thank you to Freddie Mercury for giving me the joy of a lifetime. I love you, you beautiful man. This is for and because of you, gorgeous.
(Kisses the air)
BEST ACTRESS MOTION PICTURE, DRAMA
GLENN CLOSE "THE WIFE"
GLENN CLOSE: Thank you. Thank you. Oh, my gosh. I'm just thank you so much, Hollywood Foreign Press. This is such a great honor. And I'm so honored to be with my category sisters. And we've gotten to know each other a little bit so far, and I can't wait to spend more time with you. I'm so everything that you did this year or what you're here for is we all should be up here together. That's all I can say. Oh, my God. I just don't believe it. I want to thank Meg Wolitzer for writing this incredible novel and Jane Anderson for adapting it. Rosalie Swedlin and Claudia Bluemhuber for their passion. It took 14 years to make this film. And I was attached to it, thanks to my wonderful Kevin Huvane and Franklin Ludd, who were behind me and said, "Yes, this is a great story, and we need to stay with it until it happens." And, you know, it was called "The Wife." I think that's why it took 14 years to get made. But anyway, to play a character is so internal. And I'm thinking of my mom, who really sublimated herself to my father her whole life. And in her 80s she said to me, "I feel I haven't accomplished anything." And it was so not right. And I feel what I've learned through this whole experience is that, you know, women, we're nurturers. That's what's expected of us. We have our children. We have our husbands, if we're lucky enough, and our partners, whoever. But we have to find personal fulfillment. We have to follow our dreams. We have to say, "I can do that, and I should be allowed to do that." So I you know, when I was little, I felt like Mohammad Ali, who was destined to be a boxer. I felt destined to be an actress. I saw the early Disney films and Hayley Mills, and I said, "Oh, I can do that." And here I am today. It will have been 45 years in September that I am a working actress, and I cannot imagine a more wonderful life. Thank you, Björn Runge, who is here, who directed "The Wife," who trusted the close up, who knew where to put the camera and how to light us. Jonathan Price, what a great partner. My daughter Annie, who laid the foundation of this character. I love you, my darling. Thank you so much.
BEST MOTION PICTURE MUSICAL OR COMEDY
PETER FARRELLY: Oh, my God. Wow. That's unbelievable. I'm just so grateful. Thank you very, very much.
First of all, I want to thank the Hollywood Foreign Press. This is beyond anything we ever imagined when we started shooting this thing. Thank you so much.
I want to thank my wife, Melinda. Best thing that ever happened to me right there. And my kids, Bob and Apple, who weaseled their way up here (indicating). They're the greatest.
I want to thank all the hard-working people at Universal. First of all, Participant, you guys turned it around. You're the ones that jumped on board first and I'm so grateful.
I want to thank everybody at Universal. I want to thank DreamWorks, Focus, Ted Virtue. Octavia Spencer
as beautiful as she is, she's even kinder and more intelligent inside. She's the best thing that happened to this movie. Thank you very much.
I want to thank Charlie Wessler, Jim Burke, Pete Hammond.
Now let's go to the big boys. I want to thank Viggo Mortensen and Mahershala Ali. This movie does not get made without them.
I want to thank Linda Cardellini. Unbelievable. The heart and soul of the movie.
I want to thank the great Sean Porter, our DP.
I want to thank Kris Bowers, who did the music for this movie. Incredible guy.
Kwame Parker, you up here somewhere? Kwame, everybody, thank you so much.
"Green Book" is the story of a trip that Don Shirley and Tony "Lip" Vallelonga please no. Turn that off. No. Go away. Off.
Okay. It's the story of the trip that Don Shirley and Tony "Lip" Vallelonga took in the pre Civil Rights era of a 1960. Don Shirley was a great man and an underappreciated genius who couldn't play the music he wanted to play simply because of the color of his skin. Yet he went on to create his own genre of music, a sound so beautiful that it still resonates today.
Tony Vallelonga came from an immigrant family in the Bronx and from a culture that didn't value diversity or individuality. Yet during that trip with Dr. Shirley, he grew and evolved more than most families do over several generations.
This story, when I heard it, gave me hope, and I wanted to share that hope with you. Because we're still living in divided times, maybe more so than ever. And that's who this movie's for. It's for everybody. If Don Shirley and Tony Vallelonga can find common ground, we all can. All we have to do
All we have to do is talk and to not judge people by their differences, but look for what we have in common. And we have a lot in common. We all want the same thing. We want love. We want happiness. We want to be treated equally. And that's not such a bad thing.
Thank you very much. I appreciate it.
BEST ACTRESS MOTION PICTURE, MUSICAL OR COMEDY
OLIVIA COLMAN "THE FAVOURITE"
OLIVIA COLMAN: Hello. Oh, lighting. Thank you so much. I'm not going to cry because my entire table will point and laugh at me because I've been crying all evening. Right? Hi. Thank you for the sandwiches. Amazing. Thank you. So thank you. Thank you very much to the Hollywood Foreign Press. Thank you so much. And Fox Searchlight and Emmett. And you, of course, thank you the most, actually Yorgos. And my bitches, Emma and Rachel. Thank you. Every second of working with you girls was such a joy. It was so much fun. I was so sad to be finished. And I would like to tell you how much this film means to me, but I can't because I'm too excited because (bleep). I went on a private jet, and I ate constantly throughout the film. It was brilliant. And I promise I will keep on enjoying this because this is amazing. Look at you beautiful people. Thank you so much. And I'm going now. And Ed and the kids, look. Yay.
BEST LIMITED SERIES OR MOTION PICTURE MADE FOR TELEVISION
"THE ASSASSINATION OF GIANNI VERSACE: AMERICAN CRIME STORY"
BRAD SIMPSON: Thanks to our brilliant collaborators, Ryan Murphy and Tom Rob Smith. Thanks to FOX and FX for supporting disruptive television: John Landgraf, Gina Balian, Dana Walden, Gary Newman, Peter Rice, and also consigliere, Joe Cohen. Thanks to our partners at home, my family: Jocelyn, Oliver, Ellany, along with baby Lark. Gianni Versace was murdered 20 years ago. He was one of the very few public figures who was out during a time of intense hate and fear. This was the era of "don't ask, don't tell." It was the Defense of Marriage Act era. Those forces of hate and fear are still with us. They tell us that we should be scared of people who are different than us. They tell us we should put walls around ourselves. As artists, we must fight back by representing those who are not represented and by providing a space for people for new voices to tell stories that haven't been told. As human beings, we should resist in the streets, resist at the ballot box, and practice love and empathy in our everyday lives. Our show is a period piece, but those forces are not historical. They're here. They're with us. And we must resist. Thank you very much.
BEST TELEVISION SERIES MUSICAL OR COMEDY
“THE KOMINSKY METHOD” (NETFLIX)
CHUCK LORRE: This doesn't happen to me. No one's crying for me, but this, this is spectacular.
Thank you to the Hollywood Foreign Press. This is an extraordinary acknowledgment. I am so grateful I don't even know what to say. I've been doing this a long time, and I'm up here trembling like a leaf.
I want to I need to thank Michael Douglas and Alan Arkin, without whom the script for this would be landfilled. It would be mulch. It would be Al Higgins for your undying support.
The folks at Warner Bros. Warner Media, I'm sorry. I need to Switch from Verizon to AT&T soon.
Great cast, incredible cast, crew, Marlis, Anette, Denny, my lovely wife. Netflix, Netflix, Netflix. Netflix, Netflix, Netflix. Ted, Cindy, Jane, Andy, thank you so much for your love and support. My daughter and son, who I hope are watching, look what we did.
It's great. Thank you.
BEST PERFORMANCE BY AN ACTRESS IN A TELEVISION SERIES MUSICAL OR COMEDY
RACHEL BROSNAHAN (“THE MARVELOUS MRS. MAISEL”)
RACHEL BROSNAHAN: Wow. Thank you. Okay. Thank you to the HFPA for being some of the first people to celebrate this show and to help other people figure out that we exist.
Thank you to our incredible village that it really takes to make this show. And our village is a matriarchy led by Amy Sherman Palladino. We have women in so many leadership roles across this show, at Amazon, led by Jen Salke. Thank you. Thank you to our entire team. Thank you Amy and Dan and Dana and all of our producers. To our team at Amazon, Jen and Jeff. And to Albert and Ken and Mark and Donna.
Thank you to our cast, Alex and Michael and Tony and Marin. You are the very best collaborators and playmates I could ever ask for on this insane journey. Thank you.
Thank you to our crew who keep this ship afloat. We can't do it without them. They are some of the kindest and most generous and talented and hardworking people I have ever had the privilege of working with, and I am so grateful every single day.
Thank you to my team, Kevin and Eda, Shawna, Ken, Lee.
They're telling me to wrap it up. Okay. I'm talking faster.
There are so many more that I'm forgetting, I'm going to have to write some thank you notes. Thank you. Thank you my friends, my family.
Jason, I love. I wouldn't be here at all without you. Thank you.
Thank you all so much, you guys. Thanks.
BEST DIRECTOR MOTION PICTURE
ALFONSO CUARON: You are after Jeff Bridges, and now I'm after Jeff Bridges and Harrison Ford. So good luck. Well, thank you one more time to the Hollywood Foreign Press and again to my producers and my partners, Participant Media, to Netflix, who would bring this very unlikely film into mainstream awareness. I feel that I would be cheating with this thing, accepting this award, because most of what I was doing is just to witness and enjoy the amazing Marina de Tavira and Yalitza Aparicio just exist on the screen, and I am eternally grateful for the two of them. Also another part of me is telling me that, in reality, this film was directed by Leo^, by my mother and my family and maybe even more importantly by this place, this very complex lab that shaped and created me. So muchas gracias, Mexico, and
my daughter Tess and my son Olmo. Thank you very much.
CECIL B. DEMILLE AWARD
JEFF BRIDGES: Thank you, Chris. And Sam. Where is Sam? Oh, man. The stranger. Oh, man. Thank you, Hollywood Foreign Press. This is really a wonderful honor. I'm so challenged up here because there are so many people to thank, you know. I mean, it's a collaborative art form here. I'm going to I've got to thank some folks. I've got to thank my sweetheart, Sue. My God. Forty five years of support and love. I wouldn't be up here without you, my dear. And my brother Beau, sister Cindy for your love and support. And how lucky are we to have our folks, man? Lloyd and Dorothy. Thank you. I'm wearing your cuffs, Dad. I'm wearing your cufflinks. They're your dad's too. And oh, man. I've got to thank my representatives. I don't know where wave your hands, guys. I want to see you if I can. They're keeping the boat afloat. I can't see you. There they are. David Shiv, Rick Kurtzman, Gene Seavers, Bob Wallestein, Liz Darling, my trustee assistant, Becky Padretti. Who am I forgetting? Frank Page. You know who I got to mention is Loyd Catlett? He's my stand in. We've done close to 70 films together. Can you believe that? He's the thread through the whole deal, starting from "Last Picture Show." And speaking of "Last Picture Show," I’ve got to thank my dear my dear friend Peter Bogdanovich, who kicked the whole party off for me in that. I was so blessed to have him start my whole career. And let's see. Well, the brothers, the Coen brothers. Come on. I mean, true masters. If I'm lucky, I'll be associated with the Dude for the rest of my life. I feel so, you know, honored to be a part of that film. Great movie. And let's see. Well, we'll get to my brother Steve Kloves, right? "Fabulous Baker Boys." First time out, he comes up with that great movie. Got to thank him. I I’ve got to thank Scott Cooper. I don't know if Scotty is here tonight, but "Crazy Heart." Yeah, man. Scott, man, sets a great vibe to make wonderful stuff happen. And, oh, another first time guy I was so lucky to work with, the late, great Michael Cimino, who directed "Thunderbolt and Lightfoot." That was his first movie. I can remember going into his office the day before we started shooting, and I said to him, "Mike, man, I am sorry, but I think you made a terrible mistake. I'm not feeling this guy at all. I feel so inadequate. I'm giving you late notice, I know, but please fire me, you know." And he looked at me, and he said, "Jeff, you know the game tag? I said, "Yeah." He says, "You're it."" I said, "What do you mean, I'm it?" He says, "You are the guy. You couldn't make a mistake if you wanted to. The life of this character was coming through you. It's a done deal." I said, "Oh, all right. That's a wonderful vote of confidence and a great perspective to look at this thing." And I used it, of course, in that film and all the other movies that I've done, as well as my life, you know. I've been tagged. I guess we all have been tagged, right? We're all alive right here, right now. This is happening. We're alive, man. You know what I'm saying? And being in the life of the movies, I kind of look through my life through the filter of movies. I find directors and fellow actors all over the place in my life. One guy, he had nothing to do with the movies, but he's I've taken a lot of direction from him. That's Bucky Fuller. And bucky, you know, he's most famous for the geodesic dome, but he made a great observation about those oceangoing tankers. And he noticed that the engineers were particularly challenged by how to turn this thing, you know. They got this big rudder, too much energy, the rudder to turn the ship. So they came up with a brilliant idea. "Let's put a little rudder on the big rudder. The little rudder will turn the big rudder. The big rudder will turn the ship." That little rudder is called a trim tab. And Bucky made the analogy that that trim tab is an example of how the individual is connected to society and how we affect society. And I think I like to think of myself as a trim tab, and all of us are trim tabs. We may seem like we're not up to the task, but we are, man. We're alive. We can really we can make a difference. We can turn this we can turn this ship in the way we want to go, man, where it's love creating a healthy planet for all of us. So I want to thank the Hollywood Foreign Press for tagging me, and I want to tag you all. You're all trim tabs. Boom. Tag, you're it. Thank you.
BEST PERFORMANCE BY AN ACTOR IN A LIMITED SERIES OR MOTION PICTURE MADE FOR TELEVISION
DARREN CRISS (“THE ASSASSINATION OF GIANNI VERSACE: AMERICAN CRIME STORY”)
DARREN CRISS: Man, wow. This is such an honor to be in front of so many incredible people. I feel like I won a fan contest. This is incredible.
Thank you to the Hollywood Foreign Press for your support throughout the years, especially to Ruben and Jen Napoles who have been in my corner since day one.
I'd like to thank my teachers who are watching at home. And that actually includes some of my fellow all of my fellow nominees, who I've admired your work from afar for so long, and whether you like it or not, you're actually kind of a part of this. So thank you for your inspiration.
Thank you to Ryan Murphy, Fox, and FX for making me feel like I made varsity this year.
Thank you, Mia, for your undying patience and love, that was waiting for me when I got home.
This was kind of a grim story to make, and so I have to thank our tireless crew, producers, writers, actors, artisans that actually made this a fun place to do some not so fun things. You collectively made whatever I did on set much better than I remember it being.
And lastly, as we've seen, this has been a marvelous year for representation in Hollywood, and I am so enormously proud to be a teeny tiny part of that as the son of a firecracker Filipina woman from Cebu who dreamed of coming to this country and getting to be invited to cool parties like this.
So, mom, I know you're watching this. You are hugely responsible for most of the good things in my life. I love you dearly. I dedicate this to you.
Congratulations to all of you. This is totally awesome.
ALFONSO CUARON: Thank you very much. Thank you very much, the Hollywood Foreign Press. Thank you very much Yalitza Aparicio and Marina de Tavira. I am in awe of what they did in this film. Cinematics best roles and build bridges with other cultures. As we cross these bridges, this experience and these new shapes and these new faces, we begin to realize that while they may be strange, they are not unfamiliar. We begin to understand exactly how much we have in common. I want to thank my producers, and Gabriela Rodriguez and Jonathan King and Participant media and Scott Stuber and Ted Sarandos and all the Netflix team that really made an amazing effort to bring this film all around the world. This film would not have been possible without the specific colors that made me who I am. Gracias, familia. Gracias, Mexico.
(Speaks in Spanish.)
Thank you very much.
BEST ACTOR MOTION PICTURE, MUSICAL OR COMEDY
CHRISTIAN BALE "VICE"
CHRISTIAN BALE: Look at all of us. What a bunch of lucky buggers we are, right, to make a life out of doing something that we love, right? That's extraordinary. Thank you for allowing me to be a part of that for so many years. Thank you to my beautiful wife, who told me, "Less is more. Say less right now." She knows the dumb crap that can come out of my mouth at times. I can sink and ruin a perfectly good movie and a so so career in one speech. So thank you for that advice, my love. I wouldn't be working without her. And thank you for our beautiful children. You know, they've given me a love and a soul that I never thought possible. Thank you to that geezer over there, Adam. He said, "I've got to find somebody who can be absolutely charisma free and reviled by everybody." So he said, "There will be Bale in it." Thank you. And for all the competition, I will be cornering the market on charisma free (bleep). What do you think? Mitch McConnell next? That could be good. Thank you to Satan for giving me inspiration on how to play this role. I've got to look at this table to say thanks to everybody here, Megan. Oh, my God, thank you so much. We've made a couple of really brilliant, fine movies. Thank you for being such a film lover. Amy to Steve to Sam. All of the other actors, long list, to Dede, to Jeremy and Brad, to Waxman and Madeloff. And please, Greg Cannom and Chris Gallaher, the prosthetics and makeup people on this. If they hadn't done their job absolutely brilliantly, I wouldn't be here. No one would give a crap about it at all. I share this with you gentlemen and all the crew as well. Thank you so, so very much. Am I missing anything, darling? I feel like I should who? Say again. Oh, I can't hear. There's got to be other people I'm missing here as well. I'll say thank you to them later. Much appreciated. Cheers.
BEST PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE IN A SERIES, LIMITED SERIES OR MOTION PICTURE MADE FOR TELEVISION
PATRICIA CLARKSON (“SHARP OBJECTS”)
PATRICIA CLARKSON: Oh, woo. Hot damn.
It's a privilege to be here tonight. Thank you Hollywood Foreign Press, HBO. I love you, David. Every single person who worked on this miniseries, I thank you with all my heart. Amy, I owe you so very much.
Jean Marc Vallée, my director, you demand everything of me except sex, which is exactly how it should be in our industry.
Chris, Tony, Katie, Peter, I love you. My friends, my sisters. But I this really is for my extraordinary mother and father. And I share this with you, Mom and Dad in New Orleans. Cheers.
NICK VALLELONGA: Wow. Thank you. Sorry it took so long to get here. The writers were sitting in the kitchen. Thank you Hollywood Foreign Press. What an incredible honor. Thank you to the producers, Tony Westland and Jim Burke, our incredible crew and cast led by Linda Cardellini, who I can't even look at her. She played my mom. She makes me cry every time I see her. The genius of Mahershala Ali, the first time ever a genius is playing a genius. Viggo Mortensen playing my dad, I love you. I can't even tell you. My family and friends for supporting me. My mom, who is represented in the film, and my dad, who I owe this whole thing to, and Donald Shirley. And my father, he blessed us with this story, and I can't thank you enough. This is very surreal. Thank you very much.
BEST SUPPORTING ACTOR MOTION PICTURE
MAHERSHALA ALI "Green Book"
MAHERSHALA ALI: HFPA, thank you for this honor. My fellow nominees, thank you, appreciate you. Appreciate your work. You know, Dr. Shirley was a brilliant man, and I just want to thank him for his passion, his virtuosity, the dignity in which he carried himself with that inspired me each and every day. Peter Farrelly, thank you for this opportunity, man. I really appreciated collaborating with you every day. And you're a man of extraordinary patience because between Viggo and myself asking for another take or emailing you at 2:00 in the morning or whatever, you know, thank you. Thank you for your guidance. Viggo, you're an extraordinary scene partner, and you pushed me every day, man. No days off. No days off. Even the days off weren't even days off. So thank you, brother. Love you. Linda, it was great even though it was just a little bit, it was great working with you. You're just the heart of the film and just a beautiful person. So thank you as well. Universal, Jonathan King, Participant, Jim Burke, Nick Vallelonga, Brian Currie, thank you all. Thank you for your work. I really appreciate being here. And lastly, I have to thank my wife, my mother, and my grandmother. I thank you for your prayers. I needed each and every one of them.
BEST PERFORMANCE BY AN ACTRESS IN A TELEVISION SERIES DRAMA
SANDRA OH (“KILLING EVE”)
SANDRA OH: Oh, Daddy.
Oh, my God. Oh, "Killing Eve." Oh, my God.
Phoebe Waller Bridge, thank you so much. Luke Jennings. Oh, that entire table, Sally and Lee and Colin and *Sara and Nenna* and *Gena from BBC, incredible cast. I'm so grateful.
I'm so grateful to my family, my beloved Leb* and Zee* and *Claire and Ez* and the boys. Thank you.
Oh, my God. My team, who are such incredible people, thank you so much.
But, mostly, there are two people here tonight that I am so grateful that they're here with me. I'd like to thank my mother and my father.
Oma, Opa, (speaking foreign language).
Thank you everyone.
BEST SUPPORTING ACTRESS MOTION PICTURE
REGINA KING: Amy, thank you for the prayers, sweetheart. Thank you so much. This is so fantastic. Annapurna, thank you so much, everyone. I mean, this is odd, but it's not. My publicist, Mike Liotta. The Annapurna publicist, Daniella, Jesus, Seth, Marvin, who have been a champion at working their asses off to get people to come see this film. Barry Jenkins, I love you with all my heart. Thank you for your empathy, thank you for telling stories so rich, and thank you for giving us a film that my son said to me when he saw it that it was the first time he really saw himself. Thank you so much for that. Blan B^, Jeremy, and DeeDee^, oh, my gosh. What a journey it's been from all the way from "Year of the Dog" to here. Jesus, man. Oh my gosh, my son, Ian. Boy, man. Thank you so much for all of the love that we have been receiving for "Beale Street." We are so proud of this film. The Baldwin family, thank you so much for trusting Sir Barry Jenkins to tell James Baldwin's words and allowing us the opportunity. Thank you, God, for allowing me to be a witness. Hollywood Foreign Press Association, okay. Cheers, cheers.
Oh, my gosh, one more thing. So often everyone out there, they hear us on the red carpet, and they say, celebrities, we are using the time to talk about ourselves when we are on our soapbox and using a moment to talk about the systemic things that are going on in life. Times up times two, the reason why we do this is because we understand that our microphones are big and we are speaking for everyone. And I just want to say that I'm going to use my platform right now to say, in the next two years, everything that I produce, I am making a vow and it's going to be tough to make sure that everything that I produce, that it is 50 percent women. And I just challenge anyone out there who anyone out there who is in a position of power not just in our industry, in all industries I challenge you to challenge yourselves and stand with us in solidarity and do the same. God bless you. Thank you.
BEST ORIGINAL SONG MOTION PICTURE
"SHALLOW" "A STAR IS BORN"
MARK RONSON: OK. I'm going to talk for a minute because she's indisposed. Thank you, Bradley Cooper. You took a heartfelt, honest tune, and you gave it emotional resonance that we could’ve only dreamed about, seriously. The way you weaved the lyrics into the film and the narrative of your beautiful, heartbreaking film is why we're standing up here, I believe. Thank you to the Hollywood Foreign Press, of course. Thank you to Warner Bros. A big thank you to Lucas Nelson and "The Promise of the Real." His arrangement and performance brought equal parts beauty and kickass. To Natalie Heminghill and Lindsay, all the amazing people who wrote on this soundtrack. To be singled out on a soundtrack that's so great from start to finish is really amazing. A soundtrack available on Interscope Records, CDs, and streaming services.
LADY GAGA: Chris Nelberg.
MARK RONSON: And Tom Hillman.
LADY GAGA: Thank you for mixing "Shallow" 18 times. We're so sorry that we did that to you, but we love you.
MARK RONSON: And, finally, to the captain of the "SS Shallow," because when you write a song with Lady Gaga, all you're doing is making yourself into the best supporting cast you can be. The genius comes from you. It's up there. You're the one who led us into the deep waters and truly made this song what it is with your devastatingly beautiful performance in the film as an actor and as a singer. And we thank you for that.
LADY GAGA: I just have to say, as a woman in music, it is really hard to be taken seriously as a musician and as a songwriter. And these three incredible men Andrew Wyatt, Anthony Rossomando, Mark Ronson standing with me, they lifted me up. They supported me. Thank you also to Ben Rice for working on this song with us. We love you. Thank you. And, Bradley, I love you.
BEST ORIGINAL SCORE MOTION PICTURE
JUSTIN HURWITZ “FIRST MAN”
JUSTIN HURWITZ: Okay. All right. I have to thank Nick Baxter, who mixed the score, and John Taylor, who mixed this movie, because there min score could have ended up being very annoying, and they found the right place for everything to sit and showed that great mixtures can make a composer look good. So thank you.
I want to thank Tom Cross, who cut the film and, the whole editorial department, Harry Hune, John To, Derick Drew, Jennifer Stellema, Jeff Harlacker, Jason Miller. I'm in awe of how you guys put together something so complex. Thank you, of course, to Damien, who's brilliant and loyal and touches every detail of our work. Thank you HFPA. Thank you everybody at Universal and the Los Angeles musicians.
*All names phonetic.
CAROL BURNETT TV ACHIEVEMENT AWARD
CAROL BURNETT: Oh, Steve Carell, all I can say is he is as nice as he is talented, and I thank you so much. Where are you? Thank you, Steve. Thank you. And my thanks to the Hollywood Foreign Press Association. I've been really gobsmacked by this. Does this mean I get to accept it every year? But, do you know, my first love growing up was in the movies. I'd see as many as six to eight films a week with my grandmother who raised me, and then later, when I was a teenager, we got our first television set, and then I had a new love. But regardless of the medium, what fascinated me was the way the stars on the screen could make people laugh or cry or sometimes both, and I wished and I hoped that maybe, just maybe, some day I could have the chance to do the same thing. Well, those childhood dreams came true sometimes on the big screen but primarily on television, on a comedy variety show that half a century later still connects with people in a way that makes me very proud.
Sometimes I catch myself daydreaming about being young again and doing it all over, and then I bring myself up short when I realize how incredibly fortunate I was to be there at the right time because, what we did then, it couldn't be done today. The cost alone would be prohibitive: 28 piece live orchestra, no synthesizers, 12 dancers, an average of 65 costumes a week, and there's the brilliance of our regular rep players: Harvey Korman, Vicki Lawrence, Lyle Waggonner, Tim Conway, plus two guest stars every week. I'm so grateful for the chemistry that we had with each other. And there was great chemistry behind the camera too with our crew, our producer, our director, our choreographer, our writers, the cue card guys. We all became one happy family for 11 joy filled years. And nothing like our show and, I might add, other variety shows at the time could ever see the light of day today because, the networks, they just wouldn't spend the money and because there are so many cable competitors. They are not going to take a chance. And it's sad to say today's audiences might never know what they are missing. So here's to reruns and YouTube.
But what has remained the same for every person who is lucky enough to be on television is the belief that we've been given an opportunity to do something special. We've been granted a gift, a [canvass|canvas] to paint with our talent, one that can make people laugh or cry or maybe do both. So this award, oh, my gosh, so generously named after me, is dedicated to all those who made my dreams come true and to all those out there who share the love I have for television, and we yearn to be part of this unique medium that has been so good to me. I'm just happy our show happened when it did and that I can look back and say once more, "I am so glad we had this time together." Thank you.
BEST ACTRESS LIMITED SERIES OR MOTION PICTURE MADE FOR TV
PATRICIA ARQUETTE "ESCAPE AT DANNEMORA"
PATRICIA ARQUETTE: I love Ben Stiller. And to be an actor to work with Ben Stiller, you're going to love working with Ben Stiller, I'm going to tell you something. OK. I'm sorry. I'm like that snot nosed girl in class still. I have my little piece of paper to read. I want to thank the Hollywood Foreign Press not only for this incredible honor, but also for championing filmmakers from all over the world, exposing us to their beautiful work, and to also championing our work across the world, because this is our medium; this is our art form. And no matter what language you speak, you need no translation for what we do. I want to thank my fellow nominees. All of your work is incredible, and I'm so inspired by you all the time. I want to thank Showtime, David Nevins, Gary Levine. All of our producers. Michael Tolkin and Brett Johnson for your incredible words. Ben Stiller, a dream come true for actors. I want to thank our DP, Jessica Lee Gagne. A woman DP. Bring it on. And our hair and makeup department, who were as much as part of my character as I contributed. Bernadette Mazur, Suzy Mazzarese Allison, Zach Genesis for putting in my dreaded contact lenses every day. Yoichi Art Sakamoto for my teeth. How many (bleeped). I was born with (bleeped). Thank you for that anyway. My dialect, Lee Dillon, Howard Samuelsohn for my dialect. Our incredible crew dragging equipment through the cold, in and out of many prisons. All the people who worked in the prisons who helped us and told us their experiences in there and the people who had been in prisons who told us about their experiences. I want to thank Benicio del Toro. Oh, my God, your choices are incredible. Paul Dano and Eric Lange. My family. I love you. Thank you all.
BEST PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE IN A SERIES, LIMITED SERIES OR MOTION PICTURE OR TELEVISION
BEN WHISHAW "A VERY ENGLISH SCANDAL"
BRAD WHISHAW: Wow. Thank you so much, Hollywood Foreign Press. I had such a wonderful time making this. I'm so honored. Thank you so much.
I want to thank Stephen Frears. What a legend. Thank you.
I want to thank the BBC for continuing to make idiosyncratic and powerful work and for employing me again and again. Thank you.
I want to thank the amazing cast of this show, but I have to thank Hugh Grant above all for such an exquisite performance. It was amazing to watch you do that.
And I really want to thank Russel T. Davis, who wrote the most moving and hilarious script.
But there's one person I really, really want to dedicate this award to, and it's it the man who I had the privilege to portray in the show, Norman Scott, who took on the establishment with a courage and a defiance that I find completely inspiring. He's a true queer hero, an icon. And, Norman, this is for you.
JOEL FIELDS: Thanks Keri, Matthew, Noah, Holly, our incredible cast, all of the writers, directors, editors, the best crew in the universe.
JOE WEISBERG: John Landgraf, Eric Schrier, Nick Grad, Jonathan Frank, Les Wilson, John Solberg, Lana Kim, the whole amazing team at FX, you nurtured and loved this show, and we love you guys. Peter Rice, Dana Walden, Gary Newman, everyone at FOX for your constant support. Barry Lehulis^ and Chris Wong^, you walk into a room, and life is good again. Darryl Frank, Dustin Falvey, Steven Spielberg, Graham Yost, you started it all.
JOE WEISBERG: Joe Cohen for everything, basically. Dan Hallsted^, thank you. Gavin O'Connor^, the more I learn, the more I understand what you did for us and for me, personally.
JOEL FIELDS: Thank you, Hollywood Foreign Press Association and all of our amazing fans.
JOE WEISBERG: Julian Rosa^, I love you to the moon.
JOEL FIELDS: Jessica, Dora, Josh, I love you so much. Thank you all. Everyone up here, everyone who made this show, thank you, guys. We love you so much.
BEST ACTOR TV SERIES, DRAMA
RICHARD MADDEN "BODYGUARD"
RICHARD MADDEN: Thank you very much to the HFPA. I didn't see this coming at all. I wouldn't be here if it wasn't for the amazing crew and cast that made "Bodyguard." They worked really hard over the course of five months to make this show, and you guys made it. And want to say thank you to Keeley Hawes, who is the best actress I could ever work with. She's amazing and generous. Big thank you to World Productions and BBC and Netflix. Thank you very much. You guys are outstanding. And Jed Mercurio, thanks for writing this, and thanks for trusting me to do it. You're amazing. Thank you. And I want to thank my team, everyone at WME and Trika. You guys are amazing. I'm really proud to work with you every day. (Unintelligible), Colin Guy, and Sam Fox, Brandon Leidman. Thank you. Most importantly, my friends and my family and mom and dad, who flew all the way from Scotland. Wouldn't be here without you. Thank you very much.
BEST MOTION PICTURE ANIMATED
“SPIDER MAN: INTO THE SPIDER VERSE”
PHIL LORD: Okay. We're in an alternate universe where we win this. Thank you HFPA for recognizing such an unusual movie. This is ridiculous. Look at all these people, collaboration amongst many filmmakers, starting with our directors, Bob Persichetti, Peter Ramsey, Rodney Rothman.
CHRIS MILLER: Christina Steinberg, Amy and Avi, who started this whole thing with us.
PHIL LORD: Our patron *Tom Rothman, *Christine Belson, Pam Marsden*, Stan Lee and Steve Ditko. We started this Brian Bendis, Sara Pichelli.
CHRIS MILLER: Everybody in the awesome cast, including Mahershala, who's here, I am told.
PHIL LORD: There are 800 other filmmakers around the world who did this. Thank you guys so much. To our loved ones, we love you.
The directors want to say one last thing.
CHRIS MILLER: And I love you, mom.
PETER RAMSEY: Hey, everybody. Thank you so much. We were trying to make a movie that spoke to the idea that anybody could be behind the mask. We're telling the story of Miles Morales, a kid from Brooklyn, African American, Puerto Rican. Anybody can be behind the mask. We're counting on you. You can do it.
UNKNOWN SPEAKER: Thank you, Shameik.
PETER RAMSEY: Thank you, Shameik Moore, all of our cast.
UNKNOWN SPEAKER: Thank you.
BEST ACTOR TV SERIES, MUSICAL OR COMEDY
MICHAEL DOUGLAS "THE KOMINSKY METHOD"
MICHAEL DOUGLAS: Thank you. Thank you. Danke shcoen. Merci beaucoup. Time arigatou. Hollywood Foreign Press, thank you, guys, so much. For 45 years, you always surprise me and treat me so well. Donald and Bill, Sacha, Jim, I can't even imagine being in the same group, sitting here and honoring comedy. It's just great. And the truth be told that I owe all of this to one man out there, Mr. Chuck Lorre. Chuck thinks getting old is funny. Thank you for your exquisite work. Al, I appreciate you so much, Al Higgins. You've done a wonderful job. And to my dancing partner, Alan Arkin, you showed me a lot of great, great steps, a lot of new steps. Nancy Travis, Sarah Baker, and wonderful, wonderful cast members, the directors, the crew, my team. My kids let me be away for a few months to do this show: Cameron, Dylan, and Carys. And my extraordinarily wonderful wife, Catherine, who is here with me tonight, I love so much. And I guess this has got to go to my 102 year old father, Kirk, who is Alta Kockers rule. Thank you.
SANDRA OH: Welcome to the 2019 Golden Globe Awards.
ANDY SAMBERG: Yeah.
Yeah. We are going to have some fun, give out some awards, and one lucky audience member
TOGETHER: Will host the Oscars.
ANDY SAMBERG: Now, some of you may be wondering why the two of us are hosting together.
SANDRA OH: And the reason is we're the only two people left in Hollywood who haven't gotten in trouble for something saying offensive.
ANDY SAMBERG: Oh, Sandra, that reminds me. Do you know what race of people really gets under my skin?
SANDRA OH: Andy.
ANDY SAMBERG: The Hollywood Half Marathon, because it messes up all the traffic, you know.
SANDRA OH: Oh, yeah. I hate that race of people.
ANDY SAMBERG: It's the worst race of people. Now, we know what you guys are thinking: "Andy Samberg and Sandra Oh, the two nicest people in show business? This thing is going to be a snooze."
SANDRA OH: But not so fast, because you fools are all about to get roasted.
ANDY SAMBERG: Gervais style. Hope you're wearing your flip flops, Hollywood, because we're about to scorch some earth.
SANDRA OH: Damn right. Rip it, Andy.
ANDY SAMBERG: All right. Who do we got? Who do we got. Well, if it isn't Spike Lee. Yeah. Mr. Do the Right Thing. Yeah. Well, I'll tell you who does the right thing: you as a director. Lifetime fan. Can't wait to see what you do next. Bam. Thanks.
SANDRA OH: Brutal.
ANDY SAMBERG: Destroyed. All right, Sandra, hit 'em.
SANDRA OH: Hey, Bradley Cooper. You are hot.
ANDY SAMBERG: Damn. This is live on television. No takebacks. All right. Who else have we got?
SANDRA OH: Andy, that's weird. Gina Rodriguez is here.
ANDY SAMBERG: Uh huh. Yeah, why is that weird, Sandra?
SANDRA OH: Because last time I checked, she resided in heaven.
ANDY SAMBERG: What? Sandra Oh, more like Sandra Oh Snap.
SANDRA OH: Andy Samberg, more like Andy Slam Nurse.
ANDY SAMBERG: Ooh, I love that. What else? Who else?
SANDRA OH: I got one Michael B. Jordan.
ANDY SAMBERG: Mm hmm, yeah. Yeah. More like Michael B. Buff AF. You a snack, Michael.
SANDRA OH: Your character's name in "Creed" is Adonis, and it is apt.
ANDY SAMBERG: Oh, my God, yes. Cut to him crying off that. I want to get the meme.
SANDRA OH: And we can't forget Amy Adams, nominated for multiple Globes tonight. Hey, Amy, save some for the rest of us, you mega-talented piece of dog crap.
ANDY SAMBERG: Take your lumps.
SANDRA OH: Take your lumps, Amy.
ANDY SAMBERG: Yeah. And then, of course, there's Jeff Bridges, right? Mr. Cecil B. DeMille Award himself. Hey, Jeff, I wish you were my dad.
SANDRA OH: And Bridges is canceled.
ANDY SAMBERG: It canceled, Dad. Bye bye, David Spade. Lorne knows what I'm talking about.
SANDRA OH: Well, that was fun.
ANDY SAMBERG: It was fun.
SANDRA OH: Should we (unintelligible)?
ANDY SAMBERG: No, no, there's a lot more. "Black Panther" is nominated tonight for Best Picture Drama.
SANDRA OH: It is the third highest grossing movie of all time in the US, which just goes to show people want more movies where the characters ride around in rhinoceroses like they're hoses. I have been saying this for years, Hollywood.
ANDY SAMBERG: Jeez, calm down, Sandra.
SANDRA OH: I will not.
ANDY SAMBERG: Then don't.
SANDRA OH: I won't.
ANDY SAMBERG: OK. It was another huge year for director Ryan Coogler, a fellow Bay Area native. You know, if you told me as a kid growing up in the Bay there would be a movie called "Black Panther" that starts off in Oakland, this is not what I would have imagined. Ryan, was there, like, a bunch of old members of the actual Black Panther party saying, "I can't even get an audition?" Just kidding. They were all framed and murdered for wanting justice and equality. And the world isn't always as good a nightmare. It just seems worse now because of our phones. What else happened this year?
SANDRA OH: "A Star is Born," starring Bradley Cooper and Lady Gaga, is nominated for Best Motion Picture Drama.
ANDY SAMBERG: Yes. And their performances were incredible.
SANDRA OH: And it just proves and I'm just coming up with this now that there can be a hundred people in the room, and 99 don't believe in you, and you just need one to.
LADY GAGA: it's true
SANDRA OH: That was Bradley Cooper.
ANDY SAMBERG: Sandra, I couldn't agree with you more. I was just thinking, totally off the cuff, there can be a hundred people in the room, and 99 don't believe in you, and you just need one to believe in you. And that, quite frankly, was Bradley Cooper.
SANDRA OH: So true. So true. "Crazy Rich Asians" is nominated tonight for Best Picture Musical or Comedy. It is the first studio film with an Asian American lead since “Ghost in the Shell” in "Aloha." "Crazy Rich Asians" made over $200 million at the box office. Said Asian moms everywhere cut to my mom. Someone should cut to my mom right now (camera cuts to Sandra Oh's mom.)
ANDY SAMBERG: Yeah.
SANDRA OH: Look at her face. Look at her face.
ANDY SAMBERG: She didn't seem so impressed.
SANDRA OH: No.
ANDY SAMBERG: So cheers to "Crazy Rich Asians." You guys serve it.
SANDRA OH: Wait, wait, wait, wait. Before we start getting sloppy, I got to take care of my people so they don't get the Asian flush. Garcon, round of Pepcid AC right there.
ANDY SAMBERG: Wait a minute. Wait. What's the Asian flush?
SANDRA OH: Don't worry. This joke's not for you.
ANDY SAMBERG: Copy that. But I will say if we've got a bunch of antacid out, you might want to send some to "The Kominsky Method" table. Just a hunch. Reflux city over there.
SANDRA OH: "Vice" is the most nominated film of the night.
ANDY SAMBERG: Yeah.
SANDRA OH: "Vice" is an intense drama about Dick Cheney.
ANDY SAMBERG: But it's actually up for Best Musical or Comedy because it erroneously invaded the wrong category based on false intelligence.
SANDRA OH: "Bohemian Rhapsody" was a massive hit this year. Rami Malek wore Freddie Mercury's teeth throughout the entire film.
ANDY SAMBERG: Can you imagine how hard that must have been? First of all, you have to get the family's permission to exhume the body. I don't even know where you would begin with that conversation. (Sandra Oh whispers to Andy Samberg) Oh, they weren't? Oh, really? Well, I'm sure it's still hard.
SANDRA OH: Claire Foy is nominated for her work in "First Man." First Man is also how studios look for directors. First, man. If no man available, then pair of man, then team of man, then eventually maybe woman?
ANDY SAMBERG: Yeah. Shockingly accurate. There are some amazing television shows nominated tonight.
SANDRA OH: "The Marvelous Mrs. Maisel" is nominated again for multiple awards.
ANDY SAMBERG: It's the show that makes audiences sit up and say, "Wait, is this anti Semitic?" Darren Chris of Ruth's Chris Steakhouse is here. What else?
SANDRA OH: Jim Carrey is nominated for his show "Kidding."
ANDY SAMBERG: Yeah, yeah. And yeah. And I got to say I knew Jim Carrey's paintings, but I had no idea he had done acting. He was really good.
SANDRA OH: Although I am seeing that Jim Carrey is sitting up front tonight in the movie section, even though he's nominated for a TV show.
ANDY SAMBERG: Oh, yeah, that's not going to work. I'm so sorry, Jim, but we're going to have to ask you to vacate the movie section to go sit with the TV folk.
JIM CARREY: You're kidding, right?
SANDRA OH: No. But you're on "Kidding," and that's on TV. So
ANDY SAMBERG: Yeah, it's awkward because you're a hero, but we do have to ask you to move.
JIM CARREY: You know, I just finished a film. It's called "Sonic: The Hedgehog." Comes out in November.
ANDY SAMBERG: Oh, well, you know, come back next year. I'm sure it will be nominated.
JIM CARREY: All right. I'm going. Should I take my dinner too? I wouldn't want to leave any of my DNA in the film section.
SANDRA OH: Yeah.
ANDY SAMBERG: Yeah.
SANDRA OH: Jim, please don't make this any harder than it already is.
ANDY SAMBERG: Yeah.
JIM CARREY: I'm sorry. I can't hear you. I see your lips moving, but there's a delay. Takes a long time for the sound to get this far.
SANDRA OH: Appreciate it, Jim.
ANDY SAMBERG: Appreciate it. Now, I know we're up here joking, but on a serious note, this year we saw incredible work like "Black Panther," "Crazy Rich Asians," "If Beale Street Could Talk," "Roma," "Pose," "BlacKkKlansman," and many more. And they're not just here tonight because they resonated with audiences Hollywood often ignores. They're here because they told stories that resonated with everyone, and that is truly a beautiful thing.
SANDRA OH: Wow. Andy can I just say that you just read all of my lines off the TelePrompter?
ANDY SAMBERG: What? No, those are mine. Let me keep going. When I was growing up in Canada, the daughter of Korean immigrants OK. No, you're right. That was totally your stuff. I just totally whitewashed your speech. This is how it happens.
SANDRA OH: That's not how it happens.
ANDY SAMBERG: What an amazing learning experience for me.
SANDRA OH: Stop talking.
ANDY SAMBERG: You got it.
SANDRA OH: But if I could take a moment here, in all honesty, I said yes to the fear of being on this stage tonight because I wanted to be here to look out into this audience and witness this moment of change. And I'm not fooling myself. I'm not fooling myself. Next year could be different. It probably will be. But right now this moment is real. Trust me, it is real, because I see you, and I see you. All these faces of change. And now so will everyone else.