Q: “What went through your mind?”
A: “A bad word that I can’t say. That starts with ‘f.’”
Someone else pressed her on whether she worried that she was peaking too soon, and Lawrence said with a nervous laugh, “Well, now I am.”
Finally her verdict on MacFarlane and his boob song: “I loved the boob song. I thought he was great. I thought he was hilarious.”
A sedate affair, so far
Not to diss the below-the-line (i.e. not directors, producers, writers, actors) Oscar winners, but backstage has been on the sedate side during this middle-of-the-show stretch. The host back here announced that supporting actress winner Anne Hathaway had been “called back to her seat,” so she won’t be facing the formally dressed press until after the show.
Also, the volume was cut on Adele’s “Skyfall” performance with the announcement, “I’m really sorry to kill Adele, but we have our winners for sound editing.”
Winning "Zero Dark Thirty" sound editor Paul N.J. Ottoson called the tie in his category "extraordinary." Asked why he keeps working with director Kathryn Bigelow, Ottoson says, “Well, we keep winning these” and holds up Oscar. (He also won one for Bigelow’s “The Hurt Locker.”)
"Skyfall" sound editing co-winner Per Hallberg on tie: "Any time you get involved in any kind of history making, that would be good.”
Karen Baker Landers, the other "Skyfall" sound editing winner, said tie or not, winning an Oscar is, you know, a good thing.
The Trio of “Les Miserables” sound editing winners discussed making sure that the great on-set performances made it to the theater.
Editing winner William Goldenberg ("Argo") calls being nominated for that and "Zero Dark Thirty" the same year a "blessing."
The filmmakers behind the winning documentary feature “Searching for Sugar Man” reiterated that the movie’s musical subject, Sixto Rodriguez, preferred to watch the Oscars at home because he considered “Sugar Man” director Malik Bendjelloul’s film.Arquette gets silly with winners
Actor David Arquette is here as member of press, I guess, and he keeps asking silly questions. He asked animated short “Paperman” winner John Kahrs: “What are you most excited about in your Oscar gift basket?”
Kahrs didn’t have much of an answer for that, but he did have praise for Disney, which ran his black-and-white short before “Wreck-It-Ralph”: “They’re really pushing for depth and stories that are going to last generations.”
The visual effects winners for “Life of Pi” discussed how technology has reached the point in which almost anything can be shown. "It is about the artistry going forward,” said one of the four co-winners (sorry, no name-tags, and I’m multitasking).
"Anna Karenina" costume design winner Jacqueline Durran credited star Keira Knightely with having made her job easier. “I think the actors have a lot to do with the costumes because they’re the ones who really make the look live,” she said.
Christoph Waltz savors early victory
Supporting actor winner Christoph Waltz (“Django Unchained”) had had just a few minutes to process his surprise victory when arrived in the “backstage” press room in the Loews Hotel and was asked: “Two Oscars in the last three years. How dose that make you feel?”
“Guess,” he responded drolly.
Pressed, he continued, “I was on a list with the greatest actors around…How do you think someone feels when all of a sudden his name is called in that context? I can’t tell you, I’m sorry.”
Then he was asked bizarrely about the prospect of a black pope, to which he responded that race shouldn’t be a factor. “I am an adamant non racist,” Waltz said.
Waltz also wouldn’t bite on a question about “Django” being the highest grossing western. “I’m just an actor,” he said. “I’m not an accountant.”
In the end he described the experience as “awesome” in the true sense. “I am in awe of the people who are in my category so the very fact that I am one of them would have meant the world, and that’s why I keep mentioning them. Robert De Niro, Alan Arkin are role models for me since I started in this profession.”