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00:002.85 and 2.97 on standby.
00:09Hi Sharon, over here.
00:12I'm Ruben Napales of Rappler in the Philippines.
00:16Congratulations on the amazing journey of Anora from Cannes to this big moment at the Oscars.
00:23Anora reflects your passion for social realism
00:27and for your passion to tell the stories of marginalized communities.
00:30Can you talk about that and also how the social realist films of world indie cinema filmmakers
00:37like the late Lina Broca inspire you?
00:39Yes, well thank you for bringing up social realism.
00:42It's been a genre, I guess you could say.
00:46It's a genre that has very much inspired my work from, as you just said,
00:52the wonderful Filipino social realism to the British social realism.
01:00And with this film we were definitely infusing some social realism in there
01:04but we were trying to mix it up as well.
01:06We were actually kind of genre hopping in many ways.
01:10But I think social realism, what's so important about it,
01:13is that it really focuses on the truth.
01:21It uses often character studies, sometimes issue based,
01:26and it's really shining a light on subjects that should be spoken about.
01:31Next question, 297 with 118 on deck.
01:37Hi Sean, this is Maxwell Millington with Axios over here.
01:43What does it mean to you that the Best Picture winner
01:46and the Animated Feature Film winner were both independent films?
01:52You know, as I said on stage, it's just really feels wonderful
01:56that the Academy is recognizing independent film.
02:00We, in many ways, we always jump into these projects
02:06knowing that we will have to compete with budgets
02:10and films that have budgets that are literally almost 100 times
02:14what we've shot our film for.
02:18And so when we're actually able to do that,
02:24get into the same room as other films such as Wicked,
02:27a wonderful movie, but a totally different type of film from ours,
02:32it means that we're doing something right.
02:37And also it's been a great tradition over the last few years
02:40of independent films being recognized.
02:42And this batch this year is so wonderful.
02:44I mean, we feel very aligned with filmmakers of,
02:49for example, The Brutalist, you know, Brady and Mona.
02:52We feel very aligned with the way that they are making movies
02:55and we're very inspired by them.
02:57So for us to be, you know, just in that conversation this year
03:00with these other wonderful independents, it means everything.
03:03Next question, 118 with 396 on deck.
03:08Hello, Mia Livicino with Letterboxd.
03:11Hi.
03:12Hello.
03:13So from one Letterboxd member to another, congratulations.
03:18You have spoken so passionately this season
03:20about the necessity of independent film.
03:22And as the voice of the audience, we would love to hear your thoughts
03:25on how your community has supported you and your films
03:28through their first life in theaters and on 35mm
03:32and into their second life on physical media.
03:36How the community has.
03:38Well, I'd like to mention Film Independent.
03:41That has been an incredible supporter of my entire career.
03:45And all the wonderful film festivals around the world, you know.
03:50That's how you birth an independent film.
03:54Or you at least, you know, that's how you bring it out into the world.
03:58So, you know, I want to thank Cannes.
04:02I want to thank the Thierry Fromeau and the Cannes Film Festival
04:05for allowing us to, for accepting us so that we could begin this journey.
04:12But then overall, you just mentioned physical media.
04:16I know it's a boutique thing now.
04:18It's like, you know, it's perhaps a niche.
04:21But there are passionate people out there.
04:24And there are so many incredible films from our past, you know,
04:27being restored and being put, being released, re-released on Blu-ray and 4K.
04:32And that's an incredible thing for cinephiles these days.
04:35We're living in a golden age.
04:37Last question, 396 in the front.
04:39Hi, Sean. Raymond Lo from the Philippines, for the Philippine Star.
04:42Hi, how are you?
04:43Before that, I'm a big, big, big, big, big, huge fan of yours.
04:46So, my question is on behalf of all your fans.
04:49So, I believe that these four Oscars of yours
04:52is for Tangerine, Starlet, The Florida Project, Red Rocket.
04:57That's sweet. Thank you.
04:58Tell us how you truly, truly feel,
05:00because we don't feel like you can, like, share everything with us.
05:03Well, that's a very nice view.
05:05It does feel like a culmination in many ways.
05:08I've been covering the topic of sex work in my last four films.
05:13And I think that it was actually the research I had done on those films,
05:19and just those films teaching me, you know, that eventually led to Enora.
05:22Enora is, like, sort of where I was going to with these movies.
05:26So, thank you. That's a very nice view.
05:28Thanks.
05:29Next question is virtual.
05:31If you can look into the camera, please.
05:33It's from Diario La Prensa, Honduras.
05:35Daniela Michelle Ramos.
05:39Hi, Sean. Congratulations.
05:41Thank you. Thank you so much.
05:43I want to know what your message is for all those who judge
05:48and criticize the sex workers, and what you learned from this movie.
05:56So, I've been pretty outspoken about my stance on sex work.
06:01It's our oldest profession, yet it has an incredible unfair stigma applied to it.
06:08And what I've been trying to do with my films is sort of chip away at that very unfair stigma.
06:14Personally, I think it should be decriminalized.
06:16And I guess through my work, through hopefully humanizing my characters
06:23that are usually seen as perhaps caricatures in most film and television,
06:29it will help do that.
06:33Congratulations, and thank you very much.
06:35Thank you. Thank you.