Golden Globes: Fantasia, Charles Melton, Rosamund Pike on Nominations

When you find out that you’ve been nominated for a Golden Globe, who’s the first person you tell?

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For “All the Light We Cannot See” director Shawn Levy, the answer is Ryan Reynolds and Hugh Jackman, the stars of his upcoming film “Deadpool 3.” Fellow nominee Fantasia Barrino, who was recognized for her role as Celie in “The Color Purple,” hung up on her husband out of shock when he shared the good news with her, and grew emotional again on the phone with Variety as she recounted her joyous reaction before hopping on a private plane chartered by none other than Oprah Winfrey.

“I would tell young Fantasia, ‘You did it. Job well done.’ I don’t want to cry no more,” she said, choking up.

It’s all smiles in Hollywood — and New York, France, and every other place the wide-ranging nominees are based — as actors, directors, writers and producers celebrate their achievements in film and television. Artists are also taking time to reflect on the state of the business, as Monday’s announcements marked the first major award nominations since the Emmys in July, which took place the day before SAG-AFTRA went on strike.

Read Variety’s reaction interviews with nominees across several categories below.

Fantasia Barrino

Best Performance by an Actress in a Motion Picture, Musical or Comedy (“The Color Purple”)

How are you feeling this morning?

Can you hear my voice? I have cried; I have screamed and ran around the room like a little kid. And I also had to take time to just tell God, “Thank you.”

Who’s the first person you called to celebrate?

I pick up my phone as soon as I wake up and call my husband, and as soon as he picks up, he’s yelling. And my mom is screaming. I go into worry mode. I’m like, “What’s wrong?” And they’re like, “Wait, you don’t know!” My husband says, “Congratulations, queen. You’ve been nominated for a Golden Globe.” And I literally went, “Waaaaaah.“ I had to hang up and call them back because I literally was dreaming.

What does the character Celie mean to you?

I relate to Celie so much. I speak of her as if she’s sitting somewhere in this room; she has a physical human body. Her character was the first role that’d I’d ever seen played on a big screen that I could relate to — a Black woman who had a broad nose and big lips, and the things that she had went through. I was very young when I watched “Color Purple.” My mom used to tell me, “Don’t watch that movie!” and I would sneak and watch it. I was just blown away by seeing someone that looked like me, especially being a little girl that knew she had a gift and a talent but was bullied. I was bullied a lot in growing up. I didn’t think I fit in with anybody, and I just wanted a friend.

I’m so flippin’ glad that I did not allow fear to stand in my way. I put it in the trunk, and I continued to drive the car. And because of that, so many women, men, white, Black, young, old, will be healed. I’m glad I did it.

This was blood work for us. We all stepped over into our ancestors’ shoes. We gave our all and I’m so grateful and honored. Honored to be sitting on the phone with you today, talking to you, after all that I went through. I would tell the young Fantasia — because I had to literally stop trauma therapy with my life coach, Dr. Anita Phillips, and I had allow to Celie to be my life coach — I would tell young Fantasia, “You did it. Job well done.”

Have you talked to Danielle Brooks, who’s also nominated for “The Color Purple”?

I have not. Danielle is in New York right now. Thank God for Oprah Winfrey — we’re jumping on a private plane, me and [castmate Corey Hawkins] and we’re going to get to our family so that we can celebrate together. When I see [Danielle], we cut up so much, but this time I don’t want to cut up. I want to look her in her eyes and I want she and I both to just soak up this moment and give her a big hug and a big kiss.

Colman Domingo

Best Performance by an Actor in a Motion Picture, Drama (“Rustin”)

You’ve spoken before about how a lot of people didn’t know who Bayard Rustin was before the film. What’s it like now being recognized for playing this monumental figure?

It feels great because it means that they will know even more. Any acknowledgement that I receive always goes back to Bayard Rustin, and not only Bayard Rustin, but all of the Rustin cell. We made it with a sense of purpose and wit and intelligence and ferocity. I was actually texting with Rachelle Horowitz, who is featured in our film, who’s one of Bayard’s close friends and comrades, this morning. She goes, “Congratulations!” and I said, “It all goes back to you.” It does, because if they get to know more about all these wonderful, fantastic people who devoted their life to service to this country, and they were completely unsung and eradicated from the history books, I feel like that’s a great win. And the fact that I have anything to do with it — my heart is overflowing.

Between “Rustin” and “The Color Purple,” it’s been quite the year for you.

It’s an embarrassment of riches, but I won’t deny it’s been hard earned. I know I’ve worked hard for a moment like this and to be a part of the things that I feel like are speaking to who we are right now. Bayard Rustin devoted his life to service for this country. I’ve devoted my career to service when it comes to complex portrayals of African Americans, so now on two major platforms, I’m doing exactly what I hope to do.

What’s coming next?

I have a series that I need to finish up called “The Madness” for Netflix. I just have 25 more days of shooting on that, because we paused during the strike. And then I’ll have a little, possibly, some “Euphoria” going on. And then, I’m hoping, for the first time in my career, I left some bandwidth open. I don’t know if it was my instinct or what. But after being on “Fear the Walking Dead” for eight seasons and finishing that show up, I just wanted to have some open real estate to think about possibility. I don’t know, but that also feels really wonderful to not know.

Can you say anything about the new season of “Euphoria?”

No. I don’t know anything. All I know is that I’ll be in it.

How do you feel about the deal SAG-AFTRA got now that you’re back at work?

I’m so glad the deal has been ratified. I always have been in solidarity with my union, and I think we have a good deal. I think every deal is about moving the needle a little further. This takes three years, and I’m sure when we’re back at the bargaining table again, we’ll move the needle a bit further. It’s about making the gains that make us all feel good and seen and heard and getting back to work to take care of above the line and below the line.

Do things feel different for you now?

I guess I’m still trying to feel what the difference is. I don’t know, actually. I do know that I think that we have some exceptional gains. Hopefully, we all go back to sets differently. I’ve always considered my studios my partners, and we have to really advocate for each other. Sometimes we have to move the needle a little bit more just to make sure we all feel heard. And I think that’s what we’re doing. I don’t know the effects of it now, but I know I think we’re all very excited to get back to work.

Are there any of your fellow nominees that you would love to work with, or any other projects that you’re really excited about also being nominated?

I’m very excited about my colleagues in “The Color Purple.” I’m very excited about Da’Vine Joy Randolph. She’s a dear friend, and we’ve known each other for many years. I’m glad her work has been lifted in “The Holdovers.” Also, my comrades like Leo DiCaprio, and I literally just watched “Maestro last night.” I admire so many of these people. Barry Keoghan, I would love to work with. I think he’s just a fantastic artist, and he seems like he’s full of surprises — people like that.

Shawn Levy

Best Limited Series, Anthology Series or a Motion Picture Made for Television (“All the Light We Cannot See”)

Who was the first person you called to celebrate with?

It was my wife who called me to share the news, and the first people I shared it with were Ryan and Hugh, who I was at work with — Ryan Reynolds and Hugh Jackman. So it was really nice to have such good friends nearby to share this happy moment.

What about the novel “All the Light We Cannot See” made you want to direct it?

It was dream source material because it had huge and sumptuous visual potential. But it was also extremely intimate, so it laid out a template where the series could be both epic and intimate. If you’re a filmmaker, that’s the dream: to be able to paint on a big canvas but to also have an opportunity to do smaller, more refined brushstrokes. And the combination of big historic drama while telling a very character-focused, emotional story was irresistible to us.

What do you hope people take away from the series?

It’s exploring themes that are really resonant and unwittingly timely because these themes all center around hope the need to tenaciously protect humanism in the midst of dark and inhumane times. And these are important themes at any moment, but they’re particularly important messages right now — where the world is so fraught with conflict, misery and such polarized points of view. Just to release something that tries to remind people of the humanity on all sides. It was a really rare opportunity to say something that I think needed to be said and hopefully got heard.

Looking at your fellow Golden Globe nominees, is there anyone in particular you would want to collaborate with in the future?

“Beef” sent me down a phenomenal rabbit hole of Ali Wong, like, excessive viewing of pretty much every stand up special she’s ever put out, but also some of her other work as well. There’s so many strong shows and movies this year, but among this list, if there’s one person I wouldn’t mind running into at the bar, it’s Ali Wong, who I’ve never met would love to work with in the future.

Since the strikes have ended, do things in Hollywood feel different to you now?

In spite of these strikes that we have weathered, survived and endured as an industry, I do think it remains a community of creative people who want to do their best work and want to be treated fairly in doing it. I think that was the case before the strikes. Certainly the climate in our business got a little bit fraught, and certainly a lot of rhetoric on all sides. But what I see and what I feel is a collective gratitude to be back at work doing jobs we love, and that is creative storytelling and within an industry that champions that. The Globes are part of that celebration of storytelling and so, like the theme of “All the Light We Cannot See,” I do claim to a tenaciously optimistic, hopeful point of view.

Charles Melton

Best Supporting Actor, Motion Picture (“May December”)

You’ve gotten so much recognition for “May December.” What comes next for you?

Flying to Kansas and seeing my mom and dad and my sisters, and just giving them the biggest hug.

The last major award nominations were for the Emmys, which happened the day before the actor strike began. How do things feel different now?

Well, I have less time to make kimchi, to be honest with you. There’s some jet lag, but I have so many good people in my life that love me and speak truth to me. And I have such a great team that’s been so supportive throughout this whole thing. Todd Haynes and Julie [Julianne Moore] and Natalie [Portman] — all of us being in this together has been just an absolute gift.

How do you feel about the deal SAG-AFTRA got, now that you’re back at work and get to promote your film?

I’m glad that there was a deal that was made. Moving forward, I think it’s a good thing for everyone in our industry to get back to work and to tell stories and do what we love to do.

Ron Nyswaner

Best Limited Series, Anthology Series or a Motion Picture Made for Television (“Fellow Travelers”)

Congratulations. How are you feeling?

I’m very happy, of course. Who would say otherwise? I’m really grateful that Matt [Bomer]’s extraordinary performance was recognized, and I hope it’s only the beginning. Because what he does in our show is magnificent. To me, he’s our generation’s Paul Newman.

Have you spoken to him yet?

We did the texting thing. “Congratulations; Congratulations to you.” What it means is that I get to see Matt and Johnny [Jonathan Bailey] and probably a few other people from the show in January. We all fell in love with each other so passionately that anything that’s going to keep us crossing paths, I think we’re all really happy about.

Why was the story of “Fellow Travelers” important for you to tell at this moment?

I’ve always wanted to do a gay version of “The Way We Were.” Matt calls our show “The Gay We Were.” I love a passionate love story about people who in many ways aren’t suited to each other but can’t stay away from each other. So that was that was the first draw.

I find that we do forget our history. Everybody does, but I know that in younger LGBTQ people, I wanted to remind them that there have been tough times before and that we’ve gotten through it and survived and thrived. We made music, we made love, we danced. And what we have today, we stand on the shoulders of the people who came before us, before Stonewall even, who fought the persecution that they were under.

Do things in the industry feel different to you now that the strikes have come and gone?

We’re very curious — that’s the word I’ll use — about how the business is. Where are we headed now? That’s a conversation that we see everybody talking about. I’m hoping that there [will be] more of a chance to do shows like “Fellow Travelers,” which are provocative. The Showtime brand — provocative, smart, adult — I’m hoping that we still get to do more of those.

David Oyelowo

Best Performance by an Actor, Limited Series, Anthology Series or Motion Picture Made for Television (“Lawmen: Bass Reeves”)

You’re both a star and an executive producer on “Lawmen: Bass Reeves” — which took almost a decade to get made. How does it feel now to be nominated for this project?

It’s amazing, not least because it feels like the culmination of that nearly a decade, in terms of work and all the rejection and all the frustration. I’m not alone in feeling that, as someone in my industry trying to get a story told. But the added component here is how extraordinary I feel Bass Reeves is as a historical figure and it not making sense that the world hadn’t had a full-bodied telling of his story. The fact that this recognition is tied to him and that makes it all the sweeter.

It feels as much of an acknowledgment of Bass Reeves as both myself and the show. What we tried to do was to celebrate his achievements, but also shed a light on how extraordinary that time period was, the time period that produced someone like this. This man was coming out of enslavement. To not only be empowered in the way he was, but to operate and perform at such a high level, given what he was coming out of, is truly admirable. To get to portray that for the world to get to see that and for it to be recognized in this way is very special.

What’s next for you?

More stories to tell. I have a couple of films coming out early January. I have a film called “The Book of Clarence” with Jeymes Samuel, then I have a film called “Role Play,” an action-comedy with Kaley Cuoco. I’m about to start shooting another show that I’m producing with Apple called “Government Cheese,” and that’s a dramedy. We’re keeping it moving over here.

The other thing that I have out that I’m really proud of is “The After.” It’s a short film I did with Misan Harriman, which is performing incredibly well on Netflix. It’s a labor of love. Misan and I connected over the fact that we’ve had familial losses that really impacted us, and it’s a short film that sort of takes a personal look at that.

What other projects that have been nominated for Golden Globes are you excited for?

Colman Domingo is a very good friend of mine, and I’m just so proud of him and his achievement. He and I have done several films in this kind of space before. We were side-by-side in a scene in Steven Spielberg’s “Lincoln” a while back. We were side by side in “Selma” together with him playing Ralph Abernathy. We were also in “The Butler” together, so to keep this energy around telling Black stories that have a historical nature, but also continue to move the needle when it comes to aspirational and inspirational figures, I’m loving sharing that space with him.

“Spider-Man: Across the Spider-Verse” is a film I just loved this year, so it’s great to see Kemp Powers acknowledged there. Oprah Winfrey is a dear friend and mentor of mine, so I’m just so proud of her for getting “The Color Purple” off the ground, and that film is a beautiful piece of work as well.

How do you feel about the deal SAG-AFTRA got, now that you’re back at work?

I’m very proud of my union in relation to holding out for as long as we did. It was obviously incredibly painful for a lot of people, existentially, financially, mentally as well. It was a hard battle well fought. And we’re going to be back at the table again in two and a half years. My hope is that we can figure out a way whereby we don’t have to do 118 days of really detrimental downtime in order to get fairness as part of our business going forward. But I imagine the way technology is evolving, we’re going to have a lot more issues to deal with going forward.

Rosamund Pike

Best Supporting Actress, Motion Picture (“Saltburn”)

Congratulations. How are you feeling?

It’s a wonderful feeling. I landed in New York last night having just finished a film. I was not expecting it. Yesterday, I realized that the nominations were happening today, and then this morning, in the kind of kerfuffle of getting ready, it completely slipped my mind. So it was such a lovely surprise. And I am always amazed at how many people pay attention to the awards, because I’ve had people reaching out: friends, family, colleagues. It was such a feeling of joy and shared happiness.

Have you and Barry Keoghan talked about your nominations yet?

I was gonna FaceTime him earlier today, and then my son FaceTimed me and I thought, “Well okay, I’m still a mum first and foremost.” I will definitely be speaking to Barry today. But he’s in L.A., so he’s a little bit behind me. He’s got a long day ahead still. We have a “Saltburn” Whatsapp group, and everyone’s been all over that today in a really cohesive way. I just said to them, “Look — I’m sure Barry feels the same — our work only exists because our characters were in response to yours.” And that’s the truth, especially of this film, because the way Emerald [Fennell] directs. She demanded of her cast to not go back to trailers, to be present all the time, to be completely united. We’re all hanging out all the time, so that’s how these relationships grow. That’s how these characters grow: in relation to one another. It’s not a case where an actor decides their performance and works out the character in isolation. It’s the total opposite of that.

In “Saltburn,” we got to see you showoff your comedic chops. Which of your one-liners from the movie is your favorite?

I loved talking about my time as a lesbian. When Elspeth discusses the pros and cons of women and men, it’s quite delicious. I think that was my favorite, you know, because men are so lovely and dry.

What’s next for you?

More comedy, I hope. It’s just that people haven’t always seen it, but I did win an Emmy for a short-form comedy series called “State of the Union” with Chris O’Dowd. They were 10-minute episodes written by Nick Hornby about couple’s therapy. Comedy is a happy place for me when the writing is as good as this. I would love to do more. I’ll throw myself into anything, and that has included pretty harrowing roles, so living somewhere lighter for a while would be very welcome. If anyone’s got any more comedy for me, give me a call.

The last major award nominations were for the Emmys, which happened just the day before the actors strike. How do things feel different now with people being able to promote their work again?

The one thing I’m most proud of is that Emerald Fennell has made a film that adults are turning up in droves to see in the movie theaters. The last time I was really part of something like that, it was “Gone Girl.” There’s a feeling that with this film, Emerald tapped into a zeitgeist. There’s something about our obsessions — whether it’s with celebrity or with sports stars or whatever — that she’s transposed and set amongst the English upper classes, but it’s the same thing. It’s the thing that we can’t have that we love and loathe in equal measure, the way that people feast on Instagram over lifestyles that they can’t have and are envious of and want in the in the same breath. Emerald is holding the mirror up to that, but with a fabulous, stately mansion in the U.K. and a family that people loathe but also desperately want to be invited by. That’s what’s so great about this film and why it’s really fun to promote it, because people are talking about it without us. It’s becoming a meme on social media even. And we could see that, even while we weren’t allowed to speak about it. It was very exciting to join the conversation now.

Alma Pöysti

Best Performance by an Actress in a Motion Picture, Musical or Comedy (“Fallen Leaves)

How does it feel to be one of the rare non-English language nominees at the Globes?

Very humbling and incredibly fantastic. And the company I’m in, really I can’t believe it. I could never have dreamed of anything like this. I’m just so happy.

Are there any other projects that were nominated, besides your own, that you’re super happy for?

Sandra Hüller I think is just amazing in “Anatomy of a Fall.” I’m very happy for the success of “Barbie.” And Carey Mulligan and Bradley Cooper. The list goes on. Rooting for us all!

Have you chatted with anyone from “Fallen Leaves” yet or received any messages about your nomination?

Well, the internet’s kind of exploded, the Finnish internet, so I’m just trying to catch up right now. But I’m in Paris promoting another movie called “Four Little Adults,” so I’m just in the middle of this, and then this news just came in. But everyone is, of course, really over the moon right now.

What’s next for you?

I guess there’s a trip to Hollywood coming up. But right now, it’s a lot of promotional stuff. And then some partying ahead.

The last major award nominations were for the Emmys, which happened just the day before the actors strike began. How do things feel different to you now?

For my colleagues in the U.S. who have been really fighting an important fight for all of us, it’s grand that it’s happening. Well deserved, because very important changes are made now. There’s lots of reasons to celebrate film right now from an actor’s point of view.

Da’Vine Joy Randolph

Best Supporting Actress, Motion Picture (“The Holdovers”)

How has this morning been for you?

Oh, it’s been so wonderful. Everyone’s been so lovely and kind. I’m here in New York currently doing press, and we’re just celebrating in glam. We’re having a great morning. The group chats are going, girl. They’re going. It’s really surreal. I’m so, so, so grateful.

You’ve been so busy this past year, with “The Idol,” “Rustin,” “Only Murders” and of course, “The Holdovers.” What’s next for you?

Next, I have two action movies. One is a rom-com action, and one is an international spy action. The rom-com action is with Rebel Wilson, and the international spy one is a Joe Carnahan movie with Omar Sy and Kerry Washington.

Are there any other genres you haven’t done yet that you’d want to do?

I have never done a movie musical. That could be fun. And I’ve always wanted to play a real person. To me, this stuff is like therapy, so I just love options and opportunities where I can make a difference to the viewer, and they feel they feel something. It’s important I make people feel something.

The last major award nominations were for the Emmys, which happened just the day before the actors strike began. How do things feel different to you now?

It feels great to be back but also like a pandemic, right? People are slowly coming back into the fold. I remember that first month where it was like, “Okay, I think I feel comfortable to go on a walk with you if you’re 10 feet away from me.” It feels almost too good to be true, but we’re slowly back in. It’s exciting to see my peers and friends at these events. I think everyone’s just really excited to rejoice and celebrate and to know like, “Okay, we did the strike, we were able to get some improvements.” I hope people have a sense of hope and excitement now approaching this industry in a new way, hopefully a better way.

How do you feel about the deal SAG-AFTRA got now that you’re back at work?

I feel good. I mean, listen, you gotta do the best you can. It is definitely an improvement. It’s like any contractor deal. Even for us, gig to gig, you’re never gonna get everything you asked for, but the fact that there is an improvement, that’s definitely in good faith on their part. I appreciate that and respect that. It makes you feel like, “Okay, great. They care, they get it, they want it to be better for us as well.” I think any true negotiation has to work for both people. And that’s just the reality of how a contract goes.

Justine Triet

Best Motion Picture, Drama; Best Picture, Non-English Langauge; Best Screenplay, Motion Picture (“Anatomy of a Fall”)

Congratulations. How are you feeling?

It was so, so, so amazing to discover all these nominations. We are we are very, very, very happy.

Have you spoken with Sandra Hüller yet about her nomination for the film?

We chatted a few hours ago and she was totally moved by this. It’s amazing.

Your film has been recognized for best motion picture drama and for best non-English language film as well. What does it mean to you to be representing France and to be acknowledged in both categories?

I cannot expect this. I’m so happy, because we overcame the decision of France [to nominate one film]. It’s double satisfaction.

Are you excited about any of the other nominations you heard about today?

I’m really excited for the team of “Zone of Interest,” “Barbie” and “All of Us Strangers,” who I’m really fond of. And “Past Lives.”

Who would you want to work with in the films you just named?

I’m totally a fan of Paul Mescal and Andrew Haigh. And Margot Robbie.

Why was it important for you to tell the story of ‘Anatomy of a Fall’?

To center this movie around this woman — who would not make any confession, who would not make any excuses, who was not the perfect victim — was a great challenge for me.

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