“The Holdovers” star Paul Giamatti, SAG and Oscar winner predictions, dressing Barbie and Ken, and more in EW's “The Awardist”

The celebrated actor shares the scene that still makes him emotional from his reunion with director Alexander Payne and explains why acting with a lazy eye was something he was looking forward to. Plus, SAG and Oscar winner predictions, inside the costumes of "Barbie," and more in the new issue of EW's "The Awardist" digital magazine.

The Holdovers star Paul Giamatti on finding the sweet amidst the sour of his eccentric teacher, that lazy eye, and how he's come to terms with being called a 'fiscally irresponsible' casting choice

Interview by Gerrad Hall
Illustration by Patrick Leger

Nearly 20 years after their first collaboration, director Alexander Payne and star Paul Giamatti proved that lighting can strike twice in the same place. Both of their movies, Sideways and The Holdovers, scored Best Picture Oscar nominations. Unlike that first movie, though, and contrary to what many often believe to be true — call it the Mandela Effect or just wishful thinking to right a grave wrong — Giamatti scored a Best Actor nomination this time around, for playing Paul Hunham, a cantankerous English at a New England boarding school.

Perhaps, though, he's not grumpy just for the sake of it. Jaded, sure, by uninterested and privileged students, he's also reticent to get close to people for various reasons — but this Christmas will change that. Assigned to oversee the titular "holdovers," students who aren't able to go home for the holidays, he and the school's cafeteria manager, Mary (Supporting Actress nominee Da'Vine Joy Randolph), who's grieving the recent wartime death of her son, join forces to take care of one remaining student, Angus (Dominic Sessa), who's mom has left him in snowy New England while she jets off to her delayed, tropical honeymoon with her new husband.

Below, Giamatti chats with EW's The Awardist about his awards season journey, why he was excited to play someone with a lazy eye and the acting challenge that presented him, why it took so long to reteam with Payne, the scenes he knew they got right while filming, and more.

ENTERTAINMENT WEEKLY: As the season has gone on, you have had the wonderful opportunity to take the stage a few times at various ceremonies. What is going through one's mind [once it's time for] your category? Some people have told me they're like, "I'm honestly hoping they don't say my name because I hate being up on stage" and that whole rigmarole. But what's it like for you?

PAUL GIAMATTI: I have that feeling often that, oh my God, I'm afraid to go up there because I'm too nervous. I've had that, but generally, too, I just leave it to fate a lot of the time. I try to have no expectation of anything if I can. [Laughs] I just don't know what's going to happen. Then, if it actually happens, my mind goes blank and I'm generally panicked because if I was smart enough to try to think of something to say, I'm trying to remember that, and then I'm trying to just not screw up too badly and say something bizarre. So it's just a panicky moment in a lot of ways.

You've done well so far. I think you appropriately seized the opportunity with the whole In-N-Out burger thing, and it was very funny and endearing. I don't know if they have celebrity spokespeople, but I hope the offer comes your way.

[Laughs] That would be nice! Sure!

As I was just doing my research and looking back on your career, I was curious what your very first award nomination was, not just Oscar. Do you remember what it was?

No, I don't.

Alright, I'll give you a little hint. It was for Favorite Supporting Actor. The year was 2001. It was for Big Momma's House at the Blockbuster Entertainment Awards.

Really? Holy cow! I had no idea. Wow. I don't think anybody ever even told me. Did I win? I guess I didn't, did I. I didn't get [the trophy].

What are your memories of making that film?

A good time. It was a lot of fun, that thing. It was shooting all the ridiculous party scenes, and one of my fondest memories of that, I have to say, is working briefly with Octavia Spencer, who then went on to great things. She has a tiny role in that movie, but I remember hanging out with her. It was very funny, and that whole thing was just goofy and funny and ridiculous and silly. It was great.

And here you are. Okay, so you're a graduate of Yale, got a degree in English. At some point, were you perhaps going to be a Mr. Hunham yourself? Because of course there are lots of possibilities with an English degree, but was teaching ever one of them?

Sure. I also come from a family of teachers. My parents and my grandparents, all of them are teachers, so there's always some sort of assumption that somebody's going to be a teacher. And I have cousins who are teachers, and everybody's teachers. So it went through my head, but really at bottom, some part of me knew I wanted to be an actor or something else, not a teacher, so I just didn't do it.

So then did you know people like Huhham? Did he feel familiar in any way?

Oh, very much so. Yes. I went to a prep school like that — only about 10 years after the movie is set — so I knew a lot of guys like that. They were still there, those guys — and they were all guys — who were still there, still teaching at those places. There were girls there [by then], so there was that. And then my father had colleagues, my mother had colleagues, all these kinds of eccentric — especially my father's — eccentric academic colleagues at Yale University very much informed a lot of what I did in this movie for sure.

You said that deep down you knew acting was somewhere in there, and you did go to Yale School of Drama. Da'Vine Joy Randolph is also a graduate of that. When I spoke with her, she said working with you, there was a familiarity there, that you were speaking the same language and were on the same wavelength.

We definitely were on the same wavelength. I enjoy when you're on a same wavelength with somebody and you don't even need to talk about it. She was one of those actors where we never talked about anything. We never talked about, "On this scene, do you think...?" Never, because it just was happening and we didn't need to.

She says that [about speaking the same language], and I'm always like, maybe there was some similarity of technique we were taught maybe. She may be right about that, but I tend to think it's just happenstance that we [are] simpatico. You want me to get really woo-woo? We're both Geminis. See, I took it there. I went there. [Laughs] That's where I go with it. So that's what I'm going to say from now on: We're both Geminis, so we have similar characters. The stars fated it.

I was about to say, the stars definitely aligned for that one. Reuniting with Alexander Payne, had you two been looking for something else to do together?

Yes, we've been talking about doing stuff. Many years ago we talked about doing a private eye thing, like a private investigator thing, which I still would love to do with him someday, and I was meant to be in the film Downsizing, but the budget became such that it was "fiscally irresponsible" to hire me, so they hired Mr. Matt Damon — which if you can't get me, you immediately go to Damon. Damon's phone rings when I turn something down. And then we tried to do The Holdovers a couple of years running, but the schedule never worked out and the schedule was very key to this because he wanted winter — he wanted a real winter — so it never worked out until finally it did.

I have to ask about that whole "fiscally irresponsible" thing because...

[Laughs] It's a phrase that I like.

It's a great phrase but I suspect an obnoxious part of the business that one has to deal with.

Sure. I mean, but it's not something...sure, I suppose. I'm nothing if not a very realistic human being, especially when it comes to the business. I didn't come up with a lot of illusions about things, so I've never been surprised by those kinds of things, like, "It would be fiscally irresponsible to put this guy in a $60 million movie" or whatever it was. It made sense. It didn't surprise me. It's okay. It's alright. I went on to do other wonderful things, and I got to do this with Alexander.

I understand why you wanted to play this character. Sometimes that word "delicious" gets thrown around with characters, and I feel like I see that here because there's so much you get to do with him. I'm curious, when you had your first chance to give this script a go, if there was something that immediately stood out to you that you thought, I've never gotten to do this or that with any of my previous characters.

There was a sort of sweetness to the man that I really liked. There's a lovely thing in this movie where I take the kid ice skating that's my favorite thing in the movie, and it's inarticulate and there's no words ever spoken, and I remembered reading it and thinking, that to me somehow is the heart of this thing and I want to just do that. I want to do that part. I want to have that thing to do.

There was a funny thing with this character. I enjoy what I call the Lon Cheney factor sometimes with characters, and I have to say the eye thing was interesting to me too. I thought, how are we going to do that? I've never done something like this. I'd really like to do something like this. And that was strangely a very enjoyable part of playing this character. [Laughs]

That was all from David Hemingson's script from the get-go, right?

It was. That was inspired, though, partially by a movie that Alexander saw, a French movie from the '30s called Merluss, which is a similar story. In that story, the character also has a sort of condition with his eye.

You have said those contacts kind of made you blind in that eye.

Yeah, well, it did. Cristina Patterson, who made the eye, [she's an] incredible artist and she hand paints these eyes; this is what she does for television and film, and they're gorgeous. They're these little works of art. Apparently, my eye was particularly hard to match the color on because my eyes changed color on film, so she did a brilliant job. You get this thing and you put it over your whole eye, and I couldn't see out of that eye, which then became actually something very interesting for the character, that he couldn't see because he probably, maybe couldn't see out of that eye. So it was actually an interesting sort of thing to then have to play with. It was really cool.

How did that physical aspect impact your mental or emotional approach?

It does [impact it], because all of these things make the man feel outside, [unacceptable] to people — which it shouldn't be, but it places him outside those things. So it's sort of contributed something to my feeling like, yes, I'm playing a guy who's got things that make him different from other people, and he's dealt with those things by creating this armor around himself, this kind of persona that he's armored himself with. So it all contributes to that very much so.

In addition to the lazy eye, he has trimethylaminuria.

It's a real thing, apparently, and I can't remember why it happens to people, but it's some lack of enzyme to break down something so that you can end up smelling like fish by the end of the day. It increases through the day. It's terrible, terrible. It's another thing that he has to worry about and sort of bury and hide and pretend that he's okay with and function in his life.

It's interesting you mentioned it as an armor because there were times when I wondered, before we even really knew about that aspect of his being, if this guy does not like himself or is there other trauma that has conditioned him to perhaps put up a guard to people, to not get close. And, of course, as the layers of the onion peel back, I think we learned that it's a bit of both.

It is a bit of both. I think he's got a little bit of sort of self-loathing, but not a ton. It's an interesting character. He's come to a point in his life where he has shut down a lot of — I mean, [Mary] says to him, "You can't even dream a dream." And it's that kind of person who's reached this point of truly believing that they no longer have aspirations to certain things and that certain things just won't happen for them. That kind of resignation in a person is intense. He doesn't even know how much he wants to connect anymore, he's not even aware of it anymore; that's a kind of amazing place to be. It's sad and it's an interesting thing to play. When he sees that Carrie Preston's character has a boyfriend, it's not so much that he says to himself, "Oh, gosh, that's not going to work out. Oh, gosh. I really liked her. Maybe she liked me." He says, "You're a fool," to himself. "Why did you ever even think that was going to happen for you? Of course, it's not. You knew that. Why did you put yourself in this position?" It's that, that he feels — that's really painful. The sense that he could even aspire to, it's not even there anymore. That's sad.

Earlier you mentioned that you and Da'Vine didn't really have to talk about or think about what you would do with certain scenes. But on the flip side of that, were there moments where, sure, maybe you didn't talk much about how a scene would go, but once the scene was done, cut was called, was there ever a communal feeling like, we got exactly what was needed for the intent of that scene?

Yeah, I think it happened a lot on this. I definitely think of that with the TV-watching scenes, especially the first one when she and I are watching The Newlyweds, which was a wonderful scene to shoot, something I was really looking forward to shooting. I loved just that whole feel of two people alone in this vast place with the TV flickering in their faces. That scene really nailed it. Something that felt so wonderful, and it was one of the last things we shot, was the fun, lovely moment in the end when they're watching the ball drop for New Year's Eve and they toast each other and they go in the — God, I'm going to start getting all choked up just thinking about it — and they go in the kitchen and light off the firework. There was something about that, and knowing that [Alexander] was shooting outside the window, I remember just thinking, this is absolutely such a beautiful, real, believable, true moment right now, and we're getting it. I think we're getting it right. And I thought, what a beautiful thing to come to — not quite the end of the movie, but it's the happy ending of the movie that the movie doesn't entirely end with.

I also have to imagine there's a certain level of joy that comes with delivering lines like "You are and always have been penis cancer in human form."

Absolutely. The language of this thing was so — "delicious" is a word that applies here. When you said that, I was like, well, the language was because it was literally like eating lovely sort of Turkish delight kind of things. So all of the baroque put downs and stuff like that were really great. And it's funny to me how it all just ends with really crass penis cancer — after all these kind of erudite insults, I finally just land on, "You're a dick," basically. [Laughs] It's very funny. The guy gets off a good parting shot to those people.

This interview has been edited for clarity and length.

Listen to more of our in-depth interview with Paul Giamatti, where he also discusses working with Dominic Sessa in his professional acting debut, Payne's 1970s style for the film, and more, in the podcast below.

Get the latest awards season analysis and hear from the actors, creators, and more who are contenders this season on EW's The Awardist podcast, hosted by Gerrad Hall. Be sure to listen/subscribe on Apple Podcasts, Spotify, Google Podcasts, or wherever you listen to your favorite podcasts, or via your own voice-controlled smart speaker (Alexa, Google Home).

SAG Awards winner predictions

And the Actor goes to...

We'll find out this Saturday when the SAG Awards are handed out, starting at 8 p.m. ET / 5 p.m. PT on Netflix. Can The Color Purple or Barbie upset Oppenheimer for Best Ensemble? That's one of the big questions we answer on the latest episode of the Awardist podcast, where EW Awards Expert Joey Nolfi and host Gerrad Hall break down the top film categories and make predictions for each.

Check that out below (along with our interview with Past Lives writer and director Celine Song, nominated for her Original Screenplay), and then tune in for EW and PEOPLE's Red Carpet Live pre-show, starting at 6 p.m. ET / 3 p.m. PT on EW.com, Facebook, X, TikTok, and YouTube.

Hidden details (Sylvester Stallone! Sequins! Horses!) in Barbie's costume design

From Barbie’s Western two-piece to Ken’s fringe leather vest, Oscar-winning costume designer Jacqueline Durran breaks down some of the movie’s most memorable looks. By Jessica Wang

It's not easy being pink.

Just ask Jacqueline Durran, the Academy Award-winning costume designer behind some of films' most memorable looks (see: Keira Knightley's emerald green Atonement dress and crimson red Anna Karenina gown, to name just a couple), who brings a keen attention to detail to the cotton-candy pink world of Barbie.

Here, Durran — who just won a Costume Designers Guild Award for Excellence in Sci-Fi/Fantasy Film — walks EW through just a few of the stylish film's most memorable looks.

Barbie and Ken's disco jumpsuits

At the giant blowout party that features the Barbies and Kens grooving to "Dance the Night" by Dua Lipa (who makes a splashy cameo as Mermaid Barbie), Durran chose a distinct color scheme to contrast the pink of the dreamhouses, something she noticed in Mattel's back catalogs. "There was so much white and gold," Durran recalls. "It seemed like a real Barbie choice for a party."

Robbie's Stereotypical Barbie dons a gold sequined disco jumpsuit, while the Kens wear matching white jogger jumpsuits with golden embroidered Ks and stripes on the side. Both jumpsuits were modeled after retro jumpsuits manufactured between the late 1960s and early '70s.

Barbie and Ken's neon skating leotard sets

When Barbie and Ken arrive in the real world, first rolling into the bohemian California beach town of Venice before making their way to Mattel headquarters in bustling Century City, they sport a pair of matching neon leotard sets and bright yellow rollerblades. Durran once again mined from Mattel history, drawing inspiration from 1994's Hot Skatin' Barbie.

"The actual way that Barbie wears it then [was] slightly different," Durran says. "We changed the layout a bit, [but] the print is the same, the pattern is the same. Our textile artist copied the original pattern and printed it onto the leotard and onto the pieces for Ryan." Putting together the looks was initially a bit tricky because, as Durran notes, "If you are gonna put a costume on somebody and they're gonna really stand out in Venice, what is that gonna be? You have to go quite far [out] because Venice has so many characters [and] no one really raises an eyebrow."

Ken's leather fringe vest and faux fur coat

To bring to life the aesthetics of the Kentriarchy, Durran referenced a series of "archetypal masculine" visuals while working out the look of a real-world-corrupted Ken, which brought her to the black leather waistcoat (or vest). "This evolved in the fitting," Durran explains. "There's always something kind of extra in everything that they wear. Another kind of last-minute thing is, we added these fringe shoulder pads and that just finished it off." Ken's all-American male headband that references his love of horses is also one of Durran's favorites. "In another scene he's wearing the tracksuit that matches that and printed onto the tracksuit is horses galloping with lightning," she notes. "And so the headband, that little kind of line going across is from the lightning part of the pattern of the horses. These details with horses and all of these things, I just love the fact that they're all in there."

The faux fur coat is, of course, "100% inspired" by Sylvester Stallone and the imagery of the Rocky actor featured in the film when Ken comes to the realization that men rule the real world. "Those images were kind of around in the early prep when we were first talking about what Ken would look like," Durran says. "It seemed so extreme and over the top, but also just so brilliant. We were really wanting to get that in as a Ken image. And I wasn't sure, because Ryan hadn't started on the movie yet, whether he would be up for this kind of look or not, but he totally embraced it and he was really happy to have the fur coat."

The lining of the fur coat once again nods to Ken's love of horses. "The lining, if you notice, has a print of horses on it that we printed for him and made," Durran adds. "That's one of my favorite things."

Click here for the full article, where Durran also breaks down Barbie and Ken's Western wear and those pink Birkenstocks.

Oscar winner predictions

With all but the SAG and PGA Awards behind us, final voting is officially underway for the 96th Oscars. In this final stretch of the race, here are EW's predictions for who will win in key categories at the Academy Awards. By Joey Nolfi

Best Picture

American Fiction
Anatomy of a Fall
Barbie
The Holdovers
Killers of the Flower Moon
Maestro
PREDICTED WINNER: Oppenheimer
Past Lives
Poor Things
The Zone of Interest

Christopher Nolan's historical drama cleaned up at the box office — earning over $950 million globally — before sweeping the early awards circuit, enough so that the movie has become the default choice for nearly all journalist groups and industry awards bodies (including a momentous BAFTA win for Best Film) alike. Nothing can stop Oppenheimer's reign.

Best Director

Justine Triet, Anatomy of a Fall
Martin Scorsese, Killers of the Flower Moon
PREDICTED WINNER: Christopher Nolan, Oppenheimer
Yorgos Lanthimos, Poor Things
Jonathan Glazer, The Zone of Interest

The man behind the success of Oppenheimer is a movie-making titan who can sell tickets to a picture on his name alone, regardless of star wattage in front of his camera. Academy voters across multiple branches spoke in favor of his Oppenheimer achievements by awarding the film with 13 overall Oscar nods in January. Building that kind of support among the branches all but assures that the Academy will hoist Nolan to the podium for the first time for stringing it all together in one movie.

Best Actor

Bradley Cooper, Maestro
Colman Domingo, Rustin
PREDICTED WINNER: Paul Giamatti, The Holdovers
Cillian Murphy, Oppenheimer
Jeffrey Wright, American Fiction

At one point, it felt inevitable that Cillian Murphy might go along for the ride as Oppenheimer decimated nearly every voter's attention at the start of the race, but critical favor burned slow and steady for The Holdovers' Paul Giamatti, whose turn as a curmudgeonly professor watching over a troubled student over a bleak holiday break speaks to the softer side of the heart, versus Murphy's fire and fury. In that sense, you'd think that Giamatti's is a far more accessible, tender performance that could speak to a wider range of voters, and should secure him both the SAG statuette and the subsequent Oscar after that. Giamatti's late-breaking surge hit a roadblock at BAFTA, though, where the actor lost to Murphy — which is either a signal of the actor's weakening stance in the race, or simply a case of homeland advantage, as Murphy hails from nearby Ireland. SAG will be the deciding factor here. Whoever takes home that trophy takes home Oscars gold, too.

Best Actress

Annette Bening, Nyad
Lily Gladstone, Killers of the Flower Moon
Sandra Hüller, Anatomy of a Fall
Carey Mulligan, Maestro
PREDICTED WINNER: Emma Stone, Poor Things

Lily Gladstone made history by becoming the first Native actress to score a nod in this category, and she seemed likeliest to win as the race kicked off last year. Poor Things' star and Academy favorite Emma Stone rocked the narrative with her off-kilter work in Yorgos Lanthimos' peculiar emotional epic, charting her Frankenstein-esque character's evolution from dawdling infant to fully realized feminist.

Best Supporting Actor

Sterling K. Brown, American Fiction
Robert De Niro, Killers of the Flower Moon
PREDICTED WINNER: Robert Downey Jr., Oppenheimer
Ryan Gosling, Barbie
Mark Ruffalo, Poor Things

The Academy loves a notable actor altering their appearance — especially when it's for a role based on a real-life historical figure. Here, Robert Downey Jr. sheds the glint of superhero stardom to play an aging Rear Admiral Lewis Strauss, with some audiences labeling him unrecognizable in the part. That was seemingly enough for industry voters to chart his path to his first Oscar victory — a long overdue accolade for one of the lesser performances in his stunning filmography.

Best Supporting Actress

Emily Blunt, Oppenheimer
Danielle Brooks, The Color Purple
America Ferrera, Barbie
Jodie Foster, Nyad
PREDICTED WINNER: Da'Vine Joy Randolph, The Holdovers

A vital piece of connective tissue that holds The Holdovers together, you could make the case that Da'Vine Joy Randolph is the heart of Alexander Payne's film. The industry has certainly had its finger on the pulse when it comes to Randolph hitting every major beat to date, scooping up accolades from the Golden Globes to the Critics Choice Awards, making her victory as inevitable as it is deserved.

Click here for our predictions in the other 17 categories.

'I want to wreck a train!': Behind the scenes of Mission: Impossible – Dead Reckoning Part One

With the film's stunt team nominated for the SAG Stunt Ensemble award and the franchise earning its first-ever Oscar nomination for visual effects, we're taking a trip back to Summer 2023 when writer-director Christopher McQuarrie spoke with EW's Clark Collis about reteaming with Tom Cruise and the difficulties of destroying a 70-ton locomotive.

When Tom Cruise and writer-director Christopher McQuarrie began discussing what they would like to include in Mission: Impossible – Dead Reckoning Part One, the two longtime collaborators each zeroed in on a different stunt they wanted to achieve.

"At the start of this movie, I said to Tom, 'What do you want to do?'" recalls McQuarrie, who directed the previous two films in the blockbuster spy franchise, 2015's Mission: Impossible – Rogue Nation and 2018's Mission: Impossible – Fallout. "He said, 'I want to drive a motorcycle off of a cliff. What do you want to do?' And I said, 'I want to wreck a train.' We're enormous fans of Buster Keaton, John Frankenheimer, David Lean, all of these filmmakers who at one time or another had a fabulous train wreck. I thought, I've earned that, I want to wreck one too."

Cruise got to fulfill his ambition on the very first day of shooting for the seventh Mission: Impossible film in September 2020, when he repeatedly rode a motorcycle off a ramp and over a cliff in Hellesylt, Norway, safely base-jumping down to the ground far below each time. McQuarrie had to wait almost a year to see his dream turn into reality, in part because of the difficulty in finding a locale where he could stage the train sequence. In the summer of 2020, media reports suggested the director was set on demolishing a 111-year-old bridge in Poland for the scene, prompting protests from numerous parties. McQuarrie swiftly clarified the situation in a statement to Empire magazine, making clear that the production had only planned on wrecking unsafe sections of the bridge and that "no one had asked for permission to destroy a historically significant landmark." The director eventually shot much of the train sequence in the United Kingdon, with the BBC reporting in August 2021 that the production had finally sent a train plunging into England's Darlton Quarry. "A 70-ton train, yes," McQuarrie, who produced the film with Cruise, tells EW. "I think the energy that went into developing it, designing that, building it, and then making a sequence that justified its existence was probably the biggest challenge of my entire life."

Complicating matters behind the scenes: The pandemic meant that keeping the production on the tracks proved as testing as hurling a 70-ton train off them. While the worst of the pandemic is behind us, it doesn't change the fact that making these movies is a, well, mission. Which begs the question if McQuarrie and Cruise have a ninth movie in them, after production is completely on M:I 8, currently filming.

"Look, we're still shooting 8 and there's any number of ways that that story could play out," says the filmmaker. "When you're watching Mission: Impossible, and watching the team go through these adventures, you're having some sense of what it's like to make a Mission: Impossible movie. There's always a plan, the plan always changes, everything goes completely awry, and hopefully everything always turns out alright in the end. But you never really fully understand, or trust where it is you're going, until you get there."

Something McQuarrie will confirm: Any subsequent Mission: Impossible movie directed by him will not overly involve one specific type of vehicle.

"I am all set with trains until the end of time," he says.

Read the full story here.

SAG Awards Flashback

"This room is a source of endless inspiration for me. I love all of y'all. People call [actors] weird and strange — the truth of the matter is: Everybody's weird and strange, and we just embrace ourselves for who we are.""

—STERLING K. BROWN | OUTSTANDING PERFORMANCE BY A MALE ACTOR IN A DRAMA SERIES, 2018 | THIS IS US

Check out more from EW's The Awardist, featuring exclusive interviews, analysis, and our podcast diving into all the highlights from the year's best in TV.

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Read the original article on Entertainment Weekly.