I, Tonya star’s awkward run-in with Kate Middleton

ALLISON Janney has opened up about her awkward moment with Prince William and Kate Middleton at the BAFTAs.

The American actor won the award for Best Supporting Actress at the British event for her role in I, Tonya and was pictured leaving the awards show without any shoes on.

“I was in very high heels and at the Royal Albert Hall, it’s like Vegas, everything was so far to get anywhere and my feet had had it so I took my shoes off,” Janney told talk show host, James Corden.

But she quickly regretted her casual approach to footwear when she bumped into a couple of very famous guests.

“The awful thing is I did meet Kate and William and she was in her heels and pregnant so I felt a bit of a wimp that I was there in my bare feet,” Janney said.

“And what did they say to you?” Corden asked.

“I told her that I was in bare feet and … I told her that she should take her shoes off because she’s pregnant. It was an awkward moment.”

To make matter worse, Janney broke royal protocol by calling Kate Middleton “honey”.

“She was lovely,” Janney said about the Duchess of Cambridge.

“They loved I, Tonya and it was a pretty cool thing to meet them.”

Corden asked: “Did you test them on whether they’d actually seen it?”

“I chose not to, but it crossed my mind,” Janney replied.

The former West Wing star is the odds-on favourite to win the Academy Award for Best Supporting Actress at next month’s Oscars.

Kate Middleton stands out in olive green on BAFTAs red carpet as stars wear black for Time’s Up

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How to watch almost every Oscar-winning picture

HOW many of the 89 Best Picture Oscar winners can you watch in the three weeks until this year’s ceremony?

If you’ve always wanted to catch up on all those movies you’re supposed to have seen by now but never got around to, now’s a good time to start.

Foxtel is running an Oscars pop-up channel, running 70 best picture winners, plus La La Land (the unofficial winner for about four minutes) for good measure.

Starting with 1927 winner Wings, starring silent screen legend Clara Bow, and ending with last year’s exquisite honouree Moonlight, the whole program plays out over the span of a week. We’re assuming you’ll want to sleep, shower and maybe go to work at some point so you can catch up on whatever you miss the following week, save it on your iQ or pull it up on Foxtel On Demand.

You could relive the suspense of The Silence Of The Lambs (1991), The French Connection (1971) or The Deer Hunter (1978). You could sing along to West Side Story (1961), Chicago (2002) and The Sound Of Music (1965). Rediscover the comedic banter of The Apartment (1960) or Annie Hall (1977).

Strap in for the harrowing war experiences of The Hurt Locker (2009), On The Waterfront (1954) and Bridge On The River Kwai (1957).

If you find yourself with lots of time to spare, the Oscar list is not short of epics — Gone With The Wind (1939), Ben-Hur (1959), Lawrence Of Arabia (1962) and Lord Of The Rings: Return Of The King (2003) all clock in well past the three-hour mark.

There are 19 films missing from the list (due to broadcast rights), which you’ll have to find elsewhere, including proper classics such as One Flew Over The Cuckoo’s Nest, It Happened One Night and Rebecca. As for Gigi? You’re not missing too much there, except for Maurice Chevalier’s now-creepy song about “little girls”.

This is every movie playing on the channel:

Margot spills on Tonya Harding’s Globes behaviour

MARGOT Robbie has opened up about what it was like to take Tonya Harding as her date to the Golden Globes.

The Aussie actor was nominated for Best Performance by an Actress in a Motion Picture at the awards for playing the disgraced skater in I, Tonya.

Robbie was asked by talk show host James Corden what Harding was like as a date and the former Neighbours star replied, “the best”.

“Oh my god, she was so fun to have there. Because, I mean, Tonya anyway is very unapologetic about who she is and that’s kind of liberating sometimes, especially if you’re at a fancy event.”

Robbie told Corden that Harding wasn’t shy about approaching celebrities in the room to ask them for a picture.

“She just was not afraid to go up to anyone … She was like, ‘Oh there’s a Meryl, I’m gonna go say hi.’ And I was like, ‘No, sit down, sit down.’”

But there were a lot of celebrities in the room that Harding didn’t recognise at all, which Robbie said was “even more hilarious”.

“At one point she was like, ‘That’s the lovely lady who helped me in the photo line at the beginning.’ She was like, ‘hi, hi’ and waving, and I’m like, ‘That’s Sharon Stone!’

“She had no idea who she was,” Robbie said.

The Aussie star missed out on a Golden Globe award but has also been nominated for the Best Actress Oscar.

It’s unlikely she’ll walk away with an Academy Award on March 5 though, with Frances McDormand and Saoirse Ronan considered the frontrunners.

Taskmaster of Phantom Thread

IT TURNS out Daniel Day-Lewis isn’t the only one Paul Thomas Anderson has driven into retirement with his latest movie, Phantom Thread.

At a cast and crew get together in London last week, a year after the film was shot, the writer-director asked his colleagues if they had they been working lately.

One by one, he recalls, “they said, ‘No, I’m retired. I’m knackered after that movie’. I said, ‘Come on, it wasn’t that hard!’,” he laughs.



“But that’s how I am. It takes me three or four days and I’m right back to normal, I’m running around saying, ‘Wasn’t that fun?’ And everybody else is saying, ‘No, it wasn’t fun. At all. It was really hard’.”

Three-time Oscar winner Day-Lewis issued a statement last June announcing he would “no longer be working as an actor”. If Phantom Thread does turn out to be his last hurrah, he’s going out on a high with another nomination for his performance as Reynolds Woodcock, a dress designer in post-war London whose fastidious world is up-ended by the arrival of his strong-willed new muse, Alma (Vicky Krieps).

Anderson, who previously steered Day-Lewis in There Will Be Blood, isn’t certain this is the last we’ll see of his leading man.

“He’s been threatening to retire long before I ever came into the picture. You could look at it two ways. You could say: He’s gone out on a high note and he’s given us so many great performances that we should all just respect his decision and be happy. Or, you could protest and say, ‘That’s not good enough, we want more!’

“I would vote for the second one,” he laughs. “But aren’t retirement announcements made to be broken?”

Anderson, who has four children with his partner of 17 years, actor and comedian Maya Rudolph, considers Phantom Thread his “relationship” movie.

But it’s a heck of a strange relationship, where the tables are turned on a monstrous man by a woman determined not to be cast aside. At least five occurrences in the first date between Reynolds and Alma would have made a sane woman bolt.

“I agree!” declares Anderson. “But then again, I’d dare a lot of people to look back at their first dates and say, ‘Well, you could have seen all the red flags, yet there you are, you’re married with children now’.

“My favourite couple that I know,” he adds, laughing, “on their first date, he drank so much he threw up in the back of a taxi and they ended up kissing at the end of the night. Now they’ve been married for 35 years.

“But yes, I’m going to show Phantom Thread to my daughters: ‘OK, if you go on a date with anybody like this, here are the red flags you should look out for’.”

Anderson has made a lot of movies about men no daughter should go near: the cult leader of The Master, the egotistical porn star of Boogie Nights, the greedy and violent prospector of There Will Be Blood.

But that’s not the angle he takes on Phantom Thread.

“It’s about a girl who’s an immigrant who falls in love with a man she probably shouldn’t go near. But love is strange. And love is peculiar. And circumstances throw people together. And relationships can be dramatic. To heighten those relationships up for the purposes of a movie is what you’re supposed to do, I think, to make something that’s entertaining.”

Anderson says Day-Lewis never stopped surprising him on Phantom Thread.

“He’s a bottomless pit of new moves. He doesn’t just play the hits or recycle the old ones. He’s so inventive and very spontaneous.”

He reckons Day-Lewis is “underrated as a comedic actor”; it was his perverse costume choices that tickled Anderson this time.

“Everybody takes him very seriously, as they should, but if you watch Gangs of New York again there is some funny, funny stuff in that movie that he’s doing. Same with There Will Be Blood.”

Dark funny, perhaps.

“Yeah, super dark. But funny.”

It’s been 21 years since Anderson made his name and made a movie star out of Mark Wahlberg with Boogie Nights.

Wahlberg was recently quoted as saying he hoped God would forgive him his “poor choices” — Boogie Nights being “at the top of the list”.

Anderson reckons Wahlberg’s words were taken “wildly out of context by the internet” and that he was “just f—ing around”.

Besides, the director jokes, “he needs God’s forgiveness for a lot worse s— that he’s done than Boogie Nights!”

Anderson personally doesn’t consider his films — among them Magnolia and Punch-Drunk Love — as things to cringe at or second guess in hindsight, but rather as photo albums of his life.

“It’s a really good record book,” he says. “I’d probably have forgotten so many things in my life if I didn’t have those films to look back on. I’m terrible — I can remember the years my kids were born by the movie I was working on.

“In fairness to me,” he laughs, “there’s four of them, so it’s hard to keep track of.”


“It’s a feminist movie”

DANIEL Day-Lewis and Lesley Manville might have the Oscar nominations, but it’s Vicky Krieps who steals the show in Phantom Thread, Paul Thomas Anderson’s finely-detailed examination of a most peculiar relationship.

Reynolds Woodcock (Day-Lewis) is a fastidious fashion designer in 1950s London and Alma (Krieps) a waitress who becomes his new muse. But unlike the women who came before her, Alma isn’t meek or disposable. Slowly, subtly and strangely, she takes control of this horribly controlling man.


It may not come packaged as such, but Krieps, a 34-year-old from Luxembourg who now lives in Berlin, reckons Phantom Thread is a perfect film for the #MeToo moment.

“I’ve had a very, very few responses of women — maybe they didn’t see it to the end, I don’t know — who were very angry, they said ‘Oh this movie is against women’, which surprised me,” she says. “Because to me, if it is anything, it’s a feminist movie. It’s not a plan that Paul had or I had or anyone had, it’s just became one because Alma is who she is. And maybe because of (what is happening) now, women are receptive to these kinds of stories.”


In the rarefied world of Phantom Thread, the mere act of Alma eating her toast in a manner that annoys Reynolds makes a feminist statement.

“And that’s what I love about it,” enthuses Krieps. “Alma eating her toast is the best way to talk about it — because in a way it’s right out of the discussion and in a way it’s right in the middle of it, you see. Because it’s so natural: eating your toast sometimes can create a war. That’s what makes the world turn.”

Krieps’ 10-year career has played out mostly in German and French-language films. Plucked out of obscurity, as far as the English-language world of cinema is concerned (although she has had roles in Philip Seymour Hoffman thriller A Most Wanted Man and Joe Wright’s Hanna), by Anderson, Krieps — like her character — was thrust into a new world where Day-Lewis’s infamous working methods set the tone.

“Daniel being who he is, I was confronted with the situation of not being able to rehearse,” she explains. “He requested for us to meet on the day, for the first time, as characters. Maybe I lack the experience, but I wouldn’t know how to prepare for this. I don’t know a lot about method acting.

“So this is why I chose to be emotional, more than intellectual, because I knew that my head would not understand what’s going on. And it didn’t understand, so I could only trust my instinct and intuition.”

Day-Lewis has said making Phantom Thread was a downer, given he was being horrible all day. How did Krieps find being on the receiving end of that horribleness?

“There were times where I thought: I’m on a big ship out on the ocean and I don’t know if I’m ever going to see land,” she admits. “I had no sense of time, really, I didn’t even know what time of year we were … because he was not only horrible, Reynolds, he’s consuming everything around him, every energy.

“So it was a lot of work to not become miserable. That was where most of my energy went into this, to try and keep up and keep my humour.”

Asked if she inherited some of Alma’s strength and stubbornness, Krieps laughs.

“I think I had some of it before.”

Her director backs her up. With the uber-experienced Day-Lewis and Manville anchoring the ship, it was the job of relative newcomer Krieps to rock the boat.

“And she did,” says Anderson with a laugh. “Vicky’s very outspoken. It’s kind of great. You’d see her standing on the set telling other people what to do — suggesting blocking for other actors in the scene. Which is very un-English.

“All the English actors would look at her with these wide eyes and their mouths open, thinking, ‘I can’t believe this is happening. There’s this small Luxembourgish actress in the room telling me how I should read my lines’. It’s very Alma.”

New as she is to the Hollywood game, Krieps isn’t sure if there’s a flood of big offers coming her way now.

“But people tell me so, so I guess that’s what’s going to happen,” she laughs. “I’m happy with my life as it is and has been, but I’m always open for new things.”


Rihanna stuns at Grammys party

RIHANNA has turned heads at a Grammys after-party wearing a low-cut dress as she partied with her rumoured boyfriend.

The Wild Thoughts singer, 29, attended the VVVIP bash at 1 OAK in the Big Apple with Saudi businessman Hassan Jameel, whom she has been linked to since June.

The rumoured couple partied until about 3.45am and left the club separately, People reports.

Rihanna won a Grammy for Best Rap/Sung Performance for Loyalty, her collaboration with Kendrick Lamar off his Grammy-winning album Damn.

She performed her mega-hit Wild Thoughts onstage with DJ Khaled at the Grammys.

Meantime, Rita Ora flashed her cleavage in a plunging, Madonna-inspired outfit as she attended the same party as her ex-boyfriend Calvin Harris.

The RIP singer, 27, and Harris, 34, broked up in 2014 after a very public relationship and bitt breakup. At the time, Harris was said to have stopped Ora from performing I Will Never Let You Down – a song they co-wrote.

Last October, Ora told The Guardian the pair were on “good terms now”.

“It’s one of these things that… Well, for me it’s in the past. Whatever I say somehow turns into a headline and it becomes a story again,” she said, according to the Daily Mail.

Also in the Big Apple for the Grammys was Australian model Shanina Shaik, with her fiance, DJ Rukus. Shaik posed on the media wall outside Universal’s bash held at Spring Studios, also attened by New Rules singer Dua Lipa and rapper Eve.

In Los Angeles, Ruby Rose attended a Grammys viewing party.

The Pitch Perfect 3 star is still recovering from major back surgery and used a walking aid as she attended the star-studded bash, thrown by Aerosmith singer Steven Tyler.

“So, for the past few years (decade) I’ve been dealing with a spine issue,” Rose wrote on Instagram this month.

“I am now recovering from a back procedure, but I do need to stay active, so before I get seen with my cane and wheelchair in public, I’d rather put it out there that I’m fine and going to be fine.”