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Oscars 2016: The Frame’s preview of the Academy Awards





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The Frame's Academy Awards preview (listen above or get the podcast on iTunes) features many of the nominees who have visited with host John Horn to talk about their creative process in making some of last year’s most memorable films. Go behind the scenes and hear compelling interviews with many of the nominated directors, actors, writers and composers. 

Plus, get Oscar insights and analysis from Kyle Buchanan, Senior Editor at New York Magazine's culture website, Vulture

The special will air nationally on public radio stations — from KQED in San Francisco to WNET in New York City — ahead of the awards on Feb. 28.

Our special preview was compiled from the segments listed below. Click the links to hear the full-length interviews:

CREED

Sylvester Stallone on why he told “Creed” director Ryan Coogler he wouldn’t attend the Oscars if the young filmmaker didn’t want him to.

“Creed” director Ryan Coogler on how he went from "Fruitvale Station" to making a "Rocky" movie.

THE REVENANT

Why director Alejandro González Iñárritu says he’ll never make a film like “The Revenant” again.

Leonardo DiCaprio explains why he believes there’s an environmentalist undertone in “The Revenant.”

MAD MAX: FURY ROAD

How director George Miller got the right shots for all those wild desert car chases in “Mad Max: Fury Road.”

SPOTLIGHT

Why director Tom McCarthy’s connection to the Catholic Church made the sex abuse scandal film a delicate project for him.

THE BIG SHORT

How director Adam McKay's "The Big Short" is a factor in the presidential races.

ROOM

Actress Brie Larson on why she put herself through isolation to get into character for “Room.”

WRITERS

“Carol” screenwriter Phyllis Nagy on sharing a flask at a graveyard with “The Price of Salt” novelist Patricia Highsmith.

Novelist/screenwriter Emma Donoghue explains how captivity cases inspired her to create “Room.”

BEST SONG & SCORE

How songwriter Diane Warren collaborated with Lady Gaga on “Til it Happens to You.”

“Carol” composer Carter Burwell says most directors don't care if a score is "good" or "interesting."



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