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Special Event

2001: An Oscar Odyssey

Aired March 25, 2001 - 7:00 p.m. ET


ANNOUNCER: From ancient China to the Roman Empire to turn of the century France and present day California, cinematic historical evolution paving the golden way to 2001: AN OSCAR ODYSSEY.

LAURIN SYDNEY, CO-HOST: Hi everybody, and welcome to the final destination on our Oscar odyssey, the Shrine Auditorium in Los Angeles. I'm Laurin Sydney above the red carpet where the stars are arrive for the 73rd Annual Academy Awards. Julia Roberts, Tom Hanks, Russell Crowe, they are all on the way, and ready to greet them is our own gladiator, Mr. Bill Tush.

Take it away, Bill.

BILL TUSH, CO-HOST: This is where it gets crazy, Laurin, of course, down on the red carpet. Joan Allen, nominated for best actress in a lead role. Congratulations for "The Contender."


TUSH: You look absolutely lovely.

ALLEN: Thank you, thank you.

TUSH: You have been here before.

ALLEN: Yes, this my third time.

TUSH: What happens after three times? Is it still as exciting?

ALLEN: Well, yes. Oh, yes, very much so. It's a little bit more relaxing because you know what to expect and I'm really into the enjoyment factor of the whole event.

TUSH: So, you have fun in addition to being a little nervous.

ALLEN: Absolutely. I plan to have more fun than being nervous. I'm going to work my best.

TUSH: Well, you look terrific. Have a good time tonight. Joan Allen, thank you very much, nominated for best actress. A woman who everybody calls "Pretty Woman," but who they may be calling her from now on "Erin Brockovich." We're talking about Julia Roberts. We're going to be seeing her in a little bit. She's down there. Before we do that, some of the other nominees, we have -- we'll be seeing right now. We're going to find out who they are from Lauren Hunter.


LAUREN HUNTER, CNN CORRESPONDENT (voice-over): On this year's Oscar odyssey, the best picture nominees are literally all over the map, from "Gladiator"'s ancient Rome to medieval China in "Crouching Tiger, Hidden Dragon," "Chocolat"'s French village to "Erin Brockovich"'s California town, and the Mexican-American drug trade in "Traffic."




HUNTER: Steven Soderbergh competes against himself for best director for "Traffic" and "Erin Brockovich." Other director nods go to first-timer Stephen Daldry for "Billy Elliot" and Ang Lee for "Crouching Tiger." That film's 10 nominations set a record, more than any foreign-language film ever.

ANG LEE, BEST DIRECTOR NOMINEE: It's embrace of a Chinese- language film in a big way.

HUNTER: Ridley Scott's directing notice for "Gladiator" is one of that film's 12 nominations.




HUNTER: Another of its Oscar nods, best actor nominee Russell Crowe.

CROWE: It's the highest acknowledgment in my profession.

HUNTER: Crowe's challengers include Tom Hanks' solo turn in "Cast Away," Ed Harris picture-perfect "Pollock," Geoffrey Rush as the Marquis de Sade in "Quills," and Oscar newcomer Javier Bardem as gay Cuban writer Rinaldo Arenas in "Before Night Falls."


UNIDENTIFIED ACTRESS: What is the official position these days?


HUNTER: A best actress nod goes to first-time nominee Laura Linney for "You Can Count on Me." She's up against Vice President- Designate Joan Allen in "The Contender," Juliette Binoche's "Chocolat" confection, and Ellen Burstyn's drug-addicted mother in "Requiem for a Dream."

Julia Roberts gets the nod for her PG&E whistle-blower "Erin Brockovich."

JULIA ROBERTS, BEST ACTRESS NOMINEE: This is the bonus round of satisfaction, because I had an enormous amount of gratitude and just an overwhelming sense of being part of such a creative team.

HUNTER: Albert Finney is part of that team and a best supporting actor nominee opposite Jeff Bridges' president in "The Contender," while Willem Dafoe sinks his teeth into "Shadow of the Vampire." Joaquin Phoenix plays the Emperor Commodus in "Gladiator," and Benicio Del Toro a Mexican policeman in "Traffic."




HUNTER: Julie Walters instructs her way to a best supporting actress nomination in "Billy Elliot" against first-timer Marcia Gay Hardin in "Pollock" and Oscar veteran Judi Dench in "Chocolat."

Rounding out the category, previous Oscar winner Frances McDormand and newcomer Kate Hudson, both from "Almost Famous."

KATE HUDSON, BEST SUPPORTING ACTRESS NOMINEE: I'm just so happy to be here. I'm so young, my career is just starting.

HUNTER: It's Oscar's golden glow, affecting newcomers and seasoned vets.

TOM HANKS, BEST ACTOR NOMINEE: It is never less than the big event of the year.

HUNTER: Lauren Hunter, CNN Entertainment News, Hollywood.


TUSH: And here's the gentleman nominated for two Oscars tonight for best director, Steven Soderbergh and...

STEVEN SODERBERGH, BEST DIRECTOR NOMINEE: Laura Bickford, who produced "Traffic."

TUSH: Oh, OK, so you've got a major interest in this tonight?


TUSH: I know people have had to ask you this. You've got two films nominated. Which one are you pulling for?

SODERBERGH: Oh, neither.

TUSH: Neither one.

SODERBERGH: I'm pulling for -- what am I pulling for?

BICKFORD: I'm pulling for "Traffic."

SODERBERGH: I'm pulling for "Bring It On."

TUSH: What a nice, gracious guy. I'm telling you. Were you excited about it when you got the nominations, especially two of them?

SODERBERGH: Yes, absolutely. Stunned, but excited. I was in the middle of shooting, actually, when I heard so it was a little disorienting.

TUSH: Are we talking about "Oceans 11"?

SODERBERGH: Yes, we were in a casino in Atlantic City.

TUSH: I have to ask you, how is that coming along because I was such a fan of the original?

SODERBERGH: I think you'll like it. It's going. We're about a third of the way through. So, it's going very well.

TUSH: This outfit, this beautiful outfit you have on, is from where?

BICKFORD: Thank you. (UNINTELLIGIBLE) Rodriguez made it for me.

TUSH: We have never seen -- at least I have never actually seen a ticket to the Academy Awards. You have them right in your hand. There they are. Steven is in row four. Have a good time tonight.

SODERBERGH: Thank you.

TUSH: Thank you for your time. All right, and let's go back to Laurin Sydney.

SYDNEY: I think that Steven should get double the tickets. Anyway, the Oscars is not only the world's biggest awards ceremony, it is also the world's biggest fashion show, surprise, surprise. And right below me is the runway, millions of dollars worth of gowns; jewels, my little bauble from Martin Katz over a million-five, and fads will be on display for all the world to see. Here it is.


MARCIA GAY HARDEN, BEST SUPPORTING ACTRESS NOMINEE: I'm right in the process, and I'm have a blast with it. I'm working with a lady named Jessica Pasteur (ph) and we're meeting designers and deciding on silhouettes and deciding on colors.

LAURA LINNEY, BEST ACTRESS NOMINEE: I'm still in the midst of all the, you know, choosing the dress and all of that stuff. ELLEN BURSTYN, BEST ACTRESS NOMINEE: Sitting still while people flutter around me, painting my face and combing my hair and dressing me.


QUESTION: And the dress?


CINDY WEBER-CLEARY, FASHION NEWS DIRECTOR, "IN STYLE": As soon as the nominees are announced, they are wooed by the designers big time. They get flowers. They get sketches sent to them. There's, you know, all kinds of loving correspondence that goes their way and, you know, the stylists start collecting ideas and it just builds to a crescendo.

DANILO, CELEBRITY STYLIST: The first thing that actually goes on in the preparation is the phone call. And the phone call usually involves a chat about preparation, just depending on where they're going and what they're feeling and so I can start preparing that point, whether it means bringing in some extra hair or some jewelry or whatever, creating the look.

RANDOLPH DUKE, FASHION DESIGNER: What's so important to me this year is that each one is very different unto its own right. This is the tiniest, tiniest bugle beads. Caftan gown, it defines the body. Here a little sort of Indian princess number, paisley and a gorgeous new train that starts very high up and just creates a lot of drama on the red carpet. And I'm not telling you who's wearing them.

WEBER-CLEARY: It's always about cleavage, and that's why all the focus on jewels because it's what you see if you're hopefully up there accepting your award.

DUKE: I think we're going to show a lot of these chains, because they're so much fun. I'm sure we'll be seeing some of these blues and pinks and a lot of yellows. I would watch for those trends.

WEBER-CLEARY: Make-up artists are booked a year in advance. In terms of trends, this year there's been a little more focus on a defined eye, like a smoky eye, and when you do that, you want less emphasis on your mouth.

LINNEY: There are a lot of people who are saying I should wear this and I should wear that, and at the end of the day, you know, this is an evening of celebration, and, you know, so I'm just going to wear what I feel good in and something that sort of matches the occasion, I hope.


TUSH: Willem Dafoe, nominated for best supporting actor in "Shadow of the Vampire." Love that movie.


TUSH: What made you do that? I mean, it was such an odd thing to get into and as I said, it's a great movie.

DAFOE: It was just a very good script. It was an opportunity to do something comedic. It was an opportunity to do something that was little bigger than life. I knew I was going to be working and having prosthetics. All those things interested me.

TUSH: Well, I know you've been asked this before, people want to ask you about when you're wearing all that make-up and you're doing that role, is it easier to get into the character?

DAFOE: For me, I always seek out some sort of disguise. It makes the pretending easier. So, this was a perfect and very literal case of having a good mask to work with.

TUSH: OK, well good luck tonight.

DAFOE: OK, thank you.

TUSH: Were you excited about the nomination? I'm sure.

DAFOE: Very excited.

TUSH: OK, Willem Dafoe, thank you very much. Laurin, back to you.

SYDNEY: Thank you Bill and Willem.

Of course, an Oscar look isn't complete until you do the do. And with me is a man who knows that better than anybody else. He is renowned hairstylist Jose Eber.

Welcome to the special.

JOSE EBER, HAIRSTYLIST: Oh, it's a pleasure to be here again this year.

SYDNEY: How do you wake up and look like a star? Just like this?

EBER: No, there's a lot of work involved. The best hairstylist, makeup artist, dress designer; it's a long preparation. And even the day of it does take hours, because you don't wake up and just look fabulous.

This year you see more and more glamour, actually. Everybody looks extremely elegant -- there's a return of the '80s, but with an edge -- modernize it. And you'll see a lot of color, you'll see a lot of sophistication, and that's the fun about it. That's the year (sic) where you want to look the best you can look.

SYDNEY: Now, speaking of looking the best that you can look, you did Elizabeth Taylor's hair, always, and for the Golden Globes you heard a lot about that upsweep. EBER: Well, you don't really create a look in order to please everybody in the audience. Basically -- I mean, I've heard a lot of comments. People like somebody's hair, like Elizabeth Taylor, they liked her look, they didn't like her look. But you know what? When you create a look and then when you wear a look you just don't do it so you -- everybody will rave about it. You always know that somebody will say, what is that! But so what? I mean, people are talking about it; that's what counts.

SYDNEY: Now, do celebrities ever wake up in the morning and just have a bad hair day?

EBER: Oh, absolutely. Not really a bad hair day, but there's days where they wake up and look better than others. I mean, there's days where they'll be a little bit more puffy than other days; I mean, a day where their hair just doesn't do what -- wants it to do. And you just have to go with it -- work a little harder. But there's always a solution.

SYDNEY: There's always the hat. And Jose, we'll be right back.

Stay tuned for our special, there's lots more happening above and below the red carpet. We'll be right back.


BURSTYN: I had a long rest. So this is my sixth nomination, but there is 20 years between nominations, so it feels like springtime after a long winter.



TUSH: 2001: AN OSCAR ODYSSEY continues from the Shrine Auditorium.

Benicio del Toro, congratulations, buddy; you got -- you're walking away with everything this year.

DEL TORO: Thank you very much; I haven't walked away with this one.

TUSH: But you're hoping, right?

DEL TORO: Yes, of course, of course.

TUSH: Did you know, when you did the role, that it would be so well-accepted and that you'd end up here?

DEL TORO: No I didn't; I didn't. I knew I was in good hands with Steven Soderbergh at the helm.

TUSH: Let me just ask what this whole year has been like for you, because it has been a pretty incredible year.

DEL TORO: Pretty mad, yes. That phone is ringing and ringing and ringing.

TUSH: Nothing better than that, right?

DEL TORO: Sure. When you're an actor, you know, you want to be employed.

TUSH: I think you'll be employed for a long time, Benicio.

DEL TORO: Thank you, sir.

TUSH: Thank you; it's good to meet you.

Look at that face; why can't I look like that?

Anyway; all right, we're still waiting for Julia Roberts to show up. She, of course, nominated for best actress for "Erin Brockovich," and we're going to find out about her career. It's been a greet one.

Here's Sherri Sylvester.


ROBERTS: I am just a girl from Smyrna, Georgia who wanted to be in movies and get a certain amount of attention. This is too much attention, for the record.

SHERRI SYLVESTER, CNN CORRESPONDENT (voice-over): This night is expected to be her night. Julia Roberts has been so honored for "Erin Brockovich" that winning the best actress Oscar must be her destiny -- or so says the media. That (UNINTELLIGIBLE) label can be a burden.

ROBERTS: If that's what you think the burden that you guys bring to my life is, let me give you a tiny tip. No, it's no burden.


SYLVESTER: That is my work! My sweat! My time away from my kids! If that's not personal, I don't know what is!


SYLVESTER: For her, there has been tribulation, not trial, to play such a role and then hear the real Erin say, you got it so right.

ROBERTS: Unwrapping it, not knowing if anyone would ever see it, know it the way that I knew it -- I was so happy. I was so -- I just thought, I'm done, I've had the apex of creative success. This is all just added joy and fulfillment.

SYLVESTER: The joy and fulfillment took some time to find. Sure, her parents ran a theater workshop in Smyrna, Georgia, but that was a long way from Hollywood.

ROBERTS: My mom -- I was the third of her four children to say, I want to be an actress. So it was like, OK, go, fine. When I called her and said, you know, I've changed my mind, I want to come home, I'm homesick, I'm unhappy and I can't even begin to meet people to get acting work -- and she wouldn't let me come home. So that was really -- at the moment, at the time I hated her for it, but I'm really grateful that she forced me to stay and prevail.

SYLVESTER: "Steel Magnolias" brought a best supporting actress nomination; "Pretty Woman," a best actress nod. Julia was only 23 when she attended her second Academy Awards ceremony a decade ago. The Oscar has been elusive. But this time just may be her time.


SYDNEY: Julia Roberts recently graced the cover of "In Style" magazine. And gracing our platform now is "In Style"'s deputy editor Orla Healy. And right now on the stands is "In Style"'s special Oscar edition.


Now Orla, if the "it" girl this year is Kate Hudson, does that mean we're going to see millions and millions of "it" girls copying her style?

ORLA HEALY, DEPUTY EDITOR, "IN STYLE": Absolutely, but I don't think it's a given yet who tonight's "it" girl is going to be. Julia, obviously, is going to play a large role tonight. We're hearing very interesting things about what Jennifer Lopez is going to wear.

SYDNEY: Well what do you think? What are those interesting things?

HEALY: Jennifer, apparently, is very interested in creating a look for tonight that goes back into the really old Hollywood glamour.

SYDNEY: What about a turtleneck?

HEALY: I doubt it; I hope not. We'd be very disappointed.

SYDNEY: Since "In Style" covers so many awards besides the Oscars, what trend do you see so far?

HEALY: Well I think tonight, what we're expecting is a lot of black and the occasional flashes of color -- red, aqua, turquoise. I think Joan Allen already came in, and she was wearing a beautiful coral frock. So color is going to be big -- but the dramatic, strong black statement laden with jewels.

SYDNEY: How do you decide who winds up on that very important cover of "In Style"? I mean, Julia is a gimme; but how else? What other criterias (sic) are there?

HEALY: Well, it depends who is hot at that time; who has something interesting to say. It's a cover story, it's not just a photograph, so a lot of different elements go into making that choice.

SYDNEY: Now, I notice tonight you are bare-necked -- we can say that, we're on cable -- is that a trend? HEALY: Well, no, that's my own little personal trend. Interestingly, though, enough, in the current issue of "In Style" we did a survey on what the previous winners have worn. And you know what? No previous best actress has worn a necklace.

SYDNEY: OK; well, we're going to be back with much more scoop right after this, so please don't go anywhere. The all-star arrivals are on their way.


LAURA LINNEY, BEST ACTRESS NOMINEE: I'm trying on the dresses, I'm twirling in front of the mirror; I'm taking a look, you know. So I'm just, you know, trying on a bunch of stuff until the right dress -- until I have that feeling.



TUSH: 2001: AN OSCAR ODYSSEY continues. We are on the red carpet with Sting and Trudie Styler; good to see you.

STING, MUSICIAN: Nice to be here.

TUSH: Congratulations on the nomination for "The Emperor's New Groove."

STING: First time I've been here; first nomination. So, you knows?

TUSH: I would have thought -- all the things you have done, you would have been at the Oscars before.

STING: No. I'm still a novice in this world, you know?

TUSH: We all grew up watching it on television. What's it like coming out here for the first time and see it?

STING: Pretty overwhelming, actually. All these people and cameras and I'm just not used to it. I'm just not made for this kind of thing.

TUSH: I love that dress.

TRUDIE STYLER: Thank you. For a change, you're not stepping on it.

TUSH: You're not going to let me forget that, are you?


TUSH: Who is this lovely lady?

STING: This is my youngest daughter; this is Jake, one of my sons. TUSH: Looks just like you.

STING: Better looking than me.

TUSH: OK, well, go have some fun. Sting and family. And now, back to Laurin Sidney.

SYDNEY: Now, back with part of our new family. Orla Healy, who is deputy editor of "In style" Magazine.

And Orla, during the break, you told me something very interesting about your cover girl this month.

HEALY: Yes, Julia. When we talked to her for the March issue, she told us, that as far as she is concerned, she doesn't have to look in the mirror. It's someone else's job to look after her appearance. So, of course, she wants to look nice and she wants to look elegant, but tonight, it's about the Awards for her. It's a huge production staff and team working with all these actresses. And even though we consult with the fashion, they are not, necessarily.

SYDNEY: And then you told me you met Geoffrey Rush last night and he went on for like a half-hour about his outfit. You didn't even ask him.

HEALY: I was quite surprised. I asked him as a joke, who are you wearing? Because I never associate him with clothes. And he went on in a lot of detail about his Armani satin tux.

SYDNEY: Do you think there's a lot of pressure on us mortals out there to try to look like a star?

HEALY: I think most people realize, there are teams and teams of hair dressers and beauticians and designers creating the looks that we see coming down the red carpet. I don't think people are silly enough to think I have to be able to do this, too.

SYDNEY: Let me just say, I've seen Julia Roberts without make-up and without hair, she looks pretty darn good.

HEALY: She's gorgeous. That smile!

SYDNEY: Absolutely. Who do think, right now, of the people that are up and coming, are going to be on the cover of "In Style"?

HEALY: Of course, Kate Hudson would be quite a prize for us. Kate Hudson is an -- she's only 22 years of age; her mother is Goldie Hawn; can you imagine? She has great genes, great taste, and she's obviously really talented.

SYDNEY: Obviously. Have you seen Goldie and Kate together yet, because they are just incredible?

HEALY: They are really fantastic. I really is. And I hope they'll be together here tonight. SYDNEY: This year or last year; haven't seen that many crazy outfits. I haven't seen blue hair and outfits just calling for attention. Jose had mentioned this; it's all about elegance this year. Do you agree with that?

HEALY: I think it's sophisticated elegance. I hope that we're past the time when someone feels they have to dye their hair blue to get a picture in the paper the next day. Now, everyone wants to look stunning. There's no pride in looking odd.

SYDNEY: OK, right now, we're going to go to an even break. We're going to sell some more stuff, and we'll be back with more from the Shrine Auditorium, including all the color from the red carpet. Don't go anywhere.


TUSH: We're back with our live Oscar coverage. Joaquin Phoenix, don't steal my brush. You look gorgeous.


TUSH: Tell me about the nomination. How excited were you when you first about it?

PHOENIX: It's kind of difficult to explain. It's kind of the pinnacle. It's everything you work for as an actor. It's the World Series. It's all of those kinds of cliches, so it's just very exciting.

TUSH: You get to be the villain. You have to be the villain in "Gladiator." That's more fun to play, isn't it?

PHOENIX: I think that -- I can't say that one character was more fun than the other. I think each character poses its own problems. But it certainly was an amazing character; amazing dialogue that I had; and a great director and actors I was working with, so...

TUSH: Very physical film. Was it tough to do?

PHOENIX: It was a five-month shoot. And it was difficult, but anytime I felt down or it was kind of like too hard, I looked at Russell, and I realized he's working everyday and it's all in him, so...

TUSH: OK, thank you very much. And these ladies are here. Very quickly, tell us who you're with. Who are you with tonight?

PHOENIX: Sorry. I'm with -- I was flirting with someone in the top row. This is my mom. This is my agent, Iris, and this is my publicist.

TUSH: Well, you're well surrounded. Thank you, Joaquin, Joaquin Phoenix.

Laurin Sydney, it's back to you.

SYDNEY: Yes, and I am well surrounded now, Mr. Tush. Do you want to know how the stars dress to the nines? Well, ask a 10 and I've got him. Stylist Phillip Block, welcome.

PHILLIP BLOCH, STYLIST: Great. It's so great to be here again.

SYDNEY: And vice versa. Now, there was an article in the "L.A. Times" this very week that stars are using less and less superstar stylists. True or false, Phillip?

BLOCH: It's definitely, definitely true. Myself, I was shooting a movie last week, so I didn't get to do any of this. I get to be an actor this. But it's definitely true. I think a lot of the publicists and, you know, the designers are going right to the stars because if they have the stylists in the middle, then they can't make a star wear their dress. But the stars feel guilty when they've spent an hour trying on their dresses at a hotel room with the designers.

SYDNEY: Now, is it true that stylists now have to sign confidentiality agreements as to who they're dressing?

BLOCH: Sometimes. I had to this year for one of my clients and if I told you who it was, I'd have to kill you.

SYDNEY: Can you whisper?


SYDNEY: He didn't really tell me. OK, trends, trends, trends. What are we seeing this year on the red carpet

BLOCH: I think a really exciting thing is a lot of the designers come into town and make special things for the designers. So, I wore my red to kind of match Marcia Gay Harden's dress because I knew she was going to ear red.

I think a lot of things -- we're going to see sunglasses. We've seen a lot of sunglasses out there. Morgan Freeman is wearing special 14 karat gold sunglasses from Ray-Bans, which I happened to get my own pair. I hope they let me keep them.

SYDNEY: Plug, plug, plug.

BLOCH: You want to keep the glasses. I think you're to see sexy. This isn't about trends as much as it is about looking glamorous and pleasing the fans. Everybody is here to please the fans, you know, and I think that's the excitement. You hear them screaming.

You hear that hoopla. All week we've been running in and out of hotel rooms. The Hanes people had a suite. Hush Puppies made after party shoes for the girls because the president was inspired by the girls talking off their shoes and walking around and the pictures of them in their hands. SYDNEY: OK, I'm inspired by you, but I'm also inspired by commercials. We will have much more with Phillip coming up. Plus, live interviews with a lot more stars. Stay tuned.


TUSH: We're back. We are back on the red carpet. Javier Bardem, good to see you sir. Congratulations.

JAVIER BARDEM, BEST ACTOR NOMINEE: Thank you very much, sir.

TUSH: The film, "Before Night Falls."

BARDEM: "Before Night Falls" is a great movie. Everybody should watch it because it's not only a good movie, it's an important movie to be watched.

TUSH: Did you ever think you'd be here with an Oscar nomination?

BARDEM: Excuse me, I don't hear you.

TUSH: Did you ever think you'd be here getting an Oscar nomination?

BARDEM: I would never think that I will here. I mean, I live in Spain. I mean, these things are not with us.

TUSH: But you have, I guess what would be the Spanish Oscar, don't you? You have a couple of those.

BARDEM: Oh, we do have the Spanish Oscar which is called (UNINTELLIGIBLE).

TUSH: So, would this be a little bigger than that one or do you even think about that?

BARDEM: Well, it is much more noisy.

TUSH: Well, that it is. And the movie, "Before Night Falls" and you played...

BARDEM: Reinaldo Arenas, a Cuban boy, Reinaldo Arenas. And I think it's wonderful movie, and all this recognition helps the movie to be watched, which is (UNINTELLIGIBLE) above all.

TUSH: OK, well, have a good time tonight and good luck to you. Javier Bardem. And we're going to go back to Laurin Sydney.

SYDNEY: Back in her perch with stylist Phillip BLOCH and as long, we just saw Javier, what about the men? What are they going to this year? Any surprises?

BLOCH: Oh, it's been a lot going on, They've been talking about Javier Bardem, Joaquin Phoeniz. Benecio Del Toro has these beautiful cuff links from (UNINTELLIGIBLE). They're really gorgeous. I have a picture of them. I'll show them after the show. SYDNEY: It's Julia, Julia year as well as Kate Hudson. We haven't seen them yet, but you, obviously, know what they're going to wear. Please explain.

BLOCH: Kate Hudson is supposed to be wearing something from Chloe. It just got in yesterday.

SYDNEY: Oh, right now, breaking news. There she is right on the screen.

BLOCH: Great. She's wearing something from Chloe. She's got her Jimmy (UNINTELLIGIBLE) shoes on. She had two pair dyed to match the dress because they didn't know if it was more blue or more gray.

SYDNEY: Oh, those problems.

BLOCH: Oh, those problems. It's really kind of funny how it all goes down all week, but Kate and Julia have been the girls everyone was after. Laura Linney was big. We've got a picture of her dress.

SYDNEY: Stunning, and Julia will be in black?

BLOCH: I've heard black. Either a vintage Valentino dress or Calvin Klein. It was right down to the wire and they didn't even know this morning.

SYDNEY: Every year, Phillip, for Gwnyeth, she had the dress that year. One year it was Nicole Kidman. There's one dress that everybody copies. Do you know what it's going to be this year yet?

BLOCH: Well, I definitely think we'll see Joan Allen's Michael Kors dress. That was totally different. There was real coral sewn into that with sequins. She met with Michael after the show in New York and they got together and collaborated and I think it's really gorgeous. You know, Jennifer Lopez's dress is always one to copy. I hear it's going to be Chanel. It's between Chanel and another one. So we'll see. If it's white, it's Chanel.

SYDNEY: I'm sure we'll see it, or we'll see less of it. Whichever.

BLOCH: Less of it, exactly.

SYDNEY: Now, Phillip, I'm being weighted down by this Martin Katz, but right now we're going to Bill because he has a superstar with him.

Bill, take it away.

TUSH: Thank you very much, and here's Julie Andrews. How good to see you. Look how beautiful you are.


TUSH: What brings you here tonight?

ANDREWS: Say that again?

TUSH: I said what brings you here tonight?

ANDREWS: I'm presenting an honorary Oscar tonight to Ernest Lehman, the screenwriter.

TUSH: Now, when you come to the Oscars and you've been here before, do you still get butterflies?

ANDREWS: Yes, I do, but tonight it's lovely because I'm just a spectator and presenting and I'm very happy to do. So, I'm really having part of a party feeling tonight without any of the nerves.

TUSH: Good for you. Tell us about the outfit. It's so beautiful.

ANDREWS: Thank you. It feels wonderful.

TUSH: But it's from a designer that you work with?

ANDREWS: Yes, it's by a designer called Gary Jones and he just did a film that I finished earlier this year and so I was very grateful that he very kindly designed this for me.

TUSH: Always good to see Julie Andrews. All right, and it's always good to see Laurin Sydney.

SYDNEY: Back with the very stylish Mr. Phillip BLOCH, I might add. When we last left you, my diamond necklace was weighing down my neck. This is obviously a big bauble. We're seeing much less on the superstars.

BLOCH: I think it's all about big earrings. The girls are loving the big earrings. (UNINTELLIGIBLE) sent these gorgeous big earrings this year and I think they're trying to get them on Julia Roberts. Renee Zellweger is wearing a vintage dress by Jean (UNINTELLIGIBLE), and she's wearing these big Chanel pearl cups, supposedly, right out of the jewelry book.

We looked them up this morning. It's like all the breaking fashion news comes in this morning. As we're waiting for the car to come, they're like calling, they're wearing our bracelets.

SYDNEY: OK, well, now Bill has a superstar so we have to go back down to him.

TUSH: We are waiting for, right over here: Michael Douglas, Catherine Zeta-Jones, can we get them on -- bring them over here live? Of course, Michael's film "Traffic" nominated for Best Picture among other things. They are also -- come over here and talk to us; you look so beautiful.

Catherine, hi; Bill Tush, nice to see you.

Michael, congratulations.

MICHAEL DOUGLAS, ACTOR: Thank you very much. Good to see you.

TUSH: How -- you know how to pick them. I mean, beautiful wives and great movies.

DOUGLAS: Thank you. Hopefully, a lot more movies than wives, but it's been a wonderful year.


DOUGLAS: It's been a really nice year. You, know both with "Traffic" and "Wonder Boys" and I was so proud of Catherine. You know, she did such a great job; I think showed some people some other colors she has.

TUSH: Well, I was -- fans read that you were pregnant at the time you did "Traffic."

ZETA-JONES: Well, I would have liked to have been pregnant a little longer before it got out in the press,but I just had a wonderful pregnancy. I have no complaints. I was very healthy and enjoyed it. I love being pregnant.

TUSH: You've got yourself in great shape again.

ZETA-JONES: Thank you.

TUSH: You both are presenting tonight right up at the top of the show, so you have to go on in there, right?

DOUGLAS: We're going to go on in.

TUSH: Thank you, Mike. Have fun. Catherine. And we're going back up to Laurin Sydney.

SYDNEY: Phillip this dress by Pilar Rose (ph) and this by Martin Cuss (ph); they go back in the morning. But you were telling me that many of the stars donate money to charity because they get things for free. Can you explain how that works?

BLOCH: It's so interesting. Like, the Ray-Ban people gave Mork (ph) and me sunglasses, and every mention that he's wearing them, they donate money to a hospital in South Carolina, which is his charity of choice.

Last year, Hanes did the panty hose for Melanie Griffith which went to her mother's charity, Shambolah (ph), which helps the animals. I think it's the great way. It's so glamorous to be a movie star; you get all these dresses and jewels thrown at you. Why not be able to help people out that need it? Not everyone is this glamorous, you know?

SYDNEY: Of course, charity is as close to all of our hearts, but does it also mean, on the other hand, that the Academy Awards have just gotten so very commercial?

BLOCH: I think it really has, but the interesting thing, I think it's the publicity people behind it trying to get that million dollars worth of free publicity that we probably all just given them right now. But that's the fun of it. It's the hype, and it inspires people to go out and get these glasses or get a necklace like yours or buy a dress like that. We're all here creating dreams.

I think people out there -- little girls watching us, little boys who want to grow up to be a stylist or be a movie star are inspired by this, and people live vicariously through this. I don't think anybody watching really believes that Julia Roberts is the best actress in world -- yeah, she was great.

SYDNEY: Calm down, Phillip. Your blood pressure is going to go up.

BLOCH: It's so emotional to be here. When you're a kid, you dream about it.

SYDNEY: I know and I'm dreaming about a commercial; so you know what? Let's go to one. We'll be right back.


TUSH: We are back at the red carpet. On the red carpet and the insanity of it all: Kate Hudson. Kate Hudson here; Chris Robinson there.

Good to see you.

HUDSON: Good to see you.

TUSH: "Almost Famous," you were Penny Lane; loved that movie.

HUDSON: Oh, great.

TUSH: And -- you knew nothing about that time.

HUDSON: Oh, you'd be surprised. I was always quite fascinated by that time. The music and politics and fashion and all that stuff.

TUSH: I thought you were a big fan of the Black Crowes. HUDSON: Me? I'm a huge fan of the Black Crowes.

TUSH: Did you ever think you'd be here, Chris?

CHRIS ROBINSON: No. Not in about a million years, probably. But then again, I never expected to fall in love with the most amazing woman on the planet, either. So, who knew?

TUSH: Who knew?

ROBINSON: And Bill, what's up with this picture of you?

TUSH: That's the worst picture in the world. I knew somebody was going to find you. It's horrible! OK, bye-bye, Kate. Bye, Chris.

Julie, congratulations.


TUSH: So, tell us about -- how you're feeling? What was your day like?

WALTERS: Say that again.

TUSH: What was the day like and how are you feeling?

WALTERS: It was really spent just getting ready. It's been fun; it's like the mixture of Christmas and getting married or some thing. It's just wonderful.

TUSH: So, you are a little nervous about it, I would assume. Very nervous.

WALTERS: No, not really. I feel happy. I don't expect to win. So, I feel quite happy and relaxed about it, you know?

TUSH: Well, I've heard some people say that before, and they've walked home with that Oscar.

WALTERS: I don't think so, but that would be wonderful. If you can arrange that for me.

TUSH: I'll see if I can pull a couple strings. OK, thank you, Julie, you look lovely. Good luck tonight -- Laurin.

SYDNEY: And Bill is actually very photogenic, I promise. OK, Phillip, we have small children watching; maybe you want to just shut their eyes and ears for a second because you're going to talk about, what you do with cleavage on Oscar night. Tape, you say.

BLOCH: Well, the real story is what goes on behind the seams, not the scenes. There's a company called Fashion Forms (ph) and they made the thing for Jennifer Lopez's scandalous Versace dress. They make these strapless bras that you just glue on to your body; with baby oil, you take them off. They make all these kinds of kits that do this all inspired by Jennifer Lopez and Charlize Theron and those girls who like to be a little daring out there, like yourself.

SYDNEY: How many people buy these kits?

BLOCH: Thousands, thousands. Bloomingdales sells out of them. I've been in Washington and I was picking some out for a client and people are like, what's that do? Once I started explaining them, they're like, I need them; then they start buying. You have things to goon the nipples -- I can say nipples -- to cover like, shear dresses so they don't see through. I mean, they have everything for every part of your body above your waist, that you want moved and put into place. SYDNEY: OK, I think we'll throw it to another subject now. We'll do that by going back to Bill Tush -- Bill.

TUSH: Congratulations. Are you here? Oh, hello. Gets a little crazy down here. Laura Linney, congratulations, for "You Can Count on Me." I was on the set the day you were shooting that movie. I, of course, had no idea.

LINNEY: Of course, none of us had any idea we'd be here.

SYDNEY: How excited are you about this?

LINNEY: I'm thrilled out of my mind to be here. It's chaotic and exciting and I'm so proud to be here. It's a real thrill.

SYDNEY: And who are you with?

LINNEY: This is my fabulous friend, Armistead Mouffin. (ph)


TUSH: I'm just fine. At what point of the movie, making the movie, or when the movie came out or whatever, did you realize you had such a hit?

LINNEY: I knew that I had a great experience making it. But you never know it's going to successful until it's received by critics and seen by the audience. And Sundance was a lovely indication it was going to do well, and then the reviews came out, the scene started to build and it's been an exciting experience.

TUSH: Here you are today. Beautiful dress; you tell us about that?

LINNEY: It's Valentino.

TUSH: Very nice. And what's that pin?

UNIDENTIFIED MALE: That's a butterfly's wing. I picked up in Paris from the 1930s. I wanted to be a little celebratory about tonight.

TUSH: Very snazzy. Thank you for your time, Lauren. Good to see you again -- Lauren.

SYDNEY: At this point in the evening, I would like to take my shoes and burn them, Phillip. What about comfort and beauty? You're telling me that everybody out on that red carpet is comfortable?

BLOCH: No, but they look really good, don't you think...

SYDNEY: Because they're actors and actresses.

BLOCH: They're acting comfortable.

No, but I think -- you know, a lot of the girls wear the Jimmy Choo shoes because they're comfortable. They put extra pads in them, so I know that's why. Again, the men are in, like the Hush Puppies -- a lot of them. Platforms are the secret. When you're out there doing those long breastlines, you want a little platform, it's something to bounce on a little. Not everybody's like us, on a box.

SYDNEY: No. You know, I've noticed a trend that isn't going to require one of those kits that you were talking about, and it's the true backless back. We're seeing a lot of backs tonight.

BLOCH: Oh, yes. Everyone is taking that backless plunge; Kate Hudson's dress by Chloe -- Stella McCartney (ph) is a great friend of hers. Really gorgeous, really low-cut; I'm sure we're going to see a copy of that. But you can't replicate that kind of Cotoure (ph).

SYDNEY: You can't replicate that kind of figure!

BLOCH: Exactly, exactly. With a mother like hers -- Goldie Hawn, you know, it was hereditary, I think. And, you know, I just think a lot of the girls love the back because it's sexy without being too revealing. And I think there's been so much emphasis after Toni Braxton and Jennifer Lopez on the whole sex issue.

I think people want to be a little more respectful of the event. This is the Oscars, after all.

SYDNEY: What about the price of some of these frocks -- for instance, Kate Hudson's frock.

BLOCH: You couldn't put a price on it. That is Cotoure -- Stella (ph) made it specifically for her. Michael Cores (ph) made, you know, Joan Allen's dress specifically for her -- Marcia Gay Harden, same.

SYDNEY: OK, and specifically we;re going to go down to Bill Tush -- Bill.

TUSH: All right Laurin, thank you.

Ellen Burstyn, nominated for best actress for a movie I just watched this morning -- "Requiem for a Dream." It's a wonderful movie; you do an unbelievable job, but I don't think it's a way to start the day, to watch that movie.

BURSTYN: No, no; of course, it's not good late-night, either. You have to watch it, sort of, early evening so you have time to recover.

TUSH: Was it rough for you to -- you play that character where she's addicted to drugs and goes through, you know, the hospital and everything else. How tough was that?

BURSTYN: How tough was it? Well, you know, it's very difficult material, so it's emotionally very tough. And it was tough to go through the transition, you know, the physical transformation. But whenever I'm into high creativity, I get really exhilarated. So in that way it wasn't tough. TUSH: Well you did a marvelous job. Did you ever have people around you when you were looking at the script originally trying to say to you, no, no Ellen, that's not for you?

BURSTYN: No, I don't, actually. I make my own decisions that way.

TUSH: Well you made a good one there, and I love your jewelry.

BURSTYN: The jewelry is by Christian Dior and my dress is designed by Catherine Bakham (ph) of San Francisco.

TUSH: You look terrific, thank you Ellen Burstyn.

All right; and Laurin Sydney, it's all yours.

SYDNEY: And once again, I don't ever want to leave out the men. We're seeing a lot of long ties as opposed to bow ties. What's going on there, Phillip Bloch?

BLOCH: I think it's a little more modern. You know, nobody wants to look like a penguin in this day and age, we all want to look a little more modern. But I like the long tie, and I think it's a way for a man to accessorize. Women get to have all the fun; you guys have all the colors and, you know, men -- we're in a black suit, period.

I think for the girls it's really interesting; a lot of the girls look like they're out of history books. You know, like Kate Hudson looks like something out of the '20s; my friend Annabella Schorr (ph), who I'm going tonight with as my date to all the parties -- we did like a T-dress -- very '20s also.

SYDNEY: OK. Well now we're going to go down to Bill and see another special dress with a person in it.

TUSH: Oh, the action is hot and heavy. Geoffrey Rush from "Quills," congratulations on the nomination and a wonderful movie.

GEOFFREY RUSH, BEST ACTOR NOMINEE: Thank you very much. This is my wife Jane, who was Mrs. de Sade.

TUSH: I know, I saw the movie. You did a great job in that.

RUSH: Thank you so much.

TUSH: What makes a guy want to play the Marquis de Sade in some of the tough scenes you had in that film?

RUSH: Well, the easy answer is I get to tongue kiss Kate Winslet and get paid for it.

TUSH: And you just stepped on his foot!

RUSH: You know, scripts like that are pretty rare, where it's such a big company of characters and at the center of it is this mad, alchemical ringmaster who gets to do a lot of stuff. And that's the kind of acting I like to go for.

TUSH: And how did Jane get into the picture? Did you talk her into it, or did she audition like everybody else?

JANE RUSH, ACTRESS: I did it all by myself.

TUSH: Well you both did a marvelous job. You've been here before; is it still as exciting as the first time?

RUSH: Absolutely. It's always different. I mean, you know, you kind of know a little more now what to expect, but the energy is different because the films are different. And people are going, wow "Gladiator!" You know, "Cast Away!" "Quills!" It's exciting.

TUSH: And here you are. Have a good time tonight. Geoffrey Rush and Jane, thank you.

And we're going back to Laurin.

SYDNEY: We were just saying how everybody's kind of elegant and silent this year -- we just saw somebody, and I'm going to let Phillip describe this one.

BLOCH: Well, we just saw Bjork go by, who's looking very sexy with a low back. She looks kind of like a cross between an ostrich and a ballerina; it's like this white, poofy skirt with diamond straps kind of crossing in the back; very low-cut. It's like sexy and elegant up top, very '50s, and then she gets into this asymmetrical poof thing.

But you know, the other one, Juliette Binoche we want to see, too, because Gotiet (ph) got his hands into that. It's a corset around this sheer thing with boots -- she's got pearl-encrusted boots, so we know we want to see that.

OK, well you know who I want to see right now, is Bill Tush, so let's go back down to Bill -- Bill.

TUSH: We are down here with this lady, who's dressed up like Santa Claus in this beautiful outfit, but behind her -- it's getting a little bit too loud in here.

Ed -- Ed Harris, can we bring you over here? And Amy Madigan. Congratulations on the nomination.


TUSH: I said, congratulations on the nomination.

HARRIS: Thank you very much.

TUSH: How special was this film to you.

HARRIS: I don't guess a film could be any more special to me than this one is. I spent a good, long time of my life working on it and worked with a lot of great people, my wife being one of them. And I'm really proud of the picture.

TUSH: What's it like when you work with your wife in the film?

HARRIS: Excuse me?

TUSH: I said, what's it like when you work with your wife in a film?

HARRIS: Well, you know, we're partners, so we work pretty well together.

TUSH: The reason why -- we just had Geoffrey Rush over here and he said that he enjoyed doing "Quills" because he got to kiss Kate Winslet, and his wife stepped on his foot.

HARRIS: Well, there you go.

TUSH: OK, have fun tonight. Thank you.

Laurin, let's go back to you.

SYDNEY: OK Phillip, what should a lady or a gentlemen wear -- well right now we're getting the wrap sign because, do you believe it? That it's that bewitching hour right now?

BLOCH: Where's Julia? I didn't get to see Julia yet! I'm not going until I see Julia.

SYDNEY: You heard it here first: Phillip Bloch is not going until he sees Julia.

Well, unfortunately, we do because time is up. But we will be back with all the details throughout the nigh on CNN because OSCAR ODYSSEY 2001 has only just begun. Enjoy the Oscars.

For Bill Tush, Jose Eber and Orla Healy and, of course, Phillip Bloch, happy Oscar. So long.



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