2018 Golden Globes updates: Movies race remains wide open and women are front and center on TV

There was a time when the Golden Globes nominations were taken seriously only as potential Oscar indicators.

If the Hollywood Foreign Press Assn. decided to give a corny, crowd-pleasing musical like “The Greatest Showman” more nominations than a culturally relevant satire like “Get Out,” or ignore female directors in the middle of the #MeToo moment, it would be seen as just another quirky misstep by a group known more for taking selfies with stars than its taste-making abilities.

But not this year. After two years of #OscarsSoWhite, and as prominent men step down amid sexual misconduct allegations from all levels of the entertainment industry, nomination slates are being parsed not just for the names but inclusion and cultural messaging.

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Just three days before nomination ballots for the Golden Globes were due, Sony Pictures screened a rough cut of “All the Money In the World” for the Hollywood Foreign Press Assn.

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Richard Jenkins scored a Golden Globe nomination Monday for actor in a supporting role for his performance in “The Shape of Water.”

(Jay L. Clendenin / Los Angeles Times)

Were you up and watching the nominations this morning?

No, I was not. I was asleep. The publicist called. I know, I know. It was amazing.

This is actually your first Globe nomination?

It is my first. I’ve actually never been. It always looks like such fun, it just looks like a real party. I’m excited to go.

What does it mean to be recognized for this role in particular?

Maybe it connected with people. All of the nominations the film got is heartening. Whenever you make a movie, you want it to connect with people, you want it to connect on an emotional level. That’s the reason you made it. And when it does, it’s just, to be back in high school, it’s just really cool.

Your character finds himself as an unlikely co-conspirator in spiriting away the creator. Is there anything in particular you enjoyed about the character?

I love somebody who does something that they’re terrified to do. So you know they’re doing it for a good reason. It’s not easy for them, it’s just really hard. And they’d do anything to get out of it, but they go through with it. It’s what the movie is about, it’s about love, his love for Eliza [Sally Hawkins] and his understanding finally that she is his dearest friend.

I think it’s really speaking to people to see these outsiders come together.

I think there’s no justice a lot of times, and once in a while there is some justice in the show business world. And for Guillermo [del Toro, the director], it is justified and it’s beautiful. He’s like nobody else. This whole group was just a great group of people. Sally is the best, Octavia [Spencer] is the best, Michael Shannon, Michael Stuhlbarg, it’s an incredible group. And you know it when you’re filming it, but you just don’t know what will happen when the movie comes out.

Have you seen any of your other nominees in theaters?

I haven’t seen anything. But I did see “Lady Bird.” That’s about the only one that I’ve seen. And I loved Laurie Metcalf in it, and I just love Saoirse Ronan. I thought they were just frickin’ incredible.

A number of this year’s early Oscar front-runners, including “The Shape of Water,” “The Post,” “Lady Bird,” “Dunkirk” and “Call Me by Your Name,” made strong showings in this year’s Golden Globes nominations — while several potential contenders like “Get Out,” “All the Money in the World” and “I, Tonya” also received a leg up.

In short, what has been to date the most open-ended and unpredictable awards season in memory remains — for now, at least — just that, and Oscar prognosticators will have to wait for nominations from Hollywood’s various guilds to roll in over the coming weeks to get a clearer picture of the state of the horse race.

For those in Hollywood who received the wee-hours-of-the-morning call that they were among this year’s nominees, though, the news was greeted with unambiguous joy — even if they were in the shower, like “Downsizing” actress Hong Chau, or driving in their kid’s school carpool, like “Lady Bird” costar Laurie Metcalf.

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Say this for the Golden Globes: Nowhere else is Nick Jonas likely to be nominated for an award taken home in recent years by the likes of U2 and Bruce Springsteen.

A former boy-band heartthrob who can still measure his success in squeals, Jonas is up for best original song with “Home,” his thumping electro-pop ditty from the animated feature “Ferdinand.”

Full coverage: Golden Globes 2018 Âť

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Tales of women in conflict, including “Big Little Lies,” “The Handmaid’s Tale” and “Feud: Bette and Joan” dominated the TV nominations for the 75th annual Golden Globes on Monday.

True to form, the Hollywood Foreign Press Assn., which hands out the Golden Globes, honored an eclectic mix of new and returning series from cable networks, streaming services and broadcast networks, with perennial awards favorites HBO, Netflix and FX once again leading the TV pack.

FULL COVERAGE: 2018 Golden Globe nominations Âť

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Kristen Anderson-Lopez and Robert Lopez were watching the Golden Globe nominations Monday morning when news hit of a pipe bomb explosion in Manhattan. Then, after they were nominated in the original song category for “Remember Me” from the animated feature “Coco,” the wife and husband took their 11-month-old kitten, Finn McCool, to the veterinarian to have him put down. He was dying of a terminal illness.

“So, it’s been a day,” Anderson-Lopez said by phone from New York.

The songwriters are not strangers to awards season, having won an Oscar for their “Frozen” anthem “Let It Go.” But they said getting nominated is never anything you expect, or get used to.

“It’s such a cliché, but just being nominated is such a huge honor,” said Anderson-Lopez, adding that now they have to figure out what to wear to the big party in Los Angeles. “We’ve been in writing mode, with all of the eating and drinking involved.”

“Coco” and “Remember Me” were a long time coming. Lopez remembered that when they were first pitched on the project, the story brought tears to their eyes. They dove deep into researching the vision of creator and co-director Lee Unkrich, including themes revolving around Dia de los Muertos. Two years passed before they put pen to paper.

“It was so inspiring, and the way they’ve realized it is so marvelous,” Lopez said of the film. “We’re so grateful and blessed to be a part of this project.”

When they finally did start writing the song, Anderson-Lopez remembered her husband coming up with the melody while noodling on the piano in his pajamas one morning. She recorded it on her iPhone and listened to it over and over again until the lyrics came to her on the subway.

The couple always test their songs on their children, ages 8 and 12. “Remember Me” went over big.

“They are our little focus group,” Lopez said.

Tonight the family plans to celebrate — and decompress — by seeing “Star Wars: The Last Jedi.”

“Talk about highs and lows,” Anderson-Lopez said.

General audiences won’t get the chance to see Hong Chau’s breakthrough performance in Alexander Payne’s “Downsizing” until the film is released on Dec. 22, but film festival viewers have already been raving about her heartfelt comedic turn. And now the rising star has a Golden Globes nomination for only her second major movie.

Congratulations! How are you feeling this morning?

Thank you! Well, I took a red eye to New York from Los Angeles so I got in at 6, battled traffic to get into the city, checked into the hotel, took a shower, and I was in the middle of my shower when I got the news — I had to wash out the shampoo, but I had to put conditioner in my hair because it was a tangled mess, so by the time I finally got out of the shower I had all of these messages and voice messages on my phone from people congratulating me. It was just so nice that people were up at 6 am in Los Angeles calling me.

What have the past few months been like for you, taking this movie around and talking with people about it?

Honestly it’s been a little up and down, but we’ve had some really great screenings lately where people have gotten to see it for a second time. Somebody told me that the first time he watched the movie was through Matt [Damon]’s perspective, and then he watched it again through mine, and I thought that was sweet and nice that people were thinking about it like that because Alexander [Payne]’s work does warrant repeat viewings.

What does it mean to you to see a character like this recognized with a nomination, and to see audiences respond to her?

It’s so great. Janet Yang, one of the major Asian American producers, saw the movie a couple of weeks ago and was so nice. She did another screening that had predominantly Asian Americans in the audience and the funny thing she said to me was, “I laughed even harder the second time and I don’t know if it’s because everyone in there was all Asian.” (Laughs)

Your nomination is going to be a validating nod for audience members of color and especially the Asian American community, who rarely get to see characters like yours — a strong Asian immigrant woman — featured prominently in films.

It’s funny because people have asked me a lot about representation and what it means to me. The way I grew up I didn’t quite think that way, but it’s hitting me now when people, particularly Asian Americans come up to me and they’re so excited — I feel this joy that I couldn’t have anticipated feeling that it means so much to them to see a person who looks like them onscreen in a major role that is integral and vital to the story. It’s a really nice feeling and I couldn’t have anticipated it.

What were some of the other performances of 2017 that really moved you?

The smaller movie that nobody’s really talking about, because everyone’s talking about “The Shape of Water,” but Sally Hawkins in “Maudie” was so great. I mean, she’s always good. Oh gosh, there are so many. All of the women in the supporting category – I love Laurie Metcalf and Allison Janney and Octavia Spencer. I saw Mary J. Blige at a photo shoot from far away and I waved to her and she waved back and I almost died.

Gret Gerwig

(Kirk McKoy / Los Angeles Times)

Greta Gerwig on Monday celebrated the four Golden Globes nominations for her film “Lady Bird,” including one for best motion picture comedy and another for her screenplay. Like an awards-season pro, she fielded a question about her glaring absence in the director category with grace.

I was going to ask if you were in Sacramento, but clearly not.

I’m actually in L.A. at the moment, but there’s been lots of phone calls from Sacramento. It’s very heartening that so many people from my hometown have gone to the movie and reached out to me. It feels like a real moment for the city. People have been taking selfies at different locations from the movie, which I love. It’s the place that gave me roots and wings. I was just in France and England, and after screenings, people would say, “I feel like I’m from Sacramento, even if I’m from Paris.” And I was like, “Uh, it’s very different.” But I think it’s a response to the understanding of what home feels like — how home is a place that really only comes into focus as you’re leaving it.

You always dreamed of leaving Sacramento. Do you appreciate it more now?

I think I always knew that I loved Sacramento and it was a special place. I go back all the time, but as I get older, I also see how many of the things I’ve been able to do are because of where I’m from. It makes you feel like everything is full circle, that this was made there with so much love and support from the community. It was a way of embarking on a new part of my career, but also coming home. That synchronicity is very special.

The movie got four nominations, but you — nor any other woman — got a directing nod. How do you feel about that?

In any given year, there are so many directors whose great work goes unacknowledged. There’s always great female directors who I wish would get more recognition. But it’s such a good year for female films. Talking to different directors this season — meeting Dee Rees, Maggie Betts, Sofia Coppola, Kathryn Bigelow, Valerie Faris — it’s been heartening. There’s so much work and that feels like it’s all moving in the right direction. Every year, I think, “Hey, where’s this woman or that woman?” But I do think the work is being acknowledged. Collectively, it’s hard to feel anything but thrilled.

What’s it like to have a movie come out when women in Hollywood are at the center of so much cultural conversation?

I think it’s really important, the national and international discussion we have going on. It’s critical it’s happening now — it could have happened earlier — but I’m heartened by the fact that it is happening now. Hopefully, all of these women who’ve done this great work will usher in the next generation of women doing great work and holding positions of power. It means so much to see women taking charge and shifting the conversation and trying to be part of that. I think it’s amazing time to have a movie out and be in this place. I remember when we did the L.A. Times roundtable, I was there with Angelina Jolie and Kathryn Bigelow. ... It feels so good to have it be half women, or close to half.

What will you do to celebrate today?

I’m sort of, like, pacing around. I have a couple of friends from Sacramento who are here in Los Angeles, and I’ll be getting a lot of food with them. I couldn’t be happier. I don’t know what to do with myself. I’m totally beside myself! I think I’m gonna get on a Skype with Saoirse [Ronan, star of “Lady Bird”] so we can scream at each other’s faces.

Who are you going to bring to the Globes with you? Your mom? Noah Baumbach?

I don’t know! I brought my mom and dad to the Gothams with me, and later, my dad was like, “I’m a little upset I didn’t get to talk to James Franco.” He was kidding. They were on opposite sides of the table. I wish I could bring all of Sacramento with me, including my brother and sister.

(Kirk McKoy / Los Angeles Times)

Nominated for a Golden Globe for her performance as figure skater Tonya Harding in “I, Tonya,” Margot Robbie talks to The Times about the movie and the female-driven films of 2017.

Where are you?

I’m here in L.A., I’m at home.

Were you up this morning to watch the nominations?

No, I was asleep. I woke up to do some prep before meetings this morning and my phone was blowing up, I had like 70 messages. And I thought, oh God, has the world ended? And then I opened them and saw everyone was saying congratulations.

What do you think that people are responding to in the movie?

I don’t know, it’s not a traditional biopic, the script and the film really break the mold when it comes to what you expect to see in a film. And I think people appreciate that, it’s more refreshing and engaging that way.

There’s been an overwhelming response. We were doing a Q&A last night at the Dome, at the ArcLight, and it was completely packed and it was wild to realize that so many people were interested in our film.

Considering your role as a producer, not just as an actor, that must feel even better.

Absolutely, when you produce a film you really devote years of your life to it. The idea of putting so much time and effort into something and no one even wanting to see it would be heartbreaking, so to have so many people not only want to see it but to respond so positively towards it is just the most incredible feeling.

Why Tonya? What do you think it is about her story right now that’s connecting with people?

There are so many elements of the story and the script and our film specifically. It’s a very entertaining film, people get swept up in the ride of it, but there is also a bigger conversation there, about class in America, and the disenfranchised and media and how we consume it without question. And the idea of what a woman is supposed to be, what we’re told we have to be to fit in.

There’s just so many bigger conversations, that even when we were making it we didn’t realize would be so topical at the time. That right now it just all seems to have come to a head, both when the film comes out and with society reaching this point this year. I think it’s incredibly relevant, terrifyingly relevant, in fact, but also entertaining, which is all we want to do as filmmakers, is entertain and challenge an audience. If you can do both in the one film, then I think that’s something really special.

People have talked about there being so many strong, female driven films this year, with “I, Tonya,” “Lady Bird,” “Wonder Woman,” “Molly’s Game” and others. What does that mean to you? What do you think when you see so many of these female-driven films doing well this year?

I’m thrilled, obviously. It’s funny, I’m not surprised, because I know so many brilliant women. Not just in this industry, I mean my friends back home are doing incredible things and just proving time and time again that women are so often underestimated and overlooked.

Everyone is really letting their voices be heard this year, and I think it’s fantastic. When you see Sofia Coppola win at Cannes, and you see ‘Wonder Woman” smash the box office, it’s so encouraging for everyone who is really trying to let their voice be heard.

“I, Tonya” is directed by a man, Craig Gillespie, and many people today are talking about the fact that there weren’t any women nominated for directing. So even when it seems things are advancing, you still bump up against some kind of ceiling.

There is still a long way to go and, of course, there’s always things I think we need to work on and do better as a society, as an industry, as individuals.

But we also really need to take the time to celebrate the wonderful achievements, and I think today is a day for celebrating.

It must be exciting for you to see Allison Janney nominated as well.

It’s incredible. From the second I read this character, I thought she is going to smash it, and she did. She really did something spectacular with this character and working with her has honestly been one of the highlights of my career.

Rachel Brosnahan, star of the new Amazon series “The Marvelous Mrs. Maisel,” woke up to learning she was among the nominees for this year’s Golden Globes.

Below, she talks about series creator Amy Sherman-Palladino, the importance of women’s voices on TV, and her fear of freaking out Issa Rae of “Insecure” on awards night.

How’s your morning?

I’m in New York, I’m currently walking my dog and tying my shoe.

How did you find out?

I was asleep. I think I might still be asleep. My dog woke me up. My dog made a noise and I habitually picked up my phone and had lots of well wishes, which was very exciting.

The show just came out, were you surprised to be embraced so quickly?

I’m thrilled and surprised and so honored that the show’s gotten this recognition so fast. We’re in incredible company and I couldn’t be more grateful.

Is there anyone you’re excited to be in a room with?

You should see my face right now. Issa Rae is a hero of mine and I’m going to try not to completely creep her out. I love “Insecure.”

It’s one of my favorite shows on right now and I love how smart and capable specifically the two main characters are but, as any woman in their 20s can relate to, they’re struggling to get it together despite how amazing they are. I love the friendship between Issa and Molly so much. You don’t often see true depictions of a female friendship on TV that way, and I need to see Season 3 already.

Your show is about a friendship of sorts.

It’s a blossoming friendship. They’re still in denial about it -- or at least Susie [Alex Borstein] is.

I’m not sure they have much in common and I think that’s what’s exciting about it. I’m used to one-dimensional female friendships. It’s become a kind of trope. That’s what’s so exciting to me about it. They feel completely different from one another. Susie and Midge’s [relationship] is at completely different time but the friendship between Issa and Molly is one that I totally recognize. One where you can cuss each other out and tell each other that you hate each other and show up at their door the next day and drink wine and move through it. It’s complicated and it’s flawed and it’s beautiful.

“The Marvelous Mrs. Maisel” is about this very specific scene and very specific time period in New York. Why do you think modern viewers are embracing it?

First of all it’s a fun show, and the world is on fire and it’s nice to escape for a little bit. But additionally I don’t think there are many women like Midge on TV, and there should be more.

I think a lot of the women in this category represent that -- different kinds of women and different kinds of stories, and there are still so many more that need to be told. I hope that the success of this show and shows like “Insecure” and “SMILF” encourage people to make more content like this and tell more women’s stories.

And it’s about women in comedy, which is something we’re still having conversations about in 2017.

I would argue that our show hasn’t quite reached the conversation on a deeper level about women in comedy. At this point it’s still about this woman whose life has fallen apart, struggling to reinvent herself and find her voice. As we move forward we’ll get more into the conversation about what it means to be a woman in comedy.

There’s this repeated idea that people ask if Susie and Midge can sing because you’re not valuable unless you have other skills, because women can’t just be funny. Jane Lynch’s character [Sophie] says to her, you want them to laugh at you, not want to ... you. You need to be a character, or you need to have a [penis].

I think that’s also frustrating for Midge. That’s been Sophie’s experience of the world up to that point. Midge defying that is valid, but Sophie’s feeling that is also in response to her own experience.

Amy Sherman-Palladino’s dialogue is known for being really fast. Were there any lines that gave you particular trouble or kept you up at night?

Yes, there were quite a few I think I still remember. The one that I had a lot of trouble with, I think it’s in Episode 2 where she says, “I could be a cool chick with a doorman and a Kelvinator Foodarama refrigerator, can’t I?”

Also there’s one later on where Midge and Imogene are packing goodie bags for her son’s birthday and she says something like, “You’re putting the tiny Tina baby carriages in the boys’ bag.” I could not get that one out of my mouth. There is so much B-roll of my saying “the Tina Turner baby carriages.”

I also yelled at Amy at one point for naming my children Ethan and Esther. Trying saying “Ethan and Esther” five times fast.

So how do you prepare for that? Do you just say “rubber baby buggy bumpers” over and over?

I actually do. I do a full Shakespearean mouth warm-up and just vats of coffee. It’s really all of that, all those tongue-twisters -- red leather yellow leather, unique New York unique New York. Or just saying the lines on repeat.

The reason I can say them is because I spent so much time rehearsing them. [Really, really fast] “You’re putting the tiny Tina carriages in the boy’s bag. You’re putting the tiny Tina carriages in the boy’s bag.” Just to try to get it out of my face.

So when do you go back to work?

We have a Season 2. I don’t know exactly when we’ll start, but I’ve been hearing rumors of sometime in the spring.

What are you up to until then?

Currently I’m at the dog park. Holidays coming up, so I am going to go see some family. I have a project or two swirling I may be able to squeeze in before we start again. But it’s up in the air in a lovely way.

Have you seen any of the nominated movies or shows?

No, I’m so behind. I don’t have a TV and I’ve been trying, I’m excited to see all of these projects, all of these movies, now that I’m back and all of the screeners are coming. I’ve been trying to put the technology down a little bit.

“Lady Bird” is top of my list. I can’t wait to see “I, Tonya.” It looks amazing. I saw “The Big Sick,” that was one of my favorite movies this year.

So before Midge, did people recognize you as Rachel from “House of Cards,” and do you feel like Midge is erasing that?

That’s probably the one I get recognized from the most. But it’s only when I look like death and I’m leaving the gym or have gone to the dog park with pink zit cream on my face. I don’t know what that says.

I think one of the things I enjoy about acting is the transformation and part of that is certainly the physical transformation. If people are confused forever, wondering where they have seen me before, that feels like exactly where I want to live. It feels like something’s working.

How does it feel going into an awards season at a time when the industry is going through a serious reckoning about the treatment of women?

As somebody who’s never really previously been involved in the awards scene generally, I’m curious what that will feel like in person.

I’m hoping… it feels like we’re on the cusp of a major shift in this industry. I think shows like “The Marvelous Mrs. Maisel” are one part of a very multifaceted solution to this problem. This is a show that is written, produced, directed, created by an extraordinary woman, and produced by an extraordinary man [Daniel Palladino] who loves extraordinary women, about an extraordinary woman at a time when women weren’t encouraged to be extraordinary.

This is a show that lifts women up, that highlights some of our battles and employs us behind and in front of the camera. Amazon gave and continues to give the money to make this production great, and so I hope that the success of shows like this is part of this new frontier in Hollywood.

There are so many other women’s stories out there that need to be told and I hope we recognize that as the way to move forward.

Director Fatih Akin and actress Diane Kruger at the “In the Fade” premiere in Hamburg, Germany, last month.

(Focke Strangmann / EPA-EFE / REX / Shutterstock)

The German-French production “In the Fade” earned a nomination Monday in the foreign-language film category for the Golden Globes, where it will face off with Chilean, Cambodian, Russian and Swedish-German-French movies. The Times caught up with director Fatih Akin soon after he got the news — a little earlier than he expected.

Where were you when you heard the news of the nomination?

I was at home in Hamburg, Germany. I mixed up the time. I thought the live stream was at 5 p.m. German time but it was at 3 p.m. My driver was calling me. He’s become a good friend and he was the first to call. I was like, “Wow.”

Your film is about a woman’s quest for justice after her son and immigrant husband are killed in a neo-Nazi bomb attack. What does this story say about the world we live in today?

It is a reflection of the world we live in. I did the film because I needed a catharsis. Neo-Nazi attacks in Germany have happened all my life. They started in the 1980s with skinheads. It always seemed like a personal attack on me, so I needed a catharsis. That’s why I did my film. But somehow this project of mine became relevant all over the world, including the U.S. This need for catharsis seemed to be everywhere. What happened with neo-Nazis marching in Charlottesville, Va., is not just a coincidence. This is a globalized world we’re living in. What happens in the U.S. is connected to what’s happening in Germany.

How was the film received in Germany?

Mostly positive. I took a real event and made fiction out of it. Germans mostly don’t like that or they get confused with that. They like a particular order. What is reality? What is fiction? But they didn’t have a problem with this film, which surprised me. I expected the reaction to be much more divided. The most positive and moving reactions I got were from women. Female film critics by far liked the film more than men. Maybe that’s because of Diane Kruger’s performance.

It was your first time working with Kruger, who plays your protagonist, Katja. What was that like?

I will use a cliché, but she was like a sister. She really was. It was a partnership. I came with half an idea and she came with half an idea, and together we made one idea out of it. Writing the character was not very difficult for me. I live with a woman, and I observe her and her friends. So when Diane came, it was never like a woman wouldn’t do this. It was more like, “Don’t you think we could create more suspense if the character did this?” Diane has a very great sense for the whole thing, not just her performance. “

This is your first Golden Globe nomination.

“Yeah, man. I was too much underground before.”

With Monday’s announcement of the 2018 Golden Globe nominations, it seems clear that nothing can measure up to famous people playing famous people.

Keep in mind that the following nominations don’t include artists nominated for nominally playing fictionalized versions of themselves, including Aziz Ansari in “Master of None,” Issa Rae in “Insecure” or Pamela Adlon in “Better Things.”

Take a look at who got nominated for playing whom in what:

Television

• Robert De Niro as Bernie Madoff in “The Wizard of Lies”
• Claire Foy as Queen Elizabeth II in “The Crown”
• Jessica Lange as Joan Crawford in “Feud: Bette and Joan”
• Alfred Molina as Robert Aldrich in “Feud: Bette and Joan”
• Michelle Pfeiffer as Ruth Madoff in “The Wizard of Lies”
• Geoffrey Rush as Albert Einstein in “Genius”
• Susan Sarandon as Bette Davis in “Feud: Bette and Joan”

Movies

• Steve Carell as Bobby Riggs in “Battle of the Sexes”
• Jessica Chastain as Molly Bloom in “Molly’s Game”
• Judi Dench as Queen Victoria in “Victoria & Abdul”
• James Franco as Tommy Wiseau in “The Disaster Artist”
• Tom Hanks as Ben Bradlee in “The Post”
• Hugh Jackman as P.T. Barnum in “The Greatest Showman”
• Allison Janney as LaVona Golden in “I, Tonya”
• Gary Oldman as Winston Churchill in “Darkest Hour”
• Christopher Plummer as J. Paul Getty in “All the Money in the World”
• Margot Robbie as Tonya Harding in “I, Tonya”
• Emma Stone as Billie Jean King in “Battle of the Sexes”
• Meryl Streep as Katharine Graham in “The Post”
• Michelle Williams as Gail Harris in “All the Money in the World”

(Christina House / Los Angeles Times)

A Golden Globe nominee in previous years for her work in “Brooklyn” and “Atonement,” Saoirse Ronan was recognized by the Hollywood Foreign Press Assn. on Monday morning for her portrayal of the title character in “Lady Bird.” A vivid account of a mother-daughter relationship, the film is also a contender for best picture in the musical or comedy category.

Below, Ronan shares her secrets to having fun at awards shows as well as “Lady Bird” and its writer-director, Greta Gerwig.

Where are you?

I’m back in Ireland now -- just outside of Dublin. It’s 20 past four. I’m having a glass of Prosecco and my dog is laying next to me. We think she’s a west Highland terrier and golden retriever. She’s asleep, so she doesn’t seem too excited. My mam is lighting candles to set the mood.

Will she come to the Globes with you?

Yeah. [To her] Mam, you’ll come to the Golden Globes? She says ‘maybe.’ She might have to look after the dog.

Did you finally see “Lady Bird” with her?

Yes, and it was amazing. I said to her before we went in -- “OK, mom, let’s go to a regular screening and see it with a normal audience -- not film people. Every screening has been pretty packed, so forgive me if I have to keep my head down when we go into the cinema.” I’m preparing to go into the theater in disguise, and there were like six people in the whole cinema.

But she absolutely loved it, and the thing that stayed with her the most was Laurie’s performance and how well she captured what it was to be a mother.

But you’ve said you guys didn’t butt heads quite as much as Lady Bird and her mom, right?

No. I wish I was as ballsy as Lady Bird — but I’m sure mam wouldn’t have appreciated me throwing myself out of the car.

You’re a veteran of award shows at this point -- do you still get excited by nominations?

It definitely doesn’t lose its sparkle. If it’s a film you really loved, it’s even more exciting. Over the last month or so, Greta and I have gotten to share in all this.

Greta didn’t get nominated for directing, nor did any female filmmakers. How do you feel about that?

I think Greta should win all the awards and she’s deserving of them all. Not only because it’s her first film and it’s so impressive, but this is the first time she’s officially done it on her own. I mean this without being biased, really — she’s made a film that even technically speaking is spot-on.

I think it’s really important we got the best picture nomination. That is essentially hers, so she has been represented in that way. But I guess it’s an onward journey to make sure that female filmmakers are being represented. I think the people who have been nominated -- even like myself and Emma Stone -- we can all go out there with our heads held high, because the talk of the town right now are the great female filmmakers.

What’s your trick to having fun at award shows?

You have to bring someone that you know you’re going to have fun with. So I would usually bring my mam or one of my best mates, and whenever I’ve brought them with me I end up having so much fun. It’s great if you win, but it’s also totally fine if you don’t because you’re going to have a few drinks and see people you like. And you can go off afterwards and have a laugh.

I’ve gone to McDonald’s or In-N-Out after award shows and that’s been the best part of the night.

How was your experience hosting “Saturday Night Live” recently?

It was weird, because “SNL” is sort of a combination of being on a film set and being in the theater. Once you get through the monologue, you’re fine. With the clothing changes, you’re basically just thrown from one place to the next, and you have to stand there as they pull things off you and bring you over to the set. You get such a rush from it, you’re literally just sprinting from set to set.

Guillermo del Toro’s “The Shape of Water” emerged as an early awards season favorite after it bowed at the Venice Film Festival in early September and scooped up the fest’s top prize. A whirlwind festival tour followed, and the film has performed exceptionally well over two weekends in limited release (it’s expected to go wider over Christmas).

With seven nominations total, the movie led Monday morning’s Golden Globes announcements on the film side with Del Toro earning two personal nods for best director and best screenplay (co-written with Vanessa Taylor). Although his acclaimed “Pan’s Labyrinth” had been nominated for foreign film, these are Del Toro’s first Globe nominations. And we don’t expect them to be the last of Hollywood’s award season.

Were you up for the nomination?

I was asleep. Gary Unger my manager said, “I’ll wake you.” We’ve been campaigning very hard and I’ve been in every city everywhere and said, “Wake me up with the news.” And the phone started ringing with messages and I couldn’t find my glasses, so I was holding my iPhone like a millimeter away from my nose to read them. And one piece of good news would arrive, I’d go back to sleep and two minutes later another piece of news came through. Finally I woke up, I found my glasses and now I’m here.

Is it exciting for you that the movie got so many nominations, that Sally [Hawkins], Octavia [Spencer] and Richard Jenkins were all recognized?

I love them, so I’m grateful and I’m humbled because I’ve been doing this for a quarter of a century and you know two things, it doesn’t happen every time and you didn’t do it alone. You did it with a wonderful cast and crew who are not just a figure of speech or turn of phrase, it’s an elemental sense of family and gratitude. A quarter of a century will give you that much perspective.

The HFPA is an international group and the movie was made by an international cast and crew. Was it meaningful to make the movie with such an international group?

Yes. In many ways what makes us bond together, is that many of us, for different reasons, ethnicity, geography, beliefs, whatever, we have come together and a lot of us have experienced being quote-unquote the other in our life. We all have different points of view and different experiences but we all shared that commitment to the empathy that is celebrated in the movie. The movie is a celebration of cinema and a celebration of love in any form. Not only romantic love, but brotherly, friendly, empathy, solidarity, all that was very meaningful and I think it resonated with the Hollywood foreign press in the same way.

Is that what’s resonating with audiences as well?

Incredibly so. As you may have seen, whether I got out to one of the festivals or I go to one of the screenings in commercial venues over the past couple of weeks, its very gratifying to see, a) a packed house and b) a reaction that is emotional. I wanted to make this movie, from the beginning, like a song that you listen to on the radio when you’re driving. You kind of leave the theater humming the movie.

Is it meaningful for you to get your first personal nominations as well?

I feel it is very hard to say how grateful I am, without having to resort to words that are insufficient. But I’ll put it this way. I’ve been doing this for 25 years and I’ve been faithful to myself. I come from a provincial city in Mexico, and to read the names I am being cited alongside of brings me great emotion and gratitude. These are names that represent the best of our craft and it is very moving for me.

People on social media are talking about diversity among the nominees. This morning on Twitter you were included in a list of diverse nominees and some people responded that you’re white. How do you identify?

I’m Mexican. I think that it’s an impossibility to not be. When you are Mexican, it is at the very root of your soul. and I think the combination of these stories, the combination of the ordinary and the extraordinary is at the root of being Mexican. I know it because I’m 53 years old and I have many times gone through customs and immigration as if I was in “Midnight Express.”

After receiving a Golden Globe nomination for supporting actress in a TV series/limited series/TV movie for playing the fearsome Aunt Lydia in “The Handmaid’s Tale,” Ann Dowd talked Monday about her morning and the bits of hope coming in Season 2.

Tell me about your morning. How are you feeling?

How’s this for boring: I feel really happy. I got my son off to school, I was in really good spirits. Then I got this lovely text from my publicist saying you were nominated. Smile.

Here I was, texting with [Elisabeth Moss] and she’s working, mind you, shooting a scene. I’m not working this week. She is on set shooting, and she said I’m trying to be a good actress and not care. So we were texting back and forth. I am so happy for her and the show. It’s pretty darn thrilling, that’s for sure.

You’re shooting Season 2 now, correct?

Season 2. We’re way in. I go back next week. We don’t wrap until the end of March, pretty much. We have 13 episodes that we’re shooting. So we’ll have a good break at Christmas then back until the end of March.

Aunt Lydia’s backstory is kind of a mystery. Do you have thoughts about what her life was like before Gilead?

I asked Bruce Miller, our wonderful writer, what did he think? He said her being a teacher made complete sense. I thought, oh yes, she either taught at a public school where she was humiliated day after day or taught and appalled at what she was seeing around her, or she was in a Catholic girls school with uniforms and so on.

I think she is a true believer. For whatever reason, there’s usually something going on when someone’s line of vision is so narrow. What was it? Did she have a baby at 13 and promised God on her hands on knees, help me figure this out and I’ll do anything? I don’t know what the reason is that she’s so devoted, but she is genuinely so.

I think prior to Gilead taking over, when they had the meetings, she was front and center, well prepared to take over the teaching. Lots and lots of experience as a teacher and also fully believes in what should be changed. Really appalled at the rampant sex, the language, the pollution, the birth rate going down. I think the sense of rage was all-present for her.

Were there any real-life women you looked to in creating the character? Fundamentalist leaders or the like?

I’ve said this before and I hesitate just slightly, but I was educated by Catholic nuns and nothing was ever like Gilead or Aunt Lydia in terms of the cruelty, but we did learn a work ethic and what it meant to commit to something, and that when you start something you don’t stop until it’s completed. You defer to authority, you defer certainly to the church.

I had that sort of background. I had experiences and they were loving by comparison with really strict teachers, who would just say, “Come back here, that’s just not done.” So I think Lydia has a bit of that in her.

Everyone has remarked on the timeliness of the show and it feels like it’s only become more so since it premiered, not only with what’s happening politically but also within Hollywood, where we’re seeing this big reckoning about the sexual harassment of women. Just on Friday there were a lot of “Handmaid’s Tale” jokes about Rep. Trent Franks.

The shock value just never ends. The fact that Roy Moore is being supported by the president of the United States. If someone wrote that, you’d say “come on.” But in fact it’s true. The number of people who have come out, you would never suspect.

I hope to God I’m not naive at this stage of the game, but it’s so far-reaching. And what is it about? When you sit there thinking OK, I’m going to force to someone to have sex with me, I’m going to say something sexually inappropriate to someone I respect. I don’t understand it. We think of “Handmaid’s Tale” as are we ever going to get to that point? No, we’re not because women are prepared.

Katie Couric came to our show. I respect her quite a lot. And she interviewed a few of us. I couldn’t answer [some questions] at the time, but one of the things she asked was do you see this is a tipping point? And this was just when the Harvey Weinstein stuff came out. And at the time I said no, I don’t really think this is the tipping point, because until we get to the bottom of it — meaning, what is the behavior about?— it’s just going to get quiet and it’s going to come back.

However, the number of people who have stepped up, the number of accusers, the number of women who have the confidence and the strength to stand up and say, “Excuse me, this is what happened and this is who did it.” I am impressed by that hugely because it takes tremendous courage. And how about the ones who can’t?

My point is, I do think something is shifting, because there’s less tolerance. Although, again, there’s Roy Moore, there’s Trump.

Your career has really exploded in the past few years. Do you think something has changed in the industry to afford you those great opportunities?

In retrospect, as you go along in a career, you just keep going. I never went down the avenue of “Well, what if it doesn’t work out?” I never dreamt of it. The fact that it actually did work out is, oh my God, talk about my good fortune. I look at all these wonderful actors who are out of work and I don’t know what accounts for my good fortune, but I’m grateful for it.

I’m a little scared about Season 2.

Be a little scared. But there’s big doses of hope too. There’s stuff that will blow your mind, quite honestly. In the best sense.

While streaming services and cable networks showed their dominance when the Golden Globe nominations were announced Monday morning, broadcast darling “This Is Us” held its own.

After picking up three nominations last year when it was the breakout new show of the season, the time-jumping NBC drama returned in its second season with another trio of nominations, including best drama and individual acting nods for Sterling K. Brown and Chrissy Metz.

We spoke to show creator Dan Fogelman about riding high on the show’s momentum.

It already feels like it’s 5 p.m., right?

Why do they do it so early?

Why, indeed. Do you even bother checking anymore? It’s seems like such a given for this show to be nominated.

I have a bad habit of sleeping with my phone next to my bed because I am constantly working—my wife gets mad at me. My phone started lighting up very early this morning. It kind of woke me up. I knew it was today. It’s not like I am living under a bubble and unaware that every one is stressed out about it.

I’m perpetually shocked that people are getting up that early in the morning. So I started work early because then I was awake at that point. I’m editing an episode.

What did the group text chain look like today?

There were a lot of “congratulations” and a lot of GIFs. That was a big part of why my phone was lighting up so much this morning. Sterling has discovered the “like” and “laugh” buttons on texts. So Sterling and Sully [Chris Sullivan] “like” and “ha ha” at everything so it creates like five extra texts for me. I feel like my phone is going to run out of memory soon. I don’t quite know what to do about it.

And Mr. Ken Olin? How was he this morning as the No. 1 fan of the show?

Ken did a very sweet, “Congratulations, everyone, I am proud of everyone.” And left it at that.

What the approach to this year’s big night? Last year, if I recall you telling me, you got wasted.

I will probably get drunk again. Last year was my first awards show. First time I put on a tuxedo for any kind of awards ceremony. Now I’m an old pro. I’ll wait until after the ceremony to get drunk, though.

There was a lot of momentum leading into this season. Talk about riding that wave and not feeling pressure of having all eyes on you.

We didn’t really do things differently. It’s a bunch of normal people making a television show. We try not to read too much or overthink too much. It’s all about trusting our gut instincts.

There’s pressure on big things. Like, with our season premiere, we wanted to make sure to get things right. The upcoming Super Bowl episode will have a lot of eyes on it. You don’t want to leave anything to chance. But for the most part, we’re doing the same thing we’ve always done.

Is there a moment or storyline from the season so far that you’ve been excited to see come to life?

I’ve been really happy with the season. I was really happy with our trilogy on the Big Three. The first episode coming back from this break has caught me by surprise because we had just done this high degree of difficulty trilogy and the episode coming back is one of my favorite of the series so far. I just finished editing it.

And it caught me by surprise how much I liked it. There’s a scene in it that is just tour de force performances from our actors. Mandy Moore just crushes. I’m really excited to come back from our break with that one.

Has the Jack question changed?

Yeah, it;’s interesting. I think the season 2 premiere has actually alleviated that. That, combined with the idea that we’ve said we’re going to show everything and tell everybody everything this season. I’m not getting it as much as I was during the off season and heading into the premiere. Maybe it’s because I’ve just been working and I’m not out. But it feels like we’ve given people enough and more is coming sooner rather than later. I think those two factors has allowed people to ask questions about our other storylines. Is Kevin going to be OK? Are Kate and Toby going to have a family?

Those who make TV shows often don’t have time to watch TV shows. But have you had a chance to watch any of the other shows “This Is Us” is nominated alongside?

Oh, yeah. I watch them all. I’ve seen every episode of all of them. My wife and I, last night, were just about to start season 2 of “The Crown.” I’m just completely obsessed with all of them. “Game of Thrones” is appointment viewing in my house. I’m excited to be in any category with that show, which has become such a part of my existence. I randomly had dinner with George RR Martin in New York a couple of weeks ago.

Really?

It’s a long weird funny story.

Did he ask you about Jack?

Ha! No, he’s the coolest guy. I was in New York finishing a movie. My buddy and I got tickets to the Bruce Springsteen show. My buddy saw George go into the show and walked right up to him and somehow exchanged pleasantries and phone numbers. And he texted him after the show and we wound up going for pizza.

It was truly random and one of the coolest things. We had like a 2-hour meal. It was really cool.

Laurie Metcalf

(Kirk McKoy / Los Angeles Times)

Laurie Metcalf has two previous Golden Globe nominations for her Emmy-winning work on TV’s “Roseanne” (which is set to return to the small screen next year). But this year she’s celebrating her first nomination for a film role, thanks to Greta Gerwig’s breakout indie “Lady Bird.”

The film, which has been burning up the box office in limited release, also scored nominations for best motion picture (comedy or musical), best screenplay and best actress, for star Saoirse Ronan.

Metcalf, who plays Ronan’s mother in the film, has also been racking up critics awards for her turn. But as well as “Lady Bird” has been doing, the film also suffered a mysterious snub when Gerwig was left out of the Globes best director race.

Good morning, how are you?

I’m doing well. It’s my morning carpool so I’m in the car.

You were amazing in “Lady Bird.” Where did you draw inspiration for your performance from?

I drew it from Greta. I drew it literally from the script. She had everything in there that any actor could dream of. The themes were so well constructed, and because of that they just have a naturalness to them that was fun to play once we got on the set.

How did you find out about your nomination and who is the first person you told?

This morning? Well, I woke up and I had a text from my best friend in Miami. So that was exciting but then I had to get my daughter’s lunch together [laughs]. And get in the car and pick up the other kids for carpool. So I really haven’t talked to anyone about it yet. My daughter knows, so that was cool. And then my other daughter actually did call me but I was in traffic so I couldn’t talk. And I just pulled into the “Rosanne” lot because we’re taping an episode of “Roseanne” this week and my son is working there, so I’ll tell him. [Laughs]

How does it feel though to be nominated for your third Golden Globe?

Is it?

Mhmm.

I remember going a long time ago and it was for “Roseanne.” Oh. Well, see, it’s been 150 years so I imagine the Globes have changed a little bit and I’ll get to be able to see that.

How do you feel about Greta being snubbed as best director?

I was hoping that she would be recognized because having been on the set, I can vouch for the cast and the crew by saying what a terrific job she did. It’s really her movie. I mean, I don’t mean it’s her in the movie, she crafted it in such a way that there was never a time on the set where people were looking around thinking, “Well, this isn’t working, what are we going to do here instead? Can we rewrite this?”

Everything had been worked out meticulously, which is a really grounded feeling for the actors and the crew. She had done her homework to the point where it freed up everybody to do the job that they were supposed to do. I feel like I’m spoiled rotten now having worked with her. She creates such a wonderful atmosphere on her set: It’s very open, collaborative, there’s no stress, you wouldn’t know that it’s her first time directing solo. She made everybody feel comfortable and valued. So I can’t speak highly enough of her as a director and I hope I get a chance to work with her again.

It’s been a strong year for female-driven film. Do you think the Hollywood is finally becoming more inclusive?

I don’t know if it comes in waves or if this was planned but the timing couldn’t be better. And with “Lady Bird” helmed and written and starring a really strong female character carrying the show, and it’s gotten such a really great response from audiences, I hope people put two and two together.

You’ve been nominated for 12 awards for “Lady Bird.” What about this performance do you think resonated so much with critics and audiences?

I guess people see the mother’s character, the fact that it’s a three-dimensional character: You can relate to her at her age or you can see her through her daughter’s eyes if you’re more of that age. But it’s seeing a mom through a different pair of eyes. And seeing frustrations and things that are coming from the heart just coming out in the wrong way because she cares so much for her daughter and wants her to be the best that she can be, and also furious that her daughter’s not living up to her potential and using the opportunities that she has.

And I think the mom even has a streak of jealousy about that because she wasn’t able to have this opportunity. It’s just very complicated and layered, and I think Greta just did a great job at showing the dimensions of a character who is “the mom” who could be just the thorn in her daughter’s side or just the monster of the movie. I think Greta did a really nice balancing act.

How do you plan on celebrating?

Well, I’m going to do a table read with the “Roseanne” cast. And believe it or not, that to me is like being able to celebrate. Because it’s like, “Here’s your next script for the week.” And I love getting new material and it starts my brain going and I start feeling creative and it makes me really happy.

Armie Hammer speaks at the Trevor Project’s 2017 TrevorLIVE L.A. Gala on Dec. 3

(Tommaso Boddi / Getty Images )

Armie Hammer scored a Golden Globe nomination — for best actor in a supporting role in any motion picture — Monday morning for his performance in the acclaimed “Call Me by Your Name,” costarring Timothée Chalamet, who was also nominated.

I just got off the phone with TimothĂŠe, who was saying how much he values your friendship.

You make movies and form really intense but short bonds with people — but this film was a special experience. He’s such an amazing and special person that we’ve kind of kept our friendship up.

Do you feel how much he looks up to you?

No, not completely. I’ve been through the ringer in ways that he hasn’t, so I’ve given advice and pointers. But he’s an incredibly emotionally intelligent person, so there are things he’s talked me down from too.

Do I hear a child in the background?

Yes, that’s my daughter, so I’m juggling the phone and making breakfast. Today we went off and it’s milk and cereal, which is a treat. Normally, I like to make everybody breakfast, so she thinks cereal is a treat because it’s not an omelette.

So you were up already when the noms were announced?

I was awake, but just trying to avoid it. I didn’t want to be bothered by it or thinking about it — like, “It’s 6:30 and no one is calling!” I was up and putzing around, and then my phone suddenly got deluged. Last night I picked out a couple of scripts I was late on reading and said, “I’m gonna read these and not think about it.”

As someone who has been the recipient of a lot of hype, does this nomination feel particularly gratifying?

On this project, specifically, it feels particularly gratifying because it’s something we all believed in so much. We all made personal and professional sacrifices to go to a small town in Italy and make a movie that costs next to nothing. I poured my blood, sweat and tears into it, so that feels special.

You recently deleted your Twitter account, and people are sad.

It’s funny — I feel great not being on Twitter. I feel like I have at least an hour more to my day than just sitting and looking at my cellphone. I am still on Instagram, because I love the visual medium it presents. But Twitter, to me, was becoming more and more like a toxic environment where people go to say not nice things. I was voluntarily subjecting myself to it. People are so massively addicted to it that it really shocks people that you can just get off Twitter!

And it’s easier than quitting cigarettes.

Or maybe it isn’t.

You’ve been speaking out a lot this award season -- on James Woods, Casey Affleck — and you recently walked back some comments you made about Affleck. In the wake of all that, do you feel like you’re going to approach press differently?

Part of me realized that that’s not necessarily the best way to handle press. I can get out there and try to make a big, honest point with nuances or subtlety to it, but that’s not how it gets treated. They grab one sentence and make a headline out of it. So I should do press for the reason you’re supposed to do it — to talk about your movie, and talk about what you believe in, to an extent. But at the end of the day, I’m not here to tell everyone what I think.

There are a lot of Golden Globes parties. Are you worried that when you go out on the dance floor, everyone will be watching you now?

I’m 6-foot-5. Every time I get on the dance floor, period, everyone is looking at me. Will I dance at the Globes? It depends on how much alcohol I consume. If you want me on the dance floor, that’s the way to make it happen.

Where are you and how did you first hear about your nomination?

I am in my hotel room in New York City. I just got in last night to do “I, Tonya” press. So I got up very early this morning and had forgotten that this was Golden Globe morning because I was dealing with a bit of jet lag and trying to get into hair and makeup. I found out when I had just finished my segment on “Good Morning America.” My publicist came in with a huge grin on her face and said, “You’ve been nominated!”

I was so glad that they’d recognized the movie and of course, Margot. It’s a really, really special morning for me and all of us. And it makes it even more special for me because of my friendship with Steven Rogers, who wrote the screenplay and wrote this part with me in mind. So it just couldn’t be a more gratifying day.

Who is the first person you told?

Well, let me see. Actually, I didn’t tell anyone, everyone told me! All of a sudden my phone blew up. I had like 30 text messages so I was busy trying to respond to all of them. Everyone knew before I knew. These days it’s hard to break the news of anything happening to anybody.

What was your immediate reaction?

I was just incredibly proud and happy. Because of my friendship with [Rogers], it was even more special. We’ve been trying to work together for many years and it’s never worked out until this one so I feel like it was meant to be. I’m very proud of him and all of us, the entire cast and crew worked so hard it was just an impossible amount of scenes to shoot in 30 days — over 200 scenes to shoot in 30 days! — and Craig Gillespie is just a genius at the helm. Everyone was bringing their A-game and really happy to be telling this amazing story and one that’s very different from the original one.

We first heard about this story back when it happened.` It was a simple narrative of one good girl and one bad girl. [But] it’s a lot more nuanced than that so it was nice to be able to get the story told from so many different characters’ points of view. It’s a really interesting biopic. Not the ordinary or traditional biopic. I love the way they broke up the form.

How does it feel being nominated alongside Margot?

I am so proud of her. I mean, she’s the one that set the bar for this whole movie. Commitment, passion to this role and everything she had to learn to do: the skating, the accent and everything. She worked her ass off and she just made us all step up our games. Really proud of her. And I’m really happy that the movie got recognized too because so many people made us look good too.

It’s been a strong year for female-driven film. Do you think Hollywood is finally becoming more inclusive?

I think it’s a good step. I think yes, there’s always room for improvement but it is looking like things are maybe a little more equal in the world of casting and films. There’s still a long way to go but it’s a great start.

You’ve had a celebrated television career. How does it feel to be nominated for your first film Golden Globe?

Yeah, I mean it’s a different category and it’s thrilling. I’m really proud to be in this category and I love working in films. I love film, so to be included in this conversation and this world and this arena is a real thrill for me. I’m very proud of it.

What’s your favorite thing about the Golden Globes?

I think of what a fun party it is. I’ve been before in the TV world and everyone is very celebratory. There’s actors from every arena and you get to see a lot of old friends and you get to make new friends, you get to be star-struck. It’s just a lovely party with great food and drink so it’s a lot of fun. And I’m grateful that I’ve gotten to go before, but this time I will be with a wonderful movie so I’m very excited.

How do you plan to celebrate today?

Well, I just got two bottles of Champagne delivered to my hotel room from Tom Quinn, the head of NEON, one of the distributors for “I, Tonya.” Steven Rogers and I will be doing some Q&As tonight after the “I, Tonya” screening so after that I think we’ll come back to my room and drink Champagne [laughs].

Are you bugging?

I am in total shock right now. I could never have expected this in a million years. The other actors in the category are people that I’ve been studying and admiring for years, so I keep scratching my eyes trying to see what the fifth name is, seeing my name, and then scratching my eyes again.

OK, but for real? Everyone has been saying you’re a front-runner.

Yeah! I didn’t want to anticipate it in any capacity. I really mean it when I say I’m in shock. I’m so happy for Armie [Hammer, his costar]. I don’t think he was expecting it either. We’re just trying to keep our expectations low.

So Armie has really become like a brother to you, huh?

He really has. Most recently, at that party we were at the other night [GQ Men of the Year] — because even in situations like that, he’ll give life advice. For acting, he’s a brother I can turn to. I can’t speak more highly about what a talented actor he is. And now I have a best friendship with him and he’s a mentor to me.

Timothée Chalamet and “Call Me by Your Name” costar Armie Hammer at GQ’s Men of the Year party on Dec. 7.

(Chris Pizzello / Invision/ Associated Press)

What’s the best advice he’s given you?

Just to keep one’s expectations low and realize it’s a director’s medium. And also in a positive, grounding sense, to realize that this is momentary and that’s why it should be celebrated in the moment. It’s 11 a.m. in New York, and I’m sitting here with a huge smile on my face.

You and your supposed doppelganger Freddie Highmore will finally be in the same room at the Globes!

I had not had that thought yet! I’ve heard before that we look alike, and I cracked that joke on Kimmel the other night.

You’re a noted fanboy of other celebrities. How are you going to maintain your chill at the Globes?

I’m expecting to be a periphery member of an ensemble, there to support the film. There will be a couple of people though that I freak out over. Half the people there I will have seen at Q&As I went to when I was in school, or watched them in YouTube videos online. I’m a big fan at heart. This is why I wanted to leave school [NYU] and start acting — the thrill of getting to do this at 21 is being contemporaneously inspired by people. Wait, my phone is blowing up right now, Amy. Armie is calling. (Picks up other phone) Congratulations, brother!!! I’m on a call!!!

Have fans talked to you about how meaningful this movie has been for them?

Yes, since Sundance on the first night it premiered. Luca [Guadagnino, the film’s director], Armie and I all turned to each other and noticed that people were genuinely reflecting upon the movie as a medium to come out and be more in touch with a personal life that wasn’t present before the film.

Dee Rees

(Jay L. Clendenin / Los Angeles Times)

Guillermo Del Toro for “The Shape of Water.” Martin McDonagh for “Three Billboards Outside Ebbing, Missouri.” Christopher Nolan for “Dunkirk.” Ridley Scott for “All the Money in the World.” Steven Spielberg for “The Post.”

These are the five nominees for best director at the Golden Globes and not one of them is a woman. In a year dubbed by the African American Film Critics Assn. as the “Year of the Woman in Cinema” for the unprecedented number of female-helmed projects, the absence is noticeable — and many on Twitter are not letting it pass by quietly.

They cite Dee Rees for “Mudbound,” Patty Jenkins for “Wonder Woman” and Greta Gerwig for “Lady Bird” as snubs, coming just a couple of years after April Reign created the hashtag #OscarsSoWhite calling for industry-wide inclusion for women, people of color and other diverse people.

Another notable snub in the director category was “Get Out’s” Jordan Peele, someone many thought to be a lock for recognition.

(Gerwig did get a nomination for best screenplay, as did Vanessa Taylor, who co-wrote “The Shape of Water” with Del Toro, and Liz Hannah, who co-wrote “The Post” with Josh Singer.)

Below are some highlights from the online conversation:

Frankie Shaw, the Golden Globes-nominated creator and star of the Showtime series “SMILF.”

(Genaro Molina / Los Angeles Times)

As if Frankie Shaw wasn’t juggling enough titles as the creator, writer, executive producer, sometimes director, and star of the Showtime comedy ‘SMILF,” there is one more to add to the mix: Golden Globes nominee.

“SMILF,” which is loosely based on Shaw’s life and follows the struggles of a working-class single mother who splits her time between tutoring and acting to make ends meet, received a Golden Globes nomination for best comedy. In addition, Shaw nabbed a lead actress in a comedy or musical nomination for her role as Bridgette Bird.

The Times spoke to Shaw about her already eventful morning.

How did you get the news?

I actually woke up at 4:20 a.m. to do a radio show in Boston — there’s this show called Matty in the Morning for KISS 108. It’s the station I listened to in high school. I was up to do it, and I had a guest sleeping in our living room so I was outside, on the street, barefoot, doing this interview. And then I got a call from the show, and then my agent, and then Showtime, and I was live on the air.

I tried to put the morning show on speaker so I could text my publicist to ask what was going on because people kept calling me. It was kind of nutty. To be honest, it’s too much to process.

How long before Isaac [Shaw’s son] found out the news?

Oh my god. I went back to bed after the radio interview so I could answer emails. And I woke him up for school, made him breakfast, and I was about to drive him to school ... I didn’t want anybody else to tell him, but I also try not to be focused on the results of things, especially since he’s a kid.

So I was just like: “So guess what, we got good news.” He just freaked out. He was like, “Mom, I’m so competitive. I know you don’t care, but I care. You know I’m telling everyone.”

And I was like, “Isaac, can you practice talking about it so it doesn’t sound like you’re bragging. Something like, “I’m just so proud of her.” And he said, “Mom, that doesn’t sound like me. I’m just telling you now, I’m going to sound like I am bragging when I tell them. You can do what you want.”

The bagels and cream cheese, when you were trying to write your first script in college, have led to this moment.

I know. It’s just … it’s really wild. That’s what I was talking about with Zach [Strauss, her writer-producer husband]. Just remembering every step of the way. He remembered being in the writer’s room for “NCIS: New Orleans.” And everyone there had made a pilot. So even at that step, everyone was like, “Yeah, good for you guys.”

But even before that, starting all those drafts in his office sitting next to him, I couldn’t have imagined getting here. How did that little bit of putting pen to paper lead me to here? We were looking at the names of the nominees — I probably shouldn’t say this — but it was like, “which name doesn’t belong in this category; what name doesn’t go with the others.”

What is it about this show that you think people have responded to?

Part of it is that everyone can relate to finding levity in the struggle. There’s a lot of real struggle, and I think everyone has their stuff they’re trying to deal with each day. And with this show, people can feel all sorts of things in an episode. They can laugh, cry, get angry. Just like life.

Sexual violence is one of the many issues the show tackles. What’s it been like to witness Hollywood’s moment of reckoning?

It feels really powerful that all these women are telling their stories now. The timing is kismet. We were always planning on focusing on sexual violence and sexual harassment in this season. The finale, which airs New Years Eve, shows Bridget facing her abuser. I’m excited for people to see that.

It feels just really timely. I was really unsure how all of it would be received because it wasn’t something being talked about so publicly. And now that it is, it feels more part of the movement rather than an anomaly.

Your show’s Season 2 renewal vs. Golden Globe nominations: How do they stack up?

This feels so different. Season 2 was so great to find out. The ratings were good, but we were surprised to find out that early. This feels ... I mean, there’s so many shows out there. So it feels really incredible to get that kind of recognition.

Also because we’re six episodes in. We haven’t even aired our last two episodes, which I think are some of the strongest. It’s exciting that maybe more people, more eyes will be on it.

Dave Franco, from left, Greg Sestero, James Franco and Tommy Wiseau at the AFI Fest on Nov. 12.

(Jay L. Clendenin / Los Angeles Times)

James Franco and “The Disaster Artist,” his acclaimed new film about Tommy Wiseau’s cult classic, “The Room,” had a momentous Monday morning. The movie picked up two Golden Globes nominations, including for best motion picture (musical or comedy) and best performance by an actor in a motion picture (musical or comedy) for Franco.

He spoke to The Times soon after the announcement.

Did you watch the nominations?

We were hoping, so I got up this morning. I’m down at the beach. So the sun was rising while we were watching the “Today” show.

Have you spoken to Tommy Wiseau yet? Will you take him to the awards show?

I have not spoken to Tommy. He’s a particular guy. But I spoke to Greg [Sestero], who is sort of the Tommy whisperer for me. We’re both very excited.

I mean, now that we’re up for best comedy, maybe we’ll get a table. So I’m trying to get those guys there. That is the most full-circle ironic dream come true. What’s crazy is when the HFPA [Hollywood Foreign Press Assn.] saw “The Disaster Artist,” they wanted a press conference with Tommy. They don’t even give directors press conferences and they wanted one with Tommy. It was the most insane thing ever.

But as a lot of people know, Tommy kept his movie in theaters for two weeks to qualify for the Academy Awards, and the fact that this movie about his life is getting all this recognition is just amazing. I am going to include him in as much of it as I can.

Say what you will about the Golden Globes, but it must feel good that they recognize comedies.

It’s amazing that they have this category and are nominating something that is a comedy. Fortunately for us, we made a movie that is a comedy in a time that I think a lot of people need some levity, but it’s also just an unapologetic love story, a buddy story about following your dreams. I think that has helped us a lot, too.

What do you think people are responding to? It presents Tommy and Greg as an inspirational story.

The responses have been crazy. This past weekend I’ve gotten so many texts, and I’m blown away. I’ve never directed anything that’s gotten this kind of response. It’s almost like we get away with so much heart because it’s underneath such an insane, unusual story and character. But really, at its core, it’s just an inspiring go-get-’em story about two friends who had nobody else but each other to depend on. That’s something that I always as an actor thought about. Whether I’m playing a villain or a wacky character in a comedy, I always look for the heart. And that’s what this movie has unapologetically.

Your colleague Maggie Gyllenhaal was nominated for “The Deuce,” but you weren’t recognized for your dual roles and the show didn’t get any other noms. How do you feel about that?

Everybody knows David Simon and George Pelecanos are two of the greatest television creators and writers ever, and their shows have historically been tricky for awards for whatever reason. My guess is the show is going to get recognized for more things. They did get a WGA [Writers Guild of America] nom, and Maggie is undeniably incredible in the show. I think that fact that Maggie is nominated, I feel really, really good about that. She just sears through the TV screen, or whatever screen you’re watching it on. And my guess is the writers on that show, my guess is they’re going to get some more recognition.

Congratulations again. I can’t wait to see Team “Disaster Artist” on the red carpet.

We pretty much have to bring Tommy, I think. Now that you put it that way, it’s tuxedos and footballs all the way on the red carpet.

Martin McDonagh

(Mel Melcon / Los Angeles Times)

Irish director Martin McDonagh’s “Three Billboards Outside Ebbing, Missouri” was nominated for six Golden Globes Monday morning, the second most of the year (tied with “The Post” and one behind “The Shape of Water”). The Times caught up with the filmmaker, who is up for best director and best screenplay, shortly after the news.

Good morning Martin, how are you?

I’m very, very good today.

Where were you when you got the news?

Just in London. I was watching it live streaming on the Golden Globes website. So yeah, it was pretty cool.

Who was the first person you told?

Well, I was watching it with my girlfriend, so technically she was the first person to find out. Then I emailed my mom back in Ireland, so she was the second.

What was your immediate reaction?

Thrilled, really. I mean really thrilled. Especially to get six nominations, but especially happy that Frances [McDormand] and Sam [Rockwell] were recognized for their work because they’re brilliant and they’re also friends now. So it’s great when your friends are acknowledged for their great work too.

What’s your reaction to some of the backlash the film has received for its “moral ambiguity”?

That ambiguity is exactly what I was going for in it. So it’s not a surprise, I think, and it’s nothing I can’t happily defend at any stage. I think it’s a really good film, and I think often the backlash is kind of a knee-jerk reaction maybe. And I think certainly in time — not right now, in time — the heart of the film will definitely be seen as something that’s deserving to be recognized.

What was it like making a film about race and policing in this current cultural climate?

I think we got to say an awful lot about it that isn’t being said and that hasn’t been said. It might not end up on a perfect plate for everybody but I think it’s coming at it from an interesting angle. And I think there are other truths expressed in other films this year, so again I would defend every line.

How do you plan on celebrating your six nominations?

I think dinner with friends and answering like a hundred emails first. And just enjoy it. If you can’t enjoy a day like this, you’re probably in the wrong business. So I think I’ll enjoy every day leading up to [the awards].

Chilean actress Daniela Vega is the star of “Una Mujer Fantastica” (A Fantastic Woman).

(Jay L. Clendenin / Los Angeles Times)

Daniela Vega is a rarity in Hollywood. She’s a trans woman of color who stars as the lead of a film garnering mainstream Hollywood’s attention.

Monday, “A Fantastic Woman,” in which Vega stars as a trans woman, was nominated by the Hollywood Foreign Press Assn. for the best foreign film Golden Globe. It’s quite possibly the first time such a film has been recognized in this way.

“A Fantastic Woman” is nominated alongside “First They Killed My Father,” “In the Fade,” “Loveless” and “The Square.”

Earlier in the year, ahead of the film’s Oscar-qualifying run in Los Angeles — it’s Chile’s official submission — The Times spoke with Vega about her character and representing trans people:

Are there other trans actors in Chile?

I’m the only one, the first.

How does that feel?

Triste. It feels sad. But I think the bigger question we have to ask is why there aren’t more trans people in other disciplines, as teachers and journalists and scientists, in the world.

Is it difficult being the first?

Instead of difficult, I’d say it’s weird. Because we’ve been able to build the pyramids and go to the moon, and we have not been able to live well on this freaking planet. So, what can I tell you?

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As the year comes to an end, it seems as if 2017 has offered more than its fair share of drama.

It’s unsurprising, then, that the Golden Globes chose to honor television dramas that offered a little more distance from the realities of modern life.

All five of the nominees for drama television series have some element of fantasy or history, including “The Crown,” “Game of Thrones,” “The Handmaid’s Tale,” “Stranger Things” and “This Is Us.”

“The Crown” and “Game of Thrones” each deal with royal power struggles, though from very different points of view. While the former examines the life and times of Queen Elizabeth II, specifically through the late 1950s and early 1960s in Season 2, the latter continues to explore the fictional world of Westeros during its inevitable march toward world war.

“Stranger Things” and large portions of “This Is Us” offer the soothing comfort of nostalgia, with the Netflix drama leaning heavily on the supernatural and all things ’80s, while the NBC weepie focuses on the modern life of a family, with extended flashbacks to the ’80s and ’90s.

Meanwhile, “The Handmaid’s Tale” transported viewers to a dystopian future where the United States has crumbled under an authoritarian, theocratic regime that strips women of their rights and quickly institutes a rigid class system and hierarchy.

Just your average escapism from current headlines, obviously.

Mary J. Blige is a Golden Globes nominee for best supporting actress for her turn in the historical drama “Mudbound.”

(Jay L. Clendenin / Los Angeles Times)

Mary J. Blige is no stranger to award nominations. The Queen of Hip Hop Soul already has nine Grammys and countless other statues recognizing her vocal and lyrical abilities. Monday however, a new honor came her way as a Golden Globes nominee for best supporting actress for her turn in the historical drama “Mudbound.”

Just moments after Blige was awakened with the news, The Times spoke with her about the nomination, as well as a second nod for best original song.

Where were you when you got the call?

I was in bed. [laughs]

That’s a good place to be.

My publicist Amanda woke me up and I was like, “Wow,” just screaming and thanking God and praising Him. It’s amazing.

You’ve been nominated for a number of awards throughout your career. Does being nominated for acting feel different?

Yeah, this is amazing. This is different because [acting] is something I’ve always set out to do and I wanted to get it right and do it right. The reward that comes with this is this nomination so I’m grateful. It feels good because I’m being nominated for something other than singing. [laughs] I don’t even know what else to say. I’m just so grateful.

What do you hope people are taking away from your character Florence in the film?

To be humble. To be powerful. To know who we are. Florence is like every woman. She’s the center and holds things together without getting too emotional about it. She loves her family. So, I hope people know that … you can figure a way out of things. Florence was a quiet, silent power.

And you had to strip down for this role, no makeup, hair, nails…

When it was all taking place, I was fresh off a Bad Boy Reunion show. You don’t realize how vain you are and of the issues you have until you have to play Florence and have to get rid of lashes and wigs.

I was like, “Why can’t she wear a wig? I don’t want my own textured hair out there without some sort of relaxer.” But when you get rid of these things and you’re walking around and people are seeing your natural beauty and they’re actually complimenting you... I realized I didn’t need all of these things. Florence actually liberated me in a lot of ways. She gave me a lot of newfound confidence. I hold my head up regardless of if I have a perm or nails or lashes. She helped me in a time when I was needing that confidence.

If [writer-director] Dee [Rees] hadn’t put her foot down, Florence would’ve had a wavy hair wig and she would’ve been manufactured. [laughs]

In addition to the acting nomination, you were also recognized for best original song, “Mighty River,” with Raphael Saadiq and Taura Stinson.

It feels so good to be nominated for both, for people to recognize me for what I already do. It’s always beautiful. And the song is very very important. The lyrics are very important. To have people recognize the lyrics and listen to the song, and to pay attention to the character and the song, it’s like the cherry on the cake.

How will you be celebrating, if at all, today?

Oh my. [laughs] I have to go to work. I’ll be celebrating by smiling and how I normally treat people and treat myself. I’m going to be working hard. That’s how I’ll celebrate today.

The twisty thriller “The Sinner” did not receive a lot of buzz when it premiered last summer. Ads featuring Jessica Biel looking forlorn and soaking wet were dark and mysterious, offering few clues as to the story of the limited series.

But “The Sinner” was blessed with heavenly awards news Monday, scoring two marquee Golden Globe nominations, one for best TV movie or limited series and another for Biel as the lead actress, making the show one of the big surprises of the Golden Globe derby.

“The Sinner” will compete against far more high-profile projects, including FX’s “Fargo” and “Feud: Bette and Joan,” HBO’s “Big Little Lies” and Sundance’s “Top of the Lake: China Girl.” Biel, who also served as an executive producer on “The Sinner,” will face off against Reese Witherspoon and Nicole Kidman (“Big Little Lies”) and Susan Sarandon and Jessica Lange (“Feud: Bette and Joan.”)

Based on a novel by German crime writer Petra Hammesfahr, Biel plays Cora Tannetti in the eight-episode series, a young mother who commits a shocking act of violence without having a clue as to why she did it.

The nominations appeared to be a surprise to the actress as well, who was asleep in the early hours Monday and initially bothered by the ringing phone, not realizing it was her assistant telling her the good news.

She said she enjoyed exploring the complicated Tannetti when we caught up with Biel on Monday morning

Cora Tannetti is a somewhat unhinged mother with ambiguous, violent tendencies — yet she’s also sympathetic. Is it fun — even liberating — to play such a complicated, extreme character? Do you see her as a “good guy?”

I do see her as a good guy in many ways. That’s why, when I first read the book, I felt like I had to play this person. I somehow empathized with her. I felt really badly for her. I felt like she’s misunderstood. So many things happened in her life that were out of her control that made her who she is, and that’s something we all have in some way.

But the freedom to play an unhinged, unreliable narrator — the boundaries and limitations of her behavior can be stretched — it’s incredibly fun. But also incredibly terrifying, because you don’t know in the moment if you’ve gone too far.

We’re at a moment with something of a feminist revolution afoot — and finally, there are more complicated, nuanced roles being written for women. Do you think “The Sinner” is a product of its time? Would a character like Cora even have been created five or 10 years ago?

I don’t know if it actually would’ve. I think things find their way onto the screen — or screens — in the time they’re meant to be. Ten years ago, nobody would’ve put this show on television. Maybe a little indie film, that’s probably what would’ve happened. But the content provider world is so vast, and we’re hungry for content, for stories — I think viewers are more open now. We’re watching television in a different way.

And the other part of the conversation is, that it happens to be a time where these types of challenging, complicated stories with women at the helm are being readily accepted in conjunction with this movement of female empowerment. With power like this comes a responsibility to make incredible content that’s supportive of the cause and not exploitative — but also honest and transparent about who we are as women. But, yes, it’s a product of its time. It’s that lightning-in-a-bottle thing.

How cognizant were you, when you were filming, that the show is a commentary of sorts on the American healthcare system?

Not terribly cognizant — we were concentrating on complicated performances. But that was something our fabulous creator was [aware of] — this underlying theme of how sort of upended our systems are. We don’t hit it over the head with a hammer, but it’s definitely an underlying theme.

“The Sinner” is considered especially “binge-worthy, which prompts the obvious question: What are you binge-watching these days? Do you even have time for TV?

I make the time because I love it. I love the television that’s being created right now. It’s my business, it’s my world. And it’s so good, it’s exciting. I’ve binged “The Handmaid’s Tale,” “The Girlfriend Experience,” “Curb Your Enthusiasm.” I’m starting on “The Crown.” I love [Claire Foy] so much. She’s so talented.

“The Greatest Showman” star Hugh Jackman.

(Diane Bondareff / Invision for Cunard/Associated Press)

Gratitude, kudos and incredulity reigned on social media after the Golden Globe nominations were announced Monday morning.

The film and television nominees were thankful, the costars gave props to one another and the snubbed — and those who recognized them — voiced their grievances with the Hollywood Foreign Press Assn. following the early morning announcement.

Hugh Jackman and Zendaya, the stars of the musical “The Greatest Showman,” delighted in the film’s multiple nominations, as did “The Disaster Artist’s” Seth Rogen and the team behind Disney and Pixar’s animated crowd-pleaser “Coco.”

LIST: The 2018 Golden Globe Award nominees

However, much online chatter was devoted to Jordan Peele’s directorial debut, “Get Out,” being snubbed in the screenplay and director categories (though it did earn nods in the best picture and lead actor categories). Similarly, romantic comedy “The Big Sick” was completely shut out, and few people of color were nominated in the marquee film categories.

Here’s a look at what a few of them had to say:

Hosted by Seth Meyers, the 75th Golden Globes will air live on NBC on Jan. 7.

The Hollywood Foreign Press Assn. loves to nominate “Will & Grace” for Golden Globes. When it comes to handing over an actual trophy, however, it’s a bit more stingy.

Including the two nods it got Monday morning, “Will & Grace” has been nominated a total of 29 times. Wins so far? Zero.

At the 2018 Globes, the rebooted comedy will be up for best television series — musical or comedy for the seventh time, and Eric McCormack will have a sixth opportunity to write a thank-you speech.

As for the rest of the cast, Debra Messing and Sean Hayes have each been nominated six times, for actress and actor in a lead role and supporting role in a comedy or musical series, respectively. Megan Mullally has been nominated four times for supporting actress in a comedy or musical series.

The Primetime Emmy Awards have treated “Will & Grace” more kindly, with 16 wins out of a total 83 nominations. Mullally, Hayes and McCormack each have one acting Emmy statue in hand, and Messing has two.

Golden Globe nominee Claire Foy from Netflix’s “The Crown.”

(Jay L. Clendenin / Los Angeles Times)

Already a multiple award winner earlier this year for her portrayal of Queen Elizabeth II in the Netflix series “The Crown,” Claire Foy earned another Golden Globe nomination for her performance in the show’s second season.

Reached by phone at a coffee shop in a snowy Atlanta, where she’s filming the upcoming Neil Armstrong biopic “First Man,” Foy talks about her reaction to the news.

We can’t imagine your nomination was a surprise – you won a Golden Globe last year for the role and you were nominated for an Emmy this year -- but how does it feel?

It’s definitely a surprise. The new season just came out. Last year was such a shock, so out of the blue. And you never know how the second season will go down. I’d have been sort of crazy to expect it. So this is really lovely, really lovely. So kind of them.

You and Matt Smith, who plays Prince Philip, are passing on your crowns, so to speak, to new actors for future seasons. How does that feel? And what are your thoughts about Olivia Colman as Queen Elizabeth II?

I can only speak for myself, but we’re so proud of the show, and it’s been such a whirlwind. And I think we’re just so grateful to have been part of it. The fact that the show goes on, even without us, is extraordinary.

Olivia is an incredible actress, and I can’t wait to see what she brings to the role. She’s got a huge heart as an actress, she’s so emotionally available. When I watch her I feel everything she feels and understand that she’s coming from a place of just understanding. And she’s the most talented woman ever. I’ve watched everything she’s done.

Do you see “The Crown” – in which Elizabeth tells Philip in one episode that “A strong man would be able to kneel to his wife” -- as a feminist show?

The show has been made by Netflix, which has a very strong female presence -- most of the people who oversee the show are women. But I think to do that, to be saying that [it’s a feminist show], that Elizabeth is a feminist herself -- to give her title she hasn’t given herself -- isn’t quite right.

You have to look deeper into the show. It’s about a woman in a man’s world. That’s something to observe and, on occasion, be appalled by. But you can’t say it’s a feminist show when the woman at the center hasn’t asked for that.

What are you watching on TV these days?

At the moment I’m not watching anything because I’m working – and I can’t watch anything while I’m working. But I do love “Blue Planet II.”

Mark Hamill and Daisy Ridley step out at the “Star Wars: The Last Jedi” premiere at L.A.’s Shrine Auditorium on Saturday.

( (Charley Gallay / Getty Images))

Given the early raves director Rian Johnson’s “Star Wars: The Last Jedi” received at its premiere Saturday in Los Angeles, some fans may have been looking to see if the film would receive any love in the Golden Globes nominations.

Alas, the latest installment in the “Star Wars” saga, in theaters Friday, was not screened for the Hollywood Press Assn. in time for it to be in contention for this year’s awards.

Because the most recent films in the franchise are traditionally kept under wraps until shortly before they’re released during the mid-December window, qualifying in time for Globes consideration has been something of an afterthought. (Dec. 4 was this year’s official consideration cut-off date.)

The Walt Disney Co. also held back showing 2015’s “The Force Awakens” and last year’s “Rogue One” for the HFPA, rendering those films similarly ineligible for consideration. (“Last Jedi” will, however, be eligible for Oscar consideration. “Force Awakens” received five Oscar nominations and “Rogue One” earned two.)

While smaller films can get a potential box office boost from a Globes nod, Disney and Lucasfilm clearly believe that, when it comes to “Star Wars,” the franchise has ample Force on its own, thanks very much.

Alison Brie

(Carolyn Cole / Los Angeles Times)

Alison Brie may play a character in need of a career boost on TV, but she’s doing just fine in real life.

The “GLOW” actress was among the actors who got good news when the Golden Globe nominations were announced early Monday.

Brie was nominated for lead actress in a musical or comedy for her Netflix series role as Ruth Wilder, a struggling actress looking for her big break who finds her way into a female wrestling show. Brie is nominated alongside Pamela Adlon (“Better Things”), Rachel Brosnahan (“The Marvelous Mrs. Maisel”), Issa Rae (“Insecure”) and Frankie Shaw (“SMILF”).

We spoke to Brie by phone while she was in her trailer preparing for a day of shooting on the second season of “GLOW.”

An obvious question to get out of the way: How did you get the news?

I was running out the door to go to work. And I ran in to kiss my husband goodbye, and he had it streaming on his phone. And he was like, the Golden Globe nominations are happening right now. And I was like, oh my God, well, I gotta go. I gave him a kiss and then we heard my name right then. And then we just looked at each other and screamed and like kicked our legs. We did kicks. I was jumping up and down. I was like, “I have to go to work!” I was late.

How were you greeted on set?

No one is here! I’m the first person here. I was jumping up and down with the hair and makeup people. I’ll be shooting here all day. I’m sure I’ll be doing more happy dancing here with my co-stars because I’ve never worked with a more supportive group. I just can’t wait for all the girls to get here so I can jump and down with all of them.

Does a Golden Globe nomination cure soreness?

Oh my God, it’s funny you ask because I did wake up super-sore today, and I was so tired and thinking, how will I get through this day? And then I got this jolt of energy and was doing kicks. So many kicks.

How would Ruth Wilder take the news, if she were the one nominated?

Crying. Tears of joy everywhere. She’s practiced this speech thousands of times. I picture her taking a private moment — Ruth doesn’t have very many friends she could be celebrating this with. I picture her running into a bathroom and just bursting into tears.

When the show starts, Ruth is frustrated with her career, and the kind of parts she is auditioning for — a criticism women in the industry still face.

I think that’s one of the great things about our show, that it’s offering so many incredible roles for women. I think that’s one of the great things about our show. We have 14 female regulars on our show. Even looking at the nominations today, you see how many amazing roles there are for women today. But it’s a constant battle. We’re always trying to move forward and diversify and create more interesting roles for women. Actresses will always be looking for something more interesting than “the wife” or “the girlfriend” parts. It’s an exciting time because we’re seeing those opportunities be less hard to find. There can always be more.

And, I’ll say, it was life-changing being on a show with a predominantly female cast. And having women at the top and so many women behind the camera changed the way we all worked. It was a really comfortable set. It was a really ego-free set all of the time. Very collaborative, open and free. I think that enabled myself and all the women to take bigger risks with our performances.

You’ve talked about how much you wanted this part and about the audition process. Why did you fight so hard to play Ruth? What did you see in her?

I loved the writing so much and, I guess, I just realized opportunities like this don’t come around all that often where you find a role in which you are going to showcase every tool in your actor’s toolbox. And this was that show. For a long time, I felt like: I have more to show you, if you’d only let me. This show, certainly, was that opportunity for me.

The show hit Netflix just as we were starting see the rumblings of a feminist revolution taking shape. What’s it been like working on Season 2, being a part of a show like this — of women demanding to be heard and seen in a male-driven world?

I feel like we’re really on the right side of history. More than anything, I think I feel relieved and grateful that I get to come to work in such a safe and encouraging environment — working with all these women on material that I really believe in. The stuff that we’re reading about every day did not exist on this set. And, if anything, we’re creating a forum to talk about that through the art that we’re making. So in that way, too, it’s really gratifying.

The HFPA would like you to know that they saw “All the Money in the World.” The movie picked up a surprise three Golden Globes nominations Monday morning, for Christopher Plummer as supporting actor but also Michelle Williams for actress in a drama and Ridley Scott for director.

Considering Plummer was only announced as being a part of the movie a little more than a month ago, his recognition by the Globes may the fastest turnaround on record from performance to nomination.

The film was pulled from its slot on the closing night of the AFI Fest in the wake of sexual harassment allegations against actor Kevin Spacey, originally cast in the role of oil tycoon J. Paul Getty. In short order it was announced that Scott was going to replace Spacey with Plummer through reshoots while still getting the movie finished in time for a late December release.

An unfinished version of the film is reported to have been screened for the Hollywood Foreign Press Assn. last week. Press screenings of the final cut are expected to begin in earnest later this week.

Actor and musician Ansel Elgort stars in “Baby Driver.”

(Christina House / For The Times)

Every award nominations morning, a number of surprises rise to the top of the pool. Below are some of the more interesting nods from Monday’s Golden Globes announcement:

“All the Money in the World”

The Ridley Scott-directed picture took home three nominations, for best actress (Michelle Williams), best supporting actor (Christopher Plummer) and best director. The gag is… the film isn’t quite yet complete after Scott decided to replace the embattled Kevin Spacey with Plummer. The Hollywood Foreign Press Assn. — the folks who vote on the Golden Globes — did, however, see an unfinished version of the film just before voting last week. Must be nice.

Ansel Elgort

Elgort nabbed a best actor nomination, in the musical/comedy category, for his starring turn in the summer sleeper hit “Baby Driver.” While the action-crime film written and directed by Edgar Wright is one of the top 25 grossing domestic pictures of the year, virtually no one expected it to get any awards traction.

Helen Mirren

Perhaps one of the biggest shocks of all the nominations is the best actress nod for Mirren in “The Leisure Seeker.” The picture premiered at the Venice Film Festival earlier this year, but earned generally mixed notices. It’s since flown under the radar, receiving only a brief awards-qualifying run from Sony Pictures Classics and officially hitting theaters Jan. 19.

“Battle of Sexes”

Co-directed by Jonathan Dayton and Valerie Faris, the film about the 1973 tennis match between the world’s top-ranked female player Billie Jean King and ex-champ and serial hustler Bobby Riggs got two nominations for its stars, Emma Stone and Steve Carell. The surprise here is that while the picture was hyped as an award season contender after it bowed at the Telluride Film Festival in September, the conversation around it has pretty much petered out.

HBO again proved to be the Hollywood Foreign Press Assn.’s favorite TV network as the premium cable channel led the way with 12 nominations Monday morning.

Though falling short of last year’s total of 14, HBO was paced by its limited series offerings “Big Little Lies” and “The Wizard of Lies” as well as “Game of Thrones” and “The Young Pope.” Netflix was in second place with nine, followed by FX with eight.

Here’s the full tally:

HBO — 12

Netflix — 9

FX — 8

NBC — 5

Showtime — 5

ABC — 3

Amazon — 3

Hulu — 3

USA Network — 3

AMC — 1

National Geographic — 1

Starz — 1

SundanceTV — 1

MORE:

Five biggest Golden Globes snubs include ‘The Big Sick,’ Jordan Peele

In a year when women’s stories dominate, HBO’s ‘Big Little Lies’ leads the TV pack

‘The Shape of Water,’ ‘Big Little Lies,’ ‘The Post’ and ‘Three Billboards’ lead film nominations

What’s an awards nominations morning without snubs? Here are the top five from the 2018 Golden Globes announcement.

- “The Big Sick,” the comedy co-written by real-life couple Kumail Nanjiani and Emily V. Gordon, was entirely ignored by the Hollywood Foreign Press Assn. on Monday. Award season pundits had predicted that the film, based on the pair’s actual experience overcoming a medical emergency, would at least score a Golden Globe nomination for best comedy. It didn’t, and its cast — including lead Nanjiani and supporting actress Holly Hunter — also received no nominations.

- Meanwhile, “Get Out’s” Jordan Peele was snubbed too. The filmmaker did not earn recognition for directing or writing the horror satire, though the film wasn’t completely overlooked — its star, Daniel Kaluuya, was nominated for best actor, and the film got a nom for best comedy.

- Also blanked in the directing category? Greta Gerwig, for her movie “Lady Bird.” Gerwig was widely expected to earn a nomination, but in fact no women were recognized as among the best director nominees. “Lady Bird” got a lot of love, otherwise: The movie was nominated for best comedy and screenplay, and its mother/daughter duo — Saoirse Ronan and Laurie Metcalf — received nods.

- Jake Gyllenhaal, who has earned high praise for his turn as Boston marathon bombing survivor Jeff Bauman in the drama “Stronger,” was also snubbed by the HFPA.

- And it wasn’t a wonderful morning for “Wonder Woman,” which soared at the box office this summer but wasn’t a Globes favorite: Neither director Patty Jenkins nor star Gal Gadot received nominations.

Seth Meyers is on board to take a closer look at the 2018 Golden Globes.

After speculation last week that he had secured the gig, NBC released a statement Monday announcing the news.

“We are thrilled that Seth Meyers is going to be hosting the Golden Globes this year,” said Robert Greenblatt, chairman of NBC Entertainment. “As he does every night for us in late night, he will be taking a closer look at this year’s best movies and television with his unique brand of wit, intelligence and mischievous humor.”

Meyers takes over for NBC stablemate and former “Saturday Night Live” cast mate Jimmy Fallon, who hosted the ceremony in January.

The former “SNL” Weekend Update anchor is no stranger to awards ceremonies; Meyers has been nominated for 18 Emmys.

The Golden Globes are set to air live on both coasts from the Beverly Hilton on Jan. 7.

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“Call Me By Your Name”

“Dunkirk”

“The Post”

“The Shape of Water”

“Three Billboards Outside Ebbing, Missouri”

Guillermo del Toro, center, with the cast of “The Shape of Water”

(Jay L. Clendenin / Los Angeles Times)

Guillermo del Toro, “The Shape of Water”

Martin McDonagh, “Three Billboards Outside Ebbing, Missouri”

Christopher Nolan, “Dunkirk”

Ridley Scott, “All the Money in the World”

Steven Spielberg, “The Post”

“The Disaster Artist”

“Get Out”

“The Greatest Showman”

“I, Tonya”

“Lady Bird”

“The Crown” (Netflix)

“Game of Thrones” (HBO)

“The Handmaid’s Tale” (Hulu)

“Stranger Things” (Netflix)

“This Is Us” (NBC)

“Will & Grace” (NBC)

“Master of None” (Netflix)

“The Marvelous Mrs. Maisel” (Amazon)

“SMILF” (Showtime)

“Black-ish” (ABC)

“Big Little Lies” (HBO)

“Fargo” (FX)

“Feud: Bette and Joan” (FX)

“The Sinner” (USA Network)

“Top of the Lake: China Girl” (Sundance TV)

Are you longing to see the “Big Little Lies” women reunite and don’t want to wait until the (now official) second season? Can you never have too much James Franco in your life? Are you one of the three people who actually enjoyed Jennifer Lawrence in “mother!”?

Then you might be in luck come Monday morning. The Hollywood Foreign Press Assn. will announce the Golden Globes nominations beginning at 5:15 a.m. PST, and fans of Franco, Lawrence and the greatest television series on Earth could have reason to celebrate.

Here are five intriguing story lines to look for.

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2017 Golden Globe winners Ryan Gosling and Emma Stone.

(Kevin Winter / Getty Images)

How can you catch the 2018 Golden Globe nominations?

Beginning at 5:15 a.m. PST, the first round of announcements will be streamed live on the goldenglobes.com website and via Facebook Live on the official Golden Globes Facebook page.

And then, at 5:38 a.m. PST, NBC’s “Today” will join in to broadcast the second round of nominations including marquee categories such as best picture.

Actors Alfre Woodard, Garrett Hedlund, Kristen Bell, and Sharon Stone are to announce the nominees.

The 2018 Golden Globes ceremony is set for Jan. 7, to be hosted by Seth Meyers and broadcast by NBC.

Stay tuned to the Los Angeles Times Golden Globes nominations live blog throughout the day for updates, analysis and interviews, beginning with the nominations announcement.

Where have all the weirdos gone in the Hollywood Foreign Press Assn., the ones who’d nominate “Burlesque” for best motion picture or think that Johnny Depp and Angelina Jolie both deserved nods for the complete lack of chemistry they displayed in “The Tourist”?

The last few years, the Golden Globes have been far too respectable. And where’s the fun in that? Don’t look for these freshly minted pillars of good taste to change course this year. Nominations will be announced Dec. 11.

MOTION PICTURE DRAMA

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