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Breaking Baz:Sally Hawkins Writes A Ghostly Tale With Craig Roberts;Alexandre Desplat Strikes Up The Band,Ellen Kuras Finds An Editor.Patricia Hodge.

Oscar, however, saw it differently and [nominated](https://deadline.com/2023/01/oscar-nominations-2023-1235238038/) del Toro and Mark Gustafson’s film in a single category, Best Animated Feature, which is still a nice place to be! Her physicality was that of Fanny Farrelly, the upper-class matriarch in Hellman’s play. I always say that your senses follow the heat onstage, and mine were locked on Hodge. When they move to a new address, the daughter discovers that the ghost of a boy “is trapped in the house.” The stage manager appears and tells us that an audience member has taken ill and that we should head to the bar until such time as the play can resume. It’s sad, but Pinocchio is not sad, and we had to find the balance.” Many of the same musicians worked on the soundtrack in the very same studio — “double the number of musicians we have tonight,” Desplat casually tells me. “Voila!” says Desplat when I tell him how moving it is to listen to his music as I ran the movie in my head. She adds that the boy’s part of the story is set in the 1860s, while the mother and the girl are living in the 1970s or ’80s. “The score is moving and sad, it goes deep into this balance between joy and melancholy,” he says. Roberts later directed her in Eternal Beauty and The Phantom of the Open. “I’m going to put the phone down now, ever so politely,” came the ever-so-courteous put-down.