Lifestyle
'Oppenheimer' dominates the Oscar nominations, as Gerwig is left out for best director
Jack Quaid, left, and Zazie Beetz speak Tuesday during the 96th Academy Awards nominations announcement at the Samuel Goldwyn Theater in Beverly Hills, Calif. The 96th Academy Awards will take place March 10 in Los Angeles.
Jordan Strauss/Jordan Strauss/Invision/AP
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Jack Quaid, left, and Zazie Beetz speak Tuesday during the 96th Academy Awards nominations announcement at the Samuel Goldwyn Theater in Beverly Hills, Calif. The 96th Academy Awards will take place March 10 in Los Angeles.
Jordan Strauss/Jordan Strauss/Invision/AP
NEW YORK — After a tumultuous movie year marred by strikes and work stoppages, the Academy Awards showered nominations Tuesday on Christopher Nolan’s blockbuster biopic, “Oppenheimer,” which came away with a leading 13 nominations.
Nolan’s three-hour opus, viewed as the best picture frontrunner, received nods for best picture; Nolan’s direction; acting nominations for Cillian Murphy, Robert Downey Jr. and Emily Blunt; and multiple honors for the sweeping craft of the J. Robert Oppenheimer drama. Though Nolan is regarded as the big-canvas auteur of his era, he’s never won an Academy Award, nor have any of his films won best picture. This, though, could be his year.
The year’s biggest hit, “Barbie,” came away with a nominations haul slightly less than its partner in Barbenheimer mania. Greta Gerwig’s feminist comedy, with more than $1.4 billion in ticket sales, was nominated for eight awards, including best picture; Ryan Gosling for best supporting actor; and two best-song candidates in “What Was I Made For” and “I’m Just Ken.”
Gerwig was surprisingly left out of the best director field. She was nominated for best director in 2018 for her solo directorial debut, “Lady Bird.” At the time, Gerwig was just the fifth woman nominated for the award. Since then, Chloé Zhao (“Nomadland”) and Jane Campion (“The Power of the Dog”) have won best director. Before those wins, Kathryn Bigelow (“The Hurt Locker,” in 2010) was the only woman to win the Oscar’s top filmmaking honor.
Both Martin Scorsese’s Osage epic “Killers of the Flower Moon” and Yorgos Lanthimos’ Frankenstein riff “Poor Things” were also widely celebrated. “Poor Things” landed 11 nods, while “Killers of the Moon” was nominated for 10 Oscars.
Lily Gladstone, star of “Killers of the Flower Moon,” became the first Native American nominated for best actress. For the 10th time, Scorsese was nominated for best director. Leonardo DiCaprio, though, was left out of best actor. The late Robbie Robertson, who died in August, also became the first Indigenous person nominated for best score.
“Poor Things,” a dark Victorian era fantasy about Bella Baxter’s sexual awakening, received nominations for Lanthimos’ direction, Emma Stone’s leading performance, Mark Ruffalo’s supporting performance and widespread nods for the old-school craft of its fantastical design.
The 10 films nominated for best picture were: “Oppenheimer,” “Barbie,” “Poor Things,” “Killers of the Flower Moon,” “The Holdovers,” “Maestro,” “American Fiction,” “Past Lives,” “Anatomy of a Fall” and “The Zone of Interest.”
That group, which mirrored the Producers Guild Awards nominees, went much as expected and, as critics noted, a remarkably strong collection of films. For the first time, three of the best picture nominees were directed by women: “Past Lives” by Celine Song; “Anatomy of a Fall” by Justine Triet, who was also nominated for best director; and Gerwig’s “Barbie.”
But surprises abounded in other categories.
The best actor category had been seen one of the most competitive. In the end, the nominees were Murphy, Paul Giamatti (“The Holdovers”), Jeffrey Wright (“American Fiction”), Bradley Cooper (“Maestro”) and Colman Domingo (“Rustin”). Domingo’s nomination, for his performance as civil rights activist Bayard Rustin, made him just the second openly gay man to be nominated for playing a gay character, following Ian McKellen for the 1998 film “Gods and Monsters.”
“American Fiction,” Cord Jefferson’s insightful drama about a frustrated novelist, had an especially good day, collecting five nominations. That included a nod for Sterling K. Brown for best supporting actor. Robert De Niro (“Killers of the Flower Moon”) rounded out that category with Downey Jr. and Gosling.
Best actress was also closely contested. Along with Gladstone and Stone, the nominees were Carey Mulligan (“Maestro”), Annette Bening (“Nyad”) and Sandra Hüller (“Anatomy of a Fall”). That left out Margot Robbie, the star of “Barbie,” and Fantasia Barrino from “The Color Purple.”
In supporting actress, the frontrunner Da’Vine Joy Randolph of “The Holdovers” continued her march to her first Oscar. She was joined by Blunt, Danielle Brooks (“The Color Purple”), Jodie Foster (“Nyad”) and America Ferrera (“Barbie”).
Lead nominees “Oppenheimer,” “Barbie,” “Poor Things” and “Killers of the Flower Moon” made for a maximalist quartet of Oscar heavyweights. Nolan’s sprawling biopic. Gerwig’s near-musical. Scorsese’s pitch-black Western. Lanthimos’ sumptuously designed fantasy. Each utilized a wide spectrum of cinematic tools to tell big, often disturbing big-screen stories. And each — even Apple’s biggest-budgeted movie yet, “Killers of the Flower Moon” — had robust theatrical releases that saved streaming for months later.
Documentary, international and animated nominees
The Associated Press notched its first Oscar nomination in the news organization’s 178-year history with “20 Days in Mariupol,” Mstyslav Chernov’s harrowing chronicle of the besieged Ukrainian city and of the last international journalists left there after the Russia invasion. It was nominated for best documentary, along with “Four Daughters,” “Bobi Wine: The People’s President,” “The Eternal Memory” and “To Kill a Tiger.”
“20 Days” is a joint production between The Associated Press and PBS’ “Frontline.”
The nominees for best international film are: “Society of the Snow,” (Spain); “The Zone of Interest,” (United Kingdom); “The Teachers’ Lounge” (Germany); “Io Capitano” (Italy) ; “Perfect Days” (Japan).
The nominees for best animated film are: “The Boy and the Heron”; “Elemental”; “Nimona”; “Robot Dreams”; “Spider-Man: Across the Spider-Verse.”
Netflix leads all studios
The best-picture collection of films — all of which played in theaters for at least a month, including Netflix’s “Maestro” — reflected the industry’s rebalancing after years of experimentation during the pandemic. Netflix came away with the most nominations of any studio with 18, but industry consensus has, for now, turned back to believing cinemas play a vital role in the rollout of most movies. Apple and Amazon, which in 2022 acquired MGM, have each made theatrical a priority.
In heaping nominations on “Oppenheimer,” Oscar voters are poised to do something they haven’t done in a long time: Hand its top award to a big-budget blockbuster. Granted “Oppenheimer” isn’t your average big-screen spectacle, but the academy has for years favored smaller films for best picture, movies like “CODA,” “Nomadland” and last year’s winner, “Everything Everywhere All at Once.” Ben Affleck’s 2012 film “Argo” was the last best picture winner to surpass $100 million domestically. “Oppenheimer” grossed $326.8 million in the U.S. and Canada, and nearly $1 billion globally.
Historically, blockbusters have helped fueled Oscar ratings. Through the pile-up of award shows (an after-effect of last year’s strikes) could be detrimental to the Academy Awards, the Barbenheimer presence could help lift the March 10 telecast on ABC. Jimmy Kimmel is returning as host, with the ceremony moved up an hour, to 7 p.m. EST.
Full list of nominees
BEST PICTURE
“American Fiction”; “Anatomy of a Fall”; “Barbie”; “The Holdovers”; “Killers of the Flower Moon”; “Maestro”; “Oppenheimer”; “Past Lives”; “Poor Things”; “The Zone of Interest”
BEST ACTRESS
Annette Bening, “Nyad”; Lily Gladstone, “Killers of the Flower Moon”; Sandra Hüller, “Anatomy of a Fall”; Carey Mulligan, “Maestro”; Emma Stone, “Poor Things”
BEST ACTOR
Bradley Cooper, “Maestro”; Colman Domingo, “Rustin”; Paul Giamatti, “The Holdovers”; Jeffrey Wright, “American Fiction”; Cillian Murphy, “Oppenheimer.”
SUPPORTING ACTOR
Sterling K. Brown, “American Fiction”; Robert De Niro, “Killers of the Flower Moon”; Robert Downey Jr., “Oppenheimer”; Ryan Gosling, “Barbie”; Mark Ruffalo, “Poor Things”
SUPPORTING ACTRESS
Emily Blunt, “Oppenheimer”; Danielle Brooks, “The Color Purple”; America Ferrera, “Barbie”; Jodie Foster, “Nyad”; Da’Vine Joy Randolph, “The Holdovers”
DIRECTOR
Justine Triet, “Anatomy of a Fall”; Yorgos Lanthimos, “Poor Things”; Christopher Nolan, “Oppenheimer”; Martin Scorsese, “Killers of the Flower Moon”; Jonathan Glazer, “The Zone of Interest”
ANIMATED FILM
“The Boy and the Heron”; “Elemental”; “Nimona”; “Robot Dreams”; “Spider-Man: Across the Spider-Verse”
DOCUMENTARY FEATURE
“Four Daughters”; “20 Days in Mariupol”; “Bobi Wine: The People’s President”; “The Eternal Memory”; “To Kill a Tiger.”
INTERNATIONAL FEATURE FILM
“Society of the Snow,” (Spain); “The Zone of Interest,” (United Kingdom); “The Teachers’ Lounge” (Germany); “Io Capitano” (Italy) ; “Perfect Days” (Japan)
COSTUME DESIGN
“Barbie”; Killers of the Flower Moon; “Napoleon”; “Oppenheimer”; “Poor Things”
ORIGINAL SCORE
“American Fiction”; “Indiana Jones and the Dial of Destiny”; “Killers of the Flower Moon”; “Oppenheimer”; “Poor Things”
ORIGINAL SONG
“The Fire Inside” from “Flamin’ Hot”; “I’m Just Ken” from “Barbie”; “What Was I Made For?” from “Barbie”; “Wahzhazhe (A Song For My People)” from “Killers of the Flower Moon”; “It Never Went Away” from “American Symphony.
MAKEUP AND HAIRSTYLING
“Golda”; “Maestro”; “Oppenheimer”; “Poor Things”; “Society of the Snow”
PRODUCTION DESIGN
“Barbie”; “Killers of the Flower Moon”; Napoleon”; “Oppenheimer”; “Poor Things”
FILM EDITING
“Anatomy of a Fall”; “The Holdovers”; “Killers of the Flower Moon”; “Oppenheimer”; “Poor Things”
ADAPTED SCREENPLAY
“Barbie”; “Poor Things”; “American Fiction”; “Oppenheimer”; “The Zone of Interest”
ORIGINAL SCREENPLAY
“Anatomy of a Fall”; “The Holdovers”; “Past Lives”; “May December”; “Maestro”
ANIMATED SHORT FILM
“Letter to a Pig”; “Ninety-Five Senses”; “WAR IS OVER! Inspired by the Music of John & Yoko”; “Pachyderme”; “Our Uniform”
LIVE ACTION SHORT FILM
“The After”; “Invincible”; “Knight of Fortune”; “Red, White and Blue”; “The Wonderful Story of Henry Sugar.”
CINEMATOGRAPHY
“El Conde”; “Killers of the Flower Moon”; “Maestro”; “Oppenheimer”; “Poor Things”
FILM EDITING
“Anatomy of a Fall”; “The Holdovers”; “Killers of the Flower Moon”; “Oppenheimer,”; “Poor Things.”
VISUAL EFFECTS
“The Creator”; “Godzilla Minus One”; “Guardians of the Galaxy Vol. 3”; “Mission: Impossible – Dead Reckoning Part One”; “Napoleon”
SOUND
“Oppenheimer”; “Maestro”; “The Zone of Interest”; “The Creator”; “Mission: Impossible – Dead Reckoning Part One”
DOCUMENTARY SHORT FILM
“The ABCs of Book Banning”; “The Barber of Little Rock”; “Island in Between”; “The Last Repair Shop”; “Nǎi Nai & Wài Pó”
Lifestyle
This spring, have a tea ceremony inside of an art installation and shop the latest Givenchy
Givenchy by Sarah Burton introduces the Snatch
Givenchy’s “The Snatch” handbag.
(Marc Piasecki / Getty Images)
Echoing the designer’s ready-to-wear sculptural designs, the Snatch from Givenchy by Sarah Burton is sensually shaped by the contours of the person who carries it. Its supple leather, fluid silhouette and three sizes allow it to slip effortlessly and intimately into the hand, over the shoulder or across the body. Now available. givenchy.com
Guess Jeans opens new L.A. store
Guess Jeans store interior.
(Josh Cho)
In a move familiar to many millennials these days, Guess Jeans has returned home in its 45th year. The new flagship store in West Hollywood is both a return to its California roots and an envisioning of its future still ahead. While the brand may be an established icon, the store boldly reimagines the retail space as a living laboratory for design, craftsmanship and collaboration, with dedicated workshop and customization spaces. 8700 Melrose Ave., Los Angeles. guess.com
Louis Vuitton’s new Color Blossom collection
Louis Vuitton’s new Color Blossom collection highlights sodalite.
(Louis Vuitton)
Taylor Swift’s sky may be opalite, but the starry blue hues in the new jewels of Louis Vuitton’s Color Blossom collection belong to sodalite. Rarely used in jewelry, the dark navy of sodalite adds an unexpected layer of depth to Color Blossom’s existing luminous gemstone lineup. Sun and star motifs rendered in gold enhance the gem’s night sky coloring, while the classic flower designs celebrate the 130th anniversary of the Louis Vuitton Monogram. Sodalite pieces available March 6, entire collection available April 4. louisvuitton.com
Loro Piana debuts Library of Knits
Loro Piana’s Library of Knits comes in over 20 shades.
(Lora Piana)
L.A.’s (many) winter showers bring spring wildflowers, and a bouquet of Loro Piana’s new Library of Knits fits right into the vibrant spectacle. The exquisitely soft cashmere pieces in classic styles now come in over 20 shades inspired by Sergio Loro Piana’s personal wardrobe. With a spectrum ranging from blues and greens to corals and creams, it’s hard to choose just one for a frolic in the fields. Now available. loropiana.com
Margesherwood X Peanuts
The Margesherwood X Peanuts collaboration features instantly recognizable motifs.
(Marge Sherwood)
Love is famously in the air this time of year, apparently even for cartoon characters. This enduring love is illustrated (literally) in the Margesherwood X Peanuts collaboration. Inspired by the heart-fluttering love letters Sally writes to Linus, the designs feature instantly recognizable motifs that marry the Peanuts’ charm with Margesherwood’s refined silhouettes. The zig-zag of that famous yellow shirt winkingly graces a crescent baguette, while the black stripes of Linus’s red red shirt wrap around a slouchy shoulder bag. For the true heads and lovers, there’s even a petite hobo emblazoned with Sally’s pet name for Linus: “FOR MY SWEET BABBOO.” Now available. margesherwood.com
Ryan Preciado at Hollyhock House
Ryan Preciado’s site-responsive “Diary of a Fly” at Hollyhock House features Oaxacan-woven textiles.
(Roman Koval)
Ryan Preciado’s new site-responsive installation at Hollyhock House, “Diary of a Fly,” is titled after a late-1930s musical composition by Béla Bartók that imitates the frenzied pace of a fly — a fitting name since his show reconceptualizes the experience of the springtime pest flitting around a house. Instead of hovering around overripe fruit or stalking a trash can long neglected, however, viewers are invited to take in Preciado’s Oaxacan-woven textiles and brightly colored sculptures situated throughout the city’s only UNESCO World Heritage Site. Open through April 25. 4800 Hollywood Blvd., Los Angeles. hollyhockhouse.org
Veronica Fernandez at Anat Ebgi
Veronica Fernanadez’s “Prey” filters childhood memories through experience and emotion.
(Veronica Fernandez)
In the figurative paintings of Veronica Fernandez’s first solo exhibition, “Prey,” the artist’s childhood is recalled through dreamlike and fantastical scenes, with memories filtered through experience and emotion. Many of her works place a child at the center of the scene among family, friends and caretakers, who usually appear shadow-like at the edges of the paintings. As a kid, Fernandez endured periods of homelessness. But rather than depict a childhood of adversity, her paintings empower the kids within them to claim their own space, imbuing her memories with strength and light. Open through April 4. 6150 Wilshire Blvd., Los Angeles. anatebgi.com
Dior launches J’Adore Intense
Dior’s J’Adore Intense captures the scent of solar flowers with Rihanna as its muse.
(J’Adore)
Florals for spring can be groundbreaking, especially when they’re created with none other than Rihanna as their muse. Dior’s J’Adore Intense captures the scent of solar flowers — jasmine, ylang-ylang, rose, violet — right before they burst into fruit. The result is a warm, bold, addictive fragrance that drips with sensuality and femininity, down to the curves of its signature gold and glass figure-eight amphora. In other words, it’s Rihanna in a bottle. Available now. dior.com
Rocky’s Matcha X Oscar Tuazon at Morán Morán
Rocky’s Matcha hosts Japanese tea ceremonies in an ensō-inspired tea house from Oscar Tuazon at Morán Morán.
(Stade New York)
The single, uninhibited brushstroke of the ensō, the circular form in Zen art, serves as a record of a moment. Commissioned by Rocky’s Matcha, Oscar Tuazon’s “Circle House” at Morán Morán shares both the ensō’s form and its call to mindfulness. In the artist’s tea house, constructed from cardboard, wood and tatami mats, architecture is inseparable from ritual: visitors will soon be able to partake in a Japanese tea ceremony inside the installation, thereby participating in a choreography of attention not unlike the act of gliding an ink brush across a sheet of washi. Open through December 31. 641 N. Western Ave. Los Angeles. Subscribe to rocky’s newsletter for tea ceremony information. rockysmatcha.com and moranmorangallery.com
Celebrate Mr. Wash’s new book, “Artists in Space”
Celebrate the launch of Mr. Wash’s new book of studio visits and interviews with other L.A. artists.
(Mr Wash)
Make your first BBQ of the season a meaningful one at the Art By Wash Studio & Community Center, where Compton artist and criminal justice advocate, Mr. Wash, will celebrate the release of his book “Artists in Space.” Proceeds from the book, which features interviews and studio visits with 20 Angeleno residents, go toward establishing the new community center where individuals returning home from incarceration will have access to art classes, creative residencies and housing. Mr. Wash will be in conversation with Patrisse Culllors and Evan Pricco (co-publisher and founder of the Unibrow) as well as displaying new works. The event is on March 7 from 2-6 p.m. 15 W. Rosecrans Ave., Compton. artbywash.com
Jessie Buckley has been nominated for an Academy Award for best actress for her portrayal of William Shakespeare’s wife in Hamnet.
Kate Green/Getty Images
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Kate Green/Getty Images
Actor Jessie Buckley says she’s always been drawn to the “shadowy bits” of her characters — aspects that are disobedient, or “too much.” Perhaps that’s what led her to play Agnes, the wife of William Shakespeare, in Hamnet.
Buckley says the film, which is based on Maggie O’Farrell’s 2020 novel, offered a chance to counter a common narrative about the playwright’s wife: that she “had kept him back from his genius,” Buckley says.
But, she adds, “What Maggie O’Farrell so brilliantly did, not just with Agnes and Shakespeare’s wife, but also with Hamnet, their son, was to bring these people … and give them status beside this great man. … [And] give the full landscape of what it is to be a woman.”
The film is nominated for eight Academy Awards, including best actress for Buckley. In it, she plays a woman deeply connected to nature, who faces conflicts in her marriage, as well as the death of their son Hamnet.
Buckley found out she was pregnant a week after the film wrapped. She’s since given birth to her first child, a daughter.
“The thing that this story offered me, that brought me into this next chapter of my life as a mother was tenderness,” she says. “A mother’s tenderness is ferocious. To love, to birth is no joke. To be born is no joke. And the minute something’s born into the world, you’re always in the precipice of life and death. That’s our path. … I wanted to be a mother so much that that overrode the thought of being afraid of it.”
Jessie Buckley stars as Agnes and Joe Alwyn plays her brother Bartholomew in Hamnet.
Courtesy of Focus Features/Courtesy of Focus Features
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Interview highlights
On filming the scene where she howls in grief when her son dies
I didn’t know that that was going to happen or come out, it wasn’t in the script. I think really [director] Chloé [Zhao] asked all of us to dare to be as present as possible. Of course, leading up to it, you’re aware this scene is coming, but that scene doesn’t stand on its own. By the time I’d met that scene, I had developed such a deep bond with Jacobi Jupe, who plays Hamnet, and [co-stars] Paul [Mescal] and Emily Watson, and all the children and we really were a family. And Jacobi Jupe who plays Hamnet is such an incredible little actor and an incredible soul, and we really were a team. …
The death of a child is unfathomable. I don’t know where it begins and ends. Out of utter respect, I tried to touch an imaginary truth of it in our story as best I could, but there’s no way to define that kind of grief. I’m sure it’s different for so many people. And in that moment, all I had was my imagination but also this relationship that was right in front of me with this little boy and that’s what came out of that.
On what inspired her to pursue singing growing up
I grew up around a lot of music. My mom is a harpist and a singer and my dad has always been passionate about music, so it was always something in our house and always something that was encouraged. … Early on, I have very strong memories of seeing and hearing my mom sing in church and this quite intense mercurial conversation that would happen between her, the story and the people that would listen to her. And at the end of it, something had been cracked between them and these strangers would come up with tears in their eyes. And I guess I saw the power of storytelling through my mom’s singing at a very young age, and that was definitely something that made me think I want to do that.
On her first big break performing as a teen on the BBC singing competition I’d Do Anything — and being criticized by judges about her physical appearance
I was raw. I hadn’t trained. I had a lot to learn and to grow in. I was only 17. I think there was part of their criticism which I think was destructive and unfair when it became about my awkwardness, or they would say I was masculine and send me to kind of a femininity school. … They sent me to [the musical production of] Chicago to put heels on and a leotard and learn how to walk in high heels, which was pretty humiliating, to be honest, and I’m sad about that because I think I was discovering myself as a young woman in the world and wasn’t fully formed. … I was different. I was wild, I had a lot of feeling inside me. I could hardly keep my hands beside myself and I think to kind of criticize a body of a young woman at that time and to make her feel conscious of that was lazy and, I think, boring.
On filming parts of the 2026 film The Bride! while pregnant
I really loved working when I was pregnant. I thought it was a pretty wild experience, especially because I was playing Mary Shelley and I was talking about [this] monstrosity, and here I was with two heartbeats inside me. Becoming a mom and being pregnant did something, I think, for me. My experience of it, it’s so real that it really focuses [me to be] allergic to fake or to disconnection.
Since my daughter has come and I know what that connection is and the real feeling of being in a relationship with somebody … as an actress, it’s very exciting to recognize that in yourself and really take ownership of yourself.
I’m excited to go back and work on this other side of becoming a mother in so many ways, because I’ve shed 10 layers of skin by loving more and experiencing life in such a new way with my daughter. I’m also scared to work again because it’s hard to be a mother and to work. That’s like a constant tug because I love what I do and I’m passionate and I want to continue to grow and learn and fill those spaces that are yet to be filled — and also be a mother. And I think every mother can recognize that tug.
On the possibility of bringing her daughter to travel with her as she works
I haven’t filmed for nearly a year and I cannot wait. I’m hungry to create again. And my daughter will come with me. She’s seven months, so at the moment she can travel with us and it’s a beautiful life. And she meets all these amazing people and I have a feeling that she loves life and that’s a great thing to see in a child. And I hope that’s something that I’ve imparted to her in the short time that she’s been on this earth is that life is beautiful and great and complex and alive and there’s no part of you that needs to be less in your life. You might have to work it out, but it’s worth it.
Lauren Krenzel and Susan Nyakundi produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the web.
Bruce Campbell
I’m Battling Cancer
Published
Bruce Campbell has revealed he has cancer, but says it’s a type that’s treatable, though not curable.
“The Evil Dead” actor shared the news Monday in a message to fans, writing, “Hi folks, these days, when someone is having a health issue, it’s referred to as an ‘opportunity,’ so let’s go with that — I’m having one of those.” He continued, “It’s also called a type of cancer that’s ‘treatable’ not ‘curable.’ I apologize if that’s a shock — it was to me too.”
Campbell said he wouldn’t go into further detail about his diagnosis, but explained his work schedule will be changing. “Appearances and cons and work in general need to take back seat to treatment,” he wrote, adding he plans to focus on getting “as well as I possibly can over the summer.”
As a result, Campbell says he has to cancel several convention appearances this summer, noting, “Treatment needs and professional obligations don’t always go hand-in-hand.”
He says his plan is to tour this fall in support of his new film, “Ernie & Emma,” which he stars in and directs.
Ending on a determined note, Campbell told fans, “I am a tough old son-of-a-bitch … and I expect to be around a while.”
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