The publisher

from Wikipedia, the free encyclopedia
Movie
German title The publisher
Original title The Post
Logo Die Verlegerin.svg
Country of production United States
original language English
Publishing year 2017
length 117 minutes
Age rating FSK 6
JMK 8
Rod
Director Steven Spielberg
script Liz Hannah ,
Josh Singer
production Kristie Macosko Krieger ,
Steven Spielberg,
Amy Pascal
music John Williams
camera Janusz Kaminski
cut Sarah Broshar ,
Michael Kahn
occupation
synchronization

Die Verlegerin (original title The Post , working title: The Papers ) is a historical drama by Steven Spielberg that was released in selected US cinemas on December 22, 2017 and in German cinemas on February 22, 2018 . The film focuses on the events surrounding the publication of the Pentagon Papers in 1971. The publisher received Oscar nominations for best film and with Meryl Streep for best leading actress.

action

Katharine "Kay" Graham never wanted the job, but after the death of her husband she has to take over the post of head of the prestigious Washington Post and CEO of the publishing house. This is not an easy task in the male-dominated board of directors, and initially she does not get a word out in the meetings. The Washington Post is planning to go public.

One day in 1971, classified and sensitive information landed on the desk of Ben Bradlee , editor-in-chief of the Washington Post . These have previously been leaked to the New York Times. The documents copied by a Pentagon employee are about the concealment of information that the Vietnam War started for reasons other than those known so far and cannot be won. The incumbent President and his three predecessors always kept this silent.

Those responsible at the Washington Post are now faced with the decision whether or not to make the content of these papers and thus the scandal public and to report on the targeted disinformation. Since this is intelligence information, they fear ending up in jail for high treason. Nevertheless, Graham ultimately gives her approval, even if she has friendly relations with people who are incriminated in the papers, because Bradlee has made it clear to her that it is the duty of the press to print the truth and that the government has a free press not allowed to be blackmailed.

The publication of further contents of the Pentagon papers causes an uproar in the White House . In the following court hearing, in which the verdict is in favor of the two newspapers, it is not only about the right of the press to present facts truthfully, but also about the right of journalists to keep their source secret.

In the final scene of the film, a police officer discovers that someone is apparently breaking into the Democrats' office in the Watergate building .

Film analysis, themes and motifs

Historical background and film title

Daniel Ellsberg copied the Pentagon papers in 1971

The Pentagon Papers, called The Papers in the film , is a formerly secret document of the US Department of Defense , which was partially published in 1971 by the New York Times against government resistance based on a decision by the Supreme Court, the highest American court exposed the disinformation of the US public regarding the Vietnam War . Contrary to the assurances of the politicians involved, the people learned that this war was planned as part of the fight against communism before the official intervention of the USA, which after the end of France's engagement in Indochina had increasingly sent military advisors to South Vietnam , but over the years denied it to want to wage war there himself. In 1964, with the pretense of an attack by North Vietnam in the Gulf of Tonkin, known as the " Tonkin Incident, " a conscious willingness to go to war was created in the US population, troops were immediately moved into the country and war began. The discovery of this information or the uncovering of this background contributed significantly to ending the war.

It was Daniel Ellsberg , a senior official in the Department of Defense who was involved in the preparatory work for the bombing war, who, with the help of his children, copied the 7,000-page document in the summer of 1971 and, after attempts by the US government under Nixon to restrict press freedom, copied it New York Times and the Washington Post published in parts. The Pentagon Papers were commissioned by then Defense Secretary Robert McNamara , and the report's official title is Report of the Office of the Secretary of Defense Vietnam Task Force . After starting a trial in the US Supreme Court , Ellsberg tried other ways to get it published and got it through a member of Congress , persuading Democratic Senator Mike Gravel to do so at a meeting of the Building Committee (chaired by him at that time) in June 1971 a not inconsiderable part of the Pentagon papers had to be presented by filibuster . Ellsberg was nevertheless initially charged as a spy under the Espionage Act of 1917. He faced 115 years imprisonment. The lawsuit against him was later dropped, among other things, because the team set up by Nixon on Ellsberg, which hoped to get their hands on compromising material through a break-in at his psychiatrist, was the same team that worked with illegal methods that were around a year later Nixon was also used for the (failed) Watergate break-in. Ellsberg had come into contact with the peace movement before the publication of the Pentagon papers and later continued to be politically active.

The original name of the film is The Post because it was the Washington Post that published the position on the secret dossier on the military objectives in Southeast Asia, which was supported by the governments of Harry Truman to Lyndon B. Johnson. The German film title Die Verlegerin refers to the editor of the Washington Post Katharine Graham who died in 2001. She came from an old media dynasty and was the first woman to head a large US newspaper in such a capacity. Susanne Ostwald of the Neue Zürcher Zeitung notes that with the German distribution title the beautiful double meaning of the original has been lost, since The Post describes both the newspaper and the position of its management and Spielberg tells not only about the defense of press freedom, but also about a woman that asserts itself in the masculine power structure.

It was the New York Times that became the first American newspaper to print extracts from the papers. After heated debates with the newspaper's legal department, the editor Arthur Ochs Sulzberger finally gave the go-ahead for publication, so that Neil Sheehan's first article , after the editor-in-chief dictated his commentary over the phone, was published in the New York Times on June 13, 1971 could appear. The following year the newspaper received the Pulitzer Prize for Journalism in the Public Service category for this and two other articles . After the three articles, Nixon had other newspaper articles banned - an unprecedented case of censorship in US history.

Investigative Journalism and Freedom of the Press

Right in the first paragraph of the Bill of Rights , the people of the United States are guaranteed freedom of expression and freedom of the press

Senator Gravel, who received the Pentagon papers from Daniel Ellsberg, could claim political immunity as a member of Congress and could not be prosecuted for his speech in the building committee. The following day, the Supreme Court lifted the publication bans as unconstitutional because the state's interest in secrecy in secret government documents supplied by whistleblowers would , in case of doubt, take second place to the interests of the public and the freedom of the press. The Pentagon papers had strengthened the freedom of the press and were not least the reason for the passage of the Freedom of Information Act , which allows civilians to view US government documents upon request.

He had with the publisher made a patriotic film, no political party, says director Steven Spielberg: "Not as a Democrat, but as someone who believes in freedom of the press, of journalism." His film is also as an antidote to the concept Fake News to understand : “The heroes of my film are journalists, and they are the real heroes.” In his film, Spielberg asks questions about the value of journalism when it is no longer independent and how far journalists can go, information that a government can take reluctant to publish - especially if this could protect lives. On the other hand, if the dossier had been published, the existence of the newspaper and the jobs of the employees would be at stake if the Federal Supreme Court had not placed freedom of the press above the interests of the government. However, the June 30, 1971 ruling of the United States Supreme Court overturned the Nixon administration's injunction against the publication of classified documents relating to the course of the Vietnam War in the New York Times and Washington Post . The reason was that not the journalistic publication of information, but the state suppression of it, constituted a constitutional violation.

The film has been repeatedly described by critics not only as a gripping political thriller that finds the right tone between heroic cinema and warning index finger, but also as a plea for freedom of the press. David Kleingers of Spiegel Online also writes that the film shows how indispensable a free press is, because in the rousing plea for a free press as a guarantor of democracy, Die Verlegerin repeatedly transcends the background of the Vietnam War era in order to refer to America's immediate present referring to the Trump administration. Other critics also noted how topical the subject of the film is, where freedom of the press is exposed to massive hostility all over the world. Andreas Busche from Tagesspiegel says: “The case is of course burning topicality at a time when there is a president in the White House who declares 'fake media' to be public enemy number one. The revelations of the Pentagon papers have other facets as well; Spielberg largely withholds the no less fascinating story of the whistleblower Daniel Ellsberg, who passed the documents to the 'Times'. "Ten months had passed between reading the script and the cinema release in the USA, and suddenly there was another one Government that the press declared enemy. Patrick Heidmann remarks that journalism has been an integral part of the democratic system of separation of powers for centuries, which is relied on as a source of news.

The role of women in the media world

Katharine "Kay" Graham , pictured here on the left, at a meeting with international media representatives

Katharine "Kay" Graham's father Eugene Meyer acquired the Washington Post in 1933 and expanded it into a respected newspaper. When she inherited the management of the Washington Post in 1963 after the death of her father and the suicide of her husband Philip Graham , she appeared to be one of the many exceptions to the emancipation of her time, a woman who was not only advised but also guided by men . That changed when her newspaper came into the possession of the Pentagon Papers in 1971. From the German Film and Media Review was the publisher as a particularly valuable also because Spielberg bring to the film a great moment of emancipation to the big screen: " The publisher is both the importance of an independent press as well as the role of women is sometimes still granted in business today. ”The jury's statement also states that Meryl Streep embodies a woman with every fiber of her body who initially conforms to the 1970s role understanding of a woman and does not trust herself to be what she is doing actually feels called.

In mid-January 2018, on the occasion of the premiere of the film as part of a meeting between director Steven Spielberg, leading actor Tom Hanks, Axel Springer CEO Mathias Döpfner and Friede Springer in Paris, at which the freedom of the press, its role and its threat were discussed, the German publisher said she had read Kay Graham's autobiography Personal History when she took over the business after her husband Axel Springer died in 1985.

production

Staff and cast

Steven Spielberg started working on Die Verlegerin immediately after the shooting of Ready Player One (photo)

Directed by Steven Spielberg , who had the original script by debut writer Liz Hannah revised by Josh Singer . Spielberg read the script after Donald Trump's election campaign and inauguration in February 2017, and the relevance that this story from 1971 had in the new political climate of the United States could not be overlooked. For him, this story is also a feminist one, said the director, who has preferred to work with female film producers since the 1970s: “I wanted to show how incredibly difficult it was even as a woman to run a company in 1971. Although the women's movement had long since been in full swing. You can only shake your head, says Spielberg. There is a woman sitting in her own boardroom - and the men who work for her ignore her and prefer to turn to the man next to her. ”Spielberg went on to say that everyone had loved their father and husband, but as Kay Graham after him Death had the reins in his own hands, it was initially invisible and only found its strength with the publication of the Pentagon papers.

By August 2017 the title of the film was supposed to be The Papers , but it was renamed The Post in the English original . The scriptwriters based their work primarily on the memoirs of Kay Graham and the then Washington Post editor-in-chief Ben Bradlee . Still, they allowed themselves a few liberties. In the United States, they were accused of having been more of a New York Times thing than the Washington Post . But the former had no woman at the helm. Susanne Ostwald from the Neue Zürcher Zeitung says about the result that the clever, dialog-rich script clearly shows the human and political dilemmas Graham had to face, because her personal friend Robert McNamara was the then defense minister and was therefore responsible for the Pentagon papers.

Meryl Streep took on the role of publisher and later Pulitzer Prize winner Kay Graham. Tom Hanks plays Ben Bradlee, a journalist who was vice president of the Washington Post and who helped publish the Pentagon Papers when he was editor-in-chief. For the film, Streep and Hanks stood together for the first time in front of the camera. Alison Brie plays Lally Weymouth , a senior associate editor of the Washington Post, and Carrie Coon is Meg Greenfield is a journalist and Pulitzer Prize winner who has also worked for the Washington Post. John Rue plays the journalist and human rights activist Eugene Patterson , who was awarded the Pulitzer Prize in 1967. Phil Geyelin is played by David Cross .

Bruce Greenwood took on the role of Robert McNamara, a manager and politician who became the first non-Ford President of Ford Motor Company in 1960, Secretary of Defense from 1961 to 1968 and President of the World Bank from 1968 to 1981 was. Brent Langdon plays the entrepreneur and business manager Paul Ignatius , who was among other things Secretary of the Navy. The activist and military analyst Daniel Ellsberg , who - employed by the RAND Corporation - published the Pentagon Papers, is played by Matthew Rhys . Bob Odenkirk plays the Armenian-US journalist Ben Bagdikian , a media critic who received parts of the Pentagon Papers from the whistleblower. Sarah Paulson played Tony Bradlee, Jesse Plemons played Roger Clark and Bradley Whitford played Arthur Parsons. Spielberg's daughter Sasha can also be seen in a minor supporting role.

Filming, equipment and sound design

Columbia University in Manhattan, filming location July 2017

Filming began in New York on May 30, 2017. In July 2017, the film was shot at Columbia University in Manhattan. Further recordings were made at Iona College in New Rochelle and in White Plains . Filming was finished in July 2017.

Rick Carter created the production together with Rena DeAngelo . Janusz Kamiński acted as cameraman . When Matthew Rhys copied the said classified information in the film in the role of military expert Daniel Ellsberg, the camera looked at the pages from the perspective of the device. Daniel Haas from Zeit Online comments on the fact that the viewer also shares this point of view : "We ourselves are the means of enlightenment, our gaze should be as courageous and as precise as the instrument that registers the secrets." Haas continues When the camera films people from above, which often happens, it appears as if they are being monitored or spied on by a drone.

The Süddeutsche Zeitung comments on Kamiński's work that the government buildings were filmed from below and were overwhelming in their power, and the people who wanted to take on this power looked tiny like ants. It goes on : “Sometimes in The Post you see the White House from the outside, the camera feels its way to the window, and you hear the hissing of Nixon, who swears he will put an end to it all, or curses that none of the Post will ever set foot in here again. It's Nixon's real voice that you can hear, small snippets from the tape recordings that he obsessed with all the conversations in his office. "

Film music and publication

In July 2017 it was announced that John Williams would compose the film music, with which Spielberg had worked many times in the past. Williams was originally supposed to compose the music for Spielberg's film Ready Player One , but due to overlapping production processes for both films, Alan Silvestri took over the work on the latter. It is the 28th collaboration between Williams and Spielberg. The soundtrack to the film was released on CD by Sony Masterworks on January 12, 2018 .

On December 7, 2017, the film was presented to members of the Academy of Motion Picture Arts and Sciences in New York . The film was released in selected US cinemas on December 22, 2017 and in German cinemas on February 22, 2018.

reception

Reviews and grossing results

So far, the film has a score of 88 percent on Rotten Tomatoes (as of February 3, 2018).

Simon Strauss from the Frankfurter Allgemeine Zeitung says that the most impressive thing about Steven Spielberg's film is that it creates tremendous tension over a period of more than two hours without much happening in the conventional sense: “No violence, no sex, not even one Long pathetic speech - all you see are people who are slowly becoming aware of their responsibility, who understand the consequences of their action or inaction. In order to make it clear what is at stake here, Spielberg just needs a background noise of typewriters, cracking telephone lines and rushing radio messages. ”In addition, there would be short, accurate dialogues and the very economical but extremely precise facial expressions of Meryl Streep and Tom Hanks , so Strauss continues. The director succeeds in telling this momentous press story in such a way that it has no historical patina, and at no moment can one escape it with a pleasant sense of historical distance, according to Strauss, even if an edited article is sent by pneumatic tube in the film or coin money next to a telephone receiver lies: “It could all happen here and now, in the editorial building of a Turkish opposition newspaper, in the bedroom of a Russian blogger or even in the senior editor's office of the ZDF news studio. Decisions for the sake of freedom of the press and the public are still being made. "

After her role in Florence Foster Jenkins (photo) in Die Verlegerin, Meryl Streep can be seen in the eponymous role in a biopic for the second time in a row

Jonathan Pile of the film magazine Empire shares the same view and says that although it was set almost half a century ago, but is remarkably forward-looking in today's fake news times , The Post is an engaging and masterfully played story that is sure to win the Oscar race will find again.

Susanne Ostwald of the Neue Zürcher Zeitung says that many new American films are viewed in the light of Donald Trump's presidency , whether that was intended by their makers or whether it is interpretative. In the case of Spielberg's new film, however, his time-critical intention is evident, so Ostwald continues, and it behaves as always in his cinematic work: “If he takes on historical material, it always has something to do with the present in his presentation say. The political is an integral part of Spielberg's oeuvre, who has always supported the Democrats, even if it is wrapped in the cloak of cinematographically beguiling art of staging. "

Tim Slagman from the Film Service says that Streep gives Kay Graham a gentleness that charges all uncertainty, horror and nervous twitching with dignity: “Streep's gaze freezes and flickers, she mumbled and stammered when she made the decision to publish the dossier. It forms the emotional center of a film. "

Christoph Schröder from Zeit Online thinks that the film takes a pleasing amount of time and that every hint of national pathos is countered with irony. Meryl Streep as Kay Graham embodies a woman whose uncertainty disappears as much as her decisions are opposed, according to Schröder. He sums up: "The surprise of the film is not in its outcome, but in the fact that Spielberg concentrated it on a double character study instead of inflating it into a lying epic." His colleague Daniel Haas says Spielberg has a great film about the newspaper as the fourth estate, and reporters around the world would see the work with tears of emotion.

Production costs of around 50 million US dollars are offset by worldwide income from cinema screenings of 177.7 million US dollars. In Germany, the film had around 1.2 million admissions.

Use in school lessons

The online portal kinofenster.de recommends the film for the subjects English, history, politics, social studies and German and offers materials for the film for teaching purposes. There, Philipp Bühler writes that Die Verlegerin becomes interesting above all through numerous current points of contact that can be discussed in political and social studies classes: “The control of independent media as the fourth power in the state , vehemently demanded by film, is often called into question today. For careful journalistic research and the investigative exposure of political and economic undesirable developments (' Panama Papers '), the financial or human resources are apparently often lacking. The film also provides good illustrative material for the legally precarious situation of so-called whistleblowers . ”Finally, the main character Katharine Graham is an excellent example of the discrimination that women are still exposed to, even in management positions, Bühler added. In spring 2019 the film was presented as part of the SchulKinoWoche in North Rhine-Westphalia.

Awards

Below is a selection of nominations and awards from other film awards.

Art Directors Guild Awards 2018

  • Nomination for the Excellence in Production Design Award in the Period Film category ( Rick Carter )

Critics' Choice Movie Awards 2018

Eddie Awards 2018

  • Nomination for Best Film Editing - Drama (Michael Kahn and Sarah Broshar )

Golden Globe Awards 2018

National Board of Review Awards 2017

  • Award for best film
  • Award as Best Actor (Tom Hanks)
  • Award for Best Actress (Meryl Streep)

Academy Awards 2018

  • Nomination for best film
  • Nomination for Best Actress (Meryl Streep)

Producers Guild of America Awards 2018

  • Nomination for Best Film (Amy Pascal, Steven Spielberg and Kristie Macosko Krieger)

synchronization

The German synchronization was based on a dialogue book by Klaus Bickert and the dialogue direction by Norman Matt on behalf of FFS Film- & Fernseh-Synchron GmbH, Berlin .

actor Voice actor role
Meryl Streep Dagmar Dempe Kay Graham
Tom Hanks Joachim Tennstedt Ben Bradlee
Sarah Paulson Ulrike Stürzbecher Tony Bradlee
Michael Stuhlbarg Axel Malzacher Abe Rosenthal
David Costabile Till Hagen Kind of Buchwald
Bob Odenkirk Stephan Schwartz Ben Bagdikian
Deirdre Lovejoy Harriet Kracht Debbie Regan
Strong sands Ricardo Richter Don Graham
Stephen Mailer Viktor Neumann Exchange President
Peter Van Wagner Frank Ciazynski Harry Gladstein
Shaun O'Hagan Peter Reinhardt Harry Rowen
Harry S. Truman Matthias Klages Harry S. Truman
Michael Cyril Creighton Tobias Nath Jake
Christopher Innvar Leon Boden James Greenfield
Jessie Mueller Julia Kaufmann Judith Martin
Jennifer Dundas Cathlen Gawlich Liz Hylton
Austyn Johnson Jada Zech Marina Bradlee
Coral Peña Alice Bauer Nancy
Francis Dumaurier Patrice Luc Doumeyrou Head waiter
Brent Langdon Pierre Peters-Arnolds Paul Ignatius
Curzon Dobell Martin Umbach Richard Nixon
Gannon McHale Rainer Doering Judge Gurfein
Bruce Greenwood Tom Vogt Robert McNamara
James Riordan Jens-Uwe Bogadtke Vice Admiral Blouin
Walter Cronkite Lutz Riedel Walter Cronkite

Web links

Individual evidence

  1. ↑ Release certificate for Die Verlegerin . Voluntary self-regulation of the film industry (PDF; test number: 175974 / K). Template: FSK / maintenance / type not set and Par. 1 longer than 4 characters
  2. ↑ Age rating for Die Verlegerin . Youth Media Commission .
  3. ↑ Harald Neuber: Posters in Washington advertise whistleblowers. In: TELEPOLIS. July 14, 2014, accessed October 24, 2017 .
  4. ↑ Documentation: The Most Dangerous Man in America - Daniel Ellsberg and the Pentagon Papers . 2009, directed by Judith Ehrlich, Rick Goldsmith.
  5. ↑ Internet & Society <Co: llaboratory>: Human rights and Internet - access, freedom & control . Final report May 2012, 1st edition.
  6. ↑ Marc Pitzke: "Pentagon Papers": Washington confesses the last Vietnam Lies In: Spiegel Online, June 9, 2011.
  7. ↑ a b Andreas Busche: Steven Spielberg's “Die Verlegerin”: The free press is the greatest good In: Der Tagesspiegel, February 22, 2018.
  8. ↑ a b c d e Susanne Ostwald: "The Post" - this woman focuses on nothing but the truth In: Neue Zürcher Zeitung, February 20, 2018.
  9. ↑ 1972 Prize Winners & Finalists The Pulitzer Prizes - Journalism, Category: Public Service. Website of Columbia University, New York, whose Pulitzer Journalism School announces the winners annually. Retrieved January 29, 2019.
  10. ↑ Marc Pitzke: "Pentagon Papers": Washington confesses the last Vietnam Lies In: Spiegel Online, June 9, 2011.
  11. ↑ Vietnam War: The Unveiling of the Pentagon Papers Has Strengthened the Press In: Zeit Online, June 14, 2011.
  12. ↑ a b Jochen Kürten: Topical: Steven Spielberg's “Die Verlegerin” In: Deutsche Welle Online, February 21, 2018.
  13. ↑ a b c “The Verlegerin” in the Spielbergs Flucht vorwärts cinema In: Süddeutsche Zeitung, February 21, 2018.
  14. ↑ Simon Strauss: Against the horde of constantly smoking men In: Frankfurter Allgemeine Zeitung, February 22, 2018.
  15. ↑ Historical material, more topical than ever: “Die Verlegerin” shows an Oscar-worthy plea for freedom of the press In: n-tv.de, February 22, 2018.
  16. ^ A b David Kleingers: Spielberg drama "The publisher": Contagious riot-lust In: Spiegel Online, February 22, 2018.
  17. ^ Felix Müller: "The publisher": "Without freedom of the press everything is nothing" In: Berliner Morgenpost, February 14, 2018.
  18. ↑ a b Patrick Heidmann: Film "Die Verlegerin": Under Pressure In: Frankfurter Allgemeine Zeitung, February 21, 2018.
  19. ^ A b c d Christoph Schröder: “The publisher”: The woman in space In: Zeit Online, February 21, 2018.
  20. ↑ The publisher In: fbw-filmbeval.com . German film and media rating. Retrieved March 2, 2018.
  21. ↑ War and Lies - A conversation about freedom of the press and the film “The publisher” In: Welt Online. Retrieved March 3, 2018.
  22. ↑ Over Lakes: Meryl Streep Shooting For New Spielberg Movie On Campus. In: BWOG. July 26, 2017, accessed October 24, 2017 .
  23. ↑ Ben Pearson: 'The Post' Q&A: Streep, Hanks, and Whitford on Making Spielberg's Latest Masterpiece In: slashfilm.com, November 28, 2017.
  24. ↑ Paul Sheehan and Zach Laws: 2018 Oscar Predictions: Best Production Design In: goldderby.com, August 1, 2017.
  25. ^ A b Daniel Haas: "The publisher": Make the right pressure In: Zeit Online, February 21, 2018.
  26. ↑ Sony Masterworks to Release 'The Post' Soundtrack In: filmmusicreporter.com, November 17, 2017.
  27. ↑ Tom Hanks & Meryl Streep Screen 'The Post' in NYC In: justjared.co, December 9, 2017.
  28. ↑ Start dates Germany In: insidekino.com. Retrieved February 3, 2018.
  29. ↑ The Post In: Rotten Tomatoes. Retrieved February 3, 2018.
  30. ↑ Simon Strauss: Against the horde of constantly smoking men In: Frankfurter Allgemeine Zeitung, February 22, 2018.
  31. ↑ s. https://www.rottentomatoes.com/source-148/ (provisional)
  32. ↑ Tim Slagman: 'Die Verlegerin' criticism In: filmdienst.de. Retrieved March 25, 2018.
  33. ^ The Post In: boxofficemojo.com. Retrieved June 5, 2018.
  34. ↑ Top 100 Germany 2018 In: insidekino.com. Retrieved July 9, 2020.
  35. ^ Philipp Bühler: The publisher. In: kinofenster.de.
  36. ↑ Film overview. In: schulkinowochen.nrw.de. Retrieved January 20, 2019.
  37. ↑ Carolyn Giardina: Art Directors Guild Awards: 'Dunkirk', 'Shape of Water', 'Blade Runner 2049' Among Nominees In: The Hollywood Reporter, January 4, 2018.
  38. ↑ Kristopher Tapley, 'Shape of Water' Leads Critics' Choice Film Nominations In: Variety, December 6, 2017.
  39. ↑ Dino-Ray Ramos: ACE Eddie Awards Announce Nominations For Annual Ceremony In: deadline.com, January 3, 2018.
  40. ↑ Anthony D'Alessandro: National Board Of Review Winners: 'The Post' Comes Up Strong With Best Pic, Best Actress Meryl Streep, Best Actor Tom Hanks In: deadline.com, November 28, 2017.