were met with widespread in-
dustry criticism, as necessary
changes to a lengthy show that
loses viewers year after year.
The controversy has only
served to make him visible in a
way that’s rare for filmmakers
who helm the annual cer-
emony — or any live awards
show, for that matter.
Part of the discord sur-
rounding this year’s event
stems from differing opinions
on what, exactly, the Oscars
SEE PACKER ON E10ture Arts and Sciences an-
nounced last month that eight
categories — in craft fields in-
cluding film editing, produc-
tion design, makeup and hair-
styling, and sound — would be
removed from the live telecast
of this year’s Oscars ceremony.
Instead, they will be pretaped
and edited into the show, in
favor of fan-voted categories
such as #OscarsFanFavorite
and #OscarsCheerMoment.
Packer has steadfastly de-
fended the decisions, whichBY BETHONIE BUTLER
For many, the allure of the
Academy Awards is watching
an A-list group of stars
schmoozing and celebrating
the world of film. But this year,
the biggest talking point
around the ceremony may be
the decisions of the man be-
hind the scenes.
Oscars producer Will Pack-
er, 47, has found his name
splashed across the news since
the Academy of Motion Pic-“CODA” from the 2014 French film “La
Famille Bélier,” about the hearing daugh-
ter of deaf parents who breaks away from
her family to pursue her dreams of sing-
ing (the term “CODA” stands for Child of
Deaf Adults). Heder, whose script is nom-
inated for best adapted screenplay,
changed the family’s name to Rossi, and
their occupation from farmers to New
England fishermen. British newcomer
Emilia Jones plays Ruby, who longs to
attend Boston’s Berklee College of Music
rather than stay in the family business.
When Heder began filming in Glouces-
ter, Mass., in the fall of 2019, her attention
was mostly consumed with “getting the
story” under tight time and budget con-
straints. “We were all in fishing Grundens
and covered in fish and the house we
were shooting in for the Rossi home was
falling down,” recalls Heder, who grew up
in Cambridge. “It was a very scrappy
SEE CODA ON E11BY ANN HORNADAY
IN LOS ANGELESM
arlee Matlin is describing the
first time she read Sian Heder’s
script for “CODA.” “I knew at
that moment it was gold,” Mat-
lin recalls, speaking through an Ameri-
can Sign Language interpreter. “I could
envision in my mind that this was it. And
you know, it’s been a long time.”
By “a long time,” Matlin means 35
years, which is how long it has been since
she won an Oscar for her performance in
“Children of a Lesser God.” In 1987, she
was a 21-year-old newcomer who made
history as the first deaf actress to win an
Academy Award. A generation later, Mat-
lin is part of history again, this time as a
co-star of “CODA,” this year’s surprise
dark horse for the best picture Oscar that
will be awarded Sunday.
Writer-director Heder adaptedKLMNO
Arts&Style
SUNDAY, MARCH 27 , 2022. SECTION E EZ EE
They dared to host — and
here's what happened E8How to watch and what to
know before big night E11Predict the winners and see
our critic’s picks E12
PETE RYAN/ILLUSTRATION FOR THE WASHINGTON POST
CRITIC’S NOTEBOOK
This year’s
little movie
that could
The feel-good dramedy ‘CODA’ has
the makings of an Oscar Cinderella storyWill Packer knows his audience
All eyes are on t he Oscars producer. H e’d like yours on the telecast.
The 94th Academy Awards Sunday at 8 p.m. on ABC
DAMON CASAREZ FOR THE WASHINGTON POST
Will Packer is the very visible producer of this year’s Academy Awards.