2026-03-12T09:58:45-0400 / CBS新闻
作者：大卫·摩根
2026年3月12日 / 美国东部时间上午9:58 / CBS新闻
以下观看奥斯卡最佳男配角提名表演片段及提名者采访。第98届奥斯卡金像奖将于3月15日（周日）颁发。
今年奥斯卡最佳男配角提名者（从左至右）：本尼西奥·德尔·托罗（《一场接一场的战斗》）、雅各布·艾洛蒂（《弗兰肯斯坦》）、德尔罗伊·林多（《罪人》）、西恩·潘（《一场接一场的战斗》）和斯特兰·斯卡斯加德（《情有独钟》）。
（注：此处原句中”Warner Brothers; Netflix; Neon”应为影片公司标注，保留）
本尼西奥·德尔·托罗，《一场接一场的战斗》
曾凭借《毒品网络》（2000年）获得奥斯卡最佳男配角奖，并因《21克》（2003年）提名的本尼西奥·德尔·托罗，凭借《一场接一场的战斗》第三次获得奥斯卡提名。
在保罗·托马斯·安德森执导的黑色喜剧惊悚片中，德尔·托罗饰演塞尔吉奥·圣卡洛斯，一位武术教练兼非法移民地下铁路的监管者。他与革命者的关联要求他将战略和专注的注意力投入到任何找上门的情况中，包括鲍勃（最佳男主角提名者莱昂纳多·迪卡普里奥）——一位军事部队袭击其小屋后逃亡的堕落革命者。
在这场戏中，塞尔吉奥试图提供绝望的鲍勃不知道自己需要的帮助：
在为SAG-AFTRA基金会录制的对话中，德尔·托罗表示，当安德森邀请他出演该角色时，首先发给了他一张老虎穿着柔道服的海报图片。”我说，’好的，有时间把剧本发给我。’他就发了这张图。我当时想，’嗯？’然后我读了剧本，才慢慢理解。里面有一种力量。我觉得很酷。那种力量，而和服给了他一种荣誉感。”
剧本在拍摄过程中因角色需要或利用实景场地进行了多次修改。德尔·托罗在拍摄《腓尼基计划》后加入《一场接一场的战斗》，他表示原剧本中鲍勃和塞尔吉奥会杀死警察，但很快讨论就变成了”在哪里杀”。德尔·托罗提前考虑到这样做意味着必须清理现场。
“剧本确实做了修改，”德尔·托罗说，”在我们即将拍摄的版本中，我相信鲍勃杀了一名警察，然后我杀了另一名。场面非常激烈。我只是说，’好吧，如果我们要在我的道场杀他，我们得清理干净。然后莱昂纳多就会自己走。’所有这些对话都是莱昂纳多、保罗和我之间发生的，我们逐渐形成了现在看到的情节。我不能把功劳都归于自己。莱昂纳多也有很棒的想法，保罗也是。但我认为是我提出了’哇，我们要在我的地盘杀他’的想法。然后，我们讨论是否要烧了那里。我就说，’我们得买足保险，我可不会烧那些奖杯，你知道吗？’但对话就是这样产生的，保罗很灵活地进行了调整。
“每部电影都有’电影时刻’。我认为一部电影可以有三个电影时刻，但如果是一部关于杀戮的电影，且有太多电影时刻，观众就会出戏。这只是逻辑问题，与那些有相同故事观和逻辑观的人合作。我们准备好去杀人了。我只是在地板上练习窒息等动作，滚来滚去，[保罗]过来说，’我们不杀任何人。’ ‘好的。那我们该怎么做呢？’ 角色中有一种严肃性、动机和对故事的理解。我很清楚我的角色的目的：我要把莱昂纳多从A点带到B点。仅此而已。我知道这一点。然后我们该怎么做？我们如何以最令人信服和现实的方式做到这一点？然后就有了现在的情节。”
*《一场接一场的战斗》获得13项奥斯卡提名，包括最佳影片。
雅各布·艾洛蒂，《弗兰肯斯坦》
吉尔莫·德尔·托罗对玛丽·雪莱《弗兰肯斯坦》的毕生痴迷，为影迷带来了一份他们不知自己需要的礼物：对这部常被翻拍的哥特式小说的全新解读，讲述了一位疯狂科学家用死者遗体创造生命的故事。德尔·托罗的《弗兰肯斯坦》不仅是有史以来最奢华的改编版本之一，在讲述科学家维克多·弗兰肯斯坦（奥斯卡提名者奥斯卡·伊萨克）和他创造的生物（奥斯卡提名者雅各布·艾洛蒂）各自故事时，情感表达尤为深刻。
在这场戏中，生物与一位盲人（大卫·布拉德利）成为朋友，盲人分享了他对书籍的热爱。生物正在探索自我意识和人生目标，试图从文学和破碎的记忆中寻找答案。
弗兰肯斯坦生物的许多经典表演（如鲍里斯·卡洛夫版）都以哑剧形式呈现——一个挣扎着交流的人，身体表现既残酷又幼稚。德尔·托罗版的生物能够说话、富有同情心并渴望连接，但大多数时候他在理解周围世界的过程中仍在挣扎。
当被问及为何选择艾洛蒂饰演该角色时，德尔·托罗告诉《周日早晨》栏目：”眼睛。我选择了眼睛。”
在与《周日早晨》的长时间对话中，艾洛蒂（曾在索菲亚·科波拉的《普瑞希拉》中饰演猫王，并出演《萨特本》和HBO剧集《亢奋》）谈到了成为”生物”的过程，以及与导演的沟通：
“我记得，在拍摄过程中，有一段时间我几乎不说话，只是盯着他。所以我和德尔·托罗会一直待在片场。如果有午休或其他时间，我们俩都会留在片场，我就一直盯着他。有一次他看着我说，’等你可以休息时我会告诉你。’这实际上是一种肯定。我知道我正在完全信任他，而他也确实如此。直到电影拍完，我才听到这句话，这是件很棒的事。”
他一直处于”生物”的心态中吗？”对我来说，当我拍摄电影时，所谓的方法派表演和相关讨论其实是被扭曲和误解的，因为如果我在拍电影，对我来说，24小时都是关于电影的。你做的一切都是为了电影。你为电影吃饭，为电影睡觉，谈论电影，梦到电影，吸收与电影相关的媒体、音乐或艺术。对我来说，电影制作和表演是一种全身心投入的过程。你不能在电影中兼职，也不能半途而废，因为你有六个月的时间去演绎上世纪最伟大的艺术家之一。六个月去扮演弗兰肯斯坦的生物。六个月去置身于城堡、火焰、怪物、美丽与痛苦等世界中。我想生活在这样的世界里。”
他的表演因奥斯卡提名的化妆和特效而更加出色。当被问及化妆需要多长时间时，艾洛蒂说：”要看情况；当角色刚被创造出来时，从头到脚的雕塑需要10到11小时，取决于我们的动作幅度。当他穿着外套，只需要露出部分身体时，大约5到6小时。这很有趣。就像，’谢天谢地今天拍摄时间短！’”
*《弗兰肯斯坦》（Netflix出品）获得9项奥斯卡提名，包括最佳影片。
德尔罗伊·林多，《罪人》
德尔罗伊·林多拥有超过75部电影和电视剧作品，包括《马尔科姆·X》《布鲁克林黑街》《矮子当道》《盗火线》《最后的城堡》和《誓血五人组》，并因《乔·特纳的归来》获得托尼奖提名。五十年间，他一直是影视界的重要存在。他将这种沉稳带到了瑞恩·库格勒融合多种类型的电影《罪人》中，讲述了吉姆·克劳时代南方黑人企业家的音乐故事，却被吸血鬼入侵。
林多饰演Delta Slim，一位被双胞胎兄弟Smoke和Stack（最佳男主角提名者迈克尔·B·乔丹）招募加入新蓝调酒吧的蓝调音乐家。在这场戏中，Stack发现这位音乐家难以招揽。
《罪人》是林多首次获得奥斯卡提名。
他在接受《CBS早间新闻》采访时表示，Delta Slim角色的塑造始于库格勒给他两本书：罗伯特·帕尔默的《深蓝调》和勒鲁瓦·琼斯（即阿米里·巴拉卡）的《蓝调人》。”我读了这两本书，然后接触了很多与三角洲地区相关的音乐——三角洲蓝调音乐家Howlin’ Wolf、Son House、 Muddy Waters、Ike Turner，”他说，”我看了很多以该地区居民为中心的纪录片。我只是尽可能吸收所有数据和信息，然后通过自己的方式提炼出Delta Slim的角色。”他还学习了钢琴和口琴演奏。
蓝调艺术家的背景故事激发了林多的表演，当Slim讲述他和另一位乐手某天误入错误南方小镇的经历时，林多将这种情感融入表演。在《罪人》的早期剪辑版本中，库格勒删除了包含Slim三段台词独白的链刑场景；林多坚持要求重新加入，导演最终同意了。[你可以观看下面的场景]。”虽然不是完整版本，但足够保留他最初创作的整体精神，”林多说。
林多表示，获得首次奥斯卡提名意义重大。”之所以重要，部分原因是人们代表我作出的反应。这对很多人来说都是大事，因此也增强了我对整个经历的思考，”他说。
*《罪人》获得16项奥斯卡提名，包括最佳影片。
西恩·潘，《一场接一场的战斗》
两次获得奥斯卡最佳男主角奖（《神秘河》和《米尔克》）的西恩·潘，在《一场接一场的战斗》中奉献了最激烈的表演之一，饰演一名疯狂的军官，眼神锐利且发型古怪。
作为白人至上主义者上校Steven J. Lockjaw，潘追捕黑人革命者Perfidia（最佳女配角提名者Teyana Taylor），但他对她的追捕逐渐变得肉欲横流，多年后当他寻找他认为可能是自己女儿的年轻女子时，复仇变得更加极端。
在这场戏中，Lockjaw拘留了Willa（Chase Infiniti）并进行了DNA测试。结果将决定她是否是16年前Lockjaw与她母亲私通的产物——她的生命取决于这个结果。
潘最初在安德森执导处女作《赌城纵横》时与他相识（西恩的兄弟迈克尔为此片配乐）。在与朱莉娅·罗伯茨的《Variety》对话中，潘回忆起他给这位年轻导演的建议——”当时我有句常用语：’永远考虑别人可能是错的。’他一直牢记这一点。”
后来在Skywalker Ranch（天行者牧场）的后期制作中，潘与安德森再次相遇（分别制作《荒野猎人》和《血色将至》）。潘最终在《甘草披萨》中出演安德森的电影，随后是《一场接一场的战斗》。
“当然有伟大的导演，但不是作家，”潘说，”但当伟大的导演同时也是伟大的作家时，你拿到剧本时的体验就完全不同。对他来说，一切都很新鲜。我完全不知道他在构思什么。”
《W》杂志问潘是否为Lockjaw角色做了特殊准备。”由于我生活中的其他方面，我花了很多时间接触这种文化，”他回答，”至于准备工作，这次角色对我来说就像’闭嘴，西恩，别碍事’。”
*《一场接一场的战斗》获得13项奥斯卡提名，包括最佳影片。
斯特兰·斯卡斯加德，《情有独钟》
从青少年时期在瑞典电视亮相开始，斯特兰·斯卡斯加德已积累超过150部影视作品，从欧洲文艺片（《布拉格之恋》《破浪而出》）到好莱坞大片（《猎杀红色十月号》《心灵捕手》《妈妈咪呀！》《加勒比海盗》和《沙丘》系列），甚至涉足《星球大战》宇宙（《安多》）。在首次获得奥斯卡提名的《情有独钟》中，他饰演古斯塔夫，一位曾经成功的电影人，试图说服疏远多年的女儿诺拉（最佳女主角提名者Renate Reinsve）出演他最新电影的主角。
但诺拉甚至不愿读剧本，父女间未说出口的紧张关系变得显而易见。原来，古斯塔夫创作的剧本基于他母亲（诺拉的祖母）二战期间被纳粹折磨的真实经历——这段家族历史在剧本中被揭示又被掩盖。
在这场戏中，古斯塔夫被诺拉质问其作为父亲的榜样行为。揭露的不仅是父女间的紧张关系，还有诺拉与妹妹艾格尼丝（最佳女配角提名者Inga Ibsdotter Lilleaas）的矛盾。
《情有独钟》中的对话混合了挪威语和英语，但斯卡斯加德经常在无对白场景中仅凭表情传达大量情感。”我喜欢这种场景，”他告诉《周日早晨》栏目，”电影不是文学，电影对我而言是画面中的情感流动，而非对白本身。”
2022年斯卡斯加德曾中风，此后拍摄时佩戴耳返辅助记忆台词。”实际上比背台词更复杂，因为提示器需要在另一位演员说话时同时提示台词，”他解释道。
在谈及这部关于事业与家庭拉扯的电影时，斯卡斯加德反思自己拥有八个孩子（其中多位为演员，包括亚历山大·斯卡斯加德）的经历，称这启发了他：”我从他们身上偷师。比如表情和对一切事物的天真态度。”
[观看与斯特兰·斯卡斯加德的完整采访]（《周日早晨》）
*《情有独钟》获得9项奥斯卡提名，包括最佳影片。
查看更多：
- 奥斯卡2026：最佳男主角提名者幕后揭秘
- 奥斯卡2026：完整提名名单
- 奥斯卡2026：遗珠与惊喜
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- 奥斯卡金像奖
Behind the scenes with the best supporting actor Oscar nominees at the 2026 Academy Awards
2026-03-12T09:58:45-0400 / CBS News
By David Morgan
March 12, 2026 / 9:58 AM EDT / CBS News
Watch scenes from the performances nominated for the Oscar for best supporting actor, as well as interviews with the nominees below. The 98th Academy Awards will be presented Sunday, March 15.
Nominees for the best supporting actor Oscar this year are, from left: Benicio Del Toro (“One Battle After Another”), Jacob Elordi (“Frankenstein”), Delroy Lindo (“Sinners”), Sean Penn (“One Battle After Another”), and Stellan Skarsgård (“Sentimental Value”). Warner Brothers; Netflix; Neon
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Benicio Del Toro, “One Battle After Another”
Benicio Del Toro, who an Academy Award for best supporting actor for “Traffic” (2000), and was nominated for “21 Grams” (2003), earned his third Oscar nomination for “One Battle After Another.”
In Paul Thomas Anderson’s darkly comic thriller, Del Toro plays Sergio St. Carlos, a martial arts sensei and overseer of an underground railroad for undocumented immigrants. His association with revolutionaries requires him to bring his strategic and focused attention to whatever situation washes up at his door, including Bob (best actor nominee Leonardo DiCaprio), a lapsed revolutionary figure who is on the run after military forces have attacked his cabin.
In this scene, Sergio tries to give the kind of help the desperate Bob doesn’t know he needs:
https://youtu.be/FsK7Vc8xLAU
In a conversation recorded for the SAG-AFTRA Foundation, Del Toro said that when Anderson approached him about the role, he first sent a picture of a poster depicting a tiger dressed in a judo kimono. “I said, ‘Okay, send me the script when you can.’ And he sent me this picture. And I was like, Huh? And then I read the script and I kind of, like, understood. There’s like a strength in there. I thought it was cool. There’s a strength, and the kimono gives him some kind of, like, sense of honor.”
There were many changes to the script done on the fly, to suit the characters, or to take advantage of found locations. Del Toro, who had a short window in joining “One Battle” following filming of “The Phoenician Scheme,” said it was originally intended that Bob and Sergio would kill police officers, but it soon devolved into a discussion of where. Thinking ahead, Del Toro said doing so would mean having to clean up the mess.
“The drafts did change,” Del Toro said. “In the draft that we were about to shoot, there was, I believe, Bob killed one of the officers and then I killed the other one. It was pretty intense. I just said, ‘Well, if we’re gonna kill him in my dojo, we’re gonna have to clean it up. And then after that, Leo is on his own.’ All these conversations happened between Leo, Paul and myself, and little by little we started getting to what you see now. I can’t take the credit of that. Leo had great ideas in there, too, and so did Paul. But I think I was the one who instigated the thing about, Wow, we’re going to kill him in my place. And then, you know, there was talk about we’ll burn the place down. And then I go, ‘We got to get some good insurance here. I ain’t going to burn all those trophies, you know?’ But that’s how the dialogue came, and Paul was just very light on his feet to change.
“Every movie has ‘movie moments.’ And I think you can have a movie and have three movie moments, but if you have a movie that deals with killing and you have too many movie moments, we’re going to check out. It’s just logic, and working with people that are seeing the same story, the same idea of logic. We showed up, we were ready to kill people. You know, I was just practicing the choke and all that stuff on the floor and rolling around, and [Paul] showed up and said, ‘We’re not killing anyone.’ ‘Okay. Well, what do we do then?’ There’s a seriousness and a motivation and an understanding of the story. I was very clear of what the purpose of my character was: I’m to take Leo from point A to point B. That’s it. And so, I knew that. And then how do we do? How do we do it in the most convincing and realistic way? And it went in the direction that it did.”
- “One Battle After Another” is nominated for 13 Academy Awards, including best picture.
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Jacob Elordi, “Frankenstein”
Guillermo del Toro’s lifelong fascination with Mary Shelley’s “Frankenstein” has afforded moviegoers with a gift they didn’t know they needed: a new interpretation of the often-filmed gothic novel about a crazed scientist who creates life from the remains of the dead. Not only is del Toro’s “Frankenstein” one of the most opulent renditions ever made; it is also one of the most emotional, in its telling of the respective stories of scientist Victor Frankenstein (Oscar Isaac), and the Creature he births (Oscar-nominee Jacob Elordi).
In this scene, the Creature has befriended a blind man (David Bradley), who has shared his love of books. The Creature is exploring his sense of self, and his sense of purpose, and seeks answers – in literature, and in his own fragmented memories.
https://youtu.be/WkLCYZtq49o
Some of the most indelible performances of Frankenstein’s Creature, such as Boris Karloff’s, were pantomimic – a man struggling to communicate, whose physicality could be brutal but also childlike. Del Toro’s creature is capable of speech, empathy, and a desire to connect, but much of the time he struggles as he takes in the world around him.
Asked why he chose Elordi for the role, del Toro told “Sunday Morning,” “Eyes. I cast the eyes.”
In an extended conversation with “Sunday Morning,” Elordi (who had previously played Elvis Presley in Sofia Coppola’s “Priscilla,” and starred in “Saltburn” and the HBO series “Euphoria”) talked about the process of becoming the Creature, and his communication with the director:
“I remember, there became a point in filming where I would just stare at him, ’cause I was pretty non-verbal the whole time we were filming, and Guillermo and I, we would stay on set the whole time. So, if there was a lunch break or something, the pair of us would be on set, and I would just stare at him. And he looked back at me one time and he’s like, ‘I’ll let you know when you can break.’ And it actually, it was like a pat on the back. I knew that I was submitting myself to him and I could trust him, and he did. And it was when the film was over, you know, but it was a great thing to hear.”
Was he in the Creature’s mindset that whole time? “Well, for me, when I’m shooting a movie, this whole sort of idea of Method and the conversation around it, I think, is so skewed and butchered, because if you’re making a film, for me, the way that I create, your 24 hours of your day is about the film. Everything you do is about the film. You eat for the film, you sleep for the film, you talk about the film, you dream about the film, you take in media that has to do with the film or music or art. For me, filmmaking and acting is an all-consuming process. You know, you can’t, like, moonlight in the movie. You don’t turn it off, and nor would I want to, because you have six months to play with one of the greatest artists of the last century. Six months to play Frankenstein’s Creature. Six months to be around castles and fire and monsters and beauty and pain and all these things. I mean, that’s the world that I want to live in.”
https://www.cbsnews.com/video/extended-interview-jacob-elordi/
His performance was enhanced by the Oscar-nominated makeup and prosthetics he wore. Asked how long it took to apply, Elordi said, “It would depend; when he was freshly minted and newborn, you know, head-to-toe sort of sculpture, it was 10 or 11 hours depending on how much we were moving or whatnot. And then when he’s in his coat and you can sort of just see this section of his body, it’s about 5 to 6 hours. Which was a treat. That was like, ‘Okay, thank God it’s a short day!’”
- “Frankenstein,” a Netflix release, is nominated for nine Academy Awards, including best picture.
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Delroy Lindo, “Sinners”
With more than 75 film and TV credits to his name, including “Malcolm X,” “Crooklyn,” “Get Shorty,” “Heist,” “The Last Castle,” and “Da 5 Bloods,” and a Tony Award nomination for “Joe Turner’s Come and Gone,” Delroy Lindo has been a steady presence for more than five decades. He brings that gravitas to Ryan Coogler’s conflagration of genres, “Sinners,” in which a music-filled story of Black entrepreneurs in the Jim Crow South becomes swarmed with vampires.
Lindo plays Delta Slim, a blues musician recruited by twin brothers Smoke and Stack (best actor nominee Michael B. Jordan) to play in their new juke joint. In this scene, Stack finds the musician to be a hard fish to reel in.
https://youtu.be/cb0YvLl0Hqk
“Sinners” represents Lindo’s first Oscar nomination.
He told “CBS Mornings” that development of the character of Delta Slim started with Coogler sending him two books: “Deep Blues” by Robert Palmer, and “Blues People” by LeRoi Jones (a.k.a. Amiri Baraka). “I read those two books, I then exposed myself to a lot of music specific to the Delta – Delta Blues musicians Howland Wolf, Sunhouse, Muddy Waters, Ike Turner,” he said. “I looked at a lot of documentary film that centered on people living in the region. So, I was just soaking up as much data, information as I could, and then filtering it through my own process to come up with Delta Slim.” He also got lessons to play the piano and harmonica.
The backstories of blues artists fueled Lindo’s delivery when Slim tells of the experience he and a fellow player had when they showed up in the wrong Southern town one day. In an early cut of “Sinners,” Coogler had deleted the chain-gang scene containing Slim’s three-page monologue; Lindo fought to reinsert it, and the director relented. [You can watch the scene below.] “Not in its entirety, but enough was there that it kind of restored the overall spirit of what he had written originally,” Lindo said.
https://youtu.be/UEmxcTvOYcY
Lindo said that receiving his first Oscar nomination was a big deal. “Part of the reason that it’s a big deal is because of how people are responding in my behalf. It’s a big deal to a lot of people, therefore it enhances how I’m thinking about the whole experience,” he said.
https://www.cbsnews.com/video/delroy-lindo-shares-how-his-son-told-him-he-was-nominated-for-his-first-oscar/
- “Sinners,” is nominated for 16 Academy Awards, including best picture.
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Sean Penn, “One Battle After Another”
A two-time best actor Oscar winner (for “Mystic River” and “Milk”), Sean Penn gave one of his most intense performances in “One Battle After Another,” playing a maniacal military officer, with a piercing gaze and a ridiculous haircut.
As the white supremacist Col. Steven J. Lockjaw, Penn is in pursuit of a Black revolutionary, Perfidia (best supporting actress Oscar nominee Teyana Taylor), but his pursuit of her becomes carnal, and ultimately vengeful when – years later – he searches for the young woman he believes may be his daughter.
In this scene, Lockjaw has detained Willa (Chase Infiniti) and administered a DNA test. It is to find out whether she is the product of Lockjaw’s assignation with her mother 16 years earlier – and her life rides on the result.
https://youtu.be/BCiiMfpDzhU
Penn had first met Paul Thomas Anderson when Anderson was directing his debut feature, “Hard Eight.” (Sean’s brother, Michael, composed music for that film.] In a Variety conversation with Julia Roberts, Penn remembered a piece of advice he’s given the young director – “A go-to quote I had at the time, which was, ‘Always consider the possibility that everyone else is wrong.’ And he’s stuck to it.”
Penn later crossed paths with Anderson during post-production of their respective films (“Into the Wild” and “There Will Be Blood”) at Skywalker Ranch. Penn finally acted in an Anderson film, in “Licorice Pizza.” And then came “One Battle After Another.”
“There are great, great directors, of course, who aren’t writers,” said Penn. “But when a great director is also a great writer, then the first thing he did is when he gave you the script, and you’re having that experience. With him it’s always gonna be so fresh. I had no idea what he was taking on.”
W Magazine asked Penn about any special preparation he may have done for the role of Col. Lockjaw. “Because of other aspects of my life, I’ve spent a lot of time around that culture,” he replied. “As for any preparation, this one felt like, ‘Shut up, Sean. Stay out of their way.’”
- “One Battle After Another” is nominated for 13 Academy Awards, including best picture.
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Stellan Skarsgård, “Sentimental Value”
Beginning as a teenager on Swedish television, Stellan Skarsgård has accrued more than 150 film and TV credits, from European dramas (“The Unbearable Lightness of Being,” “Breaking the Waves”), to Hollywood hits (“The Hunt for Red October,” “Good Will Hunting,” “Mamma Mia!,”, the “Pirates of the Caribbean” and “Dune” franchises), and even a galaxy far, far away (“Andor”). In “Sentimental Value,” for which he received his first Academy Award nomination, he plays Gustav, a once-successful filmmaker who tries to enlist his estranged daughter, Nora (best actress nominee Renate Reinsve), to take on the lead role in his latest film.
But she refuses to even read the script, and it becomes evident that there is a lot of unspoken, buried tension between her and the father who abandoned his family when she was a child. It turns out that the script Gustav has written – based on the life of his own mother (Nora’s grandmother), who was tortured by the Nazis during World War II – reveals as much as it obscures when it comes to the fractured family history.
In this scene, Gustav is confronted by Nora about the example he set as a parent. What is unearthed is not just the tension between father and daughter, but also between Nora and her sister, Agnes (best supporting actress nominee Inga Ibsdotter Lilleaas).
https://youtu.be/9e02thcxOCw
Though dialogue in “Sentimental Value” is in both Norwegian and English, there are also many moments in the film when Skarsgård holds the screen without talking, saying a lot with his expressions. “I love that stuff,” he told “Sunday Morning.” “Movies, real movies are not literature. Cinema to me is what happens in the image. Not what is said; what is not said.”
Skarsgård suffered a stroke in 2022, and since then he has worn an earpiece while filming to help with lines. “It’s actually more complicated than learning the lines, because the prompter has to say their line while the other actor is talking,” he said.
In discussing “Sentimental Value,” a film about the pull between career and family, Skarsgård reflected on having eight children, many of whom are actors (including Alexander Skarsgård), which he credits with inspiring him. “I stole things from them. Like, expressions and the sort of naive attitude towards everything,” he said. “Just watching them is fantastic.”
https://www.cbsnews.com/video/stellan-skarsgard-sentimental-value/
Skarsgård won the Golden Globe for his performance.
- Watch an extended interview with Stellan Skarsgård
- “Sentimental Value” is nominated for 9 Academy Award nominations, including best picture.
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See more:
- Oscars 2026: Behind the scenes with the best actor nominees
- Oscars 2026: See the full list of nominations
- Oscars 2026: Snubs and surprises
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- Academy Awards
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