Vol.1, No.1
December 11, 2021
REG. U. S . PAT. OFF.
BRINGING BEING THE RICARDOS HOME Sitting in traffic on the 405 , a dopey smile came across my face. It had been almost
(Make a H e Wh e the He t Is!)
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time.” Desi, on the other hand, needed to be out. Whether it was on the road with his orchestra or on his boat playing cards, he needed time away from Lucy. A few nights a week when he wasn’t anyone’s second banana. I had a structure — the film would take place during one production week of I Love Lucy , Monday table read to Friday audience taping — and I had a few scenes I knew I wanted to land on along the way. I didn’t have an ending until I was sitting in traffic on the 405 . In my head, I sketched out a speech that Lucy would have earlier in the movie about how the only place her life worked was in the Ricardos’ living room. That’s where she was adored by the man she adored. I could pay that speech off by having the Friday audience taping begin with Ricky walking in the door and saying the most famous line from the most famous TV series ever made: “Lucy, I’m home!” And the word “home” would stop Lucy in her tracks. Instead of saying her line there would be silence and a confused and uncomfortable audience. The irony would be too much for Lucy, and she’d get the exact same dopey smile on her face as I had on mine. Then I rewrote the whole thing another 14 times and we were ready to go.
two years since producer Todd Black asked me to write a movie about the relationship between Lucille Ball and Desi Arnaz. There was plenty to write about. Lucy was accused of being a Communist. Desi was
accused of cheating on Lucy. There were points of friction between Lucy and her best friend and co-star Vivian Vance, between Lucy and executive producer Jess Oppenheimer, between Lucy and staff writer Madelyn Pugh, and between William Frawley and anyone. The lives of Lucy and Desi were considerably more complicated than those of the characters they played. One of those complications was that Lucy longed for domesticity. “A home,” she says. “With a family and dinner
FOR YOUR CONS I DE RAT I ON
BEST PICTURE Produced By ......................................................... Todd Black, p.g.a. Jason Blumenthal Steve Tisch
BEST PRODUCTION DESIGN Production Designer............................................. Jon Hutman Art Director ..................................................Andres H. Cubillan Set Decorator ...............................................Ellen Brill
BEST DIRECTING ...................................... Aaron Sorkin
BEST COSTUME DESIGN ..................Susan Lyall
BEST ORIGINAL SCREENPLAY Written By ............................................................ Aaron Sorkin
BEST MAKEUP AND HAIRSTYLING Makeup Department Head ................................... Ana Lozano
Makeup................................................................. David Craig Forrest Makeup Artist ...............................................Kyra Panchenko Special Effects Makeup ........................................ Michael Ornelaz Hair Department Head.......................................... Teressa Hill Hairstylists ...................................................Yvonne DePatis Kupka Kim Santantonio BEST SOUND Sound Mixer .................................................Steven A. Morrow CAS Re-Recording Mixers ......................................Julian Slater Michael Babcock Supervising Sound Editor ..................................... Renée Tondelli
BEST ACTRESS .......................................... Nicole Kidman
BEST ACTOR ............................................... Javier Bardem
BEST SUPPORTING ACTRESS .......... Nina Arianda Alia Shawkat BEST SUPPORTING ACTOR ............... Tony Hale J.K. Simmons
BEST CINEMATOGRAPHY .................Jeff Cronenweth, ASC
Home Sweet Hollywood! You’ll Laugh! You’ll Cry! You’ll Sleep ’til Noon! 2,384 Perfectly cast parts. Some assembly required.
BEST VISUAL EFFECTS Visual Effects Supervisor...................................... Jeffrey A. Okun, VES
Nev Go to Bed Upset Again! $ 198 00 COMPLETE BEdroom SET…
BEST FILM EDITING ................................. Alan Baumgarten, ACE
BEST ORIGINAL SCORE ....................... Daniel Pemberton
This supplement was created by Amazon Studios to celebrate the film Being the Ricardos using both archival and modern-day content from LIFE magazine to provide context for the people and the era the film portrays. PAID ADVERTISING SUPPLEMENT
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