There’s always a Golden Globe, Critics’ Choice, Screen Actors Guild Award and BAFTA nominee who misses out on an Oscar nomination in the end. This year, the unlucky one was Timothee Chalamet (“Beautiful Boy”), who fell short of the Best Supporting Actor lineup, much to the disappointment of his fans, which includes Regina King.
Asked by the U.K.’s Metro who would get her Oscar vote, the “If Beale Street Could Talk” star singled out Chalamet as a “I would if I could” hypothetical. “In terms of my best supporting category I am a really big fan of Timothee Chalamet,” she shared. “His performances are fantastic. I wish he had been nominated.”
King added that she’s also a fan of supporting actor nominees Mahershala Ali (“Green Book”), who’s the frontrunner to win his second Oscar in three years, and Sam Elliott (“A Star Is Born”). “Their performances really stood out to me,” she said.
While King did not reveal which of her fellow Best Supporting Actress nominees she’d vote for, she did remark that Olivia Colman (“The Favourite”) and Glenn Close (“The Wife”) were “just brilliant” in their films. Colman, of course, could’ve been a rival for King had she campaigned in supporting.
Despite her own SAG and BAFTA snubs, King, the critical darling, is still the favorite to take home the Oscar, thanks to her Globe and Critics’ Choice wins, and a guaranteed SAG and BAFTA split, since SAG champ Emily Blunt (“A Quiet Place”) is done for the season.
King presented at the BAFTAs on Sunday, a very strategic move to keep herself and “Beale Street” front of voters’ minds. That kind of behind-the-scenes planning and the long slog of awards season in general have surprised the first-time Oscar nominee, who also doesn’t know if nominees can vote for themselves (they can, Regina!).
“It’s like a full-time job. This whole award season thing is quite new for me,” King said. “And when you’re sitting down with your team and you’re talking to your publicist and you’re talking to the publicist for the company that financed the movie, you are having these conversations about doing things to strategically get the film in front of voters’ eyes. So I was like, ‘Wow, I had no idea it was this deep.’ I just thought, you know, hey, people like you or your film so they vote — but it doesn’t work that way!”
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