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. 

Benicio Del Toro, “One Battle After Another”

Benicio Del Toro, who won 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. Sergio tries to give the kind of help the desperate Bob doesn’t know he needs.

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.

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).

As the Creature befriends a blind man (David Bradley), who has shared his love of books, Elordi’s character explores his sense of self, and his sense of purpose, and seeks answers – in literature, and in his own fragmented memories. 

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.”

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.

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. Stack finds the musician to be a hard fish to reel in.

“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. “Not in its entirety, but enough was there that it kind of restored the overall spirit of what he had written originally,” Lindo said.

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.

• “Sinners,” is nominated for 16 Academy Awards, including best picture.

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.  

Lockjaw detains Willa (Chase Infiniti) and administers 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.

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.

UPDATE: On Sunday, Sean Penn won the Academy Award for best supporting actor for “One Battle After Another.” It was his third acting Oscar, tying him with Jack Nicholson, Daniel Day-Lewis and Walter Brennan among male actors. He was not present to accept the award. 

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. 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). 

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.”

Skarsgård won the Golden Globe for his performance. 

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Watch scenes from the performances nominated for the Oscar for best supporting actress, as well as interviews with the nominees below. The 98th Academy Awards will be presented Sunday, March 15. 

Elle Fanning, “Sentimental Value”

Elle Fanning began her professional career as a toddler in the Sean Penn film “I Am Sam,” playing a younger version of the character played by her sister, actress Dakota Fanning. Growing up on screen, Elle has appeared in more than 80 film and TV roles, from “The Curious Case of Benjamin Button” and “Super 8,” to “The Neon Demon,” “The Beguiled,” and “A Complete Unknown.” She received an Emmy nomination for “The Girl From Plainville.”

In “Sentimental Value,” she plays Rachel Kemp, a Hollywood actress who is wooed by Danish filmmaker Gustav (best supporting actor Oscar nominee Stellan Skarsgård) to star in his latest project – only after his own actress-daughter, Nora, has rejected him. The script is a deeply personal one, and Kemp finds herself struggling with the emotional depths of the role – a character based on Gustav’s suicidal mother.

At 27, Fanning received her first Oscar nomination for “Sentimental Value.”

Referring to Rachel Kemp, Fanning told The Hollywood Reporter, “We’re at different phases, but there was a little feeling while playing her that maybe I was looking back at a younger version of myself in this world.”

Fanning had just completed filming the Bob Dylan biopic “A Complete Unknown,” and was preparing for a film in New Zealand, when her agent called. She told the Los Angeles Times podcast The Envelope, “[He] said, ‘Joachim Trier has a new film and there’s a part for an American actress in a role, even though the film is predominantly in Norwegian. It’s going to film in Oslo.’ And from that moment, I was like, ‘Oh, I have to do this.’ I’m a really instinctual person. And I get feelings. I feel like I’m a little psychic.”

She said she wanted to avoid Rachel coming off as a silly character. “I saw the pitfalls that I could have fallen into,” she said, “the cliches that maybe could happen, that she could become kind of a joke. So when I talked to Joachim, I was happy to know we were on the same page of how we wanted Rachel to be presented.

“Joachim and I talked a lot about, maybe the struggles or the pressure that Rachel’s feeling in her own career. People are really quick to – especially women – put us into a box of limitations and tell you what you can or can’t do. I feel like I’ve been really lucky to navigate that. The show that I did, ‘The Great’ [in which she played Catherine the Great], I really felt like I broke out of that mold a little bit. People probably knew me most for ‘Maleficent’ … I felt like I came into my own a little bit.

“And I think that’s what Rachel is when we find her, that’s what she’s yearning for. That’s what she’s struggling with – she feels like this emotion inside her that she wants to unleash, but no one’s really [seen] her for her talent. … When she meets Stellan’s character, there’s something that he sees in her that she hasn’t experienced before. And so, playing Rachel, I feel like she’s a very different actress than me. But there was part of me that felt like I was kind of drawing from my younger self of maybe how I felt in the past and kind of bringing that into Rachel – and the discovery of being moved by a text.”

Inga Ibsdotter Lilleaas, “Sentimental Value”

Norwegian actress Inga Ibsdotter Lilleaas grew up in an acting family – her parents ran a theater company. But in addition to acting credits in European TV, she also worked as a dental hygienist, a drama teacher, and caregiver for the elderly. She told USA Today, “In the nursing home, you’re working with people who have lived long, long lives, and for a lot of them, those lives are slipping and they can’t remember. So, you’re a detective, in a way, trying to figure out who these people are. That’s what you do as an actor – you’re looking for what’s underneath.”

In Joachim Trier’s “Sentimental Value,” Lilleaas plays Agnes, the younger sister of Nora (played by best actress Oscar nominee Renate Reinsve), siblings who have each experienced trauma growing up in their broken family. When their father, Gustav, returns following the death of their mother, their own relationship is tested.

Lilleaas won best supporting actress from the National Board of Review for “Sentimental Value.” This is her first Oscar nomination.

In a Q&A held at last fall’s New York Film Festival, where “Sentimental Value” had its New York premiere, Lilleaas said the depth of the script resonated with her in many ways, like a novel. 

“This whole sisterhood, working with the theme of sisterhood, is really interesting, that they lived the same life, but of course like all siblings it’s completely different. I think for Agnes she’s able to be a safer and more secure person because she had a protector growing up, which is really beautiful, and so she could be her sister’s protecter in adulthood because of that.

“There are some cracks, of course, like for everyone, but I think Agnes has chosen her life. She knows what she wants. We talked about that a lot actually. Her father and sister judge her a little, because it’s more conventional, her life. But it’s a very active choice that she makes. She wants love, she wants security and safety, and she wants a family, and she made that for herself. And she was able to because she’s able to receive love in a way that maybe Nora isn’t. But she also has traumatic experience with her father, with making a movie with her father, but she doesn’t necessarily know [it] was traumatic.”

Amy Madigan, “Weapons”

The clownish Aunt Gladys, in Zach Cregger’s jolting horror tale “Weapons,” is a pitiable fright when we see her: Orange wig, smeared makeup, cartoonish glasses, a wide grin, and a motormouth eager to soften her audience. But when she wields witchcraft, her true horror overtakes whatever empathy we may have felt toward her. She is a monster, with ice water in her veins, who cruelly uses her nephew, Alex, to further a vague plot that has thrown an entire town into turmoil when elementary school children disappear.

Madigan, who started as a rocker-performance artist, turned to acting, studying at the Lee Strasberg Institute, and appeared on stage, where she met future husband Ed Harris. Her film and television roles included “The Day After,” “Places in the Heart,” “Alamo Bay,” “Twice in a Lifetime” (which earned her an Oscar nomination), “Field of Dreams,” “Uncle Buck,” “Pollack,” “Gone Baby Gone,” and the TV drama “Roe v. Wade,” for which she won a Golden Globe.

For “Weapons,” director Zach Creeger told the Hollywood Reporter that casting the role of Gladys was vital, given that she was key to the film’s mystery. “If that character doesn’t work, this movie doesn’t work,” he said.

“Risky is kind of a really fun thing to participate in,” Madigan told Entertainment Weekly of how she developed the character. “I could create Gladys, and she’s a big personality, and it seemed to work for this, so that was very freeing. … Zach said to me kind of early on, ‘You just wait to see how people are gonna come to Gladys.’ And I kind of went, ‘Oh, well, let’s just see, Zach,’ and we’re in the middle of work. But he was actually correct.”

Working with the film’s hair, makeup, costume and special effects teams, Madigan conjured two looks for Gladys – her public face, and her startlingly decrepit, more witchy appearance. When they were doing tests, she said, “Zach was in sheer delight. ’cause that’s what he was hoping for.”

Madigan’s vivid portrayal of Gladys became a meme on TikTok, and a fixture among Halloween cosplayers. “People like Gladys. They want to hang out with Gladys,” Madigan told The Guardian. “Which I find kind of interesting. It’s crazy how people are responding to Gladys. But I have to accept that they’re also responding to me.” She said, of the nightmares Gladys may be causing to children fearful of a child-catcher coming for them, that she was taking it as a compliment.

Madigan won the Screen Actors Guild’s Actor Award for “Weapons.”

• “Weapons” has received one Academy Award nomination.

UPDATE: On Sunday, Amy Madigan won the Academy Award for best supporting actress for “Weapons.” At a press conference backstage, she said, “Horror, as we all know, was looked at like you’re at the little kids’ table at Thanksgiving. You’re just over there. Which, as we know, is not true. You just look at the great silent horror films that started our business.”

Of her character, Gladys, she said she felt an instant affinity: “I just knew that I could grab it by the throat. … Zach Cregger, our writer-director, we worked together, but he was just like, ‘Do it. Go for it.'”

Wunmi Mosaku, “Sinners”

Born in Nigeria to academics who emigrated to England, Wunmi Mosaku studied at the Royal Academy of Dramatic Art. Her stage, TV and film roles led to a BAFTA Award for the TV series “Damilola, Our Loved Boy,” and a British Independent Film Award for best actress for “His House.” In Ryan Coogler’s “Sinners,” Mosaku plays Annie, a hoodoo practitioner in the Deep South, for which she earned her first Oscar nomination, and won her second BAFTA Award.

Mosaku talked with “CBS Mornings” about taking on the role: “There’s a distinction between voodoo and hoodoo, and so we had a hoodoo consultant [Yvonne Chireau]. I didn’t know anything about the culture, the spirituality, the connection to the Yoruba, the traditional religion of ifa – I didn’t know any of it. So, I went in completely clueless, complete blank slate. Except, actually, I did have a judgment, ’cause I was born and raised in a really strict Christian household and so I did have a judgment of ifa and voodoo and knowing it was all kind of connected to hoodoo. So I thought it was scary, and my mom was like, ‘Be careful, please be careful.'”

Mosaku said she felt she had grown as a person, a mother, a wife, and a member of society through playing the character: “I feel like more connected to my ancestry because of it and more connected to my purpose because of it. I think it’s such a beautiful reminder that we’re all going to be future ancestors and, like, what we’re going to do with that our gifts and our energy into this world and how it will reverberate,” she said.  

Having played immigrants, Mosaku described to The Guardian that, as a youngster in England, she was discouraged from becoming fluent in her native language, Yoruba, because it would result in a “funny” accent. “That’s the stuff that’s really important,” she said. “You don’t appreciate the cost to people, the tax on a person’s spirit in order to assimilate into your country – and for what? It’s superiority. It’s ego. It’s brutal. It’s a cultural genocide.”

Teyana Taylor, “One Battle After Another”

In Paul Thomas Anderson’s “One Battle After Another,” a band of American revolutionaries takes on a militaristic government, in a story that, while based on a 1990 Thomas Pynchon novel, feels fiercely topically, as we witness militants attack a government detention center for undocumented immigrants. Perfidia Beverly Hills (best supporting actress Oscar nominee Teyana Taylor), a key figure in the armed band known as the French 75, displays a revolutionary zeal unmatched by her compatriots, even after giving birth to a child with a bombmaker known as “Rocketman” (best actor Oscar nominee Leonardo DiCaprio).

Taylor is a Grammy-nominated singer, choreographer and music video director, whose debut album, “VII,” topped the R&B chart. Her next two releases, “K.T.S.E.” and “The Album,” went gold. Taylor also acted in several film and TV roles (her credits include “Coming 2 America” and “White Men Can’t Jump”). She received a phone call from Anderson about “One Battle After Another” in that most L.A. of situations: while she was stuck in traffic.

In an appearance on “The Late Show with Stephen Colbert,” Taylor described her character: “I think Perfidia is very complex. Perfidia has a lot of layers, and I think a lot of her layers are color-coordinated. That’s what I chose to do with her character. I wanted to color coordinate her layers!

“This is a woman who was unapologetically herself. Of course, selfish at times, but for whatever good reason she feels like that is, she’s also coming from the pressures of coming from a long line of revolutionaries. I think that’s a lot of pressure for a person. They need to carry it on. It becomes her identity. I think throughout her journey of trying to figure it out, we have motherhood and things get tough. You have postpartum depression. It’s a lot, and I think a lot of what we see in Perfidia is her being in survival mode and navigating all these different things.”

In a conversation for the SAG-AFTRA Foundation, Taylor talked about performing a scene that gives Perfidia a voice to the 16 years she was away from her daughter, reading a letter about her wishes for Willa.

“The original ending was me in Cuba, or Mexico. I was somewhere and we originally had that in there. Then he wound up taking it out and was like, ‘Let’s just do a letter.’ And I remember it was just me, [Paul], and our sound guy. We went to this room. It was actually the last day of filming, I think. And we did it in one take. And yeah, it was so emotional to get through that letter, but we took our time. I didn’t rush through it. Those were real tears. It was real emotion. And at the time, you know, our producer Adam Somner, we were losing him. He was dying of cancer and he was still coming to work every single day. It was a lot. So, it was getting through that letter, we were dealing with a lot. I was crying. Paul was crying. Our sound guy was crying holding up the boom mic. And I’m sorry, it’s a serious moment, but like, it was just so cute because it was just like we just couldn’t. It was a lot, and I was happy that it made it. …

“I’m really most proud of that part because, you know, you still have the music in the background, and I’m not in the scene for people to probably feel or see how powerful it was while I was reading it. So, it really does make my day when people bring up the letter ’cause you do hear what she’s been through within the 16 years. That’s her moment to kind of redeem herself and show that she’s not just, like, unhinged. You hear her heart in this letter. … And also, the questions are so valid. Are you happy? Do you have love? Will you try and change the world? You know what I’m saying? These are questions that I ask my children, you know, and they’re just five and 10. You know, do you feel safe? Do you feel loved? What do you want to be? What do you want to do? Like, these are real questions that you ask.”

Taylor won the Golden Globe for her performance.

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