I'm going with Charlotte Rampling. In 45 Years [movie], you start out feeling so bad for her, and then it kind of shifts. I don't know how long you have to act to be able to say everything when you say nothing. The acting feels so real. It's not a fluke that a movie that probably no one's heard of, an actress performance comes out of it.

I think the whole nostalgia for the forty year gap for [Sylvester] Stallone was bigger than the movie [Creed], but it's good because the movie still gets recognized with Stallone's involvement. I'm sure the director [Ryan Coogler] is still proud of his film, but it's very hard to nominate a director.

I love Wayne, I respect his talent. I've watched him grow up.

The top two for me are Spotlight and The Revenant [movies]. Everything says The Revenant, but Spotlight is special. I think this movie would have been a lot more jumpy and fast-faced if anyone else had done it. This movie is very unassuming in how powerful it is. It very calmly, and very cooly, eats you up inside. I think if there's anything that will upset the Revenant run, it's gonna be Spotlight.

Just someone trying to shoot in 70mm deserves the nomination, and he[Quentin Tarantino] is shooting interiors, like tight interior shots, for that matter. Obviously [Quentin] is the director and demanding the shots, but all credit for the beauty of that film [Hateful Eight] goes to the director of photography.

I'm very surprised at Carol didn't get a best picture. Todd Haynes is an Academy darling, his period pieces are nothing short of brilliant, and they hold up. And I definitely feel like Carol speaks to, even though it's set in the past, it speaks to themes we're dealing with in life right now. It's really really shocking that it didn't get it.

I sat down with my long time business partner and Rap-A-Lot CEO James Prince to review the music that we had and quickly came up with an outstanding track list.