Stanley Tucci’s newest film, Final Portrait, is set in Paris, France, 1964, and is based on James Lord’s biography, “A Giacometti Portrait.”
The film opens in slow motion with voice over narration provided by Armie Hammer. Hammer plays James Lord. Geoffrey Rush turns in a stellar performance as the quirky Alberto Giacometti at the height of his fame having received Grand Prize at the Venice Biennale for Sculpture in 1962. Lots of grays, whites, and a touch of navy blue dominates the film’s studio and cemetery scenes while the cafe scenes allow for color variety.
Lord has come to see Giacometti to have his portrait done and soon discovers no portrait is ever complete. In an agonizingly slow scene with non-diagetic violins and strings, Lord rigidly sits while Giacometti begins his brushwork making comments toward Lord in often side-splitting dead-pan. For example at the first sitting, Giacometti tells Lord he has the “head of a brute.” Later as Giacometi moves in close to gain a greater perspective, he declares Lord has the profile “of a degenerate’ despite Hammer brahmin-like portrayal of Lord.
Soon, Lord realizes the three days he originally scheduled won’t suffice and begins what becomes a pattern of cancelling and rescheduling flights to accommodate Giacometti’s process. And, what a process it is.
Giacometti has a passion and large appetitite for women, food and wine. His women range from a high-end prostitute, Caroline, played by the soft French actress, Clémence Poésy, to the “house maid,” Annette, played by character actress Sylvie Testud.
Finally after nearly three weeks, Lord has realized he needs to take matters into his own hands if the portrait is ever to be completed as Giacometti has a recurring tendency to paint the negative, i.e., whitewash the canvas. However, along the way, the men, including Giacometti’s brother, Diego, an artist as well, and played by Tony Shalhoub engage in some philosophical meanderings and in some male bonding. Giacometti likes control and continually keeps Lord off balance with dialogues on suicide which he thinks about daily, and meaningful death experiences like burning oneself to death or slicing oneself from ear-to-ear. Sadly, Giacometti laments he can only die but once.
Tucci has cast a fairly uninhibited look into Giacometti as an artist. Tastefully shot with most frames qualifying as portraits unto themselves. Some repetition detracts form the work as we see the mundane nature of Giacometti’s studio life one time too many. Yet, overall, Tucci tackles Giacometti in fine fashion. The film is entertaining with the strong, masculinity Hammer portrays as James Lord. Rush is very good with emoting and his physicalities are quite excellent. While the women appear as adornments both Poesy and Testud provide significant feminine wiles bringing to fruition Giacometti’s studio confession to Lord that as a young man he had difficulty sleeping until he imagined murdering two women…after raping them.
Fortunately, this episodic scenario is not carried out on screen Instead, Giacometti high-handedly pays off Caroline’s two pimps in a fashion and manner that they can’t refuse.
Final Portrait is a broad stroke for Tucci. With over 122 acting credits and only six directorial credits on imdb.com, Tucci churns out a fairly sophisticated piece of cinema reminiscent of earlier Wood Allen works including the Oscar-winning Annie Hall, as he brings Alberto Giacometti to light. WarmlyRecommended.
The 67th Berlin International Film Festival International Jury held its opening press conference Thursday, February 9th, at the Berlin Grand Hyatt Hotel to introduce this year’s Berlinale festival goers to its panel. As previously announced, Director and Screenwriter, Paul Verhoeven is serving as this year’s Jury President. Other members of the Jury include; producer Dora Bouchoucha Fourati (Tunisia), artist Olafur Eliasson (Denmark), actress Maggie Gyllenhaal (USA), actress Julia Jentsch (Germany), actor and director Diego Luna (Mexico), and director and screenwriter Wang Quan’an (People’s Republic of China). After a warm Berlinale welcome and very brief introductions, the panel opened for questions from the floor.
Interestingly, a Kurdistan/Iraq news agency reporter popped the first question with all the zeal of a U.S. White House Press Briefing first informing the press conference her agency would be reporting live for ten days. From there, she set the tone for her question stating “traditionally the Berlinale is quite political with its selection of films. What political message do you want to transmit with this year’s festival?” Verhoeven coolly replied as the International Jury President his focus is on a film’s qualitative nature rather than any specific ideological or political message.
Quickly, the Boston Herald took the floor next delivering a two-pronged inquiry for Ms.Gyllenhaal and Verhoeven into the courageous nature of creating film roles and insider casting details of Elle.
Taking the lead, Verhoeven affirmed the Herald’s line of questioning telling the room he and the Elle producers tried to make Elle a Hollywood film with a profit motive. However, after several unsuccessful pitches to A-listers, the Elle team returned to France moving forward with a French film production. French starlet Isabelle Humbert had made it known through various channels she was very interested in the film. She thoroughly studied the characters from Phillipe Dijan’s novel “Oh…” With hat-in-hand, Verhoeven offered to Humbert. She accepted. And she delivered according to Verhoeven with a courageous performance.
Gyllenhaal interjected “Isabelle was meant to play that role and was very courageous.” Continuing Gyllenhaal remarked most often actors choose roles they can identify with as a person versus as an actor and when a collaboration between a director such as Verhoebven and Humbert works together something special is created.
A handful more of questions came forth ranging from why Russian films weren’t in the festival to Luna’s feelings about a border wall to what does the jury expect from the festival. In reverse order, the jury has high hopes of learning more about film, while Luna artfully and quite diplomatically said he is still investigating the wall issue. However, he plans to be a part of the solution as he has several love stories with the United States and to sever such beauty makes no sense. Verhoeven reminded the audience, the jury does not select films.
Coming full circle, the press conference concluded with how Gyllenhaal was introduced as the brother of Jake Gyllenhaal. Jake served on the jury five years ago. As inquiring minds want to know, Maggie was asked if she called Jake to ask about being on the jury. She did and Jake told her it was an amazing experience seeing films from all over the world from filmmakers he didn’t know existed. Wrapping up and putting the finishing touch on the morning, “What an amazing time to be an American at an international film festival,” said Ms. Gyllenhaal. Without further adieu, the 2017 Berlin Film Festivals’s International Jury Press Conference concluded.
Once again the Berlinale Goes Kiez special series is bringing the glamour of the festival to Berlin’s very diverse neighborhoods and the city of Potsdam. The Berlinale will screen at seven select arthouse cinemas known for participating in and contributing to cultural life in their respective neighborhoods.
In Neukölln a new cinema w o l f will be opening its doors for the first time with the Berlinale. And in the Wrangelkiez, one of Kreuzberg’s most upbeat neighborhoods, the Red Carpet will again be rolled out at the newly converted and enlarged EISZEIT cinema.
From February 11 to 17, 2017, a selection of films from the official Berlinale program will be shown in neighborhoods, ranging from Berlin-Weißensee to beyond the city limits in Potsdam-Babelsberg. Each evening one arthouse cinema will be turned into a festival venue.
Members of film teams have already announced their intention to present their works personally and discuss them with audiences after the screenings. At each neighborhood cinema a prominent film personality will serve as its patron.
The Berlinale Goes Kiez series will also begin with the official opening film of this year’s Berlinale. Django (Competition) by Etienne Comar will kick off the evening at the Bundesplatz-Kino in Wilmersdorf. Local moviegoers can expect a long and interesting evening, as shortly before midnight a film from the Berlinale Classics program will be presented as well: the digitally restored version of George A. Romero’s horror classic Night of the Living Dead.
For the first time NATIVe, the Berlinale special series on Indigenous cinema, has been invited to participate in Berlinale Goes Kiez. At the EISZEIT cinema in Kreuzberg, two films from Canada will represent this year’s special region of focus, the Artic.
At the w o l f in Neukölln, Berlinale Goes Kiez and Berlinale Talents will launch their first collaboration. In public talks titled “Local Heroes: Community Cinema Reloaded”, innovative international cinema operators will discuss with the audience ways to curate, finance, and involve the neighborhood in local movie theatres.
Festival Director Dieter Kosslick: “Our ‘local heroes’ are neighborhood cinemas in Berlin and Brandenburg that are open to topics important to the community and foster an on-going dialogue through the stories presented on their screens.”
Advance sales start on February 6, 2017; tickets will also be available at the respective cinemas.
Neighbourhood cinemas and programme
Saturday, February 11 at Bundesplatz-Kino, Wilmersdorf
6.00 pm Competition Django by Etienne Comar
9.00 pm Competition Teströl és lélekröl(On Body and Soul) by Ildikó Enyedi
11.45 pm Berlinale Classics Night of the Living Dead by George A. Romero
Sunday, February 12 at Toni & Tonino, Weißensee
3.30 pm Generation Kplus Die Häschenschule – Jagd nach dem Goldenen Ei (Rabbit School – Guardians of the Golden Egg) by Ute von Münchow-Pohl
6.30 pm Competition Wilde Maus (Wild Mouse) by Josef Hader
9.30 pm Perspektive Deutsches Kino Back for Good by Mia Spengler
Monday, February 13 at Odeon, Schöneberg
6.30 pm Berlinale Special Gala Le jeune Karl Marx (The Young Karl Marx) by Raoul Peck
9.30 pm Competition Una mujer fantástica (A Fantastic Woman) by Sebastián Lelio
Tuesday, February 14 at w o l f , Neukölln
4.30 pm Talents Go Kiez “Local Heroes: Community Cinema Reloaded”
Public talk (in English)
6.30 pm Panorama Special Tiger Girl by Jakob Lass
9.30 pm Forum Chemi bednieri ojakhi (My Happy Family) by Nana & Simon
Wednesday, February 15 at Thalia Programmkino, Potsdam-Babelsberg
6.30 pm Competition Toivon tuolla puolen (The Other Side of Hope) by Aki Kaurismäki
9.30 pm Competition Beuys by Andres Veiel
Thursday, February 16 at City Kino Wedding
in Centre Français de Berlin, Wedding
6.30 pm Forum Tiere (Animals) by Greg Zglinski
9.30 pm Berlinale Shorts Go Kiez Fishing Is Not Done On Tuesdays by Lukas Marxt, Marcel Odenbach Kometen (The Comet) by Victor Lindgren Everything by David OReilly Estás vendo coisas (You are seeing things) by Bárbara Wagner, Benjamin de Burca Os Humores Artificiais (The Artificial Humors) by Gabriel Abrantes
Friday, February 17 at EISZEIT cinema, Kreuzberg
6.30 pm Culinary Cinema Goes Kiez Theater of Life by Peter Svatek
After the screening menu at Markthalle Neun
9.00 pm NATIVe Goes Kiez Tungijuq by Félix Lajeunesse, Paul Raphaël Angry Inuk by Alethea Arnaquq-Baril
Berlinale Goes Kiez is supported by the Medienboard Berlin-Brandenburg. Its complete programme can be found at www.berlinale.de. Please contact Uschi Feldges for more information (email@example.com).
The one and only Martin Scorsese visited the AFI Campus recently to discuss making his spiritual epic SILENCE (an AFI AWARDS 2016 Official Selection), the master filmmaker’s decades-long labor of love that explores apostasy and crises of faith in 17th-century Japan. The film features Andrew Garfield and Adam Driver as Jesuit missionaries dispatched to Japan to locate a fellow priest gone rogue, played by Liam Neeson.
“Obviously, these themes and ideas and concepts are very much the foundation of my life. The formation began, in a way, at a very early age, so I’ve never really lost interest in that or the urge to keep searching,” Scorsese told AFI Conservatory Fellows, referencing his religious films THE LAST TEMPTATION OF CHRIST (1988) and KUNDUN (1997). SILENCE is based on Shūsaku Endō’s 1966 novel of the same name. “Reading the book… The whole idea of this apostasy, why did it seem like a victory rather than a defeat?” Scorsese said, explaining one of the film’s central questions.
Watch a clip below in which Scorsese discusses how he was forced to re-think how to film a particular scene in SILENCE.
Scorsese also discussed the future of cinema with Fellows. “I do feel that cinema, for the first hundred years, has been within this proscenium…but that doesn’t mean it has to stay that way,” he said. “You have this unlimited technology; you can do anything. I’m the product of a certain place in time. You’re younger, it’s very different, and it’s up to you to reinvent it and use any form you want… The one thing that keeps you human is your story, and it has to be from a personal vision. It has to come from a personal truth that is different from making a product.”
Barry Jenkins, Damien Chazelle, Denis Villeneuve, and Kenneth Lonergan will receive the 2017 Outstanding Directors of the Year Award. They will each be celebrated individually for their films Moonlight, La La Land, Arrival, and Manchester by the Sea respectively. The individual honors will be followed by a joint conversation between the directors on their craft and the landscape of modern day filmmaking. The ceremony will take place on Tuesday, February 7th at the historic Arlington Theatre.
“These directors are true visionaries, with a body of work that exemplifies excellence in filmmaking,” said SBIFF Executive Director Roger Durling. “We are thrilled to honor this group for their indelible contributions to cinema.”
The Outstanding Directors of the Year Award is given to directors that push the boundaries of cinema with their innovative approach. They are master storytellers, bringing their vision to life on screen.
Past recipients include:
2016 – Lenny Abrahamson (ROOM), Alejandro G. Iñárritu (THE REVENANT), Tom McCarthy (SPOTLIGHT), Adam McKay (THE BIG SHORT), and George Miller (MAD MAX: FURY ROAD)
2015 – Damien Chazelle (WHIPLASH), Richard Linklater (BOYHOOD), Bennett Miller (FOXCATCHER), Laura Poitras (CITIZENFOUR), and Morten Tyldum (THE IMITATION GAME)
2014 – David O. Russell (AMERICAN HUSTLE)
2010 – Kathryn Bigelow (THE HURT LOCKER)
2009 – Danny Boyle (SLUMDOG MILLIONAIRE)
HOLLYWOOD, Calif./PRNewswire/—Academy Award nominated actress, Angela Bassett, will be honored with the “Reel Icon” award by the American Black Film Institute, at their annual “New, Next, Now Legend” Oscar Week gala for her iconic roles and career achievement as one of cinemas all-time favorite actors, in a poll conducted by American Black Film Institute.
The event will be held at the fabulous Prestons-over-Hollywood at the Hollywood Loews Hotel, on Friday, February 24, and once again brings together actors, producers, writer/directors and top executives, as they celebrate and highlight the years’ accomplishments amid the backdrop of Hollywood’s most glamorous weekend.
ABFI’s theme for the evening “New, Next, Now, Legend” reflects its mission to preserve the cinematic legacy of African American films and films of the global Black experience, while nurturing its current crop of emerging talented writers, directors and artists who give voice to the continued enhancement of the Black experience on film.
“We are excited to bring the excitement and camaraderie of our previous Oscar festivities among industry professionals to Prestons-over-Hollywood, where we can pay well-deserved tribute to an iconic and well respected artist such as Angela Bassett, while fortifying partnerships, old and new, which is always the order of the day at the ABFI gala,” said American Black Film Institute Executive Director Gordon Kenney.
The ultra-chic venue which boasts a glass-enclosed wall-to-wall view of the iconic Hollywood sign and the Hollywood Hills, says it’s delighted to host Hollywood’s elite, in such an exclusive and elegant space, where the venues festivities at this time of year are normally reserved strictly for the Academy and its events. With the theme, “New, Next, Now, Legend,” other artists receiving awards include rising star of Survivor’s Remorse and Independence Day 2, Jessie T. Usher, HBO breakout star Issa Rae, creator and executive Producer of HBO’s hit “Insecure,” Golden Globe nominated director Barry Jenkins, Moonlight’s Naomie Harris, and emerging screen talent Janelle Monae, whose turns in both “Hidden Figures” and “Moonlight” have been garnering critical praise, as a rising screen talent worth watching.
The American Black Film Institute is a non-profit cinematic arts foundation, whose goal is to preserve and promote the legacy of diverse stories of people of color on film, while enhancing their financial viability and broadening their success. With Academy Awards weekend as the backdrop, and a new crop of stars on the rise, the word is out that the 2017 ABFI gala promises to be among the events not to be missed.
Twelve New International Novels Ripe for Screen Adaptation
On February 14, film producers attending “Books at Berlinale” will have the chance to discover twelve new literary works that lend themselves perfectly for adaptation to the screen. The selected novels will be presented at a pitching session in the framework of the Berlinale Co-Production Market. At a get-together following the session, the invited producers will be able to join in conversation with respected, internationally active literary agents and representatives of publishing houses who hold the film rights to the works in question. There they can establish and cultivate contacts in the international book world or perhaps even begin to negotiate right away to option the film rights to one or more of the selected books.
The twelve literary works that make up the selection at this year’s edition of “Books at Berlinale” come from publishers and agencies from Belgium, Brazil, Finland, France, Germany, the Netherlands, Norway, Switzerland and the United Kingdom. More than 130 works from over 30 countries were submitted for consideration in the program.
In addition to the brand-new novels of best-selling authors Martin Suter (Switzerland) and Herman Koch of the Netherlands, whose international hit “Het Dinner” (“The Dinner”) is represented this year in the Berlinale Competition in a screen adaptation starring Richard Gere, and a new work from multiple prize-winning Kurdish author Bachtyar Ali, the selection presents a broad spectrum of themes and genres with a high potential for adaptation to the screen.
The selected novels deal with urgent contemporary questions such as the potential consequences of genetic manipulation, with dystopian scenarios arising after the extinction of bees, but also with child heroes who grow into crusaders against evil along with a group of mascots in one particularly comedic instance. Beyond that, they relate epic historical sagas based on real persons and events: German POWs in American camps at the end of the Second World War; the opalescent life story of banker Hugo Simon, companion of Thomas Mann and many other artists, who was forced to flee from Berlin with his family into exile in Brazil; and the daughter of James Joyce, who, engaged to Samuel Beckett, moved through Paris of the 1920s as a dancer in search of her destiny.
“Books at Berlinale” has been organized annually by the Berlinale in co-operation with the Frankfurt Book Fair since 2006.
“With ‘Books at Berlinale’, we have been able, together with the Frankfurt Book Fair, to create an event with a large network, which promotes co-operation in the area of literary adaptations, which themselves represent an important part of the film production world,” according to Berlinale Director Dieter Kosslick.
Film producers who are active in the area of literary adaptations (or would like to be) as well as publishers and literary agents can register to participate in the event until February 8 at firstname.lastname@example.org.
“Books at Berlinale” takes place in the Berlin House of Representatives in the framework of the Berlinale Co-Production Market. Primary partners of the Berlinale Co-Production Market are MDM – Mitteldeutsche Medienförderung and Creative Europe – MEDIA, a programme of the European Union. The Berlinale Co-Production Market is a part of the European Film Market (EFM).
The following works have been selected for “Books at Berlinale” 2017:
(in alphabetical order by company presenting the film)
Japanese stars heap praise on American auteur’s direction in his searching adaptation of Shusaku Endo’s novel about religious persecution.
“God is silence. You have to go into your soul and search for the answer by yourself.”
Thus Yosuke Kubozuka meditated on Martin Scorsese’s new film, Silence, at the Foreign Correspondents’ Club of Japan (FCCJ) on January 12.
Scorsese’s long-awaited project – based on the acclaimed Japanese novel by Shusaku Endo, a story of religious prosecution in 17th-century Japan, where Christianity was prohibited – has finally been realized. Karen Severns, the FCCJ’s film programmer, praised Scorsese’s film as “a slow-burn masterwork, with a message that has contemporary resonance, reverberating across the centuries.”
The FCCJ screened the movie back in its home country in partnership with Kadokawa Corporation, then hosted a discussion with three of its Japanese stars – Kubozuka, Tadanobu Asano and Issey Ogata.
Ogata, who plays the grand inquisitor, Inoue Masashige, said of Scorsese’s direction:
“He never really instructs you to act in a certain way, but lets you bring what you have to the table. He never ever said anything negative about what I have to provide for him. In that way, it is really inspiring for actors and leads to many other ideas.”
According to Kubozuka, “Scorsese is the king on set. Just being there makes acting so much easier. He is like a mirror that makes me look like twice or three times bigger, and you can kind of think of yourself as a wonderful actor.”
Ogata, who tried to read Endo’s novel when he was younger but couldn’t finish, said Scorsese had developed his character beyond what was is laid out in the book. “Scorsese made so much effort to build the character of Inoue… by using imagination as much as possible. That gave me a lot of room to act in free style.”
The director himself has said: “The conflicts that occur – the persecution of religious minorities, the testing of faith – are timeless.” The film takes place in the insular Japan of the 17th Century, but its themes and characters reverberate across the ages.
Asano, who plays a translator involved in prosecuting Portuguese Jesuits, noted:
“I empathized with the character that I played, and I don’t see him as a vicious figure. He was probably a Christian himself but no longer able to carry on his faith. That led him to the line of work he is in.”
One of the most unforgettable characters in Silence is Kichijiro, an indecorous character who succumbs easily to the pressure applied by his prosecutors, who force Christians to trample on a ‘fumie’, a crudely carved image of Christ. According to Kubozuka, Kichijiro “is depicted as a weak, ugly, cunning, and dirty character. But he does commit fumie over and over again, which makes me wonder if he is really weak or actually strong. He is kind of two sides of the same coin.”
The film hints at the fragile morality that exists in the heart of all mankind. “When I went to the United States on 5 January, I asked this question about whether Americans would step on the picture of Jesus Christ in this day,” claims Kubozuka, “And a lot of people said, ‘I guess everybody would.’ So, by having this character Kichijiro, this story becomes something that is relevant to this modern age.”
Silence has been well-received by critics all over the world. Already, Ogata has been named runner-up in the Best Supporting Actor category by the Los Angeles Film Critics Association. Asked about the growing Oscar buzz, Asano jokes: “If it were not nominated, I suspect God would say something that he should not have said.”
Nuvu, Ericsson’s SVOD platform will distribute 20th Century Fox TV’s DreamWorks Animation-produced titles along with an extensive selection of global film franchises for territories across sub-Saharan Africa in multiple language.
In a statement, Thorsten Sauer, head of Broadcast and Media Services, Ericsson said:
“This feature film content deal through 20th Century Fox Television Distribution is another major milestone for Ericsson as we look to expand our new SVOD service, Nuvu. Through this partnership, Nuvu subscribers will have access to some of Hollywood’s hottest films as part of their package, localized on a market-by-market basis.”
Developed for mobile operators in Africa, Nuvu leverages the company’s extensive over-the top capabilities based on Ericsson Managed Player and components of Ericsson MediaFirst TV Platform, Ericsson’s highly scalable modular technology platforms used by broadcasters and telco service providers to distribute video content efficiently to connected devices.
For a monthly fee, subscribers have unlimited access to an initial 3 000 local and international premium titles across a wide variety of genres including Hollywood and Nollywood movies, TV series, kids, music, gospel and education.
To take on competitors – ShowMax, Amazon and Netflix – Nuvu has built-in ability to distribute content to consumers during off-peak periods minimising data costs for both operator and consumer. The platform also integrates fully into the operator’s customer relationship management and payment systems.
Los Angeles – Directors Guild of America President Paris Barclay announced the DGA’s nominees for Outstanding Directorial Achievement in Television, Commercials and Documentary for 2016.
“There’s so much to celebrate in such an incredible year for television, commercials and documentaries as we announce the DGA nominees for directorial achievement,” said Barclay. “As content across these categories reaches record levels, the bar is set higher than ever for directors – with each genre requiring unique skillsets and talents. And our nominees this year have far surpassed the challenge with such creative and captivating projects. I congratulate all of them on their exceptional work.”
The nominees for the Directors Guild of America Award for Outstanding Directorial Achievement in Dramatic Series for 2016 are (in alphabetical order):
THE DUFFER BROTHERS
Stranger Things, “Chapter One: The Vanishing of Will Byers”
The Duffer Brothers’ Directorial Team:
Unit Production Manager: Timothy Lonsdale
First Assistant Director: Richard Denault
Second Assistant Directors: Maria Battle Campbell, Kristina M. Peterson
Second Second Assistant Director: Simeon Jones
Additional Second Assistant Director: Franchesca Winters
This is Mr. Matt Duffer’s first DGA Award nomination.
This is Mr. Ross Duffer’s first DGA Award nomination.
The People v. O.J. Simpson: American Crime Story, “From the Ashes of Tragedy”
Mr. Murphy’s Directorial Team:
Unit Production Manager: Chip Vucelich
First Assistant Director: Leo Bauer
Second Assistant Director: Janell Sammelman
Second Second Assistant Director: Matt Pexa
Additional Second Assistant Director: Alicia Lewis
This is Mr. Murphy’s fourth DGA Award nomination. He was previously nominated for Outstanding Directorial Achievement in Movies for Television and Mini-Series in 2014 for The Normal Heart; for Outstanding Directorial Achievement in Comedy Series in 2009 for the Glee pilot; and in 2010 for the Glee episode “The Power of Madonna.”
Westworld, “The Original”
Mr. Nolan’s Directorial Team:
Unit Production Manager: Robert Del Valle
First Assistant Director: Kim H. Winther
Second Assistant Director: Jeff Okabayashi
Second Second Assistant Directors: Michelene Mundo, Katie Pruitt
This is Mr. Nolan’s first DGA Award nomination
Game of Thrones, “The Battle of the Bastards”
This is Mr. Sapochnik’s first DGA Award nomination
The People v. O.J. Simpson: American Crime Story, “The Race Card”
Mr. Singleton’s Directorial Team:
Unit Production Manager: Chip Vucelich
First Assistant Director: Dan Shaw
Second Assistant Director: Matt Pexa
Second Second Assistant Directors: Kim Richards, Kyle Hollingsworth
This is Mr. Singleton’s first DGA Award nomination
The nominees for the Directors Guild of America Award for Outstanding Directorial Achievement in Comedy Series for 2016 are (in alphabetical order):
Silicon Valley, “Daily Active Users”
Mr. Berg’s Directorial Team:
Unit Production Manager: Tyler Romary
First Assistant Director: Nick Mastandrea
Second Assistant Director: Sally Brunski
Second Second Assistant Director: Kim Richards
Additional Second Assistant Director: Kathleen D. Brennan
This is Mr. Berg’s first DGA Award nomination.
Mr. Glover’s Directorial Team:
Unit Production Manager: Alex Orr
First Assistant Director: Veronica A. Hodge‑Hampton
Second Assistant Director: Jason Graham
Second Second Assistant Director: Danielle King
Additional Second Assistant Director: Mike Brune
This is Mr. Glover’s first DGA Award nomination.
Silicon Valley, “Founder Friendly”
Mr. Judge’s Directorial Team:
Unit Production Manager: Tyler Romary
First Assistant Director: James “Billy” Burton
Second Assistant Director: Thomas Boucher
Second Second Assistant Director: Kim Richards
This is Mr. Judge’s third DGA Award nomination. He was previously nominated in this same category in 2014 for the Silicon Valley episode “Minimum Viable Product” and in 2015 for the Silicon Valley episode “Binding Arbitration.”
Ms. Martin’s Directorial Team:
Unit Production Manager: David Hyman
First Assistant Director: Dale Stern
Second Assistant Director: Michelle Gritzer
Second Second Assistant Director: Chris Riddle
Additional Second Assistant Director: Gary Cotti
This is Ms. Martin’s first DGA Award nomination.
Mr. Stern’s Directorial Team:
Unit Production Manager: David Hyman
First Assistant Director: Michelle Gritzer
Second Assistant Director: Jeff Rosenberg
Second Second Assistant Director: Chris Riddle
Additional Second Assistant Director: Cecilia Sweatman
This is Mr. Stern’s first DGA Award nomination.
The nominees for the Directors Guild of America Award for Outstanding Directorial Achievement in Movies for Television and Mini-Series for 2016 are (in alphabetical order):
RAYMOND DE FELITTA
Mr. De Felitta’s Directorial Team:
Unit Production Manager: Moshe Bardach
First Assistant Director: Scott Lazar
Second Assistant Director: David Fischer
Second Second Assistant Director: Ramona Murphy-Adair
Location Manager: Eddy Collyns
This is Mr. De Felitta’s first DGA Award nomination
THOMAS KAIL (Directed By)
ALEX RUDZINSKI (Live Television Direction By)
Associate Directors: Carrie Havel, Adam Mishler, Brad Duns
Head Stage Manager: Garry Hood
Stage Managers: Jennifer Marquet, John Esposito, Jonathan Marks, Rob Sellers Jr., Dani Farrelly, Paul Forrest, Roy Friedland, Chris Hines, Roxanne Lozano, Drina Mohacsi, Tshaka Stewart, Mike Strauss, Cheryl Teetzel-Moore, Ari Woog, Katie Perkins
This is Mr. Kail’s first DGA Award nomination.
This is one of two DGA Award nominations this year for Mr. Rudzinski in this category. He is also nominated with Kenny Leon for Hairspray Live! He has not been previously nominated.
All the Way
Mr. Roach’s Directorial Team:
Unit Production Manager: Scott Ferguson
First Assistant Director: Josh King
Second Assistant Director: Aaron Fitzgerald
Second Second Assistant Directors: Jason C. Brown, Matthew Milan
This is Mr. Roach’s third DGA Award nomination. He previously won the DGA Award for Outstanding Directorial Achievement in Movies for Television and Mini-Series in 2008 for Recount and in 2012 for Game Change.
The Night Of, “The Beach”
Mr. Zaillian’s Directorial Team:
Unit Production Manager: Greer Yeaton
First Assistant Director: Michael Steele
Second Assistant Director: Ginger Gonzalez
Second Second Assistant Director: Rachel Iovine
Location Manager: Shane Haden
This is Mr. Zaillian’s first DGA Award nomination.
The nominees for the Directors Guild of America Award for Outstanding Directorial Achievement in Variety/Talk/News/Sports – Regularly Scheduled Programming for 2016 are (in alphabetical order):
PAUL G. CASEY
Real Time with Bill Maher, “Show #1437”
Mr. Casey’s Directorial Team:
Associate Director: Stacy Talbot
Stage Managers: Patrick Whitney, Brian Anderson
This is Mr. Casey’s third DGA Award nomination. He previously was nominated in this category in 2015 and 2014 for Real Time with Bill Maher “Show #1334” and “Show #1226.”
CBS Sunday Morning, “Charles Osgood Farewell Broadcast”
Ms. Gerard’s Directorial Team:
Associate Directors: Bernard Rozenberg, Jessica Frank, Kate D’Arcy Coleman,
Patricia Finnegan, Jyll Phillips‑Friedman
Stage Managers: Mark Dicso, Lindsley Newbury
This is Ms. Gerard’s first DGA Award nomination.
The Late Show with Stephen Colbert, “Episode #0179”
Mr. Hoskinson’s Directorial Team:
Associate Directors: Yvonne De Mare, Karen Yaeger
Stage Manager: Mark McKenna
This is Mr. Hoskinson’s fourth DGA Award nomination. He previously was nominated in this category in 2015, 2013 and 2007 for The Colbert Report episodes “11040,” “10004” and “3052.”
DON ROY KING
Saturday Night Live, “Host: Dave Chappelle”
Mr. King’s Directorial Team:
Associate Directors: Michael Mancini, Michael Poole, Bob Caminiti
Stage Managers: Gena Rositano, Chris Kelly
This is Mr. King’s eleventh DGA Award nomination. He previously won the DGA Award for Outstanding Directorial Achievement in Variety/Talk/News/Sports – Specials in 2015 for Saturday Night Live 40th Anniversary Special and for Variety/Talk/News/Sports – Regularly Scheduled Programming in 2013 for Saturday Night Live “Host: Justin Timberlake.” He was previously nominated for Saturday Night Live episodes in 2006, 2008, 2009, 2010, 2011, 2012 and 2014, and in 2015 in the Variety/Talk/News/Sports – Regularly Scheduled Programming category for the Saturday Night Live episode, “Host: Tracy Morgan/Musical Guest: Demi Lovato.”
Full Frontal with Samantha Bee, “Episode #1030”
Mr. Pennolino’s Directorial Team:
Associate Director: Jeremy Hardwick
Stage Manager: Laura Mack
This is Mr. Pennolino’s first DGA Award nomination.
The nominees for the Directors Guild of America Award for Outstanding Directorial Achievement in
Variety/Talk/News/Sports – Specials for 2016 are (in alphabetical order):
Tony Bennett Celebrates 90 – The Best is Yet to Come
Mr. Foley’s Directorial Team:
Associate Director: Randi Grossack
Key Stage Manager: Jeffry Gitter
Stage Managers: Bennymar Almonte, Lauren Class Schneider, Joey Despenzero, Jeff Markowitz, Karen Tasch Weiss
This is Mr. Foley’s ninth DGA Award nomination. He was previously nominated in the Musical Variety category, all for the Late Show with David Letterman, in 2007, 2005, 2004, 2002, 2001, 2000, 1999 and 1998 for episodes “#2773,” “#2452,” “#2187,” “#1876,” “#1634,” “#1527,” “#1294,” and “#958.”
The Late Late Show with James Corden, “The Late Late Show Carpool Karaoke Primetime Special”
Mr. Mancinelli’s Directorial Team:
Associate Directors: Matt Powers, Bac Delorme, Brian Sutherin
Stage Managers: Michael J. Schiff, Teri Pensky Hlubik
This is Mr. Mancinelli’s first DGA Award nomination.
Smithsonian Salutes Ray Charles: In Performance at the White House
This is Ms. Mendoza’s second DGA Award nomination. She was previously nominated in the Musical Variety category in 2010 for Paul McCartney: The Library of Congress Gershwin Prize for Popular Song in Performance at The White House.
Full Frontal with Samantha Bee, “A Very Special Full Frontal Special”
This is Mr. Myers’s first DGA Award nomination.
The 70th Annual Tony Awards
Mr. Weiss’s Directorial Team:
Associate Directors: Ken Diego, Robin Abrams, Ricky Kirshner
Stage Managers: Garry Hood, Peter Epstein, Joey Despenzero, Phyllis Digilio-Kent, Andrew Feigin, Doug Fogel, Jeffry Gitter, Arthur Lewis, Jeffrey M. Markowitz, Cyndi Owgang, Jeff Pearl, Alfonso Pena, Annette Powlis, Elise Reaves, Lauren Class Schneider, Jim Semmelman
This is Mr. Weiss’s thirteenth DGA Award nomination. He previously won the DGA Award for Outstanding Directorial Achievement in Variety/Talk/News/Sports – Specials in 2007, 2010, 2011, 2012, 2013 and 2015 for the 61st, 64th, 65th, 66th, 67th and 68th Annual Tony Awards. He was also nominated in 2001, 2002, 2005, 2006 and 2008 for the 55th, 56th, 59th, 60th, and 62nd Annual Tony Awards. He was also nominated in 2015 for Outstanding Directorial Achievement in Movies for Television and Mini-Series, together with Rob Ashford, for Peter Pan Live!
The nominees for the Directors Guild of America Award for Outstanding Directorial Achievement in Reality Programs for 2016 are (in alphabetical order):
Shark Tank, “801”
Mr. Fuchs’s Directorial Team:
Associate Director: Amy Wilcox‑Barker
Head Stage Manager: Eric Rhoden
Stage Managers: Doug Neal, Michael Strauss
This is Mr. Fuchs’s second DGA Award nomination. He was previously nominated in this category in 2015 for Shark Tank, “702.”
Live PD, “Episode 5”
Mr. Gonzalez’s Directorial Team:
Stage Manager: Jeff Buda
This is Mr. Gonzalez’s first DGA Award nomination.
STRONG, “Welcome to STRONG”
Mr. Smith’s Directorial Team:
Associate Directors: Anna Moulaison‑Moore, David Charles
Stage Manager: Drew Lewandowski
This is Mr. Smith’s fourth DGA Award nomination. He previously won in this category in 2012 for Master Chef, “Episode #305.” He was also nominated in 2010 for Master Chef, “Episode #103,” and in 2011 for Master Chef, “Episode #201.”
J. RUPERT THOMPSON
American Grit, “The Finale ‑ Over the Falls”
Mr. Thompson’s Directorial Team:
Associate Director: David Charles
Stage Managers: Daniel Curran, Kevin Fletcher
This is Mr. Thompson’s seventh DGA Award nomination. He previously won in this category in 2005 for Fear Factor, “Heist Fear Factor, Season 6 Premiere.” He was also nominated in 2006 for Fear Factor, “Military Fear Factor, Season Finale,” in 2008 for Estate of Panic, “102, That Sinking Feeling,” in 2011 for Fear Factor 2.0, “Scorpion Tales,” in 2012 for Stars Earn Stripes, “Amphibious Assault,” and in 2013 for The Hero, “Teamwork.”
BERTRAM VAN MUNSTER
The Amazing Race, “We’re Only Doing Freaky Stuff Today”
Mr. van Munster’s Directorial Team:
Associate Director: Dan Coffie
This is Mr. van Munster’s eleventh DGA Award nomination. He won in this category in 2007 for The Amazing Race, “Episode #1110” and was also nominated an additional eight times in this category for the The Amazing Race: in 2005 for “Episode #805,” in 2006 for “Episode #102,” in 2008 for “Episode #1303,” in 2009 for “Don’t Let A Cheese Hit Me,” in 2010 for “I Think We’re Fighting the Germans, Right?,” in 2011 for “You Don’t Get Paid Unless You Win?”, in 2013 for “Beards in the Wind,” and in 2015 for “Bring The Fun, Baby!” He was also nominated with Directors Jack Cannon and Elise Doganieri in 2014 for The Quest, “One True Hero.”
The nominees for the Directors Guild of America Award for Outstanding Directorial Achievement in Children’s Programs for 2016 are (in alphabetical order):
The Kicks, “Pilot”
Ms. Allen’s Directorial Team:
Unit Production Manager: Maria Melograne
First Assistant Director: Michael Williams
Second Assistant Director: Walter Parry
This is Ms. Allen’s first DGA Award nomination.
Gortimer Gibbon’s Life on Normal Street, “Gortimer and the Jacks of All Trades”
Ms. Jones’s Directorial Team:
Unit Production Manager: Richard G. King
First Assistant Director: Lance W. Lanfear
Second Assistant Director: David Berke
Second Second Assistant Director: Christopher H. Cook
This is Ms. Jones’s first DGA Award nomination.
A Nutcracker Christmas
This is Mr. Lembeck’s second DGA Award nomination. He was previously nominated in this category in 2011 for Sharpay’s Fabulous Adventure.
An American Girl Story ‑ Melody 1963: Love Has to Win
Ms. Mabry’s Directorial Team:
Unit Production Manager: Richard G. King
First Assistant Director: Otto Penzato
Second Assistant Director: David Berke
Second Second Assistant Director: Christopher H. Cook
Additional Second Assistant Directors: Candice Lee, Matthew W. Ross
This is Ms. Mabry’s first DGA Award nomination.
Adventures in Babysitting
This is Mr. Schultz’s first DGA Award nomination.
The nominees for the Directors Guild of America Award for Outstanding Directorial Achievement in Commercials for 2016 are (in alphabetical order):
Frankie’s Holiday, Apple – MAL
First Assistant Director: Thomas Smith
Movie Night, Kohl’s – Anomaly
First Assistant Director: Thomas Smith
Second Assistant Director: Rob Kay
Hold Your Breath, SunTrust – Strawberry Frog
Unit Production Manager: Natalie Hill
First Assistant Director: George Nessis
Second Assistant Director: Isaac Mejia
Riding is the New Driving, Lyft – Made Movement
Unit Production Manager: Natalie Hill
First Assistant Director: John Lowe
Second Assistant Director: Julian Metter
Second Second Assistant Director: Dave Liehn
Tell Me When To Go, Beats
Unit Production Managers: Natalie Hill, Susan Levin
First Assistant Director: Chris Medak
Second Assistant Director: Adam Stern
Second Second Assistant Director: Jani Vournas
This is Mr. Ariola’s seventh DGA Award nomination in this category. He won the DGA Award for Outstanding Directorial Achievement in Commercials for Snowball (Traveler’s Insurance), Human (Johnny Walker), and First Taste (Coca-Cola) in 2006. He was also nominated in this category in 2011, 2007, 2004, 2002 and 2000.
First Assistant Director: Howell Caldwell
Everyday Hero, Philips – Ogilvy & Mather
World of Play, LG – Energy BBDO
Unit Production Manager: Line Postmyr
First Assistant Director: Anthony Dimino
Second Assistant Director: Spencer Taylor
Second Second Assistant Director: R. Ben Parker
Additional First Assistant Director: Chris Blanch
Additional Second Assistant Director: Steve Bagnara
This is Mr. Bond’s seventh DGA Award nomination. He was previously nominated in this category in 2013, 2012, 2011, 2008, 2007 and 2004.