Art Directors Guild

2003 | 2004 | 2005 | 2006 | 2007 | 2008 | 2009 | 2010

Best Production Design – Period or Fantasy – Motion Picture
Girl with a Pearl Earring – Ben Van Os
The Last Samurai – Lilly Kilvert
The Lord of the Rings: The Return of the King – Grant Major
Pirates of the Caribbean: The Curse of the Black Pearl – Brian Morris
Seabiscuit – Jeannine Oppewall

Best Production Design – Contemporary – Motion Picture

Kill Bill, Vol. 1 – David Wasco, Yohei Taneda
Lost in Translation – K.K. Barrett, Anne Ross
Mystic River – Henry Bumstead
Something’s Gotta Give – Jon Hutman
Under the Tuscan Sun – Stephen McCabe

Best Production Design – Single Camera Television Series

24 – Joseph Hodges
Alias – Scott Chambliss
Carnivale – Bernt Capra
CSI: Crime Scene Investigation – Richard Berg
Las Vegas – Peter Politanoff

Best Production Design – Multi-Camera Television Series
Arrested Development – “In God We Trust” – Dawn Snyder
Coupling – Thomas E. Azzari
King of Queens – Scott Heineman
Life with Bonnie – Robert Strohmaier
Will & Grace – Glenda Rovello

Best Production Design – Television Movie or Miniseries
Angels in America – Stuart Wurtzel
Helen of Troy – James F. Allen, Miljen Kljakovic
Hitler: The Rise of Evil – Marek Dobrowolski
Napoleon – Richard Cunin
The Reagans – Barbara Dunphy

Best Production Design –
Television Variety or Awards Show, Music Special or Documentary

37th Annual Country Music Awards – Rene Lagler
45th Annual Grammy Awards – Bob Keene
75th Annual Academy Awards – Roy Christopher, Mark L. Walters
Moments in Time: Valley Forge – The Crucible – John R. Mott

Contribution to Cinematic Imagery
John Lasseter

Lifetime Achivement Award
Roy Christopher

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon