Makeup and Hair Stylist Guild

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Best Contemporary Makeup
Charlie’s Angels: Full Throttle – Kimberly Green, Erin Ayanian, Robin Fredricksz

Best Period Makeup
Pirates of the Caribbean: Curse of the Black Pearl – Ve Neill, Joel Harlow

Best Character Makeup
The Lord of the Rings: The Return of the King – Peter King, Peter Owen

Best Special Makeup Effects
The Lord of the Rings: The Return of the King – Richard Taylor, Gino Acevedo, Jason Docherty

Best Contemporary Hairstyling
Legally Blonde 2 – Toni Ann Walker, Steve Robinette, Edward Morrison

Best Period Hairstyling
The Last Samurai – Janice Alexander, Terry Baleil, Karen Myers

Best Character Hairstyling
Pirates of the Caribbean: Curse of the Black Pearl – Martin Samuel, Lucia Mace

Best Special Makeup Effects – Television Series
Nip/Tuck (pilot) – James MacKinnon, Thomas Burman, Bari Burman

Best Makeup – Television Miniseries or Movie of the Week
Tracey Ullman in the Trailer Tales – Matthew Mungle, Sally Sutton, Kate Shorter

Best Character Makeup – Television Series
Gilmore Girls – Marie Del Prete, Melanie Romero, Michael Smithson

Best Period Makeup – Television Series
American Dreams – Julie Socash, Kim Perrodin, Bob Scribner

Best Contemporary Makeup – Television Series
Sex and the City – Judy Chin, Nikki Ledermann, Kerrie Plant

Best Contemporary Hair Styling – Television Series
Sex and the City – Mandy Lyons, Donna Fischetto, Peg Schierholz

Best Period Hair Styling – Television Series
Carnivale – Kerry Mendenhall, Louisa Anthony, Nanci Casico

Best Character Hair Styling – Television Series
Gilmore Girls – Romy Flemming, Christina Raye

Best Hair Styling – Television Movie or Miniseries
Normal – Bunny Parker, Tony Mirante, Linda DeAndrea

Best Makeup or Hair Styling – Theatrical
Wicked – Jenny Kine Turko, Mindy Hall, Alfonso Annotto

Barrymore Achievement Award
Nicolas Cage

Lifetime Achievement Awards
Daniel Striepeke
Colleen Callaghan


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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