Director’s Guild

2003 | 2004 | 2005 | 2007 | 2010

Outstanding Directorial Achievement: FEATURE FILM

CLINT EASTWOOD
Million Dollar Baby
(Warner Bros. Pictures)

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Outstanding Directorial Achievement: DOCUMENTARY

BYAMBASUREN DAVAA & LUIGI FALORNI
The Story of the Weeping Camel
(Die Geschichte vom weinenden Kamel)

This is Davaa & Falorni’s first DGA Award nomination.

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Feature Film Nominations

CLINT EASTWOOD
Million Dollar Baby
(Warner Bros. Pictures)

Mr. Eastwood’s Directorial Team:
Unit Production Manager: Tim Moore
First Assistant Director: Robert Lorenz
Second Assistant Director: Donald Murphy
Second Second Assistant Directors: Katie Carroll
Additional Second Assistant Director: Ryan D. Craig

This is Mr. Eastwood’s third DGA Feature Film Award nomination. He received a previous nomination for Mystic River (2003) and won the DGA Award for Outstanding Directorial Achievement in Feature Film for Unforgiven (1992).

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MARC FORSTER
Finding Neverland
(Miramax Films)

Mr. Forster’s Directorial Team:
Unit Production Manager: Tim Porter
First Assistant Director: Martin Harrison
Second Assistant Director: Finn McGrath
Second Second Assistant Director: Rosie Newall

This is Mr. Forster’s first DGA Feature Film Award nomination.

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TAYLOR HACKFORD
Ray
(Universal Pictures)

Mr. Hackford’s Directorial Team:
Unit Production Manager: Barbara A. Hall
First Assistant Director: Jerry Grandey
Additional First Assistant Director/Second Assistant Director: Darrell Woodard
Key Second Assistant Director: Stephen LoNano
Second Second Assistant Directors: James Roque, Jr., Ann C. Salzer
Additional Second Assistant Directors: Jason Altieri, Jimi Woods, John Riley
DGA Trainee: Jackie Frost

This is Mr. Hackford’s second DGA Feature Film Award nomination. He was previously nominated for An Officer and a Gentleman (1982).

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ALEXANDER PAYNE
Sideways
(Fox Searchlight Pictures)

Mr. Payne’s Directorial Team:
Unit Production Manager: Ginger Sledge
First Assistant Director: George Parra
Second Assistant Director: Nick Satriano
Second Second Assistant Director: Susan Walter

This is Mr. Payne’s first DGA Feature Film Award nomination.

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MARTIN SCORSESE
The Aviator
(Miramax Films)

Mr. Scorsese’s Directorial Team:
Unit Production Manager: Jan Foster
First Assistant Director: Joseph Reidy
Second Assistant Director: Christopher Surgent
Second Second Assistant Director: Peter Dress

This is Mr. Scorsese’s sixth DGA Feature Film Award nomination. He was previously nominated for Gangs of New York (2002), The Age of Innocence (1993), Goodfellas (1990), Raging Bull (1980) and Taxi Driver (1976). In 1999 Scorsese was presented with the Filmmaker Award at the inaugural DGA Honors Gala and he won the DGA’s highest artistic honor, the Lifetime Achievement Award (for distinguished achievement in film direction) in 2003.

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Documentary Nominations
BYAMBASUREN DAVAA & LUIGI FALORNI
The Story of the Weeping Camel
(Die Geschichte vom weinenden Kamel)

This is Davaa & Falorni’s first DGA Award nomination.

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ROSS KAUFFMAN & ZANA BRISKI
Born Into Brothels

This is Kauffman and Briski’s first DGA Award nomination.

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ROSS McELWEE
Bright Leaves

This is McElwee’s first DGA Award nomination.

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MICHAEL MOORE
Fahrenheit 9/11

This is Moore’s first DGA Award nomination.

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JEHANE NOUJAIM
Control Room

This is Noujaim’s second nomination. She and Chris Hegedus won the DGA Award for Outstanding Directorial Achievement in Documentary for Startup.com in 2001.

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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