Visual Effects Society Nominations

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Outstanding Performance by an Actor or Actress in a Visual Effects Film

The Aviator
Leonardo DiCaprio

Sky Captain and the World of Tomorrow
Jude Law

Spider-Man 2
Alfred Molina

Outstanding Visual Effects in a Visual Effects Driven Motion Picture

The Day After Tomorrow
Karen Goulekas, Mike Chambers, Greg Strause, Remo Balcells

Harry Potter and the Prisoner of Azkaban
Roger Guyett, Tim Burke, Theresa Corrao, Emma Norton

Spider-Man 2
John Dykstra, Lydia Bottegoni, Anthony LaMolinara, Scott Stokdyk

Outstanding Supporting Visual Effects in a Motion Picture

The Aviator
Rob Legato, Ron Ames, Matthew Gratzner, Pete Travers,

Eternal Sunshine of the Spotless Mind
Louis Morin, Mark Dornfeld

Troy
Nick Davies, Chas Jarrett, Jon Thum, Gary Brozenich

Outstanding Visual Effects in a Broadcast Miniseries, Movie or a Special

Dragons
Sirio Quintavalle, Jo Nodwell, Alec Knox, Neil Glaseby

Earthsea
Peter Ware, Eric Grenaudier, Jared Jones, Earl Paraszcynec

Virtual History – The Secret Plot to Kill Hitler
Jim Radford, Tom Phillips, Simon Thomas, Loraine Cooper

Outstanding Visual Effects in a Broadcast Series

Stargate Atlantis, “Rising”
John Gajdecki, Bruce Woloshyn, Jinnie Pak, Tara Conley

Stargate SG-1, “Lost City, Part 2”
James Tichenor, Shannon Gurney, Craig Van Den Biggelaar, Bruce Woloshyn

Star Trek Enterprise, “Storm Front Part 2”
Ronald Moore, Daniel Curry, David Takemura

Outstanding Visual Effects in a Commercial

British Telecom: Network
David Lombardi, Richard Mann, Eric Durst, Kevin Prendiville

Citroen ‘Alive With Technology’
Trevor Cawood, Neill Blomkamp, Simon Van de Lagemaat, Winston Helgason

Johnnie Walker ‘Tree’
William Bartlett, Murray Butler, Jake Mengers, Andy Boyd

Outstanding Visual Effects in a Music Video

Britney Spears “Toxic”
Bert Yukich

Duran Duran “What Happens Tomorrow”
Jerry Steele, Jo Steele, Brian Adler, Monique Eissing

Never ‘The Dream”
Trevor Cawood, Simon Van de Lagemaat, Stephen Pepper, Jon Anastasiades

Outstanding Supporting Visual Effects in a Broadcast Program

Clubhouse, “Episode #005”
Curt Miller, Jason Spratt, Doug Witsken, Michael Tonder

Lost, “Pilot – Part 2”
Kevin Blank, Mitch Suskin, Benoit Girard, Jerome Morin

Spartacus
Sam Nicholson, Eric Grenaudier, Anthony Ocampo, Tim Donahue

Best Single Visual Effect of the Year

The Aviator – Hell’s Angels
Rob Legato, Ron Ames, David Seger, Peter Travers
The Day After Tomorrow – Tidal Wave
Karen Goulekas, Mike Chambers, Chris Horvath, Matthew Butler

Harry Potter and the Prisoner of Azkaban
Bill George, David Andrews, Sandra Scott, Dome Huebler

Spider-Man 2 – Clock Tower
John Dykstra, Lydia Bottegoni, Dan Abrams, John Monos

Outstanding Visuals in a Video Game

007 Everything or Nothing
David Carson, Jay Riddle, Habib Zargarpour

Half-Life 2
Viktor Antonov, Randy Lundeen, Gary McTaggart, Bill Fletcher

The Lord of the Rings: The Battle for Middle Earth
Mark Skaggs, Richard Taylor II, Matt Britton, Nate Hubbard

The Lord of the Rings: The Third Age
Stephen Gray, Margaret Foley-Mauvais

Outstanding Performance by an Animated Character in a Live Action Motion Picture

Harry Potter and the Prisoner of Azkaban
Michael Eames, David Lomax, Felix Balbas, Pablo Grillo

Hellboy – Samael Character
Dovi Anderson, Todd Labonte, Sven Jensen, Paul Thuriot

Lemony Snicket’s A Series of Unfortunate Events- Sunny Character
Rick O’Connor, Martin Murphy, Indira Guerrieri, Sam Breach

Outstanding Performance by an Animated Character in an Animated Motion Picture

The Incredibles – Bob Parr/Mr. Incredible
Craig T. Nelson, Bill Wise, Bill Sheffler, Bolhem Bouchiba

The Polar Express – Steamer
Michael Jeter, David Schaub, Renato Dos Anjos, Roger Vizard

Shark Tale – Angie
Renee Zellweger, Ken Duncan

Shrek 2 – Puss in Boots
Antonio Banderas, Raman Hui

Outstanding Performance by an Animated Character in a Live Action Broadcast Program

Battlestar Galactica, “Episode 101”
Dustin Adiar, Mark Shimer, Jesse Toves, Sean Jackson
Stephen King’s Kingdom Hospital
William de Bosch Kemper, Brian Harder, Patrick Kalyn, Scott Paquin

Outstanding Special Effects in Service to Visual Effects in a Motion Picture

The Aviator
Robert Spurlock, Richard Stutsman, Matthew Gratzner, Roy Goode

Spider-Man 2
John Frazier, Jim Schwalm, Jim Nagle, Dave Amborn

Van Helsing
Georff Heron, Chad Taylor

Outstanding Created Environment in a Live Action Motion Picture

Bridget Jones: The Edge of Reason
Alex Hope, Jody Johnson, Pieter Warmington
I, Robot
Rachael Haupt, Mark Tait Lewis, Nick McKenzie, Geoff Tobin

The Phantom of the Opera – Opening Shot
Claas Henke, Laurent Ben-Mimoun, Anupam Das

Spider-Man 2, – NYC Street – Night
Dan Abrams, David Emery, Andrew Nawrot, John Hart

Outstanding Created Environment in a Live Action Broadcast Program

Smallville, “Crusade”
John Han, Brian Harding, Terry Shigemitsu, Noriaki Matsumoto

Spartacus – Opening
Eric Grenaudier, Anthony Ocampo, Cedric Tomacruz, Michael Cook

Star Trek Enterprise, “Storm Front Part 2” – Dogfight over New York City
Pierre Drolet, Fred Pienkos, Eddie Robinson, Sean Scott

Outstanding Models and Miniatures in a Motion Picture

The Aviator – XF11 Crash
Matthew Gratzner, Scott Schneider, Adam Gelbart, Leigh-Alexandra Jacob

Harry Potter & The Prisoner of Azkaban
Jose Granell, Nigel Stone

National Treasure – Treasure Room
Matthew Gratzner, Forest Fischer, Scott Beverly, Leigh-Alexandra Jacob

Outstanding Compositing in a Motion Picture

Harry Potter and the Prisoner of Azkaban – Azkaban Guards Attack
Dorne Huebler, Jay Cooper, Patrick Brennan, Anthony Shafer

The Phantom of the Opera – Opening Shot
Claas Henke, Laurent Ben-Mimoun, Anupam Das

Spider-Man 2- Train Sequence
Colin Drobnis, Greg Derochie, Blaine Kennison, Kenny Lam

Outstanding Compositing in a Broadcast Program

The Librarian – Himalayan Pass sequence
Greg Groenekamp, Joel Merritt, Mamie McCall

Smallville, “Crisis”
John Han, Eli Jarra, Noriaki Matsumoto, Terry Shigemitsu

Space Odyssey – Voyage To The Planets
George Roper, Christian Manz, Sirio Quintavalle, Pedro Sabrosa

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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