Director’s Guild

2003 | 2004 | 2005 | 2007 | 2010

Nominations: January 5, 2006
Awards: January 28, 2006

Outstanding Directorial Achievement
in Feature Film

ANG LEE
BROKEBACK MOUNTAIN
Focus Features

Ang Lee’s Directorial Team:
Unit Production Managers: Scott Ferguson, Tom Benz First Assistant Directors: Michael Hausman, Pierre Tremblay Second Assistant Director: Donald Murphy Second Second Assistant Director: Brad Moerke

Outstanding Directorial Achievement
in Documentary

WERNER HERZOG
GRIZZLY MAN
Lions Gate Films/
Discovery Documentaries

Nominations

GEORGE CLOONEY
GOOD NIGHT, AND GOOD LUCK.
Warner Independent Pictures

George Clooney’s Directorial Team:
Unit Production Manager: Barbara A. Hall First Assistant Director: David Webb Second Assistant Director: Melissa V. Barnes Second Second Assistant Director: Richard Gonzales

This is Clooney’s first nomination

PAUL HAGGIS
CRASH
Lions Gate Films

Paul Haggis’ Directorial Team:
Unit Production Manager: Betsy Danbury First Assistant Director: Scott Cameron Second Assistant Director: Simone Farber

This is Haggis’ first nomination

ANG LEE
BROKEBACK MOUNTAIN
Focus Features

Ang Lee’s Directorial Team:
Unit Production Managers: Scott Ferguson, Tom Benz First Assistant Directors: Michael Hausman, Pierre Tremblay Second Assistant Director: Donald Murphy Second Second Assistant Director: Brad Moerke

This is Lee’s third nomination. He received a previous nomination for Sense and Sensibility (1995) and won the DGA Award for Outstanding Directorial Achievement in Feature Film for Crouching Tiger, Hidden Dragon (2000).

BENNETT MILLER
CAPOTE
United Artists / Sony Pictures Classics

Bennett Miller’s Directorial Team:
Unit Production Managers: Ellen Rutter, Caroline Baron First Assistant Directors: Ronaldo Nacionales, Richard O’Brien Moran Second Assistant Director: Charles Crossin

This is Mr. Miller’s first nomination.

STEVEN SPIELBERG
MUNICH
Universal Pictures

Steven Spielberg’s Directorial Team:
Unit Production Manager: Ian Hickinbotham First Assistant Director: Adam Somner Second Second Assistant Director: Pierre Ellul

This is Spielberg’s tenth nomination.
He was previously nominated for Amistad (1997), Empire of the Sun (1987), E.T.: The Extra Terrestrial (1982), Raiders of the Lost Ark (1981), Close Encounters of the Third Kind (1977), and Jaws (1975). He has won the DGA Award for Outstanding Directorial Achievement in Feature Film three times: in 1998 for Saving Private Ryan, in 1993 for Schindler’s List, and in 1985 for The Color Purple.

Mr. Spielberg won the DGA’s highest artistic honor, the Lifetime Achievement Award, in 2000.

The DGA Lifetime Achievement Award
Clint Eastwood

Jerry H. Ziesmer will receive the 2006 Frank Capra Achievement Award which is given to an Assistant Director or Unit Production Manager in recognition of career achievement in the industry and service to the Directors Guild of America.

Joseph R. Aceti will receive the 2006 Lifetime Achievement Award in Sports Direction.

Donald Jacob will receive the 2006 Franklin J. Schaffner Achievement Award for an Associate Director or Stage Manager in recognition of career achievement in the industry and service to the Directors Guild of America.

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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