Art Directors Guild

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February 17, 2007

EXCELLENCE IN PRODUCTION DESIGN
FOR A FEATURE FILM

Period Film

CURSE OF THE GOLDEN FLOWER
Production Designer: HUO TINGXIAO

Fantasy Film

PAN’S LABYRINTH
Production Designer: EUGENIO CABALLERO
Contemporary Film
CASINO ROYALE
Production Designer: PETER LAMONT

EXCELLENCE IN PRODUCTION DESIGN
IN TELEVISION

Single Camera Television Series

UGLY BETTY – “THE BOX AND THE BUNNY”
Production Designer: MARK WORTHINGTON

Multi-Camera Television Series

MAD TV – EPISODE 1207
Production Designer: JOHN SABATO

Television Movie or Mini-Series

STEPHEN KING’S DESPERATION
Production Designer: PHILIP DAGORT

Variety or Awards Show, Music Special, or Documentary

58TH ANNUAL EMMY AWARDS
Production Designer: JOHN SHAFFNER & JOE STEWART

EXCELLENCE IN PRODUCTION DESIGN
FOR COMMERCIALS

VICTORIA’S SECRET – “SEXY”
Production Designer: JEFFREY BEECROFT

Nominations

NOMINEES FOR EXCELLENCE IN PRODUCTION DESIGN
FOR A FEATURE FILM

Period Film

CURSE OF THE GOLDEN FLOWER
Production Designer: HUO TINGXIAO

DREAMGIRLS
Production Designer: JOHN MYHRE

FLAGS OF OUR FATHERS
Production Designer: HENRY BUMSTEAD

THE GOOD SHEPHERD
Production Designer: JEANNINE OPPEWALL

THE PRESTIGE
Production Designer: NATHAN CROWLEY

Fantasy Film

CHILDREN OF MEN
Production Designer: JIM CLAY, GEOFFREY KIRKLAND

PAN’S LABYRINTH
Production Designer: EUGENIO CABALLERO

PIRATES OF THE CARIBBEAN: DEAD MAN’S CHEST
Production Designer: RICK HEINRICHS

SUPERMAN RETURNS

Production Designer: GUY HENDRIX DYAS
V FOR VENDETTA
Production Designer: OWEN PATERSON

Contemporary Film

BABEL
Production Designer: BRIGITTE BROCH

CASINO ROYALE
Production Designer: PETER LAMONT

THE DA VINCI CODE
Production Designer: ALLAN CAMERON

THE DEPARTED

Production Designer: KRISTI ZEA
THE QUEEN
Production Designer: ALAN MACDONALD

NOMINEES FOR EXCELLENCE IN PRODUCTION DESIGN
IN TELEVISION

Single Camera Television Series

24 – “7AM – 8AM”
Production Designer: JOSEPH HODGES

DEADWOOD – “TRUE COLORS”
Production Designer: MARIA CASO

HEROES – “SIX MONTHS AGO”
Production Designer: RUTH AMMON

STUDIO 60 ON THE SUNSET STRIP – PILOT

Production Designer: CARLOS BARBOSA
UGLY BETTY – “THE BOX AND THE BUNNY”
Production Designer: MARK WORTHINGTON

Multi-Camera Television Series

THE CLASS – PILOT
Production Designer: GLENDA ROVELLO

HOW I MET YOUR MOTHER – “WORLD’S GREATEST COUPLE”
Production Designer: STEPHAN OLSON

MAD TV – EPISODE 1207
Production Designer: JOHN SABATO

THE NEW ADVENTURES OF OLD CHRISTINE – “EXILE ON LAME STREET”

Production Designer: CABOT MCMULLEN
TWO AND A HALF MEN – “THE PISTOL-PACKIN’ HERMAPHRODITE”
Production Designer: JOHN SHAFFNER

Television Movie or Mini-Series

STEPHEN KING’S DESPERATION
Production Designer: PHILIP DAGORT

THE LOST ROOM

Production Designer: KEITH NEELY
RETURN TO HALLOWEENTOWN
Production Designer: EDWARD L. RUBIN

Variety or Awards Show, Music Special, or Documentary

58TH ANNUAL EMMY AWARDS
Production Designer: JOHN SHAFFNER & JOE STEWART

COMIC RELIEF 2006
Production Designer: BRUCE RYAN

HELL’S KITCHEN – EPISODE 201
Production Designer: JOHN JANAVS

TONY BENNETT: AN AMERICAN CLASSIC

Production Designer: JOHN MYHRE
UNANIMOUS – EPISODE 10
Production Designer: JOHN JANAVS

NOMINEES FOR EXCELLENCE IN PRODUCTION DESIGN
FOR COMMERCIALS

CAPITAL ONE – “HOT DOG”
Production Designer: CARLOS MENENDEZ

CAPITAL ONE – “TRASH”
Production Designer: CARLOS MENENDEZ

NETZERO – “RUSSIAN SUB”

Production Designer: MICHAEL GAW
VICTORIA’S SECRET – “SEXY”
Production Designer: JEFFREY BEECROFT
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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