Director’s Guild

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MARTIN SCORSESE
THE DEPARTED
Warner Bros Pictures

Mr. Scorsese’s Directorial Team:
Unit Production Manager: Carol Cuddy
First Assistant Director: Joseph Reidy
Second Assistant Director: Amy Lauritsen
Second Second Assistant Director: John Silvestri

This is Mr. Scorsese’s seventh DGA Feature Film Award nomination. He was previously nominated for The Aviator (2004), Gangs of New York (2002),The Age of Innocence (1993), Goodfellas (1990), Raging Bull (1980) andTaxi 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.

Nominations

BILL CONDON
DREAMGIRLS
Paramount Pictures

Mr. Condon’s Directorial Team:
Unit Production Manager: Patricia Whitcher
First Assistant Director: Richard Graves
Second Assistant Director: Eric Sherman
Second Second Assistant Director: Renee Hill-Sweet

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

VALERIE FARIS/JONATHAN DAYTON
LITTLE MISS SUNSHINE
Fox Searchlight

Mr. Dayton and Ms. Faris’ Directorial Team:
Unit Production Manager: Michael Beugg
First Assistant Director: Thomas Patrick Smith
Second Assistant Director: Gregory Smith
Second Second Assistant Director: Kate Greenberg

This is the first DGA Feature Film Award nomination for both Mr. Dayton and Ms. Faris.

STEPHEN FREARS
THE QUEEN
Miramax Pictures

Mr. Frears’ Directorial Team:
Production Manager: Sue Claverly
First Assistant Director: Stuart Renfrew
Second Assistant Director: Rickay Graysmark
Third Assistant Director: Lucy Egerton

This is Mr. Frears’ first DGA Feature Film Award. He was nominated for Outstanding Directorial Achievement in Movies For Television for Fail Safe(2000) along with co-director Marty Pasetta.

ALEJANDRO GONZÁLEZ IÑÁRRITU
BABEL
Paramount Vantage

Mr. Iñárritu’s Directorial Team:
Unit Production Manager: Ann Ruark
First Assistant Director: Sebastián Silva

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

MARTIN SCORSESE
THE DEPARTED
Warner Bros Pictures

Mr. Scorsese’s Directorial Team:
Unit Production Manager: Carol Cuddy
First Assistant Director: Joseph Reidy
Second Assistant Director: Amy Lauritsen
Second Second Assistant Director: John Silvestri

This is Mr. Scorsese’s seventh DGA Feature Film Award nomination. He was previously nominated for The Aviator (2004), Gangs of New York (2002),The Age of Innocence (1993), Goodfellas (1990), Raging Bull (1980) andTaxi 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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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