Director’s Guild

2003 | 2004 | 2005 | 2007 | 2010


No Country For Old Men
(Miramax Films and Paramount Vantage)

The Coens’ Directorial Team:
Unit Production Manager: Robert J. Graf
First Assistant Director: Betsy Magruder
Second Assistant Director: Bac DeLorme
Second Second Assistant Director: Jai James


Bury My Heart At Wounded Knee

Mr. Simoneau’s Directorial Team:
Unit Production Manager – US: Chrisann Verges
First Assistant Director – US: Cas Donovan
Second Assistant Director – US: Adam Martin
This is Mr. Simoneau’s first DGA Award.


Mad Men – “Smoke Gets in Your Eyes (Pilot)”

Mr. Taylor’s Directorial Team:
Unit Production Manager: Scott Hornbacher
First Assistant Director: Mark McGann
Second Assistant Director: Maggie Murphy
Second Second Assistant Director: John Silvestri
Second Assistant Director/Location Manager: April Taylor
This is Mr. Taylor’s first DGA Award.


Pushing Daisies – “Pie-lette”

Mr. Sonnenfeld’s Directorial Team:
Unit Production Manager: Gabriela Vazquez
First Assistant Director: Chris Soldo
Second Assistant Director: Greg Hale
Second Second Assistant Director: Renee Hill-Sweet
This is Mr. Sonnenfeld’s first DGA Award.


The 61st Annual Tony Awards

Mr. Weiss’ Directorial Team:
Associate Directors: Gregg M. Gelfand, Robin Mishkin Abrams, Ken Diego, Ricky Kirshner
Stage Managers: Garry W. Hood, Peter Epstein, Andrew Feigin, Lynn Finkel, Doug Fogel, Jeffry Gitter, Dean Gordon, Arthur Lewis, Tony Mirante, Jeff Pearl, Rose Riggins, Lauren Class Schneider
This is Mr. Weiss’ first DGA Award. He was previously nominated in 2006 for The 60th Annual Tony Awards, in 2005 for The 59th Annual Tony Awards, in 2002 for The 56th Annual Tony Awards, and in 2001 for The 55th Annual Tony Awards.


The Amazing Race – “Episode #1110″

Mr. Van Munster’s Directorial Team:
Segment Director: Evan Weinstein
This is Mr. Van Munster’s first DGA Award. He was previously nominated for The Amazing Race Episode #102” in 2006 and for “Episode #805” in 2005.


One Life To Live – “Episode #9947”

Mr. Carpenter’s Directorial Team:
Associate Director: Teresa Anne Cicala
Stage Managers: Alan P. Needleman, Keith Greer
Production Associate: Anthony Wilkinson
This is Mr. Carpenter’s second DGA Award. He won the Outstanding Directorial Achievement in Daytime Serials for One Life to Live “Episode #8849” in 2003 and was also nominated for that series for “Episode #9686” in 2006, “Episode #9385” in 2005 and “Episode #8655” in 2002.


Ghosts of Cite Soleil
Sony BMG Feature Films

This is Mr. Leth’s first DGA Award.

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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