Art Directors Guild

2003 | 2004 | 2005 | 2006 | 2007 | 2008 | 2009 | 2010

WINNERS FOR EXCELLENCE IN PRODUCTION DESIGN
FOR A FEATURE FILM IN 2008

Period Film
THE CURIOUS CASE OF BENJAMIN BUTTON
Production Designer: DONALD GRAHAM BURT

Fantasy Film
THE DARK KNIGHT PRODUCTION DESIGNER:
Production Designer: NATHAN CROWLEY

Contemporary Film
SLUMDOG MILLIONAIRE
Production Designer: MARK DIGBY
WINNERS FOR EXCELLENCE IN PRODUCTION DESIGN
FOR TELEVISION IN 2008:

Single Camera Television Series
MAD MEN | EPISODE 211 – THE JET SET
Production Designer: DAN BISHOP
Multi-Camera Television Series
LITTLE BRITAIN U.S.A. – EPISODE 4
Production Designer: GREG GRANDE & MICHAEL WYLIE

Television Movie or Mini-Series
JOHN ADAMS
Production Designer: GEMMA JACKSON

Episode of a Half Hour Single-Camera Television Series
WEEDS – EPISODE 4006 – EXCELLENT TREASURES
Production Designer: JOSEPH P. LUCKY

Awards Show, Variety, Music, or Non- Fiction Program
80TH ANNUAL ACADEMY AWARDS
Production Designer: ROY CHRISTOPHER
WINNERS FOR EXCELLENCE IN PRODUCTION DESIGN FOR COMMERCIALS, PSA, PROMO, MUSIC VIDEOS FOR 2008:

FARMERS INSURANCE COMMERCIAL – DROWNED CIRCUS
Production Designer: CHRIS GORAK

VICTORIA’S SECRET COMMERCIAL
Production Designer: JEFFREY BEECROFT

__________________________

Nominations

Period Films

CHANGELING
Production Designer: James J. Murakami

THE CURIOUS CASE OF BENJAMIN BUTTON
Production Designer: Donald Graham Burt

DOUBT
Production Designer: David Gropman

FROST/NIXON
Production Designer: Michael Corenblith

MILK
Production Designer: Bill Groom
Fantasy Films

THE DARK KNIGHT
Production Designer: Nathan Crowley

INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL
Production Designer: Guy Hendrix Dyas

IRON MAN
Production Designer: J. Michael Riva

THE SPIDERWICK CHRONICLES
Production Designer: James Bissell

WALL E
Production Designer: Ralph Eggleston

Contemporary Films

BURN AFTER READING
Production Designer: Jess Gonchor

GRAN TORINO
Production Designer: James J. Murakami

QUANTUM OF SOLACE
Production Designer: Dennis Gassner

SLUMDOG MILLIONAIRE
Production Designer: Mark Digby

THE WRESTLER
Production Designer: Timothy Grimes

Be Sociable, Share!

Comments are closed.

Quote Unquotesee all »

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