By Ray Pride Pride@moviecitynews.com

Nominations Announced for 2014 Annual Make-Up Artists and Hair Stylists Guild Awards Ceremony to Take Place February 15, 2014 at Paramount Studios

Posted Tuesday, January 14th, 2014 - Comments Off on Nominations Announced for 2014 Annual Make-Up Artists and Hair Stylists Guild Awards Ceremony to Take Place February 15, 2014 at Paramount Studios
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FOR IMMEDIATE RELEASE:

LOS ANGELES, Jan. 14, 2014 – Today the Make-Up Artists and Hair Stylists Guild’s President Susan Cabral-Ebert announced nominations for the 2014 Annual Make-Up Artists and Hair Stylists Guild Awards in 14 Categories. Winners will be announced at the 2014 Make-Up Artists and Hair Stylists Guild (IATSE Local 706) Awards honoring make-up artists and hair stylists outstanding achievements in motion pictures, television, commercials and live theater and will take place on Saturday, February 15, 2014 at Paramount Studios.M.A.C. Cosmetics is the Official Cocktail Reception Sponsor. 

“We are so excited to receive entrees for our crafts from all over the world,” said Cabral-Ebert. “We had a wonderful response and over three times as many entrees as we anticipated. Thanks to our dedicated committee who viewed all the submissions and made very tough choices. We are proud of our nominees and the work that was submitted this year, which has the best examples of the finest of our craft.”

FEATURE LENGTH MOTION PICTURE (FEATURE FILMS)

BEST CONTEMPORARY HAIR STYLING

Unfinished Song
Aurora Bergere

One Chance
Christine Blundell
Donald Mc Innes

Lee Daniels’ The Butler
Candace Neal
Robert Stevenson

BEST CONTEMPORARY MAKE-UP

Prisoners
Donald Mowat
Pamela Westmore

August: Osage County
Carla White
Bjoern Rehbein

One Chance
Christine Blundell
Donald Mc Innes

BEST PERIOD AND/OR CHARACTER HAIR STYLING

American Hustle
Katherine Gordon
Michelle Johnson

The Lone Ranger
Gloria Pasqua Casny
Jules Holdren

Jobs
Nina Paskowitz
Michael Moore

BEST PERIOD AND/OR CHARACTER MAKE-UP

Dallas Buyers Club
Evelyne Noraz
Rachel Geary

The Lone Ranger
Joel Harlow
Mike Smithson
3rd Petition Robin Beauschesne

The Great Gatsby
Maurizio Silvi
Lesley Vanderwalt

BEST SPECIAL MAKE-UP EFFECTS

Bad Grandpa
Stephen Prouty

Hansel & Gretel: Witch Hunters
Mike Elizalde
Lufeng Qu

The Hunger Games – Catching Fire
Ve Neill
Nikoletta Skarlatos

TELEVISION and NEW MEDIA SERIES (Episodic Television)

BEST CONTEMPORARY HAIR STYLING

The Voice
Shawn Finch
Jerilynn Stephens

Breaking Bad
Georgie Sheffer
Carmen L. Jones

Bates Motel
Donna Bis

BEST CONTEMPORARY MAKE-UP

Glee
Kelley Mitchell
Jennifer Greenberg

Super Fun Night
Debbie Zoller
Tami Lane

Breaking Bad
Tarra Day
Sheila Trujillo Gomez

BEST PERIOD AND/OR CHARACTER HAIR STYLING

Vikings
Dee Corcoran

Hell on Wheels
Chris Glimsdale
Penny Thompson

Key and Peele
Amanda Mofield
Raissa Patton

BEST PERIOD AND/OR CHARACTER MAKE-UP

Boardwalk Empire
Michele Paris

Hell on Wheels
Sharon Toohey
Rose Gurevitch

Key and Peele
Scott Wheeler

BEST SPECIAL MAKE-UP EFFECTS

Vikings
Thomas McInerney

Longmire
Steve La Porte

The Walking Dead
Greg Nicotero
Jake Garber

TELEVISION MINI-SERIES or MOTION PICTURE MADE FOR TELEVISION (M.O.W) – CABLE NETWORK/M.O.W.s

BEST PERIOD AND/OR CHARACTER HAIR STYLING

Behind the Candelabra
Marie Larkin
Yvette Stone

American Horror Story: Coven
Monte Haught

Killing Lincoln
Ardis Cohen
Greg Bazemore

BEST PERIOD AND/OR CHARACTER MAKE-UP

Behind the Candelabra
Kate Biscoe
Deborah Rutherford

American Horror Story: Coven
Eryn Krueger Mekash
Christien Tinsley

Game of Thrones
Paul Engelen
Melissa Lackersteen

THEATRICAL PRODUCTIONS (LIVE STAGE – LIVE THEATER)

Falstaff
Darren Jinks
Brandi Strona
3rd Petition Samantha Wooten

Magic Flute
Darren Jinks
Samantha Wooten
3rd Petition Brandi Strona

Frank Zappa’s 200 Motels
Vanessa Dionne
Cassandra Russek

COMMERCIALS

Best Contemporary Make-up

Wash the Day Away (Kohler)
Tyson Fountaine
Brian Penikas

Voting will begin online Tuesday, January 21st and closes on Tuesday, February 11th at 5:00pm.
All 1,800+ MUAHS members vote during the final balloting.

About Local 706:
The Make-Up Artists and Hair Stylists Guild (IATSE, Local 706) was chartered in November 1937. Today, membership includes over 1,800 artisans in the entertainment industry worldwide. Local 706 members are make-up artists and hair stylists who have created the looks for Hollywood’s most memorable characters and stars of stage, screen, television and now the Internet. The wide-ranging domains of these artists include feature films and television, commercials, “live” network television, all types of theatrical productions and Disneyland theme parks. Local 706 Members have created notable characters competing for Academy Awards®, Primetime Emmys®, Daytime Entertainment Emmys®, Saturns®, BAFTA Awards®, and many other honors for make-up and hair styling artistry including their own Hollywood Make-up Artists and Hair Stylists Guild Awards®. The Local 706 Guild publishes The Artisan, a glossy quarterly magazine, and provides panels, workshops and training both for members and others interested in the field to foster a spirit of innovation in the craft. The official website can be found at www.local706.org 

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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