By Ray Pride Pride@moviecitynews.com

The 20th ADG Awards

Posted Monday, February 1st, 2016 - Comments Off on The 20th ADG Awards
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“The Martian” “Mad Max: Fury Road” and “The Revenant” Motion Picture Winners at the 20th Annual Art Directors Guild Excellence in Production Design Awards Celebrating “From Silver Screen to Every Screen”

“Game of Thrones,” “House of Cards,” “American Horror Story”, “The Big Bang Theory” and “The Muppets” Win for Television Series

Josh Brolin Presents David O. Russell with Cinematic Imagery Award

BEVERLY HILLS, Jan. 31, 2016 — The Art Directors Guild (ADG, IATSE Local 800) tonight announced winners of its 20th Annual Excellence in Production Design Awards, in 11 categories of film, television, commercials and music videos during a black-tie ceremony at The Beverly Hilton. “The Martian” (Arthur Max), “Mad Max: Fury Road” (Colin Gibson) and “The Revenant” (Jack Fisk) won Best Production Design for Feature Film. Television winners included “Game of Thrones” (Deborah Riley), “House of Cards” (Steve Arnold), “American Horror Story: Hotel” (Mark Worthington), “The Big Bang Theory” (John Shaffner) and “The Muppets” (Denise Pizzini) respectively. The awards took place before an audience of more than 900, including guild members, industry executives and press. ADG President Nelson Coates and Art Directors Council Chair Marcia Hinds presided over the awards ceremony with comedian Owen Benjamin serving as host for the third year-in-a-row.

Director David O. Russell received the Guild’s prestigious Cinematic Imagery Award presented by Josh Brolin (Sicario). Oscar®-winning actress Eva Marie Saint (On the Waterfront) presented Turner Classic Movies (TCM) host Robert Osborne with ADG’s inaugural William Cameron Menzies Award, for his work in championing classic motion pictures. Accepting the award on Mr. Osborne’s behalf was actress Diane Baker. Recipients of this year’s Lifetime Achievement Awards included Scenic Artist Bill Anderson, Oscar- nominated Matte Artist Harrison Ellenshaw, Set Designer William J. Newmon, II and Emmy® and Oscar- winning Production Designer Patrizia von Brandenstein. Four legendary women – Oscar and Emmy- winning Production Designer Carmen Dillon, Emmy-winning Production Designer and Illustrator Dorothea Holt Redmond, Oscar-nominated and Emmy-winning Production and Costume Designer Patricia Norris, and Art Director and Set Designer Dianne Wager – were inducted into the Art Directors Guild (ADG) Hall of Fame.

Presenters for this year’s awards included Bryan Cranston (Trumbo), Jennifer Jason Leigh (The Hateful Eight), LL Cool J, Amy Landecker and Kelsey Reinhardt (Transparent), O’Shea Jackson Jr. (Straight Outta Compton), Anthony Anderson (Black-ish), Aubrey Plaza (Dirty Grandpa), Will Forte (The Last Man On Earth), Kunal Nayyar (The Big Bang Theory), Jaime Pressly (Mom), Niecy Nash (Getting On, Scream Queens) and Thomas Middleditch (Silicon Valley).

In celebration of its 20th anniversary, the Art Directors Guild inaugurated a new official trophy called the Cinemagundi, designed by guild member Fredrik Buch, which was handed out to tonight’s winners. ADG

awards recognition always goes to the Production Designer, Art Director, Assistant Art Director and their team for each nominated and winning project.

20th ANNUAL ADG WINNERS FOR EXCELLENCE IN PRODUCTION DESIGN FOR A FEATURE FILM:

  • PERIOD FILM 
THE REVENANT
Production Designer: JACK FISK 

  • FANTASY FILM
MAD MAX: FURY ROAD 
Production Designer: COLIN GIBSON 

  • CONTEMPORARY FILM 
THE MARTIAN
Production Designer: ARTHUR MAX 


20th ANNUAL ADG WINNERS FOR EXCELLENCE IN PRODUCTION DESIGN IN TELEVISION:

  • ONE-HOUR PERIOD OR FANTASY SINGLE-CAMERA SERIES 
GAME OF THRONES: “High Sparrow,” “Unbowed, Unbent, Unbroken,” “Hardhome” Production Designer: DEBORAH RILEY 

  • ONE-HOUR CONTEMPORARY SINGLE-CAMERA SERIES HOUSE OF CARDS: “Chapter 29,” “Chapter 36” 
Production Designer: STEVE ARNOLD 

  • TELEVISION MOVIE OR LIMITED SERIES 
AMERICAN HORROR STORY: HOTEL: “Checking In” Production Designer: MARK WORTHINGTON 

  • HALF HOUR SINGLE-CAMERA SERIES
THE MUPPETS: “The Ex-Factor,” “Pig’s in a Blanket” 
Production Designer: DENISE PIZZINI 

  • MULTI-CAMERA SERIES 
THE BIG BANG THEORY: “The Skywalker Incursion,” “The Mystery Date Observation,” “The Platonic Permutation” 
Production Designer: JOHN SHAFFNER 

  • AWARDS OR EVENT SPECIAL 


THE OSCARS: 2015
Production Designer: DEREK McLANE

  1. SHORT FORMAT: WEB SERIES, MUSIC VIDEO OR COMMERCIAL APPLE MUSIC: “The History of Sound”

Production Designer: JESS GONCHOR 11. VARIETY, REALITY OR COMPETITION SERIES

KEY & PEELE: “Ya’ll Ready For This?” “The End” Production Designer: GARY KORDAN

The sponsors for the 20th Annual ADG Excellence in Production Design are: PRESENTING SPONSOR – DXV by American Standard; TITLE SPONSOR – 20th Century Fox; PLATINUM SPONSORS – ICM Partners and Universal Pictures; GOLD SPONSORS – Bleecker Street, History for Hire, NBC Universal Operations, and Walt Disney Studios Motion Pictures; SILVER SPONSORS are AMC American Movie Classics; Astek Wallcovering; Big Sky Movie Ranch; Bridgeman Images; Fox Studios Production Services; FX Productions; Illustrators & Matte Artists Council; JC Backings; Mirisch Agency; Scenic, Title, & Graphic Artists Council; Set Designers & Model Makers Council; Shutterstock; Turner Classic Movies; United Talent Agency; Warner Bros Studio Facilities and WME Agency; MEDIA SPONSORS include The Hollywood Reporter, Variety, Below the Line and SHOOTonline.

Producer of this year’s ADG Awards (#ADGawards) is Production Designer Tom Wilkins, co-produced by Art Director Judy Cosgrove. ADG Awards are open only to productions, when made within the U.S., by producers signatory to the IATSE agreement. Foreign entries are acceptable without restrictions.

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ABOUT THE ART DIRECTORS GUILD:

The Art Directors Guild (IATSE Local 800) represents 2,300 members who work throughout the United States, Canada and the rest of the world in film, television and theater as Production Designers, Art Directors, Assistant Art Directors; Scenic, Title and Graphic Artists; Illustrators and Matte Artists; Set Designers and Model Makers; and Previs Artists. Established in 1937, the ADG’s ongoing activities include a Film Society, an annual Awards Banquet, a creative/technology community (5D: The Future of Immersive Design), a bimonthly craft magazine (Perspective); and extensive technology-training programs, figure drawing and other creative workshops and year-round Gallery 800 art exhibitions. The Guild’s Online Directory/Website Resource is at www.adg.org. Connect with the Art Directors Guild and #ADGawards on Facebook, Twitter and Instagram.

 

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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