Will Gluck is quickly becoming one of Hollywood's most dependable producers of comedies. His directorial track record consists of a hit (Easy A) and a miss (Fired Up!) but the future is looking bright as his summer comedy Friends With Benefits is sure to make a splash at the box office with the help of stars Justin Timberlake and Mila Kunis. Looking further out, the young filmmaker has just been attached as a producer to a remake of 1986s About Last Night.
The original, based on David Mamet's 1974 play Sexual Perversity in Chicago, was directed by Edward Zwick and starred Rob Lowe, Demi Moore, Jim Belushi and Elizabeth Perkins. Its story revolved around a pair of friends who engage in a romantic affair despite the disapproval of their friends. It wasn't the most memorable movie, but was a commercial hit nonetheless.
The premise falls right into Gluck's wheelhouse. He excels at making youth-oriented, sexually charged stories mainstream and has the track record to wrangle a cast of pretty young stars for the film, one of which could very well be Emma Stone, who starred in Easy A and has a sizable role in Friends With Benefits. He will not likely direct the picture, as he's got a handful of jobs to focus on including another untitled project with Stone set up at Screen Gems, the Sony-based studio that distributed all of his films this far. He will, however, guide the creative process by seeking out a director and writer for the film.
The average actor earns peanuts compared to what the following group of Hollywood hot shots make, though their bloated salaries are not just handouts. Each and every person on the list below got where they are because of dedication to and love of their craft. Sure, luck plays an integral part, but without the drive to succeed they’d all be yesterdays news instead of next years busiest entertainers. Read on to see who you’ll be seeing a lot of in 2011.
*Note: This list is comprehensive, but not necessarily "complete" as there are many working actors in the business who have just as many, if not more, films in production. The individuals were selected because of their status in current pop-culture and the size of the films in which they appear. That is why someone like Ray Wise, who has 10 films in various stages of production, was excluded while others with less were included.*
Had I made this list last year, or the year before that, Rogen probably would’ve found himself on it. Since becoming a household name in 2007 with Knocked Up and Superbad (among others), the funny man has had more work than he knows what to do with. He starts 2011 with the eagerly awaited release of his 3D superhero flick The Green Hornet, but his cancer dramedy Live With It could hit the festival circuit around the same time. March will see his long-gestating collaboration with Simon Pegg/Nick Frost Paul hit theaters (in which he voices an adorable alien) followed by the May release of Kung Fu Panda 2. Somewhere in the middle of that will be another dramedy, Take This Waltz, in which he co-stars with Sarah Silverman and Michelle Williams. Add that up and Rogen’s got a very lucrative year ahead of him.
Stone is poised to become the starlet of tomorrow with a leading role in Sony’s new Spider Man film, but that’s a ways off. Next year will see her build momentum towards that coming blockbuster with four releases, including a role in Relativity Media’s massive untitled ensemble comedy (which may now be titled Movie 43) and a reunion with her Easy A director Will Gluck in the Mila Kunis/Justin Timberlake rom-com Friends With Benefits. However, what I’m looking forward to most is The Help, an adaptation of Kathryn Stockett’s beloved novel in which she plays a leading role and Crazy, Stupid, Love, the new dramedy from I Love You Phillip Morris directors Glenn Ficarra and John Requa in which she plays daughter to Steve Carell. There’s enough quality here to ensure that Stone becomes a major player in her own right in the new decade and I can’t wait to see what she does with all that star power in the coming years.
The king of all media is back in full force next year, bringing no less than seven major motion pictures to global audiences in addition to one eagerly awaited new network TV show (Terra Nova – due May 2011). First up is the D.J. Caruso-helmed sci-fi actioner I Am Number Four followed by J.J. Abrams’ homage to the famed filmmaker’s early work with Super 8 (Spielberg serves as executive producer on both). The huge summer season continues with Transformers: Dark of the Moon and the very buzzy Cowboys & Aliens before he unveils the Shawn Levy-directed robot boxing drama Real Steel. Then, around Christmastime, we’ll get a double dose of his directorial efforts with the WWI epic War Horse and the motion captured franchise starter The Adventures of Tintin: The Secret of the Unicorn. That is the mark of a true mogul – releasing a pair of big films just days apart. Small potatoes for Mr. Spielberg, of course.
Captain Jack attacks the world of entertainment on all fronts next year as actor, producer and director. He’ll be seen in two films, including the long-delayed The Rum Diary and Pirates of the Caribbean: On Stranger Tides, and heard in a third – Gore Verbinski’s animated Rango. He serves as producer on Martin Scorsese’s 3D live action Hugo Cabret and a foreign film called Cool Water (which may or may not end up shooting early next year). Additionally, he should finally release his untitled Keith Richards documentary, which has been in post-production for a long time now. It’s one of the most diverse schedules that anyone in the business can boast next year and I’m very excited to see how it all turns out for EW’s most recent Entertainer of the Decade.
Like Ms. Stone’s upcoming slate of films, Craig’s is comprised of higher quality than quantity. After a lengthy absence from the silver screen, the British bad ass releases four big movies from four big directors. He starts his domination of the second half of 2011 with Jon Favreau’s Cowboys and Aliens and segues into Jim Sheridan’s new thriller Dream House. After that, he’ll release back to back December blockbusters with the fore mentioned Adventures of Tintin: The Secret of the Unicorn and the mega-hyped English language adaptation of Stieg Larsson’s The Girl With The Dragon Tattoo. All together, Craig is looking at an easy billion-dollar year before he begins work on his third Bond film, due in 2012.
As I was compiling this list I realized that I wasn’t showing enough love to the producers that make filmmaking possible. There are hundreds of financiers and producers out there making movies, but none is quite as prolific today (and tomorrow) as Ryan Kavanaugh. The CEO of Relativity Media puts out a number of titles next year, some of which I’ve already mentioned (including that huge ensemble comedy, Cowboys and Aliens and Rogen’s Live With It). Additionally, he releases Neil Burger’s Limitless (formerly titled The Dark Fields), the James Cameron-produced Sanctum, Steven Soderbergh’s Haywire and Tarsem Singh’s Immortals. He’ll also be active in the realm of production as his company gears up for principle photography on The Town That Dreaded Sundown and The Crow remake. Like most big companies, Relativity could easily acquire a number of films for distribution throughout the year, which would just add to its already stellar slate in 2011.
The “It” Boy of the new decade is ready to take Hollywood by storm (again) next year. He’ll first appear in Ron Howard’s relationship comedy The Dilemma on January 14th before hitting Sundance in his third collaboration with director Dito Montiel with Son of No One. In February, his long delayed swords-and-sandals actioner The Eagle opens, while April will see Haywire finally blast its way into theaters. Tatum will only take very short breaks to promote these films as he’ll be working on a variety of projects including the ensemble drama Ten Year, the period espionage thriller Love and Honor and Sony’s 21 Jump Street reboot, ensuring that his It Boy status will remain intact for many years to come.
Here’s a guy that you wouldn’t think would end up on a list like this, but Koechner’s comedic abilities have made him a must have for productions big and small. The major studio’s called upon him for films like Paul, Final Destination 5 and This Means War (all set to bow in 2011) in addition to indies like Wish Wizard, Wedding Day and Fully Loaded, in which he apparently plays himself. It’s a big moment for the comedian, so I hope he and his fans drink it in.
The Sons Of Anarchy star gets his big-screen due next year with a whopping six (possibly seven) releases. He invades the first frame of 2011 with Season of the Witch and will play father to the Barbarian in Lionsgate’s Conan reboot in August. A number of other independent and studio releases will drop throughout the year as well, including Nicolas Winding Refn’s Drive, the dramatic thriller Crave and a film called Frankie Goes Boom that will reunite him with his SoA co-star Charlie Hunnam (Chris Noth, Lizzy Caplan and Whitney Cummings co-star). Perlman also joins Universal’s Mummy/Scorpion King franchise with the direct to DVD Scorpion King: Rise of the Dead. If it begins production on time, he could also release the action thriller The Riot, which presents a practical take on the survival horror genre. Factor in the tentative summer start of his old friend Guillermo del Toro’s At the Mountains of Madness (in which he plays Larson) and Perlman, at 60, is busier than ever.
In between financial and psychological meltdowns Nicolas Cage manages to get some work done. The Oscar winning A-lister will appear in a quartet of films next year, starting with Season of the Witch and continuing on with Roger Donaldson’s The Hungry Rabbit Jumps, Patrick Lussier’s Drive Angry 3D and Joel Schumacher’s Trespass. In addition, he produced the family comedy A Thousand Words, which was developed as a starring vehicle but was passed off to Eddie Murphy shortly before production began in 2008. He’ll continue to shoot his Ghost Rider sequel through the first quarter of 2011 and may end up filming a third National Treasure at some point as well.
He’s made a name for himself in films like 300 and Inglourious Basterds but Fassbender has yet to really breakout. Next year, he should do just that with four films locked and a handful of others gearing up for production. First is Cary Fukunaga’s adaptation of Charlotte Bronte’s literary staple Jane Eyre followed soon after by Steven Soderbergh’s Haywire. On June 3rd, he joins the X-Men franchise as a young Erik Lensherr/Magneto in X-Men: First Class, which could turn into a career-within-a-career in itself. Additionally, David Cronenberg’s highly anticipated A Dangerous Method should hit the festival circuit at some point in 2011, possibly leading to awards buzz. If you don’t think that is enough of a schedule to balance, try to figure out when/how he’ll shoot two new dramas (Brendan Gleeson’s At Swim-Two-Birds and Steve McQueen’s Shame) amidst all that promotional work? Staggering, isn’t it.
Green Zone is a story we’ve already heard shot in a manner we’ve already seen and starring Matt Damon in a role he’s already played. Remember those WMDs that were never found in Iraq and later exposed to be the invention of a dubious and poorly-vetted informant? Remember the misguided and hideously botched attempt at establishing democracy after the fall of Saddam and the violent prolonged insurgency that ensued? If you’ve been away from the television for the past hour and somehow managed to forget any of these details Green Zone is here to remind you.
Damon plays Chief Warrant Officer Roy Miller an Army weapons inspector whose frustration over repeatedly coming up empty in his search for Iraqi WMDs leads him on a quest to track down and expose the people responsible for leading him (and us) down that infamously bogus path. Though his hand-to-hand skills are a notch below Jason Bourne’s Miller’s single-mindedness moral certainty and permanent expression of square-jawed defiance — always threatening another “How do you like them apples?” rebuke — in the face of an insidious multi-level government conspiracy are essentially equivalent to those of Damon’s Bourne trilogy soulmate.
And like Bourne his most dangerous adversary isn’t found on the battlefront but rather within the government he once served so proudly. As Miller delves ever deeper into the Case of the Faulty WMD Intelligence Clark Poundstone (Greg Kinnear) the duplicitous arrogant Defense Department bureaucrat in charge of U.S. operations in Iraq summarily relieves him of his post. (Hint: the better dressed a Green Zone character is the more sinister his ambitions.) But Miller remains undeterred and he goes rogue to locate the CIA informant “Magellan ” a formerly high-ranking Iraqi official whose supposed confirmation of Saddam’s nuclear ambitions served as the basis for U.S. invasion.
We know how the story ends. Green Zone’s pervasive overarching sense of deja vu is accentuated by director — and veteran Bourne helmer — Paul Greengrass who employs the trademark hand-held super-shakycam style which was so fresh and inventive in 2004 but now feels stale and predictable. (Admittedly my aversion to Greengrass’ approach was no doubt heightened by a previous night’s viewing of Roman Polanski’s excellent The Ghost Writer a political thriller as subtle and precise and finely tuned as Green Zone is ham-fisted and haphazard — and which also uses the phantom WMD controversy to far greater narrative effect.)
Green Zone culminates in essentially a violent footrace between Miller and the Army Special Forces as they scour a heavily-armed insurgent stronghold to find Magellan with Miller hoping to secure his potentially damning testimony before the Army can silence him for good. The climactic sequence for all I could tell was either shot in Damon’s backyard culled from Bourne trilogy deleted scenes or assembled from scattered YouTube clips. This punishingly chaotic often incoherent and ultimately exhausting approach to storytelling isn’t cinema verite; it’s dementia pugilistica.
Imagine only being able to communicate through blinking. Now imagine trying to dictate your memoirs in this grueling and time-consuming fashion. That’s how Jean-Dominique Bauby had to put his life and thoughts down on paper. The editor of French Elle suffered a stroke so severe that it rendered him almost entirely paralyzed for the remainder of his short life. He died less than 18 months later just days after the publication of his 1997 memoirs. Making amends for his laughable adaptation of Love in the Time of Cholera Ronald Hardwood pays homage to Bauby’s remarkable achievement with an eloquent screenplay that examines the power of the mind over the body. The Diving Bell and the Butterfly begins on the day when Bauby (Mathieu Amalric) wakes up from a coma and is alarmed to find himself in a hospital completely paralyzed and unable to speak. But his mind is sharp as it ever was. Flashbacks reveal Bauby to be a man who lived life to the fullest and relished every challenge that came his way. So being stuck in a body that no longer functions as it once did is clearly pure hell for Bauby--until his therapist Henriette (Marie-Josee Croze) teaches Bauby to communicate by blinking his left eye. Bauby suddenly decides to honor a book contract he had signed before his stroke--and in the process he discovers his raison d’être. Like My Left Foot’s Daniel Day-Lewis before him Amalric indelibly proves that the mind can and will thrive even when the body is broken and beyond repair. Amalric though has less to work with than the wild-eyed Day-Lewis who had the luxury of drawing you into his performance by tapping into Irish author Christy Brown’s abrasive personality and larger-than-life presence. It’s mesmerizing to watch the intrepid Amalric at work even though he’s practically motionless for the entire film bar for a few flashbacks. While the rest of his face remains frozen solid Amalric eloquently expresses Bauby’s innermost hopes and fears through the mere blink of his left eye. There’s never a time when you don’t know how Bauby feels. And his narration is laced with gallows humor which helps keep Diving Bell free from drowning in sentimentality. As Bauby’s therapist Croze personifies patience dedication and resourcefulness we all expect and demand from health-care professionals but don’t always receive. Emmanuelle Seigner maintains a brave face as Bauby’s neglected wife Céline. You wait for Céline to crumble especially as Bauby never stops asking about his mistress but Seigner reveals Céline to be caring and forgiving. The most heartbreaking moments come between Amalric and Max von Sydow who plays Bauby’s father who is much trapped inside his apartment as Bauby is inside his body. There’s great sadness and regret to be found in von Sydow’s every word as he comes to the painful realization that he will outlive his rich and successful son which no father wants to do. Yes Diving Bell is the latest in a long line of inspirational fact-based films about physically and/or mentally challenged people mastering their disabilities. But director Julian Schnabel distinguishes himself and the film by shooting the first act solely from Babuy’s perspective. We see everything Bauby sees through his one good eye from the moment he comes out of his coma. What follows is confusing disorienting and taxing. And darkly humorous as evidenced by Bauby’s admiration of his females nurses. Schnabel’s approach though works to dramatic effect because we receive a greater understanding and appreciation of what Bauby’s experiencing. Stay the course and you will be rewarded for your patience. Once Bauby comes to terms with his fate and refuses to spend the rest of his days wallowing in self pity Schnabel finally turns his camera on Bauby to reveal his post-stroke physical appearance. It’s a quiet but ingenious way for us to accept Bauby as he accepts himself. Schnabel then concentrates on Bauby’s Herculean effort to dictate his autobiography which is occasionally interrupted by poignant flights of fantasy (it’s not hard to guess what the diving bell and the butterfly symbolize). Equal amounts of joy and regret are be found in Bauby’s reminiscing but Schnabel never tries to romanticize his subject or ignore to his past transgressions. Diving Bell doesn’t set to turn a flawed man into a hero but Bauby’s will and determination ultimately reinforces the notion that anything’s possible if you set your mind to it.
A complete list of 44th Annual Grammy Award winners, announced Wednesday night:
Record of the Year: Walk On, U2
Rap Album: Stankonia, OutKast
Song of the Year: "Fallin'," Alicia Keys
Album of the Year: O Brother, Where Art Thou? soundtrack, Various Artists
Rock Performance By A Duo Or Group With Vocal: "Elevation," U2
New Artist: Alicia Keys
Country Collaboration with Vocals: "I Am a Man of Constant Sorrow," Dan Tyminski, Harley Allen and Pat Enright (The Soggy Bottom Boys), from the O Brother, Where Art Thou? soundtrack
Female Pop Vocal Performance: "I'm Like a Bird," Nelly Furtado
R&B Album: Songs in A Minor, Alicia Keys
Rock Song: "Drops of Jupiter," Charlie Colin, Rob Hotchkiss, Pat Monahan, Jimmy Stafford and Scott Underwood (Train)
Pop Collaboration with Vocals: "Lady Marmalade," Christina Aguilera, Lil' Kim, Mya and Pink
Pop Performance by a Duo or Group with Vocal: "Stuck in a Moment You Can't Get Out Of," U2
Rock Album: "All That You Can't Leave Behind," U2
Male Pop Vocal Performance: "Don't Let Me Be Lonely Tonight," James Taylor
Pop Instrumental Performance: "Reptile," Eric Clapton
Dance Recording: "All For You," Janet Jackson
Pop Instrumental Album: No Substitutions--Live in Osaka, Larry Carlton and Steve Lukather
Pop Vocal Album: Lovers Rock, Sade
Traditional Pop Vocal Album: Songs I Heard, Harry Connick Jr.
Female Rock Vocal Performance: "Get Right With God," Lucinda Williams
Male Rock Vocal Performance: "Dig In," Lenny Kravitz
Hard Rock Vocal: "Crawling," Linkin Park
Metal Performance: "Schism," Tool
Rock Instrumental Performance: "Dirty Mind," Jeff Beck
Alternative Music Album: Parachutes, Coldplay
Female R&B Vocal Performance: "Fallin'," Alicia Keys
Male R&B Vocal Performance: "U Remind Me," Usher
R&B Performance by a Duo or Group With Vocal: "Survivor," Destiny's Child
R&B Song: "Fallin'," Alicia Keys (Alicia Keys)
Traditional R&B Album: "At Last," Gladys Knight
Rap Solo Performance: "Get Ur Freak On," Missy "Misdemeanor" Elliott
Rap Performance by a Duo or Group: "Ms. Jackson," OutKast
Rap/Sung Collaboration: "Let Me Blow Ya Mind," Eve Featuring Gwen Stefani
Female Country Vocal Performance: "Shine," Dolly Parton
Male Country Vocal Performance: "O Death," Ralph Stanley, from the O Brother, Where Art Thou? soundtrack
Country Performance by a Duo or Group With Vocal: "The Lucky One," Alison Krauss + Union Station
Country Instrumental Performance: "Foggy Mountain Breakdown," Earl Scruggs, Glen Duncan, Randy Scruggs, Steve Martin, Vince Gill, Marty Stuart, Gary Scruggs, Albert Lee, Paul Shaffer, Jerry Douglas and Leon Russell
Country Song: "The Lucky One," Robert Lee Castleman (Alison Krauss + Union Station)
Country Album: Timeless--Hank Williams Tribute, Various Artists
Bluegrass Album: New Favorite, Alison Krauss + Union Station
Contemporary Jazz Album: M2, Marcus Miller
Jazz Vocal Album: The Calling, Dianne Reeves
Jazz Instrumental Solo: "Chan's Song," Michael Brecker
Jazz Instrumental Album: This Is What I Do, Sonny Rollins
Large Jazz Ensemble Album: Homage To Count Basie, Bob Mintzer Big Band
Latin Jazz Album: Nocturne, Charlie Haden
Rock Gospel Album: Solo, DC Talk
Pop/Contemporary Gospel Album: CeCe Winans, CeCe Winans
Southern, Country or Bluegrass Album: Bill & Gloria Gaither Present A Billy Graham Music Homecoming, Bill and Gloria Gaither and The Homecoming Friends
Traditional Soul Gospel Album: Spirit of the Century, The Blind Boys of Alabama
Contemporary Soul Gospel Album: The Experience, Yolanda Adams
Gospel Choir or Chorus Album: Love Is Live!, LFT Church Choir, Hezekiah Walker, choir director
Latin Pop Album: La Musica De Baldemar Huerta, Freddy Fender
Latin Rock/Alternative Album: Embrace the Chaos, Ozomatli
Traditional Tropical Latin Album: Dejame Entrar, Carlos Vives
Salsa Album: Encore, Robert Blades
Merengue Album: Yo Por Ti, Olga Tanon
Mexican/Mexican-American Album: En Vivo ... El Hombre y Su Musica, Ramon Ayala y Sus Bravos del Norte
Tejano Album: Nadie Como Tu, Solido
Traditional Blues Album: Do You Get the Blues?, Jimmie Vaughan
Contemporary Blues Album: Nothing Personal, Delbert McClinton
Traditional Folk Album: Down From the Mountain, Various Artists
Contemporary Folk Album: Love and Theft, Bob Dylan
Native American Music Album: Bless the People--Harmonized Peyote Songs, Verdell Primeaux and Johnny Mike
Reggae Album: Halfway Tree, Damian Marley
World Music Album: Full Circle/Carnegie Hall 2000, Ravi Shankar
Polka Album: Gone Polka, Jimmy Sturr
Musical Album for Children: Elmo and the Orchestra, Sesame Street Characters
Spoken Word Album for Children: Mama Don't Allow, Tom Chapin
Spoken Word Album: Q: The Autobiography of Quincy Jones, Quincy Jones
Spoken Comedy Album: Napalm and Silly Putty, George Carlin
Musical Show Album: The Producers, Original Broadway Cast with Nathan Lane and Matthew Broderick, lyricist and composer Mel Brooks
Compilation Soundtrack Album For a Motion Picture, Television or other Visual Media: O Brother, Where Art Thou?, Various Artists
Score Soundtrack Album for a Motion Picture, Television or other Visual Media: Crouching Tiger, Hidden Dragon, composer Tan Dun
Song Written for a Motion Picture, Television or Other Visual Media: "Boss of Me," (They Might Be Giants from Malcolm in the Middle), songwriters They Might Be Giants
Instrumental Composition: "Cast Away (End Credits)," Alan Silvestri (Alan Silvestri)
Instrumental Arrangement: "Claude Debussy 'Doctor Gradus Ad Parnassum' from Children's Corner," Bela Fleck and Edgar Meyer (Bela Fleck with Joshua Bell and Gary Hoffmann)
Instrumental Arrangement Accompanying Vocalist(s): "Drops of Jupiter," Paul Buckmaster (Train)
Recording Package: "Amnesiac (Special Limited Edition)" (Radiohead)
Boxed Recording Package: "Brain in a Box--The Science Fiction Collection," (Various Artists)
Album Notes: (tie) Richard Pryor ... And It's Deep Too! The Complete Warner Bros. Recordings (1968-1992), (Richard Pryor); Arhoolie Records 40th Anniversary Collection: 1960-2000 The Journey Of Chris Strachwitz, (Various Artists)
Historical Album: Lady Day: The Complete Billie Holiday on Columbia 1933-1944, (Billie Holiday)
Engineered Album, Non-Classical: The Look of Love, (Diana Krall)
Producer of the Year, Non-Classical: T Bone Burnett
Remixed of the Year, Non-Classical: Deep Dish, "Thank You (Deep Dish Vocal Remix)" (Dido)
Engineered Album, Classical: Bernstein (Arr. Brohn & Corigliano): West Side Story Suite (Lonely Town; Make Our Garden Grow, Etc.) (Joshua Bell)
Producer Of The Year, Classical: Manfred Eicher
Classical Album: Berlioz: Les Troyens, James Mallinson, producer
Orchestral Performance: "Boulez Conducts Varese (Ameriques; Arcana; Deserts; Ionisation)," Pierre Boulez (Chicago Sym. Orch.)
Opera Recording: "Berlioz: Les Troyens," Sir Colin Davis; Michelle De Young, Ben Heppner, Petra Lang, Peter Mattei, Stephen Milling, Sara Mingardo, Kenneth Tarver; James Mallinson, producer (Various Artists; London Sym. Orch.)
Choral Performance Award: "Bach: St. Matthew Passion," Nikolaus Harnoncourt (Arnold Schoenberg Chamber Orch. and Wiener Sangerknaben; Concentus Musicus Wien)
Instrumental Soloist(s) Performance: "Strauss Wind Concertos (Horn Concerto; Oboe Concerto, etc.)," Dale Clevenger, horn; Larry Combs, clarinet; Alex Klein, oboe; David McGill, bassoon; Daniel Barenboim, piano/conductor (Chicago Sym. Orch.)
Instrumental Soloist Performance (without Orchestra): "Britten Cello Suites (1-3)," Truls Mork, cello
Chamber Music Performance: "Haydn: The Complete String Quartets," The Angeles String Quartet
Small Ensemble Performance (with or without Conductor): "After Mozart (Raskatov, Silvestrov, Schnittke, Etc.)," Kremerata Baltica; Gidon Kremer, violin
Classical Vocal Performance: "Dreams & Fables--Gluck Italian Arias (Tremo Fra' Dubbi Miei; Di Questa Cetra in Seno, etc.)," Cecilia Bartoli, mezzo soprano
Classical Contemporary Composition: "Rouse: Concert De Gaudi for Guitar and Orch.," Christopher Rouse, composer
Classical Crossover Album: Perpetual Motion (Scarlatti, Bach, Debussy, Chopin, etc.) Bela Fleck, banjo (Joshua Bell, violin; Evelyn Glennie, marimba; Gary Hoffman, cello; Edgar Meyer, bass and piano; Chris Thile, mandolin; John Williams, guitar)
Short Form Music Video: "Weapon of Choice," Fatboy Slim featuring Bootsy Collins
Long Form Music Video: "Recording the Producers--A Musical Romp With Mel Brooks," Mel Brooks (with Various Artists including Nathan Lane and Matthew Broderick)
New Age Album: A Day Without Rain, Enya