After giving us their list of the big guys yesterday, the Directors’ Guild filled out the remaining nominations today with their top TV directors. For the most part, all the expected parties are present (Mad Men, Lost, Modern Family, and Glee season one - back when it was still fantastic), with a few surprises like the 30 Rock “Live Show” episode – really? Of course, it should come as no surprise that HBO once again dominates the list of nominees (they have a whole category to themselves) and AMC has a decent showing considering it only has a handful of programming out there.
Along with the already announced best feature nominations, these lucky directors will find out their fates at the 63rd Annual DGA Awards Dinner on Jan. 29 in Hollywood.
And the nominees are…
Movies for Television and Mini-Series
• Mick Jackson, Temple Grandin (HBO)
• Barry Levinson, You Don’t Know Jack (HBO)
• David Nutter and Jeremy Podeswa, The Pacific, “Basilone” (HBO)
• Jeremy Podeswa, The Pacific, “Home” (HBO)
• Tim Van Patten, The Pacific, “Okinawa” (HBO)
• Jack Bender, Lost, “The End, Part 1 & 2” (ABC)
• Allen Coulter, Boardwalk Empire, “Paris Green” (HBO)
• Frank Darabont, The Walking Dead, “Days Gone Bye” (Pilot) (AMC)
• Jennifer Getzinger, Mad Men, “The Suitcase” (AMC)
• Martin Scorsese, Boardwalk Empire, “Boardwalk Empire” (HBO)
• Steve Levitan, Modern Family, “Hawaii” (ABC)
• Beth McCarthy Miller, 30 Rock, “Live Show” (NBC)
• Ryan Murphy, Glee, “The Power of Madonna” (FOX)
• David Nutter, Entourage, “Lose Yourself” (HBO)
• Michael Spiller, Modern Family, “Halloween” (ABC)
• Don Roy King, Saturday Night Live With Betty White (NBC)
• Linda Mendoza, Paul McCartney: The Library of Congress Gershwin Prize for Popular Song in Performance at The White House (PBS)
• John C. Moffitt, Bill Maher “…But I’m Not Wrong” (HBO)
• Chuck O’Neill, Rally to Restore Sanity and/or Fear (Comedy Central)
• Glenn Weiss, 64th Annual Tony Awards (CBS)
• Hisham Abed, The Hills, “Episode #601” (MTV)
• Eyten Keller, The Next Iron Chef, “Episode #301” (Food Network)
• Bryan O’Donnell, Private Chefs of Beverly Hills: Challah Back (Food Network)
• Brian Smith, Master Chef, “Episode #103” (FOX)
• Bertram Van Munster, The Amazing Race, “I Think We’re Fighting The Germans, Right?” (CBS)
For the complete list, including Daytime Serials and Commercial directors, check out the link below.
Source: Hollywood Reporter
The story of the late great Johnny Cash depicted in Walk the Line is not quite all encompassing. The film dramatizes just one moment in Cash's life: his tumultuous 20s and rise to fame. The young Cash (Joaquin Phoenix) married and straight out of the army struggles with his music finally finding his patented blend of country blues and rock music. Haunted by a troubled childhood Cash sings songs about death love treachery and sin--and shoots straight to the top of the charts. On tour he also meets and falls for his future wife June Carter (Reese Witherspoon) whose refusal to meddle with a married man only further fuels the fire and contributes to his eventual drug addiction. Their cat-and-mouse love story provides the film’s core but unfortunately can’t quite overcome Walk the Line’s formulaic nature. Biopics are generally good to actors. Phoenix and Witherspoon could easily each walk away with Oscar statuettes for turning in two of the most jaw-dropping spellbinding performances since well Jamie Foxx in Ray. Neither actor had any musical background whatsoever but they both underwent painstaking transformations for the sake of authenticity doing all of their own singing as well as guitar-playing for Phoenix. The actor's performance is purely raw and visceral; his vulnerability is aptly palpable at first but then he becomes the Cash with the unflinching swagger. Witherspoon's Carter is Cash's temptress and she'll be yours too by movie's end. She eerily reincarnates Carter as if she was born to play the part. If Walk the Line is the ultimate actor's canvas then Phoenix and Witherspoon make priceless art-and music-together. While good for the actors biopics can prove to be difficult for the director. It’s hard to highlight a person’s life without it coming off like a TV movie of the week. Unfortunately director James Mangold (Copland) plays it safe with Walk the Line. The duets between Johnny and June on stage are about the only electrifying moments of the film. The rest is pretty stereotypical. And it isn’t because the film only focuses on certain years of Cash's life. It's simply not possible to fit a lifetime into the short duration of a film. The problem instead is that Mangold's presentation of Cash's life would lead one to believe that Cash actually exorcised his demons. But in reality his lifelong demons are what endeared him to the layperson. There was nothing cut and dry about the Cash story--and adding a little grit would have given Walk the Line the edge it needed.
Supermom Claire (Michelle Pfeiffer) and her geneticist husband Norman (Harrison Ford) are adapting to their only daughter's departure to college when Claire begins sensing an unearthly presence in the couple's lakeside Vermont dream home. Is she losing her marbles or is that the spirit of a beautiful young woman she keeps glimpsing? To say any more (as the too-explicit ad campaign does) would spoil some delicious twists.
The toplining Ford is his usual solid self in a role that plays cleverly on his familiar persona but the picture is Pfeiffer's from beginning to end. She delivers one of her most pleasing performances nicely disarming audience doubts about the story's supernatural elements with some judicious eye-rolling and embarrassed frowning -- her character is so painfully aware that what she's saying sounds crazy how can we possibly doubt her? Among the low-key supporting cast Joe Morton ("Terminator 2") stands out as an amiably down-to-earth psychiatrist.
Robert Zemeckis ("Forrest Gump") takes Clark Gregg's highly derivative haunted house script and pours on the Hitchcockian visual flourishes unapologetically pilfering from the Master's "Rear Window" and "Psycho " among others. His extended homage results in scene after scene of almost unbearable tension as the audience waits for the next shock. There's some clunky storytelling in the first section but the all-suspense second half more than makes up for it with some classic work including what seems destined to go down in movie history as "the bathtub scene."