Saturday was a big day for the TV world as the 2012 Creative Emmys took place. Hollywood.com was both backstage and on the carpet, bringing you the scoop direct from the source. HBO and its epic hit Game of Thrones were the night's biggest winners, with the network taking home 17 statues — six of them for GoT. CBS wasn't far behind with 13 wins, followed by PBS with 11. Frozen Planet, Great Expectations, and Saturday Night Live each took home four awards, resulting in a three-way-tie for second place after Game of Thrones. See below for the list of winners:
Outstanding Casting for a Drama Series: Junie Lowry Johnson, Libby Goldstein, Judy Henderson, Craig Fincannon, Lisa Mae Fincannon for Homeland
Outstanding Casting for a Miniseries, Movie, or a Special: David Rubin, Richard Hicks, Pat Moran, Kathleen Chopin for Game Change
Outstanding Casting for a Comedy Series: Jennifer Euston for Girls
Outstanding Guest Actress in a Comedy Series: Kathy Bates for Two and A Half Men
Outstanding Prosthetic Makeup for a Series, Miniseries, Movie, or a Special: Greg Nicotero, Jake Garber, Andy Schoneberg, Kevin Wasner, Gino Crognale, Carey Jonse, Garrett Immel for The Walking Dead
Outstanding Makeup for a Miniseries or a Movie (Non-Prosthetic): Mario Michisanti, Francesca Tampieri for Hatfields & McCoys
Outstanding Makeup for a Single-Camera Series (Non-Prosthetic): Paul Engelen, Melissa Lackersteen for Game of Thrones
Outstanding Makeup for a Multi-Camera Series or Special (Non-Prosthetic): Zena Shteysel, Angela Moos, Patti Ramsey Bortoli, Barbara Fonte, Sarah Woolf, Nadege Schoenfeld for Dancing With the Stars
Outstanding Costumes for a Series: Michele Clapton, Alexander Fordham, Chloe Aubry for Game of Thrones
Outstanding Costumes for a Miniseries, Movie or a Special: Annie Symons, Yvonne Duckett for Great Expectations
Outstanding Hairstyling for a Miniseries or a Movie: Monte C. Haught, Samantha Wade, Melanie Verkins, Natalie Driscoll, Michelle Ceglia for American Horror Story
Outstanding Hairstyling for a Multi-Camera Series or Special: Bettie O. Rogers, Jodi Mancuso, Inga Thrasher, Jennifer Stauffer, Cara Hannah Sullivan, Christal Schanes for Saturday Night Live
Outstanding Hairstyling for a Single-Camera Series: Anne "Nosh" Oldham, Christine Greenwood for Downton Abbey
Outstanding Guest Actor in a Drama Series: Jeremy Davies for Justified
Outstanding Choreography: Joshua Bergasse for Smash ("National Pastime", "Let's Be Bad", "Never Met A Wolf")
Outstanding Music Direction: Rob Berman, Rob Mathes for The Kennedy Center Honors
Outstanding Music Composition for a Series (Original Dramatic Score): John Lunn for Downton Abbey
Outstanding Music Composition for a Miniseries, Movie, or a Special (Original Dramatic Score): Javier Navarrete for Hemingway & Gellhorn
Outstanding Original Music and Lyrics: Adam Schlesinger, David Javerbaum for the 65th Annual Tony Awards ("It's Not Just for Gays Anymore")
Outstanding Art Direction for a Multi-Camera Series: Glenda Rovello, Amy Feldman for 2 Broke Girls ("And The Rich People Problems", "And The Reality Check", And The Pop Up Sale")
Outstanding Art Direction for Variety or Nonfiction Programming: Brian Stonestreet, Alana Billingsley, Matt Steinbrenner for The 54th Annual Grammy Awards, and Steve Bass, Seth Easter for The 65th Annual Tony Awards
Outstanding Art Direction for a Miniseries or Movie: David Roger, Paul Ghirardani, Jo Kornstein for Great Expectations
Outstanding Art Direction for a Single-Camera Series: Bill Groom, Adam Scher, Carol Silverman for Boardwalk Empire, and Gemma Jackson, Frank Walsh, Tina Jones for Game of Thrones
Outstanding Single-Camera Picture Editing for a Drama Series: Jordan Goldman, David Latham for Homeland
Outstanding Single-Camera Picture Editing for a Comedy Series: Steven A. Rasch for Curb Your Enthusiasm ("Palestinian Chicken")
Outstanding Multi-Camera Picture Editing for a Comedy Series: Sue Federman for How I Met Your Mother ("Trilogy Time")
Outstanding Single-Camera Picture Editing for a Miniseries or a Movie: Don Cassidy for Hatfields & McCoys - Part 2
Outstanding Picture Editing for Short-Form Segments and Variety Specials: Bill DeRonde, Chris Lovett, Mark Stepp, Pi Ware, John Zimmer, Ben Folts for 2012 Rock and Roll Hall of Fame Induction Ceremony
Outstanding Picture Editing for Nonfiction Programming: Andy Netley, Sharon Gillooly for Frozen Planet ("Ends of the Earth")
Outstanding Picture Editing for Reality Programming: Josh Earl, Alex Durham for Deadliest Catch ("I Don't Wanna Die")
Outstanding Animated Program: Bob Schooley, Mark McCorkle, Bret Haaland, Nick Filippi, Chris Neuhahn, Ant Ward, Andrew Heubner, David Knott, Shaun Cashman, Steve Loter, Christo Stamboliev for The Penguins of Madagascar: The Return of the Revenge of Dr. Blowhole
Outstanding Short-Format Animated Program: Brian A. Miller, Jennifer Pelphrey, Curtis Lelash, Rob Sorcher, JG Quintel, Mike Roth, Janet Dimon, Matt Price, Jack Thomas, John Infantino, Robert Alvarez for Regular Show ("Eggscellent")
Outstanding Voice-Over Performance: Maurice LaMarche for Futurama
Syd Cassyd Founders Award: Dick Askin
Governors Award: Dan Savage, Terry Miller for "It Gets Better"
Outstanding Special Visual Effects: Rainer Gombos, Juri Stanossek, Sven Martin, Steve Kullback, Jan Fielder, Chris Stenner, Tobias Mannewitz, Thilo Ewers, Adam Chazen for Game of Thrones ("Valar Morghulis")
Outstanding Special Visual Effects in a Supporting Role: Dave Taritero, Robert Stromberg, Richard Friedlander, Eran Dinur, David W. Reynolds, Matthew Conner, Austin Meyers, Jonathan Dorfman, Steve Kirshoff for Boardwalk Empire ("Georgia Peaches")
Outstanding Stunt Coordination: Peewee Piemonte for Southland
Outstanding Main Title Design: Nic Benns, Rodi Kaya, Tom Bromwich for Great Expectations
Outstanding Original Main Title Theme Music: Paul Englishby for Page Eight
Outstanding Commercial: "Best Job" (Procter & Gamble Corporate Brand) – Wieden + Kennedy, Ad Agency; Anonymous Content, Production Company
Outstanding Sound Mixing For Nonfiction Programming: Tom Paul for Paul Simon’s Graceland Journey: Under African Skies
Outstanding Sound Mixing for a Comedy or Drama Series (One Hour): Matthew Waters, Onnalee Blank, Ronan Hill, Mervyn Moore for Game Of Thrones ("Blackwater")
Outstanding Sound Mixing for a Miniseries or a Movie: Stanomir Dragos, Christian Cooke, Brad Zoern for Hatfields & McCoys — Part 1
Outstanding Sound Mixing for a Comedy or Drama Series (Half-Hour) and Animation: Stephen A. Tibbo, Dean Okrand, Brian R. Harman for Modern Family ("Dude Ranch")
Outstanding Sound Mixing for a Variety Series or Special: Paul Sandweiss, Tommy Vicari, Pablo Munguia, Kristian Pedregon for 84th Annual Academy Awards
Outstanding Sound Editing for a Miniseries, Movie, or a Special: Douglas Murray, Peter Horner, Kim Foscato, Steve Boeddeker, Casey Langfelder, Andrea Gard, Pat Jackson, Daniel Laurie, Goro Koyama, Andy Malcolm, Joanie Diener for Hemingway & Gellhorn
Outstanding Sound Editing for Nonfiction Programming (Single or Multi-Camera): Kate Hopkins, Tim Owens, Paul Fisher for Frozen Planet — Ends of the Earth
Outstanding Sound Editing For a Series: Peter Brown, Kira Roessler, Tim Hands, Paul Aulicino, Stephen P. Robinson, Vanessa Lapato, Brett Voss, James Moriana, Jeffrey Wilhoit, David Klotz for Game of Thrones ("Blackwater")
Outstanding Cinematography for a Multi-Camera Series: Steven V. Silver for Two and a Half Men ("Sips, Sonnets, and Sodomy")
Outstanding Cinematography for a Single-Camera Series: Jonathan Freeman for Boardwalk Empire ("21")
Outstanding Cinematography for a Miniseries or Movie: Florian Hoffmeister for Great Expectations
Outstanding Cinematography for Reality Programming: The Deadliest Catch team ("I Don't Want To Die")
Outstanding Cinematography for Nonfiction Programming: The Frozen Planet team ("Ends of the Earth")
Outstanding Technical Direction, Camerawork, Video Control for a Series: Steven Cimino, John Pinto, Paul J. Cangialosi, Len Weschler, Barry Frischer, Eric A. Einstein, Susan Noll, Frank Grisanti for Saturday Night Live (Host Mick Jagger)
Outstanding Technical Direction, Camerawork, Video Control for a Miniseries, Movie or Special: Steven Cimino, Paul J. Cangialosi, John Pinto, Chuck Goslin, Barry Frischer, Jeff Latonero, Len Weschler, Susan Noll, J.M. Hurley for Memphis (Great Performances)
Outstanding Lighting Design/Lighting Direction for a Variety Series: Robert Barnhart, Matt Firestone, Pete Radice, Patrick Boozer for So You Think You Can Dance (Season Eight Finale)
Outstanding Lighting Design/Lighting Direction for a Variety Special: Robert A. Dickinson, Jon Kusner, Travis Hagenbuch, Andy O'Reilly for The 54th Annual Grammy Awards
Outstanding Guest Actor in a Comedy Series: Jimmy Fallon for Saturday Night Live
Outstanding Directing for Nonfiction Programming: Martin Scorsese for George Harrison: Living in the Material World
Outstanding Writing for Nonfiction Programming: Geoffrey C. Ward for Prohibition — A Nation of Hypocrites
Exceptional Merit in Documentary Filmmaking: Connie Field, Lois Vossen, Sally Jo Fifer for Have You Heard From Johannesburg (Independent Lens)
Outstanding Nonfiction Special: Margaret Bodde, Emma Tillinger Koskoff, Blair Foster, Olivia Harrison, Nigel Sinclair, Martin Scorsese for George Harrison: Living in the Material World
Outstanding Nonfiction Series: Alastair Fothergill, Susan Winslow, Vanessa Berlowitz for Frozen Planet
Outstanding Directing for a Variety Series: Don Roy King for Saturday Night Live (Host Mick Jagger)
Outstanding Writing for a Variety Series: Tim Carvell, Rory Albanese, Kevin Bleyer, Rich Blomquist, Steve Bodow, Wyatt Cenac, Hallie Haglund, JR Havlan, Elliott Kalan, Dan McCoy, Jo Miller, John Oliver, Zhubin Parang, Daniel Radosh, Jason Ross, Jon Stewart for The Daily Show With Jon Stewart
Outstanding Variety Special: George Stevens, Jr., Michael M. Stevens for The Kennedy Center Honors
Outstanding Special Class Programs: Ricky Kirshner, Glenn Weiss, Neil Patrick Harris for 65th Annual Tony Awards
Outstanding Special Class: Short-Format Live-Action Entertainment Programs: Rob Corddry, Jonathan Stern, David Wain, Keith Crofford, Nick Weidenfeld, Rich Rosenthal for Children's Hospital
Outstanding Special-Class: Short-Format Nonfiction Programs: Michael M. Stevens for DGA Moments In Time
Outstanding Creative Achievement in Interactive Media — Enhancement to a Television Program or Series: John Wooden, Aaron Bleyaert, Conan O'Brien, Timothy Campbell for The Team Coco Sync App
Outstanding Creative Achievement in Interactive Media — Original Interactive Television Programming: Fourth Wall Studios for Dirty Work
Outstanding Children's Program: Ben Montanio, Vince Cheung, Todd J. Greenwald, Gigi McCreery, Perry Rein, Richard Goodman, Greg A. Hampson for Wizards of Waverly Place
Outstanding Children's Nonfiction, Reality or Reality-Competition Program: Carol-lynn Parente, Melissa Dino, Mason Rather, Kevin Clash for Sesame Street: Growing Hope Against Hunger
Outstanding Reality Program: Eli Holzman, Stephen Lambert, Chris Carlson, Scott Cooper, Sandi Johnson, Rachelle Mendez, Lety Quintanar, Rebekah Fry for Undercover Boss
Outstanding Guest Actress in a Drama Series: Martha Plimpton for The Good Wife
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Enigmatic and deliberate Tinker Tailor Soldier Spy makes no reservations while unraveling its heady spy story for better or worse. The film based on the bestselling novel by John Le Carre is purposefully perplexing effectively mirroring the central character George Smiley's (Gary Oldman) own mind-bending investigation of the British MI6's mole problem. But the slow burn pacing clinical shooting style and air of intrigue only go so far—Tinker Tailor Soldier Spy sports an incredible cast that can't dramatically translate the movie's impenetrable narrative. Almost from the get go the movie collapses under its own weight.
After a botched mission in Hungary that saw his colleague Jim (Mark Strong) gunned down in the streets Smiley and his boss Control (John Hurt) are released from the "Circus" (codename for England's Secret Intelligence Service). But soon after Smiley is brought back on board as an impartial observer tasked to uncover the possible infiltration of the organization. The former agent already dealing with the crippling of his own marriage attempts to sift through the history and current goings on of the Circus narrowing his hunt down to four colleagues: Percy aka "Tinker" (Toby Jones) Bill aka "Tailor" (Colin Firth) Roy aka "Soldier" (Ciaran Hinds) and Toy aka "Poor Man" (David Dencik). Working with Peter (Benedict Cumberbatch) a conflicted younger member of the service and Ricki (Tom Hardy) a rogue agent who has information of his own Smiley slowly uncovers the muddled truth—occasionally breaking in to his own work place and crossing his own friends to do so.
Describing Tinker Tailor Soldier Spy as dense doesn't seem complicated enough. The first hour of the monster mystery moves at a sloth's pace trickling out information like the tedious drips of a leaky faucet. The talent on display is undeniable but the characters Smiley included are so cold that a connection can never be made. TTSS sporadically jumps around from past to present timelines without any indication: a tactic that proves especially confusing when scenes play out in reoccurring locations. It's not until halfway through that the movie decides to kick into high gear Smiley's search for a culprit finally becoming clear enough to thrill. A film that takes its time is one thing but Tinker Tailor Soldier Spy does so without any edge or hook.
What the movie lacks in coherency it makes up for in style and thespian gravitas. Director Tomas Alfredson has assembled some of the finest British performers working today and they turn the script's inaccessible spy jargon into poetry. Firth stands out as the group's suave slimeball a departure from his usual nice guy roles. Hardy assures us he's the next big thing once again as the agency's resident moppet a lover who breaks down after a romantic fling uncovers horrifying truth. Oldman is given the most difficult task of the bunch turning the reserved contemplative Smiley into a real human. He half succeeds—his observational slant in the beginning feels like an extension of the movie's bigger problems but once gets going in the second half of the film he's quite a bit of fun.
Alfredson constructs Tinker Tailor Soldier Spy like a cinematic architect each frame dripping with perfectly kitschy '70s production design and camera angles that make the spine tingle. He creates paranoia through framing similar to the Coppola's terrifying The Conversation but unlike that film TTSS doesn't have the characters or story to match. The movie strives to withhold information and succeeds—too much so. Tinker Tailor Soldier Spy wants us to solve a mystery with George Smiley but it never clues us in to exactly why we should want to.
This weekend at the box office, moviegoers finally got to work out their frustrations.
As expected, the new comedy Anger Management beat the daylights out of the competition with a whooping $44.5 million,* making it the highest opener of 2003 (topping Daredevil, which opened in February with $40.3 million).
"The comedy genre this year is just incapable of burning out," Paul Dergarabedian, president of box office tracker Exhibitor Relations told the Associated Press. "People are looking to blow off steam. What better way than seeing a movie that combines Jack Nicholson and Adam Sandler?"
And Management was apparently all moviegoers wanted to see this weekend, as the rest of the list paled miserably in comparison. Last week's top dog Phone Booth, came in at No.2 with a measly $7.5 million, while the teenybopper What a Girl Wants took third with $6.7 million.
Rounding out the Top Five were the enduring comedy Bringing Down the House, which held the fourth spot with $4.6 million and the cop drama A Man Apart, which came in a No. 5 with $4.4 million. Horror newcomer House of 1,000 Corpses opened in seventh place with $3.4 million in limited theaters.
Even with Management's huge numbers, this weekend's box office only jumped five percent from last weekend. Still, the film helped revive a four-week slump, which is a good sign that things may finally be picking up.
THE TOP TEN
Sony Pictures' PG-13 Anger Management screamed its way to the top with an ESTIMATED $44.5 million in 3,551 theaters ($12,532 per theater).
The film's strong opening makes it the best April opener of all time, beating out The Scorpion King, which opened in 2002 at $36 million. It's also the best opening film for both its stars Jack Nicholson and Adam Sandler. Nicholson's best opening to date had been Batman, which hit theaters in 1989 and took in $40.5 million its first weekend, while Sandler's 1999 Big Daddy was his biggest at $41.5 million.
Management follows the exploits of a mild-mannered man who is mistakenly ordered into an anger management program to battle his inner demons--but it turns out the only real demon in his life is his unorthodox therapist.
Directed by Peter Segal, it stars Sandler, Nicholson, Marisa Tomei and John Turturro.
20th Century Fox's R-rated Phone Booth called in at No. 2 with an ESTIMATED $7.5 million, dropping 50 percent from its top spot last week. The thriller about a man trapped in a phone booth by a homicidal sniper played at 2,489 theaters ($3,023 per theater) and its cume is approximately $26.6 million.
Directed by Joel Schumacher, it stars Colin Farrell, Kiefer Sutherland and Forest Whitaker.
Slipping down a spot to third was Warner Bros.' PG-rated What a Girl Wants with an ESTIMATED $6.7 million (-41%) at 2,964 theaters (+ 8 theaters, $2,260 per theater). The Teen Beat comedy, which follows a young American girl who heads to London in hopes of meeting the father she's never known, a high-profile politician, has collected approximately $20.4 million thus far.
Directed by Dennie Gordon, it stars Amanda Bynes, Kelly Preston and Colin Firth.
Proving comedies are indeed the flavor of the year, Buena Vista's PG-13 Bringing Down the House moved up one place to fourth with an ESTIMATED $4.6 million (-45%) at 2,830 theaters (-80 theaters, $1,625 per theater). Now in its sixth week, the laffer's cume is approximately $117.7 million.
Directed by Adam Shankman, it stars Steve Martin and Queen Latifah.
New Line Cinema's R-rated A Man Apart dropped a few notches to fifth place with an ESTIMATED $4.4 million (-60%) at 2,495 theaters (+36 theaters, $1,784 per theater). The cop drama--about a U.S. narcotics officer who takes on a Tijuana drug cartel to get retribution for the murder of his wife--has taken in approximately $18.2 million so far.
Directed by F. Gary Gray, it stars Vin Diesel and Larenz Tate.
DreamWorks' PG-13 Head of State slid from No. 4 to No.6 with an ESTIMATED $4 million (-53%) at 2,256 theaters (+101 theaters, $1,773 per theater). Its cume is approximately $30.9 million.
Directed by and starring Chris Rock, the film also stars Bernie Mac, Lynn Whitfield, Robin Givens and Tamala Jones.
And for those horror fans--Lions Gate's R-rated House of 1,000 Corpses debuted in seventh place with an ESTIMATED $3.4 million at 595 theaters ($5,714 per theater).
Set in the 1970s, the film revolves around two young couples who take a misguided tour onto the back roads of America and are set upon by a bizarre family of psychotics. Murder, cannibalism and satanic rituals are just a few of the thousand horrors that await.
Director by heavy-metal singer Rob Zombie, it stars Karen Black, Michael J. Pollard, Bill Moseley and Chris Hardwick.
*Box office estimates provided by Exhibitor Relations, Inc.
Miramax Films' PG-13 Chicago held onto eighth place with an ESTIMATED $3.29 million (-36%) at 2,114 theaters (-281 theaters, $1,556 per theater). Now in its 16th week, Miramax's most profitable film has earned approximately $156.9 million.
Directed by Rob Marshall, it stars Renee Zellweger, Catherine Zeta-Jones and Richard Gere.
Taking a dive three spots to dig in at No. 9, ,Paramount Pictures' PG-13 The Core shoveled in an ESTIMATED $3.22 million (-48%) at 3,019 theaters ($1,068 per theater). The disaster thriller about saving the Earth by jumpstarting its core has made $25.6 million in three weeks.
Directed by Jon Amiel, it stars Hilary Swank, Aaron Eckhart, Delroy Lindo, Stanley Tucci, D.J. Qualls and Tcheky Karyo.
Also shaving off three spots to claim tenth place was Sony's R-rated Basic, which came in with an ESTIMATED $2.2 million (-59%) at 2,246 theaters (-630 theaters, $980 per theater). Its cume is approximately $23.8 million.
Directed by John McTiernan, it stars John Travolta, Samuel L. Jackson and Connie Nielsen.
Guess word of mouth counts for something. The critically acclaimed R-rated independent film Better Luck Tomorrow from Paramount Classics opened in 13 theaters with an ESTIMATED $398,489, averaging a very healthy $30,653 per theater.
The film plays on the story of straight-A, Asian-American teens in Southern California who, bored with their suburban lives, slide into petty crimes that lead to violence.
"These kids could be anybody," Van Toffler, MTV president told AP. "It's silly to underestimate the eclectic moviegoing tastes of our demographic. The cast doesn't have to look or feel like them for them to want to see it."
Directed by Justin Lin, it stars Parry Shen, Jason Tobin, John Cho and Karin Anna Cheung.
The Top 12 films this weekend grossed an ESTIMATED $ 86.9 million, up 5.76 percent from last week when they totaled $82.2 million. The Top 12 were also up 6.30 percent from last year when they totaled $81.7 million.
Last year, Paramount Pictures' R-rated Changing Lanes opened in the top spot with $17.1 million at 2,613 theaters ($6,555 per theaters). The Panic Room came in No.2 with $10.6 million at 3,119 theaters ($3,405 per theater) while Sony's The Sweetest Thing debuted in third with $9.4 million at 2,670 theaters ($3,532 per theater).