Singer Celine Dion has axed all her upcoming performances and postponed every work commitment indefinitely so she can take care of her sick husband. The My Heart Will Go On hitmaker cancelled a series of Las Vegas concerts over July and August (14) so she could recover from inflamed vocal cords.
She was expected to resume her residency at Caesar's Palace resort on Friday (15Aug14) but has now scrapped all her upcoming dates at the venue and her subsequent Asian tour.
Her husband and former manager Rene Angelil underwent surgery for throat cancer in December (13) and Dion has chosen to fully dedicate her time to helping him with ongoing health issues.
She tells People.com, "I want to devote every ounce of my strength and energy to my husband's healing, and to do so, it's important for me to dedicate this time to him and to our children. I also want to apologize to all my fans everywhere, for inconveniencing them, and I thank them so much for their love and support."
Dion was scheduled to perform in Las Vegas until the end of August (14) and would then resume her residency in December (14). She was expected to tour Japan and the Philippines in November (14).
The singer has three young children with Angelil - Rene-Charles, 13, and twins Eddy and Nelson, three.
Nelson Mandela's ex-wife Winnie Madikizela-Mandela is contesting the will of the late anti-apartheid hero in a bid to claim the country estate where he is buried. Relatives of the South African political icon have been bickering over his estate since his death in December (13), and Mandela's second wife is now insisting ownership of his country home should pass to her family.
Madikizela-Mandela, who married the civil rights activist in 1958 and divorced him in 1996, claims the property in Qunu should belong to her and her children because she bought it in 1989, during her then husband's imprisonment on Robben Island.
Her lawyer has addressed her claim in a letter to South Africa's Deputy Chief Justice Dikgang Moseneke.
Madikizela-Mandela was left nothing in her ex-husband's will and his $4.1 million (£2.4 million) estate is to be split between his family, the African National Congress party, former staff and a number of schools.
Mandela was laid to rest in Qunu in December with celebrities including Oprah Winfrey, Forest Whitaker and British royal Charles, Prince of Wales in attendance.
Johnny Cash's I Walk The Line has topped a new Rolling Stone magazine poll of the Greatest Country Songs of All Time. The 1956 tune tops Patsy Cline's 1961 classic Crazy and Hank Williams' I'm So Lonesome I Could Cry.
George Jones' He Stopped Loving Her Today and Blue Yodel No. 9 (Standin' on the Corner) by Jimmie Rodgers round out the top five.
Meanwhile, the modern country stars are represented by Taylor Swift, who just makes the top 25 at 24 with Mean.
The top 10 is:
1. I Walk The Line by Johnny Cash
2. Crazy by Patsy Cline
3. I'm So Lonesome I Could Cry by Hank Williams
4. He Stopped Loving Her Today by George Jones
5. Blue Yodel No. 9 (Standin' on the Corner) by Jimmie Rodgers
6. Stand by Your Man by Tammy Wynette
7. You Don't Know Me by Ray Charles
8. Mama Tried by Merle Haggard
9. Jolene by Dolly Parton
10. Mammas, Don't Let Your Babies Grow Up to Be Cowboys by Willie Nelson & Waylon Jennings.
Soul man Lionel Richie still has fond memories of shooting the iconic Usa For Africa We Are The World video in 1985, insisting he could write a book about the all-star get together. Richie co-wrote the charity anthem with Michael Jackson as a response to Band Aid's Do They Know It's Christmas? and he still chuckles about some of the anecdotes from the video shoot.
He tells Entertainment Weekly, "We were sitting there and we're doing Bob Dylan's part, and Bob turns to me and Michael and says, 'How do you want me to sing it?', and we all looked at each other like, 'What?' He said, 'How do you want me to sing it?'
"And Stevie (Wonder) said, 'There's a choice we're making...' in Bob's voice, and Bob says, 'Oh, OK, I got it!' Are you kidding me? Stevie had to show Bob!
"Or Stevie showing Ray (Charles) where the bathroom was. That was funny. It's like, 'I'll show you where it is, Ray. Follow me!' And Stevie took Ray by the hand and took him down the hall. And I kept thinking, 'What did we just see?'"
But, joking aside, the song and the video had a massive impact in Africa, where Richie has become a tribal king many times over.
He adds, "I am a member of every tribe in Africa... It's overwhelming, to the point where Nelson Mandela told me, 'You are now a member of every family and every tribe in Africa'. And he was right. I go there and I just must tell you, it's a welcome home. It's not like I'm a visitor. I'm home."
A new multi-million dollar TV epic is to chart the 60-year reign of British monarch Queen Elizabeth II. The Crown, which has a reported budget of $160 million (£100 million), will chart the Queen's life from her marriage to Philip, Duke of Edinburgh in 1947 to the present day.
The script for the 20-hour epic will be penned by Peter Morgan, the screenwriter behind 2006 film The Queen, with the assistance of director Stephen Daldry.
Casting officials are said to be looking for three actresses to play the monarch in different stages of her life.
A source tells Britain's Daily Mail, "There will be hundreds and hundreds of roles to be cast, from prime ministers to international leaders such as the U.S. presidents she has met. And probably Nelson Mandela will be in there, too... And don't forget Prince Philip - that's going to be a huge role for an actor, or more likely several. People will play Charles (Prince of Wales), Diana (Princess of Wales), Camilla (Duchess of Cornwall), William (Prince William), Kate (Catherine, Duchess of Cambridge)... the whole lot of them."
Bosses at web streaming service Netflix have reportedly secured the rights to premiere the show worldwide in 2016.
There are few things more powerful than the loss of somebody close to you. There are few concepts that can compete in the realms of emotional or psychological oomph, save perhaps for the long-awaited reunion with a loved one. TV knows this. It seems that television writers are keenly aware that killing off a beloved character or bringing someone back from the dead (either literally, or figuratively with a "they weren't really dead" move) is a surefire way to bring the audience to its knees. Is this fair play? Or is this all too easy — a cheap trick (kind of like the "uh-oh, someone's pregnant" trope) used on too many shows over the years to get viewers to commit to a series for at least a few more episodes?
Buffy the Vampire Slayer fans will remember that Sarah Michelle Gellar's character died twice throughout the series. In the Season 1 finale, the Master drowned her and she lay dead until Xander and Angel arrived, and Xander was able to resurrect her through CPR. But a more permanent death took place in the Season 5 finale. After her battle royale with Glory, Buffy made the ultimate sacrifice to save her sister and the world. This time she was really, really dead. In the Season 6 opener Willow, Tara, Xander and Anya brought her back to life with a spell; this was and was not the best idea ever.
So killing off characters, and bringing characters back is obviously not new to television — in fact, it's starting to feel a bit repetitious. Even on Buffy, it was all a little too convenient at times, but it made for a great plot! Especially when you consider the fact that Buffy came back "wrong" in Season Six and suffered throughout, unable to tell her friends that they had, in a way, ruined her by bringing her back to life. The nature of BtVS also called for this supernatural storyline, but if something like this takes place in a show that isn't partly based on fantasy, it can feel soap-y or trope-y.
The Good Wife fans and Scandal Gladiators were each dealt a blow recently via the loss of beloved characters Will Gardner and James Novak. Will's death on The Good Wife was an unbelievable shock and truly hit fans hard, but it was later explained when news broke that actor Josh Charles had asked to be written off the show. Of all the ways the writers could have written his exit (and they had about a year to do it), a courtroom shooting had to be the most dramatic. The death of a character like Will also opens up room for so much more to happen with the other characters. Does Diane become the new Will? Does Alicia totally lose her mind? There are so many possibilities! And, therefore, so many more reasons for viewers to keep watching, to vow to never miss an episode. It should be said though, that The Good Wife does an especially good job of doling out the drama in very realistic ways.
The loss of James Novak (played by Dan Bucatinsky) on Scandal was indeed a shock, and writers did some very fascinating stuff with the dialogue surrounding his death. But it could also be argued that this was another "too easy" move to get audiences all hyped up. Scandal may indeed be getting too dramatic for its own good: people keep getting killed off and we are constantly being introduced to characters who we thought were long gone or dead — namely Olivia Pope's parents Eli/Rowan and Maya Pope. Sometimes this works out smoothly (like when we found out Huck had a missing family in the "Seven Fifty-Two" episode), but it frequently crosses the line. Writers should tread carefully. Killing the beloved and raising the dead can bring in more viewers, but it can also alienate those of us who don't want new plot development to be too unrealistic. Shows like ABC's Revenge caught some backlash and lost the interest of many viewers during Season 2, partly in repsonse to so-called plot twists that were getting to be a bit too predictable.
And then we have ABC's new series, Resurrection. The entire premise is based on the idea of raising the dead and killing the beloved! Loved ones return to their familes after years and years of being presumed dead. Things, by definition, get all crazy. One has to wonder if these shows are playing on the most basic human emotions — most anyone will react strongly to seeing a parent embrace a child they thought drowned 32 years ago. It's akin to the idea that it's easier to make someone cry than it is to make them laugh. If writers can keep core audiences in tears (or on the brink of 'em), they have a better chance of keeping their audiences. But that doesn't make it good storytelling.
So in the end, perhaps we, the viewers, are partly (even largely) to blame. If these shows didn't bring on the drama, would we be as aggressively committed (even as we protest to too much drama)? We have to consider our own role in the decisions that are being made concerning our favorite shows. And if we ask for more unique storylines that aren't dependent on the old tricks of the trade, maybe fresher, more interesting material will develop.
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This post contains major spoilers for the most recent episode of The Good Wife.
If you've checked Twitter in the last 24 hours, you're probably aware of the fact that last night's episode of The Good Wife featured a twist so shocking that it caused friends and family you never knew were fans to come out of the woodwork and take to social media to discuss it. We are, of course, referring to the fact that Will Gardner (Josh Charles), died last night after being shot in the courtroom by his client. His unexpected death was not just shocking becuse neither fans nor his fellow characters could have seen it coming, but also becuase The Good Wife is not a particularly shocking television show.
Unlike Game of Thrones or House of Cards, which seem to find a way to make each episode more insane than the last, the drama on The Good Wife comes from either inter-personal conflict or the cases that Alicia Florrick and her colleagues at Lockhart Gardner take on. There are no battles or massacres, and rather than ending with a major character in mortal peril, the season-finale cliff-hangers usually center around Alicia starting her own law firm. Killing off a character with a stray gunshot is simply unheard of on this show.
Of course, The Good Wife isn't the first non-shocking show to feature a huge, plot-altering twist, and it certainly won't be the last. In honor of Will and his untimely demise, we've rounded up 10 of the most shocking television moments to be featured on realistic, straightforward television shows. Our condolences, Good Wife fans; you're not alone.
Brian Dies on Family GuyJust a few short months after the world managed to recover from the Red Wedding, Seth MacFarlane managed to bring the Internet to its knees when Brian Griffin, the sarcastic, alcoholic dog on Family Guy was killed after being hit by a car. Twitter was filled with threats about quitting the show if he wasn't brought back, websites scrambled over each other to interview MacFarlane and TV fans everywhere wondered how they missed the fact that people were not only still watching Family Guy, but could be emotionally invested in such a show. Of course, two weeks later, Brian was brought back to life, and everything settled back down to normal, but we shall always remember the time that a cartoon dog ruled the Internet.
Landry Murders Someone on Friday Night LightsThere are three things in this world that Friday Night Lights fans can unanimously agree on: Tim Riggins is insanely hot, the Taylors would be the best parents in the world, and the second season never, ever happened. That overwhelming denial is the result of everyone's favorite sidekick Landry Clarke killing a man who attacked Tyra, and then attempting to cover up the murder, a plot which even the writers agree was too insane for a show that specialized in quiet, realistic character development. Thankfully, the writer's strike resulted in the second season being cut short, and when the third season premiered, the plot had been all but retconned, and everyone continued on with their lives as if nothing strange had ever happened.
Sam Malone Reveals His Baldness on CheersOne of the things that made Cheers such a beloved television staple is the fact that watching it was like hanging out with a group of friends: everyone was relaxed, having fun, and attempting to guess when the perpetually will-they-or-won't-they couple would finally get together. Which is why the show's most shocking moment came when Sam revealed to Carla that his famously lush head of hair wasn't all his, and that, like Ted Danson, he was covering up his baldness with a toupee. Luckily, Danson and Sam are so charming that the world instantly forgave them of the deception, and instead went back to debating whether he should end up with Diane or Rebecca.
Taraji P. Henson Is Killed Off of Person of InterestDespite doing well in the ratings, Person of Interest has stayed under the radar since premiering in 2011. In fact, we're willing to bet most people didn't even know it's been on TV for that long. However, it properly entered the mainstream's consciousness when Detective Joss Carter, played by Taraji P. Henson, a fan favorite, was shot and killed in the line of duty. Suddenly, it seemed as if everyone was talking about Person of Interest, and you finally gave in and watched it with your parents the next time you had Sunday night dinner at their house.
Mr. Pamuk Dies in Lady Mary's Bed on Downton AbbeyLong before Downton Abbey turned into a full-blown soap opera and dispensed with most of the cast at regular intervals, the most shocking moment of the first season occurred when Lady Mary gave into her desires and spent the night with Mr. Pamuk, a handsome visiting diplomat, only for him to promptly roll over and die. Pamuk's death and the resulting cover-up was both surprising and hilarious, and is now likely looked back upon by disillusioned Downton Abbey fans with much fondness. Ah, the good old days.
Starburns Dies on CommunityFor all of the pillow-fort building, alternate timeline-jumping, and pop culture homages that make up Community, it has always managed to keep at least one foot in reality, even when the campus of Greendale is falling apart. Therefore, when Alex "Starburns" Osbourne died after the meth lab in his truck exploded, it was a genuinely shocking moment. It managed to cut through the insanity of Chang's military coup and the study group's latest bit in order to bring to light the genuine surprise and sadness that occurs whenever a friend or classmate suddenly dies. Don't worry, though; the gang incited a riot immediately afterwards, so everything went back to normal pretty quickly.
The Sound Guy Comforts Pam on The OfficeAlthough there are plenty of sitcoms on television that use a documentary-style of shooting, the production crews presumably filming everything are never acknowledged in any way. That is, until the episode of The Office where Pam revealed that not only were there real people behind those cameras and microphones, but she had become close with them over the years that they had been filming the staff at Dunder-Mifflin. The reveal of Brian, the boom-mic operator and his affection for Pam was enough to shock the show out of the rut it was in and allowed The Office to wrap up the show in an unexpected, emotional way. Plus, it kept fans engaged until the last episode, because they wanted to be sure that nothing would ever come between Jim and Pam.
Rayanne Sleeps with Jordan Catalano on My So-Called LifeMy So-Called Life has entered the Hall of Fame of teen dramas for being a smart, realistic show that dealt with the kind of issues that teenagers were actually going though. Issues like your best friend sleeping with the boy of your dreams, which Rayanne did towards the end of the show's run. Fans who had spent weeks watching Angela pine for Jordan were just as shocked and hurt as she was, and were torn between fury at Rayanne's betrayal, and understanding that nothing is more enticing that Jared Leto at his prime. Those cheekbones are definitely worth ruining a friendship over.
Marissa Shoots Trey on The O.C.Another classic of the teen drama genre, The O.C. was surprisingly down-to-earth considering it was a show about the obnoxious rich kids who lived in the most expensive part of California. That all changed, though, when Marissa Cooper (always the most dramatic person in Orange County) shot Ryan's brother, Trey, in order to protect Ryan. That shocking moment kicked off a full season of insanity, chronicling Marissa's downward spiral, which resulted in her own shocking exit a year later, and made it impossible to ever take an Imogen Heap song seriously ever again.
Zack Is the Serial Killer's Apprentice on BonesLike all crime procedurals, Bones has had its fair share of crazy, intense or scary episodes, but nothing came close to the reveal that Zack Addy, was working for the Gormogon, the cannibalistic serial killer the team had been hunting for months. Neither the fans nor the characters could have thought that shy, awkward, well-meaning Zack was capable of assisting a murder and blowing up a lab, but suddenly a beloved character was revealed to be the enemy. None of the twists that the writers have managed to come up with have ever topped this shock, though, and Bones has since gone back to being the show that everyone watched reruns of when they're sick.
For the bulk of every Rocky and Bullwinkle episode, moose and squirrel would engage in high concept escapades that satirized geopolitics, contemporary cinema, and the very fabrics of the human condition. With all of that to work with, there's no excuse for why the pair and their Soviet nemeses haven't gotten a decent movie adaptation. But the ingenious Mr. Peabody and his faithful boy Sherman are another story, intercut between Rocky and Bullwinkle segments to teach kids brief history lessons and toss in a nearly lethal dose of puns. Their stories and relationship were much simpler, which means that bringing their shtick to the big screen would entail a lot more invention — always risky when you're dealing with precious material.
For the most part, Mr. Peabody & Sherman handles the regeneration of its heroes aptly, allowing for emotionally substance in their unique father-son relationship and all the difficulties inherent therein. The story is no subtle metaphor for the difficulties surrounding gay adoption, with society decreeing that a dog, no matter how hyper-intelligent, cannot be a suitable father. The central plot has Peabody hosting a party for a disapproving child services agent and the parents of a young girl with whom 7-year-old Sherman had a schoolyard spat, all in order to prove himself a suitable dad. Of course, the WABAC comes into play when the tots take it for a spin, forcing Peabody to rush to their rescue.
Getting down to personals, we also see the left brain-heavy Peabody struggle with being father Sherman deserves. The bulk of the emotional marks are hit as we learn just how much Peabody cares for Sherman, and just how hard it has been to accept that his only family is growing up and changing.
But more successful than the new is the film's handling of the old — the material that Peabody and Sherman purists will adore. They travel back in time via the WABAC Machine to Ancient Egypt, the Renaissance, and the Trojan War, and 18th Century France, explaining the cultural backdrop and historical significance of the settings and characters they happen upon, all with that irreverent (but no longer racist) flare that the old cartoons enjoyed. And oh... the puns.
Mr. Peabody & Sherman is a f**king treasure trove of some of the most amazingly bad puns in recent cinema. This effort alone will leave you in awe.
The film does unravel in its final act, bringing the science-fiction of time travel a little too close to the forefront and dropping the ball on a good deal of its emotional groundwork. What seemed to be substantial building blocks do not pay off in the way we might, as scholars of animated family cinema, have anticipated, leaving the movie with an unfinished feeling.
But all in all, it's a bright, compassionate, reasonably educational, and occasionally funny if not altogether worthy tribute to an old favorite. And since we don't have our own WABAC machine to return to a time of regularly scheduled Peabody and Sherman cartoons, this will do okay for now.
If nothing else, it's worth your time for the puns.
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Celine Dion's husband Rene Angelil is recovering after secretly undergoing surgery for throat cancer - 15 years after he last battled the disease. The My Heart Will Go On hitmaker has been juggling her Las Vegas concert residency with nursing her manager beau back to full health since 23 December (13), when the 72 year old had the tumour successfully removed.
In a statement released to People.com, Dion says, "I don't want Rene to stress out with work-related issues. I want him to focus on getting back to 100 per cent. I've been doing my shows at the Colosseum (in Las Vegas) and everything's under control.
"At home we've been spending a lot of quality time with the family. We feel very fortunate that we've been able to get the best care possible and we thank God every day for helping us get through this ordeal."
Dion, 45, and Angelil are parents to three children - 13-year-old son Rene-Charles and four-year-old twin boys Eddy and Nelson.
Paramount via Everett Collection
With so many different awards organizations announcing their nominations one after the other, it's difficult to remember how heavily to weigh each one's picks when filling out your Oscar pool sheet. Generally speaking, the BAFTAs are a fairly safe guide when it comes to the Best Picture category. Since 2008, the British Academy of Film and Television Arts has accurately predicted the Academy's top winners, with (even more impressively) only two discrepancies in Best Picture nominations throughout those five years (both in 2012, interestingly enough). Looking at this latest batch of BAFTA's chief nominees — which includes...
American Hustle,Captain Phillips,Gravity,Philomena,and 12 Years a Slave
— we're not especially surprised by any of the films included in as much as we are a bit displaced over the absence of one of this past year's biggest titles: The Wolf of Wall Street. By now, everyone with his ear close to the conversation is predicting that Steve McQueen's 12 Years a Slave is a lock for the Best Picture Oscar, but the consideration rarely comes without honorable mention of Martin Scorsese's Wolf. Still, the satirical picture is far from awards fodder. Called far too "extreme" for the Academy's liking, the 3-hour tour de force of mortifying hedonism would be a far cry from an Oscar even without the competition of 12 Years. Instead, as suggested by BAFTA's list of Best Picture nods, organizations are leaning towards the safer, sweeter, more palatable, less controversial, and effectively less good spiritual counterpart to Wolf of Wall Street: American Hustle.
Hustle is a fine movie all its own — it's fun, dynamic, well-acted, and does indeed feel "lived in." But it falls shy of the artistic reach represented by fellow con man epic Wolf, to which comparisons are inevitable (you can hear a terrific discussion on the matter on the latest episode of Fighting in the War Room). While we'd be hard pressed to deny David O. Russell's funny, campy, emotionally charged picture its due recognition of quality, the choice to nominate it for Best Picture over Wolf of Wall Street seems like a statement of fear: "We don't want to nominate that large, messy, outrageous picture that's got everybody all in a huff," mutters a nervous BAFTA. "But what about the one with the hair? That's sorta like Wolf of Wall Street, but cleaner. Jolly good!"
The choice is a scary one, if only that it suggests the possibility that BAFTA has veered away from Wolf of Wall Street due to the volatility associated with the movie rather than due to the quality therein. By this token, would a few more Armond Whites have robbed 12 Years a Slave of its nomination? How about a few more Neil deGrasse Tysons stealing the nod from Gravity?
Hopefully, the Academy will not emulate this aversion to Scorsese's movie — one that more than deserves mention, and would even take home a few trophies in a just system. Peruse the rest of BAFTA's nominations below (which also, obscenely, omit Her in the Original Screenplay category) and share your thoughts on the matter.
BEST FILM12 YEARS A SLAVE Anthony Katagas, Brad Pitt, Dede Gardner, Jeremy Kleiner, Steve McQueenAMERICAN HUSTLE Charles Roven, Richard Suckle, Megan Ellison, Jonathan GordonCAPTAIN PHILLIPS Scott Rudin, Dana Brunetti, Michael De LucaGRAVITY Alfonso Cuarón, David HeymanPHILOMENA Gabrielle Tana, Steve Coogan, Tracey Seaward
DIRECTOR12 YEARS A SLAVE Steve McQueenAMERICAN HUSTLE David O. RussellCAPTAIN PHILLIPS Paul GreengrassGRAVITY Alfonso CuarónTHE WOLF OF WALL STREET Martin Scorsese
ORIGINAL SCREENPLAYAMERICAN HUSTLE Eric Warren Singer, David O. RussellBLUE JASMINE Woody AllenGRAVITY Alfonso Cuarón, Jonás CuarónINSIDE LLEWYN DAVIS Joel Coen, Ethan CoenNEBRASKA Bob Nelson
ADAPTED SCREENPLAY12 YEARS A SLAVE John RidleyBEHIND THE CANDELABRA Richard LaGraveneseCAPTAIN PHILLIPS Billy RayPHILOMENA Steve Coogan, Jeff PopeTHE WOLF OF WALL STREET Terence Winter
LEADING ACTORBRUCE DERN NebraskaCHIWETEL EJIOFOR 12 Years a SlaveCHRISTIAN BALE American HustleLEONARDO DICAPRIO The Wolf of Wall StreetTOM HANKS Captain Phillips
LEADING ACTRESSAMY ADAMS American HustleCATE BLANCHETT Blue JasmineEMMA THOMPSON Saving Mr. BanksJUDI DENCH PhilomenaSANDRA BULLOCK Gravity
SUPPORTING ACTORBARKHAD ABDI Captain PhillipsBRADLEY COOPER American HustleDANIEL BRÜHL RushMATT DAMON Behind the CandelabraMICHAEL FASSBENDER 12 Years a Slave
SUPPORTING ACTRESSJENNIFER LAWRENCE American HustleJULIA ROBERTS August: Osage CountyLUPITA NYONG’O 12 Years a SlaveOPRAH WINFREY The ButlerSALLY HAWKINS Blue Jasmine
OUTSTANDING BRITISH FILMGRAVITY Alfonso Cuarón, David Heyman, Jonás CuarónMANDELA: LONG WALK TO FREEDOM Justin Chadwick, Anant Singh, David M. Thompson, William NicholsonPHILOMENA Stephen Frears, Gabrielle Tana, Steve Coogan, Tracey Seaward, Jeff PopeRUSH Ron Howard, Andrew Eaton, Peter MorganSAVING MR. BANKS John Lee Hancock, Alison Owen, Ian Collie, Philip Steuer, Kelly Marcel, Sue SmithTHE SELFISH GIANT: Clio Barnard, Tracy O’Riordan
OUTSTANDING DEBUT BY A BRITISH WRITER, DIRECTOR OR PRODUCERCOLIN CARBERRY (Writer), GLENN PATTERSON (Writer) Good VibrationsKELLY MARCEL (Writer) Saving Mr. BanksKIERAN EVANS (Director/Writer) Kelly + VictorPAUL WRIGHT (Director/Writer), POLLY STOKES (Producer) For Those in PerilSCOTT GRAHAM (Director/Writer) Shell
FILM NOT IN THE ENGLISH LANGUAGETHE ACT OF KILLING Joshua Oppenheimer, Signe Byrge SørensenBLUE IS THE WARMEST COLOUR Abdellatif Kechiche, Brahim Chioua, Vincent MaravalTHE GREAT BEAUTY Paolo Sorrentino, Nicola Giuliano, Francesca CimaMETRO MANILA Sean Ellis, Mathilde CharpentierWADJDA Haifaa Al-Mansour, Gerhard Meixner, Roman Paul
DOCUMENTARYTHE ACT OF KILLING Joshua OppenheimerTHE ARMSTRONG LIE Alex GibneyBLACKFISH Gabriela CowperthwaiteTIM’S VERMEER Teller, Penn Jillette, Farley ZieglerWE STEAL SECRETS: THE STORY OF WIKILEAKS Alex GibneyANIMATED FILMDESPICABLE ME 2 Chris Renaud, Pierre CoffinFROZEN Chris Buck, Jennifer LeeMONSTERS UNIVERSITY Dan Scanlon
ORIGINAL MUSIC12 YEARS A SLAVE Hans ZimmerTHE BOOK THIEF John WilliamsCAPTAIN PHILLIPS Henry JackmanGRAVITY Steven PriceSAVING MR. BANKS Thomas Newman
CINEMATOGRAPHY12 YEARS A SLAVE Sean BobbittCAPTAIN PHILLIPS Barry AckroydGRAVITY Emmanuel LubezkiINSIDE LLEWYN DAVIS Bruno DelbonnelNEBRASKA Phedon Papamichael
EDITING12 YEARS A SLAVE Joe WalkerCAPTAIN PHILLIPS Christopher RouseGRAVITY Alfonso Cuarón, Mark SangerRUSH Dan Hanley, Mike HillTHE WOLF OF WALL STREET Thelma Schoonmaker
PRODUCTION DESIGN12 YEARS A SLAVE Adam Stockhausen, Alice BakerAMERICAN HUSTLE Judy Becker, Heather LoefflerBEHIND THE CANDELABRA Howard CummingsGRAVITY Andy Nicholson, Rosie Goodwin, Joanne WoodlardTHE GREAT GATSBY Catherine Martin, Beverley Dunn
COSTUME DESIGNAMERICAN HUSTLE Michael WilkinsonBEHIND THE CANDELABRA Ellen MirojnickTHE GREAT GATSBY Catherine MartinTHE INVISIBLE WOMAN Michael O’ConnorSAVING MR. BANKS Daniel Orlandi
MAKE UP & HAIRAMERICAN HUSTLE Evelyne Noraz, Lori McCoy-BellBEHIND THE CANDELABRA Kate Biscoe, Marie LarkinTHE BUTLER Debra Denson, Beverly Jo Pryor, Candace NealTHE GREAT GATSBY Maurizio Silvi, Kerry WarnTHE HOBBIT: THE DESOLATION OF SMAUG Peter Swords King, Richard Taylor, Rick Findlater
SOUNDALL IS LOST Richard Hymns, Steve Boeddeker, Brandon Proctor, Micah Bloomberg, Gillian ArthurCAPTAIN PHILLIPS Chris Burdon, Mark Taylor, Mike Prestwood Smith, Chris Munro, Oliver TarneyGRAVITY Glenn Freemantle, Skip Lievsay, Christopher Benstead, Niv Adiri, Chris MunroINSIDE LLEWYN DAVIS Peter F. Kurland, Skip Lievsay, Greg OrloffRUSH Danny Hambrook, Martin Steyer, Stefan Korte, Markus Stemler, Frank Kruse
SPECIAL VISUAL EFFECTSGRAVITY Tim Webber, Chris Lawrence, David Shirk, Neil Corbould, Nikki PennyTHE HOBBIT: THE DESOLATION OF SMAUG Joe Letteri, Eric Saindon, David Clayton, Eric ReynoldsIRON MAN 3 Bryan Grill, Christopher Townsend, Guy Williams, Dan SudickPACIFIC RIM Hal Hickel, John Knoll, Lindy De Quattro, Nigel SumnerSTAR TREK INTO DARKNESS Ben Grossmann, Burt Dalton, Patrick Tubach, Roger Guyett
BRITISH SHORT ANIMATIONEVERYTHING I CAN SEE FROM HERE Bjorn-Erik Aschim, Friederike Nicolaus, Sam TaylorI AM TOM MOODY Ainslie HendersonSLEEPING WITH THE FISHES James Walker, Sarah Woolner, Yousif Al-Khalifa
BRITISH SHORT FILMISLAND QUEEN Ben Mallaby, Nat LuurtsemaKEEPING UP WITH THE JONESES Megan Rubens, Michael Pearce, Selina LimORBIT EVER AFTER Chee-Lan Chan, Jamie Stone, Len RowlesROOM 8 James W. Griffiths, Sophie VennerSEA VIEW Anna Duffield, Jane Linfoot