Harrison Ford has officially signed on for a planned Blade Runner sequel. More than 30 years after the original 1982 Ridley Scott movie, Ford is reprising his character Rick Deckard for a long-awaited sequel, which will begin shooting next year (16).
Hampton Fancher, who co-wrote the Blade Runner screenplay is also back on board for the project. Denis Villeneuve is in talks to direct, while Ridley Scott will serve as executive producer.
Last year (14), Scott revealed Ford had read the sequel's script and was impressed, stating, "He said, 'Wow, this is the best thing I've ever read'," adding, "It's very relevant to what happened in the first one."
Announcing Ford's casting on Friday (27Feb15), producer Andrew Kosove said, "We are honoured that Harrison is joining us on this journey with Denis Villeneuve, who is a singular talent... We couldn't be more thrilled with this amazing, creative team."
Ford is currently revisiting another iconic sci-fi movie character from his past - he has reprised his grumpy freedom fighter Han Solo for director J.J. Abrams' new Star Wars movie.
Pitbull had multiple reasons to celebrate turning 34 on Thursday (15Jan15) after the Mayor of Miami, Florida dedicated the day to the rapper and presented him with the key to the city. The birthday boy, real name Armando Perez, spent the morning in the presence of city officials, including Governor Rick Scott and Mayor Tomas Regalado, who applauded the Fireball hitmaker's work in the community and thanked him for his continued efforts.
Declaring 15 January "Pitbull Day", Mayor Regalado told the crowd at the dedication ceremony, "We are so proud of Mr. Perez's commitment to his hometown. Both at home and internationally, Pitbull embodies the cultural richness and diversity that unites the residents of the City of Miami.
"Mr. 305 (Pitbull) is a beacon of inspiration for future generations. Pitbull is Miami."
The party-loving hip-hop star was then presented with a medal from Governor Scott, feting him as an Ambassador of The Arts for Florida.
He was also treated to a birthday cake at the event, which was also held to officially announce plans to expand Pitbull's public high school, the Sports Leadership and Management (SLAM) Academy, which is dedicated to Miami students eager to pursue careers in the athletics field.
Marking the occasion on Twitter.com, Pitbull writes, "Thank you Miami & Florida but most of all thank you (SLAM Academy) for the best bday (sic) ever!"
Filmmakers behind the upcoming Blade Runner sequel are thrilled after original star Harrison Ford agreed to reprise his role as bounty hunter Rick Deckard in the new movie. Ford starred in the original 1982 adaptation of Philip K. Dick's sci-fi novel Do Androids Dream of Electric Sheep?, and moviemakers recently reached out to him and asked him to join their planned sequel.
Sir Ridley Scott, who directed the first film, is producing the follow-up and he has now revealed Ford is onboard.
He tells Variety.com, "We (screenwriter Hampton Fancher and I) talked at length about what it (the sequel) could be, and came up with a pretty strong three-act storyline, and it all makes sense in terms of how it relates to the first one. Harrison is very much part of this one, but really it's about finding him; he comes in in the third act."
Anthrax rocker Scott Ian will appear as a zombie in The Walking Dead. The guitarist says it is a dream come true to star as a "walker", the name given to the living dead, in the post-apocalyptic thriller series.
He will appear in the hit show's fifth season, which is currently airing on America's AMC network.
Ian has told of his excitement at filming alongside Andrew Lincoln, who plays lead character Rick Grimes, as he is a long-time fan of the show and has previously appeared in a Walking Dead online mini-episode.
While being made up as a zombie, the rocker even filmed himself in the show's special-effects department and featured the clip in an episode of his webseries, Bloodworks.
In the video, he says, "I'm a massive fan of the show. I just felt like, from the start, 'God damn it would be the coolest f**king thing if I could get to be a walker'... Just to see Andrew Lincoln standing there, it's surreal to watch him kill walkers... and I'm gonna be one of them. I'm just so f**king excited to be part of it."
The Walking Dead is finally back! The moment all fans have spent the last 7 months fantasizing about is finally here and we've got an exclusive with one of the cast members, Lauren Cohan! Lauren has played Maggie since since 2011, and since her first introduction as one of Hershel's daughters, her character has grown right in front of us and become one of the central members of the group. We wanted to learn firsthand what it was that Lauren loves about Maggie. She told us that, the hardest scene she's ever had to shoot, and what Maggie is absolutely unwilling to lose in season 5, and more!
You’ve been playing Maggie for a while now, we wanted to know what your favorite trait about her was?
She’s a very compassionate person. That’s probably one of my favorite traits. I think that she’s sort of done when she’s need to, to survive, but it’s always been about protecting her family and keeping people alive as long as possible. One of my favorite relationships is obviously my husband (Glenn), but also my father/daughter relationship (Hershel/Maggie). I think seeing that any way that Hershel can get through to Maggie has been one of the most enjoyable paths of this journey. We miss Hershel, a lot.
Actually, we were wondering, was that the hardest scene [Hershel’s death in season 4] you’ve had to film so far or has there been one harder than that?
Within what’s aired in the first four seasons, that’s the hardest one that’s happened. I think that will still be the hardest thing that we’ve ever shot. I think that’s a loss of somebody that we all will say we felt the most. It was just so cruel. It was that last moment when you thought everything was going to be okay. Scott [Wilson] gives that little nod to Rick and you just think, he sort of passing on this compassion and leadership. But you still think he’s not going to go and that everything’s going to be okay. It’s a beautiful fatherly moment and I think a lot of people saw and felt and compared that to a moment in their lives.
He’s kind of like the ultimate grandfather and sage. That’s how it was at work, don’t get me wrong he’s the silliest, funniest person, but he’s also incredibly caring and wise. It’s hard to lose someone like that. When he’s on a television show that people watch every week, he really is part of their lives. It’s sad and for us it was really hard, there was no acting required during that scene where we lost him. I think what was interesting, no one has the chance to process it, so it happens and we will still had to get running, get going. So far Maggie and Glenn, you don’t see them processing what happens with Hershel for a while. And for Maggie still not knowing where he sister is, it’s a crazy finish for that part of the season. And then damn that Terminus.
Was the reunion between you and Glenn emotional for you as an actress? There was all that time after Hershel’s death where you two didn’t know if the other was alive or not.
Yeah, I think what’s interesting is Maggie is always creating a goal to work towards in the future. I think that’s how we sort of operate. She could keep doing that until she was literally in the tunnel and she fell apart and couldn’t go any further. So your hands are literally tied. For that moment, when he appears, it was a really symbolic time for both of them. The characters are both so set on finding each other and they keep that going. It’s what keeps them alive. I think that’s what keeps hope alive in that episode. It was difficult, with the show, we talk about preparation as an actor. Just being there is part of the preparation. We spend 8 months of the year together, shooting these episodes. You form a real relationship with these people. Steve and I have been creating that Maggie/Glenn relationship for so long, you never really see them separated.
I really enjoy this couple because you don’t see the drama of them fighting. You see their relationship tested in little slivers, like the brief moment after The Governor had Maggie trapped, but other than that, it’s refreshing to me that their love is steady. Their trust and protection of each other is steady. I definitely want to see that continue and I want to see it uphold hope in the story. I was rooting for them to find each other. I love that scene, I remember when she shot that, I sort of tripped when I was running towards him and it just makes sense. I thought of it like your husband goes away to war you don’t know if you’re ever going to see him again and then you do and for a second you don’t even trust it. Then you just get so overwhelmed with that feeling, that’s how it felt.
Do you think Maggie and Glenn being the only couple changes the dynamic of the show and how the group works?
I know what it’s like being around couples and friends and if someone in the group is an awesome couple, it definitely uplifts the group. I think it grounds the group. We might be some of the younger members of the group to be having this sort of relationship. But I think in anyway, we’re all affected, consciously or unconsciously, by them having this relationship. As we progress and we try to resemble family. It’s so interesting. There are things we haven’t even touched on yet that other people found. I don’t think they’re the only hope in the show. You’ll see in this upcoming season.
Yeah, at the end of last season, it looked like we were going to see something more between a few other characters, but then you guys got to Terminus and it got real, really fast. Did you see that coming at all?
With Terminus, they wanted to believe so badly. But now, they obviously know better. But walking up, they had their arms wide open and sort of in this dream like trance that Terminus could be safe. I kind of chalk that up to lack of sleep. But they were also so needy. It’s interesting too because Rick is such a naturally cautious person. There’s too much I can’t say, as it’s coming back so soon. I like what Scott Gimple says, I was doing an interview with him once. He said, [The Walking Dead] is one of the most hopeful shows. You see these people in impossible situations and they actually succeed. I love that about the show. It’s very real, life and death. And they make it out sometimes, not every time, but most times.
If you, not Maggie, had the choice of using guns, Michonne’s katana, or Daryl's crossbow, which would you pick?
Crossbow sounds pretty good, so you could protect yourself at a distance. But anything that doesn’t require ammunition is probably the safest bet, just because any gun is going to run out of bullets. They’re also pretty heavy. We’re all trucking around with these machine guns in these scenes, and it gets really exhausting, sometimes we have two huge machine guns. They’re also not as tactical. I think I like knives, crossbows, and trail mix are probably the best.
What's the one thing that Maggie is absolutely unwilling to lose?
Oh gosh, her hope.
Season 5 of The Walking Dead airs on AMC, Sundays at 9/8c. Will you be watching?
Tweet us your favorite things about Maggie!
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Harrison Ford has been asked to reprise his role in a sequel to his 1982 film Blade Runner. The Raiders of the Lost Ark star played Rick Deckard, a retired police officer tasked with tracking down and killing replicants, who have stolen a spaceship and returned to Earth to find their creator, in the cult sci-fi movie.
Ridley Scott, who directed the original film, is on board for the sequel and producers Andrew Kosove and Broderick Johnson are hoping Ford will join him.
A statement from them reads: "We believe that (original scribe) Hampton Fancher and (screenwriter) Michael Green have crafted with Ridley Scott an extraordinary sequel to one of the greatest films of all time. We would be honored, and we are hopeful, that Harrison will be part of our project."
Mary J. Blige, Maxwell, Jill Scott, Jennifer Hudson, A$AP Rocky and Rick Ross are among the artists who have been tapped to perform at the BET Experience at L.A. Live music festival from 27 to 29 June (14) in Los Angeles. The three-day event will be capped off by the annual BET Awards on 29 June (14).
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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Summit via Everett Collection
You can imagine that Renny Harlin, director and one quadrant of the writing team for The Legend of Hercules, began his pitch as such: We'll start with a war, because lots of these things start with wars. It feels like this was the principal maxim behind a good deal of the creative choices in this latest update of the Ancient Greek myth. There are always horse riding scenes. There are generally arena battles. There are CGI lions, when you can afford 'em. Oh, and you've got to have a romantic couple canoodling at the base of a waterfall. Weaving them all together cohesively would be a waste of time — just let the common threads take form in a remarkably shouldered Kellan Lutz and action sequences that transubstantiate abjectly to and fro slow-motion.
But pervading through Lutz's shirtless smirks and accent continuity that calls envy from Johnny Depp's Alice in Wonderland performance is the obtrusive lack of thought that went into this picture. A proverbial grab bag of "the basics" of the classic epic genre, The Legend of Hercules boasts familiarity over originality. So much so that the filmmakers didn't stop at Hercules mythology... they barely started with it, in fact. There's more Jesus Christ in the character than there is the Ancient Greek demigod, with no lack of Gladiator to keep things moreover relevant. But even more outrageous than the void of imagination in the construct of Hercules' world is its script — a piece so comically dim, thin, and idiotic that you will laugh. So we can't exactly say this is a totally joyless time at the movies.
Summit via Everett Collection
Surrounding Hercules, a character whose arc takes him from being a nice enough strong dude to a nice enough strong dude who kills people and finally owns up to his fate — "Okay, fine, yes, I guess I'm a god" — are a legion of characters whose makeup and motivations are instituted in their opening scenes and never change thereafter. His de facto stepdad, the teeth-baring King Amphitryon (Scott Adkins), despises the boy for being a living tribute to his supernatural cuckolding; his half-brother Iphicles (Liam Garrigan) is the archetypical scheming, neutered, jealous brother figure right down to the facial scar. The dialogue this family of mongoloids tosses around is stunningly brainless, ditto their character beats. Hercules can't understand how a mystical stranger knows his identity, even though he just moments ago exited a packed coliseum chanting his name. Iphicles defies villainy and menace when he threatens his betrothed Hebe (Gaia Weiss), long in love with Hercules, with the terrible fate of "accepting [him] and loving [their] children equally!" And the dad... jeez, that guy must really be proud of his teeth.
With no artistic feat successfully accomplished (or even braved, really) by this movie, we can at the very least call it inoffensive. There is nothing in The Legend of Hercules with which to take issue beyond its dismal intellect, and in a genre especially prone to regressive activity, this is a noteworthy triumph. But you might not have enough energy by the end to award The Legend of Hercules with this superlative. Either because you'll have laughed yourself into a coma at the film's idiocy, or because you'll have lost all strength trying to fend it off.
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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