Los Angeles – Directors Guild of America President Paris Barclay today announced the recipients of two special DGA Awards recognizing extraordinary contribution to the Guild: Lee Blaine and Vince DeDario will be honored at the 66th Annual DGA Awards on Saturday, January 25, 2014.
Lee Blaine will receive the DGA’s 2014 Frank Capra Achievement Award, which is given to an Assistant Director or Unit Production Manager in recognition of career achievement in the industry and service to the Directors Guild of America. Vince DeDario will receive the DGA’s 2014 Franklin J. Schaffner Achievement Award, which is given to an Associate Director or Stage Manager in recognition of service to the industry and to the Directors Guild of America.
“The strength of the DGA is built upon the commitment and dedication of our actively working members to giving back through service to the Guild,” said Barclay. “Both Lee Blaine and Vince DeDario have been staunch advocates and proud representatives of their fellow Guild members, and they’ve done it while maintaining successful, demanding careers. We are proud to recognize their service and their accomplishments.”
Read the DGA bios of Blaine and DeDario after the jump: READ MORE »
DGA Board Approves New Contract With Producers; 2.5% Wage Increase For 1st Year, 0.5% Pension Increase, Some SVOD & AVOD Increases
As expected, the Directors Guild of America Board today unanimously rubber-stamped the new three-year deal its negotiating committee finalized with the Alliance of Motion Picture and TV Producers on Friday. …
After just 18 days of negotiations, the Directors Guild of America and the Alliance of Motion Picture and Television Producers announced tonight that they have reached a tentative agreement on a new three-year TV/theatrical contract. The deal will be reviewed Saturday at a special meeting of the DGA’s National Board; if the board approves it, the deal will be sent to the full membership for ratification soon afterward.
Neither side is commenting tonight. As they have through the negotiations, which began November 4 at AMPTP headquarters in Sherman Oaks, the DGA and the producers have imposed a blackout on details of the tentative agreement until it is approved by the DGA board. Meanwhile, neither the WGA nor the merged SAG-AFTRA has begun their negotiations with the AMPTP. Although the WGA announced its negotiating committee last week, it has yet to set a start date for talks. SAG-AFTRA is not expected to sit down with the producers until early in the new year.
Here’s the DGA release:
Los Angeles – The Directors Guild of America today announced that the DGA’s Network Negotiations Committee has reached a tentative new three-year agreement with ABC, CBS and NBC covering DGA members who work in news, sports and operations.
These negotiations, which began on September 24 in New York and concluded on October 7, address the DGA’s Network Staff and Freelance Agreements, which cover staff and freelance directors, associate directors, stage managers and program-production assistants employed in news, sports and operations at the companies’ television networks and at a number of their locally owned and operated television stations. The Network Agreements are separate from the Guild’s Basic Agreement and are negotiated every three years.
The tentative contract will be presented to the DGA’s National Board at the regularly-scheduled board meeting on October 19 and if approved, the contract will then be sent to the membership for ratification. The new contract incorporates annual wage increases and other negotiated benefits for directors and their teams. Further details will be released after the tentative agreement has been presented to the National Board.
This Golden Age of Television we keep hearing about is — just like the un-Golden Age before it — directed almost entirely by white guys, according to the Directors Guild of America‘s latest study about director diversity in episodic TV. Under a DGA agreement for the Internet, online series such as House Of Cards, Arrested Development, Hemlock Grove and Orange Is The New Black are included in the study for the first time. And while, as House Of Cards star Kevin Spacey keeps speechifying, they’ve made great strides in undoing the prejudice toward pilots in the industry, Caucasian males still directed nearly three-quarters of all episodic television. The remaining 28% of episodes were divided among minority males (14%), Caucasian females (12%), and minority females (2%).
Analyzing more than 3,300 episodes produced during the 2012-13 broadcast TV season, and the 2012 cable season, from more than 200 scripted TV series, the report found that one-hour series were the white-guy-directed-est of all – 74%. Things were a teensy bit less white guy-ish in the half-hour genre: 70%.
UPDATED, 11:14 PM: YouTube today dismissed the support that IATSE, the DGA, AFM and SAG-AFTRA has shown for Viacom’s efforts to get another day in court with its $1 billion copyright infringement suit. Not only does the Google-owned company say in a statement that the unions’ brief “recycles” a previous filing from 2010 in the suit but that they “don’t seem to have followed developments in the case.” Read the statement YouTube issued via a spokesperson late Monday below:
The brief filed by entertainment industry unions recycles their brief from the first appeal in 2010. They don’t seem to have followed developments in the case or recognized the changes to YouTube’s place in the entertainment ecosystem. The Court has twice rejected Viacom’s unfounded copyright infringement claims. And even Viacom has conceded it doesn’t object to how YouTube has operated for the last five years. YouTube has signed licensing agreements with every major movie studio and record label, has developed an industry-leading Content Identification system used by 4,000 media partners, and does more to prevent piracy than any other major video hosting provider.
PREVIOUSLY, 6:33 PM: Despite another recent court loss, Viacom’s latest attempt to revive its billion-dollar copyright suit against YouTube has just gotten some very vocal support again from some old friends. “YouTube’s role in the rampant, systematic distribution of content in violation of the exclusive rights of copyright holders caused and continues to cause harm to the entertainment industries and the members of the Guilds and Unions working in those industries,” said a joint brief filed late last week by lawyers for the Directors Guild of America, SAG-AFTRA, IATSE and the American Federation of Musicians. “We urge the Court to consider the full ramifications of YouTube’s actions, and request that the Court reverse the lower court’s decision.” The unions offered similar such support as they did last week back in 2010. Filed on August 2 this year, the quartet’s new 28-page brief (read it here) comes after Viacom filed materials on July 30 with the 2nd Court of Appeals asking for a new judge in the long-running case. That expected legal move against Judge Louis Stanton followed the NY-based U.S. District Court judge granting YouTube yet another favorable summary judgment in the matter on April 18. That was the second such decision for the Google-owned entity in the case. Viacom first launched the $1B action in 2007.
Ray Richmond contributes to Deadline’s TCA coverage.
It’s long been a truism of entertainment that film is a director’s medium and television a writer’s medium. But a distinguished group of directors for FX original series gathered for an afternoon panel to TCA to insist that this is no longer the case and that directors have a greater influence on the set — and ultimately on the finished product — than ever before. So agreed a gathering headed by DGA president Paris Barclay (who works on Sons of Anarchy) and also featured Michael Dinner (Justified), Randall Eimhorn (Wilfred), Alfonso Gomez-Rejomn (American Horror Story), Gwyneth Horder-Payton (The Bridge), Dan Sackheim (The Americans) and Jeff and Jackie Schaffer (The League). Barclay confirmed at the outset that “this is a damned good time to be a director in television.” Why? Because directors in TV command greater respect and are permitted creative challenges once thought the exclusive domain of the writer. “In the world that we live in at FX, there’s now a major contribution that directors provide,” he maintained. “A good script really helps, of course. But even if it isn’t so good, we can move in and save the baby. In this brave new world, we’re making little movies.” Jackie Schaffer built on that “little movies” model when she pointed out that TV’s distribution model via Netflix and Hulu and the Internet “has turned television into a more lasting medium and given what we do as directors more of a lasting resonance. And thank God for that.”
Indeed, in the new Golden Age of TV Drama, Dinner believes that the director’s continues to escalate in importance. “Television has grown, just in the past few years, more ambitious, more cinematic,” he said. He credits Michael Mann and his work with Miami Vice in the mid-1980s for helping to launch TV directing away from its previous cookie-cutter approach, where directors were simply hired guns tasked to fulfill the writer’s vision. “I think people are starting to recognize how much more important we’ve become to the process,” Dinner emphasized.
Directors Guild President Taylor Hackford announced that John Libretto has been appointed to chair the Guild’s Network Staff Negotiating Committee. Libretto will be joined by Director Brett Holey and Associate Director Scott Berger who will serve as Vice-Chairs of the Committee. ”Their combined years of experience working in television news along with their previous negotiating experience will be enormous assets to the Guild when it comes time to negotiate our network contract in New York.” Libretto is the Senior Director for News for NBC and director of Dateline NBC. Holey is the Director and Senior Broadcast Producer for NBC Nightly News With Brian Williams and Director of NBC News Specials. Berger is an Associate Director on the CBS Evening News and is the current Assistant Secretary-Treasurer of the DGA’s National Board of Directors and has served 12 terms on the AD/SM/PA East Council. He has been on every DGA Network Negotiating Committee since the 1980s, including serving as the Vice-Chair Committee in the last round of negotiations.
Taylor Hackford says he won’t run for a third term as president of the Directors Guild of America. Hackford, whose latest feature Parker opened last weekend and who’s directing the pilot Company Town for The CW, revealed his decision in …
Related: DGA Award Fim Nominations Announced
The Directors Guild of America revealed its TV and commercial nominees today. Winners will be announced at the 65th annual DGA Awards Dinner hosted by Kelsey Grammer on February 2 at Hollywood & Highland. Here’s the full list:
MOVIES FOR TELEVISION AND MINI-SERIES
Political Animals, “Pilot”
Mr. Berlanti’s Directorial Team:
·Unit Production Manager: Suzanne Geiger
·First Assistant Director: Richard Coad
·Second Assistant Director: Katie Carroll
·Second Second Assistant Director: Brad Robinson
This is Mr. Berlanti’s first DGA Award nomination.
Hemingway & Gellhorn
Mr. Kaufman’s Directorial Team:
· Unit Production Manager: Trish Hofmann
· Assistant Unit Production Manager: Frank Simeone
· First Assistant Director: Mike Topoozian
· Second Assistant Director: Michael A. McCue
· Second Second Assistant Director: Cindy A. Taylor
This is Mr. Kaufman’s second DGA Award nomination. He was previously nominated for Outstanding Directorial Achievement in Feature Film for The Right Stuff in 1983.
Hatfields & McCoys
Mr. Reynolds’ Directorial Team:
· Unit Production Manager: Lucia Maghiar
· First Assistant Director: Christopher Landry
· Second Assistant Director: Maria Nita
· Second Second Assistant Director: Madalina Bugeanu
This is Mr. Reynolds’ first DGA Award nomination.
Mr. Roach’s Directorial Team:
· Unit Production Manager: Mary Kane
· First Assistant Director: Josh King
· Second Assistant Director: Emily McGovern
· Second Second Assistant Director: Brian F. Relyea
This is Mr. Roach’s second DGA Award nomination. He previously won the DGA Award for Outstanding Achievement in Movies for Television and Mini-Series for Recount in 2008.
American Horror Story: Asylum, “Dark Cousin”
Mr. Rymer’s Directorial Team:
· Unit Production Manager: Chip Vucelich
· First Assistant Director: Ron Rapiel
· Second Assistant Director: Francesco Tignini
· Additional Second Assistant Director: Jason Z. Kemp
· Second Second Assistant Director: Jeremy Reisig
This is Mr. Rymer’s first DGA Award nomination.
Homeland, “The Choice”
Mr. Cuesta’s Directorial Team:
· Unit Production Manager: J. David Brightbill
· First Assistant Director: Ken Collins
· Second Assistant Director: Kim Kennedy
This is Mr. Cuesta’s second DGA Award nomination. He was previously nominated for Outstanding Directorial Achievement in Dramatic Series for the “Pilot” episode of Homeland in 2011.
Mad Men, “A Little Kiss”
Ms. Getzinger’s Directorial Team:
· Unit Production Manager: Michele Greco
· First Assistant Director: Adam Ben Frank
· Second Assistant Director: Jessica Lowrey
· Second Second Assistant Director: Erik J. Carpenter
This is Ms. Getzinger’s third DGA Award nomination. She was previously nominated for Outstanding Directorial Achievement in Dramatic Series in 2009 for her Mad Men episode “The Gypsy and the Hobo” and again in 2010 for her Mad Men episode “The Suitcase.”
LESLI LINKA GLATTER
Homeland, “Q & A”
Ms. Glatter’s Directorial Team:
· Unit Production Manager: J. David Brightbill
· First Assistant Director: Louis J. Guerra
· Second Assistant Director: Kim Kennedy
This is Ms. Glatter’s third DGA Award nomination. She won for Outstanding Directorial Achievement in Dramatic Series in 2009 for the “Guy Walks Into an Advertising Agency” episode of Mad Men and was nominated in 1990 for “Episode 32006” of Twin Peaks.
Breaking Bad, “Fifty-One”
Mr. Johnson’s Directorial Team:
· Unit Production Manager: Stewart A. Lyons
· Assistant Unit Production Manager: James Paul Hapsas
· First Assistant Director: Ben Scissors
· Second Assistant Director: Louis Lanni
· Second Second Assistant Director: Anna Ramey
· Additional Second Assistant Director: Joann Connolly
This is Mr. Johnson’s first DGA Award nomination.
The Newsroom, “We Just Decided To”
Mr. Mottola’s Directorial Team:
· Unit Production Manager: Leanne Moore
· First Assistant Director: Kenneth B. Roth
· Second Assistant Director: Zach Hunt
· Second Second Assistant Director: Steve Dudycha
This is Mr. Mottola’s first DGA Award nomination.
Louie, “New Year’s Eve”
Mr. C.K.’s Directorial Team:
· Unit Production Managers: M. Blair Breard, Tony Hernandez
· First Assistant Director: Adam Escott
· Second Assistant Director: Nicholas Vanderpool
This is Mr. C.K.’s first DGA Award nomination.
The Big Bang Theory, “The Date Night Variable”
Mr. Cendrowski’s Directorial Team:
· Unit Production Manager: Kelly-Anne Lee
· First Assistant Director: Anthony Rich
· Second Assistant Director: Chris Klausen
· Second Second Assistant Director: Nikki Lorre
· Associate Director: Gay Linvill
This is Mr. Cendrowski’s first DGA Award nomination.
Modern Family, “Election Day”
Mr. Cranston’s Directorial Team:
· Unit Production Manager: Sally Young
· First Assistant Director: Jim Hensz
· Second Assistant Director: Helena Lamb
· Second Second Assistant Director: Matthew W. Heffernan
· Additional Second Second Assistant Director: Patrick Richmond
This is Mr. Cranston’s first DGA Award nomination.
Ms. Dunham’s Directorial Team:
· Unit Production Managers: Regina Heyman, Ilene S. Landress
· First Assistant Director: Mark McGann
· Second Assistant Director: Jason Ivey
· Second Second Assistant Director: Marcos Gonzalez Palma
This is Ms. Dunham’s first DGA Award nomination.
30 Rock, “Live from Studio 6H”
Ms. McCarthy-Miller’s Directorial Team:
· Unit Production Manager: Diana Schmidt
· First Assistant Director: James E. Sheridan
· Second Assistant Directors: Jennifer Truelove, Bill Sell
· Associate Directors: Stefani Cohen, Bob Caminiti, Michael Poole
· Stage Managers: Gena Rositano, Chris Kelly, Lynn Finkel
This is Ms. McCarthy-Miller’s eighth DGA Award nomination. She was previously nominated for Outstanding Directorial Achievement in Comedy Series for 30 Rock episodes “Live Show” in 2010, “The Reunion Episode #304” in 2008 and “Somebody to Love” in 2007. She won the DGA Award for Outstanding Directorial Achievement in Musical Variety twice, in 2001 for America: A Tribute to Heroes (co-directed with Joel Gallen) and in 2000 for the “Val Kilmer/U2” episode of Saturday Night Live. She was also twice nominated in this category for Saturday Night Live episodes “Christopher Walken & The Foo Fighters” in 2003 and the 25th Anniversary episode in 1999.
This morning’s just-announced DGA Award nominations are good news for the major studios and bad news for Harvey Weinstein. With Ben Affleck for Warner Bros’ Argo, Kathryn Bigelow for Sony’s Zero Dark Thirty, Tom Hooper for Universal’s Les Miserables, Ang Lee for 20th Century Fox’s Life Of Pi and Steven Spielberg for Disney/Dreamworks Lincoln, it was a clean sweep for the majors — a continuing roaring comeback in Oscar contenders for the big boys who the past two years have watched The Weinstein Company take Best Picture (and top DGA) honors with small indies like The Artist and The King’s Speech. Clearly, even as their focus is on money-making blockbusters and popcorn entertainment, the majors are no longer sitting on the sidelines when it comes to the Oscars and seem fully invested in the process this year at least.
Related: DGA Award Nominations Announced
It’s highly unusual since the advent of the Miramax takeover of Oscar seasons the past quarter century to see no independent contender in a strong position. But, at least as far as the DGA is concerned, that’s the story here, along with the fact that four of the five nominees are past DGA- and Oscar-directing winners, with Affleck the only newcomer to the DGA club after directing only his third feature film (he is an Oscar winner for co-writing Good Will Hunting). Bigelow and Hooper both won in the last three years and have made a quick return to the golden circle. Spielberg, meanwhile, is the Big Kahuna of the DGA as he is a three-time winner (The Color Purple, Schindler’s List, Saving Private Ryan) and now 11-time nominee as well as winner of the guild’s Life Achievement Award. Lee’s enormously impressive technical feat in bringing what was thought to be an unfilmable book, Life Of Pi, so successfully to the big screen is clearly something that appealed to the sensibility of directors, so his nomination was definitely expected. This will make for one of the tightest and most interesting directing races in years at the DGA.
The Directors Guild of America has released nominees for its Outstanding Directorial Achievement in Feature Film award, which will be presented at the 65th annual …
Seven weeks from today Oscar nominating ballots will be in the hands of Academy voters. Seven weeks! No wonder Academy campaigners already seem stressed and overheated about the race. With the Acad moving to electronic voting and shifting the nominating balloting period 10 days earlier than normal to the holiday corridor of Dec 17 thru Jan 3 this has become the most truncated race in memory, as least as far as those all important nominations are concerned. Noms will be announced on January 10th. That’s two weeks earlier than last year and the same day as the Broadcast Film Critics Association recently announced they would hand out their precursor awards this year and just three days before the Golden Globes. The Academy’s surprise move even forced the Director’s Guild Of America to move up the date of their own nominations announcement by two days to January 8th as everyone scrambles to maintain their piece of the pie and Oscar consultants try to figure out ways to get their movies seen before those ballots are in voters hands.
Speaking of the DGA, their normally non-controversial membership screening program is suddenly causing waves and concern among some awards campaign consultants who got the Guild’s November screening schedule and felt it was showing favoritism to one big contender over all the others. The Guild normally has one official screening for members in LA, NY, SF, DC and Chicago for most movies. The all-important November schedule does list just one official Guild-sanctioned showing for such contenders as Hitchcock, The Life Of Pi, The Sessions, Silver Linings Playbook, Anna Karenina and Skyfall among other buzzed-titles, with all but the latter two featuring a Q&A with its director. Disney/Dreamworks’ Lincoln though has been given two prime back-to-back official screenings at 3 and 7 PM on Saturday November 10th featuring a Steven Spielberg Q&A following the first one. One studio rep with contenders this year said they had never heard of this happening before and at least one other called the DGA to question them about it. Yet another veteran consultant I contacted who has a film scheduled for November also said it was the first time they had heard of this DGA policy and was upset about the perceived favoritism.
The Directors Guild of America has found that when it comes to who sits in the director’s chair on TV series, they’re still white and male — and that trend is growing. According to a DGA report released today, white males directed 73% of primetime episodic TV on the main networks, cable and premium cable. That’s up 1% from a similar study the DGA did last year. The guild looked at more than 3,100 episodes of TV from the 2011-2012 network season and 190 scripted series from the 2011 cable season. TV directed by minority males decline from 14% last year to 13%. TV directed by white women stayed the same at 11%, while the percentage directed by minority women increased from 3% to 4%.
HBO’s Veep and TNT’s Dallas reboot were among the eight shows found by the DGA report that didn’t hire any women or minority directors. “In this day and age, it’s quite disappointing that so many shows failed to hire even a single woman or minority director during the course of an entire season — even shows whose cast and crew otherwise is notably diverse”, said DGA First VP and Sons Of Anarchy producer Paris Barclay. ABC’s Revenge (14%), HBO’s The Newsroom (11%), ABC’s Modern Family (8%) and CBS’ CSI (5%) were among the shows that hired a non-white male director for less than 15% of their episodes. CSI: NY (33%), FX’s Sons Of Anarchy (36%), HBO’s Girls (44%) and Disney XD’s Lab Rats (80%) were among those who hired minority or female directors for a significant number of episodes. VH1’s Single Ladies and BET shows The Game, Let’s Stay Together and Read Between The Lines were given a 100% rating for hiring minority or female directors.
Below is the DGA’s full “Worst Of” and “Best Of” lists noted in the study:
“There’s nothing better than watching a movie on the big screen, exactly as the director intended,” said DGA President Taylor Hackford. “But it’s not always possible for our members to get to the theater to see every film in awards contention. For that reason, the National Board has decided to allow members to receive ‘for your consideration’ screeners.”
The DGA had a longstanding policy of not allowing awards season screeners. The Guild believed that films sent out on DVD could have an advantage over films that are not able to be sent out due to limited marketing budgets or other financial constraints of studios and distributors. Additionally, most DGA members have numerous opportunities to see films in awards contention in other ways.