DGA Awards 2013: Ben Affleck Wins Best Feature Film Director For 'Argo'; TV Winners Include Rian Johnson 'Breaking Bad', Lena Dunham 'Girls', Jay Roach 'Game Change', Glenn Weiss 'Tony Awards', Jill Mitwell 'One Life To Live', Brian Smith 'Master Chef'

UPDATED WITH ALL WINNERS AND SPEECHES: The 65th Annual Directors Guild Of America Awards dinner was held tonight at the Ray Dolby Ballroom at Hollywood & Highland in Los Angeles. The DGA Award for Outstanding Directorial Achievement in Feature Film was won by Ben Affleck for Argo. “I don’t think this makes me a real director. But I think it means I’m on my way,” he said. This DGA category has traditionally been one of the industry’s most accurate barometers of who will win the Best Director Academy Award – but Affleck was not nominated by the Oscar’s Directors Branch. When asked backstage by Deadline if he thinks the Academy Of Motion Picture Arts & Sciences wishes it had nominated him for a directing Oscar, Affleck stayed classy: “I have DGA Awardsnothing but respect for the Film Academy. I’m also very grateful to the DGA. I mean, you’re not entitled to anything in life. I’m thrilled and honored that the academy nominated me as a producer for the movie. Maybe taking me out of [the director race] helps give us purpose, because it’s just about that movie as a picture.”

Only six times* since the DGA Awards began in 1948 has the Feature Film winner not gone on to win the corresponding Academy Award. Also nominated by the DGA but not by the Academy Of Motion Picture Arts & Sciences were Kathryn Bigelow (Zero Dark Thirty) and Tom Hooper (Les Miserables). Affleck was the only one of tonight’s DGA nominees who had not won here before. Steven Spielberg (Lincoln) has won three times, for The Color Purple in 1985, Schindler’s List in 1993 and Saving Private Ryan in 1998. Ang Lee won for Crouching Tiger, Hidden Dragon in 2000 and Brokeback Mountain in 2005. Bigelow won her DGA in 2009 for The Hurt Locker, and Hooper in 2010 for The King’s Speech.

Martin Short introduced Spielberg’s nomination and killed with the audience. “I guess Bill Clinton was booked. Tonight, we honor Steven for his magnificent film Abraham Lincoln: Vampire Slayer.” Spielberg loved it and gave Short a big hug. He received the only standing ovation so far – and quipped back at Short: “When you tell your assistant to contact Marty about presenting you with your DGA medallion, you’ve got to assume she’s understanding that you’re talking about Scorsese. But we can’t get Clinton, and Marty’s busy, so this is a great third choice. Thank you Marty for presenting me with this.” Noting the intense competition this year, Spielberg said, “This has been an incredible year for movies. I’d be lying if I didn’t admit there have been moments when I wished it was a somewhat less incredible year for movies. But those moments pass.” When presenting him with the DGA nomination medallion for Argo, Bryan Cranston recalled how Affleck was different “from every other director I’ve ever worked with. He was mouthing my dialogue while reciting his. Of course actors love that.” Affleck then deadpanned, “I should have gotten Marty Short.”

Also being recognized tonight are directors of documentaries and television and special award winners Milos Forman (Lifetime Achievement Award in Motion Picture Direction) who was ill and could not attend, Michael Apted (Robert B. Aldrich Award for extraordinary service to the Directors Guild of America and to its membership), Eric Shapiro (Lifetime Achievement Award in News Direction) whose 92-year-old father was in attendance, Susan Zwerman (Frank Capra Achievement Award given to an Assistant Director or Unit Production Manager), and Dency Nelson (Franklin J. Schaffner Achievement Award given to an Associate Director or Stage Manager). DGA president Taylor Hackford read from a letter of thanks supplied by Forman who recalled several DGA directors including Mike Nichols, Sidney Lumet, Franklin Schaffner, and Buck Henry helping him on an immigration issue many years ago. In perhaps the evening’s most moving and powerful moment, Hackford then led everyone gathered in the audience to stand, turn to the back of the room, face the camera of the closed feed, raise their wine glasses, and toast Forman. As music swelled, Hackford continued, “With this recognition, you now walk with the giants. With the directors who have helped forge this guild — Vidor, Capra, Wyler and the others, all who make us who we are today. To Milos! To Milos! To Milos!”

The DGA Awards tonight were hosted by director/actor/producer Kelsey Grammer who entertained with the usual mix of semi-amusing targeted zingers from inside showbiz. “This evening is not just an awards show. It’s a celebration of the art and craft of directing — hence, the open bar.” Addressing Kathryn Bigelow in the audience, Grammer quipped that the suspense “must be torture for you”. He went on: “Congrats to Ang Lee. In Life Of Pi, Lee had the challenge of directing a real live tiger. A wild animal who eats humans and licks himself. This prepared him for any future work with Mel Gibson.” Regarding the recent cancellation of his own Starz series Boss, he said, “The most curious part was when I received a call from someone and they’d say, ‘Kelsey, I’m so sorry about Who’s The Boss.”

Deadline Awards Columnist Pete Hammond, Awardsline’s Anthony D’Alessandro, and Deadline contributor Ray Richmond were on the scene tonight:

65th Annual Directors Guild Of America Awards

Outstanding Directorial Achievement in Feature Film

Ben Affleck
Argo (Warner Bros. Pictures)

Mr. Affleck’s Directorial Team:
Unit Production Manager: Amy Herman
First Assistant Director: David Webb
Second Assistant Director: Ian Calip
Second Second Assistant Directors: Clark Credle, Gavin Kleintop
First Assistant Director (Turkey Unit): Belkis Turan

This is Mr. Affleck’s first DGA Feature Film Award nomination.

Ben Affleck called for the rest of his team to join him onstage. He humbly said: “The four folks here who are nominated I consider my betters. There’s no other way of saying it. I work really hard at this… You know, I got to a point in my life where I was really down, really confused, really felt beset on all sides by life, didn’t know what was gonna happen. And I thought, I should be a director.” He admitted, “I don’t think this makes me a real director. But I think it means I’m on my way.”

Backstage, Affleck reflected on what would make him a ‘real’ director: “Gosh, I don’t know… William Wyler’s a real director, Capra’s a real director, Scorsese’s a real director, Spielberg’s a real director… I think of this whole list of greats and I think, that’s the short of grown-ups who I think of as directors. I think of myself as a work in progress. I want to keep growing and pushing and I’m OK with that.”

Affleck was asked if the hard times he’d alluded to in his acceptance speech were finally over. “I hope so,” he replied. “This is certainly a very good time. You know, there are ebbs and flows. There are natural difficulties… I had this very early success as a very young man, which is difficult to manage at any age but particularly when you’re young. And I had some stuff work and some didn’t, and I ran afoul of the press a little bit and became overexposed… Maybe I was being a bit hyperbolic in the speech for effect, but it caused me to wonder, ‘What do I want to do in this industry? Do I have anything to offer? What should I be doing? How can I best express myself?’ And that was around the time I took up directing, and I really view this as connected to that decision because that was fraught with, ‘Can I do it? Can I make it? Can I really direct movies and be at the DGA and to be honored with an award by the DGA?’ It’s definitely more than I could have ever imagined on the first day of shooting on Gone Baby Gone.”

Onstage during his earlier nomination speech, Affleck gave props to all his fellow nominees, including praising Bigelow for “Looking at this male-dominated world and saying ‘Fuck it, I’m gonna go out, I’m gonna make the 9/11 movie, I’m gonna win the fucking Oscar…” and said she was an “example” for his daughters. He also quipped, “I’d also like to thank [fellow Argo producers] Grant Heslov and George Clooney. But I won’t go on at great length because this isn’t televised and they’re not here.”

Outstanding Directorial Achievement in Documentary

Searching For Sugar Man (Sony Pictures Classics)
Passion Pictures Production
Canfield Pictures & The Documentary Company
Red Box Films

This is Mr. Bendjelloul’s first DGA Award nomination.


DGA Awards 2013Outstanding Directorial Achievement in Dramatic Series

Breaking Bad, “Fifty-One” (AMC)

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.

Outstanding Directorial Achievement in Movies For Television and Mini-Series

Game Change (HBO)

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.

Jay Roach won the Emmy for the same film about sarah Palin. “This is unbelievable to win this award… in a room filled with my heroes,” he said onstage. Roach noted that he grew up in a very conservative New Mexican family where his mother made a rule to never talk about politics at the dinner table. “And I stuck to that for most of my life – at least at home,” he said. “But when I watched John McCain in 2008 rush to propose Sarah Palin be the next in line for the President of the United States, I said, ‘We’ve got to talk about this’.” The remark drew a mixture of laughter and applause.

Outstanding Directorial Achievement in Comedy Series

Girls, “Pilot” (HBO)

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.

An ebullient Lena Dunham said during her acceptance, “It is such an unbelievable honor… I appreciate it endlessly to even call any of these people my peers. Surreal is, I know, an overused Los Angeles word, but it’s how I feel.” Then she launched into thank yous: “There’s no way I would be here without my crew. I showed up and there were 55 people waiting for me with open arms who shared with me everything that they knew. They gave me everything that they had… Thank you to my father Carroll Dunham who directed the shit out of our family…” And before she stepped off the podium, she noted: “Steven Spielberg, I’m coming for you. Ben Affleck, I already came for you.”

Backstage, Dunham explained what that last comment meant. “I just love them. I already talked to Ben. I said to Ben, ‘I love you,’ and he said, ‘Thank you’. Now I’m going to talk to Steven.” as for her show, Dunham said: “I hope the male characters don’t feel like trophies but feel like fully realized humans. And that maybe gives men a little bit of insight into female behavior.”

Outstanding Directorial Achievement in Reality Programs

Master Chef, “Episode #305” (FOX)

Mr. Smith’s Directorial Team:
Associate Director: Anna Moulaison-Moore
Stage Manager: Drew Lewandowski

This is Mr. Smith’s third DGA Award nomination. He was previously nominated in this category in 2010 and 2011 for episodes “103” and “201” of Master Chef.

Outstanding Directorial Achievement in Musical Variety

66th Annual Tony Awards (CBS)

Mr. Weiss’ Directorial Team:
Associate Directors: Ken Diego, Robin Abrams, Stefani Cohen, Ricky Kirshner
Stage Managers: Garry Hood, Phyllis Digilio-Kent, Peter Epstein, Andrew Feigin, Lynn Finkel, Doug Fogel, Jeffry Gitter, Dean Gordon, Arthur Lewis, Jeffrey M. Markowitz, Joey Meade, Tony Mirante, Cyndi Owgang, Jeff Pearl, Elise Reaves, Lauren Class Schneider

This is Mr. Weiss’ ninth DGA Award nomination. He won the DGA Award for Outstanding Directorial Achievement in Musical Variety in 2007, 2010 and 2011 for the 61st, 64th and 65th Annual Tony Awards. He was previously nominated in this category in 2001, 2002, 2005, 2006 and 2008, all for the 55th, 56th, 59th, 60th, and 62nd Annual Tony Awards.

Outstanding Directorial Achievement in Daytime Serials

One Life To Live, “Between Heaven and Hell” (ABC)

Ms. Mitwell’s Directorial Team:
Associate Directors: Tracy Casper Lang, Teresa Cicala, Michael Sweeney, Paul S. Glass
Stage Managers: Alan Needleman, Keith Greer, Tracy Casper Lang, Leah M. Weber
Production Associates: Nathalie Rodriguez, Kevin Brush

This is Ms. Mitwell’s ninth DGA Award nomination and all for her direction of One Life to Live. She won the DGA Award for Outstanding Directorial Achievement in Daytime Serials three times for One Life to Live, “Episode #9779” in 2006, “Episode #8295” in 2000 and “Episode #6356” in 1993. She was nominated five additional times for One Life to Live episodes “Starr X’d Lovers, The Musical, Part Three” in 2010, “Episode #8691” in 2002, “Episode #8012” in 1999, “Episode #7761” in 1998, and “Episode #7285” in 1996.

Outstanding Directorial Achievement in Children’s Programs

Let it Shine (Disney Channel)

Mr. Hoen’s Directorial Team:
Unit Production Manager: Katie Willard Troebs
First Assistant Director: Daniel Coffie
Second Assistant Director: Todd Turner
Second Second Assistant Director: D. Scott Kirkley

This is Mr. Hoen’s sixth DGA Award nomination. He won the DGA Award for Outstanding Directorial Achievement in Children’s Program in 2007 for Jump In and was previously nominated in this category in 2000 for the Even Stevens episode “Take My Sister… Please,” in 2004 for Searching for David’s Heart, in 2008 for Cheetah Girls: One World and in 2010 for Camp Rock 2: The Final Jam.

Special Awardees

Milos Foreman‘s DGA Lifetime Achievement Award was selected by the present and past presidents of the Guild. In the Guild’s 76-year history, only 33 other directors have been recognized with the honor, including Cecil B. DeMille (1953), Frank Capra (1959), Alfred Hitchcock (1968), Orson Welles (1984), Billy Wilder (1985), Akira Kurosawa (1992), Stanley Kubrick (1997), Francis Ford Coppola (1998), Steven Spielberg (2000), Martin Scorsese (2003), Clint Eastwood (2006), and most recently, Norman Jewison (2010).

Forman is perhaps best known for directing the outstanding feature films One Flew Over the Cuckoo’s Nest and Amadeus, for which he twice won the DGA Award for Outstanding Directorial Achievement in Feature Film. His films have garnered 33 Academy Award nominations and 13 Academy Awards, and the filmmaker himself has been nominated for three Best Director Awards, winning twice for One Flew Over the Cuckoo’s Nest and Amadeus.

One Flew Over the Cuckoo’s Nest became only the second film in history to sweep the top five Academy Award categories in one year.

After graduating from the University of Prague’s Film Institute, Forman began writing screenplays and making short semi-documentaries. He directed his first feature, Black Peter, in 1963, which garnered success at film festivals at Cannes, Montreal and New York, and brought him to the United States for the first time. His next two films, Loves of a Blonde and Fireman’s Ball, were nominated for Academy Awards for Best Foreign Language Film, after which Forman moved to New York to make his first American feature, Taking Off.

In 1973, producers Michael Douglas and Saul Zaentz contacted Forman about directing One Flew Over the Cuckoo’s Nest, which garnered Forman his first DGA Award, five Academy Awards including Best Director, and four additional nominations. Forman next turned long-running musical Hair into a feature film and followed that with Ragtime, which was nominated for eight Academy Awards. 1984’s Amadeus brought more critical acclaim, a second DGA Award, and eight Academy Awards including Best Director and Best Picture. Forman’s most recent films include Valmont; The People vs. Larry Flynt, for which Forman received his third Academy Award nomination for Best Director; Man in the Moon and Goya’s Ghosts. He also spent many years teaching and running the film studies program at Columbia University.

Forman joined the DGA in 1970 and served two terms on the National Board. A longtime champion of artist’s rights, Forman became personally involved with the issue of unauthorized film alteration after his film version of Hair was broadcast with half of its musical scenes removed without his authorization. He was a Charter Benefactor of the Artists Rights Foundation, a Governor of the Artists Rights Education and Legal Defense Fund Council at The Film Foundation, and a member of the DGA President’s Committee on Film Preservation. In 2009, Forman gave the keynote address at the CISAC World Copyright Summit in Washington, D.C. on behalf of the DGA expressing concern about how rampant digital theft would impact the ability of artists to be compensated for their work. Forman was awarded the John Huston Award for Artists Rights in 1997 and the DGA Honor in 2008.

Michael Apted served as DGA President for three terms from 2003-2009, the longest consecutive presidential service since George Sidney in the 1960s. During his tenure, he oversaw collective bargaining negotiations for the Basic Agreement and FLTTA (including the 2004 round that successfully protected health benefits and the 2007 round that established jurisdiction and compensation formulas in new media); an increased focus on research; a new emphasis on reality television, including the formation of the DGA Reality Television Committee and the organization of nearly 350 shows in this genre; the development of the DGA Quarterly in 2005 to focus on the craft of directing and the DGA Monthly in 2004 to keep members informed about Guild news and events; and the Guild’s fight against digital theft.

Apted joined the DGA in 1978 and became active in Guild service in 1997, when he was first elected to the Western Directors Council. In 2001, he was elected to the National Board and became fifth vice president the following year. He also helped found the Guild’s Independent Directors Committee in 1998 and served as chair until he was elected president of the Guild. Even though he stepped down as president in 2009, Apted has remained extremely involved in Guild service, continuing to serve on the National Board including his current position as Secretary-Treasurer, as well as co-chairing of the Political Action Committee’s Leadership Council and shepherding the Guild’s year-long celebration of its 75th anniversary in 2011 as chair of the 75th Anniversary Advisory Committee.

A veteran feature, documentary and television director, Apted got his start in England at Granada Television as a researcher on the original 7 UP documentary. Apted went on to direct the internationally-acclaimed, multi-award winning sequels 7 Plus 7, 21, 28, 35, 42, 49 UP and 56 UP. His feature film credits include Gorillas in the Mist, Coalminer’s Daughter, The World is Not Enough, Gorky Park, Thunderheart, Nell, Enigma, Amazing Grace, and The Chronicles of Narnia: The Voyage of the Dawn Treader. In addition to his documentary and feature work, Apted has worked extensively in television, including directing the first three episodes of HBO’s epic series Rome.

He has received numerous awards and nominations for his body of work, including a DGA Award, a Grammy, a British Academy Award, and the International Documentary Association’s Career Achievement Award. By the order of Queen Elizabeth II, Mr. Apted was made a Companion of the Order of Saint Michael and Saint George for his work in the film and television industries.

Eric Shapiro rose from the CBS mailroom to become one of the top directors in network television news, directing coverage of every major news event of the past half century and overseeing and adapting to innovations in the way television presented the news – especially live, breaking stories – that transformed the news business. He has been instrumental in the evolution and modernization of CBS News production and newsgathering techniques, including the transition from black and white to color, film to video and most recently from standard to high definition.

Shapiro became a DGA member in 1965 as a production associate. Starting with his first directing assignment in 1969 at the CBS flagship station in New York, Shapiro directed virtually all of the regularly-scheduled news, sports and public affairs broadcasts, and countless political specials, debates and election broadcasts for WCBS TV.

In 1978, CBS News recruited Shapiro to develop and direct an innovative new national Monday – Friday morning news program in tandem with the launch and sharing elements of Sunday Morning with Charles Kuralt. In the decades that followed, Shapiro directed and oversaw the design and redesign of most of the programs on the CBS News schedule, including The Early Show, Face the Nation, 48 Hours, America Tonight and CBS Evening News.

Through that time, Shapiro directed coverage of the election of six U.S. presidents, three popes, the democracy showdown in Tiananmen Square, the fall of the Berlin Wall and two Gulf Wars. He has attended every political convention since 1972 and directed all of CBS News’ political coverage since 1992. On September 11th, 2001, Shapiro spent 16 hours in the director’s chair for CBS News live coverage of the terrorist attack.

Shapiro has been honored with Emmy Awards for his work on the first Gulf War and for his innovative use of virtual set technology on the CBS News People of the Century Millennium series.

Susan Zwerman joined the DGA in 1980 and almost immediately became active in Guild service by being elected to the Eastern AD/UPM Council in 1982 and serving as a member of the Negotiations Committee in 1984. She became active on the Western AD/UPM Council after moving to Los Angeles, serving multiple terms as 1st Vice Chair, 2nd Vice Chair and Secretary-Treasurer. She has also served as a delegate to the DGA Biennial Convention.

A specialist in visual effects, Zwerman chairs the DGA’s AD/UPM VFX/Digital Technology Committee and has planned and organized more than three dozen technology and visual effects seminars for the DGA membership, including multiple Digital Day panels, Training Plan sessions, and special events like “Inside the Virtual Technology of Avatar;” “Science Fiction In The Future – Spectacular Visual Effects From Script to Screen on Star Trek and 2012,” “3D – What’s New?,” two DGA 75th Anniversary Events, “From Tron to Tron: Legacy” and “Game Changers in Visual Effects,” and most recently, “Non-Human Characters: Creating Creatures: Physical or Digital.”

As a Unit Production Manager and Assistant Director, Zwerman’s credits appear on dozens of major films, including The Guardian, Around the World in 80 Days, Men of Honor, Jane Austen’s Mafia!, Alien Resurrection, Broken Arrow, Tall Tale and Fire Birds. As a location manager, she worked on films including Wise Guys, The Flamingo Kid, Scarface, Hanky Panky, Nightshift, and Paternity, with additional credits as visual effects producer on Vamps and Fat Albert. Zwerman teaches visual effects techniques in the entertainment field at university seminars and has co-authored a book on producing visual effects, The Visual Effects Producer: Understanding the Art and Business of VFX.

Dency Nelson began his entertainment career nearly 40 years ago as the driver and mail clerk for the American Film Institute. Among his eclectic early jobs, Nelson was the “cue card guy” for Merv Griffin, Saturday Night Live and the morning David Letterman Show, and eventually became the very first stage manager for MTV in 1981, becoming a DGA member later that year.

Since then, Nelson has been a stage manager for almost every major awards and event show, including 24 Academy Awards telecasts, more than a dozen Grammys and Emmys telecasts, and two dozen Kennedy Center Honors. He also stage managed special events including the Opening and Closing Ceremonies of the 1996 Atlanta Summer Olympics and the 2002 Salt Lake City Winter Olympics, the 1996 and 2000 Democratic National Conventions and President Barack Obama’s “We Are One” Inaugural event, in addition to special live broadcasts of ER, Fail Safe, On Golden Pond and The Drew Carey Show. He has been part of the directorial team for award and event shows that have been nominated 31 times and won seven times for the DGA Award for Musical Variety.

Nelson became active in Guild service more than a decade ago, when he first joined the AD/SM/PA Council West as an alternate. He eventually served several terms as 2nd Vice Chair, a position he currently holds, and is the Council’s representative to the DGA Political Action Committee as well as the Council’s Membership Chair. He also served on multiple Negotiations Committees and as a delegate to the DGA Biennial Conventions. In 2011, Nelson moderated the DGA’s 75th Anniversary special event, “Variety Game-Changers: The People Who Make TV ‘Special.’”

* The six exceptions are as follows:
1968: Anthony Harvey won the DGA Award for The Lion in Winter while Carol Reed took home the Oscar® for Oliver!
1972: Francis Ford Coppola received the DGA’s nod for The Godfather while the Academy selected Bob Fosse for Cabaret.
1985: Steven Spielberg received his first DGA Award for The Color Purple while the Oscar® went to Sydney Pollack for Out of Africa.
1995: Ron Howard was chosen by the DGA for his direction of Apollo 13 while Academy voters selected Mel Gibson for Braveheart.
2000: Ang Lee won the DGA Award for his direction of Crouching Tiger, Hidden Dragon while Steven Soderbergh won the Academy Award for Traffic.
2002: Rob Marshall won the DGA Award for Chicago while Roman Polanski received the Academy Award for The Pianist.

    1. +1

      I simply don’t get the appeal of this show, granted I only saw the pilot…which I found irritating. I was shocked when I saw she had received 4 (!) Emmy nominations, but then I was glad that (arguably) more deserving nominees won in those categories. I guess I’m just annoyed that an acclaimed comedy veteran like Amy Poehler can’t win a …ing Golden Globe, and Lena Dunham can just waltz in and win TWO for her first try. But I guess now that she is a Golden Globe winning actress (Best Lead Actress in a Comedy Series), producer (Best Comedy Series), and most recently a DGA winning director, not to mention a widely acclaimed writer (Independent Spirit Award and probably WGA in the near future, plus a lucrative book deal) I am probably horribly off on this one and should give the show a second look…OR she is horribly overrated.

      1. The most frightening effect, however, will be the fact that she now has carte blanche, which means we’ll be seeing a whole lot more from this overrated actor/writer/director.

  1. I’m fine with another Oscar split this year: Let them give Best Picture to ARGO and Best Director to Steven Spielberg in lieu of the directorial nomination for Ben Affleck (and I know it would mark the second time Spielberg would win Best Dirctor for a non-Pic winner). On two other hands, I saw ZERO DARK THIRTY just today, and I’d love to see Katherine Bigelow win the DGA; and I enjoyed LIFE OF PI much more than I expected, so I could also appreciate a win for Ang Lee. I don’t see either of those films winning the Oscar though. I’m glad Tom Hooper won two years ago, but I haven’t seen LES MISERABLES yet, so I can’t say whether he was slighted by the Academy, or if they legitimately gave his slot to someone else. I see the DGA didn’t nominate David O. Russell, so that probably puts SILVER LININGS PLAYBOOK out of the running for either of the top Oscars. And of course, the bottom line question is, “Will the DGA match Oscar this year, or will we have the seventh exception?”

  2. So happy for Jill Mitwell. I miss my OLTL. 30 years I watched that show. Sigh!

    Also, still wondering about your Spielberg error. Did he win for 3 movies or did you get his wins wrong? I know this is Hollywood, but good journalists usually admit mistakes in a mature fashion.

  3. Can someone, anyone please explain how in the world Homeland has yet to win ANY directing award for Michael Cuesta??? It’s won every other award there is to win.

    1. Yes, the most over hyped show on TV didn’t win an award ONCE. Shocking injustice.
      In 10 years, Homeland will be a Jeopardy question and Breaking Bad and Mad Men will be considered two of the best shows in the history of television.


      1. Overhyped and overrated. The world has gone blind when it comes to defining quality entertainment. “Homeland” has won ENOUGH!

        @Tryinghard: Cuesta did not win an award, most likely because “Homeland” is one of the worst directed programs on television. The show has many, many flaws, but its direction is probably the most glaring.

        1. Ok- I know we are in a subjective industry – we often disagree on what’s good TV or film – But seriously – I don’t know how anyone could say that HOMELAND is NOT well directed. And a female director Leslie Linka- Glatter helmed one of the best episodes of the year!
          The show rocks as does BREAKING BAD & MAD MEN (which Leslie- won a DGA award for directing. She doesn’t suddenly suck as a director because she’s on another show!)

  4. Some people are just jealous of Lena Dunham’s success. It comes down to sexism. If Louis CK wrote the same show as Girls and called it, “Boys”, no one would complain.

    1. Louis CK is actually talented. He would never write that kind of garbage. PLENTY of deserving talented women that could have made a good show for that slot on HBO. Unfortunately they picked that pile of sub-intellgient offal instead.

  5. Lena Dunham wouldn’t be winning major awards if she wasn’t great. I think it what irks some people is that she’s a woman who is saying some harsh truths that aren’t pretty. It comes down to sexism. If Louis CK came from the same background as Dunham and wrote the same show as Girls and called it, “Boys”, no one would complain because we still live in a male dominated society. Lena Dunham is challeging the notion that strong female characters have to be likable. Her characters screwups are funny.

    1. Claiming that only sexist pigs can hate this show is a ridiculously ignorant and lazy argument. So what, it is academically proven as something GREAT that HAS TO be universally accepted as something great ? And here I thought all this is subjective…

      1. Yeah, you’re right: people are bitching about her not because of sexism. However, it’s actually because people are whining that HBO didn’t pick up their show, and they point to Dunham as the reason why their dreams didn’t happen. ‘Wah, wah, wah, she clearly didn’t have to work AT ALL to get where she is because her father is an artist. Wah …’ The whining gets real old real fast yet some people seem to think others are fascinated by it.

  6. Dunham is a phenom, like it or not, she’s done something special. Kudos to her. My pet peeves —
    Argo, a good attempt at at a good movie, that falls short of its attempt, far as I’m concerned. Affleck is a charming and funny guy, has the gift of gab, a real performer, but his movie is kind’ve like Stella Artois — you think it should be a great, but it’s really not. My other problem: Homeland wins everything through the year save for in the best director category? Stupid shit, man. So many good episodes helmed by so many good directors; but Cuesta has been with the show from the start, meaning he probably had a hand in shaping this pop culture icon, meaning… how can he be stood up at the altar again? No disrespect to the Breaking Bad helmer, but this was Cuesta’s. The only other thing I can say is… Argo over Lincoln? Over Pi? Silly shit, man.

    1. 1 – Because Homeland is not that good. Cuesta is, but the series isn’t. A lot of the awards it got this year were a overreach, a little balance doesn’t harm.
      2 – Rian was simply better.

  7. Lena Dunham… all I can say is, is that for the past year or so I’ve heard her name, but never really knew who she was. Then I saw that Obama “My First Time” ad that she did for his campaign. That was “My First Time” encountering Lena Dunham, and I was not impressed. Then I saw her do Conan and Craig Ferguson.

    Here’s the deal, it’s not because she’s a woman, her looks, or even how talented she may or may not be (I cannot comment on that, because I’ve never seen any of her work). But there are just some people in life that automatically piss you off. Lena Dunham is one of those people. She comes off as very “entitled” and very much a know-it-all. She may not be that way at all, but she comes off that way. I’m not jealous of her success either, I don’t think anyone is. It’s more of a WTF; “how did this annoying little chick get an HBO series and all this acclaim?” If one thing we all learn in this business, is that everything is built on relationships. And in Hollywood, it takes all kinds, and Lena Dunham is just one of those kinds I suppose.

    As for Affleck, regardless of who wins what from whatever DGA or Golden Globes BS awards shite show that exists in the pits of Hollywood Hell, the Academy has once again proven that they are out to lunch on what and who they should be nominating. Not that they should be nominating the latest Adam Sandler piece of crap either, but for gods sake Academy members, get with the times.

  8. And the Oscars continue to be embarrassed as Ben Affleck wins the DGA’s Best Director award. Gotta love it!

  9. It’s fine if people don’t like Lena Dunham, but the girl is talented and works her ass off. To say jealousy does not come into play at all in regards to how people feel about her is to not really know the nature of hollywood. Is *everyone* who dislikes her jealous? Probably not, but many, many of them are. Get over it. Put your energy into getting your own thing going instead of wasting time on slamming Dunham. She’s not going anywhere any time soon.

  10. How in the Hell did Dunham get an award and Ava DuVernay is completely shut out?!! WTF!! I used to respect the DGA, but clearly they’re a racist institution, like the majority of Hollywood, and NOT really interested in a) Giving more directors of color opportunity OR b) acknowledging exceptional work as opposed to jumping into the bubble of millennial angst that is about to burst because its 15 minutes is fucking nauseauting.

Comments are closed.