The Art Directors Guild has announced nominations for the 26th Annual Excellence in Production Design Awards in theatrical motion pictures, television, commercials, music videos and animation features, with nominees in the top categories including Licorice Pizza, Cruella, Dune, In The Heights, The White Lotus and Encanto.
Winners will be announced at the Adg Awards ceremony, which returns to a live-in person event at the InterContinental Hotel Los Angeles Downtown Hotel on Saturday, March 5. Today’s announcement was made by Adg President Nelson Coates, Adg, and Awards Producer Michael Allen Glover, Adg.
As previously announced, director Denis Villeneuve (Dune) will receive the William Cameron Menzies Award. Academy Award-winning filmmaker Jane Campion (The Power of the Dog) will receive the Cinematic Imagery Award. The Adg Awards honor excellence in Production Design in theatrical motion pictures, television, commercials, music videos and animated feature films.
The producer of the 2022 Adg Awards is Art Director Michael Allen Glover,...
Winners will be announced at the Adg Awards ceremony, which returns to a live-in person event at the InterContinental Hotel Los Angeles Downtown Hotel on Saturday, March 5. Today’s announcement was made by Adg President Nelson Coates, Adg, and Awards Producer Michael Allen Glover, Adg.
As previously announced, director Denis Villeneuve (Dune) will receive the William Cameron Menzies Award. Academy Award-winning filmmaker Jane Campion (The Power of the Dog) will receive the Cinematic Imagery Award. The Adg Awards honor excellence in Production Design in theatrical motion pictures, television, commercials, music videos and animated feature films.
The producer of the 2022 Adg Awards is Art Director Michael Allen Glover,...
- 1/24/2022
- by Greg Evans
- Deadline Film + TV
“Nightmare Alley,” “Cruella,” “No Time to Die” and “In The Heights” are among the top films recognized for excellence in production design in the 26th annual Art Directors Guild nominations.
On Monday, the Adg announced nominations for this year’s awards show, which will return to a live ceremony on March 5 at the Intercontinental Hotel in Downtown Los Angeles.
“The French Dispatch,” “Licorice Pizza,” “West Side Story” and “The Tragedy of Macbeth” landed nominations in the period feature film category alongside “Nightmare Alley.” “Dune,” “Cruella,” “Shang-Chi and the Legend of the Ten Rings” “Ghostbusters: Afterlife” and “The Green Knight” earned recognition in fantasy feature film.
Missing out were Oscar contenders “Spencer,” “The Power of the Dog,” “Belfast” and “Cyrano.”
As previously announced, director Denis Villeneuve (“Dune”) will receive the William Cameron Menzies award. Jane Campion “(The Power of the Dog”) will receive the cinematic imagery award.
The Adg Awards honor...
On Monday, the Adg announced nominations for this year’s awards show, which will return to a live ceremony on March 5 at the Intercontinental Hotel in Downtown Los Angeles.
“The French Dispatch,” “Licorice Pizza,” “West Side Story” and “The Tragedy of Macbeth” landed nominations in the period feature film category alongside “Nightmare Alley.” “Dune,” “Cruella,” “Shang-Chi and the Legend of the Ten Rings” “Ghostbusters: Afterlife” and “The Green Knight” earned recognition in fantasy feature film.
Missing out were Oscar contenders “Spencer,” “The Power of the Dog,” “Belfast” and “Cyrano.”
As previously announced, director Denis Villeneuve (“Dune”) will receive the William Cameron Menzies award. Jane Campion “(The Power of the Dog”) will receive the cinematic imagery award.
The Adg Awards honor...
- 1/24/2022
- by Jazz Tangcay
- Variety Film + TV
The 24th annual Art Directors Guild Awards, which honors the best production design in film and television, took place Saturday, February 1. All eyes were on the Period Film category, which this year had four nominees match up with the Oscars for Best Production Design: “The Irishman,” “Jojo Rabbit,” “1917” and “Once Upon a Time in Hollywood.” The other two Adg period contenders were “Ford v Ferrari” and “Joker,” while the Oscars’ fifth bid went to “Parasite,” which was up for Contemporary Film at the guild. Scroll down to see the full winners list for the 2020 Adg Awards.
SEE4 reasons why Brad Pitt winning the Oscar for ‘Once Upon a Time in Hollywood’ is as real as a donut
The Art Directors Guild Awards have a great track record predicting the Oscar race for Best Production Design. Throughout the first 23 years of these kudos, the eventual Academy Award winner has always numbered...
SEE4 reasons why Brad Pitt winning the Oscar for ‘Once Upon a Time in Hollywood’ is as real as a donut
The Art Directors Guild Awards have a great track record predicting the Oscar race for Best Production Design. Throughout the first 23 years of these kudos, the eventual Academy Award winner has always numbered...
- 2/2/2020
- by Marcus James Dixon
- Gold Derby
The Art Directors Guild has announced nominations for the 24th Annual Excellence in Production Design Awards in theatrical motion pictures, television, commercials, music videos and animation features. The nominees include features The Irishman, Once Upon a Time in Hollywood and Ford v Ferrari, and Game of Thrones, The Mandalorian, The Crown and The Marvelous Mrs. Maisel on the TV side.
Winners will be honored at the 2020 Awards at the InterContinental Los Angeles Downtown on Saturday, February 1, 2020. The nominees were announced today by Art Directors Guild President Nelson Coates, Adg, and Awards Producer Scott Moses, Adg. Additional honorees for Cinematic Imagery will be announced at a later date.
As previously announced, Syd Mead will receive the William Cameron Menzies Award. The Adg Lifetime Achievement Awards be presented to Joe Alves, Denis Olsen, Stephen Myles Berger and Jack Johnson. Additional honorees...
Winners will be honored at the 2020 Awards at the InterContinental Los Angeles Downtown on Saturday, February 1, 2020. The nominees were announced today by Art Directors Guild President Nelson Coates, Adg, and Awards Producer Scott Moses, Adg. Additional honorees for Cinematic Imagery will be announced at a later date.
As previously announced, Syd Mead will receive the William Cameron Menzies Award. The Adg Lifetime Achievement Awards be presented to Joe Alves, Denis Olsen, Stephen Myles Berger and Jack Johnson. Additional honorees...
- 12/9/2019
- by Denise Petski
- Deadline Film + TV
The Art Directors Guild has announced its nominations for the 24th Annual Excellence in Production Design Awards in theatrical motion pictures, television, commercials, music videos and animation features.
Among the films recognized for outstanding production design are James Mangold’s “Ford V Ferrari,” Martin Scorsese’s “The Irishman,” and Quentin Tarantino’s “Once Upon a Time in Hollywood.”
“Aladdin,” “Avengers: Endgame,” “Dumbo” and “Maleficent: Mistress of Evil” all scored nods in the fantasy film category.
In television, streaming newcomer Disney Plus scored a production design nomination for its freshman season of “The Mandalorian.” HBO’s “Big Little Lies,” “Game of Thrones” and “Veep” also earned nominations in their respective categories.
Syd Mead, the “visual futurist” and concept artist known for his design contributions to science-fiction films such as “Star-Trek: The Motion Picture,” “Aliens,” and “Blade Runner,” has been named the recipient of the William Cameron Menzies Award. The Adg Lifetime...
Among the films recognized for outstanding production design are James Mangold’s “Ford V Ferrari,” Martin Scorsese’s “The Irishman,” and Quentin Tarantino’s “Once Upon a Time in Hollywood.”
“Aladdin,” “Avengers: Endgame,” “Dumbo” and “Maleficent: Mistress of Evil” all scored nods in the fantasy film category.
In television, streaming newcomer Disney Plus scored a production design nomination for its freshman season of “The Mandalorian.” HBO’s “Big Little Lies,” “Game of Thrones” and “Veep” also earned nominations in their respective categories.
Syd Mead, the “visual futurist” and concept artist known for his design contributions to science-fiction films such as “Star-Trek: The Motion Picture,” “Aliens,” and “Blade Runner,” has been named the recipient of the William Cameron Menzies Award. The Adg Lifetime...
- 12/9/2019
- by Jazz Tangcay
- Variety Film + TV
This review was written for the festival screening of "The Dead Girl".AFI Fest
By the movie's end, writer-director Karen Moncrieff's "The Dead Girl" delivers considerable emotional impact. But that doesn't mean you've enjoyed the journey. Moncrieff chooses to scrutinize highly unpleasant material but, fortunately, she never takes an exploitative or sensationalistic approach. The movie has its integrity. Her female characters are deeply troubled individuals, and there is little to comfort viewers that any of these lives might turn around or improve. Yet Moncrieff views these people, these victims, with compassionate understanding.
While Moncrieff spares you gruesome details, she demands that you look at what happens to people seemingly out of control of their lives and obsessions, who get caught up in fateful chain of events that can come to no good. The First Look release, which debuted at AFI Fest, opens Dec. 29 in Los Angeles and New York before a January national rollout. Despite an impressive cast, only adventurous adult viewers will head to art houses for "Dead Girl".
The movie unfolds in five vignettes about seemingly unrelated people. It soon is clear enough that these lives are connected to a dead girl discovered in a vacant field. You further suspect the murder to be the work of a serial killer.
Serial killers are an old staple in crime novels and movie thrillers, but such Hannibal Lecters are fictional monsters, good for quick chills and a laugh. Moncrieff will have none of this; she is after the horrifyingly mundane reality of victims, killers and those tragically connected to either or both.
Each vignette focuses on a central female character. Arden (Toni Collette) discovers the body, but her lonely life as a caretaker to her ill, abusive mother (Piper Laurie) is turned upside down by reporting her discovery to police. Her mother is furious, and she attracts unwanted attention from strangers, including a grocery store clerk (Giovanni Ribisi) who confuses his sexual desire with an obsession with serial killers. Arden is just lonely enough in life to give herself to this man.
Leah (Rose Byrne) is a forensics grad student who, when confronted with the mutilated body of the dead girl, thinks that perhaps she might be her young sister who went missing so many years before. Gruesome as it would be, this discovery would at least bring closure for her and her parents (Mary Steenburgen, Bruce Davison), who still wallow in denial.
An aging couple, Ruth Mary Beth Hurt) and her husband Carl (Nick Searcy), quarrel constantly over Carl's constant absences at night. Then she discovers one unit in the storage facility Carl runs contains ominous personal effects belonging to young women.
Melora Marcia Gay Harden) comes to Los Angeles searching for answers about the dead girl, who was her runaway daughter. She meets the daughter's roommate, Rosetta (Kerry Washington), a battered hooker, and learns a piece of news that changes her life. Finally, in a flashback, the movie shows the last day in the life of Krista (Brittany Murphy), a woman riven by violence, drug use and severe psychological issues yet desperate to reclaim her innocence.
The story is set in Los Angeles, but Moncrieff has selected the most desolate, almost barren urban landscape imaginable. Here people lead hopeless, angry lives, never certain what went wrong or, worse, how to repair them. There is a suggestion of hope in the mother-roommate vignette. In this sequence alone, people are lead to understand what happened and how they might salvage their lives.
Cinematographer Michael Grady and designer Kristan Andrews subtly depict this world of isolation with just the right tones, details and compositions that that link environment to character.
THE DEAD GIRL
First Look Pictures
Lakeshow Entertainment/Pitbull Pictures
Credits:
Screenwriter-director: Karen Moncrieff
Producers: Richard Wright, Eric Karten, Kevin Turen, Tom Rosenberg, Henry Winterstern, Gary Lucchesi
Director of photography: Michael Grady
Production designer: Kristan Andrews
Music: Adam Gorgoni
Costume designer: Susie DeSanto
Editor: Toby Yates
Cast:
Krista: Brittany Murphy
Arden: Toni Collette
Rudy: Giovanni Ribisi
Mother: Piper Laurie
Leah: Rose Byrne
Beverly: Mary Steenburgen
Bill: Bruce Davison
Ruth: Mary Beth Hurt
Carl: Nick Searcy
Melora: Marcia Gay Harden
Rosetta: Kerry Washington
Tarlow: Josh Brolin
Running time -- 93 minutes
MPAA rating: R...
By the movie's end, writer-director Karen Moncrieff's "The Dead Girl" delivers considerable emotional impact. But that doesn't mean you've enjoyed the journey. Moncrieff chooses to scrutinize highly unpleasant material but, fortunately, she never takes an exploitative or sensationalistic approach. The movie has its integrity. Her female characters are deeply troubled individuals, and there is little to comfort viewers that any of these lives might turn around or improve. Yet Moncrieff views these people, these victims, with compassionate understanding.
While Moncrieff spares you gruesome details, she demands that you look at what happens to people seemingly out of control of their lives and obsessions, who get caught up in fateful chain of events that can come to no good. The First Look release, which debuted at AFI Fest, opens Dec. 29 in Los Angeles and New York before a January national rollout. Despite an impressive cast, only adventurous adult viewers will head to art houses for "Dead Girl".
The movie unfolds in five vignettes about seemingly unrelated people. It soon is clear enough that these lives are connected to a dead girl discovered in a vacant field. You further suspect the murder to be the work of a serial killer.
Serial killers are an old staple in crime novels and movie thrillers, but such Hannibal Lecters are fictional monsters, good for quick chills and a laugh. Moncrieff will have none of this; she is after the horrifyingly mundane reality of victims, killers and those tragically connected to either or both.
Each vignette focuses on a central female character. Arden (Toni Collette) discovers the body, but her lonely life as a caretaker to her ill, abusive mother (Piper Laurie) is turned upside down by reporting her discovery to police. Her mother is furious, and she attracts unwanted attention from strangers, including a grocery store clerk (Giovanni Ribisi) who confuses his sexual desire with an obsession with serial killers. Arden is just lonely enough in life to give herself to this man.
Leah (Rose Byrne) is a forensics grad student who, when confronted with the mutilated body of the dead girl, thinks that perhaps she might be her young sister who went missing so many years before. Gruesome as it would be, this discovery would at least bring closure for her and her parents (Mary Steenburgen, Bruce Davison), who still wallow in denial.
An aging couple, Ruth Mary Beth Hurt) and her husband Carl (Nick Searcy), quarrel constantly over Carl's constant absences at night. Then she discovers one unit in the storage facility Carl runs contains ominous personal effects belonging to young women.
Melora Marcia Gay Harden) comes to Los Angeles searching for answers about the dead girl, who was her runaway daughter. She meets the daughter's roommate, Rosetta (Kerry Washington), a battered hooker, and learns a piece of news that changes her life. Finally, in a flashback, the movie shows the last day in the life of Krista (Brittany Murphy), a woman riven by violence, drug use and severe psychological issues yet desperate to reclaim her innocence.
The story is set in Los Angeles, but Moncrieff has selected the most desolate, almost barren urban landscape imaginable. Here people lead hopeless, angry lives, never certain what went wrong or, worse, how to repair them. There is a suggestion of hope in the mother-roommate vignette. In this sequence alone, people are lead to understand what happened and how they might salvage their lives.
Cinematographer Michael Grady and designer Kristan Andrews subtly depict this world of isolation with just the right tones, details and compositions that that link environment to character.
THE DEAD GIRL
First Look Pictures
Lakeshow Entertainment/Pitbull Pictures
Credits:
Screenwriter-director: Karen Moncrieff
Producers: Richard Wright, Eric Karten, Kevin Turen, Tom Rosenberg, Henry Winterstern, Gary Lucchesi
Director of photography: Michael Grady
Production designer: Kristan Andrews
Music: Adam Gorgoni
Costume designer: Susie DeSanto
Editor: Toby Yates
Cast:
Krista: Brittany Murphy
Arden: Toni Collette
Rudy: Giovanni Ribisi
Mother: Piper Laurie
Leah: Rose Byrne
Beverly: Mary Steenburgen
Bill: Bruce Davison
Ruth: Mary Beth Hurt
Carl: Nick Searcy
Melora: Marcia Gay Harden
Rosetta: Kerry Washington
Tarlow: Josh Brolin
Running time -- 93 minutes
MPAA rating: R...
- 11/8/2006
- The Hollywood Reporter - Movie News
AFI Fest
By the movie's end, writer-director Karen Moncrieff's "The Dead Girl" delivers considerable emotional impact. But that doesn't mean you've enjoyed the journey. Moncrieff chooses to scrutinize highly unpleasant material but, fortunately, she never takes an exploitative or sensationalistic approach. The movie has its integrity. Her female characters are deeply troubled individuals, and there is little to comfort viewers that any of these lives might turn around or improve. Yet Moncrieff views these people, these victims, with compassionate understanding.
While Moncrieff spares you gruesome details, she demands that you look at what happens to people seemingly out of control of their lives and obsessions, who get caught up in fateful chain of events that can come to no good. The First Look release, which debuted at AFI Fest, opens Dec. 29 in Los Angeles and New York before a January national rollout. Despite an impressive cast, only adventurous adult viewers will head to art houses for "Dead Girl".
The movie unfolds in five vignettes about seemingly unrelated people. It soon is clear enough that these lives are connected to a dead girl discovered in a vacant field. You further suspect the murder to be the work of a serial killer.
Serial killers are an old staple in crime novels and movie thrillers, but such Hannibal Lecters are fictional monsters, good for quick chills and a laugh. Moncrieff will have none of this; she is after the horrifyingly mundane reality of victims, killers and those tragically connected to either or both.
Each vignette focuses on a central female character. Arden (Toni Collette) discovers the body, but her lonely life as a caretaker to her ill, abusive mother (Piper Laurie) is turned upside down by reporting her discovery to police. Her mother is furious, and she attracts unwanted attention from strangers, including a grocery store clerk (Giovanni Ribisi) who confuses his sexual desire with an obsession with serial killers. Arden is just lonely enough in life to give herself to this man.
Leah (Rose Byrne) is a forensics grad student who, when confronted with the mutilated body of the dead girl, thinks that perhaps she might be her young sister who went missing so many years before. Gruesome as it would be, this discovery would at least bring closure for her and her parents (Mary Steenburgen, Bruce Davison), who still wallow in denial.
An aging couple, Ruth Mary Beth Hurt) and her husband Carl (Nick Searcy), quarrel constantly over Carl's constant absences at night. Then she discovers one unit in the storage facility Carl runs contains ominous personal effects belonging to young women.
Melora Marcia Gay Harden) comes to Los Angeles searching for answers about the dead girl, who was her runaway daughter. She meets the daughter's roommate, Rosetta (Kerry Washington), a battered hooker, and learns a piece of news that changes her life. Finally, in a flashback, the movie shows the last day in the life of Krista (Brittany Murphy), a woman riven by violence, drug use and severe psychological issues yet desperate to reclaim her innocence.
The story is set in Los Angeles, but Moncrieff has selected the most desolate, almost barren urban landscape imaginable. Here people lead hopeless, angry lives, never certain what went wrong or, worse, how to repair them. There is a suggestion of hope in the mother-roommate vignette. In this sequence alone, people are lead to understand what happened and how they might salvage their lives.
Cinematographer Michael Grady and designer Kristan Andrews subtly depict this world of isolation with just the right tones, details and compositions that that link environment to character.
THE DEAD GIRL
First Look Pictures
Lakeshow Entertainment/Pitbull Pictures
Credits:
Screenwriter-director: Karen Moncrieff
Producers: Richard Wright, Eric Karten, Kevin Turen, Tom Rosenberg, Henry Winterstern, Gary Lucchesi
Director of photography: Michael Grady
Production designer: Kristan Andrews
Music: Adam Gorgoni
Costume designer: Susie DeSanto
Editor: Toby Yates
Cast:
Krista: Brittany Murphy
Arden: Toni Collette
Rudy: Giovanni Ribisi
Mother: Piper Laurie
Leah: Rose Byrne
Beverly: Mary Steenburgen
Bill: Bruce Davison
Ruth: Mary Beth Hurt
Carl: Nick Searcy
Melora: Marcia Gay Harden
Rosetta: Kerry Washington
Tarlow: Josh Brolin
Running time -- 93 minutes
MPAA rating: R...
By the movie's end, writer-director Karen Moncrieff's "The Dead Girl" delivers considerable emotional impact. But that doesn't mean you've enjoyed the journey. Moncrieff chooses to scrutinize highly unpleasant material but, fortunately, she never takes an exploitative or sensationalistic approach. The movie has its integrity. Her female characters are deeply troubled individuals, and there is little to comfort viewers that any of these lives might turn around or improve. Yet Moncrieff views these people, these victims, with compassionate understanding.
While Moncrieff spares you gruesome details, she demands that you look at what happens to people seemingly out of control of their lives and obsessions, who get caught up in fateful chain of events that can come to no good. The First Look release, which debuted at AFI Fest, opens Dec. 29 in Los Angeles and New York before a January national rollout. Despite an impressive cast, only adventurous adult viewers will head to art houses for "Dead Girl".
The movie unfolds in five vignettes about seemingly unrelated people. It soon is clear enough that these lives are connected to a dead girl discovered in a vacant field. You further suspect the murder to be the work of a serial killer.
Serial killers are an old staple in crime novels and movie thrillers, but such Hannibal Lecters are fictional monsters, good for quick chills and a laugh. Moncrieff will have none of this; she is after the horrifyingly mundane reality of victims, killers and those tragically connected to either or both.
Each vignette focuses on a central female character. Arden (Toni Collette) discovers the body, but her lonely life as a caretaker to her ill, abusive mother (Piper Laurie) is turned upside down by reporting her discovery to police. Her mother is furious, and she attracts unwanted attention from strangers, including a grocery store clerk (Giovanni Ribisi) who confuses his sexual desire with an obsession with serial killers. Arden is just lonely enough in life to give herself to this man.
Leah (Rose Byrne) is a forensics grad student who, when confronted with the mutilated body of the dead girl, thinks that perhaps she might be her young sister who went missing so many years before. Gruesome as it would be, this discovery would at least bring closure for her and her parents (Mary Steenburgen, Bruce Davison), who still wallow in denial.
An aging couple, Ruth Mary Beth Hurt) and her husband Carl (Nick Searcy), quarrel constantly over Carl's constant absences at night. Then she discovers one unit in the storage facility Carl runs contains ominous personal effects belonging to young women.
Melora Marcia Gay Harden) comes to Los Angeles searching for answers about the dead girl, who was her runaway daughter. She meets the daughter's roommate, Rosetta (Kerry Washington), a battered hooker, and learns a piece of news that changes her life. Finally, in a flashback, the movie shows the last day in the life of Krista (Brittany Murphy), a woman riven by violence, drug use and severe psychological issues yet desperate to reclaim her innocence.
The story is set in Los Angeles, but Moncrieff has selected the most desolate, almost barren urban landscape imaginable. Here people lead hopeless, angry lives, never certain what went wrong or, worse, how to repair them. There is a suggestion of hope in the mother-roommate vignette. In this sequence alone, people are lead to understand what happened and how they might salvage their lives.
Cinematographer Michael Grady and designer Kristan Andrews subtly depict this world of isolation with just the right tones, details and compositions that that link environment to character.
THE DEAD GIRL
First Look Pictures
Lakeshow Entertainment/Pitbull Pictures
Credits:
Screenwriter-director: Karen Moncrieff
Producers: Richard Wright, Eric Karten, Kevin Turen, Tom Rosenberg, Henry Winterstern, Gary Lucchesi
Director of photography: Michael Grady
Production designer: Kristan Andrews
Music: Adam Gorgoni
Costume designer: Susie DeSanto
Editor: Toby Yates
Cast:
Krista: Brittany Murphy
Arden: Toni Collette
Rudy: Giovanni Ribisi
Mother: Piper Laurie
Leah: Rose Byrne
Beverly: Mary Steenburgen
Bill: Bruce Davison
Ruth: Mary Beth Hurt
Carl: Nick Searcy
Melora: Marcia Gay Harden
Rosetta: Kerry Washington
Tarlow: Josh Brolin
Running time -- 93 minutes
MPAA rating: R...
- 11/8/2006
- The Hollywood Reporter - Movie News
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