2012 Guild Awards: SAG-AFTRA

2003 | 2004 | 2005 | 2006 | 2007 | 2008 | 2009 | 2010 | 2012

 

THEATRICAL MOTION PICTURES

Outstanding Performance by a Male Actor in a Leading Role
DANIEL DAY-LEWIS / Abraham Lincoln – “LINCOLN” (Touchstone Pictures)

Outstanding Performance by a Female Actor in a Leading Role
JENNIFER LAWRENCE / Tiffany – “SILVER LININGS PLAYBOOK” (The Weinstein Company)

Outstanding Performance by a Male Actor in a Supporting Role
TOMMY LEE JONES / Thaddeus Stevens – “LINCOLN” (Touchstone Pictures)

Outstanding Performance by a Female Actor in a Supporting Role
ANNE HATHAWAY / Fantine – “LES MISÉRABLES” (Universal Pictures)

Outstanding Performance by a Cast in a Motion Picture
ARGO (Warner Bros. Pictures)
BEN AFFLECK / Tony Mendez
ALAN ARKIN / Lester Siegel
KERRY BISHÉ / Kathy Stafford
KYLE CHANDLER / Hamilton Jordan
RORY COCHRANE / Lee Schatz
BRYAN CRANSTON / Jack O’Donnell
CHRISTOPHER DENHAM / Mark Lijek
TATE DONOVAN / Bob Anders
CLEA DuVALL / Cora Lijek
VICTOR GARBER / Ken Taylor
JOHN GOODMAN / John Chambers
SCOOT McNAIRY / Joe Stafford
CHRIS MESSINA / Malinov

PRIMETIME TELEVISION

Outstanding Performance by a Male Actor in a Television Movie or Miniseries
KEVIN COSTNER / “Devil Anse” Hatfield – “HATFIELDS & McCOYS” (History)

Outstanding Performance by a Female Actor in a Television Movie or Miniseries
JULIANNE MOORE / Sarah Palin – “GAME CHANGE” (HBO)

Outstanding Performance by a Male Actor in a Drama Series
BRYAN CRANSTON / Walter White – “BREAKING BAD” (AMC)

Outstanding Performance by a Female Actor in a Drama Series
CLAIRE DANES / Carrie Mathison – “HOMELAND” (Showtime)

Outstanding Performance by a Male Actor in a Comedy Series
ALEC BALDWIN / Jack Donaghy – “30 ROCK” (NBC)

Outstanding Performance by a Female Actor in a Comedy Series
TINA FEY / Liz Lemon – “30 ROCK” (NBC)

Outstanding Performance by an Ensemble in a Drama Series
DOWNTON ABBEY (PBS)
HUGH BONNEVILLE / Robert, Earl of Grantham
ZOE BOYLE / Lavinia Swire
LAURA CARMICHAEL / Lady Edith Crawley
JIM CARTER / Mr. Carson
BRENDAN COYLE / John Bates
MICHELLE DOCKERY / Lady Mary Crawley
JESSICA BROWN FINDLAY / Lady Sybil Crawley
SIOBHAN FINNERAN / O’Brien
JOANNE FROGGATT / Anna
IAIN GLEN / Sir Richard Carlisle
THOMAS HOWES / William
ROB JAMES-COLLIER / Thomas
ALLEN LEECH / Tom Branson
PHYLLIS LOGAN / Mrs. Hughes
ELIZABETH McGOVERN / Cora, Countess of Grantham
SOPHIE McSHERA / Daisy
LESLEY NICOL / Mrs. Patmore
AMY NUTTALL / Ethel
DAVID ROBB / Dr. Clarkson
MAGGIE SMITH / Violet, Dowager Countess of Grantham
DAN STEVENS / Matthew Crawley
PENELOPE WILTON / Isobel Crawley

Outstanding Performance by an Ensemble in a Comedy Series
MODERN FAMILY (ABC)
AUBREY ANDERSON-EMMONS / Lily Tucker-Pritchett
JULIE BOWEN / Claire Dunphy
TY BURRELL / Phil Dunphy
JESSE TYLER FERGUSON / Mitchell Pritchett
NOLAN GOULD / Luke Dunphy
SARAH HYLAND / Haley Dunphy
ED O’NEILL / Jay Pritchett
RICO RODRIGUEZ / Manny Delgado
ERIC STONESTREET / Cameron Tucker
SOFIA VERGARA / Gloria Delgado-Pritchett
ARIEL WINTER / Alex Dunphy

 

SAG AWARDS HONORS FOR STUNT ENSEMBLES

Outstanding Action Performance by a Stunt Ensemble in a Motion Picture
SKYFALL (Columbia Pictures)

Outstanding Action Performance by a Stunt Ensemble in a Television Series
GAME OF THRONES (HBO)

LIFE ACHIEVEMENT AWARD

Screen Actors Guild 49th Annual Life Achievement Award

DICK VAN DYKE

 

Comments are closed.

Quote Unquotesee all »

This is probably going to sound petty, but Martin Scorsese insisting that critics see his film in theaters even though it’s going straight to Netflix and then not screening it in most American cities was a watershed moment for me in this theatrical versus streaming debate.

I completely respect when a filmmaker insists that their movie is meant to be seen in the theater, but the thing is, you got to actually make it possible to see it in the theater. Some movies may be too small for that, and that’s totally OK.

When your movie is largely financed by a streaming service and is going to appear on that streaming service instantly, I don’t really see the point of pretending that it’s a theatrical film. It just seems like we are needlessly indulging some kind of personal fantasy.

I don’t think that making a feature film length production that is going to go straight to a video platform is some sort of “step down.“ I really don’t. Theatrical exhibition as we know it is dying off anyway, for a variety of reasons.

I should clarify myself because this thread is already being misconstrued — I’m talking about how the movie is screened in advance. If it’s going straight to Netflix, why the ritual of demanding people see it in the theater?

There used to be a category that everyone recognized called “TV movie” or “made for television movie” and even though a lot of filmmakers considered that déclassé, it seems to me that probably 90% of feature films fit that description now.

Atlantis has mostly sunk into the ocean, only a few tower spires remain above the waterline, and I’m increasingly at peace with that, because it seems to be what the industry and much of the audience wants. We live in an age of convenience and information control.

Only a very elite group of filmmakers is still allowed to make movies “for theaters“ and actually have them seen and judged that way on a wide scale. Even platform releasing seems to be somewhat endangered. It can’t be fought. It has to be accepted.

9. Addendum: I’ve been informed that it wasn’t Scorsese who requested that the Bob Dylan documentary only be screened for critics in theaters, but a Netflix representative indicated the opposite to me, so I just don’t know what to believe.

It’s actually OK if your film is not eligible for an Oscar — we have a thing called the Emmys. A lot of this anxiety is just a holdover from the days when television was considered culturally inferior to theatrical feature films. Everybody needs to just get over it.

In another 10 to 20 years they’re probably going to merge the Emmys in the Oscars into one program anyway, maybe they’ll call it the Contentys.

“One of the fun things about seeing the new Quentin Tarantino film three months early in Cannes (did I mention this?) is that I know exactly why it’s going to make some people furious, and thus I have time to steel myself for the takes.

Back in July 2017, when it was revealed that Tarantino’s next project was connected to the Manson Family murders, it was condemned in some quarters as an insulting and exploitative stunt. We usually require at least a fig-leaf of compassion for the victims in true-crime adaptations, and even Tarantino partisans like myself – I don’t think he’s made a bad film yet – found ourselves wondering how he might square his more outré stylistic impulses with the depiction of a real mass murder in which five people and one unborn child lost their lives.

After all, it’s one thing to slice off with gusto a fictional policeman’s ear; it’s quite another to linger over the gory details of a massacre that took place within living memory, and which still carries a dread historical significance.

In her essay The White Album, Joan Didion wrote: “Many people I know in Los Angeles believe that the Sixties ended abruptly on August 9, 1969, ended at the exact moment when word of the murders on Cielo Drive traveled like brushfire through the community, and in a sense this is true.”

Early in Once Upon a Time in Hollywood, as Leonardo DiCaprio and Brad Pitt’s characters drive up the hill towards Leo’s bachelor pad, the camera cranes up gently to reveal a street sign: Cielo Drive. Tarantino understands how charged that name is; he can hear the Molotov cocktails clinking as he shoulders the crate.

As you may have read in the reviews from Cannes, much of the film is taken up with following DiCaprio and Pitt’s characters – a fading TV actor and his long-serving stunt double – as they amusingly go about their lives in Los Angeles, while Margot Robbie’s Sharon Tate is a relatively minor presence. But the spectre of the murders is just over the horizon, and when the night of the 9th finally arrives, you feel the mood in the cinema shift.

No spoilers whatsoever about what transpires on screen. But in the audience, as it became clear how Tarantino was going to handle this extraordinarily loaded moment, the room soured and split, like a pan of cream left too long on the hob. I craned in, amazed, but felt the person beside me recoil in either dismay or disgust.

Two weeks on, I’m convinced that the scene is the boldest and most graphically violent of Tarantino’s career – I had to shield my eyes at one point, found myself involuntarily groaning “oh no” at another – and a dead cert for the most controversial. People will be outraged by it, and with good reason. But in a strange and brilliant way, it takes Didion’s death-of-the-Sixties observation and pushes it through a hellfire-hot catharsis.

Hollywood summoned up this horror, the film seems to be saying, and now it’s Hollywood’s turn to exorcise it. I can’t wait until the release in August, when we can finally talk about why.

~ Robbie Collin