By Ray Pride Pride@moviecitynews.com

Globes 2016

BEST MOTION PICTURE – DRAMA
MOONLIGHT

BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE – DRAMA
ISABELLE HUPPERT
ELLE

BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE – DRAMA
CASEY AFFLECK
MANCHESTER BY THE SEA

BEST MOTION PICTURE – MUSICAL OR COMEDY
LA LA LAND
Marc Platt Productions / Impostor Pictures / Gilbert Films; Lionsgate

BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE – MUSICAL OR COMEDY
EMMA STONE
LA LA LAND

BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE – MUSICAL OR COMEDY
RYAN GOSLING
LA LA LAND

BEST MOTION PICTURE – ANIMATED
ZOOTOPIA
Walt Disney Animation Studios; Walt Disney Studios Motion Pictures

BEST MOTION PICTURE – FOREIGN LANGUAGE
ELLE (FRANCE)
SBS Productions; Sony Pictures Classics

BEST PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE IN ANY MOTION PICTURE
VIOLA DAVIS
FENCES

BEST PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE IN ANY
MOTION PICTURE
AARON TAYLOR-JOHNSON
NOCTURNAL ANIMALS

BEST DIRECTOR – MOTION PICTURE
DAMIEN CHAZELLE
LA LA LAND

BEST SCREENPLAY – MOTION PICTURE
DAMIEN CHAZELLE
LA LA LAND

BEST ORIGINAL SCORE – MOTION PICTURE
JUSTIN HURWITZ
LA LA LAND

BEST ORIGINAL SONG – MOTION PICTURE
“CITY OF STARS”
LA LA LAND
Music by: Justin Hurwitz
Lyrics by: Benj Pasek, Justin Paul

BEST TELEVISION SERIES – DRAMA
THE CROWN
Left Bank Pictures in association with Sony Pictures Television; Netflix

BEST PERFORMANCE BY AN ACTRESS IN A TELEVISION SERIES – DRAMA
CLAIRE FOY
THE CROWN

BEST PERFORMANCE BY AN ACTOR IN A TELEVISION SERIES – DRAMA
BILLY BOB THORNTON
GOLIATH

BEST TELEVISION SERIES – MUSICAL OR COMEDY
ATLANTA
FX Productions; FX

BEST PERFORMANCE BY AN ACTRESS IN A TELEVISION SERIES – MUSICAL OR COMEDY
TRACEE ELLIS ROSS
BLACK-ISH

BEST PERFORMANCE BY AN ACTOR IN A TELEVISION SERIES – MUSICAL OR COMEDY
DONALD GLOVER
ATLANTA

BEST TELEVISION LIMITED SERIES OR MOTION PICTURE MADE FOR TELEVISION
THE PEOPLE v. O.J. SIMPSON: AMERICAN CRIME STORY
Fox 21 Television Studios and FX Productions; FX

BEST PERFORMANCE BY AN ACTRESS IN A LIMITED SERIES OR MOTION PICTURE MADE FOR TELEVISION
SARAH PAULSON
THE PEOPLE v. O.J. SIMPSON: AMERICAN CRIME STORY

BEST PERFORMANCE BY AN ACTOR IN A LIMITED SERIES OR MOTION PICTURE MADE FOR
TELEVISION
TOM HIDDLESTON
THE NIGHT MANAGER

BEST PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE IN A SERIES, LIMITED SERIES OR MOTION PICTURE MADE FOR TELEVISION
OLIVIA COLMAN
THE NIGHT MANAGER

BEST PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE IN A SERIES,
LIMITED SERIES OR MOTION PICTURE MADE FOR TELEVISION
HUGH LAURIE
THE NIGHT MANAGER

WINNERS BY MOTION PICTURE
DISTRIBUTOR AND TELEVISION
NETWORK

MOTION PICTURE DISTRIBUTOR
Lionsgate 7
Sony Pictures Classics 2
A24 1
Amazon Studios 1
Focus Features 1
Paramount Pictures 1
Walt Disney Studios Motion Pictures 1
TELEVISION NETWORK
FX 4
AMC 3
Netflix 2
ABC 1
Amazon Video 1
WINNERS BY MOTION PICTURE
AND TELEVISION SERIES OR PROGRAM

MOTION PICTURE
La La Land 7
Elle 2
Fences 1
Manchester by the Sea 1
Moonlight 1
Nocturnal Animals 1
Zootopia 1

TELEVISION SERIES OR PROGRAM
The Night Manager 3
Atlanta 2
The Crown 2
The People v. O.J. Simpson:
American Crime Story
2
black-ish 1
Goliath 1

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“Because of my relative candor on Twitter regarding why I quit my day job, my DMs have overflowed with similar stories from colleagues around the globe. These peeks behind the curtains of film festivals, venues, distributors and funding bodies weren’t pretty. Certain dismal patterns recurred (and resonated): Boards who don’t engage with or even understand their organization’s artistic mission and are insensitive to the diverse neighborhood in which their organization’s venue is located; incompetent founders and/or presidents who create only obstacles, never solutions; unduly empowered, Trumpian bean counters who chip away at the taste and experiences that make organizations’ cultural offerings special; expensive PR teams that don’t bring to the table a bare-minimum familiarity with the rich subcultural art form they’re half-heartedly peddling as “product”; nonprofit arts organizations for whom art now ranks as a distant-second goal behind profit.”
~ Eric Allen Hatch

To me, Hunter S. Thompson was a hero. His early books were great, but in many ways, his life and career post–Fear and Loathing on the Campaign Trail is a cautionary tale for authors. People expected him to be high and drunk all the time and play that persona, and he stuck with that to the end, and I don’t think it was good for him. I always sort of feel mixed emotions when I hear that people went and hung out with Hunter and how great it was to get high with Hunter. The fact is the guy was having difficulty doing any sustained writing at all for years probably because so many quote, unquote, “friends” wanted to get high with him … There was a badly disappointed romantic there. I mean, that great line, “This is where the wave broke, the tide rolled back … ” This was a guy that was hurt and disappointed and very bitter about things, and it made his writing beautiful, and also with that came a lot of pain.
~ Anthony Bourdain