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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“Let me try and be as direct as I possibly can with you on this. There was no relationship to repair. I didn’t intend for Harvey to buy and release The Immigrant – I thought it was a terrible idea. And I didn’t think he would want the film, and I didn’t think he would like the film. He bought the film without me knowing! He bought it from the equity people who raised the money for me in the States. And I told them it was a terrible idea, but I had no say over the matter. So they sold it to him without my say-so, and with me thinking it was a terrible idea. I was completely correct, but I couldn’t do anything about it. It was not my preference, it was not my choice, I did not want that to happen, I have no relationship with Harvey. So, it’s not like I repaired some relationship, then he screwed me again, and I’m an idiot for trusting him twice! Like I say, you try to distance yourself as much as possible from the immediate response to a movie. With The Immigrant I had final cut. So he knew he couldn’t make me change it. But he applied all the pressure he could, including shelving the film.”
James Gray

“I’m an unusual producer because I control the destiny of a lot of the films I’ve done. Most of them are in perfect states of restoration and preservation and distribution, and I aim to keep them in distribution. HanWay Films, which is my sales company, has a 500-film catalogue, which is looked after and tended like a garden. I’m still looking after my films in the catalogue and trying to get other people to look after their films, which we represent intellectually, to try to keep them alive. A film has to be run through a projector to be alive, unfortunately, and those electric shadows are few and far between now. It’s very hard to go and see films in a movie house. I was always involved with the sales and marketing of my films, right up from The Shout onwards. I’ve had good periods, but I also had a best period because the film business was in its best period then. You couldn’t make The Last Emperor today. You couldn’t make The Sheltering Sky today. You couldn’t make those films anymore as independent films. There are neither the resources nor the vision within the studios to go to them and say, “I want to make a film about China with no stars in it.”Then, twenty years ago, I thought, “OK, I’m going to sell my own films but I don’t want to make it my own sales company.” I wanted it to be for me but I wanted to make it open for every other producer, so they don’t feel that they make a film but I get the focus. So, it’s a company that is my business and I’m involved with running it in a certain way, but I’m not seen as a competitor with other people that use it. It’s used by lots of different producers apart from me. When I want to use it, however, it’s there for me and I suppose I’m planning to continue making all my films to be sold by HanWay. I don’t have to, but I do because it’s in my building and the marketing’s here, and I can do it like that. Often, it sounds like I’m being easy about things, but it’s much more difficult than it sounds. It’s just that I’ve been at it for a long time and there’s lots of fat and security around my business. I know how to make films, but it’s not easy—it’s become a very exacting life.”
~ Producer Jeremy Thomas