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

Leave a Reply

Quote Unquotesee all »

“All of the security, all of the waiters, all of the musicians … that’s 3,000 people!” The shopping required fifty tractor trailers. The are thirty gallons of cocktail sauce; 350 pounds of smoked salmon; 200 pounds of brussels sprouts, 250 pounds parmesan cheese; 3,600 eggs; 6,000 mini-brioche buns; five gallons of hot fudge; 20 pounds pickled ginger; 30 pounds edible gold dust; 7,000 miniature chocolate Oscars. There are 1,400 bottles of Piper-Heidsieck champagne and 2,200 bottles from Francis Ford Coppola’s winery. This will be served in and upon 13,000 glasses, 4,500 bamboo skewers, 4,800 ramekins and 6,000 cocktail forks.”
~ Wolfgang Puck Goes Oscar Dinner Shopping

“While these images seem to reveal all, they disclose nothing beneath the surface. All that we know is what we see onscreen and that Seberg’s face is delicate and lightly creased. She’s rarely shown smiling, although there are instances when she laughs emphatically, moments that feel uncomfortable and artificial, as if she were trying out an emotion she had forgotten. We know the texture of her skin; the patterns on the walls; the depth of field; the quality of the light; the contrast of the black-and-white film; the level of grain; the dowdiness of her clothes. She’s partial to granny dresses, or maybe they’re nightgowns, and when she stands in front of a window, the sunlight glows softly, creating a kind of ravishing halo effect: Saint Jean.”
~ Manohla Dargis On Philippe Garrel’s Les Hautes Solitudes