AFI JURY FOR TELEVISION
Richard Frank
Chair, AFI Jury for Television
Producer
AFI Board of Trustees
John Amos
Actor
Aymar Jean Christian
Northwestern University
Bob Gazzale
American Film Institute
Lesli Linka Glatter
Director/Producer
L.S. Kim
University of California, Santa Cruz
Debra Lee
AFI Board of Trustees
Mary McNamara
The Los Angeles Times
Matt Roush
TV Guide
Maureen Ryan
Critic/Journalist
Ellen Seiter
University of Southern California
Betty Thomas
Actor/Director/Producer
Robert Thompson
Syracuse University
AFI JURY FOR MOTION PICTURES
Tom Pollock
Chair, AFI Jury for Motion Pictures
Producer
AFI Board of Trustees
Jeanine Basinger
Wesleyan University
AFI Board of Trustees
Bob Gazzale
American Film Institute
Renee Graham
The Boston Globe
Mark Harris
Historian
Ann Hornaday
The Washington Post
Annette Insdorf
Historian
Callie Khouri
Director/Screenwriter/Producer
Delroy Lindo
Actor/Producer
Akira Mizuta Lippit
University of Southern California
Leonard Maltin
Historian
Amy Nicholson
NPR
Peter Travers
Rolling Stone
AFI JURY FOR TELEVISION
Richard Frank
Chair, AFI Jury for Television
Producer
AFI Board of Trustees
Paris Barclay
Director/Producer
David Benioff
Director/Screenwriter/Producer
Bob Gazzale
American Film Institute
Ernest Dickerson
Director/Cinematographer
L.S. Kim
University of California, Santa Cruz
Debra Lee
AFI Board of Trustees
Mary McNamara
The Los Angeles Times
Matt Roush
TV Guide
Maureen Ryan
Critic/Journalist
Sonia Saraiya
Vanity Fair
Robert Thompson
Syracuse University
Courtney B. Vance
Actor/Producer
AFI JURY FOR MOTION PICTURES
Tom Pollock
Chair, AFI Jury for Motion Pictures
Producer
AFI Board of Trustees
Jeanine Basinger
Wesleyan University
AFI Board of Trustees
Joan Chen
Actor/Director/Screenwriter/Producer
Bob Gazzale
American Film Institute
Mark Harris
Historian
Ann Hornaday
The Washington Post
Lisa Kennedy
The Denver Post
Akira Mizuta Lippit
University of Southern California
Leonard Maltin
Historian
Amy Nicholson
NPR
Claudia Puig
Los Angeles Film Critics Association
Peter Travers
Rolling Stone
Alfre Woodard
Actor/Producer
AFI JURY FOR TELEVISION
Richard Frank
Chair, AFI Jury for Television
Producer
AFI Board of Trustees
Paris Barclay
Director/Producer
David Bianculli
NPR
Gabrielle Carteris
SAG-AFTRA
AFI Board of Trustees
Bob Gazzale
American Film Institute
Jennifer Getzinger
Director
L.S. Kim
University of California, Santa Cruz
Debra Lee
BET Networks
AFI Board of Trustees
Mary McNamara
The Los Angeles Times
Matt Roush
TV Guide
Maureen Ryan
Variety
Janet Staiger
University of Texas, Austin
Robert Thompson
Syracuse University
AFI JURY FOR MOTION PICTURES
Tom Pollock
Chair, AFI Jury for Motion Pictures
Producer
AFI Board of Trustees
Judd Apatow*
Director/Screenwriter/Producer
Jeanine Basinger
Wesleyan University
AFI Board of Trustees
Halle Berry
Actor/Producer
AFI Board of Trustees
Jay Cassidy
Editor
Jamie Lee Curtis
Actor/Director/Producer
Bob Gazzale
American Film Institute
Ann Hornaday
The Washington Post
Lisa Kennedy
The Denver Post
Leonard Maltin
Historian
Amy Nicholson
NPR
Peter Travers
Rolling Stone
AFI JURY FOR TELEVISION
Richard Frank
Chair, AFI Jury for Television
Producer
AFI Board of Trustees
Bob Gazzale
American Film Institute
Jon Hamm
Actor/Director/Producer
Darnell Hunt
University of California, Los Angeles
L.S. Kim
University of California, Santa Cruz
Michelle King
Screenwriter/Producer
Debra Lee
BET Networks
AFI Board of Trustees
Lori McCreary
Producer
AFI Board of Trustees
Mary McNamara
The Los Angeles Times
Matt Roush
TV Guide
Maureen Ryan
Variety
Robert Thompson
Syracuse University
Diane English
Director/Screenwriter/Producer
AFI JURY FOR MOTION PICTURES
Tom Pollock
Chair, AFI Jury for Motion Pictures
Producer
AFI Board of Trustees
Elizabeth Banks
Actor/Director/Producer
Jeanine Basinger
Wesleyan University
AFI Board of Trustees
Robert Benton
Director/Screenwriter
Bob Gazzale
American Film Institute
Mark Harris
Historian
Lisa Kennedy
The Denver Post
Akira Mizuta Lippit
University of Southern California
Leonard Maltin
Historian
Rachel Morrison
Cinematographer
Amy Nicholson
MTV News
Patricia Riggen
Director
Peter Travers
Rolling Stone
AFI JURY FOR TELEVISION
Richard Frank
Chair, AFI Jury for Television
Producer
AFI Board of Trustees
Neal Baer
Screenwriter/Producer
AFI Board of Trustees
Henry Louis Gates, Jr.
Harvard University
Bob Gazzale
American Film Institute
Michelle MacLaren
Director/Producer
Mary McNamara
The Los Angeles Times
Matt Roush
TV Guide
Maureen Ryan
Variety
Ellen Seiter
University of Southern California
Renee Tajima-Peña
Director/Producer
University of California, Los Angeles
Robert Thompson
Syracuse University
Matt Williams
Screenwriter/Producer
Michael Wright
DreamWorks Studios
AFI Board of Trustees
AFI JURY FOR MOTION PICTURES
Tom Pollock
Chair, AFI Jury for Motion Pictures
Producer
AFI Board of Trustees
Jeanine Basinger
Wesleyan University
AFI Board of Trustees
Bob Gazzale
American Film Institute
Mark Harris
Historian
Molly Haskell
Historian
Marshall Herskovitz
Producer/Director/Screenwriter
AFI Board of Trustees
Lisa Kennedy
The Denver Post
Leonard Maltin
Historian
Bennett Miller
Director
Carrie Rickey
The Philadelphia Inquirer
John Ridley
Director/Screenwriter
Emma Thomas
Producer
Peter Travers
Rolling Stone
AFI JURY FOR TELEVISION
Richard Frank
Chair, AFI Jury for Television
Producer
AFI Board of Trustees
Anne Garefino
Producer
Bob Gazzale
American Film Institute
Vince Gilligan
Producer/Director/Screenwriter
L.S. Kim
University of California, Santa Cruz
James Poniewozik
TIME
Phylicia Rashad
Actor
Matt Roush
TV Guide
Maureen Ryan
The Huffington Post
Ellen Seiter
University of Southern California
Chris Silbermann
ICM Partners
AFI Board of Trustees
Robert Thompson
Syracuse University
Michael Wright
Michael Wright
AFI Board of Trustees
AFI JURY FOR MOTION PICTURES
Tom Pollock
Chair, AFI Jury for Motion Pictures
Producer
AFI Board of Trustees
Jeanine Basinger
Wesleyan University
AFI Board of Trustees
Bob Gazzale
American Film Institute
Mark Harris
Historian
Marshall Herskovitz
Producer/Director/Screenwriter
AFI Board of Trustees
Patty Jenkins
Director/Screenwriter
Lisa Kennedy
Denver Post
Kasi Lemmons
Director/Actor
Matthew Libatique
Cinematographer
Akira Mizuta Lippit
University of Southern California
Leonard Maltin
Historian
Claudia Puig
USA Today
Peter Travers
Rolling Stone Magazine
AFI JURY FOR TELEVISION
Richard Frank
Chair, AFI Jury for Television
Producer
AFI Board of Trustees
Jon Avnet
Producer/Director/Screenwriter
AFI Board of Trustees
Dorothy Fontana
Screenwriter
Senior Lecturer, AFI Conservatory
Bob Gazzale
American Film Institute
Melissa Maerz
Entertainment Weekly
Jeff Nunokawa
Princeton University
Frederick S. Pierce
AFI Board of Trustees
Matt Roush
TV Guide Magazine
Maureen Ryan
The Huffington Post
Ellen Seiter
University of Southern California
Chris Silbermann
ICM Partners
AFI Board of Trustees
Robert Thompson
Syracuse University
Noah Wyle
Producer/Actor
AFI JURY FOR MOTION PICTURES
Tom Pollock
Chair, AFI Jury for Motion Pictures
Producer
AFI Board of Trustees
Jeanine Basinger
Wesleyan University
AFI Board of Trustees
Anne V. Coates
Editor
Roman Coppola
Producer/Director/Screenwriter
Bob Gazzale
American Film Institute
Mark Harris
Entertainment Weekly
Marshall Herskovitz
Producer/Director/Screenwriter
AFI Board of Trustees
Lisa Kennedy
The Denver Post
Leonard Maltin
Historian
Nancy Meyers
Producer/Director/Screenwriter
Akira Mizuta Lippit
University of Southern California
Claudia Puig
USA Today
Peter Travers
Rolling Stone Magazine
AFI JURY FOR TELEVISION
Richard Frank
Chair, AFI Jury for Television
Producer
AFI Board of Trustees
Chris Carter
Producer/Director/Screenwriter
Bob Gazzale
American Film Institute
Marta Kauffman
Producer/Screenwriter
L.S. Kim
University of California, Los Angeles
Mary McNamara
Los Angeles Times
James Poniewozik
Time Magazine
Matt Roush
TV Guide Magazine
Maureen Ryan
The Huffington Post
Katey Sagal
Chris Silbermann
International Creative Management
AFI Board of Trustees
Janet Staiger
University of Texas at Austin
Robert Thompson
Syracuse University
AFI JURY FOR MOTION PICTURES
Tom Pollock
Chair, AFI Jury for Motion Pictures
Producer
AFI Board of Trustees
Jeanine Basinger
Wesleyan University
AFI Board of Trustees
Angela Bassett
Actor
Brad Bird
Director/Screenwriter
Bob Gazzale
American Film Institute
Mark Harris
Entertainment Weekly
Marshall Herskovitz
Producer/Director/Screenwriter
AFI Board of Trustees
Lisa Kennedy
The Denver Post
Leonard Maltin
"Leonard Maltin's Movie Guide"
Akira Mizuta Lippit
University of Southern California
Claudia Puig
USA Today
Octavia Spencer
Actor
Peter Travers
Rolling Stone Magazine
AFI JURY FOR TELEVISION
Richard Frank
Chair, AFI Jury for Television
Producer
AFI Board of Trustees
Anna Everett
University of California, Santa Barbara
Bob Gazzale
American Film Institute
Tim Goodman
The Hollywood Reporter
Marde Gregory
University of California, Los Angeles
Stephen Kronish
Producer/Screenwriter
Janet Murray
Georgia Institute of Technology
Fred Pierce
Producer
AFI Board of Trustees
James Poniewozik
Time Magazine
Matt Roush
TV Guide Magazine
Chris Silbermann
International Creative Management
AFI Board of Trustees
Betsy Thomas
Producer/Director/Screenwriter
Ken Tucker
Entertainment Weekly
AFI JURY FOR MOTION PICTURES
AFI JURY FOR MOTION PICTURES
Tom Pollock
Producer
Chair, AFI Jury for Motion Pictures
Jeanine Basinger
Wesleyan University
AFI Board of Trustees
Bob Gazzale
American Film Institute
Whoopi Goldberg
Actor
Mark Harris
Entertainment Weekly
Marshall Herskovitz
Producer/Director/Screenwriter
AFI Board of Trustees
Jim Hosney
Jim Hosney
Akira Mizuta Lippit
University of Southern California
Leonard Maltin
"Leonard Maltln's Movie Guide"
Diana Ossana
Producer/Screenwriter
Claudia Puig
USA Today
Suzanne Todd
Producer
Peter Travers
Rolling Stone Magazine
AFI JURY FOR TELEVISION
Richard Frank
Chair, AFI Jury for Television
Producer
AFI Board of Trustees
Steven Bochco
Producer/Screenwriter
Bob Gazzale
American Film Institute
Marshall Herskovitz
Producer/Director/Screenwriter
AFI Board of Trustees
Jennifer Love Hewitt
Producer/Actor
Henry Jenkins
Henry Jenkins
Anna McCarthy
New York University
Mary McNamara
Los Angeles Times
James Poniewozik
Time Magazine
Matt Roush
TV Guide Magazine
Maureen Ryan
AOL
John Shaffner
Academy of Television Arts & Sciences
Production Designer
AFI Board of Trustees
Janet Staiger
University of Texas at Austin
AFI JURY FOR MOTION PICTURES
Tom Pollock
Chair, AFI Jury for Motion Pictures
Producer
AFI Board of Trustees
Jeanine Basinger
Wesleyan University
Donn Cambern
Editor
Diablo Cody
Producer/Screenwriter
Lee Daniels
Producer/Director
Jane Gaines
Columbia University
Bob Gazzale
American Film Institute
Akira Mizuta Lippit
University of Southern California
Leonard Maltin
ENTERTAINMENT TONIGHT
"Leonard Maltin's Movie Guide"
Elvis Mitchell
THE TREATMENT
Claudia Puig
USA Today
Lisa Schwarzbaum
Entertainment Weekly
Michael Wood
Princeton University
AFI JURY FOR TELEVISION
Neal Baer
Chair, AFI Jury for Television
Producer/Screenwriter
Stanley Brooks
Producer
Bambi Haggins
Arizona State University
L.S. Kim
University of California, Santa Cruz
Brian Lowry
Variety
David Milch
Producer/Screenwriter
Lisa Parks
University of California, Santa Barbara
CCH Pounder
Actor
Matt Roush
TV Guide Magazine
Maureen Ryan
Chicago Tribune
Ellen Seiter
University of Southern California
John Shaffner
Academy of Television Arts & Sciences
Robert J. Thompson
Syracuse University
AFI JURY FOR MOTION PICTURES
Norman Jewison
Chair, AFI Jury for Motion Pictures
Producer/Director
Sean Astin
Actor
Dustin Lance Black
Producer/Director/Screenwriter
Leo Braudy
University of Southern California
Mark Harris
Entertainment Weekly/New York Magazine
Author
Patty Jenkins
Producer/Director
Leonard Maltin
ENTERTAINMENT TONIGHT
Elvis Mitchell
THE TREATMENT
Chon Noriega
University of California, Los Angeles
Tom Pollock
Producer
AFI Board of Trustees
Claudia Puig
USA Today
Richard Schickel
Historian/Author/Documentary Filmmaker
Lisa Schwarzbaum
Entertainment Weekly
AFI JURY FOR TELEVISION
Richard Frank
Chair, AFI Jury for Television
AFI Trustee Emeritus
Neal Baer
Producer/Screenwriter
John Caldwell
University of California, Los Angeles
Jean Picker Firstenberg
AFI President Emerita
Mary McNamara
Los Angeles Times
Kathleen Nolan
Actor
James Poniewozik
Time Magazine
Del Reisman
AFI Conservatory
Screenwriter
Matt Roush
TV Guide
Ellen Seiter
University of Southern California
John Shaffner
Academy of Television Arts & Sciences
Beretta E. Smith-Shomade
University of Arizona
Tony To
Producer/Director
AFI JURY FOR MOTION PICTURES
Leonard Maltin
Chair, AFI Jury for Motion Pictures
ENTERTAINMENT TONIGHT
Jeanine Basinger
Wesleyan University
Mary Corey
University of California, Los Angeles
Mark Harris
Entertainment Weekly
Author
Jim Hosney
American Film Institute
Rick Jewell
University of Southern California
Elvis Mitchell
THE TREATMENT
Daniel Petrie, Jr.
Producer/Director/Screenwriter
Richard Schickel
Time Magazine
Vivian Sobchack
AFI Trustee Emerita
University of California, Los Angeles
Anne Thompson
Variety
Robert Towne
Producer/Director/Screenwriter
Tom Pollock
Producer
AFI Board of Trustees
AFI JURY FOR TELEVISION
Rich Frank
Chair, AFI Jury for Television
AFI Board of Trustees
Dick Askin
Academy of Television Arts & Sciences
AFI Board of Trustees
Neal Baer
Producer/Screenwriter
Anna Everett
University of California, Santa Barbara
Nancy Franklin
The New Yorker
Barry Garron
The Hollywood Reporter
Melissa Gilbert
Producer/Director/Actor
AFI Trustee Emerita
Horace Newcomb
University of Georgia
Del Reisman
AFI Conservatory
Screenwriter
Matt Roush
TV Guide
Maureen Ryan
Chicago Tribune
Robert Thompson
Syracuse University
Ron Underwood
Producer/Director/Screenwriter
AFI JURY FOR MOTION PICTURES
Frank Pierson
Chair, AFI Jury for Motion Pictures
AFI Conservatory
Director/Screenwriter
David Ansen
Newsweek
Donn Cambern
AFI Conservatory
Director/Editor
Mary Corey
University of California, Los Angeles
Lawrence Kasdan
Producer/Director/Screenwriter
AFI Trustee Emeritus
Leonard Maltin
ENTERTAINMENT TONIGHT
Tara McPherson
University of Southern California
Diana Ossana
Producer/Screenwriter/Novelist
David Picker
Producer
AFI Trustee Emeritus
Tom Pollock
AFI Board of Trustees
Richard Schickel
Time Magazine
Gary Winick
Producer/Director
Kristal Brent Zook
Hosftra University
AFI JURY FOR TELEVISION
Richard Frank
Chair, AFI Jury for Television
AFI Board of Trustees
Dick Askin
Academy of Television Arts & Sciences
AFI Board of Trustees
Steven Bochco
Producer/Screenwriter
Kevin S. Bright
Producer/Director
Paul Brownfield
Los Angeles Times
Michael Dinner
Producer/Director/Screenwriter
Barry Garron
The Hollywood Reporter
Amanda D. Lotz
University of Michigan
Brian Lowry
Variety
Tara McPherson
University of Southern California
Matt Roush
TV Guide
Vivian Sobchack
University of California, Los Angeles
AFI Board of Trustees
Kristal Brent Zook
Columbia University
AFI JURY FOR MOTION PICTURES
Robert G. Rehme
Chair, AFI Jury for Motion Pictures
Producer
AFI Board of Trustees
Michael Apted
Directors Guild of America
Producer/Director/Screenwriter
AFI Board of Trustees
Roger Birnbaum
Spyglass Entertainment
AFI Board of Trustees
Leo Braudy
University of Southern California
James L. Brooks
Producer/Director/Screenwriter
Mary Corey
University of California, Los Angeles
Jane Gaines
Duke University
Elvis Mitchell
National Public Radio
Diana Ossana
Producer/Screenwriter
David V. Picker
Producer
AFI Trustee Emeritus
Tom Pollock
Producer
AFI Board of Trustees
Anne Thompson
The Hollywood Reporter
Kenneth Turan
Los Angeles Times
AFI JURY FOR TELEVISION
Marshall Herskovitz
Chair, AFI Jury for Television
Chair, AFI Jury for Television
AFI Board of Trustees
Dick Askin
Academy of Television Arts & Sciences
Tribune Entertainment Company
AFI Board of Trustees
Lionel Chetwynd
Producer/Screenwriter
Mary Corey
University of California, Los Angeles
Tony Jonas
Producer
Jeffrey Kramer
Producer
Melanie McFarland
Seattle Post Intelligencer
Tara McPherson
University of Southern California
Dorothea Petrie
Producer
James Poniewozik
Time Magazine
Del Reisman
AFI Conservatory
Matt Roush
TV Guide
AFI JURY FOR MOTION PICTURES
Robert G. Rehme
Chair, AFI Jury for Motion Pictures
Producer
AFI Board of Trustees
Martha Coolidge
Director
David Denby
The New Yorker
Anna Everett
University of California, Santa Barbara
Norman Jewison
Producer/Director
Tom Pollock
Producer
AFI Board of Trustees
Jay Roach
Producer/Director
Lisa Schwarzbaum
Entertainment Weekly
Vivian Sobchack
University of California, Los Angeles
AFI Board of Trustees
David Thomson
Film Historian
Kenneth Turan
Los Angeles Times
Stephen Ujlaki
San Francisco State University
Laura Ziskin
Laura Ziskin
AFI JURY FOR TELEVISION
Richard Frank
Chair, AFI Jury for Television
The Firm
AFI Board of Trustees
Richard Askin, Jr.
Academy of Television Arts & Sciences
Tribune Entertainment Company
AFI Board of Trustees
Neal Baer
Producer/Screenwriter
David Bianculli
The Daily News
Alex Ben Block
Television Week
Barbara Corday
Producer/Screenwriter
Mary Corey
University of California, Los Angeles
Melanie McFarland
Seattle Post-Intelligencer
Tara McPherson
University of Southern California
Janet Murray
Georgia Institute of Technology
AFI Board of Trustees
Horace Newcomb
University of Georgia
George Foster Peabody Awards
Jerry Offsay
Producer
Matt Roush
TV Guide
AFI JURY FOR MOTION PICTURES
Roger Ebert
Chair, AFI Jury for Motion Pictures
Chicago Sun-Times
EBERT & ROEPER
David Ansen
Newsweek
Jeanine Basinger
Wesleyan University
AFI Trustee Emerita
Leo Braudy
University of Southern California
James Cromwell
Actor
Naomi Foner
Producer/Screenwriter
Tom Pollock
Producer
AFI Board of Trustees
Robert G. Rehme
Producer
AFI Board of Trustees
Richard Schickel
Time Magazine
Producer/Director/Screenwriter
Lisa Schwarzbaum
Entertainment Weekly
Joan Micklin Silver
Director/Screenwriter
Michael Wood
Princeton University
Janet Yang
Producer
AFI JURY FOR TELEVISION
Richard Frank
Chair, AFI Jury for Television
Integrated Entertainment Partners
AFI Board of Trustees
Irby Brown
University of Richmond
Mary Corey
University of California, Los Angeles
Chuck Fries
Producer
AFI Board of Trustees
Ted Harbert
Producer
Helaine Head
University of Southern California
Brian Lowry
Variety
Horace Newcomb
University of Georgia
George Foster Peabody Awards
Dorothea Petrie
Producer
Matt Roush
TV Guide
Penelope Spheeris
Director
Dean Valentine
Former President & CEO, UPN
Diane Werts
Newsday
AFI JURY FOR MOTION PICTURES
Leonard Maltin
Chair, AFI Jury for Motion Pictures
ENTERTAINMENT TONIGHT
John Badham
Director
Jeanine Basinger
Wesleyan University
AFI Trustee Emerita
Jay Boyar
Orlando Sentinel
Kirk Honeycutt
The Hollywood Reporter
Glenn Kenny
Premiere Magazine
Curtis Marez
University of Southern California
Ted Perry
Middlebury College
AFI Trustee Emeritus
Tom Pollock
Producer
AFI Board of Trustees
Richard Schickel
Time Magazine
Producer/Director/Screenwriter
Leonard Schrader
AFI Conservatory
Director/Screenwriter
Vivian Sobchack
University of California, Los Angeles
AFI Board of Trustees
Anne V. Coates
Editor
AFI JURY FOR TELEVISION
Richard Frank
Chair, AFI Jury for Television
Neema Barnett
Director
Barbara Corday
Producer
Lesli Linka Glatter
Producer/Director
Kay McFadden
The Seattle Times
Horace Newcomb
University of Georgia
George Foster Peabody Awards
AFI Trustee Emeritus
Daniel Petrie, Jr.
Producer/Director/Screenwrite
AFI Board of Trustees
Victoria Riskin
Writers Guild of America
Screenwriter
Matt Roush
TV Guide
Anthony Thomopoulos
Former President, ABC Entertainment
Media Arts Group, Inc.
AFI Trustee Emeritus
Robert Thompson
Syracuse University
Ken Tucker
Entertainment Weekly
Peter Werner
Director
AFI Trustee Emeritus
AFI JURY FOR MOTION PICTURES
Jeanine Basinger
Chair, AFI Jury for Motion Pictures
Wesleyan University
AFI Trustee Emerita
David Ansen
Newsweek
Lindsey Doran
Producer
Julie Dash
Producer/Director/Screenwriter
Jim Hosney
Film Historian/Scholar
Fay Kanin
Screenwriter
AFI Board of Trustees
Leonard Maltin
ENTERTAINMENT TONIGHT
Ted Perry
Middlebury College
AFI Trustee Emeritus
Tom Pollock
Producer
AFI Board of Trustees
Bob Rehme
Producer
AFI Board of Trustees
Carrie Rickey
The Philadelphia Inquirer
Tom Schatz
University of Texas, Austin
Saul Zaentz
Producer
AFI JURY FOR TELEVISION
Shirley MacLaine
Actor
Lucy Liu
Actor
Barrie Lawson Loeks
Loeks-Star Theatres
Brian Lowry
Los Angeles Times
Sidney Lumet
Director
Delbert Mann
Director
Dennis Muren
Digital Effects Artist
Joyce Millman
Salon.com
Kay McFadden
The Seattle Times
Chon Noriega
University of California, Los Angeles
Todd McCarthy
Variety
Beverly O’Neill
California Institute of the Arts
Ted Perry
Middlebury College
Polly Platt
Producer/Production Designer
Dale Pollock
N.C. School of the Arts
Dorothy Rabinowitz
The Wall Street Journal
Peter Rainer
New York Magazine
Ken Ralston
Digital Effects Artist
Robert Richardson
Cinematographer
Howard Rosenberg
Los Angeles Times
Laurence Rosenthal
Composer
Gena Rowlands
Actor
Leah Rozen
People Magazine
Eva Marie Saint
Actor
Edgar Scherick
Producer
Lisa Schwartzbaum
Entertainment Weekly
Jan Scott
Production Designer
John Singleton
Producer/Director/Screenwriter
Robert Sklar
New York University
Barbara Smith
American Cinematheque
Penelope Spheeris
Director
Steven Spielberg
Producer/Director/Screenwriter
AFI Board of Trustees
Rod Steiger
Actor
Jon Storm
Philadelphia Inquirer
Mary Sweeney
Producer/Screenwriter/Editor
Richard Sylbert
Production Designer
Anne Thompson
Premiere Magazine
Robert Thompson
Syracuse University
Steve Tisch
Producer
Kenneth Turan
Los Angeles Times
Cinematographer
Amy Vincent
Cinematographer
Joanne Weintraub
Milwaukee Journal Sentinel
Peter Werner
Director
Michael Wilmington
Chicago Tribune
Ethel Winant
Producer
David Wolper
Producer
AFI Board of Trustees
Saul Zaentz
Producer
Eugenio Zanetti
Production Designer
Hans Zimmer
Composer
David Zurawik
Baltimore Sun
AFI JURY FOR MOTION PICTURES
Debbie Allen
Producer/Director/Actor
AFI Board of Trustees
Dede Allen
Editor
David Ansen
Newsweek
Darren Aronofsky
Director/Screenwriter
Alan Ball
Producer/Director/Screenwriter
Neema Barnette
Director
Ron Bass
Producer/Screenwriter
Robert Benton
Director/Screenwriter
Bob Boyle
Production Designer
Pieter Jan Brugge
Producer
Henry Bumstead
Production Designer
Michelle Byrd
Independent Features Project
Mary Schmidt Campbell
NYU's Tisch School
Marcy Carsey
Producer
Anne V. Coates
Editor
Richard Corliss
Time Magazine
Leslie Dilley
Production Designer
Richard Edlund
Digital Effects Artist
Nora Ephron
Producer/Director/Screenwriter
Steven Farber
Movieline
Milos Forman
Director
Stephen Gaghan
Screenwriter
Leslie Linka Glatter
Director
Jerry Goldsmith
Composer
Gary David Goldberg
Producer/Screenwriter
Tim Goodman
San Francisco Examiner
Mary Ann Grasso
National Assoc. of Theatre Owners
Christopher Guest
Director/Screenwriter/Actor
Amy Heckerling
Producer/Director/Screenwriter
Leonard Hill
Producer
Tina Hirsch
Editor
Foster Hirsch
Scholar/Historian
Greg Hoblit
Producer/Director
Winnie Holzman
Producer/Screenwriter
Kirk Honeycutt
The Hollywood Reporter
Dawn Hudson
Independent Feature Project West
Annette Insdorf
Columbia University
Mark Johnson
Producer
Shirley Jones
Actor
Spike Jonze
Director/Actor
Glenn Jordan
Producer/Director
Janusz Kamiński
Cinematographer
James Katz
Preservationist
Rita Kempley
The Washington Post
Kathleen Kennedy
Producer
AFI Board of Trustees
Callie Khouri
Screenwriter
James V. Kimsey
AFI Board of Trustees
Arnold Kopelson
Producer
Alan Ladd, Jr.
Producer
Martin Landau
Actor
AFI JURY FOR TELEVISION
AFI JURY FOR MOTION PICTURES
Tom Pollock
Chair, AFI 2000 Jury
AFI Board of Trustees
David Ansen
Film Journalist/Critic
Jeanine Basinger
Film Scholar
Bill Duke
AFI Board of Trustees
James Katz
Film Preservationist/Historian
Rita Kempley
Film Journalist/Critic
Michael Nesmith
AFI Board of Trustees
Thomas Schatz
Film Scholar
Vivian Sobchack
AFI Board of Trustees
Anne Thompson
Film Journalist/Critic
Saul Zaentz
Filmmaker
Steven Zaillian
Filmmaker
AFI MOVIES OF THE YEAR
THE AVIATOR
…soars into the stratosphere of classic American filmmaking. Martin Scorsese not only maintains the incredible standards of his career with this modern epic, but also expands its horizons. As bold and brash as Howard Hughes himself, the film is dazzling beyond words, while the visual splendor of the film carries us back to an era of Hollywood gone by. Leonardo DiCaprio embodies Howard Hughes in one of the year’s most demanding roles, with two character arcs at play as Hughes rises and falls simultaneously. Read the AFI Catalog entry
COLLATERAL
…takes audiences on a ride they won’t soon forget. It’s a thrill ride, but it’s also a dark, dreamy meditation on morality that stays with you long after your heart stops racing. Director Michael Mann is a true craftsman of the genre, and his comfort in the audience’s discomfort allows him always to be a step ahead. Part of the film’s allure is that it gives us a tour of Los Angeles after the sun sets, which is beautifully captured with new technologies by cinematographers Dion Beebe and Paul Cameron. Read the AFI Catalog entry
ETERNAL SUNSHINE OF THE SPOTLESS MIND
…is an unforgettable love story. Daringly original and heartwarmingly romantic, this film is as challenging and rewarding as love itself. There is no more inventive screenwriter today than Charlie Kaufman, who helps us remember that film is a medium with boundless storytelling possibilities. Jim Carrey’s indelible performance is the central force in the film, while Kate Winslet continues to astound with her every look, her every smile. To see the film twice is to enrich your love for it ten-fold. Read the AFI Catalog entry
FRIDAY NIGHT LIGHTS
…hoists the world of high school football on its shoulder and parades it into the history of mythic American sports stories. Adapted from H.G. Bissinger’s non-fiction book about the town of Odessa, Texas, and its passion for the local team, Peter Berg’s film demonstrates that sometimes the most dramatic stories are based in reality. The true power of the film lies in its ability to illuminate the hope that lives on Friday nights across America. For many in the stands, these are their heroes; for those who take the field, this is their moment in life, their chance to shine. FRIDAY NIGHT LIGHTS captures these sentiments with grace and eloquence. Read the AFI Catalog entry
THE INCREDIBLES
…lives up to its name in spectacular fashion. This clever and original animated film from writer/director Brad Bird dazzles in its visual splendor, but it is the story that proves most colorful. The Parr family — a.k.a. Mr. Incredible, Elastigirl and their two super children — is a nuclear family that imparts a message for all ages — that we all have special talents. Enter the villain, and the film’s incredible blend of adventure and wit sets a new bar for James Bond. Read the AFI Catalog entry
KINSEY
…is a rich and engaging film biography about Dr. Alfred Kinsey, the revolutionary sex researcher who challenged the conventions of “normal.” But this is no science lesson or standard bio-pic, for writer/director Bill Condon has a dynamic storytelling style that finds a heart in the man whose mind is so celebrated, and also beautifully portrays the era that gasped and then embraced his findings. Liam Neeson delivers a monumental performance as Kinsey, while Laura Linney lights up the screen with warmth and forgiveness. Read the AFI Catalog entry
MARIA FULL OF GRACE
…shines a light from above on a dark corner of the American dream. Catalina Sandino Moreno is mesmerizing in her screen debut as a young woman from Colombia who endures a harrowing journey to the United States as a drug mule. Writer/director Joshua Marston’s film is presented in Spanish, but speaks volumes about America and the beacon of hope it continues to shine on countries around the world. The film’s power lies in its natural storytelling, where nothing is forced, but tension rules. Read the AFI Catalog entry
MILLION DOLLAR BABY
…is classic American filmmaking by a man at the top of his game. Director/actor/producer/composer Clint Eastwood proves once again that he is American film’s true renaissance man. Simple, pure and direct in its storytelling, the film finds power in its lean frame, while taking on issues of family and faith without flinching. Hilary Swank inhabits her character as if she is in a class by herself, and with Morgan Freeman and Eastwood in her corner, there is no more engaging acting ensemble on screen this year. MILLION DOLLAR BABY is a knockout. Read the AFI Catalog entry
SIDEWAYS
…is vintage comedy that, like a good bottle of wine, will only get better with age. Director Alexander Payne is well established as one of the great directors of his generation, and here he impresses again as the rare filmmaker whose reliance is not on special effects or sleight of hand, but on words and warmth. The film’s brilliant cast provides the soul to this compassionate film about friendship and all its imperfections. AFI raises a glass of Pinot noir to the creative ensemble for their remarkable achievement with SIDEWAYS. Read the AFI Catalog entry
SPIDER-MAN 2
…is a movie sequel at its most triumphant. Glorious, inventive and joyful, Sam Raimi’s film creates something deeply human from the pages of a comic book, illustrating for Hollywood how to create a summer blockbuster by investing in the craft of storytelling. SPIDER-MAN 2 swings high through the annals of American superheroes, spinning a story without a reliance on special effects, spectacular as they are. Amidst the film’s popcorn-munching fun, its message rings true — with great honor comes great responsibility. Read the AFI Catalog entry
AFI TELEVISION PROGRAMS OF THE YEAR
ARRESTED DEVELOPMENT
marches to the tap of its own therapist’s pencil, often finding itself so far outside the traditional form of television comedy that it stands alone in its own genre. Richly imagined by Mitchell Hurwitz and the creative ensemble, each week the show’s lovably twisted characters give us an uproarious, glorious trip to the nuthouse they call home. Amid the laughs is brilliant commentary on celebrity and a gleefully wicked satire of the American family we all know too well.
CURB YOUR ENTHUSIASM
makes it impossible to curb your enthusiasm for the talents of Larry David. Finding humor in the droll and everyday, the show unfolds in a signature style that sets it apart from all other comedy on television. This year’s spectacularly engineered storyline with Mel Brooks and THE PRODUCERS was not only one of the longest comedic build-ups on record, but it also delivered one of the great punch lines in television history.
DEADWOOD
stands tall in the proud tradition of the American Western. Grand schemes and Shakespearean motives take viewers on a true journey through time, and yet the show’s unique power comes from what is not necessarily true to the period, illustrating that sometimes storytellers have to lie to tell the truth. David Milch and his writers blend fact and fiction, historical and imagined characters, and use modern language to immerse viewers in a richly defined parallel universe that captures how dark and difficult life was in a time that has since been glamorized by Hollywood.
DESPERATE HOUSEWIVES
is the best thing to happen to television in many years. Marc Cherry has created the water cooler show of 2004 by dusting off one of the oldest forms of TV — the classic American soap opera — and presenting it with a level of sophisticated satire that makes it totally unique. The show is a triumph for its acting ensemble, which bring such personality to their characters each week that we feel as if we know them like our own neighbors. For all the accolades and critical attention the show receives, perhaps its greatest contribution is that it reminds us that one of the key elements of great television is — in a word — fun.
LOST
was found by American audiences this year, just when they needed to be rescued from reality television. Confounding expectations with every episode, the show demonstrates how fulfilling it is to be in the hands of talented writers and storytellers. From the opening moments of the harrowing pilot episode, LOST has played like a psychological thriller, presenting a giant puzzle and doling out its pieces sparingly. Strange and offbeat, yet familiar (think GILLIGAN’S ISLAND), LOST enjoys both a broad audience and a cult following, which is a testament to the inventive work of the creative ensemble.
NIP/TUCK
continues to alter the face of television. Beautifully designed and photographed, the program entrances viewers with its sexy appearance, but ultimately reminds us that there is more to great drama than what meets the eye. Creator Ryan Murphy and the show’s creative ensemble operate with precision each episode, cutting through layers of the human condition to reveal stories of friendship and family rarely seen on television today.
THE SHIELD
is not just another cop show. Visceral and raw, hard-hitting and complex, this is a program where the unresolved tension between daily police activity and ethical transgression redefines the genre. Michael Chiklis delivers a powerhouse performance with each episode and helps to make THE SHIELD “appointment television.” This was particularly true in 2004, when corruption began to corrode the core of the strike force in episodes reminiscent of John Huston’s classic film THE TREASURE OF THE SIERRA MADRE.
SOMETHING THE LORD MADE
is a revelation. In a world where so much information is available at our fingertips, this television movie is a spectacular example of how the medium can find an unknown story and share it with millions of people in a single night. With seasoned veteran Joseph Sargent at the helm, and outstanding performances by Mos Def and Alan Rickman, this bittersweet story is an important tool for America as it continues to search for a public vocabulary to discuss issues of race.
THE SOPRANOS
returned to television in 2004, drawing America back into its dark and dangerous family circle. Digging deeper into the psychological complexities of its already beautifully realized characters, David Chase and the creative ensemble created a profound emotional resonance in a year marked by the tragic grandeur of the series. The show’s ability to captivate viewers with its alluring — but doomed-universe became even more powerful as the family struggled internally…and began to take care of business.
SOUTH PARK
takes American audiences where no politically correct man — or woman — has gone before. Smart, fearless and sometimes indefensible, SOUTH PARK speaks most importantly to television’s role as communicator with younger generations. Creators Trey Parker and Matt Stone have a remarkable ability to react quickly to current events and trends, which creates an extraordinary vitality in the comedy…and laughter that will echo across the century.
MOMENTS OF SIGNIFICANCE
MOVIES INSPIRE NATIONAL DEBATE In 2004, THE PASSION OF THE CHRIST and FAHRENHEIT 9/11 reminded the nation of the power of film. Both films transcended the art form, catalyzing a national debate on theology and politics.
Each film was a personal crusade, with Mel Gibson serving as writer/director/producer of THE PASSION and Michael Moore serving as writer/director/producer of FAHRENHEIT. Both filmmakers tossed Hollywood convention out the window, attracting masses to the movies that would normally not purchase a ticket to an ultra-violent subtitled film or a documentary.
Ultimately, both films shone a bright light on the political and religious polarization in the United States in 2004.
"TARNATION" AND FILM'S AFFORDABLE TOOLS
Jean Cocteau once said, “Film will only become art when its materials are as inexpensive as pencil and paper.”
In 2004, the accessibility to affordable tools for the art form was brilliantly dramatized by the Cannes Film Festival’s acceptance and enthusiasm for TARNATION, a film made for $218.
Director Jonathan Caouette received standing ovations for his documentary, a self-portrait about growing up with a mentally ill mother. He edited the film from home movies, photographs and other materials on his personal computer.
The direction is not only one for independent filmmakers, as the filmmakers who created Paramount’s SKY CAPTAIN AND THE WORLD OF TOMORROW used desktop Macintosh computers to create the film’s 2000 effects shots.
This movement is encouraging and will further solidify the moving image as the language of the 21st century.
CHANGING LANDSCAPE OF TELEVISION NEWS
2004 saw the final broadcasts of veteran newscasters Tom Brokaw, Barbara Walters and Bill Moyers, the retirement of 60 MINUTES creator Don Hewitt and the news that Dan Rather would leave his anchor seat in 2005.
The loss of this generation of journalists raises questions about the long-term viability of evening news broadcasts, which have been suffering from declining ratings for years, due to 24-hour news channels and immediate access to news via the Internet.
It also illustrates a more significant and worrisome trend — the drastic change in how news is packaged and presented via television. Gone are the days when Walter Cronkite read the news with a voice of authoritative integrity. Today’s newscasters are more personalities than journalists, and the landscape has become one of “niche news,” where viewers tune in to hear information that is skewed to a particular political agenda, not a public agenda. Audiences choose a report and reporter that agrees with their point of view, and ultimately, makes them comfortable. The networks and all news outlets should strive to present many sides of the complex issues in today’s world, and the viewing public should be reminded that part of the responsibility in finding the truth is their own.
FINAL DOMINO FALLS IN VERTICAL INTEGRATION OF FILM AND TV
On May 12, NBC and Universal merged to become NBC Universal, signaling the final stage of vertical re-integration in the entertainment industry.
This trend has proven cyclical, beginning with the Paramount Decree of 1949, which was designed to prevent monopolistic practices in the film community by prohibiting the studios from owning theater chains. Fifty-five years later, 2004 sees a landscape where studios, networks, theater chains, music labels and home video departments are integrated to serve and support each other.
The effects of this culmination will be felt in all areas of the creative community, where “event films” have become necessary to build a bridge between all corporate constituents. The independent film scene continues to flourish in large part because the tools have become more affordable, but what has been lost is the middle ground, where studios support films that can entertain a vast audience with different interests, which is what makes this country so unique.
THE DAILY SHOW WITH JON STEWART
Jon Stewart and the creative team at THE DAILY SHOW have been well awarded for their daily pseudo-news broadcast, but in this year of the presidential election, their impact on the national conversation grew beyond television.
The show’s impact on younger Americans is particularly significant. As it deconstructs the news cycle each night in its humor, THE DAILY SHOW provides a master class in critical analysis, forcing us to question how the news is presented on other channels.
It would be sad to document that one of the best sources of news today is a faux news show, if Jon Stewart and his creative team didn’t do it so well.
COMEDY REDEFINED...FOR THE MOMENT
FRASIER, FRIENDS and SEX AND THE CITY all aired their final episodes in 2004. Combined, the three sitcoms gave America 27 seasons of comedy — FRASIER ran for 11 years, FRIENDS for 10 years, and SEX IN THE CITY for six years.
With EVERYBODY LOVES RAYMOND ending its nine-year run next year, THE SIMPSONS will be the only situation comedy institution left on television.
Comedy has not left the airwaves, though; it thrives in late night television with Jay Leno and David Letterman, on cable in the form of CHAPPELLE’S SHOW and on the networks it has found a new home in less traditional places, like the dark halls of DESPERATE HOUSEWIVES and the courtroom drama BOSTON LEGAL.
TV THINKS OUTSIDE THE BOX
A second wave of convergence has begun to impact the world of television as content is packaged for distribution across multiple platforms.
Of note in 2004:
– The premiere of the pilot for the WB’s JACK AND BOBBY aired in its entirety over the Internet before the broadcast premiere.
– The success of television programs on DVD has reshaped the economics of television.
– The market for video games-where players gather around their television sets — exploded in 2004, suggesting a new dimension for television, where the viewer is the star of the program.
For those who wonder if the day is near when consumers will own a Dick Tracy TV watch, the answer is, “Yes” and so much more.
FEDERAL COMMUNICATIONS COMMISSION AS CULTURAL FORCE
The Federal Communications Commission became a programming power in 2004.
The government’s voice in what is suitable for the airwaves is not a new concept, but the staggering rate at which the threat of it grew during the year has had a profound effect on television. Unsure of how the FCC will rule on an issue, the creative community has begun to self-censor their shows, a disturbing trend in a country founded on free expression.
The flashpoint for this moment of significance was in January, during Janet Jackson’s and Justin Timberlake’s live Super Bowl halftime performance, when Jackson’s breast was exposed to a global audience during a sexually explicit dance routine.
In September, the FCC fined 20 TV stations the maximum penalty for indecency and the result has been a chilling effect on all aspects of television-production, advertising and distribution.
As a prime example, on Veterans Day, several ABC affiliates refused to air Steven Spielberg’s SAVING PRIVATE RYAN in an unedited form for fear they would be fined by the FCC. Most of the stations that pulled the film had aired it unedited to commemorate Veterans Day in 2001 and 2002.
MARLON BRANDO, 1924 - 2004
On July 1, acting legend Marlon Brando passed away at the age of 80.
The art of screen acting has two chapters-“Before Brando” and “After Brando.” Though Stanislavski created “method acting,” it was Brando who showed the world its power. His raw, hypnotic energy created screen characters that will live forever in the annals of film history:
Stanley Kowalski in A STREETCAR NAMED DESIRE (1951) Johnny Strabler in THE WILD ONE (1953) Terry Malloy in ON THE WATERFRONT (1954) Sky Masterson in GUYS AND DOLLS (1955) Don Vito Corleone in THE GODFATHER (1972) Paul in LAST TANGO IN PARIS (1972) Colonel Kurtz in APOCALYPSE NOW (1979)
Each year, AFI AWARDS honors 10 outstanding films and 10 outstanding TV programs deemed culturally and artistically representative of the year’s most significant achievements in the art of the moving image.
AFI AWARDS 2019 honorees will be announced in December 2019, with an invitation-only luncheon to follow on Friday, January 3, 2020.
Unique in its celebration of the film and television arts’ collaborative nature, AFI AWARDS is the only national program that honors creative teams as a whole – recognizing those in front of and behind the camera.
AFI AWARDS was created in 2000 to recognize the films and television programs which contribute to our collective cultural legacy. When placed in an historical context, these stories provide a complex, rich, visual record of our modern world.
SELECTION CRITERIA
Honorees are selected based on works which:
- Best advance the art of the moving image
- Enhance the rich cultural heritage of America’s art form
- Inspire audiences and artists alike
- And/or make a mark on American society
A UNIQUE JURY PROCESS
AFI AWARDS selections are made through AFI’s unique jury process – in which scholars, film and television artists, critics and AFI Trustees determine the most outstanding achievements of the year.
CELEBRATING THE HONOREES
With no winners or losers, honorees gather for recognition at the annual AFI AWARDS private luncheon for an informal, intimate and non-competitive acknowledgement of excellence. On the day of the luncheon, AFI reveals the Jury “rationales,” providing artistic and cultural context for the selection of the respective honorees.
For additional information about AFI AWARDS, contact Josh Kushins at jkushins@AFI.com.
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