AFI JURY FOR TELEVISION
Richard Frank
Chair, AFI Jury for TelevisionProducer 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 PicturesProducer AFI Board of Trustees
Jeanine Basinger
Wesleyan UniversityAFI 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
Courtney B. Vance
Actor/Producer
Robert Thompson
Syracuse University
Sonia Saraiya
Vanity Fair
Maureen Ryan
Critic/Journalist
Matt Roush
TV Guide
Mary McNamara
The Los Angeles Times
Debra Lee
AFI Board of Trustees
L.S. Kim
University of California, Santa Cruz
Ernest Dickerson
Director/Cinematographer
Bob Gazzale
American Film Institute
David Benioff
Director/Screenwriter/Producer
Paris Barclay
Director/Producer
Richard Frank
Chair, AFI Jury for TelevisionProducerAFI Board of Trustees
AFI JURY FOR MOTION PICTURES
Alfre Woodard
Actor/Producer
Peter Travers
Rolling Stone
Claudia Puig
Los Angeles Film Critics Association
Amy Nicholson
NPR
Leonard Maltin
Historian
Akira Mizuta Lippit
University of Southern California
Lisa Kennedy
The Denver Post
Ann Hornaday
The Washington Post
Mark Harris
Historian
Bob Gazzale
American Film Institute
Joan Chen
Actor/Director/Screenwriter/Producer
Jeanine Basinger
Wesleyan UniversityAFI Board of Trustees
Tom Pollock
Chair, AFI Jury for Motion Pictures ProducerAFI Board of Trustees
AFI JURY FOR TELEVISION
Robert Thompson
Syracuse University
Janet Staiger
University of Texas, Austin
Maureen Ryan
Variety
Matt Roush
TV Guide
Mary McNamara
The Los Angeles Times
Debra Lee
BET Networks AFI Board of Trustees
L.S. Kim
University of California, Santa Cruz
Jennifer Getzinger
Director
Bob Gazzale
American Film Institute
Gabrielle Carteris
SAG-AFTRAAFI Board of Trustees
David Bianculli
NPR
Paris Barclay
Director/Producer
Richard Frank
Chair, AFI Jury for TelevisionProducerAFI Board of Trustees
AFI JURY FOR MOTION PICTURES
Peter Travers
Rolling Stone
Amy Nicholson
NPR
Leonard Maltin
Historian
Lisa Kennedy
The Denver Post
Ann Hornaday
The Washington Post
Bob Gazzale
American Film Institute
Jamie Lee Curtis
Actor/Director/Producer
Jay Cassidy
Editor
Halle Berry
Actor/ProducerAFI Board of Trustees
Jeanine Basinger
Wesleyan UniversityAFI Board of Trustees
Judd Apatow*
Director/Screenwriter/Producer
Tom Pollock
Chair, AFI Jury for Motion PicturesProducer AFI Board of Trustees
AFI JURY FOR TELEVISION
Diane English
Director/Screenwriter/Producer
Robert Thompson
Syracuse University
Maureen Ryan
Variety
Matt Roush
TV Guide
Mary McNamara
The Los Angeles Times
Lori McCreary
ProducerAFI Board of Trustees
Debra Lee
BET NetworksAFI Board of Trustees
Michelle King
Screenwriter/Producer
L.S. Kim
University of California, Santa Cruz
Darnell Hunt
University of California, Los Angeles
Jon Hamm
Actor/Director/Producer
Bob Gazzale
American Film Institute
Richard Frank
Chair, AFI Jury for TelevisionProducerAFI Board of Trustees
AFI JURY FOR MOTION PICTURES
Peter Travers
Rolling Stone
Patricia Riggen
Director
Amy Nicholson
MTV News
Rachel Morrison
Cinematographer
Leonard Maltin
Historian
Akira Mizuta Lippit
University of Southern California
Lisa Kennedy
The Denver Post
Mark Harris
Historian
Bob Gazzale
American Film Institute
Robert Benton
Director/Screenwriter
Jeanine Basinger
Wesleyan UniversityAFI Board of Trustees
Elizabeth Banks
Actor/Director/Producer
Tom Pollock
Chair, AFI Jury for Motion PicturesProducerAFI Board of Trustees
AFI JURY FOR TELEVISION
Michael Wright
DreamWorks StudiosAFI Board of Trustees
Matt Williams
Screenwriter/Producer
Robert Thompson
Syracuse University
Renee Tajima-Peña
Director/ProducerUniversity of California, Los Angeles
Ellen Seiter
University of Southern California
Maureen Ryan
Variety
Matt Roush
TV Guide
Mary McNamara
The Los Angeles Times
Michelle MacLaren
Director/Producer
Bob Gazzale
American Film Institute
Henry Louis Gates, Jr.
Harvard University
Neal Baer
Screenwriter/ProducerAFI Board of Trustees
Richard Frank
Chair, AFI Jury for TelevisionProducerAFI Board of Trustees
AFI JURY FOR MOTION PICTURES
Peter Travers
Rolling Stone
Emma Thomas
Producer
John Ridley
Director/Screenwriter
Carrie Rickey
The Philadelphia Inquirer
Bennett Miller
Director
Leonard Maltin
Historian
Lisa Kennedy
The Denver Post
Marshall Herskovitz
Producer/Director/ScreenwriterAFI Board of Trustees
Molly Haskell
Historian
Mark Harris
Historian
Bob Gazzale
American Film Institute
Jeanine Basinger
Wesleyan UniversityAFI Board of Trustees
Tom Pollock
Chair, AFI Jury for Motion PicturesProducerAFI Board of Trustees
AFI JURY FOR TELEVISION
Michael Wright
Michael WrightAFI Board of Trustees
Robert Thompson
Syracuse University
Chris Silbermann
ICM PartnersAFI Board of Trustees
Ellen Seiter
University of Southern California
Maureen Ryan
The Huffington Post
Matt Roush
TV Guide
Phylicia Rashad
Actor
James Poniewozik
TIME
L.S. Kim
University of California, Santa Cruz
Vince Gilligan
Producer/Director/Screenwriter
Bob Gazzale
American Film Institute
Anne Garefino
Producer
Richard Frank
Chair, AFI Jury for TelevisionProducerAFI Board of Trustees
AFI JURY FOR MOTION PICTURES
Peter Travers
Rolling Stone Magazine
Claudia Puig
USA Today
Leonard Maltin
Historian
Akira Mizuta Lippit
University of Southern California
Matthew Libatique
Cinematographer
Kasi Lemmons
Director/Actor
Lisa Kennedy
Denver Post
Patty Jenkins
Director/Screenwriter
Marshall Herskovitz
Producer/Director/ScreenwriterAFI Board of Trustees
Mark Harris
Historian
Bob Gazzale
American Film Institute
Jeanine Basinger
Wesleyan UniversityAFI Board of Trustees
Tom Pollock
Chair, AFI Jury for Motion PicturesProducerAFI Board of Trustees
AFI JURY FOR TELEVISION
Noah Wyle
Producer/Actor
Robert Thompson
Syracuse University
Chris Silbermann
ICM PartnersAFI Board of Trustees
Ellen Seiter
University of Southern California
Maureen Ryan
The Huffington Post
Matt Roush
TV Guide Magazine
Frederick S. Pierce
AFI Board of Trustees
Jeff Nunokawa
Princeton University
Melissa Maerz
Entertainment Weekly
Bob Gazzale
American Film Institute
Dorothy Fontana
ScreenwriterSenior Lecturer, AFI Conservatory
Jon Avnet
Producer/Director/ScreenwriterAFI Board of Trustees
Richard Frank
Chair, AFI Jury for TelevisionProducerAFI Board of Trustees
AFI JURY FOR MOTION PICTURES
Peter Travers
Rolling Stone Magazine
Claudia Puig
USA Today
Akira Mizuta Lippit
University of Southern California
Nancy Meyers
Producer/Director/Screenwriter
Leonard Maltin
Historian
Lisa Kennedy
The Denver Post
Marshall Herskovitz
Producer/Director/ScreenwriterAFI Board of Trustees
Mark Harris
Entertainment Weekly
Bob Gazzale
American Film Institute
Roman Coppola
Producer/Director/Screenwriter
Anne V. Coates
Editor
Jeanine Basinger
Wesleyan UniversityAFI Board of Trustees
Tom Pollock
Chair, AFI Jury for Motion PicturesProducerAFI Board of Trustees
AFI JURY FOR TELEVISION
Robert Thompson
Syracuse University
Janet Staiger
University of Texas at Austin
Chris Silbermann
International Creative ManagementAFI Board of Trustees
Katey Sagal
Maureen Ryan
The Huffington Post
Matt Roush
TV Guide Magazine
James Poniewozik
Time Magazine
Mary McNamara
Los Angeles Times
L.S. Kim
University of California, Los Angeles
Marta Kauffman
Producer/Screenwriter
Bob Gazzale
American Film Institute
Chris Carter
Producer/Director/Screenwriter
Richard Frank
Chair, AFI Jury for TelevisionProducerAFI Board of Trustees
AFI JURY FOR MOTION PICTURES
Peter Travers
Rolling Stone Magazine
Octavia Spencer
Actor
Claudia Puig
USA Today
Akira Mizuta Lippit
University of Southern California
Leonard Maltin
"Leonard Maltin's Movie Guide"
Lisa Kennedy
The Denver Post
Marshall Herskovitz
Producer/Director/ScreenwriterAFI Board of Trustees
Mark Harris
Entertainment Weekly
Bob Gazzale
American Film Institute
Brad Bird
Director/Screenwriter
Angela Bassett
Actor
Jeanine Basinger
Wesleyan UniversityAFI Board of Trustees
Tom Pollock
Chair, AFI Jury for Motion PicturesProducerAFI Board of Trustees
AFI JURY FOR TELEVISION
Ken Tucker
Entertainment Weekly
Betsy Thomas
Producer/Director/Screenwriter
Chris Silbermann
International Creative ManagementAFI Board of Trustees
Matt Roush
TV Guide Magazine
James Poniewozik
Time Magazine
Fred Pierce
ProducerAFI Board of Trustees
Janet Murray
Georgia Institute of Technology
Stephen Kronish
Producer/Screenwriter
Marde Gregory
University of California, Los Angeles
Tim Goodman
The Hollywood Reporter
Bob Gazzale
American Film Institute
Anna Everett
University of California, Santa Barbara
Richard Frank
Chair, AFI Jury for TelevisionProducerAFI Board of Trustees
AFI JURY FOR MOTION PICTURES
Peter Travers
Rolling Stone Magazine
Suzanne Todd
Producer
Claudia Puig
USA Today
Diana Ossana
Producer/Screenwriter
Leonard Maltin
"Leonard Maltln's Movie Guide"
Akira Mizuta Lippit
University of Southern California
Jim Hosney
Jim Hosney
Marshall Herskovitz
Producer/Director/ScreenwriterAFI Board of Trustees
Mark Harris
Entertainment Weekly
Whoopi Goldberg
Actor
Bob Gazzale
American Film Institute
Jeanine Basinger
Wesleyan UniversityAFI Board of Trustees
AFI JURY FOR MOTION PICTURES
Tom PollockProducerChair, AFI Jury for Motion Pictures
AFI JURY FOR TELEVISION
Janet Staiger
University of Texas at Austin
John Shaffner
Academy of Television Arts & SciencesProduction DesignerAFI Board of Trustees
Maureen Ryan
AOL
Matt Roush
TV Guide Magazine
James Poniewozik
Time Magazine
Mary McNamara
Los Angeles Times
Anna McCarthy
New York University
Henry Jenkins
Henry Jenkins
Jennifer Love Hewitt
Producer/Actor
Marshall Herskovitz
Producer/Director/ScreenwriterAFI Board of Trustees
Bob Gazzale
American Film Institute
Steven Bochco
Producer/Screenwriter
Richard Frank
Chair, AFI Jury for TelevisionProducerAFI Board of Trustees
AFI JURY FOR MOTION PICTURES
Michael Wood
Princeton University
Lisa Schwarzbaum
Entertainment Weekly
Claudia Puig
USA Today
Elvis Mitchell
THE TREATMENT
Leonard Maltin
ENTERTAINMENT TONIGHT"Leonard Maltin's Movie Guide"
Akira Mizuta Lippit
University of Southern California
Bob Gazzale
American Film Institute
Jane Gaines
Columbia University
Lee Daniels
Producer/Director
Diablo Cody
Producer/Screenwriter
Donn Cambern
Editor
Jeanine Basinger
Wesleyan University
Tom Pollock
Chair, AFI Jury for Motion PicturesProducerAFI Board of Trustees
AFI JURY FOR TELEVISION
Robert J. Thompson
Syracuse University
John Shaffner
Academy of Television Arts & Sciences
Ellen Seiter
University of Southern California
Maureen Ryan
Chicago Tribune
Matt Roush
TV Guide Magazine
CCH Pounder
Actor
Lisa Parks
University of California, Santa Barbara
David Milch
Producer/Screenwriter
Brian Lowry
Variety
L.S. Kim
University of California, Santa Cruz
Bambi Haggins
Arizona State University
Stanley Brooks
Producer
Neal Baer
Chair, AFI Jury for TelevisionProducer/Screenwriter
AFI JURY FOR MOTION PICTURES
Lisa Schwarzbaum
Entertainment Weekly
Richard Schickel
Historian/Author/Documentary Filmmaker
Claudia Puig
USA Today
Tom Pollock
ProducerAFI Board of Trustees
Chon Noriega
University of California, Los Angeles
Elvis Mitchell
THE TREATMENT
Leonard Maltin
ENTERTAINMENT TONIGHT
Patty Jenkins
Producer/Director
Mark Harris
Entertainment Weekly/New York MagazineAuthor
Leo Braudy
University of Southern California
Dustin Lance Black
Producer/Director/Screenwriter
Sean Astin
Actor
Norman Jewison
Chair, AFI Jury for Motion PicturesProducer/Director
AFI JURY FOR TELEVISION
Tony To
Producer/Director
Beretta E. Smith-Shomade
University of Arizona
John Shaffner
Academy of Television Arts & Sciences
Ellen Seiter
University of Southern California
Matt Roush
TV Guide
Del Reisman
AFI Conservatory Screenwriter
James Poniewozik
Time Magazine
Kathleen Nolan
Actor
Mary McNamara
Los Angeles Times
Jean Picker Firstenberg
AFI President Emerita
John Caldwell
University of California, Los Angeles
Neal Baer
Producer/Screenwriter
Richard Frank
Chair, AFI Jury for TelevisionAFI Trustee Emeritus
AFI JURY FOR MOTION PICTURES
Tom Pollock
ProducerAFI Board of Trustees
Robert Towne
Producer/Director/Screenwriter
Anne Thompson
Variety
Vivian Sobchack
AFI Trustee EmeritaUniversity of California, Los Angeles
Richard Schickel
Time Magazine
Daniel Petrie, Jr.
Producer/Director/Screenwriter
Elvis Mitchell
THE TREATMENT
Rick Jewell
University of Southern California
Jim Hosney
American Film Institute
Mark Harris
Entertainment WeeklyAuthor
Mary Corey
University of California, Los Angeles
Jeanine Basinger
Wesleyan University
Leonard Maltin
Chair, AFI Jury for Motion PicturesENTERTAINMENT TONIGHT
AFI JURY FOR TELEVISION
Rich Frank
Chair, AFI Jury for TelevisionAFI Board of Trustees
Dick Askin
Academy of Television Arts & SciencesAFI 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/ActorAFI Trustee Emerita
Horace Newcomb
University of Georgia
Del Reisman
AFI ConservatoryScreenwriter
Matt Roush
TV Guide
Maureen Ryan
Chicago Tribune
Robert Thompson
Syracuse University
Ron Underwood
Producer/Director/Screenwriter
AFI JURY FOR MOTION PICTURES
Kristal Brent Zook
Hosftra University
Gary Winick
Producer/Director
Richard Schickel
Time Magazine
Tom Pollock
AFI Board of Trustees
David Picker
ProducerAFI Trustee Emeritus
Diana Ossana
Producer/Screenwriter/Novelist
Tara McPherson
University of Southern California
Leonard Maltin
ENTERTAINMENT TONIGHT
Lawrence Kasdan
Producer/Director/ScreenwriterAFI Trustee Emeritus
Mary Corey
University of California, Los Angeles
Donn Cambern
AFI ConservatoryDirector/Editor
David Ansen
Newsweek
Frank Pierson
Chair, AFI Jury for Motion PicturesAFI ConservatoryDirector/Screenwriter
AFI JURY FOR TELEVISION
Dick Askin
Academy of Television Arts & SciencesAFI Board of Trustees
Richard Frank
Chair, AFI Jury for TelevisionAFI 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 AngelesAFI Board of Trustees
Kristal Brent Zook
Columbia University
AFI JURY FOR MOTION PICTURES
Robert G. Rehme
Chair, AFI Jury for Motion PicturesProducerAFI Board of Trustees
Michael Apted
Directors Guild of AmericaProducer/Director/ScreenwriterAFI Board of Trustees
Roger Birnbaum
Spyglass EntertainmentAFI 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
ProducerAFI Trustee Emeritus
Tom Pollock
ProducerAFI Board of Trustees
Anne Thompson
The Hollywood Reporter
Kenneth Turan
Los Angeles Times
AFI JURY FOR TELEVISION
Marshall Herskovitz
Chair, AFI Jury for TelevisionChair, AFI Jury for TelevisionAFI Board of Trustees
Dick Askin
Academy of Television Arts & SciencesTribune Entertainment CompanyAFI 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
ProducerAFI Board of Trustees
Jay Roach
Producer/Director
Lisa Schwarzbaum
Entertainment Weekly
Vivian Sobchack
University of California, Los AngelesAFI 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 TelevisionThe FirmAFI Board of Trustees
Richard Askin, Jr.
Academy of Television Arts & SciencesTribune 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 TechnologyAFI Board of Trustees
Horace Newcomb
University of GeorgiaGeorge Foster Peabody Awards
Jerry Offsay
Producer
Matt Roush
TV Guide
AFI JURY FOR MOTION PICTURES
Roger Ebert
Chair, AFI Jury for Motion PicturesChicago Sun-TimesEBERT & ROEPER
David Ansen
Newsweek
Jeanine Basinger
Wesleyan UniversityAFI Trustee Emerita
Leo Braudy
University of Southern California
James Cromwell
Actor
Naomi Foner
Producer/Screenwriter
Joan Micklin Silver
Director/Screenwriter
Tom Pollock
ProducerAFI Board of Trustees
Robert G. Rehme
ProducerAFI Board of Trustees
Richard Schickel
Time MagazineProducer/Director/Screenwriter
Lisa Schwarzbaum
Entertainment Weekly
Michael Wood
Princeton University
Janet Yang
Producer
AFI JURY FOR TELEVISION
Diane Werts
Newsday
Dean Valentine
Former President & CEO, UPN
Penelope Spheeris
Director
Matt Roush
TV Guide
Dorothea Petrie
Producer
Horace Newcomb
University of GeorgiaGeorge Foster Peabody Awards
Brian Lowry
Variety
Helaine Head
University of Southern California
Ted Harbert
Producer
Chuck Fries
ProducerAFI Board of Trustees
Mary Corey
University of California, Los Angeles
Irby Brown
University of Richmond
Richard Frank
Chair, AFI Jury for TelevisionIntegrated Entertainment PartnersAFI Board of Trustees
AFI JURY FOR MOTION PICTURES
Tom Pollock
ProducerAFI Board of Trustees
Anne V. Coates
Editor
Vivian Sobchack
University of California, Los AngelesAFI Board of Trustees
Leonard Schrader
AFI ConservatoryDirector/Screenwriter
Richard Schickel
Time MagazineProducer/Director/Screenwriter
Ted Perry
Middlebury CollegeAFI Trustee Emeritus
Curtis Marez
University of Southern California
Glenn Kenny
Premiere Magazine
Kirk Honeycutt
The Hollywood Reporter
Jay Boyar
Orlando Sentinel
Jeanine Basinger
Wesleyan UniversityAFI Trustee Emerita
John Badham
Director
Leonard Maltin
Chair, AFI Jury for Motion PicturesENTERTAINMENT TONIGHT
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 GeorgiaGeorge Foster Peabody AwardsAFI Trustee Emeritus
Daniel Petrie, Jr.
Producer/Director/ScreenwriteAFI Board of Trustees
Victoria Riskin
Writers Guild of AmericaScreenwriter
Matt Roush
TV Guide
Robert Thompson
Syracuse University
Anthony Thomopoulos
Former President, ABC EntertainmentMedia Arts Group, Inc.AFI Trustee Emeritus
Ken Tucker
Entertainment Weekly
Peter Werner
DirectorAFI Trustee Emeritus
AFI JURY FOR MOTION PICTURES
Tom Pollock
ProducerAFI Board of Trustees
David Ansen
Newsweek
Jeanine Basinger
Chair, AFI Jury for Motion PicturesWesleyan UniversityAFI Trustee Emerita
Julie Dash
Producer/Director/Screenwriter
Lindsey Doran
Producer
Leonard Maltin
ENTERTAINMENT TONIGHT
Fay Kanin
ScreenwriterAFI Board of Trustees
Jim Hosney
Film Historian/Scholar
Ted Perry
Middlebury CollegeAFI Trustee Emeritus
Bob Rehme
ProducerAFI Board of Trustees
Carrie Rickey
The Philadelphia Inquirer
Tom Schatz
University of Texas, Austin
Saul Zaentz
Producer
AFI JURY FOR TELEVISION
Barrie Lawson Loeks
Loeks-Star Theatres
Lucy Liu
Actor
Brian Lowry
Los Angeles Times
Sidney Lumet
Director
Shirley MacLaine
Actor
Delbert Mann
Director
Todd McCarthy
Variety
Kay McFadden
The Seattle Times
Joyce Millman
Salon.com
Dennis Muren
Digital Effects Artist
Chon Noriega
University of California, Los Angeles
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/ScreenwriterAFI Board of Trustees
Rod Steiger
Actor
Jon Storm
Philadelphia Inquirer
Mary Sweeney
Producer/Screenwriter/Editor
Anne Thompson
Premiere Magazine
Richard Sylbert
Production Designer
Robert Thompson
Syracuse University
Steve Tisch
Producer
Kenneth Turan
Los Angeles TimesCinematographer
Amy Vincent
Cinematographer
Peter Werner
Director
Joanne Weintraub
Milwaukee Journal Sentinel
Michael Wilmington
Chicago Tribune
Ethel Winant
Producer
David Wolper
ProducerAFI Board of Trustees
Eugenio Zanetti
Production Designer
David Zurawik
Baltimore Sun
Hans Zimmer
Composer
Saul Zaentz
Producer
AFI JURY FOR MOTION PICTURES
Debbie Allen
Producer/Director/ActorAFI Board of Trustees
David Ansen
Newsweek
Dede Allen
Editor
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
Marcy Carsey
Producer
Mary Schmidt Campbell
NYU's Tisch School
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
Foster Hirsch
Scholar/Historian
Tina Hirsch
Editor
Winnie Holzman
Producer/Screenwriter
Kirk Honeycutt
The Hollywood Reporter
Dawn Hudson
Independent Feature Project West
Greg Hoblit
Producer/Director
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
ProducerAFI 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 JuryAFI 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.
AFI is a 501c3 non-profit advancing the art of the moving image by empowering storytellers and inspiring audiences
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