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
BABEL
…is a powerful reminder of the poetry of film. Alejandro Iñárritu’s non-linear storytelling style is both epic and intimate, and imagines our global interconnectivity as catalyzed by a single bullet. Raw performances from an extraordinary cast drive this haunting and, at times, harrowing tale about our inability to communicate despite advances in technology. The film is also an unblinking look at the price this has on our children, and ultimately asks the question, “Will we hear each other, before it’s too late?” Read the AFI Catalog entry
BORAT: CULTURAL LEARNINGS OF AMERICA FOR MAKE BENEFIT GLORIOUS NATION OF KAZAKHSTAN
…clocks more laughs than any film in 2006, and it does so with a social commentary that asks us to pause between guffaws and examine the world around us. Sacha Baron Cohen’s immersive performance as Borat detonates an international conversation about what is funny and what is too far. The joy of the film is that no ivory tower is too tall for Borat. He targets Christians and Jews, feminists and frat boys, and all the while offering a global catharsis; for if we can laugh together, we can live together. To Borat, AFI say “High five!” Read the AFI Catalog entry
THE DEVIL WEARS PRADA
…is the haute couture of Hollywood filmmaking. Lovingly fashioned with style, romance and a fully realized script by Aline Brosh McKenna, it’s a film about choices and the time in one’s life when the world sparkles with opportunity. David Frankel’s film is both elegant and entertaining, and a wonderful reminder to moviemakers that a film with female protagonists can appeal to men and women alike. Meryl Streep’s tour de force performance adds Miranda Priestly to the many iconic characters that America’s greatest actress has created for the pantheon of film. Read the AFI Catalog entry
DREAMGIRLS
… is a musical masterwork that dazzles and delights in every frame. The film shines a spotlight on the talents of Bill Condon, who expands and enriches a legendary stage production while invoking the spirit of Broadway’s Michael Bennett. The result is an explosion of passion and power, an anthem to the outsider and a celebration of friendship that hits every note. Jennifer Hudson’s triumphant debut is one for the ages, and the film’s brilliant creative ensemble — a dream team of talent — deserves a standing ovation as the credits roll. Read the AFI Catalog entry
HALF NELSON
… is a small cinematic miracle – a film of such honesty that it challenges the boundaries of narrative film and cinéma vérité. Ryan Fleck-s directorial debut is an absorbing tale of demons and dreams, and the film compels us to consider role models in the real world, and who we look up to in the unlikeliest of friendships. Ryan Gosling’s inspired performance proves once and again that he is a force among the actors of his generation, and Shareeka Epps’ brilliant debut stands tall among the best of the year. Read the AFI Catalog entry
HAPPY FEET
… is a one-of-a-kind motion picture experience. George Miller continues to paint outside the lines of traditional filmmaking, and his genius expands upon the animated art form to illuminate a world where penguins embrace dance and differences to survive and thrive. But that is just the tip of the iceberg, as the environment, religion and the chasm between generations enrich this sweet and subtle tale — one that is fun and funny, brilliant and beautiful, groundbreaking and global in its message. Read the AFI Catalog entry
INSIDE MAN
… is a classic heist film that vaults above genre under the direction of one of American film’s truest voices, Spike Lee. This smart and shrewd crime thriller is layered with a complicated social portrait of the United States, where everybody is out for himself. This enriches the complexity of motives, and an all-star cast makes the most of this intricate game of cat and mouse, each with an eye on stealing the show. Read the AFI Catalog entry
LETTERS FROM IWO JIMA
… is a masterpiece of American film. Clint Eastwood continues to set the standard — telling stories of uncommon sensitivity on a canvas so grand and glorious that his place in America’s cultural legacy seems to have no bounds. LETTERS FROM IWO JIMA is a complex examination of duty to one’s country — the enemy’s country. By presenting the Japanese perspective, the film projects point of view through a prism, reminding us of our common humanity and inspiring us to rise above the past and look forward to a brighter, better future. Read the AFI Catalog entry
LITTLE MISS SUNSHINE
… is a ray of hope for American film. This comedy gem exemplifies the best of the independent film movement, one that tells its story outside the mainstream but enjoys a massive and enthusiastic public response. Directors Jonathan Dayton and Valerie Faris have assembled the comedic acting ensemble of the year, and together they tell the story of the Hoovers, the most dysfunctional family on wheels. In the tradition of classics like YOU CAN’T TAKE IT WITH YOU, through our laughter — and horror — we see ourselves. Read the AFI Catalog entry
UNITED 93
… is a landmark American film — one that takes on a defining moment in modern time and creates a living memorial with equal parts art and realism. Paul Greengrass exemplifies the power of a story well told as the film confounds expectation at every turn. It is a nightmare that heals. It is an ending we know, yet our hearts race with hope. Ultimately, UNITED 93 is a meditation on honor and courage — and what you see in yourself when you look into the eyes of the person sitting next to you on a flight to tomorrow. Read the AFI Catalog entry
AFI TELEVISION PROGRAMS OF THE YEAR
24
clocks into its fifth season firing on all cylinders — demanding that audiences fasten their seatbelts and hang on for the most thrilling ride in television. From season to season — and from second to second — 24’s strong, cinematic narrative is enriched by a vast and varied acting ensemble that in 2006 was gloriously enhanced by the show’s President and First Lady — Gregory Itzin and Jean Smart. Explosive and emotional, 24 is a show that sets hearts racing as it defines heroism in modern day.
BATTLESTAR GALACTICA
shines bright among the stars of television’s sci-fi classics. The show is a profound parable for our times, and in the grand tradition of science fiction, the farther it rockets into outer space, the deeper it probes the inner workings of our humanity. In 2006, the show dramatically changed course from its initial premise — a true act of creative courage — and its continuing ability to fuse gripping drama and thoughtful allegory heralds BATTLESTAR GALACTICA as one of the triumphs of television.
DEXTER
is a killer show about a serial killer. Wildly audacious and original, the show is an incisive new take on several television staples — the medical mystery, vigilante justice and even romantic comedy — mashed together in the bloody grip of a self-doubting sociopath. Both creepy and compelling, DEXTER is the most morally complex show on television, and with that distinction, a true catalyst for a discussion of ethics around the living room.
ELIZABETH
shines bright among the crown jewels of television long form. The film is a majestic reminder of the art form’s ability to capture a time so rich in detail that it transports its audience to a world they would have never known. ELIZABETH I is high IQ entertainment at its most engaging, and Helen Mirren’s towering performance will have audiences genuflecting for generations.
FRIDAY NIGHT LIGHTS
is a celebration of America — its hopes and dreams, its heart and its heartland. Rare is the show that presents family and faith in such an authentic way — rich with emotion and illuminated by the pulse-quickening thrill of football. Peter Berg’s small town tale is one with community at its core, but universal in scope — the struggle of winning and losing, the drive to reach for more and the challenge of seeing a future beyond the glare of Friday night’s lights.
HEROES
is a force for good in American television. Tim Kring’s ambitious comic book drama not only entertains with super-human abilities, but it speaks to an audience that yearns for hope in a world where cynicism abounds. The show marks an evolution in the serialized drama; its separate story lines do not immediately connect, but they share a message for the global community — within each of us is a stronger, better self with special abilities beyond what we can even imagine.
THE OFFICE
is an outrageous ode to the obvious and the oblivious. Each week, this clever comedy celebrates the trivial pursuits of colleagues we all know and love — the deluded, the ignorant, and the trapped, but talented. Steve Carell continues to define himself as a leading man of laughs, here a player within the funniest creative ensemble on television. Together, they make THE OFFICE a place you want to spend your nights.
SOUTH PARK
holds a mirror up to American society, then smashes it and demands audiences take another look. Sweet and simple on the surface, the show remains the most subversive comedy on television as creators Trey Parker and Matt Stone continue to slaughter sacred cows into the show’s 10th season. SOUTH PARK’s achievement is more than just pushing boundaries; it’s an insightful comment on America, told with equal parts philosophy and flatulence.
THE WEST WING
is a landmark in American television. Its heart filled with hope, the show is unmatched in its ideal and its execution. The term “degree of difficulty” was redefined by THE WEST WING years ago, but in 2006, it reached even further — including a live presidential debate that reminded audiences of the power of substantive discussion in the highest offices of our land. Hail to the show’s chiefs, Aaron Sorkin and John Wells, and their extraordinary creative ensemble, who gave the world seven remarkable seasons of THE WEST WING along with a graceful and memorable bow.
THE WIRE
is the great American novel produced for television. Rich in detail and engrossing in depth of character, the show is a moving document about the failure of American social institutions — from the family to schools to the justice system and beyond. David Simon and his talented writing team have created a window on our world — one complicated by motives, illuminated by nuance, and ultimately, heartbreaking in its humanity. THE WIRE is a show that you do not simplywatch; it’s one you live.
MOMENTS OF SIGNIFICANCE
CLINT EASTWOOD-A NATIONAL TREASURE
Clint Eastwood released two major motion pictures in 2006. This is a significant achievement alone, but that FLAGS OF OUR FATHERS and LETTERS FROM IWO JIMA tell the story of the same battle in World War II while presenting the points of view of the opposing sides marks a moment of significance for post 9/11 cinema.
The films not only complement one another, but they resonate together to create one of the great motion picture experiences of the new century.
Eastwood and his team of collaborators — including producers Steven Spielberg and Robert Lorenz, writer Paul Haggis, cinematographer Tom Stern, editor Joel Cox, production designer Henry Bumstead and casting director Phyllis Huffman — provide an epic reminder that the American viewpoint is not the only human perspective.
THE DOCUMENTARY SPEAKS TO THE WORLD
In 2006, it was the documentary that best illustrated the power of film and television to bring us together as a global audience-and, with hope, to affect change.
In theatres, AN INCONVENIENT TRUTH premiered in the United States and began a journey around the world, raising the level of debate about global warming. Directed by Davis Guggenheim and starring former Vice President Al Gore, this documentary presents the argument that we can no longer afford to look at the effects of greenhouse gasses as a political issue, but we must see it as a moral one.
Also of note is IRAQ IN FRAGMENTS, a film by director James Longley, who documented the experience of Sunnis, Shiites and Kurds in war-torn Iraq.
In television, WHEN THE LEVEES BROKE sets the standard for documentaries that fuse epic scope and human detail. Spike Lee’s masterwork about the effects of Hurricane Katrina on New Orleans revitalized the debate about what it is to be abandoned by your government. BAGHDAD ER and COMBAT HOSPITAL also stand out among the year’s best documentaries, exhibiting a texture and depth that is necessary to understand their complex issues.
YOUTUBE REDEFINES "THE TUBE"
Though audience participation continues to have an enormous impact on television, with cultural hits like DANCING WITH THE STARS and AMERICAN IDOL reliant on interactivity, the true cultural phenomenon for 2006 is the dawn of a new era of participatory television — via the personal computer.
The explosive growth and domination of YouTube as the pre-eminent site for uploading, viewing and sharing video clips on the World Wide Web signifies the awakening of an age when the audience is both producer and distributor.
The impact of self-produced media is currently most profound as it relates to documenting events of the day that would have otherwise gone unnoticed. Cell phones and video cameras capture police brutality, racial slurs and other events that are then “broadcast” around the world. Most notably for 2006, George Allen, a front-runner in the Virginia Senate race, referred to a man of Indian descent as “macaca” and the footage was first seen around the world on YouTube. It was one of several issues that Allen’s campaign struggled to control, and he lost the race.
TV NEWS MIGRATES TO THE INTERNET...AND FROM FACT TO FICTION
2006 marked a year when network and cable news became far less significant in the echo chamber of the Internet, and the fusion of journalism and comedy continued to impact the political scene.
The flashpoint for this moment took place when Stephen Colbert, star of THE COLBERT REPORT on Comedy Central, was the featured speaker at the 2006 White House Correspondents’ Association Dinner. Colbert’s routine, performed in character as his faux-politically conservative news anchor, roasted President George W. Bush and his administration’s policies as the President sat a few feet away, and the entire room appeared uncomfortable.
Colbert’s performance aired on C-SPAN, but became an Internet sensation, providing a defining shift in the way the 2006 midterm elections were perceived and discussed by a younger generation.
VHS IS DEAD, LONG LIVE THE DIGITAL FUTURE
2006 marks the end of production of the VHS cassette-and with its passing, the term “Be Kind, Rewind” is erased from the American lexicon.
Released to the consumer market in 1976 by JVC, the VHS format transformed the way the world watched the movies and, because of its popularity, changed the way movies were made and marketed.
2006 is also a watershed year in the way motion pictures are distributed to consumers. Theatrical experiments continue — Steven Soderbergh’s BUBBLE became the first motion picture released in theatres the same day it was available on HDTV and four days later on DVD. And Morgan Freeman’s ClickStar, a joint venture between Intel and Freeman’s Revelations production company, released 10 ITEMS OR LESS, the first feature film to premiere in theatres and then become available via broadband within two weeks of its national release.
The legal market for digital downloading became a reality in 2006 as full-length feature films are now available via cellular phones, Internet sites and through special DVD agreements with retail stores. The field continues to be lead by iTunes, which offers hundreds of television episodes and select movie titles.
Though the economic viability of these models is uncertain, their collective direction marks a moment when a global audience enjoys unprecedented access to the movies.
HAVE YOU NO SHAME? TELEVISION SAYS YES.
2006 marked a moment when what didn’t air on television was as compelling as what did.
When FOX announced that it was to broadcast an interview with O.J. Simpson, who would hypothetically detail how he would have killed his wife, Nicole Brown Simpson, and her friend, Ronald Goldman, the decisive outcry from the audience, affiliates and advertisers caused FOX to cancel the broadcast.
The cancellation showed that a moral standard still exists for television, albeit a limit that had to be pushed to an extreme to be of note. That it was self-regulated, however, and not legislated by the government, is cause to celebrate
NETWORKS FIGHT BACK
The pendulum of America’s dialogue on free speech swung back in 2006 as ABC, CBS, NBC, FOX and several of their affiliates filed a challenge to a Federal Communications Commission ruling that cited several incidents of “indecent” language.
This represented a rare galvanizing moment for the television community, which sees the FCC’s rulings, penalties and fines as vague and inconsistent and has asked the agency to provide a clear definition of its terms of indecency.
ROBERT ALTMAN — 1925–2006
ROBERT ALTMAN — 1925–2006 Robert Altman passed away in 2006 at the age of 81. In a career that spanned over 50 years, Altman was a true maverick of American film. His body of work — both in film and television — reflects an exceptional diversity in genre, but always with his indelible signature. From overlapping dialogue to the epic ensemble pieces filled with actors who revered him, Altman’s style continues to inspire artists and audiences alike. AFI will ensure that his films will live forever — M*A*S*H, NASHVILLE, McCABE AND MRS. MILLER, THE PLAYER, GOSFORD PARK and many more.
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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