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
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
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
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.
AFI is a 501c3 non-profit advancing the art of the moving image by empowering storytellers and inspiring audiences
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