Thursday, August 21, 2014

The 10 Best Uses of Animation in Disney Movies.

By on

(not necessarily the best movies, but rather the best use of animation)


Because of this scene:

Oh, and the landscape shots:

09. THE LION KING (1994)

Sometimes serious, often goofy, The Lion King never actually loses focus of its ambition when it comes to the animation. Never mind the fantastic character designs, which incorporate some of the most impressive human qualities on realistic looking animals, but oh my god some of the shots of Africa:

Oh and there’s also this somewhat popular shot:


Because it set the template for the look of The Renaissance Era (and it was almost ruined by Oliver & Company). Also, it’s the first Disney animated movie to use full CGI for the background of an entire scene, which made it look about a hundred times more ‘modern’ than the movie before it. Also things like this:

07. TARZAN (1999)

Because they actually had two different locations where they animated the movie, one of them being in Paris where they employed french artists who were professionals at drawing very defined muscles on a body, such as Tarzan himself:

But the most impressive thing is the way they incorporated the beautiful backgrounds with the characters to create an almost 3-dimensional rollercoaster feeling of movement:

06. PINOCCHIO (1940)

Because the attention to detail was ridiculous, especially in the backgrounds — which capture that old Italy feeling perfectly:

Because this looks like something you can frame up on your wall:

And because the actual movement of Pinocchio came from someone’s mind — they couldn't really get reference for something that didn't exist!


It was the first Disney animated movie done in widescreen and it looked gorgeous:

(look at those colors, the soft shadows — it makes you feel so homey)

04. BAMBI (1942)

Many would actually cite this as the best animation in a Disney movie, and they wouldn't be far off. The backgrounds in this movie are really unmatched when it comes to making animation look realistic — it set the tone for any and all future animated movies with animals in their natural habitat. They have a forest go through virtually every possible transformation and it always looks perfect (raining, snowing, blooming, on fire, at night, in the morning, etc) Plus, they literally invented the anthropomorphic animals that we see in almost every animated movie now.


When you look at the animation of Belle and the Beast and compare it to almost any character in a Disney movie, they look decades ahead of all of them. The crisp, polished look to them (and other characters) made it a perfect match to put in front of such richly detailed landscapes and backgrounds. There are far too many stills to show off but the castle itself warrants the movie to be this high on the list. Coupled with probably the most iconic Disney scene:
(y’know, the one that starts with…)

02. FANTASIA (1940)

Because it defines art when it comes to animation. Because each and every sequence is either directly influenced or created by some art wizard. Because the iconic Mickey Mouse has the most distinguished and recognizable outfit on in the The Sorcerer’s Apprentice segment:

Each little story in Fantasia is just as powerful visually as the masterpieces we hear playing over them. Night on Bald Mountain has things like this:

And this:

And Jesus Christ shit so terrifying you’ll wonder how this isn't used to perpetually give people nightmares:

There’s also happy things like the creation of (basically) Tinkerbell, the first ever fully realized and fleshed out creation of the earth, equipped with dinosaurs and ancient birds, as well as the final segment where the entire thing is done in one shot, moving through a forest using nothing but a massive painting.


Because the movie almost bankrupted the company, showing just how much work they put into the animation. It was the most expensive movie to date, and it was filmed in 70 mm (unlike the other two, it utilized that format to its full potential). The result?

It took a huge risk with its animation and created something that when you pause, at any point in the movie, you’ll succeed at finding something you can marvel at for hours. Since it takes place during (roughly) the Medieval times, every single line is done in such a way as to evoke the same artistry that was used in that time period. But they also had to incorporate some of the Disney flair, so that was a daunting task. The colors used are unmatched, especially the final battle at the end. It’s a movie that you don’t need to see, you can just sit back and move it frame-by-frame.
Oh, and it also has the most iconic animated villain ever put on screen.


Keep it simple
Tell your story.
Use an industry format.
Ask your agent for their preferred format.
Do not lie.
Do not exaggerate.
Show your best.
There is no such thing as SAG-Eligible.
Make sure you have talking points.
Resume and Photo must be kept up to date.

    Resumes are talking points for those you audition for, much like a professional employment resume. They should follow one of several accepted industry formats. 

They should never lie. 

Do not represent background work as acting work. 

Do not list teachers or coaches with whom you only took a few hours or few days of workshop. Rule of thumb: will they now you and recommend you if asked?

As a rule, once you have the credits, drop smaller roles, coaches you have studied with for less than a full year and talents or abilities at which you could not claim an expert level of proficiency. 

Do list your talents and abilities, because they can be used as ‘talking points’ or may qualify you for consideration of specific roles. Las Vegas talent has historically abused resumes and photographs, by not looking like their photograph when they show up for an audition, by keeping half truths on the resumes, by not investing in the proper tools and by not making both their name and their agents’ name and number or personal contact number easy to find and read. Resume and photographs are part of why Las Vegas has the reputation it does have, beyond specialty entertainers found in shows on the Las Vegas Strip.

NEVER list SAG-Eligible, as done above. It simply tells professionals who hire that you had a SAG role or extra slots but are not professional or serious enough to join the union.

There are many formats for resumes. As a rule include your name and a contact number plus union affiliation at the top. Start your credits with film, then TV, then theater, then training and special skills (make sure you are good at these, at least far above average if not a trained professional). If multi-lingual, list languages as special skills. . Do not include commercials, or if you must simply put "commercials on request". This is done because commercials listed often are considered, without asking you, conflicts and may keep you from even been seen for the work. Also, modeling resume's are separate. As a rule (rules can be bent or broken) modeling should not show up on a TV/Theatrical resume. 

In some markets commercial actors are no considered for film or television roles and visa-versa (although this trend is being eroded by celebrities doing commercial work). 

If you have an agent or manager, prepare a resume exactly the way they request, then make a separate document (never to be used if you are submitted by the agent for work) for your own use.

In this computer age there are also formatted forms to fill out. They may or may not showcase you at your best, but this is the society we now live in.

Resumes submitted electronically should be submitted as pdf or as a photo. Word may change formats depending on the computer settings on the receiving end. If "word" is requested, then submit word.
Note: Do not put SAG-Eligible...its shows you are not ready to be a profesional (either join a union or remain non-union / pre-union). 

Now a few Theatre Resume samples:

See also the following:

A few sample resume sites:
actor sample 1  

Feel free to share additional sites, your resume or to share info at:


This site is a work in progress, and will be a part of an expanded web site under the home address of Any additions, corrections, ideas, guest material are greatly appreciated. Please also review the material located along the right hand column, then contact me at or No funds are collected or directly solicited by this site. Google Ads are used to expand Google search and tools reach. Web assistance and a web master are also being sought. Thank you in advance. -Art Lynch

Trailers For Martin Scorsese’s List Of The 39 Foreign Films You Should See Before You Die

You may have heard this one before: several years ago a young filmmaker (Colin Levy) wrote to Martin Scorsese asking which films he should see in order to broaden his cinematic horizons. Much to his surprise, the director answered him and provided a list, through his assistant, of 39 essential foreign films to watch – or as many are calling it, the 39 films you should see before you die.
It’s been making the rounds over the last few years, but because it originated on Reddit, its authenticity was questioned. Well, Levy retweeted Cinephilia & Beyond, who reposted the list today, and that's as good an excuse as any to share it as well. As you’d imagine, it’s a terrific list for cinephiles, or anyone looking to begin or broaden their film education. Naturally, many of these films are already part of The Criterion Collection, but there’s bound to be a few you’ve never seen (this writer’s never seen Abel Gance’s “Napoleon,” unfortunately). The list also acts as a potential nudge in the ribs to Criterion, because pretty much all of these movies should be in the collection, but for various reasons, a few are still not (one assumes that’ll eventually change). An early Wim Wenders set anyone? (Tipping their cap, a few of these films are already on Criterion’s Hulu channel).
Three personal favorites missing from the collection are Claude Chabrol’s chilling relationship/stalker drama “La Boucher” (which we wrote about in our Chabrol Essentials), Luchino Visconti’s super bleak and tragic neorealist picture “La Terra Trema” (which we gave props to on our 30 Essential Films Missing From The Sight & Sound Top 100 in 2012) and Wenders’ “The American Friend,” which is also on our Sight & Sound list (plus this more recent list of 10 Great Overlooked Films From The 1970s).
Below are trailers for all the films. It’s as good an excuse as any to bone up on these classics. And interesting to note, Rainer Werner Fassbinder gets the most mentions with three films. You can read our retrospective on that German filmmaker’s oeuvre here. Also, no Fellini? Not even "La Dolce Vita" or "La Strada"? Discuss.

1. Nosferatu (1922) - F.W. Murnau
2. Metropolis (1927)- Fritz Lang
3. Dr. Mabuse, The Gambler (1922) – Fritz Lang
4. Napoleon (1927) – Abel Gance
5. Grand Illusion (1937)– Jean Renoir
6. Rules Of The Game (1939) – Jean Renoir
7. Children Of Paradise (1945) - Marcel Carné
8. Rome, Open City (1945) - Roberto Rossellini
9. Paisà (Paisan) (1946) - Roberto Rossellini
10. La Terra Trema (1948) – Luchino Visconti
11. The Bicycle Thief (1948) – Vittorio De Sica
12. Umberto D. (1952) – Vittorio De Sica
13. Beauty & The Beast (1946) – Jean Cocteau
14. Tokyo Story (1953) – Yasujirō Ozu
15. Ikiru (1952) – Akira Kurosawa
16. Seven Samurai (1954) – Akira Kurosawa
17. Ugetsu (1953) – Kenji Mizoguchi
18. Sansho The Bailiff (1954) – Kenji Mizoguchi
19. High and Low (1963) – Akira Kurosawa
20. Big Deal On Madonna Street (1958) – Mario Monicelli
21. Rocco and His Brothers (1960) – Luchino Visconti
22. The 400 Blows (1959) – François Truffaut
23. Shoot the Piano Player (1960) – François Truffaut
24. Breathless (1960) – Jean-Luc Godard
25. Band of Outsiders (1964) – Jean-Luc Godard
26. Il Sorpasso (1962) – Dino Risi
27. L'avventura (1960) – Michelangelo Antonioni
28. Blow Up (1966) – Michelangelo Antonioni
29. Before the Revolution (1964) - Bernardo Bertolucci
30. Le boucher (1970) - Claude Chabrol
31. Weekend - (1967) Jean-Luc Godard
32. Death by Hanging (1968) - Nagisa Ôshima
33. The Merchant of Four Seasons (1971) - Rainer Werner Fassbinder
34. Ali: Fear Eats The Soul (1974) - Rainer Werner Fassbinder
35. The Marriage of Maria Braun (1979) - Rainer Werner Fassbinder
36. Kings of the Road (1976) – Wim Wenders
37. The American Friend (1970) – Wim Wenders
38. The Enigma of Kaspar Hauser (1974) –Werner Herzog
39. Aguirre, the Wrath of God (1972) –Werner Herzog

Nosferatu (1922...the first Dracula)

Wednesday, August 20, 2014

What does a music supervisor do?

What Was the First Movie Ever Made?

If you’re a movie fan, you’ve probably wondered, What’s the first movie ever made?
This is a great question, and a somewhat complicated one.
In the late 1880′s various people began experimenting with photo, blending them together to give the illusion of a motion picture.  But the technology and difficulty to capture that sort of video made motion pictures rare.

Even so, here are a couple of the very first movies:

The Horse In Motion (1878)
This groundbreaking motion photography was accomplished using multiple cameras and assembling the individual pictures into a a single motion picture. it’s something that you could do today, using a few cameras that are set to go off at an exact moment. The movie was made to scientifically answer a popularly debated question during this era: Are all four of a horse’s hooves ever off the ground at the same time while the horse is galloping? The video provedthat they indeed were and, more importantly, motion photography was born.

1888 – Roundhay Garden Scene
The world’s earliest surviving motion-picture film, showing actual consectuve action is called Roundhay Garden Scene. It’s a short film directed by French inventor Louis Le Prince. While it’s just 2.11 seconds long, it is technically a movie. According to the Guineness Book of Records, it is the oldest surviving film in existence.

First One Reel Movie on Film...This was the entire film FYI

This footage of the "Arrival of a Train" is one of the most enduring images of the earliest years of cinema. The often-repeated accounts of the startled reactions to this movie from early audiences, along with the ways that such reactions were commemorated in other early movies such as "The Countryman and the Cinematograph", have made it one of the best-known of the earliest movies, and beyond that, the film in itself accomplishes its own aim very well. The Lumières discovered very quickly how effective motion towards the camera could be, and that idea is certainly used to good effect here. The diagonal direction of the motion, necessitated by the material being filmed, gives it a distinctive character. Compared with the train, the crowd reactions here are a bit less interesting than they are in some of the other Lumière features that include crowds who know they are being filmed. A couple of them do acknowledge the camera as they go about their business. Yet even today, the train grabs the viewer's notice, so that the crowd and other details get much less attention. That in itself shows how effectively this enduring classic was able to carry out an interesting idea.

First of several cliams of being first.....

The Cabinet of Dr. Caligari (silent classic...first Dracula film)

2014 Creative Emmys

Emmys 2014: Jimmy Fallon, Uzo Aduba lead Creative Arts winners list

MoviesTelevision IndustryAnimation (Movie Genre)Jimmy FallonPrimetime Emmy AwardsCosmos (tv program)Sherlock (tv program)
Creative Arts Emmys: Full list of winners includes Jimmy Fallon, Uzo Aduba, Joe Morton, Allison Janney
"Scandal" guest star Joe Morton and "Saturday Night Live" host Jimmy Fallon led the list of surprise winners Saturday night at the Creative Arts Emmys, while Uzo Aduba beat out Tina Fey and Melissa McCarthy to pick up her first Emmy for "Orange Is the New Black."
Morton bested Beau Bridges of "Masters of Sex" and Robert Morse of "Mad Men," among others, in the category of guest actor in a drama series. In the corresponding comedy category, Fallon beat out a strong list of nominees including Steve Buscemi for "Portlandia" and Louis C.K. for hosting "Saturday Night Live."
Uzo Aduba won guest actress in a comedy series for playing the character known as Crazy Eyes in "Orange Is the New Black."

Allison Janney, who won four Emmys during the run of "The West Wing," took home another trophy for guest actress in a drama. Her win for "Masters of Sex" could be matched with a second this year: She will be up for another statuette for her work on the CBS sitcom "Mom" when the Primetime Emmys are handed out Aug. 25.
Here is the full list of winners in the Creative Arts Emmys awarded Saturday at the Nokia Theatre in Los Angeles:
Guest actress in a drama series: Allison Janney, “Masters of Sex,” Showtime
Guest actor in a drama series: Joe Morton, “Scandal,” ABC
Guest actor in a comedy series: Jimmy Fallon, “Saturday Night Live,” NBC
Guest actress in a comedy series: Uzo Aduba, “Orange Is the New Black,” Netflix
Variety special: “AFI Life Achievement Award: A Tribute to Mel Brooks,” TNT
Unstructured reality program: “Deadliest Catch,” Discovery Channel

Structured reality program: “Shark Tank,” ABC
Host for a reality or reality-competition program: Jane Lynch, “Hollywood Game Night,” NBC
Directing for nonfiction programming: Jehane Noujaim, “The Square,” Netflix
Writing for nonfiction programming: “Cosmos: A SpaceTime Odyssey” (“Standing Up in the Milky Way”), Ann Druyan and Steven Soter, Fox/NatGeo
Directing for a variety series: “Saturday Night Live” (Host: Jimmy Fallon), Don Roy King, NBC
Writing for a variety series: “The Colbert Report,” Opus Moreschi, Stephen Colbert, Tom Purcell, Richard Dahm, Barry Julien, Michael Brumm, Rob Dubbin, Jay Katsir, Frank Lesser, Glenn Eichler, Meredith Scardino, Max Werner, Eric Drysdale, Paul Dinello, Nate Charny, Sam Kim, Aaron Cohen, Gabe Gronli and Matt Lappin, Comedy Central

Casting for a comedy series: “Orange Is the New Black,” Jennifer Euston, Netflix
Casting for a miniseries, movie or special: “Fargo,” Rachel Tenner, Jackie Lind and Stephanie Gorin, FX Networks
Casting for a drama series: “True Detective,” Alexa L. Fogel, Christine Kromer and Meagan Lewis, HBO
Picture editing for reality programming: “Deadliest Catch” (“Careful What You Wish For”), Josh Earl, Rob Butler and Art O'Leary, Discovery Channel
Picture editing for nonfiction programming: “The Square,” Pedro Kos, Christopher de la Torre and Mohamed El Manasterly, Netflix
Picture editing for short-form segments and variety specials: Eric Davies, “The Daily Show With Jon Stewart” (“McConnelling”), Comedy Central

Single-camera picture editing for a miniseries or a movie: Yan Miles, “Sherlock: His Last Vow (Masterpiece)," PBS
Multicamera picture editing for a comedy series: Peter Chakos, “The Big Bang Theory” (“The Cooper Extraction”), CBS
Single-camera picture editing for a drama series: Skip MacDonald, “Breaking Bad” (“Felina”), AMC
Single-camera picture editing for a comedy series: William Turro, “Orange Is the New Black,” Netflix
Art direction for a contemporary or fantasy series (single-camera): “Game of Thrones” (“The Laws of Gods and Men”/”The Mountain and the Viper”), Deborah Riley, Paul Ghirardani and Rob Cameron, HBO

Outstanding art direction for a period series, miniseries or a movie (single-camera): “Boardwalk Empire” (“Erlkönig”/”The Old Ship of Zion”/”Farewell Daddy Blues”), Bill Groom, Adam Scher and Carol Silverman, HBO
Outstanding art direction for a contemporary program (half-hour or less): “House of Lies” (“Wreckage”/”Middlegame”/”Zhang”) Ray Yamagata, Chikako Suzuki and Tim Stepeck, Showtime
Outstanding art direction for variety, nonfiction, reality or reality-competition program: “The Oscars,” Derek McLane, Joe Celli and Gloria Lamb, ABC
Animated program: “Bob's Burgers” (“Mazel Tina") Fox
Short-format animated program: “Disney Mickey Mouse” (“'O Sole Minnie”), Disney Channel
Individual achievement in animation (multiple winners): Nick Jennings, “Adventure Time” (“Wizards Only, Fools”), Cartoon Network; “Disney Gravity Falls” (“Dreamscaperers”), Ian Worrel, Disney Channel; “Disney Mickey Mouse” (“'O Sole Minnie”), Narina Sokolova, Disney Channel; “Disney Mickey Mouse” (“The Adorable Couple”), Valerio Ventura, Disney Channel; “Long Live the Royals,” Sean Szeles,; “The Powerpuff Girls: Dance Pantsed,” Jasmin Lai, Cartoon Network; “Robot Chicken DC Comics Special II: Villains in Paradise,” Cameron Baity, Adult Swim; “The Simpsons” (“Treehouse of Horror XXIV”), Dmitry Malanitchev, Fox; “The Simpsons” (‘Treehouse of Horror XXIV”), Charles Ragins, Fox;  “Uncle Grandpa” (“Afraid of the Dark”), Nick Edwards, Cartoon Network
Costumes for a miniseries, movie or a special: “American Horror Story: Coven,” Lou Eyrich, Elizabeth Macey and Ken Van Duyne, FX Networks
Costumes for a series: “Game of Thrones” (“The Lion and the Rose”), Michele Clapton, Sheena Wichary, Alexander Fordham and Nina Ayres, HBO
Costumes for a variety program or a special (multiple winners): "Saturday Night Live” (Host: Jimmy Fallon), Tom Broecker and Eric Justian, NBC; “So You Think You Can Dance” (Episode 1008), Marina Toybina and Grainne O'Sullivan, Fox
Hairstyling for a miniseries or a movie: “American Horror Story: Coven,” Monte C. Haught, Michelle Ceglia, Yolanda Mercadel, and Daina Daigle, FX Networks
Hairstyling for a multicamera series or special: “Saturday Night Live” (Host: Anna Kendrick), Bettie O. Rogers, Jodi Mancuso, Inga Thrasher, Jennifer Serio Stauffer, Cara Hannah Sullivan and Joe Whitmeyer, NBC
Hairstyling for a single-camera series: “Downton Abbey” (Episode 8), Magi Vaughan and Adam James Phillips, PBS

Sound editing for a miniseries, movie or a special: “Sherlock: His Last Vow (Masterpiece),” Doug Sinclair, Stuart McCowan, Jon Joyce, Paul McFadden, William Everett and Sue Harding, PBS
Sound editing for nonfiction programming: “Cosmos: A SpaceTime Odyssey” (“Standing Up in the Milky Way”), Christopher Harvengt, Richard S. Steele, Jeff Carson, Jason Tregoe Newman, Bob Costanza, Lisa Varetakis, Bill Bell, Tim Chilton and Jill Sanders, Fox/NatGeo
Sound editing for a series: “Black Sails,” Benjamin Cook, Iain Eyre, Sue Cahill, Jeffrey A. Pitts, Tim Tuchrello, Brett Voss, Michael Baber, Jeffrey Wilhoit and James "Jimmy" Moriana, Starz
Makeup for a miniseries or a movie (non-prosthetic): “The Normal Heart,” Eryn Krueger Mekash, Sherri Berman Laurence, Nicky Pattison, LuAnn Claps, Mike Mekash and Carla White

Makeup for a single-camera series (non-prosthetic): “True Detective” (“The Secret Fate of All Life”), Felicity Bowring, Wendy Bell, Ann Pala, Kim Perrodin and Linda Dowds, HBO
Makeup for a multicamera series or special (non-prosthetic): “Saturday Night Live” (Host: Jimmy Fallon), Louie Zakarian, Amy Tagliamonti, Sarah Egan, Daniela Zivkovic and Melanie Demitri, NBC
Prosthetic makeup for a series, miniseries, movie or a special: “Game of Thrones” (“The Children”), Jane Walker and Barrie Gower, HBO
Sound mixing for a variety series or special: “The 56th Grammy Awards,” Tom Holmes, Eric Johnston, John Harris, Eric Schilling, Mikael Stewart, Ron Reaves, Tom Pesa, Michael Parker, Pablo Munguia, Josh Morton and Bob LaMasney, CBS
Sound mixing for nonfiction programming: American Masters (“Jimi Hendrix: Hear My Train a Comin'”), Eddie Kramer and Steve Crook, PBS

Sound mixing for a comedy or drama series (one hour): “House of Cards” (“Chapter 14”), Lorenzo Millan, Nathan Nance and Scott R. Lewis, Netflix
Sound mixing for a comedy or drama series and animation (half-hour): “Nurse Jackie” (“The Lady With the Lamp”), Jan McLaughlin and Peter Waggoner, Showtime
Sound mixing for a miniseries or a movie: “Treme” (“Sunset on Louisianne”), Bruce Litecky, Andy Kris and Blake Leyh, HBO
Governors Award: Marion Dougherty
Music direction: “The Beatles: The Night That Changed America,” Don Was, CBS
Music composition for a series (original dramatic score): “Cosmos: A SpaceTime Odyssey” (“Standing Up in the Milky Way”), Alan Silvestri, Fox/NatGeo

Main title theme music: “Cosmos: A SpaceTime Odyssey,” Alan Silvestri, Fox/NatGeo
Main title design: “True Detective,” Patrick Clair, Raoul Marks and Jennifer Sofio Hall, HBO
Music composition for a miniseries, movie or a special (original dramatic score): “Sherlock: His Last Vow (Masterpiece),” David Arnold and Michael Price, PBS
Original music and lyrics: 67th Annual Tony Awards (“Bigger!”), Tom Kitt and Lin-Manuel Miranda, CBS
Technical direction, camerawork, video control for a miniseries, movie or a special: “The Sound Of Music Live!” Emmett Loughran, Robert Muller, Rob Balton, Jerry Cancel, Leslie Hankey, Ray Hoover, Charlie Huntley, Andrew Jansen, Jay Kulick, Jeff Latonero, Pat Minietta, Brian Phraner, Claus Stuhl Weissenburg, Mark Whitman, Susan Noll and Yoneet Solange, NBC

Technical direction, camerawork, video control for a series: “Dancing With the Stars” (Episode 1711A), Charles Ciup, Bert Atkinson, Larry Heider, Bettina Levesque, Dave Levisohn, Mike Malone, Adam Margolis, Rob Palmer, Hector Ramirez, Brian Reason, Seth Saint Vincent, Damien Tuffereau, Easter Xua and Chris Gray, ABC
Lighting design/lighting direction for a variety series: “Dancing With the Stars” (Episode 1711A), Simon Miles, Suzanne Sotelo and Matthew Cotter, ABC
Lighting design/lighting direction for a variety special: Sochi 2014 Olympic Winter Games Opening Ceremony, Al Gurdon, Peter Canning, Michael Owen and Ross Williams, NBC
Special and visual effects: “Game of Thrones” (“The Children”), Joe Bauer, Joern Grosshans, Steve Kullback, Adam Chazen, Eric Carney, Sabrina Gerhardt, Matthew Rouleau, Thomas H. Schelesny and Robert Simon, HBO
Special and visual effects in a supporting role: “Black Sails,” Erik Henry, Paul Graff, George Murphy, Annemarie Griggs, Mitch Claspy, Jeremy Hattingh, Doug Hardy, Nick Hsieh and Steve Messing, Starz
Stunt coordination for a drama series, miniseries or movie: “The Blacklist,” Cort L. Hessler III, NBC
Stunt coordination for a comedy series or a variety program: “Brooklyn Nine-Nine,” Norman Howell, Fox
Character voice-over performance: “The Simpsons” (“Four Regrettings and a Funeral”), Harry Shearer, Fox
Children's program: “One Last Hug: Three Days at Grief Camp,” HBO
Narrator: Jeremy Irons, “Game of Lions,” Nat Geo Wild
Cinematography for a miniseries or movie: “Sherlock: His Last Vow (Masterpiece),” Neville Kidd, PBS
Cinematography for reality programming: “Deadliest Catch” (“Careful What You Wish For”), Discovery Channel
Cinematography for nonfiction programming: “The Square,” Jehane Noujaim, Muhammed Hamdy, Ahmed Hassan and Cressida Trew, Netflix
Cinematography for a single-camera series: “True Detective” (“Who Goes There”), Adam Arkapaw, HBO
Cinematography for a multicamera series: “How I Met Your Mother” (“Daisy”), Christian La Fountaine, CBS

Exceptional merit in documentary filmmaking: “Life According to Sam,” Sheila Nevins, Nancy Abraham, Sean Fine and Andrea Nix Fine, HBO
Documentary or nonfiction special: “JFK” (American Experience), Mark Samels, Sharon Grimberg and Susan Bellows, PBS
Documentary or nonfiction series (multiple winners): “American Masters,” PBS; “Years of Living Dangerously,” Showtime
Informational series or special (multiple winners): “Anthony Bourdain: Parts Unknown,” CNN; “Vice,” HBO
Special class program: “67th Annual Tony Awards,” CBS

Short-format live-action entertainment program: “Between Two Ferns With Zach Galifianakis: President Barack Obama,”
Short-format nonfiction program: “30 for 30 Shorts,” ESPN
Interactive program (mutiple winners): “The Tonight Show Starring,” NBC; Jimmy Fallon Digital Experience, NBC Entertainment Digital
Multiplatform storytelling: “Skywire Live: With Nik Wallenda,” Discovery Channel
Original interactive program: “Just a Reflektor,”
Social TV experience (multiple winners): “hitRECord on TV,”;“Live From Space,” National Geographic Channel
User experience and visual design (multiple winners): “Game of Thrones Viewers Guide,” HBO; Xfinity TV on the X1 platform,
Choreography: “So You Think You Can Dance” (“Routines: Puttin’ on the Ritz,” “Gold Rush,” “Run the World”), Tabitha Dumo and Napoleon Dumo, Fox
Commercial: Apple, “Misunderstood,” Park Pictures, TBWA\Media Arts Lab