#emilia pérez icons

[filmusesicons]

selena gomez icons in emilia pérez;

like/reblog if you use or save.

[whileiamdying]

With I’m Still Here,Brazilian Icon Fernanda Torres Goes Global

The Cannes-winning actor is stoking Oscar buzz for her revelatory performance in Walter Salles’s harrowing biopic.

BY DAVID CANFIELD NOVEMBER 26, 2024

It’s been nearly three months since Fernanda Torres was last home in Brazil. Over Labor Day weekend, the Rio de Janeiro native traveled to Venice for the world premiere of I’m Still Here, her first movie since the pandemic, which reunited her with Walter Salles, director of her 1996 film Foreign Land. Coming off rave reviews and a prize for best screenplay, I’m Still Here screened for a wider audience in Toronto, with Torres in tow. She then went down to New York for a month, where the movie made its US debut—and where she got to catch up on her competition: Mike Leigh’s Hard Truths (“Marianne Jean-Baptiste? It’s unbelievable”), Pedro Almodóvar’s The Room Next Door (“Wonderful”), Jacques Audiard’s Emilia Pérez (“Zoe Saldaña: She sings. She acts. Come on. It’s almost annoying. How can you be so good at so many things?”). Finally, Torres wrapped a 25-day stint in Hollywood, presenting I’m Still Here to voters for the Oscars, Golden Globes, SAG Awards, and more.

Following her first trip to the Governors Awards just over a week ago, she’s returned home—for now. But as I’m Still Here continues to screen for industry members here in Los Angeles, one senses Torres’s life on the campaign trail is just getting started. (She’s flying back to LA right after New Year’s.) Anecdotally, the film is emerging as one of the most beloved discoveries around town, a lovingly crafted and rousing portrait of Eunice Paiva (Torres), a housewife turned activist in ’70s Rio whose husband, former congressman Rubens Paiva (Selton Mello), is apprehended by the dictatorial regime taking power in their country. Torres’s quiet, elegant, powerful portrayal has earned her a spot in a stacked best-actress conversation fronted by megastars Nicole Kidman, Angelina Jolie, and Demi Moore.

Not that Torres is any slouch when it comes to fame. The 59-year-old is the daughter of iconic Brazilian actors Fernando Torres and Fernanda Montenegro, the latter of whom plays an older Eunice in I’m Still Here. At 20, Torres won best actress at the Cannes Film Festival for her spellbinding turn in the marital drama Love Me Forever or Never. She’s gone on to draw sold-out crowds onstage, including in a lauded solo show adapted from João Ubaldo Ribeiro’s novel A Casa dos Budas Ditosos; write scripts for feature films and streaming TV series; anchor hugely popular sitcoms like Slaps & Kisses; and sell more than 200,000 copies locally of her debut novel, The End.

“To be a modern artist nowadays, you have to be alive in many places in order to survive. If you keep waiting for an invitation for a film or whatever, you’ll be dead,” she says. “You have to reinvent yourself all the time…. So it’s very good to get older. That’s a very good fact of aging.”

I’m Still Here

While she was growing up, Torres’s parents rehearsed at the dining table. “I really enjoyed sitting there after school—they were doing Eugene O’Neill, Arthur Miller,” Torres says. From her early years, she felt her destiny was to be an artist, to carry on in their tradition: “Come on. My father was called Fernando. She’s called Fernanda. I’m called Fernanda. Freud should do a case about my family.”

She got her start on camera as a young teen, and by the time she turned 18, she found herself already being pulled in different directions. When Love Me Forever or Never premiered in Cannes, for instance, Torres was stuck back home. “I was the leading lady of a soap opera, and I was hating it. I was hating it with all my heart,” she says. “She cried, she was dumb—I couldn’t stand it anymore.” Rumors swirled that she was in the running to win best actress at the festival, but she couldn’t leave her day job. Sting wound up presenting the award without her in attendance. “I was so sad that I didn’t receive the award from the hands of Sting,” Torres says now. “But I received it in Brazil, so it was like the World Cup—I was walking in the streets with people screaming.”

At the same time, Brazil’s film industry was slowing down. “I thought I would do one movie after the other, [but] then cinema was over when I came back to Brazil,” Torres says. She did an acclaimed stage production of Virginia Woolf’s Orlando instead, while still dabbling in features when she could—including linking up with a then hotshot filmmaker in Salles. Foreign Land allowed Torres to shine in a searing tale of immigration and loneliness. “We were like kids. He was very fast. We did stunts together in a very old car he was driving without seat belts; the third time we did the spinning, the car almost rolled over—and then we said, ‘I think it’s fine!’” she says. “We could’ve died. It’s the kind of thing that you do when you are young.”

Salles developed a working relationship with Torres’s mother too. Generally, Torres has embraced the link to her parents, the feeling of carrying on Brazilian art. “Nowadays, in this mean world that we live in, it’s called ‘nepo babies,’” Torres says. “[But] this is such a tradition, the circus family—this is something beautiful. It is a job that you can learn by watching, by mimicking, by living in an environment. It’s like doctors. But no, nowadays they’ve decided that [we are] ‘nepo babies.’ Such a silly world.”

Onscreen over the years, Torres has come to be known for her work in comedy—specifically, broad TV comedy. In Slaps & Kisses, she played an outspoken bridal-shop employee dating a married man, amassing a significant fan base on the strength of her go-for-broke performance as a teary, sometimes rageful, often hilarious flirt. When I met Torres in Los Angeles earlier this month, she described Salles casting her in I’m Still Here as “rescuing” her from comedy—it had become all she was known for.

Over Zoom a few weeks later, she clarifies: “People thought I was a comedian because I was so popular,” she says. “Go on the internet. I mean, I’ve survived with the young generation because I became memes. My memes in Brazil were like a fever. I find memes a superior form of art. I’m very proud.” Of course, Torres also considers herself more than a meme, even if she still delights in that aspect of her career. “I like tragicomedies. Brazil is a tragicomic country. I’m a tragicomic actress.”

I’m Still Here leans toward heavy drama. It’s based on the memoir of the same name (Ainda Estou Aqui in Portuguese) by Eunice and Rubens Paiva’s son, Marcelo Rubens Paiva, but rooted in Salles’s own memories of visiting the family home when he was a teenager. The director hadn’t made a Brazilian feature in 16 years, instead helming a Francis Ford Coppola–produced On the Road adaptation as well as a documentary on filmmaker Jia Zhangke. So it’s no coincidence that I’m Still Here opens like an intimate series of home videos, personal and familial and gorgeously local. When Rubens disappears, a terrifying uncertainty settles in.

The movie was shot documentary-style, in chronological order and with a sense of familiarity between cast and crew that was blurred between takes. That allowed Torres to forge a unique connection to Eunice. The film sticks to her character’s perspective and employs meticulous naturalism; the events unfold like an all-too-realistic gut punch. “It was filmed in a very simple way, and I spent so much time under her skin that it became a second nature to me,” she says. “When I watched the movie, I was a bit in shock because it didn’t look like me.”

The movie does not jump forward in time until its final act. Mostly, it unfolds in the family home immediately after Rubens disappears, as Eunice figures out what to do—keep raising her five children, try to find her husband, learn about fighting back against the military dictatorship? “She is very intelligent, very persuasive, but she’s never pushing—she’s just like the movie,” Torres says. “The whole fact that she never cries or screams—it was a kind of emotion that I never experimented with as an actress, to restrain emotion and to feel how it grows inside you. I didn’t know if that was going to work.” To watch Torres explore that space in real time, simultaneously keying into the birth of an activist and the grief of a widow, proves profoundly moving.

Sony Classics will release I’m Still Here in January, with a short 2024 debut for US awards. It’s likely to be Brazil’s first Oscar nominee for best international feature in some 26 years, and Torres could be the second-ever Brazilian star to get an acting nomination—following her mother, who was nominated for Salles’s Central Station. The film is already a phenomenon in Brazil, having grossed $6.6 million in less than a month—a massive haul for that territory, and the biggest for a local film in several years. “It became like a national passion—people are going to the movies here like I’ve never seen before,” Torres says. Paiva’s story of persistence and resistance has resonated nationally, and Torres sees signs of that appeal extending globally.

One fan of the film, Sean Penn, told Torres at a recent CAA screening that he watched the movie immediately after Donald Trump’s reelection as president. “[He’s] very inspired by this amazing woman that nobody knew about,” Torres says of Penn. “It’s an important movie for now.” Reflecting on these dizzying last few months from back home, Torres keeps stopping to smile at the response. She’s not complaining about getting back on a plane soon. “I don’t think this will happen again in my life,” she says. “So let’s enjoy it.”

David Canfield HOLLYWOOD CORRESPONDENT David Canfield is a Hollywood correspondent at Vanity Fair, where he reports on awards season and co-hosts the Little Gold Men podcast. He joined VFfrom Entertainment Weekly, where he was the movies editor and oversaw awards coverage, and has also written for Vulture, Slate, and IndieWire. David is a National Arts & Entertainment Journalism Award finalist and GLAAD Media Award nominee, and has written cover stories on Cate Blanchett, Benedict Cumberbatch, and more. He lives in Los Angeles with his husband. Follow him on Twitter. SEE MORE BY DAVID CANFIELD »

[expertmoneytalk]

Golden Globes 2025: A Night of Surprises, Wins, and Unexpected Drama

The Golden Globes 2025, held on Sunday, was a star-studded event with many memorable moments. The ceremony, hosted by Nikki Glaser, drew 9.3 million viewers—a slight decline from the 9.4 million the previous year. This year marked a significant change, as the voting body of the Golden Globes expanded from about 80 members in Los Angeles to over 300 members worldwide, which brought a more international perspective to the awards.

Shocking Moments That Stole the Spotlight

The 2025 Golden Globes were filled with jaw-dropping moments. The opening monologue by Nikki Glaser, who took on the role as the first solo female host, was a key highlight. Her performance was praised for its humor, which many felt outshone Jo Koy’s performance the previous year. Glaser’s jokes, honed through extensive testing at comedy clubs, were well-received and brought a fresh energy to the event.

Other moments that made headlines included celebrities talking and laughing during commercial breaks, such as Demi Moore and Edward Norton, giving the event a sense of spontaneity. Despite some controversies surrounding the opening, the ceremony moved forward with many surprises.

Fernanda Torres, the Brazilian actress, took home the Golden Globe for Best Actress in a Drama for her role in I’m Still Here, defeating heavyweights like Nicole Kidman and Angelina Jolie. This win was one of the biggest surprises of the night. Meanwhile, Emilia Pérez, a standout comedy/musical film, took home multiple awards, including Best Picture in its category, marking its fourth win of the night.

Fashion Statements on the Red Carpet

The Golden Globes red carpet has long been an iconic platform for celebrities to showcase their fashion choices, and 2025 was no exception. Zendaya made waves with her burnt orange satin gown, exuding elegance and sophistication. Selena Gomez turned heads in a custom Prada gown, showing off her classic yet modern style. The red carpet saw a trend toward bold colors, statement sleeves, and luxurious materials. Sustainability was also a major theme, with many stars opting for eco-friendly fashion choices, making a significant statement in Hollywood’s evolving culture.

Other notable fashion moments included Zendaya’s statement orange dress and the show-stopping outfits from other stars, signaling that the Golden Globes were setting the tone for awards season fashion.

Behind-the-Scenes Drama and Challenges

Despite the glamour of the red carpet, the Golden Globes 2025 were filled with backstage drama. Production challenges, including sound issues, disrupted the flow of the ceremony, making some moments hard to follow. These technical difficulties, paired with celebrity tensions behind the scenes, added an element of unpredictability to the night.

One of the most talked-about aspects was the expanded voter body, which now includes over 300 members globally. This expansion, while bringing more diversity, also raised questions about the influence of international voters on the awards. It is clear that this change will affect future Golden Globes ceremonies and may influence the types of films and performances that gain recognition.

Big Wins and Unexpected Triumphs

The 2025 Golden Globes were filled with surprises, with some expected winners being overshadowed by unexpected triumphs. The Brutalist, a film about architectural beauty and human conflict, won Best Drama, Best Director, and several other major categories, solidifying its place as one of the night’s standout films. Sebastian Stan was named Best Actor in a Comedy or Musical for A Different Man, showcasing his versatility in a role that broke away from his typical performances.

Another big winner was the animated film Flow, which earned Best Animated Feature, impressing critics and viewers alike with its creative storytelling and stunning visuals. The night’s biggest surprise was Emilia Pérez, which swept several categories, including Best Musical or Comedy, Best Supporting Actress, and Best Original Song. This success made it one of the top films of the night, although some felt that its dominance was unwarranted.

Nikki Glaser's Hosting Performance

As the first solo female host of the Golden Globes, Nikki Glaser had a lot to prove. Thankfully, her performance exceeded expectations. Glaser’s humor was sharp, contemporary, and engaging, which helped lighten the mood and keep the audience entertained. One of the standout moments of her hosting was her witty monologue, which poked fun at Hollywood’s excesses and highlighted her comedic timing.

Glaser’s performance was met with praise, especially when compared to Jo Koy’s hosting in 2024, which was widely regarded as a failure. Glaser’s humor was more well-received, and her energy brought a fresh dynamic to the ceremony. The production also made several creative changes, such as close-up shots of presenters, which gave the ceremony a more intimate feel.

Political and Social Commentary

The 2025 Golden Globes had an underlying focus on social issues and political commentary, though the approach was more subtle than in previous years. While many winners used their platform to speak about important societal issues, the event avoided direct political speeches. Demi Moore, in her emotional acceptance speech, focused on personal growth and resilience, touching on issues of self-empowerment without delving into politics.

Fernanda Torres used her speech to discuss the transformative power of art in overcoming life’s challenges, which resonated deeply with many attendees. Adrien Brody, accepting his award for Best Actor in a Drama, shared his immigrant experience, highlighting the importance of inclusion and diversity. The tone of the evening reflected a shift away from overt political statements, with winners using their platform to make more personal and nuanced remarks about societal issues.

The Golden Globes 2025 also placed a strong emphasis on gender and inclusion within the industry. Many winners, particularly women, took the opportunity to address the lack of representation and to call for more opportunities for women in filmmaking and acting.

Snubs and Controversial Decisions

While there were plenty of victories, the night wasn’t without controversy. One of the biggest snubs was Anora, which received five nominations but failed to win any Golden Globes. This sparked debates among fans and critics about why the film didn’t gain more recognition. On the other hand, Demi Moore’s win for Best Actress in a Musical or Comedy was seen as a well-deserved victory, as it marked her first-ever Golden Globe win.

Emilia Pérez was another surprise, taking home several awards, including Best Musical or Comedy, Best Supporting Actress, and Best Original Song. While the film’s success was celebrated by many, others questioned whether it deserved to sweep so many categories, especially when other films were seen as having stronger performances.

The After-Party and Hollywood’s Changing Landscape

After the main ceremony, the Golden Globes after-party was a major highlight. Celebrities like Selena Gomez, Zoe Saldaña, and Anna Sawai were seen celebrating the night’s wins, enjoying the festive atmosphere. The party, which was held at a private venue near Chateau Marmont, had a fun, disco-themed vibe, with stars changing outfits throughout the night.

Looking ahead, the Golden Globes 2025 marked a significant shift in Hollywood. With the expansion of the Hollywood Foreign Press Association (HFPA) to include more international members, the ceremony has become more diverse and inclusive. This trend is likely to continue, influencing how films are chosen for nominations and awards. The growing emphasis on diversity and inclusivity will shape the future of Hollywood, with more attention being paid to representation both in front of and behind the camera.

Click here to read the full article!

[fearsmagazine]

15TH ANNUAL HOLLYWOOD MUSIC IN MEDIA AWARDS™ 2024 WINNERS ANNOUNCED!

The winners of the 15th Annual Hollywood Music in Media Awards™ (HMMA) were awarded in a star-studded ceremony held Nov. 20 at The Avalon in Hollywood, CA.

The HMMAs showcase and honor the most memorable film and TV music moments of the year with tributes to icons of the industry. HMMA nominations are often seen as a bellwether for the Academy Awards and historically represent nominees and winners at the Oscars, Golden Globes, Grammys, and Emmys, all of which follow the HMMAs later in awards season. The HMMA organization’s voting committees consist of prominent journalists and voters for the other prestigious entertainment awards.

Multiple HMMA awards went to Netflix’s EMILIA PÉREZ and composer HANS ZIMMER, which both received three, and Universal Pictures animated film, THE WILD ROBOT, which received two.

EMILIA PÉREZ won for MUSIC THEMED FILM, BIOPIC OR MUSICAL and SONG - ONSCREEN PERFORMANCE (FILM) by Zoe Saldana, who performed "El Mal." The film’s celebrated French composers and songwriters Clément Ducol & Camille also won for SCORE - FEATURE FILM. THE WILD ROBOT received top accolades in two animated film categories, for both its score composed by Kris Bowers and its original song "Kiss the Sky," performed by Maren Morris, who co-wrote it with Ali Tamposi, Michael Pollack, Delacey, Jordan Johnson, and Stefan Johnson.

Hans Zimmer received three HMMAs the most awarded this year to one individual, including one for SCORE - SCIFI/FANTASY FILM for DUNE: PART TWO, for his score to the documentary TV series PLANET EARTH III, which he composed with Jacob Shea and Sara Barone. He also won for SONG - TV SHOW/LIMITED SERIES for "Love Will Survive" from THE TATTOOIST OF AUSCHWITZ, which was performed by Barbra Streisand. Zimmer shares the HMMA for the song with his co-writers Kara Talve, Walter Afanasieff, and Charlie Midnight.

Other HMMAs for film scoring went to Alberto Iglesias, who received an award for SCORE - INDEPENDENT FILM from Pedro Almodóvar’s THE ROOM NEXT DOOR. Robin Carolan received the HMMA for SCORE - HORROR/THRILLER FILM for NOSFERATU, and composer Ilan Eshkeri received the award for SCORE - DOCUMENTARY for SUPER/MAN: THE CHRISTOPHER REEVE STORY.

Additional HMMA highlights included the award for SCORE - TV SHOW/LIMITED SERIES to composers Atticus Ross, Leopold Ross, and Nick Chuba for the music to Hulu’s epic series SHŌGUN, which swept the Emmys this year, and A.R. Rahman received the HMMA for SCORE - INDEPENDENT FILM (FOREIGN LANGUAGE) for THE GOAT LIFE.

HMMAs for the best songs of the year in films went to several major recording artists and award-winning songwriters, including and Diane Warren, who won this year’s HMMA for SONG – FEATURE FILM for "The Journey" from THE SIX TRIPLE EIGHT, which was performed by H.E.R. "Never Too Late" from the Disney+ documentary ELTON JOHN: NEVER TOO LATE received the HMMA for SONG - DOCUMENTARY FILM. John and Brandi Carlile, both co-wrote and performed the song, and collaborated with additional co-writers Bernie Taupin, and Andrew Watt. "Kiss the Sky" from THE WILD ROBOT received the HMMA for SONG - ANIMATED FILM. Maren Morris both performed and co-wrote the track with Ali Tamposi, Michael Pollack, Delacey, Jordan Johnson, and Stefan Johnson. Miley Cyrus, Lykke Li, and Andrew Wyatt won for SONG - INDEPENDENT FILM for "Beautiful That Way from THE LAST SHOWGIRL. Cyrus also performed the track.

Legendary lyricist Bernie Taupin was also presented with the prestigious HMMA Outstanding Career Achievement Award.

2024 HOLLYWOOD MUSIC IN MEDIA AWARDS COMPLETE WINNERS LIST (FINAL)

SONG - FEATURE FILM "The Journey" from THE SIX TRIPLE EIGHT. Written by Diane Warren. Performed by H.E.R.

SONG - INDEPENDENT FILM "Beautiful That Way" from THE LAST SHOWGIRL - Written by Miley Cyrus, Lykke Li, and Andrew Wyatt. Performed by Miley Cyrus.

SONG - DOCUMENTARY FILM "Never Too Late" from ELTON JOHN: NEVER TOO LATE. Written by Elton John, Brandi Carlile, Bernie Taupin, and Andrew Watt. Performed by Elton John & Brandi Carlile.

SONG - ANIMATED FILM "Kiss the Sky" from THE WILD ROBOT - Written by Maren Morris, Ali Tamposi, Michael Pollack, Delacey, Jordan Johnson, and Stefan Johnson. Performed by Maren Morris.

SONG - ONSCREEN PERFORMANCE (FILM) Zoe Saldana - "El Mal" from EMILIA PÉREZ

SCORE - ANIMATED FILM THE WILD ROBOT - Kris Bowers

SCORE - FEATURE FILM EMILIA PÉREZ - Clément Ducol & Camille

SCORE - SCIFI/FANTASY FILM DUNE: PART TWO - Hans Zimmer

SCORE - HORROR/THILLER FILM NOSFERATU - Robin Carolan

SCORE - INDEPENDENT FILM THE ROOM NEXT DOOR - Alberto Iglesias

SCORE - DOCUMENTARY SUPER/MAN: THE CHRISTOPHER REEVE STORY - Ilan Eshkeri

MUSIC THEMED FILM, BIOPIC OR MUSICAL EMILIA PÉREZ - Directed by Jacques Audiard. Produced by Jacques Audiard, Pascal Caucheteux, Valérie Schermann, Anthony Vaccarello

MUSIC DOCUMENTARY - SPECIAL PROGRAM PIECE BY PIECE - Directed by Morgan Neville. Produced by Morgan Neville, Caitrin Rogers, Mimi Valdés, Joshua R. Wexler and Pharrell Williams.

SONG - TV SHOW/LIMITED SERIES "Love Will Survive" from THE TATTOOIST OF AUSCHWITZ. Written by Hans Zimmer, Kara Talve, Walter Afanasieff, and Charlie Midnight. Performed by Barbra Streisand.

SCORE - TV SHOW/LIMITED SERIES SHŌGUN - Atticus Ross, Leopold Ross, and Nick Chuba

SONG - ONSCREEN PERFORMANCE (TV) Ashley Park - "Ruins" from EMILY IN PARIS

MAIN TITLE - TV SHOW/LIMITED SERIES MASTERS OF THE AIR - Blake Neely

SCORE - SHORT FILM (LIVE ACTION) SPACEMAN - Spencer Creaghan & Chris Reineck

SCORE - SHORT FILM (ANIMATED) FLY HARD - Daniel Rojas

SCORE - SHORT FILM (DOCUMENTARY) MOTORCYCLE MARY - Katya Richardson

SCORE - INDEPENDENT FILM (FOREIGN LANGUAGE) THE GOAT LIFE - A. R. Rahman

SCORE - DOCUMENTARY SERIES -TV/DIGITAL PLANET EARTH III - Hans Zimmer, Jacob Shea and Sara Barone

SCORE - TV SHOW/LIMITED SERIES (FOREIGN LANGUAGE) WOMEN IN BLUE (LAS AZULES) - Lucas Vidal

SCORE – VIDEO GAME (CONSOLE & PC) DELTA FORCE - Johan Söderqvist and Zio

SONG - VIDEO GAME (CONSOLE & PC) "The People's Cry (Main Theme)" from AVATAR: FRONTIERS OF PANDORA - Written by Pinar Toprak and Paul R Frommer.

SONG/SCORE - MOBILE VIDEO GAME HONOR OF KINGS - Volker Bertelmann, Matthew Carl Earl, Laurent Courbier, Robbie Say, 2WEI, Zeneth, Henrik Lindström, Martin Landström and Rasmus Faber

MUSIC SUPERVISION - TV SHOW/LIMITED SERIES FALLOUT - Trygge Toven

MUSIC SUPERVISION - FILM DEADPOOL & WOLVERINE - Dave Jordan

MUSIC SUPERVISION - VIDEO GAME HONOR OF KINGS - Jing Zhang, Shuqin Xiao, Corey Huang, Peiyue Lu and Samuel Siu

SONG/SCORE - COMMERCIAL ADVERTISEMENT RAM "THE CONVOY" - Emily Bjorke / In The Groove Music

SOUNDTRACK ALBUM DEADPOOL & WOLVERINE - Hollywood Records

SONG - SHORT FILM "No Wahala" from ALKEBULAN II. Written by Matt B, Buguma Mark, Performed by Matt B and Royal Philharmonic Orchestra

SCORE - TV/STREAMED MOVIE WINNER: THE SUPREMES AT EARL'S ALL-YOU-CAN-EAT - Kathryn Bostic

MUSIC DESIGN - TRAILER AMERICAN HORROR STORY - DELICATE PART 2 - FJØRA X NOCTURN

MAIN TITLE - TV SHOW (FOREIGN LANGUAGE) WINNER: HOTEL BEYROUTH - Suad Bushnaq

MUSIC VIDEO Lainey Wilson - "Out of Oklahoma"

LIVE CONCERT FOR VISUAL MEDIA OLIVIA RODRIGO: GUTS WORLD TOUR - Olivia Rodrigo

EXHIBITIONS, THEME PARKS, SPECIAL PROJECTS BRAVESHIP: THE LIVE SYMPHONIC SPECTACULAR - Matt Cook (Composer, Producer), Dan Merceruio (Producer), Leslie Ann Jones (Recording Engineer, Mixing Engineer), Mirusia (Soprano). 200+ contributors on over 20 countries, representing all 7 continents.

SPECIAL RECOGNITION - NEW MEDIA SPECIAL RECOGNITION: BULLET SYMPHONY - LIVE CODING FOR EVERYONE - Yang Zhang