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Courtroom | Spy
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Best Performance by an Actor in a Supporting Role | 2016 | Mark
Best Supporting Actor | 2016 | Mark
Best Male Images in a Movie | 2015
Best Supporting Actor | 2016 | Mark
Best Supporting Actor | 2016 | Mark
Best Thriller Film | 2016
Movie of the Year | 2016
Film Music | 2016 | Thomas
Best Foreign Film Miglior Film Straniero | 2016 | Steven
Best Drama TV Spot | 2016
Supporting Actor of the Year | 2016 | Mark
Best Sound Editing Dialogue and ADR in a Feature Film | 2016
Best Supporting Actor | 2016 | Mark
Best Actor in a Foreign Film Millor actor en pellcula estrangera | 2016 | Mark
Best Art Direction Production Design | 2016 | Adam
Honorable Mentions | 2015
Best Supporting Actor | 2015 | Mark
Best Supporting Actor | 2015 | Mark
Top Films | 2015
Best Supporting Actor | 2015 | Mark
Best Supporting Actor | 2015 | Mark
Best Supporting Actor | 2015 | Mark
Best Supporting Actor | 2015 | Mark
Best Achievement in Music Written for Motion Pictures Original Score | 2016 | Thomas
Best Motion Picture of the Year | 2016 | Kristie Macosko
Best Writing Original Screenplay | 2016 | Joel
Best Achievement in Production Design | 2016 | Rena
Best Achievement in Sound Mixing | 2016 | Drew
Best Performance by an Actor in a Supporting Role in a Motion Picture | 2016 | Mark
Best Original Screenplay | 2016 | Ethan
Best Sound | 2016 | Gary
Best Cinematography | 2016 | Janusz
Best Editing | 2016 | Michael
Best Production Design | 2016 | Bernhard
Best Original Music | 2016 | Thomas
Best Film | 2016 | Steven
Best Score Soundtrack for Visual Media | 2017 | Thomas
Best Instrumental Composition | 2017 | Thomas
Best Foreign Film | 2017 | Steven
Best Foreign Language Film | 2017 | Steven
2016 | Steven
Outstanding Performance by a Male Actor in a Supporting Role | 2016 | Mark
Best Director | 2016 | Steven
Best Supporting Actor | 2016 | Mark
Outstanding Achievement in Cinematography in Theatrical Releases | 2016 | Janusz
Period Film | 2016
Excellence in Sound for a Feature Film | 2016 | Andy
Best Supporting Actor Mejor Actor de Reparto | 2016 | Mark
Feature | 2016 | Mitch
Outstanding Achievement in Casting Big Budget Feature Drama | 2016
Outstanding Achievement in Sound Mixing for Motion Pictures Live Action | 2016 | Chris
Best North American Film | 2016
Most Valuable Film of the Year | 2016 | Steven
Cinema for Peace Award for the Most Valuable Film of the Year | 2016 | Steven
Best Foreign Film Mejor Pelcula Extranjera | 2016 | Steven
Best Film International Competition | 2016 | Steven
Best Picture | 2016
Best Supporting Actor | 2016 | Mark
Best Director | 2016 | Steven
Best Original Screenplay | 2016 | Joel
Best Art Direction | 2016 | Adam
Best Supporting Actor | 2016 | Mark
Best Thriller | 2016
Best Supporting Actor | 2016 | Mark
Best Original Screenplay | 2016 | Joel
Best Original Score | 2016 | Thomas
Supporting Actor | 2016 | Mark
Original Screenplay | 2016 | Joel
Production Design | 2016 | Adam
Best Drama | 2016
Best Dubbing Direction | 2016
Best Supporting Actor | 2016 | Mark
Best Supporting Actor | 2016 | Mark
Best Supporting Actor | 2016 | Mark
Best Supporting Actor | 2016 | Mark
Outstanding Locations in a Period Film | 2016 | Jason
Best Picture | 2016 | Kristie Macosko
Best Supporting Actor | 2016 | Mark
Best Writing Screenplay Written Directly for the Screen | 2016 | Ethan
Best Music Original Score | 2016 | Thomas
Best Production Design | 2016 | Adam
Best Sound Mixing | 2016 | Drew
Outstanding Producer of Theatrical Motion Pictures | 2016 | Kristie Macosko
Best Motion Picture | 2016
Best Director | 2016 | Steven
Best Screenplay Original | 2016 | Joel
Best Film Editing | 2016 | Michael
Best Cinematography | 2016 | Janusz
Best Supporting Actor | 2016 | Mark
Feature Film | 2016 | Mitch
Feature Film | 2016 | Mitch
Outstanding Supporting Visual Effects in a Photoreal Feature | 2016 | Gerd
Film Composer of the Year For and | 2016
Film Composer of the Year | 2016 | Thomas
Best Original Screenplay | 2016 | Joel
Best Original Screenplay | 2015 | Joel
Best Film | 2015
Best Cinematography in a Theatrical Feature Film | 2015 | Janusz
Best Supporting Actor | 2015 | Mark
Best Supporting Actor | 2015 | Mark
Best Dramatic Score | 2015 | Thomas
Best Original Score Feature Film | 2015 | Thomas
Best Original Screenplay | 2015 | Ethan
Best Supporting Actor | 2015 | Mark
Best Supporting Actor | 2015 | Mark
Best Supporting Actor | 2015 | Mark
Best Mystery or Thriller Film | 2015
Best Supporting Actor | 2015 | Mark
Best Screenplay | 2015 | Joel
Best Score | 2015 | Thomas
Expos | 2015
Best Supporting Actor | 2015 | Mark
Best Editing | 2015 | Michael
Best Production Design | 2015 | Adam
Best Original Screenplay | 2015 | Joel
Best Supporting Actor | 2015 | Mark
Budget 40,000,000 USD
Box Office Collection 165,478,348 USD
Soviet agent Rudolf Ivanovich Abel sent and received coded messages that were hidden inside such things as hollow U.S. coins, bolts, and batteries. The FBI first became aware of Abel's activities in 1953, when Abel's incompetent junior colleague Reino Hayhanen carelessly spent a hollow nickel that ended up in the hands of a paperboy. The Brooklyn newsboy who got the nickel thought it felt too light. He dropped the nickel on the sidewalk, and it popped open, revealing a piece of microfilm with a coded message inside. After Hayhanen's blunders, Abel lost confidence in him and sent him back to the U.S.S.R., which would not have gone well for Hayhanen, who defected in 1957. He showed the FBI how to crack the code and it was Hayhanen who gave up Rudolf Abel. The "Hollow Nickel Case" was also dramatized in The FBI Story (1959).
Rudolf Ivanovich Abel's seemingly incongruous accent was accurate. Abel was born in Newcastle-upon-Tyne to Russian parents and spent some of his early years in Scotland. He returned to Moscow in his late teens, but never lost his accent when speaking English.
For the scene outside the courtroom, the photographers were initially instructed to put their used flashbulbs, which are extremely hot to the touch, in their pockets. One of the background actors happened to be the historian of the New York Press Photographers Association. He told executive producer and first assistant director Adam Somner that, at the time, photographers would have ejected the bulbs onto the floor. After several takes, noticing the bulbs strewn across the floor, Steven Spielberg decided to shoot the low-angle view of the principals walking through them.
In an interview with the International Spy Museum, the son of Francis Gary Powers, Francis Gary Powers, Jr., indicated that his father was not told to commit suicide if shot down, unlike the depiction in the movie. Instead, it was given as an option in case physical torture had been involved, allowing the pilots to use a poison pin if the pilots chose to commit suicide. He also indicated that the Soviets found the pin on a third strip search, but Powers warned them not to touch it. The Soviets tried the pin on a dog and the dog died a few moments later.
For six days of shooting on the Glienicke Bridge and surrounding streets, the production firm had to pay 10,552.13 EUR (about $11,428.96 U.S.) to the local district, the city of Potsdam, and the German government. It took one person five months to get the all the necessary permits from 23 different agencies.
"James Donovan: I have a mandate to serve you. Nobody else does. Quite frankly, everybody else has an interest in sending you to the electric chair. Rudolf Abel: All right... James Donovan: You don't seem alarmed. Rudolf Abel: Would it help?"
"Rudolf Abel: Well, the boss isn't always right. But, he's always the boss."
