Independent Spirit Awards

2003 | 2004 | 2005 | 2006 | 2007 | 2008 | 2009 | 2010

BEST FEATURE (Award given to the Producer)
Lost in Translation Producers: Sofia Coppola, Ross Katz

BEST DIRECTOR
Sofia Coppola Lost in Translation
BEST SCREENPLAY
Lost in Translation Writer: Sofia Coppola
BEST FIRST FEATURE
Monster Director: Patty Jenkins
Producers: Mark Damon, Donald Kushner, Clark Peterson,
Charlize Theron, Brad Wyman
JOHN CASSAVETES AWARD
(Given to the best feature made for under $500,000. Award given to the Writer, Director, and Producer)
The Station Agent
Writer/Director: Thomas McCarthy
Producers: Mary Jane Skalski, Robert May,
Kathryn Tucker

BEST FIRST SCREENPLAY
The Station Agent Writer: Thomas McCarthy

BEST FEMALE LEAD
Charlize Theron Monster

BEST MALE LEAD
Bill Murray Lost in Translation
BEST SUPPORTING FEMALE
Shohreh Aghdashloo House of Sand and Fog

BEST SUPPORTING MALE
Djimon Hounsou In America
BEST DEBUT PERFORMANCE (Actors in their first significant role in a feature film)
Nikki Reed Thirteen
BEST CINEMATOGRAPHY
In America Declan Quinn
BEST FOREIGN FILM (Award given to the Director)
Whale Rider – (New Zealand) Director: Niki Caro
BEST DOCUMENTARY (Award given to the Director)
The Fog of War Director: Errol Morris
AWARD NOMINATIONS

BEST FEATURE (Award given to the Producer)
American Splendor Producer: Ted Hope
In America Producers: Jim Sheridan, Arthur Lappin
Lost in Translation Producers: Sofia Coppola, Ross Katz
Raising Victor Vargas Producers: Alain de la Mata, Robin O’Hara,
Scott Macaulay, Peter Sollett
Shattered Glass Producers: Craig Baumgarten, Tove Christensen,
Gaye Hirsch, Adam Merims

BEST DIRECTOR
Shari Springer Berman & Robert Pulcini American Splendor
Sofia Coppola Lost in Translation
Jim Sheridan In America
Peter Sollett Raising Victor Vargas
Gus Van Sant Elephant
BEST SCREENPLAY
American Splendor Writers: Shari Springer Berman & Robert Pulcini
Lost in Translation Writer: Sofia Coppola
A Mighty Wind Writers: Christopher Guest & Eugene Levy and the cast
of A Mighty Wind
Pieces of April Writer: Peter Hedges
Shattered Glass Writer: Billy Ray
BEST FIRST FEATURE (Award given to the Director and Producer)

Bomb the System Director: Adam Bhala Lough
Producers: Ben Rekhi, Sol Tryon

House of Sand and Fog Director: Vadim Perelman
Producers: Michael London, Vadim Perelman

Monster Director: Patty Jenkins
Producers: Mark Damon, Donald Kushner, Clark Peterson,
Charlize Theron, Brad Wyman

Quattro Noza Director: Joey Curtis
Producer: Fredric King

Thirteen Director: Catherine Hardwicke
Producers: Jeffrey Levy-Hinte, Michael London
JOHN CASSAVETES AWARD
(Given to the best feature made for under $500,000. Award given to the Writer, Director, and Producer)

Anne B. Real
Director: Lisa France
Writers: Lisa France, Antonio Macia
Producers: Josselyne Herman, Luis Moro, Jeanine Rohn

Better Luck Tomorrow
Director: Justin Lin
Writers: Ernesto M. Foronda, Justin Lin,
Fabian Marquez
Producers: Julie Asato, Ernesto M. Foronda, Justin Lin

Pieces of April
Writer/Director: Peter Hedges
Producers: Alexis Alexanian, John S. Lyons,
Gary Winick

The Station Agent
Writer/Director: Thomas McCarthy
Producers: Mary Jane Skalski, Robert May,
Kathryn Tucker

Virgin
Writer/Director: Deborah Kampmeier
Producer: Sarah Schenck

BEST FIRST SCREENPLAY
Blue Car Writer: Karen Moncrieff
Monster Writer: Patty Jenkins
Raising Victor Vargas Writers: Peter Sollett and Eva Vives
The Station Agent Writer: Thomas McCarthy
Thirteen Writers: Catherine Hardwicke & Nikki Reed

BEST FEMALE LEAD
Agnes Bruckner Blue Car
Zooey Deschanel All the Real Girls
Samantha Morton In America
Elisabeth Moss Virgin
Charlize Theron Monster

BEST MALE LEAD
Peter Dinklage The Station Agent
Paul Giamatti American Splendor
Sir Ben Kingsley House of Sand and Fog
Bill Murray Lost in Translation
Lee Pace Soldier’s Girl
BEST SUPPORTING FEMALE
Shohreh Aghdashloo House of Sand and Fog
Sarah Bolger In America
Patricia Clarkson Pieces of April
Hope Davis The Secret Lives of Dentists
Frances McDormand Laurel Canyon

BEST SUPPORTING MALE
Judah Friedlander American Splendor
Troy Garity Soldier’s Girl
Djimon Hounsou In America
Alessandro Nivola Laurel Canyon
Peter Sarsgaard Shattered Glass
BEST DEBUT PERFORMANCE (Actors in their first significant role in a feature film)
Anna Kendrick Camp
Judy Marte Raising Victor Vargas
Victor Rasuk Raising Victor Vargas
Nikki Reed Thirteen
Janice Richardson Anne B. Real
BEST CINEMATOGRAPHY
Elephant Harris Savides
In America Declan Quinn
Northfork M. David Mullen
Quattro Noza Derek Cianfrance
Shattered Glass Mandy Walker
BEST FOREIGN FILM (Award given to the Director)
City of God – (Brazil) Director: Fernando Meirelles
Lilya 4-Ever – (Denmark) Director: Lukas Moodysson
The Magdalene Sisters – (England/Ireland) Director: Peter Mullan
The Triplets of Belleville – (France) Director: Sylvian Chomet
Whale Rider – (New Zealand) Director: Niki Caro
BEST DOCUMENTARY (Award given to the Director)
The Fog of War Director: Errol Morris
Mayor of the Sunset Strip Director: George Hickenlooper
My Architect Director: Nathaniel Kahn
OT: our town Director: Scott Hamilton Kennedy
Power Trip Director: Paul Devlin

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon