Los Angeles Film Critics Association

2003 | 2004 | 2005 | 2006 | 2007 | 2008 | 2009 | 2010 | 2011 | 2012 | 2013 | 2014

Best Picture
American Splendor

Runner-up: Lost in Translation

Best Director
Peter Jackson
The Lord of the Rings: The Return of the King

Runner-up: Clint Eastwood, Mystic River

Best Actor
Bill Murray
Lost in Translation

Runner-up: Sean Penn, 21 Grams & Mystic River

Best Actress
Naomi Watts
21 Grams

Runner-up: Charlize Theron, Monster

Best Supporting Actor
Bill Nighy
AKA, I Capture the Castle,
Lawless Heart, Love Actually

Runner-up: Benicio Del Toro, 21 Grams

Best Supporting Actress
Shohreh Aghdashloo
House of Sand and Fog

Runner-up: Melissa Leo, 21 Grams

Best Screenplay
Shari Springer Berman
& Robert Poulchini
American Splendor

Runner-up: Steve Knight, Dirty Pretty Things

Best Cinematographer

Eduardo Serra
Girl with a Pearl Earring

Runner-up: Harris Savides, Elephant

Best Foreign-Language Film
Patrice Leconte
The Man on the Train
Runner-up: Fernando Meirelles, City of God

Best Documentary/Non-Fiction Film
Errol Morris
The Fog of War

Runner-up: Andrew Jarecki,
Capturing the Friedmans

Best Animation
Sylvain Chomet
Les Triplettes de Belleville

Special Citation to the Disney restoration of the Walt Disney/Salvador Dali short, Destino

Best Music Score
Benoit Charest, Mathieu Chedid
Les Triplettes de Belleville

Best Production Design
Grant Major
The Lord of the Rings: The Return of the King

Runner-up: William Sandell, Master and Commander: The Far Side of the World

New Generation Award
Scarlett Johansson

Career Achievement Award
Robert Altman

The Douglas Edwards Experimental/Independent Film/Video Award
L.A. Plays Itself by Thom Andersen

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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