Golden Globes Awards

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

THE WINNERS

Best Picture – Drama
The Aviator

Best Picture – Comedy/Musical
Sideways

Actress – Drama
Hilary Swank
Million Dollar Baby

Actor – Drama
Leonardo DiCaprio
The Aviator

Actor – Comedy/Musical
Jamie Foxx
Ray

Best Director
Clint Eastood
Million Dollar Baby

Best Song
Old Habits Die Hard
Alfie

Best Score
Aviator

Best Screenplay
Sideways

Best Foreign Language Film
The Sea Inside

Actress – Comedy/Musical
Annette Bening
Being Julia

Best Supporting Actor
Clive Owen
Closer

Best Supporting Actress
Natalie Portman
Closer

THE NOMINEES

PICTURE – DRAMA
Aviator
Closer
Finding Neverland
Hotel Rwanda
Kinsey
Million Dollar Baby

BEST PICTURE – COMEDY/MUSICAL
Eternal Sunshine of the Spotless Mind
The Incredibles
Phantom Of The Opera
Ray
Sideways

DIRECTOR
Clint Eastwood – Million Dollar Baby
Mark Forster – Finding Neverland
Mike Nichols – Closer
Alexander Payne – Sideways
Martin Scorsese – The Aviator

ACTOR – DRAMA
Javier Bardem – The Sea Inside
Don Cheadle – Hotel Rwanda
Johnny Depp – Finding Neverland
Leonardo DiCaprio – The Aviator
Liam Neeson – Kinsey

ACTOR – COMEDY/MUSICAL
Jim Carrey – Eternal Sunshine of the Spotless Mind
Jamie Foxx – Ray
Paul Giamatti – Sideways
Kevin Kline – De-Lovely
Kevin Spacey – Beyond The Sea

ACTRESS – DRAMA
Scarlett Johansson – A Love Song For Bobby Long
Nicole Kidman – Birth
Hilary Swank – Million Dollar Baby
Uma Thurman – Kill Bill, Vol 2
Imelda Staunton – Vera Drake

ACTRESS – COMEDY/MUSICAL
Annette Bening – Being Julia
Emmy Rossum – The Phantom of the Opera
Ashley Judd – De-Lovely
Kate Winslet – Eternal Sunshine of the Spotless Mind
Renee Zellweger – Bridget Jones: The Edge of Reason

BEST SUPPORTING ACTRESS
Cate Blanchett – The Aviator
Laura Linney – Kinsey
Virginia Madsen – Sideways
Natalie Portman – Closer
Meryl Streep – The Manchurian Candidate

SUPPORTING ACTOR
David Carradine – Kill Bill, Vol 2
Thomas Haden Church – Sideways
Jamie Foxx – Collateral
Morgan Freeman – Million Dollar Baby
Clive Owen – Closer

BEST SCREENPLAY
Eternal Sunshine Of The Spotless Mind
The Aviator
Finding Neverland
Closer
Sideways

BEST FOREIGN LANGUAGE FILM
Les Choristes
House of Flying Daggers
The Motorcycle Diaries
The Sea Inside
A Very Long Engagement

BEST SCORE
Million Dollar Baby
Finding Neverland
The Aviator
Sideways
Spanglish

BEST SONG
Accidentally in Love – Shrek 2
Believe – The Polar Express
Learn To Be Lonely – The Phantom of The Opera
Million Voices – Hotel Rwanda
Old Habits Die Hard – Alfie

Be Sociable, Share!

Comments are closed.

Quote Unquotesee all »

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