Los Angeles Film Critics Association

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LOS ANGELES. Sideways was voted Best Picture of the Year, it was announced tonight by Henry Sheehan, President of the Los Angeles Film Critics Association (LAFCA). The runner up was Million Dollar Baby.

LAFCA’s 30th annual achievement awards ceremony will be held Thursday, January 13 at the St. Regis Hotel in Los Angeles.

Best Picture
Runner-up: Million Dollar Baby

Best Director
Alexander Payne, Sideways
Runner-up: Martin Scorsese, The Aviator

Best Actor
Liam Neeson, Kinsey
Runner-up: Paul Giamatti, Sideways

Best Actress
Imelda Staunton, Vera Drake
Runner-up: Julie Delpy, Before Sunset

Best Supporting Actor
Thomas Haden Church, Sideways
Runner-up: Morgan Freeman, Million Dollar Baby

Best Supporting Actress
Virginia Madsen, Sideways
Runner-up: Cate Blanchett, Coffee & Cigarettes & The Aviator

Best Screenplay
Alexander Payne & Jim Taylor, Sideways
Runner-up: Charlie Kaufman, Eternal Sunshine of the Spotless Mind

Best Cinematography
Dion Beebe & Paul Cameron, Collateral
Runner-up: Xiaoding Zhao, House of Flying Daggers

Best Production Design
Dante Ferretti, The Aviator
Runner-up: Huo Tingxiao, House of Flying Daggers

Best Music Score
Michael Giacchino, The Incredibles
Runner-up: Alexandre Desplat, Birth

Best Foreign-Language Film
House of Flying Daggers, directed by Zhang Yimou
Runner-up: The Motorcycle Diaries directed by Walter Salles

Best Documentary/Non-Fiction Film
Born into Brothels written and directed by Ross Kauffman and Zana Briski
Runner-up: Fahrenheit 9/11 directed by Michael Moore

Best Animation
Brad Bird, The Incredibles

The Douglas Edwards Experimental/Independent Film/Video Award
Star-Spangled to Death by Ken Jacobs

New Generation Award
Joshua Marston, writer/director, Maria Full of Grace
and Catalina Sandino Moreno, actress, Maria Full of Grace

Career Achievement Award
Jerry Lewis

Special Citation
Brian Jamieson of Warner Brothers and Richard Schickel for the reconstruction of Samuel Fuller’s The Big Red One

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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