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TOP TEN FILMS OF 2004
1. Finding Neverland
2. The Aviator
3. Closer
4. Million Dollar Baby
5. Sideways
6. Kinsey
7. Vera Drake
8. Ray
9. Collateral
10. Hotel Rwanda

TOP FIVE FOREIGN LANGUAGE FILMS
1. The Sea Inside
2. Bad Education
3. Maria Full of Grace
4. Les Choristes
5. The Motorcycle Diaries

TOP FIVE DOCUMENTARIES OF 2004
1. Born into Brothels
2. Z Channel: A Magnificent Obsession
3. Paper Clips
4. Supersize Me
5. The Story of the Weeping Camel

Best Film
Finding Neverland

Best Foreign Language Film
The Sea Inside

Best Documentary
Born into Brothels

Best Animated Feature
The Incredibles

Best Actor
Jamie Foxx, Ray

Best Actress
Annette Bening, Being Julia

Best Supporting Actor
Thomas Hayden Chuch, Sideways

Best Supporting Actress
Laura Linney, Kinsey

Best Acting by an Ensemble
Closer

Breakthrough Performance Actor
Topher Grace, In Good Company and P.S.

Breakthrough Performance Actress
Emmy Rossum, The Phantom of the Opera

Best Director
Michael Mann, Collateral

Best Directorial Debut
Zack Braff, Garden State

Best Adapted Screenplay
Sideways, Alexander Payne and Jim Taylor

Best Original Screenplay
Eternal Sunshine of the Spotless Mind, Charlie Kaufman

Outstanding Production Design
House of Flying Daggers

Career Achievement
Jeff Bridges

Special Filmmaking Achievement
Clint Eastwood, for producing, directing, acting, and scoring Million Dollar Baby

William K. Everson Award for Film History
Richard Schickel

Producers Award
Jerry Bruckheimer

Special Recognition of Films that Reflect the Freedom of Expression
Fahrenheit 9/11, The Passion of the Christ, Conspiracy of Silence

Special Mention for Excellence in Filmmaking (Listed alphabetically)
The National Board of Review, in keeping with its long tradition of recognizing excellence in filmmaking, is proud to salute the following films, crafted by visionary artists which demonstrate the creativity and determination which have always been vital to the film industry:

The Assassination of Richard Nixon
Before Sunset
Door in the Floor
Enduring Love
Eternal Sunshine of the Spotless Mind
Facing Windows
Garden State
A Home at the End of the World
Imaginary Heroes
Since Otar Left
Stage Beauty
Undertow
The Woodsman

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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