Online Film Critics Awards

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

THE WINNERS

BEST PICTURE
Eternal Sunshine of the Spotless Mind

BEST DIRECTOR
Michel Gondry, Eternal Sunshine of the Spotless Mind

BEST ACTOR
Paul Giamatti, Sideways

BEST ACTRESS
Kate Winslet, Eternal Sunshine of the Spotless Mind

BEST SUPPORTING ACTOR
Thomas Haden Church, Sideways

BEST SUPPORTING ACTRESS
Cate Blanchett, The Aviator

BEST ORIGINAL SCREENPLAY
Eternal Sunshine of the Spotless Mind,
Screenplay by Charlie Kaufman, Story By Charlie Kaufman and Michel Gondry and Pierre Bismuth

BEST ADAPTED SCREENPLAY
Sideways
Screenplay by Alexander Payne and Jim Taylor, based on the novel by Rex Pickett

BEST CINEMATOGRAPHY
Hero, Christopher Doyle

BEST EDITING
Eternal Sunshine of the Spotless Mind, Valdís Óskarsdóttir

BEST ORIGINAL SCORE
The Incredibles, Michael Giacchino

BEST DOCUMENTARY
Fahrenheit 9/11, Michael Moore

BEST FOREIGN LANGUAGE (NON-ENGLISH) FILM
Hero, China

BEST ANIMATED FEATURE
The Incredibles

BEST BREAKTHROUGH FILMMAKER
Zach Braff, Garden State

BEST BREAKTHROUGH PERFORMANCE
Catalina Sandrino Morengo, Maria Full of Grace

THE NOMINEES

BEST PICTURE
Before Sunset
Eternal Sunshine of the Spotless Mind
Garden State
The Incredibles
Sideways

BEST DIRECTOR
Clint Eastwood, Million Dollar Baby
Michel Gondry, Eternal Sunshine of the Spotless Mind
Alexander Payne, Sideways
Martin Scorsese, The Aviator
Zhang Yimou, Hero

BEST ACTOR
Jim Carrey, Eternal Sunshine of the Spotless Mind
Don Cheadle, Hotel Rwanda
Leonardo DiCaprio, The Aviator
Jamie Foxx, Ray
Paul Giamatti, Sideways

BEST ACTRESS
Julie Delpy, Before Sunset
Imelda Staunton, Vera Drake
Hilary Swank, Million Dollar Baby
Uma Thurman, Kill Bill Volume 2
Kate Winslet, Eternal Sunshine of the Spotless Mind

BEST SUPPORTING ACTOR
David Carradine, Kill Bill Volume 2
Thomas Haden Church, Sideways
Jamie Foxx, Collateral
Clive Owen, Closer
Peter Sarsgaard, Kinsey

BEST SUPPORTING ACTRESS
Cate Blanchett, The Aviator
Laura Linney, Kinsey
Virginia Madsen, Sideways
Natalie Portman, Closer
Sharon Warren, Ray

BEST ORIGINAL SCREENPLAY
Eternal Sunshine of the Spotless Mind, Screenplay by Charlie Kaufman, Story By Charlie Kaufman and Michel Gondry and Pierre Bismuth
Garden State, Screenplay by Zach Braff
The Incredibles, Screenplay by Brad Bird
Kill Bill Volume 2, Screenplay by Quentin Tarantino
Shaun of the Dead, Screenplay by Simon Pegg and Edgar Wright

BEST ADAPTED SCREENPLAY
Before Sunset, Screenplay by Richard Linklater and Julie Delpy and Ethan Hawke,
based on characters and a story created by Richard Linklater and Kim Krizan
Closer, Screenplay by Patrick Mauber, based on his play
Million Dollar Baby, Screenplay by Paul Haggis, based on the stories by F.X. Toole
The Motorcycle Diaries, Jose Rivera, based on the books Notas de Viaje by
Ernesto Guevara and Con el Che por America Latina by Alberto Granado
Sideways, Screenplay by Alexander Payne and Jim Taylor, based on the novel by
Rex Pickett

BEST CINEMATOGRAPHY
The Aviator, Robert Richardson
Collateral, Dion Beebe and Paul Cameron
Eternal Sunshine of the Spotless Mind, Ellen Kuras
Hero, Christopher Doyle
House of Flying Daggers, Xiaoding Zhao

BEST EDITING
The Aviator, Thelma Schoonmaker
Eternal Sunshine of the Spotless Mind, Valdís Óskarsdóttir
Hero, Angie Lam and Vincent Lee and Ru Zhai
House of Flying Daggers, Long Cheng
Kill Bill Volume 2, Sally Menke

BEST ORIGINAL SCORE
The Aviator, Howard Shore
Birth, Alexandre Desplat
Eternal Sunshine of the Spotless Mind, Jon Brion
Hero, Tan Dun
The Incredibles, Michael Giacchino

BEST DOCUMENTARY
Control Room, Jehane Noujaim
Fahrenheit 9/11, Michael Moore
Metallica: Some Kind of Monster, Joe Berlinger and Bruce Sinofsky
Super Size Me, Morgan Spurlock
Touching the Void, Kevin Macdonald

BEST FOREIGN LANGUAGE (NON-ENGLISH) FILM
Hero, China
House of Flying Daggers, China
Maria Full of Grace, United States / Colombia
The Motorcycle Diaries, United States / Germany / United Kingdom / Argentina /
Chile / Peru
A Very Long Engagement, France

BEST ANIMATED FEATURE
Ghost in the Shell 2: Innocence
The Incredibles
The Polar Express
Shrek 2
Team America: World Police

BEST BREAKTHROUGH FILMMAKER
Zach Braff, Garden State
Kerry Conran, Sky Captain and the World of Tomorrow
Jared Hess, Napoleon Dynamite
Joshua Marston, Maria Full of Grace
Edgar Wright, Shaun of the Dead

BEST BREAKTHROUGH PERFORMANCE
Zach Braff, Garden State
Bryce Dallas Howard, The Village
Jon Heder, Napoleon Dynamite
Catalina Sandrino Morengo, Maria Full of Grace
Emmy Rossum, The Phantom of the Opera

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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