The European Film Awards

2004 | 2006 | 2008

At the European Film Awards Ceremony in Barcelona the European Film Academy announced this year’s award-winners:

EUROPEAN FILM 2004:
GEGEN DIE WAND (Head-On)
directed by Fatih Akin, Germany
produced by Wüste Filmproduktion/ Corazon International/ NDR/ Arte

EUROPEAN DIRECTOR 2004:
Alejandro Amenábar
for MAR DENTRO (The Sea Inside), Spain/France/Italy

EUROPEAN ACTOR 2004:
Javier Bardem
for MAR ADENTRO (The Sea Inside), Spain/France/Italy

EUROPEAN ACTRESS 2004:
Imelda Staunton
for VERA DRAKE, UK/France

EUROPEAN SCREENWRITER 2004:
Agnès Jaoui & Jean-Pierre Bacri
for COMME UNE IMAGE (Look At Me), France

EUROPEAN CINEMATOGRAPHER 2004:
Eduardo Serra
for GIRL WITH A PEARL EARRING, UK

EUROPEAN COMPOSER 2004:
Bruno Coulais
for LES CHORISTES (The Chorus), France

EUROPEAN FILM ACADEMY LIFETIME ACHIEVEMENT AWARD:
Carlos Saura (Director), Spain

EUROPEAN ACHIEVEMENT IN WORLD CINEMA 2004:
Liv Ullmann (Actress and Director),Norway

EUROPEAN FILM ACADEMY DISCOVERY 2004 – Prix Fassbinder:
CERTI BAMBINI (Stolen Childhood)
by Andrea & Antonio Frazzi, Italy

EUROPEAN FILM ACADEMY CRITICS AWARD 2004 – Prix Fipresci:
TRILOGIA – TO LIVADI POU DAKRIZI
(Trilogy – The Weeping Meadow)
by Theo Angelopoulos, Greece

EUROPEAN FILM ACADEMY DOCUMENTARY 2004 – Prix Arte:
DARWIN’S NIGHTMARE, by Hubert Sauper, France/Austria/Belgium
EUROPEAN FILM ACADEMY SHORT FILM 2004 – Prix UIP:
J’ATTENDRAI LE SUIVANT, by Philippe Orreindy, France

EUROPEAN FILM ACADEMY NON-EUROPEAN FILM 2004 – Prix Screen International
2046, by Wong Kar-Wai, France/China

THE JAMESON PEOPLE’S CHOICE AWARDS 2004
– Chosen by Europe’s film fans –

Best European Director:
Fatih Akin
for Gegen Die Wand (Head-On), Germany

Best European Actor:
Daniel Brühl
in Was Nützt Die Liebe In Gedanken (Love In Thoughts), Germany

Best European Actress:
Penelope Cruz
in Non Ti Muovere (Don’t Move), Italy

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