Broadcast Film Critics Association Awards

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

Best Picture
Brokeback Mountain

Best Director
Ang Lee – Brokeback Mountain

Best Actress
Reese Witherspoon – Walk the Line

Best Actor
Philip Seymour Hoffman – Capote

Best Supporting Actor
Paul Giamatti – Cinderella Man

Best Supporting Actress (tie)
Amy Adams – Junebug
Michelle Williams – Brokeback Mountain

Best Comedy Movie
The 40 Year-Old Virgin

Best Animated Feature
Wallace & Gromit: Curse of the Were-Rabbit

Best Foreign Language Film
Kung Fu Hustle

Best Writer
Paul Haggis and Bobby Moresco – Crash

Best Documentary
March of the Penguins

Best Ensemble
Crash

Best Family Film
The Chronicles Of Narnia

Best Young Actor
Freddie Highmore – Charlie & the Chocolate Factory

Best Young Actress
Dakota Fanning – War of the Worlds

Best Picture Made For Televison
Into The West

Best Composer
John Williams – Memoirs of a Geisha

Best Song
“Hustle & Flow” – performed by Terrence Howard, written by Al Kapone– Hustle & Flow
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The Nominees

Nominations: December 11, 2005
Awards: January 9, 2006

BEST PICTURE
Brokeback Mountain
Capote
Cinderella Man
The Constant Gardener
Crash
Good Night, and Good Luck.
King Kong
Memoirs of a Geisha
Munich
Walk the Line

BEST ACTOR
Russell Crowe – “Cinderella Man”
Philip Seymour Hoffman – “Capote”
Terrence Howard – “Hustle & Flow”
Heath Ledger – “Brokeback Mountain”
Joaquin Phoenix – “Walk the Line”
David Strathairn – “Good Night, and Good Luck.”

BEST ACTRESS
Joan Allen – “The Upside of Anger”
Judi Dench – “Mrs. Henderson Presents”
Felicity Huffman – “Transamerica”
Keira Knightley – “Pride & Prejudice”
Charlize Theron – “North Country”
Reese Witherspoon – “Walk the Line”

BEST SUPPORTING ACTOR
George Clooney – “Syriana”
Kevin Costner – “The Upside of Anger”
Matt Dillon – “Crash”
Paul Giamatti – “Cinderella Man”
Jake Gyllenhaal – “Brokeback Mountain”
Terrence Howard – “Crash”

BEST SUPPORTING ACTRESS
Amy Adams – “Junebug”
Maria Bello – “A History of Violence”
Catherine Keener – “Capote”
Frances McDormand – “North Country”
Rachel Weisz – “The Constant Gardener”
Michelle Williams – “Brokeback Mountain”

BEST ACTING ENSEMBLE
Crash
Good Night, and Good Luck.
Rent
Syriana
Sin City

BEST DIRECTOR
George Clooney – “Good Night, and Good Luck.”
Paul Haggis – “Crash”
Ron Howard – “Cinderella Man”
Peter Jackson – “King Kong”
Ang Lee – “Brokeback Mountain”
Steven Spielberg – “Munich”

BEST WRITER
Noah Baumbach – “The Squid and the Whale”
George Clooney and Grant Heslov – “Good Night, and Good Luck.”
Dan Futterman – “Capote”
Paul Haggis and Bobby Moresco – “Crash”
Larry McMurtry and Diana Ossana – “Brokeback Mountain”

BEST ANIMATED FEATURE
“Chicken Little”
“Corpse Bride”
“Howl’s Moving Castle”
“Madagascar”
“Wallace & Gromit The Curse of the Were-Rabbit”

BEST YOUNG ACTOR
Jesse Eisenberg – “The Squid and the Whale”
Alex Etel – “Millions”
Freddie Highmore – “Charlie and the Chocolate Factory”
Owen Kline – “The Squid and the Whale”
Daniel Radcliffe – “Harry Potter and Goblet of Fire”

BEST YOUNG ACTRESS
Flora Cross – “Bee Season”
Dakota Fanning – “War of the Worlds”
Georgie Henley – “The Chronicles of Narnia The Lion, The Witch and the Wardrobe”
Q’Orianka Kilcher – “The New World”
Emma Watson – “Harry Potter and the Goblet of Fire”

BEST COMEDY MOVIE
The 40 Year-Old Virgin
Kiss Kiss, Bang Bang
Mrs. Henderson Presents
The Producers
The Wedding Crashers

BEST FAMILY FILM (LIVE ACTION)
Charlie and the Chocolate Factory
Dreamer
Harry Potter and the Goblet of Fire
The Chronicles of Narnia The Lion, The Witch and the Wardrobe

BEST PICTURE MADE FOR TELEVISION
Into the West
No Direction Home
Rome
Warm Springs

BEST FOREIGN LANGUAGE FILM
Cache
Kung Fu Hustle
Oldboy
Paradise Now
2046

BEST SONG
“Hustle & Flow” – Terrence Howard – “Hustle & Flow”
“A Love That Will Never Grow Old” – Emmylou Harris – “Brokeback Mountain”
“Same in Any Language” – I Nine – “Elizabethtown”
“Seasons of Love” – Tracie Thoms, Jesse L. Martin and Cast – “Rent”
“Travelin’ Thru” – Dolly Parton – “Transamerica”

BEST SOUNDTRACK
Elizabethtown
Memoirs of a Geisha
The Producers
Rent
Walk the Line

BEST COMPOSER
James Horner – “The New World”
Gustavo Santaolalla – “Brokeback Mountain”
John Williams – “Memoirs of a Geisha”
Nancy Wilson – “Elizabethtown”

BEST DOCUMENTARY FEATURE
Enron – The Smartest Guys in the Room
Grizzly Man
Mad Hot Ballroom
March of the Penguins
Murderball

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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