British Academy Film Awards

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Nominations: January 19, 2006
Awards: February 19, 2006

Best Film
Brokeback Mountain
Diana Ossana/James Schamus

The Alexander Korda award
for the outstanding British film of the year

Wallace & Gromit: The Curse of the Were-Rabbit
Peter Lord/David Sproxton/Nick Park/Steve Box/Mark Burton/Bob Baker

The Carl Foreman award for special achievement by a British Director, writer or producer in their first feature film
Joe Wright (director) – Pride & Prejudice

The David Lean Award for Achievement in Direction
Brokeback Mountain – Ang Lee

Best Original Screenplay
Crash – Paul Haggis/Bobby Moresco

Best Adapted Screenplay
Brokeback Mountain – Larry Mcmurtry/Diana Ossana

Best Film not in the English language
De Battre Mon Coeur S’est Arrêté (The Beat that My Heart Skipped) – Pascal Caucheteux/Jacques Audiard

Best Actor in a Leading Role
Philip Seymour Hoffman – Capote

Best Actress in a Leading Role
Reese Witherspoon – Walk the Line

Best aActor in a Supporting Role
Jake Gyllenhaal – Brokeback Mountain

Best Actress in a Supporting Role
Thandie Newton – Crash

The Anthony Asquith Award for Achievement in Film Music
Memoirs of a Geisha – John Williams

Best Cinematography
Memoirs of A Geisha – Dion Beebe

Best Editing
The Constant Gardener – Claire Simpson

Best Production Design
Harry Potter and the Goblet of Fire – Stuart Craig

Best Costume Design
Memoirs of a Geisha – Colleen Atwood

Best Sound
Walk the Line – Paul Massey/D M Hemphill/Peter F Kurland/Donald Sylvester

Achievement in Special Visual Effects
King Kong – Joe Letteri/Christian Rivers/Brian Van’t Hul/Richard Taylor

Best Makeup & Hair
The Chronicles of Narnia: The Lion, the Witch and the Wardrobe – Howard Berger/Gregory Nicotero/Nikki Gooley

Best Short Animation Film
Fallen Art – Jarek Sawko/Piotr Sikora/Tomek Baginski

Best Short Film
Antonio’s Breakfast – Howard Stogdon/Amber Templemore-Finlayson/Daniel Mulloy

The Nominations
Best film
Brokeback Mountain – Diana Ossana/James Schamus
Capote – Caroline Baron/William Vince/Michael Ohoven
The Constant Gardener – Simon Channing Williams
Crash – Cathy Schulman/Don Cheadle/Bob Yari
Good Night, and Good Luck – Grant Heslov

The Alexander Korda award
for the outstanding British film of the year

A Cock & Bull Story – Andrew Eaton/Michael Winterbottom/Martin Hardy
The Constant Gardener – Simon Channing Williams/Fernando Meirelles/Jeffrey Caine
Festival – Christopher Young/Annie Griffin
Pride & Prejudice – Tim Bevan/Eric Fellner/Paul Webster/Joe Wright/Deborah Moggach
Wallace & Gromit: The Curse of the Were-Rabbit – Peter Lord/David Sproxton/Nick Park/Steve Box/Mark Burton/Bob Baker

The Carl Foreman award for special achievement by a British director, writer or producer in their first feature film
David Belton (producer) – Shooting Dogs
Peter Fudakowski (producer) – Tsotsi
Annie Griffin (director/writer) – Festival
Richard Hawkins (director) – Everything
Joe Wright (director) – Pride & Prejudice

The David Lean award for achievement in direction
Brokeback Mountain – Ang Lee
Capote – Bennett Miller
The Constant Gardener – Fernando Meirelles
Crash – Paul Haggis
Good Night, and Good Luck – George Clooney

Best original screenplay
Cinderella Man – Cliff Hollingsworth/Akiva Goldsman
Crash – Paul Haggis/Bobby Moresco
Good Night, and Good Luck – George Clooney/Grant Heslov
Hotel Rwanda – Keir Pearson/Terry George
Mrs Henderson Presents – Martin Sherman

Best adapted screenplay
Brokeback Mountain – Larry Mcmurtry/Diana Ossana
Capote – Dan Futterman
The Constant Gardener – Jeffrey Caine
A History of Violence – Josh Olson
Pride & Prejudice – Deborah Moggach

Best film not in the English language
De Battre Mon Coeur S’est Arrêté (The Beat that My Heart Skipped) – Pascal Caucheteux/Jacques Audiard
Le Grand Voyage – Humbert Balsan/Ismaël Ferroukhi
Kung Fu Hustle – Stephen Chow/Chui Po Chu/Jeff Lau
Joyeux Noël (Merry Christmas) – Christophe Rossignon/Christian Carion
Tsotsi – Peter Fudakowski/Gavin Hood

Best actor in a leading role
David Strathairn – Good Night, and Good Luck
Heath Ledger – Brokeback Mountain
Joaquin Phoenix – Walk the Line
Philip Seymour Hoffman – Capote
Ralph Fiennes – The Constant Gardener

Best actress in a leading role
Charlize Theron – North Country
Judi Dench – Mrs Henderson Presents
Rachel Weisz – The Constant Gardener
Reese Witherspoon – Walk the Line
Ziyi Zhang – Memoirs Of A Geisha

Best actor in a supporting role
Don Cheadle – Crash
George Clooney – Good Night, and Good Luck
George Clooney – Syriana
Jake Gyllenhaal – Brokeback Mountain
Matt Dillon – Crash

Best actress in a supporting role
Brenda Blethyn – Pride & Prejudice
Catherine Keener – Capote
Frances Mcdormand – North Country
Michelle Williams – Brokeback Mountain
Thandie Newton – Crash

The Anthony Asquith award for achievement in film music
Brokeback Mountain – Gustavo Santaolalla
The Constant Gardener – Alberto Iglesias
Memoirs of a Geisha – John Williams
Mrs Henderson Presents – George Fenton
Walk the Line – T Bone Burnett

Best cinematography
Brokeback Mountain – Rodrigo Prieto
The Constant Gardener – César Charlone
Crash – J Michael Muro
March of the Penguins – Laurent Chalet/Jerôme Maison
Memoirs of A Geisha – Dion Beebe

Best editing
Brokeback Mountain – Geraldine Peroni/Dylan Tichenor
The Constant Gardener – Claire Simpson
Crash – Hughes Winborne
Good Night, and Good Luck – Stephen Mirrione
March of the Penguins – Sabine Emiliani

Best production design
Batman Begins – Nathan Crowley
Charlie and the Chocolate Factory – Alex Mcdowell
Harry Potter and the Goblet of Fire – Stuart Craig
King Kong – Grant Major
Memoirs of a Geisha – John Myhre

Best costume design
Charlie and the Chocolate Factory – Gabriella Pescucci
The Chronicles of Narnia: The Lion, the Witch and the Wardrobe – Isis Mussenden
Memoirs of a Geisha – Colleen Atwood
Mrs Henderson Presents – Sandy Powell
Pride & Prejudice – Jacqueline Durran

Best sound
Batman Begins – David G Evans/Stefan Henrix/Peter Lindsay
The Constant Gardener – Joakim Sundström/Stuart Wilson
Crash – Richard Van Dyke/Sandy Gendler
King Kong – Hammond Peek/Christopher Boyes/Mike Hopkins/ Ethan Van Der Ryn
Walk the Line – Paul Massey/D M Hemphill/Peter F Kurland/Donald Sylvester

Achievement in special visual effects
Batman Begins – Janek Sirrs/Dan Glass/Chris Corbould
Charlie and the Chocolate Factory – Nick Davis/John Thum/Chaz Jarrett/Joss Williams
The Chronicles of Narnia: The Lion, the Witch and the Wardrobe – Dean Wright/Bill Westenhofer/Jim Berney/Scott Farrar
Harry Potter and the Goblet of Fire – Jim Mitchell/John Richardson
King Kong – Joe Letteri/Christian Rivers/Brian Van’t Hul/Richard Taylor

Best makeup & hair
Charlie and the Chocolate Factory – Peter Owen/Ivana Primorac
The Chronicles of Narnia: The Lion, the Witch and the Wardrobe – Howard Berger/Gregory Nicotero/Nikki Gooley
Harry Potter and the Goblet of Fire – Nick Dudman/Amanda Knight/Eithne Fennell
Memoirs of a Geisha – Noriko Watanabe/Kate Biscoe/Lyndell Quiyou/Kelvin R Trahan
Pride & Prejudice – Fae Hammond

Best short animation film
Fallen Art – Jarek Sawko/Piotr Sikora/Tomek Baginski
Film Noir – Osbert Parker
Kamiya’s Correspondence – Sumito Sakakibara
The Mysterious Geographic Explorations of Jasper Morello – Anthony Lucas/Julia Lucas/Mark Shirrefs
Rabbit – Run Wrake

Best short film
Antonio’s Breakfast – Howard Stogdon/Amber Templemore-Finlayson/Daniel Mulloy
Call Register – Kit Hawkins/Adam Tudhope/Ed Roe
Heavy Metal Drummer – Amanda Boyle/Luke Morris/Toby Macdonald
Heydar, an Afghan in Tehran – H Assadian/Babek Jalali
Lucky – Bex Hopkins/Avie Luthra

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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