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Awards: December 17, 2005

Actress in a Motion Picture, Drama
Felicity Huffman — Transamerica

Actor in a Motion Picture, Drama
Philip Seymour Hoffman — Capote

Actress in a Motion Picture, Comedy or Musical
Reese Witherspoon — Walk the Line

Actor in a Motion Picture, Comedy or Musical
Terrence Howard — Hustle & Flow

Actress in a Supporting Role, Drama
Laura Linney — The Squid and the Whale

Actor in a Supporting Role, Drama
Danny Huston — The Constant Gardener

Actress in a Supporting Role, Comedy or Musical
Rosario Dawson — Rent

Actor in a Supporting Role, Comedy or Musical
Val Kilmer — Kiss Kiss Bang Bang

Motion Picture, Drama
Brokeback Mountain

Motion Picture, Comedy or Musical
Walk the Line

Motion Picture, Foreign Film
Mother of Mine — Finland

Motion Picture, Animated or Mixed Media
Chronicles of Narnia: The Lion, The Witch and the Wardrobe

Motion Picture, Documentary
Mad Hot Ballroom

Director
Ang Lee — Brokeback Mountain

Screenplay, Original
George Clooney, Grant Heslov — Good Night, and Good Luck.

Screenplay, Adapted
Robin Swicord — Memoirs of a Geisha

Original Score
Harry Gregson-Williams — Kingdom of Heaven

Original Song
“A Love That Will Never Grow Old”/Gustavo Santaolalla, Bernie Taupin — Brokeback Mountain

Cinematography
Cesar Charlone — The Constant Gardener

Visual Effects
John Knoll, Roger Guyett, Rob Coleman, Brian Gernand — Star Wars Episode III: Revenge of the Sith

Film Editing
Geraldine Peroni, Dylan Tichenor — Brokeback Mountain

Sound (Mixing & Editing)
Tom Myers, Christopher Scarabosio, Andy Nelson, Paul “Salty” Brincat, Ben Burt, Matthew Wood — Star Wars Episode III: Revenge of the Sith

Art Direction & Production Design
Jim Bissell — Good Night, and Good Luck

Costume Design
Jacqueline Durran — Pride & Prejudice

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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