Gotham Awards

2004 | 2005 | 2006 | 2007 | 2008 | 2009

Nominations: October 25, 2005
Awards: November 30, 2005

Best Feature
CAPOTE – Directed by Bennett Miller / Written by Dan Futterman / Produced by Caroline Baron, William` Vince and Michael Ohoven

Best Documentary
MURDERBALL – Directed by Henry-Alex Rubin and Dana Adam Shapiro / Produced by Jeffrey Mandel and Dana Adam Shapiro

Breakthrough Director
Bennett Miller for CAPOTE

Breakthrough Actor
Amy Adams as “Ashley” in JUNEBUG

Best Ensemble Cast
THE SQUID AND THE WHALE – Jeff Daniels, Laura Linney, Jesse Eisenberg, Owen Kline

Gotham Awards Nominations

Best Feature

• BROKEBACK MOUNTAIN – Directed by Ang Lee / Written by Larry McMurtry and Diana Ossana / Produced by Diana Ossana and James Schamus
• CAPOTE – Directed by Bennett Miller / Written by Dan Futterman / Produced by Caroline Baron, William Vince and Michael Ohoven
• A HISTORY OF VIOLENCE -Directed by David Cronenberg / Written by Josh Olson / Produced by Chris Bender and JC Spink
• KEANE – Written and directed by Lodge Kerrigan / Produced by Andrew Fierberg
• ME AND YOU AND EVERYONE WE KNOW – Written and directed by Miranda July / Produced by Gina Kwon

Best Documentary

• BALLET RUSSES – Directed by Dayna Goldfine and Dan Geller / Written by Dan Geller, Dayna Goldfine, Gary Weimberg and Celeste Schaefer Snyder / Produced by Dan Geller, Dayna Goldfine, Robert Hawk and Douglas Blair Turnbaugh
• ENRON: THE SMARTEST GUYS IN THE ROOM – Written and directed by Alex Gibney / Produced by Alex Gibney, Jason Kliot and Susan Motamed
• GRIZZLY MAN – Directed by Werner Herzog / Produced by Erik Nelson
• MURDERBALL – Directed by Henry-Alex Rubin and Dana Adam Shapiro / Produced by Jeffrey Mandel and Dana Adam Shapiro
• WILLIAM EGGLESTON IN THE REAL WORLD – Directed by Michael Almereyda / Produced by Michael Almereyda, Jesse Dylan and Anthony Katagas

Breakthrough Director

• Miranda July for ME AND YOU AND EVERYONE WE KNOW
• Bennett Miller for CAPOTE
• Phil Morrison for JUNEBUG
• Andrew Wagner for THE TALENT GIVEN US
• Alice Wu for SAVING FACE

Breakthrough Actor

• Amy Adams as “Ashley” in JUNEBUG
• Camilla Belle as “Rose Slavin” in THE BALLAD OF JACK AND ROSE
• Joseph Gordon-Levitt as “Neil” in MYSTERIOUS SKIN
• Terrence Howard as “DJay” in HUSTLE & FLOW
• Damian Lewis as “William Keane” in KEANE

Best Ensemble Cast

• BROKEBACK MOUNTAIN – Heath Ledger, Jake Gyllenhaal, Michelle Williams, Anne Hathaway, Linda Cardellini, Randy Quaid, Anna Faris
• CRASH – Sandra Bullock, Don Cheadle, Matt Dillon, Jennifer Esposito, William Fichtner, Brendan Fraser, Terrence Dashon Howard, Chris “Ludacris” Bridges, Thandie Newton, Ryan Phillippe, Larenz Tate, Nona Gaye, Michael Pena
• GOOD NIGHT, AND GOOD LUCK – David Strathairn, Patricia Clarkson, George Clooney, Jeff Daniels, Robert Downey Jr., Frank Langella
• NINE LIVES – Kathy Baker, Amy Brenneman, Elpidia Carrillo, Glenn Close. Stephen Dillane, Dakota Fanning, William Fichtner, Lisa Gay Hamilton, Holly Hunter, Jason Isaacs, Joe Mantegna, Ian McShane, Molly Parker, Mary Kay Place, Sydney Tamiia Poitier, Aidan Quinn, Miguel Sandoval, Amanda Seyfried, Sissy Spacek, Robin Wright Penn
• THE SQUID AND THE WHALE – Jeff Daniels, Laura Linney, Jesse Eisenberg, Owen Kline

As previously announced, Matt Dillon, fresh from the success of CRASH and soon to be seen in this February’s release FACTOTUM, will be honored as the subject of this year’s Gotham Awards Feature Tribute. Additionally, this year’s Gala Co-chairs are President of HBO Family and Documentary Sheila Nevins, and producer Bob Yari of Yari Film Group (CRASH; PRIME).

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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