Independent Spirit Awards

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Nominations: November 29, 2005

BEST FEATURE
Brokeback Mountain Producers: Diana Ossana, James Schamus
Capote Producers: Caroline Baron, William Vince, Michael Ohoven
Good Night, and Good Luck. Producer: Grant Heslov
The Squid and the Whale Producers: Wes Anderson, Peter Newman, Charles Corwin, Clara Markowicz
The Three Burials of Melquiades Estrada Producers: Michael Fitzgerald, Tommy Lee Jones

BEST DIRECTOR
Ang Lee, Brokeback Mountain
George Clooney, Good Night, and Good Luck.
Gregg Araki, Mysterious Skin
Rodrigo Garcia, Nine Lives
Noah Baumbach, The Squid and the Whale

BEST FIRST FEATURE
Crash Director: Paul Haggis, Producers: Cathy Schulman, Don Cheadle, Bob Yari, Mark R. Harris, Bobby Moresco, Paul Haggis
Lackawanna Blues Director: George C. Wolfe, Producer: Nellie Nugiel
Me and You and Everyone We Know Director: Miranda July, Producer: Gina Kwon
Thumbsucker Director: Mike Mills, Producers: Anthony Bregman, Bob Stephenson
Transamerica Director: Duncan Tucker, Producers: Rene Bastian, Sebastian Dungan, Linda Moran

JOHN CASSAVETES AWARD
(Given to the best feature made for under $500,000)
Brick Director/Writer: Rian Johnson, Producers: Ram Bergman and Mark G. Mathis
Conventioneers Director: Mora Stephens, Producer: Joel Viertel, Writers: Mora Stephens and Joel Viertel
Jellysmoke Director/Writer/Producer: Mark Banning
The Puffy Chair Director: Jay Duplass, Producer: Mark Duplass, Writers: Mark Duplass and Jay Duplass
Room Director/Writer: Kyle Henry, Producers: Allen Bain, Darren Goldberg, Jesse Scolaro

BEST SCREENPLAY
Ayad Akhtar, Joseph Castelo, Tom Glynn, The War Within
Guillermo Arriaga, The Three Burials of Melquiades Estrada
Noah Baumbach, The Squid and the Whale
Dan Futterman, Capote
Rodrigo Garcia, Nine Lives

BEST FIRST SCREENPLAY
Kenneth Hanes, Fixing Frank
Miranda July, Me and You and Everyone We Know
Angus MacLachlan, Junebug
Sabina Murray, The Beautiful Country
Duncan Tucker, Transamerica

BEST SUPPORTING FEMALE
Amy Adams, Junebug
Maggie Gyllenhaal, Happy Endings
Allison Janney, Our Very Own
Michelle Williams, Brokeback Mountain
Robin Wright Penn, Nine Lives

BEST SUPPORTING MALE
Firdous Bamji, The War Within
Matt Dillon, Crash
Jesse Eisenberg, The Squid and the Whale
Barry Pepper, The Three Burials of Melquiades Estrada
Jeffrey Wright, Broken Flowers

BEST FEMALE LEAD
Felicity Huffman, Transamerica
Dina Korzun, Forty Shades of Blue
Laura Linney, The Squid and the Whale
S. Epatha Merkerson, Lackawanna Blues
Cyndi Williams, Room

BEST MALE LEAD
Jeff Daniels, The Squid and the Whale
Philip Seymour Hoffman, Capote
Terrence Howard, Hustle & Flow
Heath Ledger, Brokeback Mountain
David Strathairn, Good Night, and Good Luck.

BEST CINEMATOGRAPHY
Robert Elswit, Good Night, and Good Luck.
John Foster, Keane
Adam Kimmel, Capote
Chris Menges, The Three Burials of Melquiades Estrada
Harris Savides, Last Days

BEST FOREIGN FILM
The Death of Mr. Lazarescu (Romania) Director: Cristi Puiu
Duck Season (Mexico) Director: Fernando Eimbcke
Head-On (Germany/Turkey) Director: Fatih Akin
Paradise Now (Palestine/Netherlands/Germany/France) Director: Hany Abu-Assad
Tony Takitani (Japan) Director: Jun Ichikawa

BEST DOCUMENTARY
Enron: The Smartest Guys in the Room, Director: Alex Gibney
Grizzly Man, Director: Werner Herzog
La Sierra, Directors: Scott Dalton & Margarita Martinez
Romantico, Director: Mark Becker
Sir! No Sir!, Director: David Zeiger

IFC/Acura Someone to Watch Award
($25,000 unrestricted grant)
Ian Gamazon and Neill Dela Llana, director of “Cavite”
Robinson Devor, director of “Police Beat”
Jay Duplass, director of “The Puffy Chair”

Truer Than Fiction Award
($25,000 unrestricted grant)
Rachel Boynton for “Our Brand is Crisis”
Garrett Scott & Ian Olds for “Occupation: Dreamland”
Mark Becker for “Romantico”
Thomas Allen Harris for “Twelve Disciples of Nelson Mandela”

AMC/American Express Producers Award
($25,000 unrestricted grant)
Caroline Baron, producer of “Capote” and “Monsoon Wedding”
Ram Bergman, producer of “Brick” and “Conversations with Other Women”
Mike S. Ryan, producer of “Junebug” and “Palindromes“

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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