Washington, D.C. Area Film Critics Association

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Nominations: December 9, 2005
Awards: December 12, 2005

Best Actor
Phillip Seymor Hoffman  Capote

Best Actress
Reese Witherspoon Walk the Line

Best Supporting Actor
Paul Giamatti – Cinderella Man

Best Supporting Actress
Amy Adams – Junebug

Best Director
Steven Spielberg  Munich

Best Original Screenplay
Paul Haggis and Bobby Moresco  – Crash

Best Adapted Screenplay
Dan Futterman – Capote

Best Film
Munich/Universal

Best Foreign Film
Kung Fu Hustle/Sony Pictures Classic

Best Animated Feature
Wallace & Gromit in The Curse of the Were-Rabbit/DreamWorks

Best Documentary
Enron: The Smartest Guys in the Room/Magnolia Pictures

Best Breakthrough Performance
Terrence Howard – Hustle & Flow

Best Ensemble
Crash/Lions Gate

Best Art Direction
The Chronicles of Narnia: The Lion, the Witch and the Wardrobe/Buena Vista

Nominations
Nominations: December 9, 2005
Awards: December 12, 2005

Best Actor

— Phillip Seymor Hoffman  Capote
— David Strathairn  Good Night, and Good Luck
— Terrence Howard Hustle & Flow
— Joaquin Phoenix  Walk the Line
— Heath Ledger  Brokeback Mountain

Best Actress

— Joan Allen  Upside of Anger
— Felicity Huffman Transamerica
— Reese Witherspoon Walk the Line
— Keira Knightley  Pride and Prejudice
— Charlize Theron  North Country

Best Supporting Actor

— Paul Giamatti – Cinderella Man
— Peter Sarsgaard – Jarhead
— Matt Dillon – Crash
— Geoffrey Rush – Munich
— Terrence Howard – Crash

Best Supporting Actress

— Catherine Keener  Capote
— Michelle Williams  Brokeback Mountain
— Brenda Blethyn  Pride & Prejudice
— Taraji Henson  Hustle & Flow
— Amy Adams  Junebug

Best Director

— George Clooney  Good Night, and Good Luck
— Fernandeo Meirelles The Constant Gardener
— Steven Spielberg  Munich
— Ang Lee  Brokeback Mountain
— Ron Howard  Cinderella Man

Best Original Screenplay

— Paul Haggis and Bobby Moresco  – Crash
— Noah Baumbach – The Squid and the Whale
— George Clooney and Grant Heslov – Good Night, and Good Luck
— Craig Brewer – Hustle & Flow
— Angus MacLachlan – Junebug

Best Adapted Screenplay

— Dan Futterman – Capote
— Larry McMurty and Diana Ossana – Brokeback Mountain
— Arthur Golden, Robin Swicord and Doug Wright – Memoirs of a Geisha
— Deborah Moggach – Pride & Prejudice
— Tony Kushner  – Munich

Best Film

— Crash/Lions Gate
— Good Night and Good Luck/Warner Bros.
— Capote/Sony Pictures Classic
— Munich/Universal
— Brokeback Mountain/Focus Features

Best Foreign Film

— Kung Fu Hustle/Sony Pictures Classic
— Paradise Now/Warner Independent Pictures
— Turtles Can Fly/IFC Films
— Schultze Gets the Blues/Paramount Classics
— Innocent Voices/Slowhand Cinema Releasing

Best Animated Feature

— Chicken Little/Buena Vista
— Madagascar/DreamWorks
— Robots/Twentieth Century Fox
— Corpse Bride/Warner Bros.
— Wallace & Gromit in The Curse of the Were-Rabbit/DreamWorks

Best Documentary

— March of the Penguins/National Geographic
— Grizzly Man/Discovery Channel
— Mad Hot Ballroom/Nickelodeon Movies
— Murderball/MTV Films
— Enron: The Smartest Guys in the Room/Magnolia Pictures

Best Breakthrough Performance

— Terrence Howard – Hustle & Flow
— Amy Adams – Junebug
— QOrianka Kilcher – The New World
— Taryn Manning – Hustle & Flow
— Aishwarya Rai – Bride & Prejudice

Best Ensemble

— Good Night and Good Luck/Warner Bros.
— Pride & Prejudice/Focus Features
— Sin City/Dimension Films
— Crash/Lions Gate
— Rent/Columbia

Best Art Direction

— Memoirs of A Geisha/Columbia
— Charlie and the Chocolate Factory/Warner Bros.
— Harry Potter and the Goblet of Fire/Warner Bros.
— Star Wars: Episode III-Revenge of the Sith/Twentieth Century Fox
— The Chronicles of Narnia: The Lion, the Witch and the Wardrobe/Buena Vista

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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