Independent Spirit Awards

2003 | 2004 | 2005 | 2006 | 2007 | 2008 | 2009 | 2010

BEST FEATURE

Little Miss Sunshine
Producers: Marc Turtletaub, David T. Friendly, Peter Saraf, Albert Berger, Ron Yerxa

BEST DIRECTOR

Jonathan Dayton & Valerie Faris
Little Miss Sunshine

BEST FIRST FEATURE

Sweet Land
Director: Ali Selim Producers: Alan Cumming, James Bigham, Ali Selim

JOHN CASSAVETES AWARD

Quinceanera
Writer/Directors: Richard Glatzer & Wash Westmoreland Producer: Anne Clements

BEST SCREENPLAY

Jason Reitman
Thank You For Smoking

BEST FIRST SCREENPLAY

Michael Arndt
Little Miss Sunshine

BEST FEMALE LEAD

Shareeka Epps
Half Nelson

BEST MALE LEAD

Ryan Gosling
Half Nelson

BEST SUPPORTING FEMALE

Frances McDormand
Friends with Money

BEST SUPPORTING MALE

Alan Arkin
Little Miss Sunshine

BEST CINEMATOGRAPHY

Guillermo Navarro
Pan’s Labyrinth

BEST DOCUMENTARY

The Road to Guantanamo
Directors: Michael Winterbottom & Mat Whitecross

BEST FOREIGN FILM

The Lives of Others (Germany)
Director: Florian Henckel von Donnersmarck

SPECIAL AWARDS – IFC/Acura Someone to Watch Award

Julia Loktev
director of Day Night Day Night

SPECIAL AWARDS – Axium Truer Than Fiction Award

Adele Horn
The Tailenders

SPECIAL AWARDS – Axium Producers Award

Howard Gertler and Tim Perell
producers of Shortbus and Pizza

SPECIAL DISTINCTION AWARD
David Lynch and Laura Dern

Nominations
Nominations: November 28, 2006

SPECIAL DISTINCTION AWARD
David Lynch and Laura Dern

BEST FEATURE

American Gun
Producer: Ted Kroeber

The Dead Girl
Producers: Tom Rosenberg, Henry Winterstern, Gary Lucchesi, Richard Wright, Eric Karten, Kevin Turen

Half Nelson
Producers: Jamie Patricof, Alex Orlovsky, Lynette Howell, Anna Boden, Rosanne Korenberg

Little Miss Sunshine
Producers: Marc Turtletaub, David T. Friendly, Peter Saraf, Albert Berger, Ron Yerxa

Pan’s Labyrinth
Producers: Bertha Navarro, Alfonso Cuarón, Frida Torresblanco, Alvaro Augustin, Guillermo Del Toro

BEST DIRECTOR

Robert Altman
A Prairie Home Companion

Jonathan Dayton & Valerie Faris
Little Miss Sunshine

Ryan Fleck
Half Nelson

Karen Moncrieff
The Dead Girl

Steven Soderbergh
Bubble

BEST FIRST FEATURE

Day Night Day Night
Director: Julia Loktev
Producers: Julia Loktev, Melanie Judd, Jessica Levin

Man Push Cart
Director: Ramin Bahrani
Producers: Ramin Bahrani, Pradip Ghosh, Bedford T. Bentley III

The Motel
Director: Michael Kang
Producers: Matthew Greenfield, Miguel Arteta, Gina Kwon, Karin Chien

Sweet Land
Director: Ali Selim Producers: Alan Cumming, James Bigham, Ali Selim

Wristcutters: A Love Story
Director: Goran Dukic
Producers: Adam Sherman, Chris Coen, Tatiana Kelly, Mikal P. Lazarev

JOHN CASSAVETES AWARD

Chalk
Director: Mike Akel Producers: Mike Akel, Angela Alvarez, Graham Davidson, Chris Mass Writers: Chris Mass & Mike Akel

Four Eyed Monsters
Writer/Director/Producers: Arin Crumley & Susan Buice

Old Joy
Director: Kelly Reichardt Producers: Lars Knudsen, Jay Van Hoy, Anish Savjani, Neil Kopp Writers: Jon Raymond & Kelly Reichardt

Quinceanera
Writer/Directors: Richard Glatzer & Wash Westmoreland Producer: Anne Clements

Twelve and Holding
Director: Michael Cuesta Producers: Leslie Urdang, Michael Cuesta, Brian Bell, Jenny Schweitzer Writer: Anthony S. Cipriano

BEST SCREENPLAY

Neil Burger
The Illusionist

Nicole Holofcener
Friends with Money

Ron Nyswaner
The Painted Veil

Jason Reitman
Thank You For Smoking

Jeff Stanzler
Sorry, Haters

BEST FIRST SCREENPLAY

Michael Arndt
Little Miss Sunshine

Anna Boden & Ryan Fleck
Half Nelson

Goran Dukic
Wristcutters: A Love Story

Dito Montiel
A Guide to Recognizing Your Saints

Gabrielle Zevin
Conversations with Other Women

BEST FEMALE LEAD

Shareeka Epps
Half Nelson

Catherine O’Hara
For Your Consideration

Elizabeth Reaser
Sweet Land

Michelle Williams
Land of Plenty

Robin Wright Penn
Sorry, Haters

BEST MALE LEAD

Aaron Eckhart
Thank You For Smoking

Ryan Gosling
Half Nelson

Edward Norton
The Painted Veil

Ahmad Razvi
Man Push Cart

Forest Whitaker
American Gun

BEST SUPPORTING FEMALE

Melonie Diaz
A Guide to Recognizing Your Saints

Marcia Gay Harden
American Gun

Mary Beth Hurt
The Dead Girl

Frances McDormand
Friends with Money

Amber Tamblyn
Stephanie Daley

BEST SUPPORTING MALE

Alan Arkin
Little Miss Sunshine

Raymond J. Barry
Steel City

Daniel Craig
Infamous

Paul Dano
Little Miss Sunshine

Channing Tatum
A Guide to Recognizing Your Saints

BEST CINEMATOGRAPHY

Arin Crumley
Four Eyed Monsters

Anthony Dod Mantle
Brothers of the Head

Guillermo Navarro
Pan’s Labyrinth

Aaron Platt
Wild Tigers I Have Known

Michael Simmonds
Man Push Cart

BEST DOCUMENTARY

A Lion in the House
Directors: Steven Bognar & Julia Reichert

My Country, My Country
Director: Laura Poitras

The Road to Guantanamo
Directors: Michael Winterbottom & Mat Whitecross

The Trials of Darryl Hunt
Directors: Annie Sundberg & Ricki Stern

You’re Gonna Miss Me
Director: Keven McAlester

BEST FOREIGN FILM

12:08 East of Bucharest (Romania)
Director: Corneliu Porumboiu

The Blossoming of Maximo Oliveros (Philippines)
Director: Auraeus Solito

Chronicle of an Escape (Argentina)
Director: Israel Adrián Caetano

Days of Glory (France/Morocco/Algeria/Belgium)
Director: Rachid Bouchareb

The Lives of Others (Germany)
Director: Florian Henckel von Donnersmarck

SPECIAL AWARDS – IFC/Acura Someone to Watch Award

So Yong Kim
director of In Between Days

Julia Loktev
director of Day Night Day Night

Richard Wong
director of Colma: The Musical

SPECIAL AWARDS – Axium Truer Than Fiction Award

Adele Horn
The Tailenders

Eric Daniel Metzgar
The Chances of the World Changing

AJ Schnack
Kurt Cobain About A Son

SPECIAL AWARDS – Axium Producers Award

Julie Lynn
producer of Nine Lives and 10 Items or Less

Alex Orlovsky and Jamie Patricof
producers of Half Nelson and Point & Shoot

Howard Gertler and Tim Perell
producers of Shortbus and Pizza

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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