Los Angeles Film Critics Association

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Letters from Iwo Jima
Runner Up: The Queen

Paul Greengrass, United 93
Runner-up: Clint Eastwood, Flags of our Fathers, Letters from Iwo Jima

Helen Mirren, The Queen
Runner-up: Penelope Cruz, Volver

Tie – Sacha Baron Cohen, Borat
and Forest Whitaker, The Last King of Scotland

The Queen by Peter Morgan
Runner-up: Little Miss Sunshine by Michael Arndt

Luminita Gheorghiu, The Death of Mr. Lazarescu
Runner-up: Jennifer Hudson, Dreamgirls

Michael Sheen, The Queen
Runner-up: Sergi Lopez, Pan’s Labyrinth

The Lives of Others directed by Florian Henckel von Donnersmarck
Runner-up: Volver directed by Pedro Almodovar

An Inconvenient Truth directed by Davis Guggenheim
Runner-up: Darwin’s Nightmare directed by Hubert Sauper

Eugenio Caballero, Pan’s Labyrinth
Runner-up: Jim Clay, Veronica Falzon, Geoffrey Kirkland, Children of Men

Happy Feet (George Miller)
Runner-up: Cars (John Lasseter, Joe Ranft)

Alexandre Desplat, The Painted Veil and The Queen
Runner-up: Thomas Newman, The Good German and Little Children

Emmanuel Lubezki, Children of Men
Runner-up: Tom Stern, Flags of our Fathers and Letters from Iwo Jima

Michael Arndt, Jonathan Dayton, Valerie Faris – Little Miss Sunshine

Robert Mulligan

Tie – Old Joy directed by Kelly Reichardt
and In Between Days directed by So Yong Kim

To Jean-Pierre Melville’s 1969 film Army of Shadows which had its U.S. premiere this year, and to Jonas Mekas for his career as a critic and filmmaker.

LAFCA’s 32nd annual achievement awards ceremony will be held Sunday, January 14 at the Park Hyatt Hotel in Los Angeles. www.lafca.net

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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