The Black Reel Awards

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December 18, 2006

Theatrical

Best Actor
Jamie Foxx – Dreamgirls
Derek Luke – Catch a Fire
Will Smith – The Pursuit of Happyness
Denzel Washington – Inside Man
Forest Whitaker – The Last King of Scotland

Best Actress
Beyonce Knowles – Dreamgirls
Sanaa Lathan – Something New
Keke Palmer – Akeelah and the Bee

Best Supporting Actor
Chiwetel Ejiofor – Kinky Boots
Chiwetel Ejiofor – Children of Men
Laurence Fishburne – Akeelah and the Bee
Djimon Hounsou – Blood Diamond
Eddie Murphy – Dreamgirls

Best Supporting Actress
Angela Bassett – Akeelah and the Bee
Shareeka Epps – Half Nelson
Claire-Hope Ashitey – Children of Men
Jennifer Hudson – Dreamgirls
Kerry Washington – The Last King of Scotland

Best Director
Bryan Barber – Idlewild
Sanaa Hamri – Something New
Clark Johnson – The Sentinel
Spike Lee – Inside Man
Chris Robinson – ATL

Best Screenplay, Original or Adapted
Bryan Barber – Idlewild
Christopher Cleveland & Bettina Gilois – Glory Road
Tina Gordon Chism – ATL
Tyler Perry – Madea’s Family Reunion
Kriss Turner – Something New

Best Film
Akeelah and the Bee/Lions Gae (Laurence Fishburne, Sidney Ganis, Nancy Hult, Daniel Llewelyn & Michael Romersa)
Dreamgirls/DreamWorks (Laurence Mark & David Geffen)
Inside Man/Universal (Brian Grazer & Jonathan Filley)
The Pursuit of Happyness/Columbia (Todd Black, Jason Blumenthal, Will Smith, James Lassiter, Steve Tisch & Teddy Zee)
Something New/Focus Features (Stephanie Allain)

Best Breakthrough Performance
Shareeka Epps – Half Nelson
Jennifer Hudson – Dreamgirls
Keke Palmer – Akeelah and the Bee
Paula Patton – Déjà Vu
Jaden Smith – The Pursuit of Happyness

Best Original Score
Akeelah and the Bee/Aaron Zigman
Dreamgirls/Harvey Mason, Jr. and Damon Thomas
Idlewild/Antwan Andre Patton
Inside Man/Terrence Blanchard
Something New/Lisa Coleman & Wendy Melvoin

Best Original Soundtrack
Dave Chappelle’s Block Party/Geffen Records
Dreamgirls/DreamWorks SKG
Idlewild/LaFace Records
Something New/Lakeshore Records
Take the Lead/Universal Records

Best Song, Original or Adapted
And I’m Telling You – Dreamgirls (Jennifer Hudson)
Idlewild Blues – Idlewild (Outkast)
Listen – Dreamgirls (Beyonce Knowles)
One Night Only – Dreamgirls (Jennifer Hudson)
People Get Ready – Glory Road (Alicia Keys & Lyfe Jennings)

Best Documentary
The Heart of the Game/Miramax
Dave Chappelle’s Block Party/Rogue
Jonestown: The Life and Death of People Temple/Seventh Arts Releasing

Independent

Best Independent Feature
No. 2/Toa Fraser
Premium/Pete Chatmon
Traci Townsend/Bobby Thompson

Best Independent Documentary
The Pact/Andrea Kalin
Hairkutt/Curtis Elliott
American Blackout/Ian Inaba
Soul of Justice: Thelton Henderson’s American Journey/Abby Ginzberg Ithueng/Willie Ebersol

Best Independent Mini Feature
A Different Light/K. Marie Walters
Endangered Species/Quantae Love
Hobson’s Choice/Nikki Bates
Inspired By . . . /Layla Mashavu
Snapshot/Kevin Coleman

Best Independent Mini Documentary
Bling: Consequences and Repercussions/Kareem Edouard
Girls Night Out/Gucci Man
God Sleeps in Rwanda/Kimberlee Acquaro & Stacy Sherman
Untold Legacy/Leslie K. Brown
Whose Children Are These?/Thereasa Thanjan

The Black Reel Awards nominations were voted on by over 100 movie and television critics across the nation from December 12-15, 2006. Winners for the Theatrical, Independent and Television categories will be announced February 7, 2007 and will be broadcast in late February on the Black Family Channel.

The Black Reel Awards are presented by the Foundation for the Advancement of African-Americans in Film, a nonprofit organization with a mission to target, identify and prepare candidates who will represent the next generation of filmmakers and potential film executives that will be able to provide a different sensibility to the stories currently told onscreen.

FAAAF seeks to provide educational opportunities to this next generation of filmmakers and studio executives through two programs, Reel Kids and the Producer’s Institute. Both programs will provide scholarships opportunities to minority junior high, high school and college graduate students who pursue a business career in the movie and television industries.

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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