Women Film Critics Circle

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December 14, 2006

BEST PICTURE BY A WOMAN
Valerie Faris
Little Miss Sunshine

BEST PICTURE ABOUT WOMEN (tie winners)
Volver
The Queen

BEST WOMAN STORYTELLER (Screenwriting)
Aline Brosh McKenna
The Devil Wears Prada

BEST ACTRESS
Helen Mirren
The Queen

BEST ACTOR
Djimon Hounsou
Blood Diamond

BEST COMEDIC PERFORMANCE
Meryl Streep
The Devil Wears Prada

BEST YOUNG ACTRESS
Abigail Breslin
Little Miss Sunshine

BEST FEMALE IMAGES IN A MOVIE (tie)
Sweet Land – Elizabeth Reaser
Somethig New – Sanaa Lathan

BEST FOREIGN FILM
Water
Deepa Mehta

BEST MUSIC
Dreamgirls

ADRIENNE SHELLY AWARD
For a film most passionately opposes violence against women
Sisters In Law
Florence Ayisi and Kim Longinotto

JOSEPHINE BAKER AWARD
For best expressing the woman of color experience in America
Been Rich All My Life
Heather MacDonald

KAREN MORLEY AWARD
For best exemplifying a woman’s place in history or society, and a courageous search for identity
Sweet Land – Elizabeth Reaser
Room – Cyndi Williams

LIFETIME ACHIEVEMENT AWARD
Barbara Kopple

ACTING AND ACTIVISM
Sharon Stone

BEST DOCUMENTARIES
In Recognition Of Women’s Excellence In The Documentary Category,
In Light Of Their General Exclusion From Mainstream Filmmaking

ABOVE AND BEYOND
The Ground Truth – Patricia Foulkrod
The War Tapes – Deborah Scranton

GROUNDBREAKER
Jesus Camp – Heidi Ewing, Rachel Grady

COURAGE IN FILMMAKING
Dixie Chicks: Shut Up And Sing – Barbara Kopple
The Color Of Olives – Carolina Rivas

BEST EQUALITY OF THE SEXES
Ellen Page
Hard Candy

MOST OFFENSIVE MALE CHARACTERS
Sacha Baron Cohen – Borat
Jason Statham – Crank

WFCC TOP TEN HALL OF SHAME
Basic Instinct 2: Risk Addiction
Loverboy
Sorry, Haters
Turistas
The Heart Is Deceitful Above All Things
Shadowboxer
Venus
The Quiet
Heading South
Mini’s First Time

BEST ANIMATED FEMALES
Happy Feet – Brittany Murphy and Nicole Kidman

BEST FAMILY FILMS (Non-animated)
Lassie
Nanny McPhee
Miss Potter

The Women Film Critics Circle is an association of women film critics and reporters from around the country, who are involved in print, radio, online and TV broadcast media. We have come together to form the first women critics association in the country, in the belief that women’s perspectives and voices in film criticism need to be recognized fully.

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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