British Academy Film Awards

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

FILM

AMERICAN GANGSTER – Brian Grazer/Ridley Scott

ATONEMENT – Tim Bevan/Eric Fellner/Paul Webster

THE LIVES OF OTHERS – Quirin Berg/Max Wiedemann

NO COUNTRY FOR OLD MEN – Scott Rudin/Joel Coen/Ethan Coen

THERE WILL BE BLOOD – JoAnne Sellar/Paul Thomas Anderson/Daniel Lupi

BEST BRITISH FILM

ATONEMENT – Tim Bevan/Eric Fellner/Paul Webster/Joe Wright/Christopher Hampton

THE BOURNE ULTIMATUM – Frank Marshall/Patrick Crowley/Paul L Sandberg/Paul Greengrass/Tony Gilroy/Scott Z Burns/George Nolfi

CONTROL – Orian Williams/ Todd Eckert/Anton Corbijn/Matt Greenhalgh

EASTERN PROMISES – Paul Webster/Robert Lantos/David Cronenberg/Steve Knight

THIS IS ENGLAND – Mark Herbert/Shane Meadows

THE CARL FOREMAN AWARD
for Special Achievement by a British Director, Writer or Producer in their First Feature Film

CHRIS ATKINS (Director/Writer) – Taking Liberties

MIA BAYS (Producer) – Scott Walker: 30 Century Man

SARAH GAVRON (Director) – Brick Lane

MATT GREENHALGH (Writer) – Control

ANDREW PIDDINGTON (Director/Writer) – The Killing of John Lennon

DIRECTOR

ATONEMENT – Joe Wright

THE BOURNE ULTIMATUM – Paul Greengrass

THE LIVES OF OTHERS – Florian Henckel von Donnersmarck

NO COUNTRY FOR OLD MEN – Joel Coen/Ethan Coen

THERE WILL BE BLOOD – Paul Thomas Anderson

ORIGINAL SCREENPLAY

AMERICAN GANGSTER – Steven Zaillian

JUNO – Diablo Cody

THE LIVES OF OTHERS – Florian Henckel von Donnersmarck

MICHAEL CLAYTON – Tony Gilroy

THIS IS ENGLAND – Shane Meadows

ADAPTED SCREENPLAY

ATONEMENT – Christopher Hampton

THE DIVING BELL AND THE BUTTERFLY – Ronald Harwood

THE KITE RUNNER – David Benioff

NO COUNTRY FOR OLD MEN – Joel Coen/Ethan Coen

THERE WILL BE BLOOD – Paul Thomas Anderson

FILM NOT IN THE ENGLISH LANGUAGE
nominations announced on Friday 4 January

THE DIVING BELL AND THE BUTTERFLY – Kathleen Kennedy/Jon Kilik/Julian Schnabel

THE KITE RUNNER – William Horberg/Walter Parkes/Rebecca Yeldham/Marc Foster

THE LIVES OF OTHERS – Quirin Berg/Max Wiedemann/Florian Henckel von Donnersmarck

LUST, CAUTION – Bill Kong/James Schamus/Ang Lee

LA VIE EN ROSE – Alain Goldman/Olivier Dahan

ANIMATED FILM

RATATOUILLE – Brad Bird

SHREK THE THIRD – Chris Miller

THE SIMPSONS MOVIE – Matt Groening/James L Brooks

LEADING ACTOR

GEORGE CLOONEY – Michael Clayton

DANIEL DAY-LEWIS – There Will Be Blood

JAMES McAVOY – Atonement

VIGGO MORTENSEN – Eastern Promises

ULRICH MÜHE – The Lives of Others

LEADING ACTRESS

CATE BLANCHETT – Elizabeth: The Golden Age

JULIE CHRISTIE – Away From Her

MARION COTILLARD – La Vie en Rose

KEIRA KNIGHTLEY – Atonement

ELLEN PAGE – Juno

SUPPORTING ACTOR

JAVIER BARDEM – No Country for Old Men

PAUL DANO – There Will Be Blood

TOMMY LEE JONES – No Country for Old Men

PHILIP SEYMOUR HOFFMAN – Charlie Wilson’s War

TOM WILKINSON – Michael Clayton

SUPPORTING ACTRESS

CATE BLANCHETT – I’m Not There

KELLY MACDONALD – No Country for Old Men

SAMANTHA MORTON – Control

SAOIRSE RONAN – Atonement

TILDA SWINTON – Michael Clayton

MUSIC

AMERICAN GANGSTER – Marc Streitenfeld

ATONEMENT – Dario Marianelli

THE KITE RUNNER – Alberto Iglesias

THERE WILL BE BLOOD – Jonny Greenwood

LA VIE EN ROSE – Christopher Gunning

CINEMATOGRAPHY

AMERICAN GANGSTER – Harris Savides

ATONEMENT – Seamus McGarvey

THE BOURNE ULTIMATUM – Oliver Wood

NO COUNTRY FOR OLD MEN – Roger Deakins

THERE WILL BE BLOOD – Robert Elswit

EDITING

AMERICAN GANGSTER – Pietro Scalia

ATONEMENT – Paul Tothill

THE BOURNE ULTIMATUM – Christopher Rouse

MICHAEL CLAYTON – John Gilroy

NO COUNTRY FOR OLD MEN – Roderick Jaynes

PRODUCTION DESIGN

ATONEMENT – Sarah Greenwood/Katie Spencer

ELIZABETH : THE GOLDEN AGE – Guy Hendrix Dyas/Richard Roberts

HARRY POTTER AND THE ORDER OF THE PHOENIX – Stuart Craig/Stephenie McMillan

THERE WILL BE BLOOD – Jack Fisk/Jim Erickson

LA VIE EN ROSE – Olivier Raoux

COSTUME DESIGN

ATONEMENT – Jacqueline Durran

ELIZABETH : THE GOLDEN AGE – Alexandra Byrne

LUST, CAUTION – Pan Lai

SWEENEY TODD: THE DEMON BARBER OF FLEET STREET – Colleen Atwood

LA VIE EN ROSE – Marit Allen

SOUND

ATONEMENT – Danny Hambrook/Paul Hamblin/Catherine Hodgson

THE BOURNE ULTIMATUM – Kirk Francis/Scott Millan/Dave Parker/Karen Baker Landers/Per Hallberg

NO COUNTRY FOR OLD MEN – Peter Kurland/Skip Lievsay/Craig Berkey/Greg Orloff

THERE WILL BE BLOOD – Christopher Scarabosio/Matthew Wood/John Pritchett/Michael Semanick/Tom Johnson

LA VIE EN ROSE – Laurent Zeilig/Pascal Villard/Jean-Paul Hurier/Marc Doisne

SPECIAL VISUAL EFFECTS

THE BOURNE ULTIMATUM – Peter Chiang/Charlie Noble/Mattias Lindahl/Joss Williams

THE GOLDEN COMPASS – Michael Fink/Bill Westenhofer/Ben Morris/Trevor Woods

HARRY POTTER AND THE ORDER OF THE PHOENIX – Tim Burke/John Richardson/Emma Norton/Chris Shaw

PIRATES OF THE CARIBBEAN: AT WORLD’S END – John Knoll/Charles Gibson/Hal Hickel/John Frazier

SPIDER-MAN 3 – Scott Stokdyk/Peter Nofz/Kee-Suk Ken Hahn/Spencer Cook

MAKE UP & HAIR

ATONEMENT – Ivana Primorac

ELIZABETH : THE GOLDEN AGE – Jenny Shircore

HAIRSPRAY – Nominees TBC

SWEENEY TODD: THE DEMON BARBER OF FLEET STREET – Ivana Primorac

LA VIE EN ROSE – Jan Archibald/Didier Lavergne

SHORT ANIMATION

THE PEARCE SISTERS – Jo Allen/Luis Cook

HEAD OVER HEELS – Osbert Parker/Fiona Pitkin/Ian Gouldstone

THE CRUMBLEGIANT – Pearse Moore/John McCloskey

SHORT FILM

DOG ALTOGETHER – Diarmid Scrimshaw/Paddy Considine

HESITATION – Julien Berlan/Michelle Eastwood/Virginia Gilbert

THE ONE AND ONLY HERB MCGWYER PLAYS WALLIS ISLAND – Charlie Henderson/James Griffiths/Tim Key/Tom Basden

SOFT – Jane Hooks/Simon Ellis

THE STRONGER – Dan McCulloch/Lia Williams/Frank McGuinness

THE ORANGE RISING STAR AWARD
(voted for by the public) – nominees announced on Tuesday 8 January

SHIA LABEOUF

SIENNA MILLER

ELLEN PAGE

SAM RILEY

TANG WEI

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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