British Independent Film Awards

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Best British Independent Film
Control

Best Performance by an Actress in a British Independent Film
Judi Dench for Notes on a Scandal

Best Performance by an Actor in a British Independent Film
Viggo Mortensen for Eastern Promises

Best Performance by a Supporting Actor or Actress in a British Independent Film
Tony Kebbell for Control

Most Promising Newcomer
Sam Riley for Control

Best Screenplay
Patrick Marber for Notes on a Scandal

Best Director of a British Independent Film
Anton Corbijn for Control

Best Achievement In Production
Black Gold

The Douglas Hickox Award [Best Debut Director]
Anton Corbijn for Control

Best British Documentary
Joe Strummer: The Future Is Unwritten

Best Technical Achievement
Mark Tildesley for Sunshine

Best British Short Film
Dog Altogether

Best Foreign Independent Film
The Lives of Others

The Raindance Award
The Inheritance

The Richard Harris Award
Ray Winstone

The Variety Award
Daniel Craig
Nominations

Best British Independent Film

  • And When Did You Last See Your Father?
  • Control
  • Eastern Promises
  • Hallam Foe
  • Notes on a Scandal

Best Performance by an Actress in a British Independent Film

  • Anne Hathaway for Becoming Jane
  • Tannishtha Chatterjee for Brick Lane
  • Sophia Myles for Hallam Foe
  • Kierston Wareing for It’s a Free World…
  • Judi Dench for Notes on a Scandal

Best Performance by an Actor in a British Independent Film

  • Jim Broadbent for And When Did You Last See Your Father?
  • Sam Riley for Control
  • Viggo Mortensen for Eastern Promises
  • Jamie Bell for Hallam Foe
  • Cillian Murphy for Sunshine

Best Performance by a Supporting Actor or Actress in a British Independent Film

  • Colin Firth for And When Did You Last See Your Father?
  • Tony Kebbell for Control
  • Samantha Morton for Control
  • Armin Muehler Stahl for Eastern Promises
  • Cate Blanchett for Notes on a Scandal

Most Promising Newcomer

  • Imogen Poots for 28 Weeks Later
  • Matthew Beard for And When Did You Last See Your Father?
  • Sam Riley for Control
  • Bradley Cole for Exhibit A
  • Kierston Wareing for It’s a Free World…

Best Screenplay

  • David Nicholls for And When Did You Last See Your Father?
  • Matt Greenhalgh for Control
  • Steve Knight for Eastern Promises
  • David MacKenzie, Ed Whitmore for Hallam Foe
  • Patrick Marber for Notes on a Scandal

Best Director of a British Independent Film

  • Anand Tucker for And When Did You Last See Your Father?
  • Sarah Gavron for Brick Lane
  • Anton Corbijn for Control
  • David Cronenberg for Eastern Promises
  • David MacKenzie for Hallam Foe

Best Achievement In Production

  • Black Gold
  • Control
  • Exhibit A
  • Extraordinary Rendition
  • Garbage Warrior

The Douglas Hickox Award

  • Mark Francis, Nick Francis for Black Gold
  • Anton Corbijn for Control
  • Oliver Hodge for Garbage Warrior
  • David Schwimmer for Run, Fat Boy, Run
  • Steve Hudson for True North

Best British Documentary

  • Black Gold
  • Deep Water
  • Garbage Warrior
  • In the Shadow of the Moon
  • Joe Strummer: The Future Is Unwritten

Best Technical Achievement

  • Enrique Chediak for 28 Weeks Later
  • Trevor Waite for And When Did You Last See Your Father?
  • Martin Ruhe for Control
  • David MacKenzie for Hallam Foe
  • Mark Tildesley for Sunshine

Best British Short Film

  • A Bout de Truffe – The Truffle Hunter
  • Cherries
  • Dog Altogether
  • The Girls
  • What Does Your Daddy Do?

Best Foreign Independent Film

  • Black Book
  • La Vie en Rose
  • Once
  • Tell No One [Ne le dis à personne]
  • The Lives of Others

The Raindance Award

  • Exhibit A
  • The Inheritance
  • Tovarisch: I Am Not Dead

The Richard Harris Award

  • Ray Winstone

The Variety Award

  • Daniel Craig
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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