Central Ohio Film Critics

2003 | 2004 | 2005 | 2006 | 2007 | 2008 | 2010 | 2012

Best Films
1. No Country for Old Men
2. The Lives of Others (Das Leben der Anderen)
3. Juno
4. Once
5. There Will Be Blood
6. Lars and the Real Girl
7. 3:10 to Yuma
8. The Savages
9. Sweeney Todd: The Demon Barber of Fleet Street
10. The Diving Bell and the Butterfly (Le Scaphandre et le papillon)

Best Director
Joel Coen and Ethan Coen, No Country for Old Men
Runner-up: Paul Thomas Anderson, There Will Be Blood

Best Actor
Daniel Day-Lewis, There Will Be Blood
Runner-up: Ryan Gosling, Lars and the Real Girl

Best Actress
Ellen Page, Juno
Runner-up: Amy Adams, Enchanted

Best Supporting Actor
Javier Bardem, No Country for Old Men
Runner-up: Ben Foster, 3:10 to Yuma

Best Supporting Actress
Cate Blanchett, I’m Not There
Runner-up: Emily Mortimer, Lars and the Real Girl

Best Ensemble
No Country for Old Men
Runner-up: 3:10 to Yuma

Actor of the Year – For an exemplary body of work
Philip Seymour Hoffman, Before the Devil Knows You’re Dead , Charlie Wilson’s War,
and The Savages

Breakthrough Film Artist
Sarah Polley, Away from Her (for directing and screenwriting)
Runner-up: Ellen Page, Juno (for acting)

Best Cinematography
Óscar Faura, The Orphanage (El Orfanato)
Runner-up: Roger Deakins, No Country for Old Men

Best Screenplay – Adapted
Joel Coen and Ethan Coen, No Country for Old Men
Runner-up: Paul Thomas Anderson, There Will Be Blood

Best Screenplay – Original
Diablo Cody, Juno
Runner-up: Tamara Jenkins, The Savages

Best Score
Glen Hansard and Markéta Irglová, Once
Runner-up: Dario Marianelli, Atonement

Best Documentary
The King of Kong: A Fistful of Quarters
Runners-up (tie): In the Shadow of the Moon and No End in Sight

Best Foreign Language Film
The Lives of Others (Das Leben der Anderen)
Runner-up: The Orphanage (El Orfanato)

Best Animated Film
Runner-up: Paprika

Best Overlooked Film
Air Guitar Nation
Runner-up: The Lookout

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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