Gotham Awards

2004 | 2005 | 2006 | 2007 | 2008 | 2009

Best Feature

Into the Wild
Sean Penn, director; Sean Penn, Art Linson, Bill Pohlad, producers (Paramount Vantage & River Road Entertainment)

Best Documentary

Sicko
Michael Moore, director; Michael Moore, Meghan O’Hara, producers (The
Weinstein Company)

Best Ensemble Cast

Before the Devil Knows You’re Dead
Albert Finney, Rosemary Harris, Ethan Hawke, Philip Seymour Hoffman, Brian
F. O’Byrne, Amy Ryan, Michael Shannon, Marisa Tomei (THINKFilm)

AND

Talk to Me
Cedric the Entertainer, Don Cheadle, Chiwetel Ejiofor, Mike Epps, Vondie
Curtis Hall, Taraji P. Henson, Martin Sheen (Focus Features)

Breakthrough Director

Craig Zobel for Great World of Sound (Magnolia Pictures)

Breakthrough Actor

Ellen Page in Juno (Fox Searchlight Pictures)

Best Film Not Playing at a Theater Near You

Frownland
Ronald Bronstein, director; Marc Raybin, producer

Nominations
Best Feature

Great World of Sound
Craig Zobel, director; Melissa Palmer, David Gordon Green,
Richard Wright, Craig Zobel, producers (Magnolia Pictures)

I’m Not There
Todd Haynes, director; Christine Vachon, James D. Stern, John Sloss, John Goldwyn, producers (The Weinstein Company)

Into the Wild
Sean Penn, director; Sean Penn, Art Linson, Bill Pohlad, producers (Paramount Vantage & River Road Entertainment)

Margot at the Wedding
Noah Baumbach, director; Scott Rudin, producer (Paramount Vantage)

The Namesake
Mira Nair, director; Lydia Dean Pilcher, Mira Nair, producers (Fox Searchlight
Pictures)

Best Documentary

The Devil Came on Horseback
Annie Sundberg & Ricki Stern, directors; Ricki Stern, Annie Sundberg,
Gretchen Wallace, Jane Wells, producers (International Film Circuit)

Jimmy Carter Man from Plains
Jonathan Demme, director; Jonathan Demme, Neda Armian, producers (Sony
Pictures Classics)

My Kid Could Paint That
Amir Bar-Lev, producer/director (Sony Pictures Classics)

Sicko
Michael Moore, director; Michael Moore, Meghan O’Hara, producers (The
Weinstein Company)

Taxi to the Dark Side
Alex Gibney, director; Alex Gibney, Eva Orner, Susannah Shipman, producers
(THINKFilm)

Best Ensemble Cast

Before the Devil Knows You’re Dead
Albert Finney, Rosemary Harris, Ethan Hawke, Philip Seymour Hoffman, Brian
F. O’Byrne, Amy Ryan, Michael Shannon, Marisa Tomei (THINKFilm)

The Last Winter
Connie Britton, Kevin Corrigan, Zach Gilford, James LeGros, Ron Perlman (IFC
First Take)

Margot at the Wedding
Jack Black, Flora Cross, Ciarán Hinds, Nicole Kidman, Jennifer Jason Leigh,
Zane Pais, John Turturro (Paramount Vantage)

The Savages
Philip Bosco, Philip Seymour Hoffman, Laura Linney (Fox Searchlight Pictures)

Talk to Me
Cedric the Entertainer, Don Cheadle, Chiwetel Ejiofor, Mike Epps, Vondie
Curtis Hall, Taraji P. Henson, Martin Sheen (Focus Features)

Breakthrough Director

Lee Isaac Chung for Munyurangabo

Stephane Gauger for Owl and the Sparrow

Julia Loktev for Day Night Day Night (IFC First Take)

David Von Ancken for Seraphim Falls (Samuel Goldwyn Films)

Craig Zobel for Great World of Sound (Magnolia Pictures)

Breakthrough Actor

Emile Hirsch in Into the Wild (Paramount Vantage)

Kene Holliday in Great World of Sound (Magnolia Pictures)

Ellen Page in Juno (Fox Searchlight Pictures)

Jess Weixler in Teeth (Roadside Attractions)

Luisa Williams in Day Night Day Night (IFC First Take)

Best Film Not Playing at a Theater Near You

August the First
Lanre Olabisi, director; Shawn Alexander, Gabriel “Swede” Sedgwick, Nicky
Arzeu Akmal, Lanre Olabisi, producers

Frownland
Ronald Bronstein, director; Marc Raybin, producer

Loren Cass
Chris Fuller, director; Chris Fuller, Frank Craft, Kayla Tabish, producers

Mississippi Chicken
John Fiege, director; John Fiege, Anita Grabowski, Victor Moyers, producers

Off the Grid: Life on the Mesa
Jeremy Stulberg & Randy Stulberg, directors; Eric Juhola, Jeremy Stulberg,
Randy Stulberg, producers

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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