Phoenix Film Critics

2003 | 2004 | 2005 | 2006 | 2007 | 2008 | 2009 | 2010 | 2011 | 2012 | 2013
Amy Ryan

Best Picture
No Country for Old Men

Best Foreign Language Film
The Diving Bell and the Butterfly by Julian Schnabel

Best Documentary Feature Film
Sicko by Michael Moore

Best Achievement in Direction
Ethan and Joel Coen for No Country for Old Men

Best Performance by an Actor in a Leading Role
Daniel Day-Lewis for There Will Be Blood

Best Performance by an Actress in a Leading Role
Julie Christie for Away from Her

Best Performance by an Actor in a Supporting Role
Javier Bardem for No Country for Old Men

Best Performance by an Actress in a Supporting Role
Amy Ryan for Gone Baby Gone

Best Acting Ensemble
No Country for Old Men

Best Screenplay written directly for the screen
Diablo Cody for Juno

Best Screenplay adapted from another medium
Joel and Ethan Coen for No Country for Old Men

Best Animated Feature Film
Ratatouille by Brad Bird

Best Achievement in Cinematography
Seamus McGarvey, Atonement

Best Achievement in Editing
Joel and Ethan Coen, No Country for Old Men

Best Original Score
Dario Marianelli, Atonement

Best Original Song
“Falling Slowly” by Glen Hansard and Marketa Irglova, Once

Best Achievement in Production Design
Dante Ferretti, Sweeney Todd: The Demon Barber of Fleet Street

Best Achievement in Costume Design
Colleen Atwood, Sweeney Todd: The Demon Barber of Fleet Street

Best Achievement in Visual Effects
300

Best Achievement in Stunts
The Bourne Ultimatum

Breakthrough on Camera
Ellen Page for Juno

Breakthrough behind the Camera
Sarah Polley for Away from Her

Best Performance by a youth in a Lead or Supporting Role – Male
Edward Sanders for Sweeney Todd: The Demon Barber of Fleet Street

Best Performance by a youth in a Lead or Supporting Role – Female
Saoirse Ronan for Atonement

Overlooked Film of the Year
Stardust by Matthew Vaughn

Best Live Action Family Film
Enchanted by Kevin Lima

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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