Gotham Awards

2004 | 2005 | 2006 | 2007 | 2008 | 2009

Best Feature

Frozen River
Courtney Hunt, director; Heather Rae, Chip Hourihan, producers (Sony Pictures Classics)
Best Documentary

Trouble the Water
Tia Lessin & Carl Deal, producers/directors (Zeitgeist Films)
Best Ensemble Performance (tie)

Synecdoche, New York
Philip Seymour Hoffman, Samantha Morton, Michelle Williams, Catherine Keener, Emily Watson, Dianne Wiest, Jennifer Jason Leigh, Hope Davis, Tom Noonan (Sony Pictures Classics)
Vicky Cristina Barcelona
Scarlett Johansson, Rebecca Hall, Javier Bardem, Penelope Cruz (The Weinstein Company)

Breakthrough Director

Lance Hammer for Ballast (Alluvial Film Company)
Breakthrough Actor

Melissa Leo in Frozen River (Sony Pictures Classics)
Best Film Not Playing at a Theater Near You™

Sita Sings the Blues
Nina Paley, producer/director

NOMINATIONS

Best Feature

Ballast
Lance Hammer, director; Lance Hammer, Nina Parikh, producers (Alluvial Film Company)

Frozen River
Courtney Hunt, director; Heather Rae, Chip Hourihan, producers (Sony Pictures Classics)
Synecdoche, New York
Charlie Kaufman, director; Anthony Bregman, Charlie Kaufman, Spike Jonze, Sidney Kimmel, producers (Sony Pictures Classics)
The Visitor
Tom McCarthy, director; Mary Jane Skalski, Michael London, producers (Overture Films)
The Wrestler
Darren Aronofsky, director; Scott Franklin, Darren Aronofsky, producers (Fox Searchlight Pictures)
Best Documentary

Chris & Don: A Love Story
Guido Santi & Tina Mascara, directors; Julia Scott, Tina Mascara, Guido Santi, James White, producers (Zeitgeist Films)

Encounters at the End of the World
Werner Herzog, director; Henry Kaiser, producer (THINKFilm / Image Entertainment)
Man on Wire
James Marsh, director; Simon Chinn, producer (Magnolia Pictures)
Roman Polanski: Wanted and Desired
Maria Zenovich, director; Jeffrey Levy-Hinte, Lila Yacoub, Marina Zenovich, producers (THINKFilm in association with HBO Documentaries)
Trouble the Water
Tia Lessin & Carl Deal, producers/directors (Zeitgeist Films)
Best Ensemble Performance

Ballast
Micheal J. Smith, Sr., JimMyron Ross, Tarra Riggs, Johnny McPhail (Alluvial Film Company)

Rachel Getting Married
Anne Hathaway, Rosemarie DeWitt, Bill Irwin, Tunde Adebimpe, Mather Zickel, Anna Deavere Smith, Anisa George, Debra Winger (Sony Pictures Classics)
Synecdoche, New York
Philip Seymour Hoffman, Samantha Morton, Michelle Williams, Catherine Keener, Emily Watson, Dianne Wiest, Jennifer Jason Leigh, Hope Davis, Tom Noonan (Sony Pictures Classics)
Vicky Cristina Barcelona
Scarlett Johansson, Rebecca Hall, Javier Bardem, Penelope Cruz (The Weinstein Company)
The Visitor
Richard Jenkins, Hiam Abbas, Haaz Sleiman, Danai Gurira (Overture Films)
Breakthrough Director

Antonio Campos for Afterschool

Dennis Dortch for A Good Day to Be Black & Sexy (Magnolia Pictures)

Lance Hammer for Ballast (Alluvial Film Company)

Barry Jenkins for Medicine for Melancholy (IFC Films)

Alex Rivera for Sleep Dealer (Maya Releasing)
Breakthrough Actor

Pedro Castaneda in August Evening (Maya Releasing)

Rosemarie DeWitt in Rachel Getting Married (Sony Pictures Classics)

Rebecca Hall in Vicky Cristina Barcelona (The Weinstein Company)

Melissa Leo in Frozen River (Sony Pictures Classics)

Alejandro Polanco in Chop Shop (Koch Lorber Films)

Micheal J. Smith, Sr. in Ballast (Alluvial Film Company)
Best Film Not Playing at a Theater Near You™

Afterschool
Antonio Campos, director; Josh Mond, Sean Durkin, producers
Meadowlark
Taylor Greeson, producer/director
The New Year Parade
Tom Quinn, director; Steve Beal, Tom Quinn, producers
Sita Sings the Blues
Nina Paley, producer/director
Wellness
Jake Mahaffy, director; Jake Mahaffy, Jeff Clark, 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