Golden Globes Awards

2003 | 2004 | 2005 | 2006 | 2007 | 2008 | 2009 | 2010 | 2011 | 2012






MOTION PICTURES

BEST MOTION PICTURE – DRAMA
AVATAR
Lightstorm Entertainment; Twentieth Century Fox

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BEST MOTION PICTURE – COMEDY OR MUSICAL
THE HANGOVER
Warner Bros. Pictures; Warner Bros. Pictures

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BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE – COMEDY OR MUSICAL
ROBERT DOWNEY JR. – SHERLOCK HOLMES

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BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE – COMEDY OR MUSICAL
MERYL STREEP – JULIE & JULIA
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BEST DIRECTOR – MOTION PICTURE
JAMES CAMERON AVATAR

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BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE – DRAMA
SANDRA BULLOCK – THE BLIND SIDE

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BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE – DRAMA
JEFF BRIDGES – CRAZY HEART

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BEST PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE IN A MOTION PICTURE
MO’NIQUE – PRECIOUS

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BEST ANIMATED FEATURE FILM
UP – Walt Disney Pictures/PIXAR Animation Studios; Walt Disney Studios Motion Pictures

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BEST ORIGINAL SONG – MOTION PICTURE
CRAZYHEART
Music & Lyrics by: Ryan Bingham, T Bone Burnett

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BEST ORIGINAL SCORE – MOTION PICTURE
MICHAEL GIACCHINO – UP

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BEST SCREENPLAY – MOTION PICTURE
JASON REITMAN, SHELDON TURNER – UP IN THE AIR

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BEST FOREIGN LANGUAGE FILM
THE WHITE RIBBON (GERMANY)
(DAS WEISSE BAND – EINE DEUTSCHE KINDERGESCHICHTE)
Wega Films; Sony Pictures Classics

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BEST PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE IN A MOTION PICTURE
CHRISTOPH WALTZ – INGLOURIOUS BASTERDS

TELEVISION

BEST TELEVISION SERIES – COMEDY OR MUSICAL

GLEE (FOX)
Twentieth Century Fox Television

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BEST TELEVISION SERIES – DRAMA
MAD MEN (AMC)
AMC

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BEST PERFORMANCE BY AN ACTRESS IN A TELEVISION SERIES -COMEDY OR MUSICAL
TONI COLLETTE – UNITED STATES OF TARA

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BEST PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE IN A SERIES,
MINI-SERIES OR MOTION PICTURE MADE FOR TELEVISION
JOHN LITHGOW – DEXTER

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BEST PERFORMANCE BY AN ACTOR IN A TELEVISION SERIES – DRAMA
MICHAEL HALL – DEXTER

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BEST PERFORMANCE BY AN ACTRESS IN A TELEVISION SERIES – DRAMA
JULIANNA MARGULIES – THE GOOD WIFE

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BEST MINI-SERIES OR MOTION PICTURE MADE FOR TELEVISION
GREY GARDENS (HBO)
Specialty Films and Locomotive in association with HBO Films

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BEST PERFORMANCE BY AN ACTOR IN A MINI-SERIES OR MOTION
PICTURE MADE FOR TELEVISION
KEVIN BACON – TAKING CHANCE

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BEST PERFORMANCE BY AN ACTRESS IN A MINI-SERIES OR MOTION
PICTURE MADE FOR TELEVISION
DREW BARRYMORE – GREY GARDENS

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BEST PERFORMANCE BY AN ACTOR IN A TELEVISION SERIES -COMEDY OR MUSICAL
ALEC BALDWIN 30 ROCK

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BEST PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE IN A
SERIES, MINI-SERIES OR MOTION PICTURE MADE FOR TELEVISION

CHLOË SEVIGNY – BIG LOVE

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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