BFCA’S Critics’ Choice 2010 Awards

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

BEST PICTURE
The Social Network

BEST ACTOR
Colin Firth – The King’s Speech

BEST ACTRESS
Natalie Portman – Black Swan

BEST SUPPORTING ACTOR
Christian Bale – The Fighter

BEST SUPPORTING ACTRESS
Melissa Leo – The Fighter

BEST YOUNG ACTOR/ACTRESS
Hailee Steinfeld – True Grit

BEST ACTING ENSEMBLE
The Fighter

BEST DIRECTOR
David Fincher, The Social Network

BEST ORIGINAL SCREENPLAY
The King’s Speech

BEST ADAPTED SCREENPLAY
The Social Network

BEST ANIMATED FEATURE
Toy Story 3

BEST ACTION MOVIE
Inception

BEST COMEDY
Easy A

BEST PICTURE MADE FOR TELEVISION
The Pacific

BEST FOREIGN LANGUAGE FILM
The Girl With The Dragon Tattoo

BEST DOCUMENTARY FEATURE
Waiting for ‘Superman’

BEST SONG
“If I Rise” 127 Hours

BEST SCORE
The Social Network – Trent Reznor, Atticus Ross

BEST CINEMATOGRAPHY
Inception

BEST ART DIRECTION
Inception

BEST EDITING
Inception

BEST COSTUME DESIGN
Alice in Wonderland

BEST MAKEUP
Alice in Wonderland

Best VISUAL EFFECTS
Inception

BEST SOUND
Inception

 

The Nominations

BEST PICTURE
127 Hours
Black Swan
The Fighter
Inception
The King’s Speech
The Social Network
The Town
Toy Story 3
True Grit
Winter’s Bone

BEST ACTOR
Jeff Bridges – “True Grit”
Robert Duvall – “Get Low”
Jesse Eisenberg – “The Social Network”
Colin Firth – “The King’s Speech”
James Franco – “127 Hours”
Ryan Gosling – “Blue Valentine”

BEST ACTRESS
Annette Bening – “The Kids Are All Right”
Nicole Kidman – “Rabbit Hole”
Jennifer Lawrence – “Winter’s Bone”
Natalie Portman – “Black Swan”
Noomi Rapace – “The Girl With the Dragon Tattoo”
Michelle Williams – “Blue Valentine”

BEST SUPPORTING ACTOR
Christian Bale – “The Fighter”
Andrew Garfield – “The Social Network”
Jeremy Renner – “The Town”
Sam Rockwell – “Conviction”
Mark Ruffalo – “The Kids Are All Right”
Geoffrey Rush – “The King’s Speech”

BEST SUPPORTING ACTRESS
Amy Adams – “The Fighter”
Helena Bonham Carter – “The King’s Speech”
Mila Kunis – “Black Swan”
Melissa Leo – “The Fighter”
Hailee Steinfeld – “True Grit”
Jacki Weaver – “Animal Kingdom”

BEST YOUNG ACTOR/ACTRESS
Elle Fanning – “Somewhere”
Jennifer Lawrence – “Winter’s Bone”
Chloe Grace Moretz – “Let Me In”
Chloe Grace Moretz – “Kick-Ass”
Kodi Smit-McPhee – “Let Me In”
Hailee Steinfeld – “True Grit”

BEST ACTING ENSEMBLE
The Fighter
The Kids Are All Right
The King’s Speech
The Social Network
The Town

BEST DIRECTOR
Darren Aronofsky – “Black Swan”
Danny Boyle – “127 Hours”
Joel Coen & Ethan Coen – “True Grit”
David Fincher – “The Social Network”
Tom Hooper – “The King’s Speech”
Christopher Nolan – “Inception”

BEST ORIGINAL SCREENPLAY
“Another Year” – Mike Leigh
“Black Swan” – Mark Heyman and Andres Heinz and John McLaughlin
“The Fighter” – Scott Silver and Paul Tamasy & Eric Johnson (Story by Keith Dorrington & Paul Tamasy & Eric Johnson)
“Inception” – Christopher Nolan
“The Kids Are All Right” – Lisa Cholodenko and Stuart Blumberg
“The King’s Speech” – David Seidler

BEST ADAPTED SCREENPLAY
“127 Hours” – Simon Beaufoy and Danny Boyle
“The Social Network” – Aaron Sorkin
“The Town” – Ben Affleck, Peter Craig and Sheldon Turner
“Toy Story 3” – Michael Arndt (Story by John Lasseter, Andrew Stanton and Lee Unkrich)
“True Grit” – Joel Coen & Ethan Coen
“Winter’s Bone” – Debra Granik and Anne Rosellini

BEST CINEMATOGRAPHY
“127 Hours” – Anthony Dod Mantle
“Black Swan” – Matthew Libatique
“Inception” – Wally Pfister
“The King’s Speech” – Danny Cohen
“True Grit” – Roger Deakins

BEST ART DIRECTION
“Alice in Wonderland” – Stefan Dechant
“Black Swan” – Therese DePrez and Tora Peterson
“Inception” – Guy Hendrix Dyas
“The King’s Speech” – Netty Chapman
“True Grit” – Jess Gonchor and Nancy Haigh

BEST EDITING
“127 Hours” – Jon Harris
“Black Swan” – Andrew Weisblum
“Inception” – Lee Smith
“The Social Network” – Angus Wall and Kirk Baxter

BEST COSTUME DESIGN
“Alice in Wonderland” – Colleen Atwood
“Black Swan” – Amy Westcott
“The King’s Speech” – Jenny Beavan
“True Grit” – Mary Zophres

BEST MAKEUP
Alice in Wonderland
Black Swan
Harry Potter and the Deathly Hallows Part 1
True Grit

BEST VISUAL EFFECTS
Alice in Wonderland
Harry Potter and the Deathly Hallows Part 1
Inception
Tron: Legacy

BEST SOUND
127 Hours
Black Swan
Inception
The Social Network
Toy Story 3

BEST ANIMATED FEATURE
Despicable Me
How to Train Your Dragon
The Illusionist
Tangled
Toy Story 3

BEST ACTION MOVIE
Inception
Kick-Ass
Red
The Town
Unstoppable

BEST COMEDY
Cyrus
Date Night
Easy A
Get Him to the Greek
I Love You Phillip Morris
The Other Guys

BEST PICTURE MADE FOR TELEVISION
The Pacific
Temple Grandin
You Don’t Know Jack

BEST FOREIGN LANGUAGE FILM
Biutiful
I Am Love
The Girl with the Dragon Tattoo

BEST DOCUMENTARY FEATURE
Exit Through the Gift Shop
Inside Job
Restrepo
Joan Rivers: A Piece of Work
The Tillman Story
Waiting for Superman

BEST SONG
“I See the Light” – performed by Mandy Moore & Zachary Levi/written by Alan Menken & Glenn Slater – Tangled
“If I Rise” – performed by Dido and A.R. Rahman/music by A.R. Rahman/lyrics by Dido Armstrong and Rollo Armstrong – 127 Hours
“Shine” – performed and written by John Legend – Waiting for Superman
“We Belong Together” – performed and written by Randy Newman – Toy Story 3
“You Haven’t Seen the Last of Me Yet” – performed by Cher/written by Diane Warren – Burlesque

BEST SCORE
“Black Swan” – Clint Mansell
“Inception” – Hans Zimmer
“The King’s Speech” – Alexandre Desplat
“The Social Network” – Trent Reznor and Atticus Ross
“True Grit” – Carter Burwell

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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