St. Louis Film Critics Association 2010 Awards

2005 | 2006 | 2007 | 2008 | 2009 | 2010 | 2011 | 2012 | 2013

Best Film
The Social Network
runner-up: The King’s Speech

Best Director
David Fincher (The Social Network)
runner-up: Christopher Nolan (Inception)

Best Actor
Colin Firth (The King’s Speech)
runner-up: James Franco (127 Hours)

Best Actress
Natalie Portman (Black Swan)
runner-up: Jennifer Lawrence (Winter’s Bone)

Best Supporting Actor
Christian Bale (The Fighter)
runner-up: Geoffrey Rush (King’s Speech)

Best Supporting Actress
Melissa Leo (The Fighter)
runner-up: Hailee Steinfeld (True Grit)

Best Cinematography (photography, not special effects)
True Grit (Roger Deakins)
runner-up: 127 Hours (Enrique Chediak and Anthony Dod Mantle)

Best Music (soundtrack or score)
Social Network
runners-up: Inception & Black Swan (tie

 Best Visual Effects
runner-up: Scott Pilgrim vs The World

Best Original Screenplay
The King’s Speech (David Seidler)
runner-up: Inception (Christopher Nolan)

Best Adapted Screenplay
The Social Network (Aaron Sorkin)
runner-up: Winter’s Bone (Debra Granik and Anne Rosellini)

Best Foreign-Language Film
runners-up: Biutiful, The Girl With The Dragon Tattoo & A Prophet (tie)

Best Documentary
The Tillman Story
runner-up: Waiting for Superman

Best Comedy
Scott Pilgrim vs the World
runner-up: Micmacs

Best Animated Film
Toy Story 3
runner-up: How To Train Your Dragon

Best Artistic/Creative Film (for excellence in art-house cinema)
runner-up: Scott Pilgrim vs. The World

Moving the Medium Forward (for technical/artistic innovative that advances the medium)
runner-up: Scott Pilgrim vs. The World

Special Merit (for best scene, cinematic technique or other memorable aspect or moment) (a tie)

–          127 Hours: the zoom-up scene beginning with a tight shot on Aron (James Franco) screaming which pulls up to a wide shot of a large land area, showing how isolated he was.

–          Inception: the zero-gravity hotel hallway fight scene with Joseph Gordon-Levitt.

–          Harry Potter and Deathly Hallows, Part 1: the “obliviate” scene in which Hermione erases her parents’ memories of her.
–          Kick-Ass: the Hit-Girl kill spree.
–          Easy A: the John Hughes tribute near the beginning.


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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