Washington, D.C. Area Film Critics Association 2010 Awards

2003 | 2004 | 2005 | 2006 | 2007 | 2008 | 2009 | 2010 | 2012 | 2013 | 2014

Best Film
The Social Network

Best Director
David Fincher (The Social Network)

Best Actor
Colin Firth (The King’s Speech)

Best Actress
Jennifer Lawrence (Winter’s Bone)

Best Supporting Actor
Christian Bale (The Fighter)

Best Supporting Actress
Melissa Leo (The Fighter)

Best Acting Ensemble
The Town

Best Adapted Screenplay
Aaron Sorkin (The Social Network)

Best Original Screenplay
Christopher Nolan (Inception)

Best Animated Feature
Toy Story 3

Best Documentary
Exit Through the Gift Shop

Best Foreign Language Film

Best Art Direction
Guy Hendrix Dyas, Luke Freeborn, Brad Ricker and Dean Wolcott (Inception)

Best Cinematography
Wally Pfister (Inception)

Best Score
Hans Zimmer (Inception)

Be Sociable, Share!

3 Responses to “Washington, D.C. Area Film Critics Association 2010 Awards”

  1. m ng says:

    I am confused why The King’s Speech occupies two separate spaces, and its SAG and GG noms are listed in separately?

  2. Tom Long says:

    Hey gang,

    First off, we’re the Detroit Film Critics Society, not Association

    Second, here are our picks

    Best film — Social Network
    Best director — Danny Boyle, 127 Hours
    Best actor — Colin Firth, King’s Speech
    Best actress — Jennifer Lawrence, Winter’s Bone
    Best supporting actress — Amy Adams, Fighter
    Best supporting actor — Christian Bale, Fighter
    Best ensemble — Winter’s Bone
    Breakthrough performance — Jennifer Lawrence, Winter’s bone

  3. Looking forward to inclusion of New York Film Critics Online awards! http://NYFCO.org

    The Social Network

    David Fincher – The Social Network

    James Franco – 127 Hours

    Natalie Portman – Black Swan

    Christian Bale – The Fighter

    Melissa Leo – The Fighter

    Matthew Libatique – Black Swan

    Aaron Sorkin – The Social Network

    I Am Love

    Exit through the Gift Shop

    Toy Story 3

    Clint Mansell – Black Swan

    Noomi Rapace – The Millennium Trilogy

    John Wells – The Company Men

    The Kids Are All Right

Quote Unquotesee all »

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