By Ray Pride Pride@moviecitynews.com

2011 AWFJ EDA Awards Winners

Posted Tuesday, January 10th, 2012 - Comments Off on 2011 AWFJ EDA Awards Winners
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EDA ANNUAL ACHIEVEMENT AWARDS

Best Film:

    The Artist

Best Director:

    Michel Hazanavicius – The Artist

Best Screenplay, Original:

    Midnight in Paris – Woody Allen

Best Screenplay, Adapted: (TIE)

    The Descendants – Alexander Payne, Nat Faxon and Jim Rash
    Moneyball – Steven Zallian and Aaron Sorkin

Best Documentary:

    Buck

Best Animated Film:

    Rango

Best Actress:

    Viola Davis as Abileen in The Help

Best Actress in a Supporting Role: (TIE)

    Janet McTeer as Hubert Page in Albert Nobbs
    Octavia Spencer as Minny Jackson in The Help

Best Actor:

    Michael Fassbender as Brandon Sullivan in Shame

Best Actor in a Supporting Role:

    Christopher Plummer as Hal Fields in Beginners

Best Ensemble Cast:

    Bridesmaids

Best Editing:

    Hugo – Thelma Schoonmaker

Best Cinematography:

    The Tree of Life – Emmanuel Lubezki

Best Film Music Or Score: (TIE)

    The Girl With The Dragon Tattoo – Trent Reznor and Atticus Ross, Original Score
    Hanna – The Chemical Brothers, Original Score

Best Non-English-Language Film:

    A Separation – Ashgar Farhadi, Iran

EDA FEMALE FOCUS AWARDS

Best Woman Director:

    Lynne Ramsey – We Need To Talk About Kevin

Best Woman Screenwriter:

    Kristen Wiig and Annie Mumolo – Bridesmaids

Kick Ass Award For Best Female Action Star: (TIE)

    Rooney Mara as Lisbeth Salander in Girl With The Dragon Tattoo
    Saoirse Ronan as Hanna in Hanna

Best Animated Female:

    Isla Fisher as Beans in Rango

Best Breakthrough Performance:

    Elizabeth Olsen as Martha in Martha Marcy May Marlene

Female Icon Award:

    Glenn Close as Albert Nobbs in Albert Nobbs

Actress Defying Age and Ageism:

    Helen Mirren as Rachel Singer in The Debt

This Year’s Outstanding Achievement By A Woman In The Film Industry:

    Jessica Chastain for performances in four highly acclaimed films

AWFJ Award For Humanitarian Activism:

    Angelina Jolie for UN work and making In The Land of Blood and Honey to raise awareness about genocide.

EDA SPECIAL MENTION AWARDS

AWFJ Hall Of Shame Award:

    The Hollywood Reporter for failing to invite any women to join the Directors Roundtable

Actress Most in Need Of A New Agent:

    All actresses in New Year’s Eve

Movie You Wanted To Love But Just Couldn‘t:

    Tinker, Tailor, Soldier, Spy

Unforgettable Moment Award:

    The Artist – The sound of the glass clinking on the table.

Best Depiction Of Nudity, Sexuality, or Seduction: (TIE)

    Melancholia – Justine in the moonlight.
    Shame – Opening sequence on the subway train.

Sequel Or Remake That Shouldn’t Have Been Made Award:

    The Hangover Part II

Most Egregious Love Interest Age Difference Award: (TIE)

    Albert Nobbs – Glenn Close (64) and Mia Wasilkowska (22)
    Twilight: Breaking Dawn Part I – Bella (18) and Edward (Over 100)

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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