By David Poland poland@moviecitynews.com

2012 European Film Awards Winners

THE 25th EUROPEAN FILM AWARDS: WINNERS

The more than 2,700 members of the European Film Academy—filmmakers from across Europe—have voted for this year’s European Film Awards. At the awards ceremony in Berlin the following awards were presented:

EUROPEAN FILM 2012:
AMOUR
France / Germany / Austria, 127 min
Written & directed by Michael Haneke
produced by Margaret Menegoz, Stefan Arndt, Veit Heiduschka & Michael Katz

EUROPEAN DIRECTOR 2012:
Michael Haneke for AMOUR

EUROPEAN ACTRESS 2012:
Emmanuelle Riva in AMOUR

EUROPEAN ACTOR 2012:
Jean-Louis Trintignant in AMOUR

EUROPEAN SCREENWRITER 2012:
Tobias Lindholm & Thomas Vinterberg for JAGTEN (The Hunt)

CARLO DI PALMA EUROPEAN CINEMATOGRAPHER AWARD 2012:
Sean Bobbitt for SHAME

EUROPEAN EDITOR 2012:
Joe Walker for SHAME

EUROPEAN PRODUCTION DESIGNER 2012:
Maria Djurkovic for TINKER TAILOR SOLDIER SPY

EUROPEAN COMPOSER 2012:
Alberto Iglesias for TINKER TAILOR SOLDIER SPY

EUROPEAN DISCOVERY 2012 – Prix FIPRESCI:
KAUWBOY by Boudewijn Koole (The Netherlands)

EUROPEAN FILM ACADEMY DOCUMENTARY 2012:
HIVER NOMADE (Winter Nomads) by Manuel von Stürler (Switzerland)

EUROPEAN FILM ACADEMY ANIMATED FEATURE FILM 2012:
ALOIS NEBEL by Tomáš Luňák (Czech Republic / Germany / Slovakia)

EUROPEAN FILM ACADEMY SHORT FILM 2012:
SUPERMAN, SPIDERMAN OR BATMAN by Tudor Giurgiu, Romania

EUROPEAN CO-PRODUCTION AWARD 2012 – Prix EURIMAGES:
Helena Danielsson, Sweden

EUROPEAN ACHIEVEMENT IN WORLD CINEMA 2012:
Dame Helen Mirren, UK

EUROPEAN FILM ACADEMY LIFETIME ACHIEVEMENT AWARD:
Bernardo Bertolucci, Italy

THE PEOPLE’S CHOICE AWARD 2012:
HASTA LA VISTA (Come As You Are)
directed by da Geoffrey Enthoven

The European Film Awards 2012 are presented by the European Film Academy e.V. and EFA Productions gGmbH with the support of the Maltese Ministry of Finance, Economy and Investment, the Malta Film Commission, FFA German Federal Film Board, the German State Lottery Berlin, the German State Minister for Culture and the Media, the MEDIA Programme of the EU, Medienboard Berlin-Brandenburg, Air Malta p.l.c., ARTE, CinePostproduction, EGEDA -filmotech.com, Film Corporation, GLS, MFCC, Panalight Nexos Mediterranea and ZDF.
Official Hair styling partner: Goldwell
Official make-up partner: M∙A∙C

EFA PATRONS 2012: ★ CENTRE DU CINEMA OF THE FEDERATION WALLONIA BRUSSELS ★ DANISH FILM INSTITUTE ★ EURIMAGES ★ EUROPEAN FILM BONDS (EFB) ★ FILM FUND LUXEMBOURG ★ FLANDERS AUDIOVISUAL FUND (VAF) ★ GERMAN FILMS ★ HUNGARIAN NATIONAL FILM FUND ★ISTITUTO LUCE / CINECITTÀ s.r.l. ★ MACEDONIAN FILM FUND ★ MFG FILMFÖRDERUNG BADEN-WÜRTTEMBERG ★ MINISTRY OF EDUCATION AND CULTURE OF CYPRUS (CULTURAL SERVICES) ★ NETHERLANDS FILM FUND ★ POLISH FILM INSTITUTE ★ AB SVENSK FILMINDUSTRI ★ SWEDISH FILM INSTITUTE ★ SWISS FILMS ★ TELEWIZJA POLSKA S.A. (TVP)

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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