By Ray Pride Pride@moviecitynews.com

“The Square” and Spurlock’s “Inside Man” Take Top Honors at 2013 IDA Documentary Awards

Posted Saturday, December 7th, 2013 - Comments Off on “The Square” and Spurlock’s “Inside Man” Take Top Honors at 2013 IDA Documentary Awards
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LOS ANGELES, December 6, 2013 — Winners in the International Documentary Association’s 2013 IDA Documentary Awards were announced during tonight’s program, giving Jehane Noujaim’s THE SQUARE top honors with the Best Feature Award. The first major film acquisition by Netflix, THE SQUARE follows a group of Egyptian activists as they battle leaders and regimes, and risk their lives to build a new society of conscience.
Also announced in the ceremony was the Best Short Award, which honored SLOMO, directed by Josh Izenberg. An inspirational portrait of neurologist turned rollerblader, Dr. John Kitchin, SLOMO has been an audience favorite at festivals around the world garnering a number of audience and jury awards.

During the ceremony, which was hosted by comedian and award-winning stage and screen actor, Paul Provenza, two series awards were also presented. The Best Continuing Series Award went to the PBS series INDEPENDENT LENS. Now in its 12th season, the weekly series features original documentary films made by some of the best independent filmmakers working today. The Best Limited Series Award went to the CNN Original Series INSIDE MAN, hosted by Oscar®-nominated documentary filmmaker Morgan Spurlock.

IDA’s Career Achievement Award was presented to Academy Award®- and Emmy Award-winning director, producer and writer Alex Gibney whose body of work includes Mea Maxima Culpa: Silence in the House of God (2012), Client 9: The Rise and Fall of Eliot Spitzer (2010) and Taxi to the Dark Side (2007), which won an Oscar® for Best Documentary Feature. This year saw the release of Gibney’s latest films We Steal Secrets: The Story of WikiLeaks and The Armstrong Lie. Legendary producer Frank Marshall (Back to the Future, Raiders of the Lost Ark, The Sixth Sense, The Armstrong Lie) presented the Career Achievement Award to Gibney.

Presented for just the fourth time in the 29-year history of the Awards, the IDA Amicus Award went to Impact Partners co-founder Geralyn Dreyfous, who also founded the Utah Film Center. Dreyfous’ executive producing and producing credits include the Academy Award®-winning Born Into Brothels, The Invisible War, as well as 2013’s The Square and The Crash Reel. Presented by Academy Award®-winning actor and advocate Geena Davis, the IDA Amicus Award recognizes friends of the documentary community who have contributed significantly to the field.

Filmmaker Laura Poitras received IDA’s Courage Under Fire Award, in recognition of “conspicuous bravery in the pursuit of truth.” Along with Glenn Greenwald, Poitras broke the story of NSA whistleblower Edward Snowden, revealing the PRISM program.  Poitras is working on a trilogy of films about America post 9/11, which includes My Country, My Country (2006) and The Oath (2010). Poitras is currently in Berlin editing the third film of the trilogy, a documentary about NSA surveillance, and accepted the award via live remote. Presenting the award to Poitras in Los Angeles was William Binney, who worked at the National Security Agency for over 30 years before resigning in protest over the agency’s data mining programs.

A complete list of winners follows.


About the International Documentary Association
Founded in 1982, the International Documentary Association is a nonprofit 501(c)(3) organization that is dedicated to building and serving the needs of a thriving documentary culture. The IDA believes that all nonfiction filmmakers should have access to the services and legal protections they need to successfully practice their art. Through its programs, IDA provides resources, creates community, and defends rights and freedoms for documentary artists, activists and journalists.


2013 IDA Documentary Awards Winners

CAREER ACHIEVEMENT AWARD
Alex Gibney

IDA AMICUS AWARD
Geralyn Dreyfous

COURAGE UNDER FIRE AWARD
Laura Poitras

BEST FEATURE AWARD
THE SQUARE
Director: Jehane Noujaim
Producer: Karim Amer
Executive Producers: Geralyn Dreyfous, Mike Lerner, Sarah Johnson, Jodie Evans, Lekha Singh, Gavin Dougan, Dan Catullo III, Lisa Nishimura, Adam Del Deo,
Khalil Noujaim, Alexandra Johnes, Jeff Skoll
Noujaim Films, Netflix Originals

BEST SHORT AWARD
SLOMO
Director: Josh Izenberg
Producer: Amanda Micheli
Executive Producer: Neil Izenberg
Big Young Films, Runaway Films

BEST LIMITED SERIES AWARD
INSIDE MAN
Producers: Kristen Vaurio, Lisa Kalikow, Shannon Gibson, Suzanne Hillinger, Lara Benario
Writers: Jeremy Chilnick, Morgan Spurlock
Executive Producers: Jeremy Chilnick, Matthew Galkin, Morgan Spurlock
CNN

BEST CONTINUING SERIES AWARD
INDEPENDENT LENS
Producer: Lois Vossen
Executive Producers: Sally Jo Fifer
Independent Television Service (ITVS) in association with PBS

DAVID L. WOLPER STUDENT DOCUMENTARY AWARD
MY SISTER SARAH
Director/Producer: Elizabeth Chatelain
University of Texas at Austin

HUMANITAS DOCUMENTARY AWARD
BLOOD BROTHER
Director: Steve Hoover
Producer: Danny Yourd
Writers: Steve Hoover, Phinehas Hodges, Tyson VanSkiver
Executive Producers: Steve Hoover, Michael Killen, Kathy Dziubek, Jim Kreitzburg, Leigh Blake, John Carlin
Independent Television Service (ITVS)

PARE LORENTZ AWARD
A PLACE AT THE TABLE
Directors/Producers: Lori Silverbush and Kristi Jacobson
Producers: Julie Goldman, Ryan Harrington
Magnolia Pictures

ABCNEWS VIDEOSOURCE AWARD
THE TRIALS OF MUHAMMAD ALI
Director: Bill Siegel
Producers: Bill Siegel, Rachel Pikelny
Executive Producers: Justine Nagan, Gordon Quinn, Leon Gast, Kat White; Sally Jo Fifer (for ITVS)
Independent Television Service (ITVS), Kartemquin Films, Kino Lorber

CREATIVE RECOGNITION AWARD WINNERS

BEST CINEMATOGRAPHY
PABLO’S WINTER
Cinematographer: Julian Schwanitz
Director: Chico Pereira

BEST EDITING
LET THE FIRE BURN
Editor: Nels Bangerter
Director: Jason Osder

BEST MUSIC
NARCO CULTURA
Original Music By: Jeremy Turner
Director: Shaul Schwartz

BEST WRITING
HOW TO MAKE MONEY SELLING DRUGS
Writer/Director: Matthew Cooke

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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