By Ray Pride Pride@moviecitynews.com

WINNERS OF THE 19th ANNUAL CRITICS’ CHOICE MOVIE AWARDS

Best Picture – “12 Years a Slave”

Best Actor – Matthew McConaughey, “Dallas Buyers Club”

Best Actress – Cate Blanchett, “Blue Jasmine”

Best Supporting Actor – Jared Leto, “Dallas Buyers Club”

Best Supporting Actress – Lupita Nyong’o, “12 Years a Slave”

Best Young Actor/Actress – Adele Exarchopoulos, “Blue Is The Warmest Color”

Best Acting Ensemble – “American Hustle”

Best Director – Alfonso Cuarón, “Gravity”

Best Original Screenplay – Spike Jonze, “Her”

Best Adapted Screenplay – John Ridley, “12 Years a Slave”

Best Cinematography – Emmanuel Lubezki, “Gravity”

Best Art Direction – Catherine Martin (Production Designer), Beverley Dunn (Set Decorator), “The Great Gatsby”

Best Editing – Alfonso Cuarón and Mark Sanger, “Gravity”

Best Costume Design – Catherine Martin, “The Great Gatsby”

Best Hair & Makeup – “American Hustle”

Best Visual Effects – “Gravity”

Best Animated Feature – “Frozen”

Best Action Movie – “Lone Survivor”

Best Actor in an Action Movie – Mark Wahlberg, “Lone Survivor”

Best Actress in an Action Movie – Sandra Bullock, “Gravity”

Best Comedy – “American Hustle”

Best Actor in a Comedy – Leonardo DiCaprio, “The Wolf of Wall Street”

Best Actress in a Comedy – Amy Adams, “American Hustle”

Best Sci-Fi/Horror Movie – “Gravity”

Best Foreign Language Film – “Blue Is the Warmest Color”

Best Documentary Feature – “20 Feet From Stardom”

Best Song – “Let It Go” Robert Lopez and Kristen Anderson-Lopez, “Frozen”

Best Score – Steven Price, “Gravity”

WINNERS BY PICTURE FOR

19th ANNUAL CRITICS’ CHOICE MOVIE AWARDS

 

GRAVITY (7 Awards)

Best Director

Best Cinematography

Best Visual Effects

Best Editing

Best Actress in An Action Movie

Best Sci-Fi/Horror Movie

Best Score

 

AMERICAN HUSTLE (4 Awards)

Best Acting Ensemble

Best Hair and Makeup

Best Comedy

Best Actress in a Comedy

 

12 YEARS A SLAVE (3 Awards)

Best Picture

Best Supporting Actress

Best Adapted Screenplay

 

BLUE IS THE WARMEST COLOR (2 Awards)

Best Young Actor/Actress

Best Foreign Language Film

 

DALLAS BUYERS CLUB (2 Awards)

Best Actor

Best Supporting Actor

 

FROZEN (2 Awards)

Best Animated Feature

Best Song

 

LONE SURVIVOR (2 Awards)

Best Action Movie

Best Actor in an Action Movie

 

THE GREAT GATSBY (2 Awards)

Best Art Direction

Best Costume Design

 

20 FEET FROM STARDOM (1 Award)

Best Documentary Feature

 

BLUE JASMINE (1 Award)

Best Actress

 

HER (1 Award)

Best Original Screenplay

 

THE WOLF OF WALL STREET (1)

Best Actor in a Comedy

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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