By Ray Pride Pride@moviecitynews.com

New York Film Critics Circle Awards Embrace BOYHOOD

Posted Monday, December 1st, 2014 - Comments Off on New York Film Critics Circle Awards Embrace BOYHOOD
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Boyhood Named Best Picture

New York, NY – December 1, 2014 – The New York Film Critics Circle voted today for their picks for the 2014 awards at the Film Society at Lincoln Center. In celebration of the Critics 80th year, the awards will be handed out during their annual ceremony on Monday, January 5th at Tao Downtown.

Boyhood was awarded Best Picture and Richard Linklater was named Best Director. Marion Cotillard was selected as Best Actress for her roles in both The Immigrant and Two Days, One Night and Timothy Spall was chosen as Best Actor for Mr. Turner. A Special Award was given to Adrienne Mancia, who, as a curator at MoMA for more than 30 years, helped shape the moviegoing tastes of New Yorkers by bringing the work of filmmakers like Bernardo Bertolucci, Manoel De Oliveira, and Marco Bellocchio to the United States. Full list of winners below.

Says 2014 NYFCC Chairman, The Star-Ledger’s Stephen Whitty, “This was perhaps the most eclectic, least predictable movie year in recent memory, and I think the Circle’s final choices clearly show that diversity, drama and style – which makes Tao Downtown a particularly fitting choice for this year’s gala.”

Founded in 1935, the New York Film Critics Circle is the oldest and most prestigious critics’ group in the country. The circle’s membership includes critics from daily newspapers, weekly newspapers, magazines and the web’s most respected online publications.  Every year the organization meets in New York to vote on awards for the calendar year’s films.  The Circle’s awards are often viewed as harbingers of the Oscar nominations.  The Circle’s awards are also viewed — perhaps more accurately — as a principled alternative to the Oscars, honoring aesthetic merit in a forum that is immune to commercial and political pressures.

Best Picture:  
Boyhood

Best Director: 
Richard Linklater, Boyhood

Best Screenplay:
The Grand Budapest Hotel

Best Actress:  
Marion Cotillard, The Immigrant and Two Days, One Night

Best Actor:  
Timothy Spall, Mr. Turner 

Best Supporting Actress: 
Patricia Arquette, Boyhood

Best Supporting Actor: 
J.K. Simmons, Whiplash

Best Foreign Language Film: 
Ida

Best Cinematography:
Darius Khondji, The Immigrant

Best Nonfiction Film:            
Citizenfour

Best First Film:
Jennifer Kent, The Babadook

Best Animated Film:
The Lego Movie

Special Award:
Adrienne Mancia

A full list of voting members is below:

 Melissa Anderson
ARTFORUM

John Anderson
FREELANCE

Michael Atkinson
VILLAGE VOICE

Dwight Brown
NNPA SYNDICATION/BlackPressUSA.com

Richard Corliss
TIME

David Denby
NEW YORKER

Karen Durbin
ELLE

Bilge Ebiri
NEW YORK MAGAZINE
David Edelstein
NEW YORK MAGAZINE

Marshall Fine
STAR MAGAZINE

Scott Foundas
VARIETY

Graham Fuller
ARTINFO.COM

Owen Gleiberman
BBC.com

Rafer Guzman
NEWSDAY

Stuart Klawans
THE NATION

Eric Kohn
INDIEWIRE

Joe Morgenstern
WALL STREET JOURNAL

Wesley Morris
GRANTLAND

Farran Smith Nehme
NEW YORK POST

Joe Neumaier
NEW YORK DAILY NEWS

Andrew O’Hehir


S*lon

Nick Pinkerton
FREELANCE

Peter Rainer
CHRISTIAN SCIENCE MONITOR

Rex Reed
NEW YORK OBSERVER

Joshua Rothkopf
TIME OUT NEW YORK

Richard Schickel
TRUTHDIG.COM

Kyle Smith
NEW YORK POST

Dana Stevens
SLATE.COM

Amy Taubin

ARTFORUM

Peter Travers
ROLLING STONE

Keith Uhlich
FREELANCE

Elizabeth Weitzman

NEW YORK DAILY NEWS

Stephen Whitty
THE STAR-LEDGER/NJ.COM

Stephanie Zacharek
VILLAGE VOICE

 

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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