2014 EDA Award Winners

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AWFJ EDA ‘BEST OF’ AWARDS

These awards are presented to females and/or males.

Best Film
BOYHOOD

Best Director (Female or Male)
Richard Linklater for BOYHOOD

Best Screenplay, Original
BIRDMAN – Alejandro Gonzales Inarritu, Nicholas Giacobone, Alexander Dinelaris, Armando Bo

Best Screenplay, Adapted
GONE GIRL – Gillian Flynn

Best Documentary
CITIZENFOUR – Laura Poitras

Best Animated Film
LEGO – Phil Lord, Christopher Miller

Best Actress
Julianne Moore for STILL ALICE

Best Actress in a Supporting Role
Tilda Swinton for SNOWPIERCER

Best Actor
Michael Keaton for BIRDMAN

Best Actor in a Supporting Role
J.K. Simmons for WHIPLASH

Best Ensemble Cast (tie)
BIRDMAN – Francine Maisler, Casting Director
and
GRAND BUDAPEST HOTEL – Douglas Aibel (US), Antoinette Boulat (France), Simone Bar, Alexandra Montag (Germany), Debra Maxwell Dion (LA), Jina Jay (UK)

Best Editing
BIRDMAN – Douglas Crise, Stephen Mirrione

Best Cinematography
BIRDMAN – Emmanuel Lubezki

Best Film Music Or Score
BIRDMAN – Antonio Sanchez

Best Non-English-Language Film
IDA – Pavel Pawlikowski (Poland)

EDA FEMALE FOCUS AWARDS
These awards honor WOMEN only.

Best Woman Director
Ava DuVernay for SELMA

Best Woman Screenwriter
Gillian Flynn for GONE GIRL

Best Female Action Star
Emily Blunt for EDGE OF TOMORROW

Best Breakthrough Performance
Gugu Mbatha-Raw for BELLE

Female Icon of the Year (tie)
(a woman whose work in film and/or in life made a difference)
Ava DuVernay
and
Laura Poitras

EDA SPECIAL MENTION AWARDS

Best Depiction Of Nudity, Sexuality, or Seduction
UNDER THE SKIN – Scarlett Johansson

Actress Defying Age and Ageism
Tilda Swinton

Most Egregious Age Difference Between The Leading Man and The Love Interest
MAGIC IN THE MOONLIGHT – Colin Firth (b. 1960) and Emma Stone (b. 1988)

Actress Most in Need Of A New Agent
Cameron Diaz for SEX TAPE

Movie You Wanted To Love, But Just Couldn’t
INHERENT VICE

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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