By Ray Pride Pride@moviecitynews.com

Indiana Film Journalists Ass’n Points Spotlight

 

“Spotlight,” a drama exploring the Boston Globe’s investigation of widespread sexual abuse by Catholic priests, was named Best Film of 2015 by the Indiana Film Journalists Association (IFJA).

 

“Room,” an adaption of the best-selling novel about a woman raising her young son inside a solitary room, won runner-up in the best film race. Both movies won three awards from the IFJA, a group of writers dedicated to promoting quality film criticism in the Hoosier State.

 

In addition to Best Film, “Spotlight” won for Best Original Screenplay and Best Supporting Actor, Mark Ruffalo. “Room” earned the Best Adapted Screenplay Prize, and also was recognized for the top two performances of the year: Brie Larson for Best Actress and Jacob Tremblay for Best Actor.

 

Besides the winner and runner-up for Best Film, eight other movies were named Finalists in that category, cumulatively representing Indiana film critics’ picks for the 10 best movies of 2015. (See full list below.)

 

George Miller was named Best Director for “Mad Max: Fury Road,” which also won for Best Musical Score. Greta Gerwig won Best Supporting Actress for “Mistress America.” Phyllis Smith won for Best Vocal/Motion Capture Performance for “Inside Out.”

 

“Anomalisa” was named the Best Animated Film and also won the Original Vision Award. “Son of Saul” won Best Foreign Language Film and “Amy” earned Best Documentary.

 

The Hoosier Award, which recognizes a significant cinematic contribution by a person or persons with roots in Indiana, or a film that depicts Hoosier State locales and stories, went to filmmaker Angelo Pizzo.

 

IFJA members issued this statement for the Hoosier Award: “Angelo Pizzo has forged an important Hollywood career, with iconic films such as ‘Hoosiers’ and ‘Rudy,’ while remaining devoted to his Indiana roots. We also laud Pizzo for making the jump into the director’s chair for the first time after three decades as a writer and producer with this year’s ‘My All American.’”

 

The following is a complete list of honored films:


Best Film

Winner: “Spotlight”

Runner-up: “Room”

Other Finalists (listed alphabetically):

“Anomalisa”

“The Big Short”

“Carol”

“The End of the Tour”

“Mad Max: Fury Road”

“The Martian”

“Steve Jobs”

“Straight Outta Compton”

 

Best Animated Feature

Winner: “Anomalisa”

Runner-Up: “Inside Out ”

 

Best Foreign Language Film

Winner: “Son of Saul”

Runner-Up: “Goodnight Mommy”

 

Best Documentary

Winner: “Amy”

Runner-Up: “Meru”

 

Best Original Screenplay

Winner: Tom McCarthy and Josh Singer, “Spotlight”

Runner-up: Matt Charman, Joel & Ethan Coen, “Bridge of Spies”

 

Best Adapted Screenplay

Winner: Emma Donoghue, “Room”

Runner-up: Adam McKay and Charles Randolph, “The Big Short”

 

Best Director

Winner: George Miller, “Mad Max: Fury Road”

Runner-up: Tom McCarthy, “Spotlight”

 

Best Actress

Winner: Brie Larson, “Room”

Runner-up: Charlotte Rampling, “45 Years”

 

Best Supporting Actress

Winner: Greta Gerwig, “Mistress America”

Runner-up: Elizabeth Banks, “Love & Mercy”

 

Best Actor

Winner: Jacob Tremblay, “Room”

Runner-up: Jason Segel, “The End of the Tour”

Best Supporting Actor

Winner: Mark Ruffalo, “Spotlight”

Runner-up: Idris Elba, “Beasts of No Nation”

 

Best Vocal/Motion Capture Performance

Winner: Phyllis Smith, “Inside Out”

Runner-up: Tom Noonan, “Anomalisa”

 

Best Musical Score

Winner: Junkie XL, “Mad Max: Fury Road”

Runner-up: Disasterpeace, “It Follows”

 

Original Vision Award

Winner: “Anomalisa”

Runner-up: “Chi-Raq”

 

The Hoosier Award

Winner: Angelo Pizzo, writer/director/producer

(As a special award, no runner-up is declared in this category.)

 

About IFJA: The Indiana Film Journalists Association was established in February 2009. Members must reside in the Hoosier State and produce consistent, quality film criticism or commentary in any medium.

 

http://indianafilmjournalists.com

 

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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?

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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