By Ray Pride Pride@moviecitynews.com

Alliance of Women Film Journalists Announce 2015 EDA Award Winners

AWFJ EDA ‘BEST OF’ AWARDS
These awards are presented to women and/or men.

Best Film
SPOTLIGHT

Best Director (Female or Male)
Tom McCarthy for SPOTLIGHT

Best Screenplay, Original
SPOTLIGHT – Josh Singer, Tom McCarthy

Best Screenplay, Adapted
CAROL – Phyllis Nagy

Best Documentary
AMY – Asif Kapadia

Best Animated Film
INSIDE OUT – Pete Docter, Ronnie Del Carmen

Best Actress
Charlotte Rampling in 45 YEARS

Best Actress in a Supporting Role
Kristen Stewart in CLOUDS OF SILS MARIA

Best Actor
Leonardo DiCaprio in THE REVENANT

Best Actor in a Supporting Role
Paul Dano in LOVE & MERCY

Best Ensemble Cast (tie)
SPOTLIGHT
STRAIGHT OUTTA COMPTON

Best Editing
MAD MAX: FURY ROAD – Margaret Sixel

Best Cinematography
CAROL – Edward Lachman

Best Film Music Or Score
THE HATEFUL EIGHT – Ennio Morricone

Best Non-English-Language Film
Son of Saul – Laszlo Nemes (Hungary)

EDA FEMALE FOCUS AWARDS
These awards honor WOMEN only.

Best Woman Director
Marielle Heller for DIARY OF A TEENAGE GIRL

Best Woman Screenwriter
Emma Donoghue for ROOM

Best Female Action Star
Charlize Theron for MAD MAX: FURY ROAD

Best Breakthrough Performance
Alicia Vikander for EX MACHINA, TESTAMENT OF YOUTH and THE DANISH GIRL

Female Icon of the Year (presented to a woman whose work in film and/or in life made a difference)
Chantal Ackerman – In Memoriam, for being a great filmmaker and an inspiration.

EDA SPECIAL MENTION AWARDS

Best Depiction Of Nudity, Sexuality, or Seduction (Tie)
ANOMALISA
CAROL

Actress Defying Age and Ageism (Tie)
Charlotte Rampling
Lily Tomlin

Most Egregious Age Difference Between The Lead Character and The Love Interest
DANNY COLLINS – Al Pacino (born 1940) and Katarina Cas (born 1976)

Actress Most in Need Of A New Agent
Emma Stone for ALOHA

Movie You Wanted To Love, But Just Couldn’t
THE DANISH GIRL

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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