Independent Spirit Awards

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Nominations: November 29, 2005

BEST FEATURE
Brokeback Mountain Producers: Diana Ossana, James Schamus
Capote Producers: Caroline Baron, William Vince, Michael Ohoven
Good Night, and Good Luck. Producer: Grant Heslov
The Squid and the Whale Producers: Wes Anderson, Peter Newman, Charles Corwin, Clara Markowicz
The Three Burials of Melquiades Estrada Producers: Michael Fitzgerald, Tommy Lee Jones

BEST DIRECTOR
Ang Lee, Brokeback Mountain
George Clooney, Good Night, and Good Luck.
Gregg Araki, Mysterious Skin
Rodrigo Garcia, Nine Lives
Noah Baumbach, The Squid and the Whale

BEST FIRST FEATURE
Crash Director: Paul Haggis, Producers: Cathy Schulman, Don Cheadle, Bob Yari, Mark R. Harris, Bobby Moresco, Paul Haggis
Lackawanna Blues Director: George C. Wolfe, Producer: Nellie Nugiel
Me and You and Everyone We Know Director: Miranda July, Producer: Gina Kwon
Thumbsucker Director: Mike Mills, Producers: Anthony Bregman, Bob Stephenson
Transamerica Director: Duncan Tucker, Producers: Rene Bastian, Sebastian Dungan, Linda Moran

JOHN CASSAVETES AWARD
(Given to the best feature made for under $500,000)
Brick Director/Writer: Rian Johnson, Producers: Ram Bergman and Mark G. Mathis
Conventioneers Director: Mora Stephens, Producer: Joel Viertel, Writers: Mora Stephens and Joel Viertel
Jellysmoke Director/Writer/Producer: Mark Banning
The Puffy Chair Director: Jay Duplass, Producer: Mark Duplass, Writers: Mark Duplass and Jay Duplass
Room Director/Writer: Kyle Henry, Producers: Allen Bain, Darren Goldberg, Jesse Scolaro

BEST SCREENPLAY
Ayad Akhtar, Joseph Castelo, Tom Glynn, The War Within
Guillermo Arriaga, The Three Burials of Melquiades Estrada
Noah Baumbach, The Squid and the Whale
Dan Futterman, Capote
Rodrigo Garcia, Nine Lives

BEST FIRST SCREENPLAY
Kenneth Hanes, Fixing Frank
Miranda July, Me and You and Everyone We Know
Angus MacLachlan, Junebug
Sabina Murray, The Beautiful Country
Duncan Tucker, Transamerica

BEST SUPPORTING FEMALE
Amy Adams, Junebug
Maggie Gyllenhaal, Happy Endings
Allison Janney, Our Very Own
Michelle Williams, Brokeback Mountain
Robin Wright Penn, Nine Lives

BEST SUPPORTING MALE
Firdous Bamji, The War Within
Matt Dillon, Crash
Jesse Eisenberg, The Squid and the Whale
Barry Pepper, The Three Burials of Melquiades Estrada
Jeffrey Wright, Broken Flowers

BEST FEMALE LEAD
Felicity Huffman, Transamerica
Dina Korzun, Forty Shades of Blue
Laura Linney, The Squid and the Whale
S. Epatha Merkerson, Lackawanna Blues
Cyndi Williams, Room

BEST MALE LEAD
Jeff Daniels, The Squid and the Whale
Philip Seymour Hoffman, Capote
Terrence Howard, Hustle & Flow
Heath Ledger, Brokeback Mountain
David Strathairn, Good Night, and Good Luck.

BEST CINEMATOGRAPHY
Robert Elswit, Good Night, and Good Luck.
John Foster, Keane
Adam Kimmel, Capote
Chris Menges, The Three Burials of Melquiades Estrada
Harris Savides, Last Days

BEST FOREIGN FILM
The Death of Mr. Lazarescu (Romania) Director: Cristi Puiu
Duck Season (Mexico) Director: Fernando Eimbcke
Head-On (Germany/Turkey) Director: Fatih Akin
Paradise Now (Palestine/Netherlands/Germany/France) Director: Hany Abu-Assad
Tony Takitani (Japan) Director: Jun Ichikawa

BEST DOCUMENTARY
Enron: The Smartest Guys in the Room, Director: Alex Gibney
Grizzly Man, Director: Werner Herzog
La Sierra, Directors: Scott Dalton & Margarita Martinez
Romantico, Director: Mark Becker
Sir! No Sir!, Director: David Zeiger

IFC/Acura Someone to Watch Award
($25,000 unrestricted grant)
Ian Gamazon and Neill Dela Llana, director of “Cavite
Robinson Devor, director of “Police Beat
Jay Duplass, director of “The Puffy Chair

Truer Than Fiction Award
($25,000 unrestricted grant)
Rachel Boynton for “Our Brand is Crisis
Garrett Scott & Ian Olds for “Occupation: Dreamland
Mark Becker for “Romantico
Thomas Allen Harris for “Twelve Disciples of Nelson Mandela

AMC/American Express Producers Award
($25,000 unrestricted grant)
Caroline Baron, producer of “Capote” and “Monsoon Wedding
Ram Bergman, producer of “Brick” and “Conversations with Other Women
Mike S. Ryan, producer of “Junebug” and “Palindromes

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“With any character, the way I think about it is, you have the role on the page, you have the vision of the director and you have your life experience… I thought it was one of the foundations of the role for John Wick. I love his grief. For the character and in life, it’s about the love of the person you’re grieving for, and any time you can keep company with that fire, it is warm. I absolutely relate to that, and I don’t think you ever work through it. Grief and loss, those are things that don’t ever go away. They stay with you.”
~ Keanu Reeves

“I was checking through stuff the other day for technical reasons. I came across The Duellists on Netflix and I was absolutely stunned to see that it was exquisitely graded. So, while I rarely look up my old stuff, I stopped to give it ten minutes. Bugger me, I was there for two hours. I was really fucking pleased with what it was and how the engine still worked within the equation and that engine was the insanity and stupidity of war. War between two men, in that case, who fight on thought they both eventually can’t remember the reason why. It was great, yeah. The great thing about these platforms now is that, one way or another, they’ll seek out and then put out the best possible form and the long form. Frequently, films get cut down because of that curse in which the studio felt or feels that they have to preview. And there’s nothing worse than a preview to diminish the original intent.Oh, yeah, how about every fucking time? And I’ve stewed about films later even more because when you tell the same joke 20 times the joke’s no longer funny. When you tell a bad joke once or twice? It’s fine. But come on, now. Here’s the key on the way I feel when I approach the movie: I try to keep myself as withdrawn from the project as possible once I’ve filmed it. And – this is all key on this – then getting a really excellent editor so I never have to sit in on editing. What happens if you sit in is you become stale and every passage or joke, metaphorically speaking, gets more and more tired. You start cutting it all back because of fatigue. So what you have to do is keep your distance and therefore, in a funny kind of way, you, as the director, should be the preview and that’s it.”
~ Sir Ridley Scott