Los Angeles Film Critics Association

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LOS ANGELES. Brokeback Mountain was voted Best Picture of the Year. It was announced tonight by Henry Sheehan, President of the Los Angeles Film Critics Association (LAFCA). The runner up was A History of Violence.

LAFCA’s 31st annual achievement awards ceremony will be held Thursday, January 17 at the Park Hyatt Hotel in Los Angeles.

Best Picture
Brokeback Mountain
Runner-up: A History of Violence

Best Director
Ang Lee, Brokeback Mountain
Runner-up: David Cronenberg, A History of Violence

Best Actor
Phillip Seymour Hoffman, Capote
Runner-up: Heath Ledger, Brokeback Mountain

Best Actress
Vera Farmiga, Down to the Bone
Runner-up: Dame Judi Dench, Mrs. Henderson Presents

Best Supporting Actor
William Hurt, A History of Violence
Runner-up: Frank Langella, Good Night, and Good Luck

Best Supporting Actress
Catherine Keener, The 40-Year-Old Virgin, Capote, The Ballad of Jack and Rose, & The Interpreter
Runner-up: Amy Adams, Junebug

Best Screenplay
TIE between
Dan Futterman, Capote
and
Noah Baumbach, The Squid & The Whale

Best Cinematography
Robert Elswit, Good Night, and Good Luck.
Runner-up: Chris Doyle, Kwan Pun Leung, Yiu-Fai Lai, 2046

Best Production Design
William Chang, 2046
Runner-up: James D. Bissell, Good Night, And Good Luck.

Best Music Score
Howl’s Moving Castle, Joe Hisaishi
Runner-up: Tony Takatani, Ryuichi Sakamoto

Best Foreign-Language Film
Cache, directed by Michael Haneke
Runner-up: 2046, directed by Wong Kar Wai

Best Documentary/Non-Fiction Film
Grizzly Man, directed by Werner Herzog
Runner-up: Enron: The Smartest Guys in the Room directed by Alex Gibney

Best Animation
Nick Park and Steve Box, Wallace & Gromit in The Curse of the Were-Rabbit

The Douglas Edwards Experimental/Independent Film/Video Award
La Commune (Paris, 1871) directed by Peter Watkins

New Generation Award
Terrence Howard

Career Achievement Award
Richard Widmark

Special Citation
To Kevin Thomas for his contribution to film culture in Los Angeles.
To David Shepard, Bruce Posner and the Anthology Film Archive to honor Unseen Cinema,an unprecedented 8-disc collection of films from 1894-1941.

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DEADLINE: How does a visualist feel about people watching your films on a phone or VOD?
REFN: It depends on what kind of movie you make. We had great success with Only God Forgives on multiple platforms in the U.S. Young people will decide how they see it, when they want to see it. Don’t try to fight it. Embrace it. That’s a wonderful opportunity. We’re at the most exciting time since the invention of the wheel, in terms of creativity because distribution and accessibility have changed everything. A camera is still a camera whether it’s digital or not; there’s still sound; an actor is an actor. Ninety-nine percent of what you do is going to be seen on a smart phone – I know this is the greatest thing ever made because it allows people to choose, watching what you do on this format or go into a theater and see it on a screen. That means more people than ever will see what I do, which is personally satisfying in terms of vanity. But you have to be able to adapt, to accept things in different order and length than we’re used to. We are in a very, very exciting time.
~ Nic Refn to Jen Yamato

DEADLINE: You mention Tarantino, who with Christopher Nolan and a few other giants, saved film stock from extinction. To him, showing a digital film in a theater is the equivalent of watching TV in public. Make an argument for why digital is a good film making canvas.
REFN: Costwise, it’s a very effective way for young people to start making movies. You can make your movie on an iPhone. It’s wonderful seeing how my own children use technology to enhance creativity. For me it’s a wonderful canvas. Sure, I love grain in film. I love celluloid. But I also like creativity. I like crayons, I like pencils, I like paint. It’s all relative. Technology is more inclusive. A hundred years ago when film was invented, it was an elitist club. Very few people got to make it, very few people controlled it and very few people owned it. A hundred years later, storytelling through images is everyone’s domain. It’s ultimate capitalism. There are no rules, and no barriers and no Hays Code. Where does this go in another hundred years? I don’t know but I would love to see it.
~ Nic Refn To Jen Yamato