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The Southeastern Film Critics Association

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Awards: December 19, 2005

BEST DOCUMENTARY
March of the Penguins
Runner-up – Grizzly Man

BEST ANIMATED FILM
Wallace and Gromit: The Curse of the Were-Rabbit
Runner-up – Tim Burton’s Corpse Bride

BEST FOREIGN LANGUAGE FILM
Caché
Runner-up – Kung-fu Hustle

BEST DIRECTOR
Ang Lee, Brokeback Mountain
Runner-up – George Clooney, Good Night, and Good Luck.

BEST ACTOR
Philip Seymour Hoffman, Capote
Runner up – Heath Ledger, Brokeback Mountain

BEST ACTRESS
Felicity Huffman, Transamerica
Runner-up – Reese Witherspoon, Walk the Line

BEST SUPPORTING ACTOR
Paul Giamatti, Cinderella Man
Runner-up – George Clooney, Syriana

BEST SUPPORTING ACTRESS
Amy Adams, Junebug
Runner-up – Michelle Williams, Brokeback Mountain

BEST ORIGINAL SCREENPLAY
Paul Haggis and Bobby Moresco, Crash
Runners-up – George Clooney and Grant Herslov, Good Night, and Good Luck.

BEST ADAPTED SCREENPLAY
Larry McMurtry and Diana Ossana, Brokeback Mountain
Runner-up – Dan Futterman, Capote

SEFCA Top Ten
Brokeback Mountain
Good Night, and Good Luck.
Capote
Crash
A History of Violence
The Constant Gardener
Syriana
Cinderella Man
King Kong
Walk the Line

WYATT AWARD
Junebug
Runner-up – Hustle and Flow

The Wyatt, given in memory of late SEFCA member Gene Wyatt, is awarded a film that captures the spirit of the South. This is the first year a recipient has been chosen.

Forty-two members in nine states (Alabama, Arkansas, Florida, Georgia, Louisiana, North Carolina, South Carolina, Tennessee and Virginia) voted in the 14th annual SEFCA poll.

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“We don’t defy the laws of physics: There are no flying men or cars in this movie. So it made sense to do it old-school: real vehicles and real human beings in the desert. We shot the movie more or less in continuity, because the cars and the characters get really banged up along the way. The biggest benefit of digital technology for me was that the cameras were smaller and much more agile, so you could put them anywhere. We also spent a huge amount of time on spatial awareness—making sure the viewer could follow the action and understand what was happening. There has to be a strong causal connection from one shot to the next, just the same way that in music, there has to be a connection from one note to the next. Otherwise it’s just noise. Too often, if you just cram a lot of stuff into the frame, you get the illusion of a fast pace. But there’s no coherence. It doesn’t flow. It comes off as headbanging music, and it can be exhausting. We storyboarded the movie before we had a script: We had 3,500 boards, which helps the cast and crew understand how everything is going to fit together. Movies are getting faster and faster. The Road Warrior had 1,200 cuts. This one has 2,700 cuts. You have to treat it like a symphony.”
~ George Miller

“I was having issues with my script for It’s All About Love, so I called Ingmar Bergman and we ended up talking about everything but the script. He said, “Well, Festen is a masterpiece, so what are you going to do now?” At that point, I had not decided if I was going to make It’s All About Love, so I answered, “Hmmm, I don’t know. Maybe this, maybe that.” There was just a long pause, and then he said, “You’re fucked.” I said, “Well, how can you know?” “Well, Thomas, you always have to decide your next movie before the movie you’re doing presently opens.” And I said, “Why is that?” “Well, two things can happen. One thing is that you fail, and then you’ll feel scared and humiliated. It’ll get into your head. Second, and even worse, you have success, and then you’ll want more of it, or you’ll want to maintain it. But if you decide on your next film while you’re in the middle of editing, it becomes a very nonchalant choice. And then it’s shorter from the heart to the hand.”
~ Thomas Vinterberg

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