Florida Film Critics

2003 | 2004 | 2005 | 2006 | 2007 | 2008 | 2009 | 2010 | 2012 | 2013

Best Picture
The Departed

Best Actor
Forest Whitaker, The Last King of Scotland

Best Actress
Helen Mirren, The Queen

Best Supporting Actor
Jack Nicholson, The Departed

Best Supporting Actress
Cate Blanchett, Notes on a Scandal

Best Director
Martin Scorsese, The Departed

Best Screenplay (Original or Adapted)
William Monahan, The Departed

Best Cinematography
Guillermo Navarro, Pan’s Labyrinth

Best Foreign-Language Film
Pan’s Labyrinth

Best Animated Film
Monster House

Best Documentary
An Inconvenient Truth

Pauline Kael Breakout Award
Jennifer Hudson, Dreamgirls

Golden Orange for Outstanding Contribution to Film
Billy Corben and Alfred Spellman,
Director and producer of the Florida-centric documentaries Cocaine Cowboys (2006) and Raw Deal: A Question of Consent (2001), for their continued dedication to South Florida’s film industry.

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The Atlantic: You saw that the Academy Awards recently held up your 2001 acceptance speech as the Platonic ideal of an Oscar speech. Did you have a reaction?

Soderbergh: Shock and dismay. When that popped up and people started texting me about it, I said, “Oh, it’s too bad I’m not there to tell the story of how that took place.” Well. I was not sober at the time. And I had nothing prepared because I knew I wasn’t going to win [Best Director for Traffic]. I figured Ridley, Ang or Daldry would win. So I was hitting the bar pretty hard, having a great night, feeling super-relaxed because I don’t have to get up there. So the combination of a 0.4 blood alcohol level and lack of preparation resulted in me, in my state of drunkenness crossed with adrenaline surge. I was coherent enough to know that [if I tried to thank everyone], that way lies destruction. So I went the other way. There were some people who appreciated that, and there were some people who really wanted to hear their names said, and I had to apologize to them.
~ Steven Soderbergh

 

“I have made few films in a way. I never made action films. I never made science fiction films. I never made, really, very complicated settings, because I had modest ambitions. I knew they would never trust me to have the budget to do something different, so my mind is more focused on things I know. So they were always mental adventures I wanted to approach and share. Working for cinema with no – not only no money, but also no ambition for money. I was happy and proud [to receive the honorary Oscar] because of that, that [the Academy] could understand what kind of work I have done over 60 years. I stayed faithful to the ideal of sharing emotion, impressions, and mostly because I have so much empathy for other people that I approach people who are not really spoken about. I have 65 years of work in my bag, and when I put the bag down, what comes out? It’s really the desire of finding links and relationships with different kinds of people. I never made a film about the bourgeoisie, about rich people. about nobility. My choices have been to show people that are, in a way, more common and see that each of them has something special and interesting, rare and beautiful. It’s my natural way of looking at people. I didn’t fight my instincts. And maybe that has been appreciated in the famous circle of Hollywood.“

Agnes Varda