Toronto Film Critics

2003 | 2004 | 2005 | 2006 | 2007 | 2008 | 2009 | 2010 | 2011 | 2012 | 2013

BEST PICTURE
The Queen

BEST PERFORMANCE, MALE
Sacha Baron Cohen, Borat: Cultural Learnings of America
for Make Benefit Glorious Nation of Kazakhstan

BEST PERFORMANCE, FEMALE
Helen Mirren, The Queen

BEST SUPPORTING PERFORMANCE, MALE
Michael Sheen, The Queen

BEST SUPPORTING PERFORMANCE, FEMALE
Cate Blanchett, Notes on a Scandal

BEST DIRECTOR (Tie)
Jean-Pierre Dardenne and Luc Dardenne, L’Enfant
Stephen Frears, The Queen

BEST SCREENPLAY
Peter Morgan, The Queen

BEST CANADIAN FILM
Manufactured Landscapes (Mongrel Media)

BEST FIRST FEATURE
Thank You for Smoking, directed by Jason Reitman

BEST ANIMATED FEATURE
Happy Feet (Warner Bros.)

BEST FOREIGN-LANGUAGE FILM
L’Enfant (Mongrel Media)

BEST DOCUMENTARY FEATURE
Manufactured Landscapes (Mongrel Media)

Nominations

BEST PICTURE
The Departed (Warner Bros.)
The Queen (Alliance Atlantis)
United 93 (Universal Pictures)

BEST PERFORMANCE, MALE
Sacha Baron Cohen, Borat: Cultural Learnings of America
for Make Benefit Glorious Nation of Kazakhstan
Ryan Gosling, Half Nelson
Forest Whitaker, The Last King of Scotland

BEST PERFORMANCE, FEMALE
Penelope Cruz, Volver
Judi Dench, Notes on a Scandal
Helen Mirren, The Queen

BEST SUPPORTING PERFORMANCE, MALE
Danny Huston, The Proposition
Michael Sheen, The Queen
Mark Wahlberg, The Departed

BEST SUPPORTING PERFORMANCE, FEMALE
Cate Blanchett, Notes on a Scandal
Jennifer Hudson, Dreamgirls
Rinko Kikuchi, Babel

BEST DIRECTOR
Jean-Pierre Dardenne and Luc Dardenne, L’Enfant
Stephen Frears, The Queen
Paul Greengrass, United 93
Martin Scorsese, The Departed

BEST SCREENPLAY
Guillermo Arriaga, Babel
William Monahan, The Departed
Peter Morgan, The Queen

BEST CANADIAN FILM
The Journals of Knud Rasmussen (Alliance Atlantis)
Manufactured Landscapes (Mongrel Media)
Monkey Warfare (Odeon Films)
Six Figures (Seville Pictures)

BEST FIRST FEATURE
Brick, directed by Rian Johnson
Little Miss Sunshine, directed by Jonathan Dayton & Valerie Faris
Thank You for Smoking, directed by Jason Reitman

BEST ANIMATED FEATURE
Happy Feet (Warner Bros.)
Over the Hedge (DreamWorks/Paramount)
A Scanner Darkly (Warner Independent Pictures)

BEST FOREIGN-LANGUAGE FILM
L’Enfant (Mongrel Media)
Pan’s Labyrinth (Odeon Films)
Volver (Mongrel Media)

BEST DOCUMENTARY FEATURE
Deliver Us from Evil (Maple Pictures)
An Inconvenient Truth (Paramount Classics)
Manufactured Landscapes (Mongrel Media)

The Toronto Film Critics Association is made up of film critics representing a cross-section of Toronto’s media, including daily and weekly newspapers, film magazines, radio and television.

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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