Los Angeles Film Critics Association

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PICTURE
The Hurt Locker
Runner-Up: Up in the Air

DIRECTOR
Kathryn Bigelow, The Hurt Locker
Runner-Up: Michael Haneke, The White Ribbon

ACTOR
Jeff Bridges, Crazy Heart
Runner-up: Colin Firth, A Single Man

ACTRESS
Yolande Moreau, Seraphine
Runner-up: Carey Mulligan, An Education

ANIMATION
Fantastic Mr. Fox
Runner-up: Up

FOREIGN LANGUAGE FILM
Summer Hours
Runner-up: The White Ribbon

SUPPORTING ACTRESS
Mo’Nique, Precious
Runner-up: Anna Kendrick, Up in the Air

SUPPORTING ACTOR
Christoph Waltz, Inglourious Basterds
Runner-up: Peter Capaldi, In the Loop

SCREENPLAY
Jason Reitman and Sheldon Turner, “Up in the Air”
Runner-up: Jesse Armstrong, Simon Blackwell, Armando Iannucci and Tony Roche, In the Loop

DOCUMENTARY/NON-FICTION FILM
The Beaches of Agnès and The Cove (tie)

MUSIC/SCORE
T-Bone Burnett and Stephen Bruton, Crazy Heart
Runner-up: : Alexandre Desplat, Fantastic Mr. Fox

PRODUCTION DESIGN
Philip Ivey, District 9
Runner-up: Rick Carter and Robert Stromberg, Avatar

CINEMATOGRAPHY
Christian Berger, The White Ribbon
Runner-up: Barry Ackroyd, The Hurt Locker

DOUGLAS E. EDWARDS INDEPENDENT/EXPERIMENTAL FILM/VIDEO C.W.
Winter and Anders Edstrom, The Anchorage

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DENNIS COOPER

The next thing that really changed my world and thoroughly influenced my writing were the films of Robert Bresson. When I discovered them in the late seventies, I felt I had found the final ingredient I needed to write the fiction I wanted to write.

INTERVIEWER

What was the final ingredient?

DENNIS COOPER

Recognizing that the films were entirely about emotion and, to me, ­ profoundly moving while, at the same time, stylistically inexpressive and monotonic. On the surface, they were nothing but style, and the style was extremely rigorous to boot, but they seemed almost transparent and purely content driven. Bresson’s use of untrained nonactors influenced my concentration on characters who are amateurs or noncharacters or characters who are ill equipped to handle the job of manning a story line or holding the reader’s attention in a conventional way. Altogether, I think Bresson’s films had the greatest influence on my work of any art I’ve ever encountered. In fact, the first fiction of mine that was ever published was a chapbook called “Antoine Monnier,” which was a god-awful, incompetent attempt to rewrite Bresson’s film Le diable ­probablement as a pornographic novella. So I came to writing novels through a channel that included experimental fiction, poetry, and nonliterary influences pretty much exclusively. I never read normal novels with any real interest or close attention.
~ Dennis Cooper Discovers Bresson

The whole world within reach.
~ Filmmaker Peter Hutton

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