The Southeastern Film Critics Association

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




BEST PICTURE
1. Up in the Air
2. The Hurt Locker
3. Up
4. Inglourious Basterds
5. A Serious Man
6. (500) Days of Summer
7. Precious: Based on the Novel Push by Sapphire
8. The Messenger
9. Fantastic Mr. Fox
10. District 9

BEST ACTOR
George Clooney – Up in the Air
Runner-up: Jeremy Renner – The Hurt Locker

BEST ACTRESS
Meryl Streep – Julie & Julia
Runner-up: Gabourey Sidibe – Precious: Based on the Novel Push by Sapphire

BEST SUPPORTING ACTOR
Christoph Waltz – Inglourious Basterds
Runner-up: Woody Harrelson – The Messenger

BEST SUPPORTING ACTRESS
Mo’Nique – Precious: Based on the Novel Push by Sapphire
Runner-up: Anna Kendrick – Up in the Air

BEST DIRECTOR
Kathryn Bigelow – The Hurt Locker
Runner-up: Jason Reitman – Up in the Air

BEST ORIGINAL SCREENPLAY
Scott Neustadter & Michael H. Weber – (500) Days of Summer
Runner-up: Mark Boal – The Hurt Locker

BEST ADAPTED SCREENPLAY
Jason Reitman and Sheldon Turner – Up in the Air
Runner-up: Wes Anderson & Noah Baumbach – Fantastic Mr. Fox

BEST FOREIGN-LANGUAGE FILM
Summer Hours (France)
Runner-up: The White Ribbon (Germany)

BEST DOCUMENTARY
Food, Inc.
Runner-up: The Cove

BEST ANIMATED FEATURE
Up
Runner-up: Fantastic Mr. Fox

WYATT AWARD
That Evening Sun
Runner-up: Goodbye Solo

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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