Toronto Film Critics Association Awards

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

BEST PICTURE
“The Tree of Life” (eOne Films)
Runners-up:  “The Artist” (Alliance Films)
“The Descendants” (Fox Searchlight Pictures)

BEST ACTOR
Michael Shannon, “Take Shelter”
Runners-up: George Clooney, “The Descendants”
Michael Fassbender, “Shame”

BEST ACTRESS
Michelle Williams, “My Week With Marilyn”
Runners-up: Elizabeth Olsen, “Martha Marcy May Marlene”
Meryl Streep, “The Iron Lady”

BEST SUPPORTING ACTOR
Christopher Plummer, “Beginners”
Runners-up: Albert Brooks, “Drive”
Patton Oswalt, “Young Adult”

BEST SUPPORTING ACTRESS
Jessica Chastain, “Take Shelter”
Runners-up: Jessica Chastain, “The Tree of Life”
Shailene Woodley, “The Descendants”

BEST DIRECTOR
Terrence Malick, “The Tree of Life”
Runners-up: Michel Hazanavicius, “The Artist”
Nicolas Winding Refn, “Drive”

BEST SCREENPLAY
“Moneyball”, written by Steven Zaillian and Aaron Sorkin,
story by Stan Chervin, based on the book by Michael Lewis
Runners-up: “The Descendants”, written by Alexander Payne, Nat Faxon
& Jim Rash, based on the novel by Kaui Hart Hemmings
“The Tree of Life”, written by Terrence Malick

BEST FIRST FEATURE
“Attack the Block”, directed by Joe Cornish
Runners-up: “Margin Call”, directed by J.C. Chandor
“Martha Marcy May Marlene”, directed by Sean Durkin

BEST ANIMATED FEATURE
“The Adventures of Tintin” (DreamWorks Animation)
Runners-up: “Puss in Boots” (DreamWorks Animation)
“Rango” (Paramount Pictures)

BEST FOREIGN-LANGUAGE FILM
“Mysteries of Lisbon” (Alfama Films)
Runners-up: “Attenberg” (filmswelike)
“Le Havre” (filmswelike)
“A Separation” (Mongrel Media)

ALLAN KING DOCUMENTARY AWARD
“Nostalgia for the Light” (Icarus Films)
Runners-up: “Into the Abyss” (Mongrel Media)
“Project Nim” (Mongrel Media)

ROGERS CANADIAN FILM AWARD FINALISTS
“Café de Flore,” directed by Jean-Marc Vallée
“A Dangerous Method”, directed by David Cronenberg
“Monsieur Lazhar”, directed by Philippe Falardeau

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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