By MCN Editor editor@moviecitynews.com

2012 Chicago Film Critics Association Awards

“Zero Dark Thirty,” the drama chronicling the long ten-year hunt for Osama bin Laden in the wake of 9/11 hit its mark, according to the Chicago Film Critics Association. In voting for their annual awards, the film led with five awards, including Best Picture, Best Director for Kathryn Bigelow, Best Original Screenplay for Mark Boal, Best Actress for Jessica Chastain and Best Editing for William Goldenberg & Dylan Tichenor. Interestingly, both Bigelow and Boal won in the same categories three years earlier with 2009′s “The Hurt Locker,” which the group also named Best Picture. As for Chastain, this marks the second year in a row where she has been cited by the CFCA, having won their Best Supporting Actress prize last year for “The Tree of Life.”

In second place with four awards was “The Master,” Paul Thomas Anderson’s complex drama about an aimless young man in post-war America who falls under the spell of a charismatic leader of a mysterious new movement. For his performance as that leader, Philip Seymour Hoffman was named Best Supporting Actor and as his equally determined wife, Amy Adams was named Best Supporting Actress. In addition, Mihai Milaimare Jr. won the award for Best Cinematography while Jonny Greenwood took the prize for Best Original Score.

Tying for third with two awards each were “Lincoln,” Steven Spielberg’s drama following the efforts of the 16th president to pass an amendment abolishing slavery in the face of enormous odds, and “Beast of the Southern Wild,” the visionary low-budget drama about a resourceful six-year-old girl living in a remote Louisiana floodplain who sets off on a journey to find her long-lost mother when her father becomes seriously ill. The former won awards for Daniel Day-Lewis for Best Actor and Tony Kushner for Adapted Screenplay while the latter took home the Most Promising Filmmaker prize for Benh Zeitlin, who received four individual nominations for his work on the film, and Most Promising Performer for young Quvenzhane Wallis for her extraordinary work in the central role.

Among the other films cited by the group, “Amour,” the heart-wrenching drama by Michael Haneke chronicling the physical and emotional horrors that befall an aging couple when one is beset by a cruel and debilitating illness, received the prize for Best Foreign-Language Film. Gerald Sullivan and Adam Stockhausen won the newly established Art Direction/Production Design award for their contributions to the whimsical pre-teen romantic comedy “Moonrise Kingdom.” “The Invisible War,” the eye-opening film focusing on rape in the military was named Best Documentary and “Paranorman,” the delightful stop-motion fantasy about an odd young boy with the ability to see and communicate with the dead, won for Best Animated Film.

Now in its 23rd year, the CFCA will be presenting their awards at a ceremony to be held on February 9, 2013.

Awards Tally
5–Zero Dark Thirty
4–The Master
2–Beasts of the Southern Wild
Lincoln
1- Amour
The Invisible War
Moonrise Kingdom
Paranorman

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 “Teaching how to make a film is like trying to teach someone how to fuck. You can’t. You have to fuck to learn how to fuck. It’s just how it is. The filmmaker has to protect the adventurous side of their self. I’m an explorer, I’m an inventor. Doc Brown is the character I relate to the most and he’s a madman. He’s a madman alone, locked up with his ideas but he does whatever he wants. He makes what he makes because he wants to make it. Yes, the DeLorean has to work in order for him to be a madman with a purpose—the DeLorean should work—but the point is I think everyone should try and find their own DeLorean. When Zemeckis was trying to get Back To The Future made, which he was for seven years, he was trying to get a film made where basically a teenager gets in a time machine, goes back to 1954 and almost —-s his mother. That pitch is extremely subversive and twisted in a way. My point is, he had a fascinating idea that no one had done before, but was clearly special to him and he stuck to it and made it what it was. When you do that you can create culture, but I think a lot of movies are just echoing culture and there’s a difference.”
~ A Girl Walks Home Alone At Night Filmmaker Ana Lily Amirpour

Six rules for filmmaking from Mike Nichols
1. The careful application of terror is an important form of communication.
2. Anything worth fighting for is worth fighting dirty for.
3. There’s absolutely no substitute for genuine lack of preparation.
4. If you think there’s good in everybody, you haven’t met everybody.
5. Friends may come and go but enemies will certainly become studio heads.
6. No one ever lost anything by asking for more money.
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