By MCN Editor

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
1- Amour
The Invisible War
Moonrise Kingdom

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“There was somebody from Creative Screenwriting Magazine who was here earlier, and she said ‘Have you got any advice for writers?’ and I said, ‘Yeah, write standing up’. Because this time around, I bought a cheap little stand off Amazon, and I wrote standing up, because it’s slightly uncomfortable – it’s not so uncomfortable that you can’t do it, it’s slightly uncomfortable. And it means you don’t end up going on the internet, basically, because you’re there to do a fucking job. So I’ll write for 25 minutes… then I’ll go and play on the PlayStation for a bit. And I do this all night. I go nocturnal. And then I go back and I’ll write a bit more, and then I go back to the PlayStation, and then I go back… And hopefully by then, I’ll lose track of time and then I’ll be writing for fucking ages, and then there’s a point where you get excited about it. So my advice for writers is always: write standing up, and get Scrivener, and write in 25 minute bursts, and get a PlayStation.”
~ Charlie Brooker

“People used to love to call me a maverick, because I had a big mouth, and I’d say, ‘That bum!’ or something like that when I was young. Mainly, because I believed it, and I didn’t know there was anybody’s pain connected to the business. I was so young, I didn’t feel any pain. I just thought, ‘Why don’t they do some exciting, venturesome things? Why are they just sitting there, doing these dull pictures that have already been done many, many times, and calling them exciting? That’s a lie — they’re not exciting. Exciting is an experiment… That reputation keeps with you, through the years. Once the press calls you a maverick, it stays in their files. I’ll be dead five years, and they’ll still be saying, ‘That maverick son-of-a-bitch, he’s off in Colorado, making a movie.’ As if they really cared. You know, in this business, it’s all jealousy. I mean, this is the dumbest business I’ve ever seen in my life. If somebody gets married, they say, ‘It’ll never work.’ If somebody gets divorced, they say, ‘Good. I’ll give you my lawyer.’ If somebody loses a job, everyone will call him — to gloat. They’ll discuss it, they’ll be happy, they’ll have parties. I don’t understand how people that can see each other all the time, and be friends, can be so happy about each other’s demise.”
~ John Cassavetes


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