By Ray Pride Pride@moviecitynews.com

2012 CHICAGO FILM CRITICS ASSOCIATION NOMINEES

Link.

BEST PICTURE
Argo
Beasts of the Southern Wild
Lincoln
The Master
Zero Dark Thirty

BEST DIRECTOR
Ben Affleck, Argo
Paul Thomas Anderson, The Master
Kathryn Bigelow, Zero Dark Thirty
Steven Spielberg, Lincoln
Benh Zeitlin, Beasts of the Southern Wild

BEST ACTOR
Daniel Day-Lewis, Lincoln
John Hawkes, The Sessions
Denis Lavant, Holy Motors
Joaquin Phoenix, The Master
Denzel Washington, Flight

BEST ACTRESS
Jessica Chastain, Zero Dark Thirty
Helen Hunt, The Sessions
Jennifer Lawrence, Silver Linings Playbook
Emmanuelle Riva, Amour
Quvenzhane Wallis, Beasts of the Southern Wild
Naomi Watts, The Impossible

BEST SUPPORTING ACTOR
Jason Clarke, Zero Dark Thirty
Leonardo DiCaprio, Django Unchained
Dwight Henry, Beasts of the Southern Wild
Phillip Seymour Hoffman, The Master
Tommy Lee Jones, Lincoln

BEST SUPPORTING ACTRESS
Amy Adams, The Master
Emily Blunt, Looper
Judi Dench, Skyfall
Sally Field, Lincoln
Anne Hathaway, Les Miserables

BEST ORIGINAL SCREENPLAY
Django Unchained by Quentin Tarantino
Looper by Rian Johnson
The Master by Paul Thomas Anderson
Moonrise Kingdom by Wes Anderson & Roman Coppola
Zero Dark Thirty by Mark Boal

BEST ADAPTED SCREENPLAY
Argo by Chris Terrio
Beasts of the Southern Wild by Lucy Alibar & Benh Zeitlin
Lincoln by Tony Kushner
The Perks of Being a Wallflower by Stephen Chbosky
Silver Linings Playbook by David O. Russell

BEST FOREIGN-LANGUAGE FILM
Amour
Holy Motors
The Intouchables
Once Upon a Time in Anatolia
Rust & Bone

BEST DOCUMENTARY
The Central Park Five
The Invisible War
The Queen of Versailles
Searching For Sugar Man
West of Memphis

BEST ANIMATED FILM
Brave
Frankenweenie
ParaNorman
The Secret World of Arrietty
Wreck-It Ralph

BEST CINEMATOGRAPHY
Claudio Miranda, Life of Pi
Janusz Kaminski, Lincoln
Mihai Milaimare Jr., The Master
Roger Deakins, Skyfall
Greig Fraser, Zero Dark Thirty

BEST ORIGINAL SCORE
Alexandre Desplat, Argo
Dan Romer & Benh Zeitlin, Beasts of the Southern Wild
Jonny Greenwood, The Master
Alexandre Desplat, Moonrise Kingdom
Alexandre Desplat, Zero Dark Thirty

BEST ART DIRECTION
Anna Karenina
Les Miserables
Lincoln
The Master
Moonrise Kingdom

BEST EDITING
Willian Goldenberg, Argo
Alexander Berner & Claus Wehlisch, Cloud Atlas
Leslie Jones & Peter McNulty, The Master
Stuart Baird, Skyfall
William Goldenberg & Dylan Tichenor, Zero Dark Thirty

MOST PROMISING PERFORMER
Samantha Barks, Les Miserables
Kara Hayward, Moonrise Kingdom
Dwight Henry, Beasts of the Southern Wild
Tom Holland, The Impossible
Quvenzhane Wallis, Beasts of the Southern Wild

MOST PROMISING FILMMAKER
Stephen Chbosky, The Perks of Being a Wallflower
Drew Goddard, The Cabin in the Woods
Nicholas Jarecki, Arbitrage
Colin Trevorrow, Safety Not Guaranteed
Benh Zeitlin, Beasts of the Southern Wild

10 nominations–The Master
9 nominations–Beasts of the Southern Wild
8 nominations–Lincoln, Zero Dark Thirty
5 nominations–Argo
4 nominations–Moonrise Kingdom
3 nominations–Les Miserables, Skyfall
2 nominations–Amour, Django Unchained, Holy Motors, The Impossible, The Perks of Being a Wallflower, The Sessions, The Silver Linings Playbook, Looper
1 nomination–Anna Karenina, Arbitrage, Brave, The Cabin in the Woods, The Central Park Five, Cloud Atlas, Flight, Frankenweenie, The Intouchables, The Invisible War, The Life of Pi, Once Upon a Time in Anatolia, Paranorman, Queen of Versailles, Rust & Bone, Safety Not Guaranteed, Searching for Sugar Man, The Secret World of Arietty, West of Memphis, Wreck-It Ralph.

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“Let me try and be as direct as I possibly can with you on this. There was no relationship to repair. I didn’t intend for Harvey to buy and release The Immigrant – I thought it was a terrible idea. And I didn’t think he would want the film, and I didn’t think he would like the film. He bought the film without me knowing! He bought it from the equity people who raised the money for me in the States. And I told them it was a terrible idea, but I had no say over the matter. So they sold it to him without my say-so, and with me thinking it was a terrible idea. I was completely correct, but I couldn’t do anything about it. It was not my preference, it was not my choice, I did not want that to happen, I have no relationship with Harvey. So, it’s not like I repaired some relationship, then he screwed me again, and I’m an idiot for trusting him twice! Like I say, you try to distance yourself as much as possible from the immediate response to a movie. With The Immigrant I had final cut. So he knew he couldn’t make me change it. But he applied all the pressure he could, including shelving the film.”
James Gray

“I’m an unusual producer because I control the destiny of a lot of the films I’ve done. Most of them are in perfect states of restoration and preservation and distribution, and I aim to keep them in distribution. HanWay Films, which is my sales company, has a 500-film catalogue, which is looked after and tended like a garden. I’m still looking after my films in the catalogue and trying to get other people to look after their films, which we represent intellectually, to try to keep them alive. A film has to be run through a projector to be alive, unfortunately, and those electric shadows are few and far between now. It’s very hard to go and see films in a movie house. I was always involved with the sales and marketing of my films, right up from The Shout onwards. I’ve had good periods, but I also had a best period because the film business was in its best period then. You couldn’t make The Last Emperor today. You couldn’t make The Sheltering Sky today. You couldn’t make those films anymore as independent films. There are neither the resources nor the vision within the studios to go to them and say, “I want to make a film about China with no stars in it.”Then, twenty years ago, I thought, “OK, I’m going to sell my own films but I don’t want to make it my own sales company.” I wanted it to be for me but I wanted to make it open for every other producer, so they don’t feel that they make a film but I get the focus. So, it’s a company that is my business and I’m involved with running it in a certain way, but I’m not seen as a competitor with other people that use it. It’s used by lots of different producers apart from me. When I want to use it, however, it’s there for me and I suppose I’m planning to continue making all my films to be sold by HanWay. I don’t have to, but I do because it’s in my building and the marketing’s here, and I can do it like that. Often, it sounds like I’m being easy about things, but it’s much more difficult than it sounds. It’s just that I’ve been at it for a long time and there’s lots of fat and security around my business. I know how to make films, but it’s not easy—it’s become a very exacting life.”
~ Producer Jeremy Thomas