By Ray Pride Pride@moviecitynews.com

Detroit Film Critic Society Nominates 2012

THE DFCS NOMINEES FOR 2012 (in alphabetical order)

BEST PICTURE

ARGO
THE IMPOSSIBLE
SILVER LININGS PLAYBOOK
TAKE THIS WALTZ
ZERO DARK THIRTY
BEST DIRECTOR

BEN AFFLECK – ARGO
JUAN ANTONIO BAYONA – THE IMPOSSIBLE
KATHERINE BIGELOW – ZERO DARK THIRTY
SARAH POLLEY – TAKE THIS WALTZ
DAVID O. RUSSELL – SILVER LININGS PLAYBOOK
BEST ACTOR

BRADLEY COOPER – SILVER LININGS PLAYBOOK
JOHN HAWKES – THE SESSIONS
DANIEL DAY-LEWIS – LINCOLN
BILL MURRAY – HYDE PARK ON HUDSON
JOAQUIN PHOENIX – THE MASTER
BEST ACTRESS

JESSICA CHASTAIN – ZERO DARK THIRTY
GRETA GERWIG – DAMSELS IN DISTRESS
JENNIFER LAWRENCE – SILVER LININGS PLAYBOOK
NAOMI WATTS – THE IMPOSSIBLE
MICHELLE WILLIAMS – TAKE THIS WALTZ
BEST SUPPORTING ACTOR

ROBERT DENIRO – SILVER LININGS PLAYBOOK
PHILIP SEYMOUR HOFFMAN – THE MASTER
TOMMY LEE JONES – LINCOLN
MATTHEW MCCONAUGHEY – MAGIC MIKE
EWAN MCGREGOR – THE IMPOSSIBLE
EZRA MILLER – THE PERKS OF BEING A WALLFLOWER
BEST SUPPORTING ACTRESS

AMY ADAMS – THE MASTER
ANN DOWD – COMPLIANCE
SALLY FIELD – LINCOLN
ANNE HATHAWAY – LES MISÉRABLES
HELEN HUNT – THE SESSIONS
BEST ENSEMBLE

ARGO
MARVEL’S THE AVENGERS
LINCOLN
MOONRISE KINGDOM
SILVER LININGS PLAYBOOK
BREAKTHROUGH

STEPHEN CHBOSKY – THE PERKS OF BEING A WALLFLOWER
ZOE KAZAN – RUBY SPARKS
REBEL WILSON – PITCH PERFECT
BENH ZEITLIN – BEASTS OF THE SOUTHERN WILD
CRAIG ZOBEL – COMPLIANCE
BEST SCREENPLAY

STEPHEN CHBOSKY – THE PERKS OF BEING A WALLFLOWER
DREW GODDARD & JOSS WHEDON – THE CABIN IN THE WOODS
TONY KUSHNER – LINCOLN
SARAH POLLEY – TAKE THIS WALTZ
DAVID O. RUSSELL – SILVER LININGS PLAYBOOK
BEST DOCUMENTARY

THE HOUSE I LIVE IN
THE IMPOSTER
JIRO DREAMS OF SUSHI
THE QUEEN OF VERSAILLES
SEARCHING FOR SUGAR MAN

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“Almodóvar–the first name is almost unnecessary–is a genius, is a flower, is a guiding light: the last, best son of Buñuel and so much more than that. His screenplays, which he directs with passion and fine care, have taught us about the exteriors of his native land and the interiors of our own hearts. From the early, manic experimental Super-8 work to the breakthrough Women on the Verge of a Nervous Breakdown, his titles are as evocative as most people’s screenplays. Yet for all their antic energy, Almodóvar’s films are deeply spiritual: watching his disturbing, mysterious, heart-rending Talk to Her is to understand, perhaps for the first time, the full meaning of grace. An Almodóvar screenplay is a running leap off a Gaudi balcony, it flips, soars, ascends, careens, tumbles, falls – always landing, astonishingly and astonished, on its feet.”
~ Howard A. Rodman, Announcing Almodóvar’s Jean Renoir Award

“I got a feeling I am going to win in the long run, but I want to be part of the zeitgeist, too. I want to support young girls who are in their 20s now and tell them: You’re not just imagining things. It’s tough. Everything that a guy says once, you have to say five times. Girls now are also faced with different problems. I’ve been guilty of one thing: After being the only girl in bands for 10 years, I learned—the hard way—that if I was going to get my ideas through, I was going to have to pretend that they—men—had the ideas. I became really good at this and I don’t even notice it myself. I don’t really have an ego. I’m not that bothered. I just want the whole thing to be good. And I’m not saying one bad thing about the guys who were with me in the bands, because they’re all amazing and creative, and they’re doing incredible things now. But I come from a generation where that was the only way to get things done. So I have to play stupid and just do everything with five times the amount of energy, and then it will come through.”
~ Björk to Jessica Hopper at Pitchfork