2012 Critics Awards: San Francisco Film Critics

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

Best Picture: The Master

Best Director: Kathryn Bigelow

Best Documentary: The Waiting Room

Best Foreign Language Film: Amour

Best Animated Film: ParaNorman

Best Editing: William Goldenberg, Argo

Best Production Design: Adam Stockhausen, Moonrise Kingdom

Best Cinematography: Claudio Miranda, Life of Pi

Best Adapted Screenplay: Tony Kushner, Lincoln

Best Original Screenplay: Mark Boal, Zero Dark Thirty

Best Supporting Actress: Helen Hunt, The Sessions

Best Supporting Actor: Tommy Lee Jones, Lincoln

Best Actress: Emmanuelle Riva, Amour

Best Actor: Joaquin Phoenix, The Master

Special Citation: Girl Walk//All Day by Jacob Krupnick

Marlon Riggs Award: Peter Nicks for The Waiting Room

3 Responses to “2012 Critics Awards: San Francisco Film Critics”

  1. YancySkancy says:

    Marabou?

  2. YancySkancy says:

    Oh, and I think the link said THE MASTER was their Best Pic choice.

  3. Ray Pride says:

    Actually, the page was wrong. THE MASTER is correct. Fixed, thanks. [RP]

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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.
~ Via Larry Karaszewski and Howard A. Rodman On Facebook