By Ray Pride Pride@moviecitynews.com

Houston Film Critics Awards 2012

Best Picture–Argo
Best Director – Ben Affleck, Argo
Best Actor – Daniel Day-Lewis, Lincoln
Best Actress—Jennifer Lawrence, Silver Linings Playbook
Best Supporting Actor—Tommy Lee Jones, Lincoln
Best Supporting Actress—Anne Hathaway, Les Misérables
Best Screenplay—Tony Kushner, Lincoln
Best Cinematography—Roger Deakins, Skyfall
Best Animated Film—Wreck-It Ralph
Best Documentary Film—The Imposter
Best Foreign Film—Holy Motors
Best Score—Reinhold Heil, Johnny Klimek & Tom Tykwer, Cloud Atlas
Best Song—“Skyfall” from Skyfall, music & lyrics by ADELE and Paul Epworth
Texas Independent Film Award—Bernie
Worst Film—That’s My Boy
Technical Achievement—The Hobbit: An Unexpected Journey
Humanitarian of the Year—Adam Yauch
Lifetime Achievement—Robert Duvall
Outstanding Contribution to Cinema—Jeff Millar

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“I don’t know, because I don’t know much about those cameras. I know that’s been a complaint, but I wouldn’t know. Film is what worked for this film. I have a fear of the unknown. I’ve spent a long time trying to learn one camera, and to fucking stop and try to learn another one… I would have to stop for 20 years! I’m a slow learner; I’d have to go through the manual, it would be starting over. So there’s that, too. It’s an issue for filmmakers, and it’s on people’s minds, and I have to say that it’s a lot more challenging and difficult just to kind of get somebody to show film or to print film. It’s far more challenging than it should be right now, and we’re just trying to keep it alive a little bit and create a little pocket where it can be shown that way in various places across the country right now.”
~ Paul Thomas Anderson To David Ehrlich On The Prospect Of Switching From Film

“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