By Ray Pride Pride@moviecitynews.com

National Society Of Film Critics 2012 Awards

National Society Of Film Critics

Best Picture: Amour
Best Director: Michael Haneke
Best Actor: Daniel Day-Lewis
Best Actress: Emmanuelle Riva
Best Screenplay: Tony Kushner
Best Supporting Actor: Matthew McConaughey, Magic Mike and Bernie
Best Supporting Actress: Amy Adams, The Master
Best Cinematography: Mihai Malaimare, Jr., The Master
Best Nonfiction Film: The Gatekeepers
Best Experimental Film: This Is Not a Film
Film Heritage Prizes: Laurence Kardish; Milestone Film and Video

2 Responses to “National Society Of Film Critics 2012 Awards”

  1. Daniella Isaacs says:

    Hummm. Well, I have to say they’ve had the best track record (in terms of my taste, anyway) of all the awards giving groups in the past, though I wouldn’t give prizes to Kushner or McConaughey this year. I guess I have to see AMOUR as soon as it comes my way.

  2. Al Alexander says:

    Amour is incredibly overrated. And Amy Adams, really? Almost as nonsensical as McConaughey choice. Spots should have gone to Sally Field and Alan Arkin

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DENNIS COOPER

The next thing that really changed my world and thoroughly influenced my writing were the films of Robert Bresson. When I discovered them in the late seventies, I felt I had found the final ingredient I needed to write the fiction I wanted to write.

INTERVIEWER

What was the final ingredient?

DENNIS COOPER

Recognizing that the films were entirely about emotion and, to me, ­ profoundly moving while, at the same time, stylistically inexpressive and monotonic. On the surface, they were nothing but style, and the style was extremely rigorous to boot, but they seemed almost transparent and purely content driven. Bresson’s use of untrained nonactors influenced my concentration on characters who are amateurs or noncharacters or characters who are ill equipped to handle the job of manning a story line or holding the reader’s attention in a conventional way. Altogether, I think Bresson’s films had the greatest influence on my work of any art I’ve ever encountered. In fact, the first fiction of mine that was ever published was a chapbook called “Antoine Monnier,” which was a god-awful, incompetent attempt to rewrite Bresson’s film Le diable ­probablement as a pornographic novella. So I came to writing novels through a channel that included experimental fiction, poetry, and nonliterary influences pretty much exclusively. I never read normal novels with any real interest or close attention.
~ Dennis Cooper Discovers Bresson

The whole world within reach.
~ Filmmaker Peter Hutton

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