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NBR Awards for 2012

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NBR Awards for 2012
Best Film
ZERO DARK THIRTY

Best Foreign Language Film
AMOUR

Best Original Screenplay
Rian Johnson, LOOPER

Best Actor
Bradley Cooper, SILVER LININGS PLAYBOOK

Best Actress
Jessica Chastain, ZERO DARK THIRTY

Best Adapted Screenplay
David O. Russell, SILVER LININGS PLAYBOOK

Best Animated Feature
WRECK-IT RALPH

Best Director
Kathryn Bigelow, ZERO DARK THIRTY

Best Directorial Debut
Benh Zeitlin, BEASTS OF THE SOUTHERN WILD

Best Documentary
SEARCHING FOR SUGAR MAN

Best Ensemble
LES MISÉRABLES
Best Supporting Actor
Leonardo DiCaprio, DJANGO UNCHAINED

Best Supporting Actress
Ann Dowd, COMPLIANCE

Breakthrough Performance Actor
Tom Holland, THE IMPOSSIBLE

Breakthrough Performance Actress
Quvenzhané Wallis BEASTS OF THE SOUTHERN WILD

NBR Freedom of Expression
THE CENTRAL PARK FIVE

NBR Freedom of Expression
PROMISED LAND

Special Achievement in Filmmaking
Ben Affleck, ARGO

Spotlight Award
John Goodman (ARGO, FLIGHT, PARANORMAN, TROUBLE WITH THE CURVE)

Top 10 Independent Films
(In Alphabetical Order) ARBITRAGE, BERNIE, COMPLIANCE, END OF WATCH, HELLO I MUST BE GOING, LITTLE BIRDS, MOONRISE KINGDOM, ON THE ROAD, QUARTET, SLEEPWALK WITH ME

Top 5 Documentaries
(In Alphabetical Order) AI WEIWEI: NEVER SORRY, DETROPIA, THE GATEKEEPERS, THE INVISIBLE WAR, ONLY THE YOUNG

Top 5 Foreign Language Films
(In Alphabetical Order) BARBARA, THE INTOUCHABLES, THE KID WITH A BIKE, NO, WAR WITCH

Top Films
(in alphabetical order) ARGO, BEASTS OF THE SOUTHERN WILD,DJANGO UNCHAINED, LES MISÉRABLES, LINCOLN, LOOPER, THE PERKS OF BEING A WALLFLOWER, PROMISED LAND, SILVER LININGS PLAYBOOK

William K. Everson Award For Film History
50 YEARS OF BOND FILMS

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“The core fear is what can happen to you, personally. Your body. That’s what horror films deal with, precisely. We are a very thin skin wrapped around a pumping heart and guts. At any given moment it can come down to that, be it diseases, or somebody’s assault, or war, or a car wreck. You could be reduced to the simple laws of physics and your body’s vulnerability. The edged weapon is the penultimate weapon to disclose that reality to you.”
~ Wes Craven, 1996, promoting Scream

MAMET
Well, that, to me, is always the trick of dramaturgy; theoretically, perfectly, what one wants to do is put the protagonist and the audience in exactly the same position. The main question in drama, the way I was taught, is always what does the protagonist want. That’s what drama is. It comes down to that. It’s not about theme, it’s not about ideas, it’s not about setting, but what the protagonist wants. What gives rise to the drama, what is the precipitating event, and how, at the end of the play, do we see that event culminated? Do we see the protagonist’s wishes fulfilled or absolutely frustrated? That’s the structure of drama. You break it down into three acts.

INTERVIEWER
Does this explain why your plays have so little exposition?

MAMET
Yes. People only speak to get something. If I say, Let me tell you a few things about myself, already your defenses go up; you go, Look, I wonder what he wants from me, because no one ever speaks except to obtain an objective. That’s the only reason anyone ever opens their mouth, onstage or offstage. They may use a language that seems revealing, but if so, it’s just coincidence, because what they’re trying to do is accomplish an objective… The question is where does the dramatist have to lead you? Answer: the place where he or she thinks the audience needs to be led. But what does the character think? Does the character need to convey that information? If the answer is no, then you’d better cut it out, because you aren’t putting the audience in the same position with the protagonist. You’re saying, in effect, Let’s stop the play. That’s what the narration is doing—stopping the play… It’s action, as Aristotle said. That’s all that it is—exactly what the person does. It’s not what they “think,” because we don’t know what they think. It’s not what they say. It’s what they do, what they’re physically trying to accomplish on the stage. Which is exactly the same way we understand a person’s character in life—not by what they say, but by what they do. Say someone came up to you and said, I’m glad to be your neighbor because I’m a very honest man. That’s my character. I’m honest, I like to do things, I’m forthright, I like to be clear about everything, I like to be concise. Well, you really don’t know anything about that guy’s character. Or the person is onstage, and the playwright has him or her make those same claims in several subtle or not-so-subtle ways, the audience will say, Oh yes, I understand their character now; now I understand that they are a character. But in fact you don’t understand anything. You just understand that they’re jabbering to try to convince you of something.
~ David Mamet

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