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By Ray Pride Pride@moviecitynews.com

2012 Independent Spirit Awards

BEST FEATURE Silver Linings Playbook

BEST DIRECTOR David O. Russell, Silver Linings Playbook

BEST SCREENPLAY Silver Linings Playbook

BEST FIRST FEATURE The Perks of Being a Wallflower

BEST FIRST SCREENPLAY Safety Not Guaranteed

JOHN CASSAVETES AWARD (Best feature made for under $500,000) Middle of Nowhere

BEST FEMALE LEAD Jennifer Lawrence, Silver Linings Playbook

BEST MALE LEAD John Hawkes, The Sessions

BEST SUPPORTING FEMALE Helen Hunt, The Sessions

BEST SUPPORTING MALE Matthew McConaughey, Magic Mike

BEST CINEMATOGRAPHY Beasts of the Southern Wild

BEST DOCUMENTARY The Invisible War

BEST INTERNATIONAL FILM Amour

16th ANNUAL PIAGET PRODUCERS AWARD ($25,000) Mynette Louie

19th ANNUAL SOMEONE TO WATCH AWARD ($25,000) Adam Leon, Gimme the Loot

STELLA ARTOIS TRUER THAN FICTION AWARD ($25,000) Peter Nicks, The Waiting Room

ROBERT ALTMAN AWARD (Director, casting director, ensemble cast) Starlet
Director Sean Baker
Casting Director Julia Kim
Cast Dree Hemingway, Besedka Johnson, Karren Karagulian, Stella Maeve, James Ransone

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“Chad Harbach spent ten years writing his novel. It was his avocation, for which he was paid nothing, with no guarantee he’d ever be paid anything, while he supported himself doing freelance work, for which I don’t think he ever made $30,000 a year. I sold his book for an advance that equated to $65,000 a year—before taxes and commission—for each of the years of work he’d put in. The law schools in this country churn out first-year associates at white-shoe firms that pay them $250,000 a year, when they’re twenty-five years of age, to sit at a desk doing meaningless bullshit to grease the wheels of the corporatocracy, and people get upset about an excellent author getting $65,000 a year? Give me a fucking break.”
~ Book Agent Chris Parris-Lamb On The State Of The Publishing Industry

INTERVIEWER
Do you think this anxiety of yours has something to do with being a woman? Do you have to work harder than a male writer, just to create work that isn’t dismissed as being “for women”? Is there a difference between male and female writing?

FERRANTE
I’ll answer with my own story. As a girl—twelve, thirteen years old—I was absolutely certain that a good book had to have a man as its hero, and that depressed me. That phase ended after a couple of years. At fifteen I began to write stories about brave girls who were in serious trouble. But the idea remained—indeed, it grew stronger—that the greatest narrators were men and that one had to learn to narrate like them. I devoured books at that age, and there’s no getting around it, my models were masculine. So even when I wrote stories about girls, I wanted to give the heroine a wealth of experiences, a freedom, a determination that I tried to imitate from the great novels written by men. I didn’t want to write like Madame de La Fayette or Jane Austen or the Brontës—at the time I knew very little about contemporary literature—but like Defoe or Fielding or Flaubert or Tolstoy or Dostoyevsky or even Hugo. While the models offered by women novelists were few and seemed to me for the most part thin, those of male novelists were numerous and almost always dazzling. That phase lasted a long time, until I was in my early twenties, and it left profound effects.
~ Elena Ferrante, Paris Review Art Of Fiction No. 228

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