Film 1213 Previous Nominations and Wins

Total Page:16

File Type:pdf, Size:1020Kb

Film 1213 Previous Nominations and Wins EE British Academy Film Awards Sunday 10 February 2013 Previous Nominations and Wins Includes this year’s nominations. Wins in bold Leading Actor Ben Affleck 3 nominations Leading Actor in 2013: Argo Best Film in 2013: Argo Director in 2013: Argo Bradley Cooper 1 nomination Leading Actor in 2013: Silver Linings Playbook Daniel Day-Lewis 6 nominations / 3 wins Leading Actor in 1990: My Left Foot Leading Actor in 1993: The Last of the Mohicans Leading Actor in 1994: In the Name of the Father Leading Actor in 2003: Gangs of New York Leading Actor in 2008: There Will Be Blood Leading Actor in 2013: Lincoln Hugh Jackman 1 nomination Leading Actor in 2013: Les Misérables Joaquin Phoenix 3 nominations Supporting Actor in 2001: Gladiator Leading Actor in 2006: Walk the Line Leading Actor in 2013: The Master Leading Actress Emmanuelle Riva 2 nominations Foreign Actress in 1961: Hiroshima Mon Amour Leading Actress in 2013: Amour Helen Mirren Total: 11 nominations / 4 wins Film Awards: 5 nominations / 1 win Actress in 1985: Cal Leading Actress in 1996: The Madness of King George Supporting Actress in 2002: Gosford Park Leading Actress in 2007: The Queen Leading Actress in 2013: Hitchcock Television Awards: 6 nominations / 3 wins Best Actress 1991: Prime Suspect Best Actress 1992: Prime Suspect Best Actress 1993: Prime Suspect Best Actress 1995: Prime Suspect Best Actress 1996: Prime Suspect Best Actress 2003: Prime Suspect Jennifer Lawrence 1 nomination Leading Actress in 2013: Silver Linings Playbook Jessica Chastain 2 nominations Supporting Actress in 2012: The Help Leading Actress in 2013: Zero Dark Thirty Marion Cotillard 2 nominations / 1 win Leading Actress in 2008: La Vie En Rose Leading Actress in 2013: Rust and Bone Supporting Actor Alan Arkin 3 nominations / 1 win Most Promising Newcomer in 1967: The Russians Are Coming Supporting Actor in 2007: Little Miss Sunshine Supporting Actor in 2013: Argo Christoph Waltz 2 nominations / 1 win Supporting Actor in 2010: Inglourious Basterds Supporting Actor in 2013: Django Unchained Javier Bardem 3 nominations / 1 win Supporting Actor in 2008: No Country For Old Men Leading Actor in 2011: Biutiful Supporting Actor in 2013: Skyfall Philip Seymour 5 nominations / 1 win Hoffman Lead Actor in 2006: Capote Lead Actor in 2008: Charlie Wilson’s War Supporting Actor in 2009: Doubt Supporting Actor in 2012: The Ides of March Supporting Actor in 2013: The Master Tommy Lee Jones 4 nominations Supporting Actor in 1993: JFK Supporting Actor in 1994: The Fugitive Supporting Actor in 2008: No Country for Old Men Supporting Actor in 2013: Lincoln Supporting Actress Anne Hathaway 1 nomination Supporting Actress in 2013: Les Misérables Amy Adams 3 nominations Supporting Actress in 2009: Doubt Supporting Actress in 2011: The Fighter Supporting Actress in 2013: The Master Helen Hunt 1 nomination Supporting Actress in 2013: The Sessions Judi Dench Total: 26 nominations / 10 wins (Academy Fellow) Film Awards: 14 nominations / 6 wins Most Promising Newcomer in 1966: Four in the Morning Supporting Actress in 1986: Wetherby Supporting Actress in 1987: A Room with a View Supporting Actress in 1988: 84 Charing Cross Road Supporting Actress in 1989: A Handful of Dust Leading Actress in 1998: Mrs Brown Supporting Actress in 1999: Shakespeare in Love Supporting Actress in 2001: Chocolat Leading Actress in 2002: Iris Supporting Actress in 2002: The Shipping News Leading Actress in 2006: Mrs Henderson Presents Leading Actress in 2007: Notes on a Scandal Supporting Actress in 2012: My Week with Marilyn Supporting Actress in 2013: Skyfall TV Awards: 12 nominations / 4 wins Actress 1967 Actress 1979: On Giant's Shoulders/A Village Wooing/Macbeth Actress 1981: Going Gently/A Fine Romance/The Cherry Orchard Light Entertainment Performance 1982: A Fine Romance Actress 1983: Saigon – Year of the Cat Light Entertainment Performance 1983: A Fine Romance Light Entertainment Performance 1984: A Fine Romance Actress 1989: Behaving Badly Comedy Performance 1995: As Time Goes By Comedy Performance 1997: As Time Goes By Actress 2000: Last of the Blonde Bombshells Actress 2007: Cranford Plus Academy Fellowship (2001) Sally Field 2 nominations Supporting Actress in 1995: Forrest Gump Supporting Actress in 2013: Lincoln Director Michael Haneke: 5 nominations Amour Film Not in the English Language in 2002: The Piano Teacher Film Not in the English Language in 2010: The White Ribbon Film Not in the English Language in 2013: Amour Director in 2013: Amour Original Screenplay in 2013: Amour Ben Affleck: Argo 3 nominations Leading Actor in 2013: Argo Best Film in 2013: Argo Director in 2013: Argo Quentin Tarantino: 7 nominations / 1 win Django Unchained Best Film in 1995: Pulp Fiction Director in 1995: Pulp Fiction Original Screenplay in1995: Pulp Fiction Director in 2010: Inglourious Basterds Original Screenplay in 2010: Inglourious Basterds Director in 2013: Django Unchained Original Screenplay in 2013: Django Unchained Ang Lee: Life of Pi 10 nominations / 4 wins Film Not in the English Language in 1995: Eat Drink, Man Woman Director in 1996: Sense and Sensibility Best Film in 1996: Sense and Sensibility Director in 2001: Crouching Tiger, Hidden Dragon Best Film in 2001: Crouching Tiger, Hidden Dragon Film Not in the English Language in 2001: Crouching Tiger, Hidden Dragon Director in 2006: Brokeback Mountain Film Not in the English Language in 2008: Lust, Caution Best Film in 2013: Life of Pi Director in 2013: Life of Pi Kathryn Bigelow: 4 nominations / 2 wins Zero Dark Thirty Best Film in 2010: The Hurt Locker Director in 2010: The Hurt Locker Best Film in 2013: Zero Dark Thirty Director in 2013: Zero Dark Thirty Others Steven Spielberg 12 nominations / 3 wins (Academy Fellow) Film Awards: 11 nominations / 2 wins Director in 1976: Jaws Director in 1979: Close Encounters of the Third Kind Screenplay in 1979: Close Encounters of the Third Kind Best Film in 1983: E.T. the Extra-Terrestrial Director in 1983: E.T. the Extra-Terrestrial Best Film in 1994: Schindler’s List Director in 1994: Schindler’s List Best Film in 1999: Saving Private Ryan Director in 1999: Saving Private Ryan Animated Film in 2012: The Adventures of Tintin: Secret of the Unicorn Best Film in 2013: Lincoln Games Awards: 1 nomination / 1 win Casual Game 2009: Boom Blox Plus Academy Fellowship (1986) George Clooney 9 nominations: Director in 2006: Good Night, and Good Luck Supporting Actor in 2006: Good Night, and Good Luck Original Screenplay in 2006: Good Night, and Good Luck Supporting Actor in 2006: Syriana Leading Actor in 2008: Michael Clayton Leading Actor in 2010: Up in the Air Leading Actor in 2012: The Descendants Adapted Screenplay in 2012: The Ides of March Best Film in 2013: Argo Bond films 25 nominations / 2 wins From Russia with Love: Cinematography: Colour in 1964 Goldfinger: Art Direction: Colour in 1965 Thunderball: Art Direction: Colour in 1966 You Only Live Twice: Art Direction: Colour in 1968 The Spy Who Loved Me: Music, Production Design in 1978 Goldeneye: Special Effects, Sound in 1996 Casino Royale : Outstanding British Film, Adapted Screenplay, Film Music, Cinematography, Editing, Production Design, Sound , Special Visual Effects, Leading Actor – Daniel Craig in 2007 Skyfall: Outstanding British Film, Original Music, Cinematography, Editing, Production Design, Sound, Supporting Actor – Javier Bardem, Supporting Actress – Judi Dench in 2013 .
Recommended publications
  • Fighting for Women Existence in Popular Espionage Movies Salt (2010) and Zero Dark Thirty (2012)
    Benita Amalina — Fighting For Women Existence in Popular Espionage Movies Salt (2010) and Zero Dark Thirty (2012) FIGHTING FOR WOMEN EXISTENCE IN POPULAR ESPIONAGE MOVIES SALT (2010) AND ZERO DARK THIRTY (2012) Benita Amalina [email protected] Abstract American spy movies have been considered one of the most profitable genre in Hollywood. These spy movies frequently create an assumption that this genre is exclusively masculine, as women have been made oblivious and restricted to either supporting roles or non-spy roles. In 2010 and 2012, portrayal of women in spy movies was finally changed after the release of Salt and Zero Dark Thirty, in which women became the leading spy protagonists. Through the post-nationalist American Studies perspective, this study discusses the importance of both movies in reinventing women’s identity representation in a masculine genre in response to the evolving American society. Keywords: American women, hegemony, representation, Hollywood, movies, popular culture Introduction The financial success and continuous power of this industry implies that there has been The American movie industry, often called good relations between the producers and and widely known as Hollywood, is one of the main target audience. The producers the most powerful cinematic industries in have been able to feed the audience with the world. In the more recent data, from all products that are suitable to their taste. Seen the movies released in 2012 Hollywood from the movies’ financial revenues as achieved $ 10 billion revenue in North previously mentioned, action movies are America alone, while grossing more than $ proven to yield more revenue thus become 34,7 billion worldwide (Kay, 2013).
    [Show full text]
  • ZERO DARK THIRTY an Original Screenplay by Mark Boal October 3
    ZERO DARK THIRTY An Original Screenplay by Mark Boal October 3, 2011 all rights reserved FROM BLACK, VOICES EMERGE-- We hear the actual recorded emergency calls made by World Trade Center office workers to police and fire departments after the planes struck on 9/11, just before the buildings collapsed. TITLE OVER: SEPTEMBER 11, 2001 We listen to fragments from a number of these calls...starting with pleas for help, building to a panic, ending with the caller's grim acceptance that help will not arrive, that the situation is hopeless, that they are about to die. CUT TO: TITLE OVER: TWO YEARS LATER INT. BLACK SITE - INTERROGATION ROOM DANIEL I own you, Ammar. You belong to me. Look at me. This is DANIEL STANTON, the CIA's man in Islamabad - a big American, late 30's, with a long, anarchical beard snaking down to his tattooed neck. He looks like a paramilitary hipster, a punk rocker with a Glock. DANIEL (CONT'D) (explaining the rules) If you don't look at me when I talk to you, I hurt you. If you step off this mat, I hurt you. If you lie to me, I'm gonna hurt you. Now, Look at me. His prisoner, AMMAR, stands on a decaying gym mat, surrounded by four GUARDS whose faces are covered in ski masks. Ammar looks down. Instantly: the guards rush Ammar, punching and kicking. DANIEL (CONT'D) Look at me, Ammar. Notably, one of the GUARDS wearing a ski mask does not take part in the beating. 2. EXT.
    [Show full text]
  • Zero Dark Thirty Error
    Issue 7 | Movie: A Journal of Film Criticism | 23 troop carrier with no clear sense of destination, speaks again understated performances further serve to create what might as much to a national as a personal loss of purpose, afer the be described as a reality afect. quest is over. Te 9/11 sequence ofers an extreme version of the real- Te flm’s epilogue has received considerable critical atten- ist aesthetic and the rejection of spectacle. From the second tion1; the prologue less so. And where critics do mention it, plane hitting the tower, to the falling man, to the rubble details are ofen misremembered. In an interview with Kyle of ground zero, there are any number of iconic images the Buchanan, screenwriter Mark Boal refects on the difculties flmmakers might have selected to represent the destruction of writing the ‘opening scene’ of Zero Dark Tirty (2013). Te wrought by the attacks. However, what such images have in scene he is referring to in this discussion, however, is the infa- common, what potentially makes them efective as a form of mous torture scene that begins the narrative proper (to which cultural shorthand, also renders them problematic in terms I will return). It is as if he has momentarily forgotten the scene of eliciting a fresh response – and certainly in terms of the Intimacy, ‘truth’ and the gaze: that precedes it in the original shooting script as well as the slow-burn, reality afect. Teir very familiarity can render flm. Given this oversight by the writer himself, it is under- such images hackneyed and over-determined.
    [Show full text]
  • Family in Films
    Travail de maturité – ANGLAIS Sujet no 13 Family in Films “All happy families are all alike; every unhappy family is unhappy in its own way.” Anna Karenina, Leon Tolstoy. Whether dysfunctional, separated by exile, torn apart by history, laden with secrecy, crazy, loving, caring, smothering - and even perhaps happy, family is an endless source of investigation about human relations and social groups. In this research paper, you will be able to question Leon Tolstoy’s statement and explore how films envision new and older forms of families. Some examples of films relevant to this research paper: Festen (Thomas Vintenterberg, 1998) Parasite (Bong Joon-ho, 2019) L’Heure d’été (Olivier Assayas, 2008) Family Romance, LLC (Werner Herzog, 2019) Un conte de Noël (Arnaud Desplechin, Crooklyn (Spike Lee, 1994) 2008) Sorry, We Missed You (Ken Loach, 2019) La Fête de famille (Cédric Kahn, 2019) I, Daniel Blake ( Ken Loach, 2016) After the Storm (海よりもまだ深く, Umi yori Jungle Fever (Spike Lee, 1991) mo mada fukaku, Hirokazu Rodinný Film (Family Film, Olmo Omerzu, Kore-eda, 2016) 2015) Nobody Knows (誰も知らない, Dare mo So Long My Son (地久天长, Di jiu tian chang shiranai, Hirokazu Kore-eda, Wang Xiaoshuai, 2019) 2004) Still Life (三峡好人, Sānxiá hǎorén, Jia Like Father, Like Son (そして父になる, Zhangke, 2006) Soshite chichi ni naru, Hirokazu Amreeka (Cherien Dabis, 2009) Kore-eda, 2013) Tokyo Sonata (Kiyoshi Kurosawa, 2008) Our Little Sister (海街diary, Umimachi American Beauty (Sam Mendes, 1999) Diary, Hirokazu Kore-eda, 2015) The Royal Tenenbaums (Wes Anderson, Still Walking
    [Show full text]
  • Gender and the Family in Contemporary Chinese-Language Film Remakes
    Gender and the family in contemporary Chinese-language film remakes Sarah Woodland BBusMan., BA (Hons) A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2016 School of Languages and Cultures 1 Abstract This thesis argues that cinematic remakes in the Chinese cultural context are a far more complex phenomenon than adaptive translation between disparate cultures. While early work conducted on French cinema and recent work on Chinese-language remakes by scholars including Li, Chan and Wang focused primarily on issues of intercultural difference, this thesis looks not only at remaking across cultures, but also at intracultural remakes. In doing so, it moves beyond questions of cultural politics, taking full advantage of the unique opportunity provided by remakes to compare and contrast two versions of the same narrative, and investigates more broadly at the many reasons why changes between a source film and remake might occur. Using gender as a lens through which these changes can be observed, this thesis conducts a comparative analysis of two pairs of intercultural and two pairs of intracultural films, each chapter highlighting a different dimension of remakes, and illustrating how changes in gender representations can be reflective not just of differences in attitudes towards gender across cultures, but also of broader concerns relating to culture, genre, auteurism, politics and temporality. The thesis endeavours to investigate the complexities of remaking processes in a Chinese-language cinematic context, with a view to exploring the ways in which remakes might reflect different perspectives on Chinese society more broadly, through their ability to compel the viewer to reflect not only on the past, by virtue of the relationship with a source text, but also on the present, through the way in which the remake reshapes this text to address its audience.
    [Show full text]
  • Woman As a Category / New Woman Hybridity
    WiN: The EAAS Women’s Network Journal Issue 1 (2018) The American Woman Warrior: A Transnational Feminist Look at War, Imperialism, and Gender Agnieszka Soltysik Monnet ABSTRACT: This article examines the issue of torture and spectatorship in the film Zero Dark Thirty through the question of how it deploys gender ideologically and rhetorically to mediate and frame the violence it represents. It begins with the controversy the film provoked but focuses specifically on the movie’s representational and aesthetic techniques, especially its self-awareness about being a film about watching torture, and how it positions its audience in relation to these scenes. Issues of spectator identification, sympathy, interpellation, affect (for example, shame) and genre are explored. The fact that the main protagonist of the film is a woman is a key dimension of the cultural work of the film. I argue that the use of a female protagonist in this film is part of a larger trend in which the discourse of feminism is appropriated for politically conservative and antifeminist ends, here the tacit justification of the legally murky world of black sites and ‘enhanced interrogation techniques.’ KEYWORDS: gender; women’s studies; torture; war on terror; Abu Ghraib; spectatorship; neoliberalism; Angela McRobbie; Some of you will recognize my title as alluding to Maxine Hong Kingston’s The Woman Warrior (1975), a fictionalized autobiography in which she evokes the fifth-century Chinese legend of a girl who disguises herself as a man in order to go to war in the place of her frail old father. Kingston’s use of this legend is credited with having popularized the story in the United States and paved the way for the 1998 Disney adaptation.
    [Show full text]
  • International Theatrical Marketing Strategy
    International Theatrical Marketing Strategy Main Genre: Action Drama Brad Pitt Wardaddy 12 Years a Slave, World War Z, Killing Them Softly Moneyball, Inglourious Basterds, The Curious Case of Benjamin Button Shia LaBeouf Bible Charlie Countryman, Lawless, Transformers: Dark of the Moon, Transformers: Revenge of the Fallen, Eagle Eye, Indiana Jones and the Kingdom of the Crystal Skull Logan Lerman Norman Noah, Percy Jackson: Sea of Monsters, Stuck in Love, The Perks of being a Wallflower, The Three Musketeers Michael Peña Gordo Cesar Chavez, American Hustle, Gangster Squad, End of Watch, Tower Heist, 30 Minutes or Less CONFIDENTIAL – DO NOT DISTRIBUTE Jon Bernthal Coon-Ass The Wolf of Wall Street, Grudge Match, Snitch, Rampart, Date Night David Ayer Director Sabotage, End of Watch Target Audience Demographic: Moviegoers 17+, skewing male. Psychographic: Fans of historical drama, military fans. Fans of the cast. Positioning Statment At the end of WWII, a battle weary tank commander must lead his men into one last fight deep in the heart of Nazi territory. With a rookie soldier thrust into his platoon, the crew of the Sherman Tank named Fury face overwhelming odds of survival. Strategic Marketing & Research KEY STRENGTHS Brad Pitt, a global superstar. Pitt’s star power certainly is seen across the international market and can be used to elevate anticipation of the film. This is a well-crafted film with standout performances. Realistic tank action is a key interest driver for this film. A classic story of brotherhood in WWII that features a strong leader, a sympathetic rookie, and three other entertaining, unique personalities to fill out the crew.
    [Show full text]
  • Female Director Takes Hollywood by Storm: Is She a Beauty Or a Visionary?
    Western Oregon University Digital Commons@WOU Honors Senior Theses/Projects Student Scholarship 6-1-2016 Female Director Takes Hollywood by Storm: Is She a Beauty or a Visionary? Courtney Richardson Western Oregon University Follow this and additional works at: https://digitalcommons.wou.edu/honors_theses Part of the Feminist, Gender, and Sexuality Studies Commons Recommended Citation Richardson, Courtney, "Female Director Takes Hollywood by Storm: Is She a Beauty or a Visionary?" (2016). Honors Senior Theses/Projects. 107. https://digitalcommons.wou.edu/honors_theses/107 This Undergraduate Honors Thesis/Project is brought to you for free and open access by the Student Scholarship at Digital Commons@WOU. It has been accepted for inclusion in Honors Senior Theses/Projects by an authorized administrator of Digital Commons@WOU. For more information, please contact [email protected], [email protected], [email protected]. Female Director Takes Hollywood by Storm: Is She a Beauty or a Visionary? By Courtney Richardson An Honors Thesis Submitted in Partial Fulfillment of the Requirements for Graduation from the Western Oregon University Honors Program Dr. Shaun Huston, Thesis Advisor Dr. Gavin Keulks, Honors Program Director Western Oregon University June 2016 2 Acknowledgements First I would like to say a big thank you to my advisor Dr. Shaun Huston. He agreed to step in when my original advisor backed out suddenly and without telling me and really saved the day. Honestly, that was the most stressful part of the entire process and knowing that he was available if I needed his help was a great relief. Second, a thank you to my Honors advisor Dr.
    [Show full text]
  • Quiet and Melancholy. This MUSIC Plays Over All of the Opening Scenes
    We begin with MUSIC -- quiet and melancholy. This MUSIC plays over all of the opening scenes: EXTREME CLOSE UP The silent, slo-mo image of a Miss America being crowned. She cries and hugs the runners-up as she has the tiara pinned on her head. Then -- carrying her bouquet -- she strolls down the runway, waving and blowing kisses. INT. REC ROOM - DAY A six year old girl sits watching the show intently. This is OLIVE. She is big for her age and slightly plump. She has frizzy brown hair and wears black-rimmed glasses. She studies the show very earnestly. Then, using a remote, she FREEZES the image. Absently, she holds up one hand and mimics the waving style of the Miss America. She REWINDS the tape, and starts all over again. Again, Miss America hears her name announced, and once again breaks down in tears -- overwhelmed and triumphant. RICHARD (V.O.) There’s two kinds of people in this world: Winners...and Losers. INT. CLASSROOM - DAY RICHARD (45) stands in front of a white-board in a community college classroom. He wears khaki shorts, a golf shirt, sneakers. His peppy, upbeat demeanor just barely masks a seething sense of insecurity and frustration. There are eleven students in a room that could easily fit fifty. RICHARD If there’s one thing you take away from the nine weeks we’ve spent here together, it should be this: Winners and Losers. What’s the difference? 2. Richard turns with a pointer and enumerates his points, which are listed on the white board.
    [Show full text]
  • Black Nights Stars Programme
    %ODFN 1RYHPEHU 1LJKWV ,QGXVWU\#7DOOLQQ %DOWLF(YHQW 6WDUV Black Nights Stars is designed to support young actors from ‘It was a tremendously gratifying experience to serve on the the Baltic Sea region, to make their next steps into the in- BLACK NIGHT STARS Jury to select stellar talent from the ternational arena by connecting them to key international Baltics. Though all unique, they share an amazing presence, film professionals, such as casting directors, casting agents, an unexpected force, mystery, soulful beauty, fierce inten- producers and the press and acquire various practical skills sity, intricate sensuality, and deepness which feels unique needed in their future international careers. to their countries and still universal in their sincerity. It is of great value to the film industry to discover these marvellous The five-day online event, highlights the emerging talent of and fresh artists who will shine, not just in their country, but eight young actors and actresses, all selected by an interna- internationally. To bring them to the film industry’s atten- tional jury of experts, based on their first feature films and TV tion so they can further enrich our experience as audiences roles. The program consists of masterclasses, workshops and and bring us closer together is a treasure’. networking events with international casting professionals from Europe and the USA and focuses on the future of cast- Lina Todd, Lina Todd Casting Agency, New York ing and auditioning online, presenting oneself at industry and media events, how to make your best Self Video and about ‘Black Nights Stars is a wonderful way to celebrate local Intimacy in Front of the Camera.
    [Show full text]
  • Oscars and America 2011
    AMERICA AND THE MOVIES WHAT THE ACADEMY AWARD NOMINEES FOR BEST PICTURE TELL US ABOUT OURSELVES I am glad to be here, and honored. I spent some time with Ben this summer in the exotic venues of Oxford and Cambridge, but it was on the bus ride between the two where we got to share our visions and see the similarities between the two. I am excited about what is happening here at Arizona State and look forward to seeing what comes of your efforts. I’m sure you realize the opportunity you have. And it is an opportunity to study, as Karl Barth once put it, the two Bibles. One, and in many ways the most important one is the Holy Scripture, which tells us clearly of the great story of Creation, Fall, Redemption and Consummation, the story by which all stories are measured for their truth, goodness and beauty. But the second, the book of Nature, rounds out that story, and is important, too, in its own way. Nature in its broadest sense includes everything human and finite. Among so much else, it gives us the record of humanity’s attempts to understand the reality in which God has placed us, whether that humanity understands the biblical story or not. And that is why we study the great novels, short stories and films of humankind: to see how humanity understands itself and to compare that understanding to the reality we find proclaimed in the Bible. Without those stories, we would have to go through the experiences of fallen humanity to be able to sympathize with them, and we don’t want to have to do that, unless we have a screw loose somewhere in our brain.
    [Show full text]
  • Columbia Filmcolumbia Is Grateful to the Following Sponsors for Their Generous Support
    O C T O B E R 1 8 – 2 7 , 2 0 1 9 20 TH ANNIVERSARY FILM COLUMBIA FILMCOLUMBIA IS GRATEFUL TO THE FOLLOWING SPONSORS FOR THEIR GENEROUS SUPPORT BENEFACTOR EXECUTIVE PRODUCERS 20 TH PRODUCERS FILM COLUMBIA FESTIVAL SPONSORS MEDIA PARTNERS OCTOBER 18–27, 2019 | CHATHAM, NEW YORK Programs of the Crandell Theatre are made possible by the New York State Council on the Arts with the support of Gov. Andrew Cuomo and the New York filmcolumbia.org State Legislature. 5 VENUES AND SCHEDULE 9 CRANDELL THEATRE VENUES AND SCHEDULE 11 20th FILMCOLUMBIA CRANDELL THEATRE 48 Main Street, Chatham 13 THE FILMS á Friday, October 18 56 PERSONNEL 1:00pm ADAM (page 15) 56 DONORS 4:00pm THE ICE STORM (page 15) á Saturday, October 19 74 ORDER TICKETS 12:00 noon DRIVEWAYS (page 16) 2:30pm CROUCHING TIGER, HIDDEN DRAGON (page 17) á Sunday, October 20 11:00am QUEEN OF HEARTS: AUDREY FLACK (page 18) 1:00pm GIVE ME LIBERTY (page 18 3:30pm THE VAST OF NIGHT (page 19) 5:30pm ZOMBI CHILD (page 19) 7:30pm FRANKIE + DESIGN IN MIND: ON LOCATION WITH JAMES IVORY (short) (page 20) á Monday, October 21 11:30am THE TROUBLE WITH YOU (page 21) 1:30pm SYNONYMS (page 21) 4:00pm VARDA BY AGNÈS (page 22) 6:30pm SORRY WE MISSED YOU (page 22) 8:30pm PARASITE (page 23) á Tuesday, October 22 12:00 noon ICE ON FIRE (page 24) 2:00pm SOUTH MOUNTAIN (page 24) 4:00pm CUNNINGHAM (page 25) 6:00pm THE CHAMBERMAID (page 26) 8:15pm THE SONG OF NAMES (page 27) á Wednesday, October 23 11:30am SEW THE WINTER TO MY SKIN (page 28) 2:00pm MICKEY AND THE BEAR (page 28) 3:45pm CLEMENCY (page 29) 6:00pm
    [Show full text]