Tomorrow, on a rainy midday afternoon, the Independent Spirit Awards will host their own version of the year’s best. In year’s past, the Spirit Awards have been sort of the anti-Oscars in a way, the alternative to what is the moneyed world of the popularity contest that takes place on Sunday. This will be an interesting year because it will put the Spirit Awards possibly in line with the Oscars for Best Picture for the third time in their history. Only Platoon and The Artist have won both.
I am attending the Spirit Awards for the first time tomorrow. While the weather has made it a tad less than ideal (beachside awards on a beautiful day is probably divine) but I will be happy to see what I hope is a good day for 12 Years a Slave.
Let’s take a look at the nominees, shall we?
Best Picture
12 Years Slave <–Predicted Winner
All is Lost
Frances Ha
Inside Llewyn Davis
Nebraska <–but maybe
It isn’t as easy a call as you’d think. Inside Llewyn Davis could easily win this, as could Nebraska. Probably not Frances Ha or All is Lost. Still, I’ll put my chips behind 12 Years a Slave.
Director
Shane Carruth – ‘Upstream Color’
J.C. Chandor – ‘All Is Lost’
Steve McQueen – ’12 Years a Slave’ <–predicted winner
Jeff Nichols – ‘Mud’
Alexander Payne – ‘Nebraska’
We really have no idea how this will go – these awards are voted on by members and pretty much anyone who wants to be a member can be. So Silver Linings Playbook took home all of the major awards last year, one never knows which one of these is popular – but perhaps McQueen will win, making Spirit Award history while doing so.
Screenplay
Woody Allen – ‘Blue Jasmine’
Julie Delpy, Ethan Hawke & Richard Linklater – ‘Before Midnight’ <–predicted winners
Nicole Holofcener – ‘Enough Said’
Scott Neustadter & Michael H. Weber – ‘The Spectacular Now’
John Ridley – ’12 Years a Slave’
Just a hunch that the Before crew will win but John Ridley could win too. Props to the Spirit awards for nominating two women in this category.
First Feature
‘Blue Caprice’ – Alexandre Moors – director/producer; Kim Jackson, Brian O’Carroll, Isen Robbins, Will Rowbotham, Ron Simons, Aimee Schoof, Stephen Tedeschi – producer
‘Concussion’ – Stacie Passon – director; Rose Troche – producer
‘Fruitvale Station’ – Ryan Coogler – director; Nina Yang Bongiovi, Forest Whitaker – producers <–predicted winner
‘Una Noche’ – Lucy Mulloy – director – producer; Sandy Pérez Aguila, Maite Artieda, Daniel Mulloy, Yunior Santiago – producers
‘Wadjda’ – Haifaa Al Mansour – director; Gerhard Meixner, Roman Paul – producer
First Screenplay
Lake Bell – ‘In a World’
Joseph Gordon-Levitt – ‘Don Jon’
Bob Nelson – ‘Nebraska’ <—predicted winner
Jill Soloway – ‘Afternoon Delight’
Michael Starrbury – ‘The Inevitable Defeat of Mister and Pete’
I have no idea who will win this one but I suspect Nebraska could take it, being that it’s the only one with a corresponding Picture and Director nod.
John Cassavetes Award (Given to the best feature made for under $500,000)
‘Computer Chess’ – Andrew Bujalski, writer/director
‘Crystal Fairy’ – Sebastiàn Silva, writer/director
‘Museum Hours’ – Jem Cohen, writer/director
‘Pit Stop’ – Yen Tan, writer/director; David Lowery, writer
‘This is Martin Bonner’ – Chad Hartigan, writer/director
Abstain – I have no clue on this one, sorry.
Female Lead
Cate Blanchett – ‘Blue Jasmine’ <–predicted winner in a clean sweep.
Julie Delpy – ‘Before Midnight’
Gaby Hoffmann – ‘Crystal Fairy’
Brie Larson – ‘Short Term 12’
Shailene Woodley – ‘The Spectacular Now’
Male Lead
Bruce Dern – ‘Nebraska’ <—but it could be…
Chiwetel Ejiofor – ’12 Years a Slave’ <—and watch out for…
Oscar Isaac – ‘Inside Llewyn Davis’
Michael B. Jordan – ‘Fruitvale Station’
Matthew McConaughey – ‘Dallas Buyers Club’ <–probably your winner…
Robert Redford – ‘All Is Lost’
Supporting Female
Melonie Diaz – ‘Fruitvale Station’
Sally Hawkins – ‘Blue Jasmine’
Lupita Nyong’o – ’12 Years a Slave’ <–predicted winner
Yolonda Ross – ‘Go For Sisters’
June Squibb – ‘Nebraska’ <– but it could be…
Supporting Male
Michael Fassbender – ’12 Years a Slave’
Will Forte – ‘Nebraska’
James Gandolfini – ‘Enough Said’ <–but perhaps a nice tribute…
Jared Leto – ‘Dallas Buyers Club’ <— predicted winner
Keith Stanfield – ‘Short Term 12′
Cinematography
Sean Bobbitt – ’12 Years a Slave’
Benoit Debie – ‘Spring Breakers’
Bruno Delbonnel – ‘Inside Llewyn Davis’ <—predicted winner
Frank G. DeMarco – ‘All Is Lost’
Matthias Grunsky – ‘Computer Chess’
Shane Carruth & David Lowery – ‘Upstream Color’ <–predicted winner, wild guess
Jem Cohen & Marc Vives – ‘Museum Hours’
Jennifer Lame – ‘Frances Ha’
Cindy Lee – ‘Una Noche’
Nat Sanders – ‘Short Term 12’
Documentary
’20 Feet From Stardom – Morgan Neville, director/producer; Gil Friesen & Caitrin Rogers, producers — but perhaps this one.
‘After Tiller’ – Martha Shane & Lana Wilson, directors/producers
‘Gideon’s Army’ – Dawn Porter, director/producer; Julie Goldman, producer
‘The Act of Killing’ – Joshua Oppenheimer, director/producer; Joram Ten Brink, Christine Cynn, Anne Köhncke, Signe Byrge Sørensen, Michael Uwemedimo, producer — predicted winner
‘The Square’ – Jehane Noujaim, director, Karim Amer, producer
International Film
‘A Touch of Sin’ (China) – Jia Zhang-Ke, director
‘Blue Is the Warmest Color’ (France) – Abdellatif Kechiche, director <–predicted winner
‘Gloria (Chile) – Sebastián Lelio, director
‘The Great Beauty’ (Italy) – Paolo Sorrentino, director
‘The Hunt’ (Denmark) – Thomas Vinterberg, director
I hope Computer Chess wins the Cassavetes award. That movie was awesome.
Upstream Color forever.
These used to be truly independent film awards but with every passing year they have come closer to the mainstream and overlap more and more with the Oscars. You can define “independent” any way you want, but who on earth regards Blue Jasmine or 12 Years a Slave or Inside Llewyn Davis or All is Lost or Nebraska to be independent films??? This does not reflect on their quality — Llewyn Davis was my favourite film of 2013. But, really.
It is like the BAFTA’s calling Gravity Best British Film, because it had one English producer among all the other people who were responsible for the film and who came from the US or Mexico.
An indie film award that doesn’t recognize Fruitvale Station and Upstream Color in the best pic awards is just silly.
Paddy, I would do the same with the racists throughout America. But when it comes to Oscar season, it doesn’t matter what the issue is. There’s always someone out there who feels a sense of entitlement. Yes, self-promotion is the name of the game. But I was referring to how they present themselves during acceptance speeches. For me, it doesn’t matter what color a filmmaker is. If their work is award-worthy, I notice it as such. Racism and slavery just happens to be the theme of the foreground, this year.
Any kind of promotion that promotes racial superiority, retribution, or frustration for not getting what is ‘owed’ to the party in question, I consider to be petty and pointless. The fact that people throw this kind of political rhetoric into an awards race that recognizes artistic expression is not the best way to present your case if you’re vying for an award. There’s a reason it is a ‘competition.’ I can see I’ve ruffled a few feathers on this site. If there have been any misunderstandings, I apologize. My case is very simple: Award a film based on artistic and scientific/technical merit, not on politics. That’s all I’m saying. PERIOD.
‘Life goes on. I would tell these backers of ’12 Years a Slave’ saying ‘It’s time’ to grow up. Enough is enough. It’s time to join the 21st century.’
I would tell the racists throughout America, and in fact the rest of the world, to grow up, and join the 21st Century. And if the Academy feels that it is, indeed, time to do the same, they could pick 12 Years a Slave.
Enough is enough… of what, exactly? Of hoping that the Academy could finally reward black filmmakers, having neglected them for the most of 90 years? Or maybe enough is enough of that. It’s so great to see your priorities are in the right place here, Marcus.
Brie Larson will win Best Actress!!it will be the second time Larson beats blanchett head to head that’s is all
OT: If you haven’t, check out THE OFFICIAL STORY now on Netflix. It’s great, it’s important, and it won the Oscar. Highly recommended.
Marcus: “The Academy doesn’t seem to respond to arrogance very well. Humility is a highly valued trait with Oscar voters.”
Are you serious? Humility doesn’t win Oscars, self-promotion does.
As a voting member, I went with NEBRASKA. I’m a sucker for father-son stories and I was really affected by the film. Voted it for first screenplay and supporting actor as well.
Shane Carruth got my vote for direction and I also voted UPSTREAM COLOR for editing.
Elsewhere, if FRUITVALE STATION was nominated, I voted for it. Just a an amazingly simple film exploring complicated themes. And the performances felt so lived in. Michael B. Jordan will win an Oscar some day.
Brie Larson for actress and 12 YEARS A SLAVE for screenplay and cinematography.
The nice thing about voting versus a pool is I get to pick what I want to win, not what I think will win — and being objective for those awards pools is tough.
Off topic, I’ve got my Oscar predictions up at my blog (http://f—nobuttheresaposter.blogspot.com/2014/02/86th-oscar-predictions-part-i.html). I’m a outlier, to be sure, and don’t expect to get 50% come the end of Oscar night, but no guts, no glory, right?
Ryan, my borderline offensive comments stem from offensive comments by my neighbors. I don’t bring up such topics unless it is brought up to me, first. “WHO?! Pay what?” I think it’s pretty obvious. Once again, this comes from having to listen to the utter b/s coming from those around me. You’re not living my life, I am. You don’t know what goes on around me, I do. No, I don’t mean to be offensive; merely analytical and observant. It just so happens that what I’m analyzing and observing is not very flattering and it annoys me to no end when people keep reopening old wounds like that. Unfortunately, I live in a place where such things are common: Washington DC. Your experiences and mine are different from each other, so if you want to blame someone for insinuating, look in the mirror. I don’t care if you like what I say. I don’t need your approval. My intentions are sincere, and my message honorable (if controversial). This bickering back and forth with you won’t get us anywhere and I have no desire to go further with it. I’ve said my piece on this, and we’ll leave it at that. I hope I’ve made myself clear. Moving on…
RYAN ADAMS
FIRST ANSWER: That statement was not aimed at myself. It is the very question that should be asked to those who look at the present and see the past.
SECOND ANSWER: That reference was intended to be an example of letting go of the past by focusing on the future.
You’re reading too much into my words. This isn’t about me. It’s about trying to get the right message across to those who embody the small-minded views of the world by holding on to the past of which they, themselves, were not a part of. It’s rather like most football fans are. A lot of them get angry during a game if their team doesn’t play well…and they themselves are not even playing. In other words, crying over spilled milk. This is why I would tell such people to grow up and move on.
Marcus Perriello, I’m not reading into your words. I’m simply reading your exact words back at you, verbatim. So you can see how they look and sound.
I understand where you’re coming from, (though I don’t agree and I’m cringing). You’re making a decent argument, but when you couch it the terms I quoted it tends to make you sound like you think white people today are now being victimized and targeted for “suffering” and “payback” as retribution.
So, I gotta be honest with you, it weakens your position (which I hope to believe is honorable) when you say things like “why should we be made to pay” (pay what? to whom?) and then you directly insinuate that there are people (WHO?! what people??) who “go around saying those descended from such imperial folk should suffer because of slavery.” That’s too inflammatory for my ear, ok?
And I also have to say, you’re never going to win me over by comparing a filmmaker’s forthright and dignified feelings of outrage about slavery to “crying over spilled milk.” yikes. no.
I’m not sure, perhaps English is not your first language? so I’ll give you some slack for how how crude that comes across. I’m only bringing it up because this is not the first time I’ve read your comments and thought, “yikes, really?”
Just if you would please step back a little and look at what you’re saying it’s borderline offensive. I truly believe you don’t intend for it to be offensive, but you’re right on the edge of it, my friend.
I’m not trying to hound you, but this is a recurring refrain in some of your comments — when you advise that black people would be better off if they would all “get over it” and behave more like Sidney Poitier, that’s not a lecture you’d be wise to give to a classroom of black kids, alright?
“Grow up and move on” …listen, I’m grown up. I’m not moving on until I’m ready. You’re entitled to your opinion, certainly, but my own opinion is that there are questions that some people would rather never face but that doesn’t mean I have to move on just make it easy for those people to forget the troubling questions and issues that still exist.
@SallyinChicago: The Academy doesn’t seem to respond to arrogance very well. Humility is a highly valued trait with Oscar voters. If you look into its history, you’ll see that anyone who has displayed arrogance, a sense of entitlement, or lack of respect for others, haven’t won an Oscar since (i.e. Michael Moore, James Cameron, Mo’Nique, Russell Crowe). This could be an indication that ‘Gravity’ might overtake ’12 Years a Slave’ and win Best Picture. When Black filmmakers, or actors, display a sense of entitlement, superiority, or arrogance, it’s a complete turn-off and practically ruins their chances for winning another time around. As the saying goes, you only get to make one first impression. But more class acts like Denzel Washington, Morgan Freeman, or Sidney Poitier, recognize that they are just a small part of a much larger picture and that it is not all about them.
To suggest that one deserves recognition because they are linked by ethnic or racial heritage is nothing more than a generational M.O. of payback for the oppression their ancestors suffered. This is not only reflected in ’12 YAS’s campaign, but also overseas in the Middle-East and Africa. It also continues today in America in many circles, including the major inner-cities. Some of our ancestors were not even around in the United States during the slavery days. People should not judge current generations based on the actions of past generations. This generation is much more enlightened, better educated, and more accepting of those different from themselves. Why should we be made to pay for the sins of those who lived 150 years ago? Today’s society is the most advanced it’s ever been in its social landscape. Awarding a film like ’12 Years a Slave’ as a means of payback for the Black community for years of slavery 150 years on out is not the way to go about running the Oscars. The Oscars should be a time for recognizing artistic expression and filmmaking achievement; not making political statements.
I come from a line of people who trace back to Roman times where people, regardless of their race, were enslaved. But they weren’t merely whipped and beaten. They were sent to die in the most horrific ways in front of a blood-thirsty crowd as gladiators. But I don’t go around saying those descended from such imperial folk should suffer because of that. It was 2,000 years ago. Life goes on. I would tell these backers of ’12 Years a Slave’ saying ‘It’s time’ to grow up. Enough is enough. It’s time to join the 21st century. I’m not saying ’12 Years a Slave’ doesn’t deserve to win. I’m saying that if it does win, I pray that it wins because it is the best in the eyes of the voters.
Why should we be made to pay for the sins of those who lived 150 years ago?
Marcus Perriello
FIRST QUESTION: How about you tell us who’s trying to make you pay for sins of people who lived 150 years ago?
But I don’t go around saying those descended from such imperial folk should suffer because of that.
Marcus Perriello
SECOND QUESTION: Who do think is saying those descended from plantation owners should suffer now because of slavery in 1850?
As I suspected, the Oscar voters vote for the Personality as much as the talent. From THR, http://www.hollywoodreporter.com/race/oscars-brutally-honest-voter-ballot-684187
And [Steve] McQueen — I don’t know how to say this — he never made me want to vote for him. I thought he came off as pretentious and affected and rude. I just thought, “Oh, man, I wish somebody loved me as much as you love you.”
And you wonder why SOME actors/directors, et al who are very talented never seem to win an Oscar, after being nom’d several times!
Winners for the “Cesar” in France last night:
BEST FILM
Les Garçons et Guillaume, à table !
BEST DIRECTOR
Roman Polanski, La Vénus à la Fourrure
BEST ACTOR
Guillaume Gallienne, Les Garçons et Guillaume, à table!
BEST ACTRESS
Sandrine Kiberlain, 9 mois ferme
BEST SUPPORTING ACTOR
Niels Arestrup, Quai d’Orsay
BEST SUPPORTING ACTRESSS
Adèle Haenel, Suzanne
BEST BREAKTRHOUGHT ACTOR
Pierre Deladonchamps, L’inconnu du lac
BEST BREAKTRHOUGH ACTRESS
Adèle Exarchopoulos, La vie d’Adèle
BEST ORIGINAL SCREENPLAY
9 mois ferme
BEST ADAPTED SCREENPLAY
Les Garçons et Guillaume, à table !
BEST PRODUCTiON DESIGN
L’Écume des Jours
BEST COSTUME DESIGN
Renoir
BEST CINEMATOGRAPHY
L’incroyable voyage de T.S Spivet
BEST FILM EDITING
Les Garçons et Guillaume, à table !
BEST SOUND
Michael Kohlhaas
BEST SCORE
Michael Kohlhaas
BEST FIRST FILM
Les Garçons et Guillaume, à table !
BEST ANIMATED FEATURE FILM
Lou ! l’Incroyable Secret
BEST DOCUMENTAL
Sur le chemin de l’école
BEST FOREIGN LANGUAGE FILM
The Broken Cicle Breakdown (Belgium)
BEST SHORT FILM
Avant que de tout perdre
BEST SHORT ANIMATED FILM
Mademoiselle Kiki et les Montparnos
The Oscar ballots have all been submitted and tallied, so the outcome here won’t make much difference. But I’ll say that ’12 Years a Slave’ continues it’s winning streak. Steve McQueen will get one more dose of recognition before Sunday. Matthew McConaughey’s momentum could be tested here if Chitewel Ejiofor picks up a second consecutive win for Best Actor.
The Indie Spirits used to go their own way but now they almost feel like mini-Oscars. Hard to believe they gave an award to Ziyi Zhang years ago. That will never happen here.
Is this live-streamed?
I have a feeling that Cate isn’t going to win this one. The Gotham winner for Best Actress Brie Larson might repeat here.
I really liked Will Forte’s performance. He was a revelation for me. It was just as much his film as Dern’s (his story too). I also really admired Inside Llewyn Davis. I don’t always like Coens’ films but always know i am in the hands of masters when sitting down to view their art.
Love Barton Fink and A Serious Man.
There are some titles here to pursue, that got a little lost among the juggernauts.
“To me the cap should be $5 Million dollars”
I agree with Bryce. (Rather in the sense that the cap should have been much lower than — correct me if I’m wrong – the current ceiling of 20M.)
That said, compared to other cultures’ budget, 5M is still relatively lavish and grandiose. Just saying.
I think the “Under $500k” award will go to Museum Hours, with Computer Chess a possibility, as well.
We usually agree on the basics, just not on the method to get there sometimes.
Oh, god – the best British thing. Not to resurrect it, but watch out for the next AFI special. They mandate:
“Each special honors a different aspect of excellence in American film.”
I’ll bet you a World Cup Final (between Germany and Argentina) that Gravity is on that list as an American work.
Well let’s agree to agree. I remember myself getting into a crazy argument with Ryan Adams about Best British film in which I defended the status quo as a result of my GRAVITY-preciousness, and his position was -ultimately- nobler.
You’re right, Bryce – it’s all in the definition. Unless they change the scope for these awards – or discontinue them. But, again, it’s yet another group that defines what qualifies for what they want to reward. The last couple of years were cringeworthy for this group.
I’m with you on Short Term 12, Frances Ha and would add Fruitvale Station to the list. These 3 place higher on my year end list than most of the BP nominees. In a normal overall shitty year, these films would rise to the top. It’s not to be this year. Too bad they didn’t save themselves to go up against all the Biblical pap that’s going to define 2014.
Don’t forget – if it wasn’t for the Indy Spirit Awards, we might not have the Coens, et al.
Also takes great talent and discipline to make your movie that costs pennies look like a million dollars like SHANE CARRUTH did with PRIMER. I don’t care if it reflects awards industry or not. Much more impressive and worthy of emphasis to me (in this context anyways) than the troubles of Brad Pitt and Joel & Ethan Coen’s to fund their respective films. This discussion is of course about awards rules. What’s important is that I would have zero problem with some organization calling a great film like PRIMER their “best” of the year.
These awards are a joke. To me the cap should be $5 Million dollars –and I still think I’m being way too
^^ If that were the case, then only Dallas Buyer’s Club would be nominated….all the others cost much more than $5Mil.
There’s no independence to these awards and no real spirit either. They’re the Noscars.
“A lot is made of how much these films cost to get made and not enough on the fact that they HAD to be made outside the studio system because nobody was interested.”
So was something like CLOUD ATLAS, and as much as I love it wouldn’t call that an “indy”. But if you’re for that (the current) definition that’s fine. I’m just for another definition that would tend to reward the finest efforts among struggling filmmakers. So take Richard Linklater off my list. I doubt he has funding problems comparable to the makers of SHORT TERM 12.
They are the “independent” spirit awards, not the “cheap” spirit awards.
I guess.
“The more they resemble the industry awards, the better for filmmaking IMO”
If you like only the same movies to get recognition. I for one appreciated the critics awards way more than the industry awards this year. They approximated to what we call sharing the wealth; unlike the GRAVITY/12 YEARS wankfest that proceeded. So I disagree. But hey I tend to like about 30 movies A LOT every year so maybe not everyone’s like me.
I’d love to see Inside Llewyn Davis win this. It would wrap up its few, yet important, accolades received.
For director – McQueen, McQueen, McQueen.
A lot is made of how much these films cost to get made and not enough on the fact that they HAD to be made outside the studio system because nobody was interested. They are the “independent” spirit awards, not the “cheap” spirit awards.
The more they resemble the industry awards, the better for filmmaking IMO. Maybe the lights will go on inside and project like these not left to fend for themselves.
I keep forgetting about this. Have fun 🙂
Oh and all you California peeps: Turn around. Don’t drown! The news says you guys are getting soaked. Be careful. For the red carpet, maybe you can bring those foldable flats in your purse in case your tootsies get too wet/cold.
These awards are a joke. To me the cap should be $5 Million dollars –and I still think I’m being way too generous given that’s what such an impressively-produced film like MOON and SRPING BREAKERS cost.
Best Picture should look something like:
SHORT TERM 12
COMPUTER CHESS
THE SPECTACULAR NOW
BEFORE MIDNIGHT
PRINCE AVALANCHE
Or something like this. I know many here loved UPSTREAM COLOR and FRANCES HA. You’d think people would be outraged about the non-inclusions. In 2012 for instance the best truly independent American film was Patrick Wang’s IN THE FAMILY.