AWFJ EDA ‘BEST OF’ AWARDS
These awards are presented to females and/or males. Best Film
BOYHOOD Best Director (Female or Male)
Richard Linklater for BOYHOOD Best Screenplay, Original
Copyright 2014 Fox Searchlight
BIRDMAN – Alejandro Gonzales Inarritu, Nicholas Giacobone, Alexander Dinelaris, Armando Bo Best Screenplay, Adapted
GONE GIRL – Gillian Flynn Best Documentary
CITIZENFOUR – Laura Poitras Best Animated Film
The LEGO Movie – Phil Lord, Christopher Miller Best Actress
Julianne Moore for STILL ALICE Best Actress in a Supporting Role
Tilda Swinton for SNOWPIERCER Best Actor
Michael Keaton for BIRDMAN Best Actor in a Supporting Role
J.K. Simmons for WHIPLASH Best Ensemble Cast (tie)
BIRDMAN – Francine Maisler, Casting Director
and
GRAND BUDAPEST HOTEL – Douglas Aibel (US), Antoinette Boulat (France), Simone Bar, Alexandra Montag (Germany), Debra Maxwell Dion (LA), Jina Jay (UK) Best Editing
BIRDMAN – Douglas Crise, Stephen Mirrione Best Cinematography
BIRDMAN – Emmanuel Lubezki Best Film Music Or Score
BIRDMAN – Antonio Sanchez Best Non-English-Language Film
IDA – Pavel Pawlikowski (Poland)
EDA FEMALE FOCUS AWARDS
These awards honor WOMEN only.
Copyright 2014 Ava DuVernay
Best Woman Director
Ava DuVernay for SELMA Best Woman Screenwriter
Gillian Flynn for GONE GIRL Best Female Action Star
Emily Blunt for EDGE OF TOMORROW Best Breakthrough Performance
Gugu Mbatha-Raw for BELLE Female Icon of the Year (tie)
(a woman whose work in film and/or in life made a difference)
Ava DuVernay
and
Laura Poitras
EDA SPECIAL MENTION AWARDS Best Depiction Of Nudity, Sexuality, or Seduction
UNDER THE SKIN – Scarlett Johansson Actress Defying Age and Ageism
Tilda Swinton Most Egregious Age Difference Between The Leading Man and The Love Interest
MAGIC IN THE MOONLIGHT – Colin Firth (b. 1960) and Emma Stone (b. 1988) Actress Most in Need Of A New Agent
Cameron Diaz for SEX TAPE Movie You Wanted To Love, But Just Couldn’t
INHERENT VICE
I’m glad that we are seeing more spirited, strong female characters, especially in movies for kids, really I am. But we still have a long way to go, as discussed in an excellent analysis on Tor.com from Emily Asher-Perrin. She notes that even movies with central characters who are girls and women surround them with men in major and minor roles.
At the very least, some of the dignitaries who stay behind with Prince Hans once Elsa runs away could have been ladies. And in a kingdom like Arendelle—where none of the subjects seem to balk even slightly at the idea of accepting a female monarch without a husband—it would have been equally compelling to see some women in their army. Both Elsa and Anna are forces to be reckoned with; we should know that the rest of the women in their kingdom are too. Otherwise the message boils down to princesses are special! Only princesses. So you better want to be a princess.
For Tangled’s part, it would have been pretty adorable if Pascal—or Maximus the war horse!—had been lady animals. Or even better, that band of gruff ruffians at the tavern? Women. Just, the whole lot of them. Why not? Or if Flynn had been pulling his heist with twin sisters. And I’m sure someone is saying “But if they were ladies, he would have flirted with them!” But you know, he could have just… not. He doesn’t have to be interested in every age-appropriate female with a pulse just because he’s a scamp.
All three of these films feature specific and wonderfully complicated relationships between women. From the misunderstandings and mutual hurt between Merida and Elinor to the emotional manipulation and continual backhanding that Mother Gothel inflicts on Rapunzel to the deep abiding bond and need that exists between Anna and Elsa—these are all relationships that we should find on screen. Not just for young girls, for all children. But when you omit other women from these worlds, you rob the entire story of its credibility. Other stories have reason built in; Mulan goes off to war to fight in place of her father, so she was never going to be training amidst an army of women. In Mulan, the reason for making that critical choice is a logical one that is explained within the context of the narrative. But Tangled, Brave, and Frozen have no narrative reasons for the absence of women. What’s Arendelle’s excuse?
Step 1: Go through the projects you’re already working on and change a bunch of the characters’ first names to women’s names. With one stroke you’ve created some colorful unstereotypical female characters that might turn out to be even more interesting now that they’ve had a gender switch. What if the plumber or pilot or construction foreman is a woman? What if the taxi driver or the scheming politician is a woman? What if both police officers that arrive on the scene are women — and it’s not a big deal?
Step 2: When describing a crowd scene, write in the script, “A crowd gathers, which is half female.” That may seem weird, but I promise you, somehow or other on the set that day the crowd will turn out to be 17 percent female otherwise. Maybe first ADs think women don’t gather, I don’t know.
My favorite movie of the year is “Selma,” the story of the Reverend Dr. Martin Luther King’s march from Selma, Alabama to the state capital, Montgomery, to bring attention to the barriers the Southern states were using to prevent black citizens from registering to vote. It was a very great honor to talk to director Ava DuVernay, who is the first black woman to be nominated for a Golden Globe as Best Director and is a good candidate for an Oscar nomination as well.
I have read a couple of times that you were hoping that this movie would change the conversation. So tell me how you want it to change the conversation.
I don’t know if I want it to change the conversation but I do want to be a part of the conversation. I feel that art meeting this cultural moment is an important thing. It is a little surreal that the film is ready at this particular moment. And so I think that you can’t help but say as an artist – Can we meet this cultural moment? Do we have something to say in this piece that might add to the energy that’s brewing right now? I think so. I can’t say what that will be because everyone will bring a different part of themselves to the film but certainly you are hoping as a storyteller that this story has some impact. So that’s my desire. We’ll see.
Copyright 2014 Ava DuVernay
People are understandably unhappy right now about the persistence of racial divides in this country. But how do you convey to those too young to remember the Civil Rights era the pervasive bigotry and abuse of that era?
AI think the beautiful thing about with “Selma” coming out is that we don’t have to re-create what it’s like because they are feeling it right now. I don’t have to say in 1965 all this bad stuff was happening so people went on to the street. They are doing it. This is the energy that is ambient right now. It’s all over. The atmosphere right now is that of change, that of the power of people, that of unrest. And so even a year ago, you would have to really explain how this felt to be so outraged that you left your house and took to the street and it’s happening now, literally all over the country in vibrant ways.
So I feel like it’s a blessing that we don’t have to articulate tone because people are living in that right at the moment, right now.
One thing that is very striking to me about the film is the impact that television had on Dr. King’s message getting out and letting the rest of the world know what was actually happening in a way that would not have happened even five years earlier. How do you feel that today’s media environment has helped or hurt to the way we talk about race in this country?
Oh, it’s a good question. I am a proponent of social media because there is no barrier, there is no filter, there is no one interpreting what I say or what I mean. I can say it and broadcast it to whoever wants to listen and whoever is following and sometimes things are hitting your timeline or your radar on social media that you don’t want to listen to which is also interesting. And so I just think this era where people can broadcast themselves, where people can really amplify their own voices is tied so much with what was happening during the time of 1965 in this film in particular. King was a master of optics. Television was new and he used television as a tactic for protest for the movement.
We had to find now how to use social media, how to use twitter as a tactic for the movie and what we found with the uprisings in the Middle East and Hong Kong and the Solidarity happening through this technological broadcast from individual to individual and so now the question is can tactical … Can tactics, can tools, can strategy be applied to this way of communicating with each other that’s kind of leaderless, it’s more people lead. So there’s a lot of ideas around… And I don’t know the answers but I don’t it is an exciting time and you just hope that the energy that’s happening right now is turbulent, toxic, triumphant time that we are in will equate to something very tangible.
One of the things about the Selma movement is they had a very specific ask. It was all about voting rights. And now we have extraordinary optics of people having spontaneous protests around the country, around the world; we are able to see it on television, we are able to see it online, we are able to get messages on our text but what is the ask? What is the goal? I don’t know if that’s been as carefully defined.
Congratulations on the Golden Globe nominations!
It was exciting to share it with David . It was exciting because it was recognition for a film that we had worked long and hard on. And the most exciting thing about it that I know that it will bring attention to the film in a way that will get butts on seats. My highest hope is that people will see the work.
So many films are made every year. Not a lot of those are made by women, even fewer of those are made by black women. The odds of those films being seen particularly when you have a black man in the lead about topics that are very closely aligned with the history of black people in this country around the politics of protest, there’s a good chance that might not get seen. We are doing okay right now but every little bit helps. And so I know what those Globe nominations mean in terms of validation and some people need that to say, “Hey, it would be good to check that out.” And that is a big deal so we are very happy about it.
And, I love David and to see “The world’s Best actor” next to his name – because he is the best actor, he is the best actor — that is wonderful.
Oprah Winfrey helped produce and plays an important role in the film. Is it intimidating to direct her?
The day that I directed her, the first time that I directed her, Maya Angelou had died that morning. So my heart was with her in a different way and all of my nerves were out the window. I just really wanted to take care of her and make sure that she was taken care of. Whenever I am directing anyone, for me it is all about them, trying to make them feel as comfortable as possible, as a safe as possible, as supported as possible in the performance. It’s not about me yelling, you know what I mean? Getting exactly what I want all the time. Maybe it is about making it what I want but they need to feel a true partner in it and we can only do that if you trust someone. I think with someone that’s had as much experience as she has, she was just, especially on that such a hard day, so generous, so lonely, so nourishing to all of us.
I’ve written more than once about the Bechdel test for movies: Are there at least two named female characters who have lines and do they talk to each other about anything other than men?
List: YA Books About Coming Out and Same-Sex Relationships
Posted on November 23, 2014 at 4:41 pm
My good friend Sandie is my go-to for YA literature as she is not only very knowledgeable but also very insightful, with superb taste. As a part of her series of books that explore issues of diversity, understanding, and identity, she has put together a list of the best YA books that explore LGBT issues. This is of course especially important for adolescents because that is when they first begin to try to understand their own sexuality and that of those around them. Most LGBT kids grow up in cis- and gender-confirming homes. So the opportunity for them to find characters in literature who can make them feel understood and less alone is vital. Many thanks to Sandie and the rest of Teen Lit Rocks for this resource.
