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‘Lost Daughter’ Wins Top Prizes at Independent Spirit Awards

Maggie Gyllenhaal accepts the Best Screenplay award for ‘The Lost Daughter’ onstage during the 2022 Film Independent Spirit Awards on March 6, 2022 in Santa Monica, California. (Getty Images)
Maggie Gyllenhaal accepts the Best Screenplay award for ‘The Lost Daughter’ onstage during the 2022 Film Independent Spirit Awards on March 6, 2022 in Santa Monica, California. (Getty Images)
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‘Lost Daughter’ Wins Top Prizes at Independent Spirit Awards

Maggie Gyllenhaal accepts the Best Screenplay award for ‘The Lost Daughter’ onstage during the 2022 Film Independent Spirit Awards on March 6, 2022 in Santa Monica, California. (Getty Images)
Maggie Gyllenhaal accepts the Best Screenplay award for ‘The Lost Daughter’ onstage during the 2022 Film Independent Spirit Awards on March 6, 2022 in Santa Monica, California. (Getty Images)

Maggie Gyllenhaal’s “The Lost Daughter,” “Drive My Car” and “Summer of Soul” were among the big winners at the 37th Film Independent Spirit Awards Sunday.

The ceremony hosted by Nick Offerman and Megan Mullally was held in a tent by the beach in Santa Monica, California, broadcast on AMC and IFC. It is the cool, casual counterpart to some of the more traditional film awards shows.

“If you don’t win, you can just walk straight into the ocean,” Offerman said.

Gyllenhaal won best feature, director and best screenplay for her adaptation of the Elena Ferrante novel “The Lost Daughter.”

Through tears, Gyllenhaal said that more than anything she believes in love. She was effusive in her praise for her crew.

“You were the first people to tell me I was a director,” she said. “Thank you to Netflix — I can’t even believe this — for your support. … Nobody ever makes their first movie and comes out loving their financiers.”

“I love independent film,” Gyllenhaal added. “I grew up making independent film.”

Japan’s “Drive My Car, which has also been nominated for a best picture Oscar, picked up best international feature.

Taylour Paige won best female lead for “Zola,” which was based on a Twitter thread about a wild trip to Florida.

“Wow, I am in shock. I wrote something because I’m not eloquent and I’m drunk,” Paige said.

She thanked her grandmother who passed away on the day she got word of her nomination and Zola for, “knowing that your story was worth telling.”

Simon Rex won best male lead for playing an ex-porn star in Sean Baker’s “Red Rocket.” Rex said his career was in the dumps before Baker called him for the shoestring film.

“I’m reeling from the whole experience,” Rex said. “This is basically a glorified student film…I’m grateful and humbled.”

Mullally and Offerman got the show off to a lively start, both in three piece suits and vests with no shirt underneath. Sarah Silverman made an appearance in a pre-taped segment offering her services as a backup host because Mullally and Offerman joined Twitter “before 2015.”

The married co-hosts said they’d hoped to be the biggest Hollywood couple in the room and were dismayed that Maggie Gyllenhaal and Peter Sarsgaard were there to upstage them.

They acknowledged Russia’s invasion of Ukraine. Offerman said he hopes “Putin (expletive) off and goes home” and implored the audience to send him off with a “Spirit Awards salute.” Many raised their hands with a middle finger.

The show’s honorary chair Kristen Stewart also spoke about the war.

“We’re compelled to stand with the people of Ukraine,” Stewart said. “We stand with the hundreds of thousands of refugees fleeing this war.”

Historically, the Spirit Awards are held on the Saturday afternoon before the Oscars, but this year moved up a few weeks.

“Summer of Soul” won best documentary. The film brings back to life the largely forgotten Harlem Cultural Festival of 1969.

“I’m not going to cry right now, I’m not, I’m not,” “Summer of Soul” director Questlove said.

Troy Kotsur got another boost before the Oscars, winning best supporting actor for “CODA.” He also won the Screen Actors Guild prize.

“I can feel the spirit of the arts and we can celebrate together,” Kotsur said.

“Squid Game’s” Lee Jung-jae also followed up his SAG win with a Spirit Award.

Marlee Matlin, who presented the first screenplay award to Michael Sarnoski for “Pig,” implored the screenwriters to think of deaf actors when crafting scripts.

Andrew Garfield made an appearance to present the Robert Altman Award to his friend Fran Kranz, who he acted with in a Mike Nichols play. Kranz’s debut “Mass” is a small ensemble about a mediation in the aftermath of a school shooting between parents of a victim and parents of the perpetrator.

Best supporting female went to Ruth Negga, for her turn in Rebecca Hall’s “Passing.” A technical glitch muted the first part of her virtual speech. The black-and-white Netflix film also won best cinematography, for Edu Grau.

The show can sometimes serve as a preview of what will happen on Oscar night. Last year, Chloé Zhao’s “Nomadland” picked up best feature and director at the Spirit Awards before going on to win the top prizes at the Oscars. “Moonlight,” “Spotlight,” “Birdman” and “12 Years a Slave” also all won at the Spirits before taking best picture at the Oscars.

Because of their production budgets, many top awards contenders this year were not eligible, including “Belfast,” “King Richard” and “The Power of the Dog.” To be considered, films must have cost less than $22.5 million to make.

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Robert Towne, Oscar-Winning Writer of ‘Chinatown,’ Dies at 89

Robert Towne, Oscar-Winning Writer of ‘Chinatown,’ Dies at 89
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Robert Towne, Oscar-Winning Writer of ‘Chinatown,’ Dies at 89

Robert Towne, Oscar-Winning Writer of ‘Chinatown,’ Dies at 89

Robert Towne, the Oscar-winning screenplay writer of "Shampoo," "The Last Detail" and other acclaimed films whose work on "Chinatown" became a model of the art form and helped define the jaded allure of his native Los Angeles.

Towne died Monday surrounded by family at his home in Los Angeles, said publicist Carri McClure. She declined to comment on any cause of death.

In an industry which gave birth to rueful jokes about the writer's status, Towne for a time held prestige comparable to the actors and directors he worked with. Through his friendships with two of the biggest stars of the 1960s and '70s, Warren Beatty and Jack Nicholson, he wrote or co-wrote some of the signature films of an era when artists held an unusual level of creative control. The rare "auteur" among screen writers, Towne managed to bring a highly personal and influential vision of Los Angeles onto the screen.

"It's a city that's so illusory," Towne told The Associated Press in a 2006 interview. "It's the westernmost west of America. It's a sort of place of last resort. It's a place where, in a word, people go to make their dreams come true. And they're forever disappointed."

Recognizable around Hollywood for his high forehead and full beard, Towne won an Academy Award for "Chinatown" and was nominated three other times, for "The Last Detail," "Shampoo" and "Greystroke." In 1997, he received a lifetime achievement award from the Writers Guild of America.

His success came after a long stretch of working in television, including "The Man from U.N.C.L.E" and "The Lloyd Bridges Show," and on low-budget movies for "B" producer Roger Corman. In a classic show business story, he owed his breakthrough in part to his psychiatrist, through whom he met Beatty, a fellow patient. As Beatty worked on "Bonnie and Clyde," he brought in Towne for revisions of the Robert Benton-David Newman script and had him on the set while the movie was filmed in Texas.

Towne's contributions were uncredited for "Bonnie and Clyde," the landmark crime film released in 1967, and for years he was a favorite ghost writer. He helped out on "The Godfather" and "Heaven Can Wait" among others and referred to himself as a "relief pitcher who could come in for an inning, not pitch the whole game." But Towne was credited by name for Nicholson's macho "The Last Detail" and Beatty's comedy "Shampoo" and was immortalized by "Chinatown," the 1974 thriller set during the Great Depression.

"Chinatown" was directed by Roman Polanski and starred Nicholson as J.J. “Jake” Gittes, a private detective asked to follow the husband of Evelyn Mulwray (played by Faye Dunaway). The husband is chief engineer the Los Angeles Department of Water and Power and Gittes finds himself caught in a chaotic spiral of corruption and violence, embodied by Evelyn's ruthless father, Noah Cross (John Huston).

Influenced by the fiction of Raymond Chandler, Towne resurrected the menace and mood of a classic Los Angeles film noir, but cast Gittes' labyrinthine odyssey across a grander and more insidious portrait of Southern California. Clues accumulate into a timeless detective tale, and lead helplessly to tragedy, summed up by the one of the most repeated lines in movie history, words of grim fatalism a devastated Gittes receives from his partner Lawrence Walsh (Joe Mantell): "Forget it, Jake, it's Chinatown."

Towne's script has been a staple of film writing classes ever since, although it also serves as a lesson in how movies often get made and in the risks of crediting any film to a single viewpoint. He would acknowledge working closely with Polanski as they revised and tightened the story and arguing fiercely with the director over the film’s despairing ending — an ending Polanski pushed for and Towne later agreed was the right choice (No one has officially been credited for writing “Forget it, Jake, it's Chinatown”).

But the concept began with Towne, who had turned down the chance to adapt “The Great Gatsby” for the screen so he could work on “Chinatown,” partly inspired by a book published in 1946, Carey McWilliams’ “Southern California: An Island on the Land.”

“In it was a chapter called ‘Water, water, water,’ which was a revelation to me. And I thought ‘Why not do a picture about a crime that’s right out in front of everybody,‘” he told The Hollywood Reporter in 2009.

“Instead of a jewel-encrusted falcon, make it something as prevalent as water faucets, and make a conspiracy out of that. And after reading about what they were doing, dumping water and starving the farmers out of their land, I realized the visual and dramatic possibilities were enormous.”

The back story of “Chinatown” has itself become a kind of detective story, explored in producer Robert Evans’ memoir, “The Kid Stays in the Picture”; in Peter Biskind’s “East Riders, Raging Bulls,” a history of 1960s-1970s Hollywood, and in Sam Wasson’s “The Big Goodbye,” dedicated entirely to “Chinatown.” In “The Big Goodbye,” published in 2020, Wasson alleged that Towne was helped extensively by a ghost writer — former college roommate Edward Taylor. According to “The Big Goodbye,” for which Towne declined to be interviewed, Taylor did not ask for credit on the film because his “friendship with Robert” mattered more.

Wasson also wrote that the movie’s famous closing line originated with a vice cop who had told Towne that crimes in Chinatown were seldom prosecuted.

“Robert Towne once said that Chinatown is a state of mind,” Wasson wrote. “Not just a place on the map in Los Angeles, but a condition of total awareness almost indistinguishable from blindness. Dreaming you’re in paradise and waking up in the dark — that’s Chinatown. Thinking you’ve got it figured out and realizing you’re dead — that’s Chinatown.”

The studios assumed more power after the mid-1970s and Towne’s standing declined. His own efforts at directing, including “Personal Best” and “Tequila Sunrise,” had mixed results. “The Two Jakes,” the long-awaited sequel to “Chinatown,” was a commercial and critical disappointment when released in 1990 and led to a temporary estrangement between Towne and Nicholson.

Around the same time, he agreed to work on a movie far removed from the art-house aspirations of the ’70s, the Don Simpson-Jerry Bruckheimer production “Days of Thunder,” starring Tom Cruise as a race car driver and Robert Duvall as his crew chief. The 1990 movie was famously over budget and mostly panned, although its admirers include Quentin Tarantino and countless racing fans.

Towne later worked with Cruise on “The Firm” and the first two “Mission: Impossible” movies. His most recent film was “Ask the Dust,” a Los Angeles story he wrote and directed that came out in 2006. Towne was married twice, the second time to Luisa Gaule, and had two children. His brother, Roger Towne, also wrote screenplays, his credits including “The Natural.”

Towne was born Robert Bertram Schwartz in Los Angeles and moved to San Pedro after his father’s business, a dress shop, closed down because of the Great Depression. (His father changed the family name to Towne). He had always loved to write and was inspired to work in movies by the proximity of the Warner Bros. Theater and from reading the critic James Agee. For a time, Towne worked on a tuna boat and would speak often of its impact.