By David Poland poland@moviecitynews.com

The Ultimate Indie Fest Teams With The Academy

Posted Wednesday, August 17th, 2005 - Comments Off on The Ultimate Indie Fest Teams With The Academy
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August 17, 2005
FOR IMMEDIATE RELEASE
Academy to Receive Telluride Festival Archives
Beverly Hills, CA — The directors of the Telluride Film Festival will donate a comprehensive collection of documents, photos and videotapes from the Festival to the Academy of Motion Picture Arts and Sciences’ Margaret Herrick Library. The materials cover every year of the Festival, which will kick off its 32nd installment on September 2.
Included in the collection are programming notes, photographs of guests in attendance, press reviews, invitations, programs, schedules, correspondence, posters, yearbooks and other promotional materials. In addition, videotapes of festival seminars and other noteworthy events are included; these will be housed in the Academy Film Archive.
“We’re extremely pleased to receive this collection from the Telluride Film Festival,” said Margaret Herrick Library Director Linda Mehr. “This festival in particular is one that is admired, appreciated and respected, and these materials give a great view into why that is.”
“The Academy’s Library is a world-class facility and performs a vital function in saving and making available materials about all aspects of film,” said festival co-director Bill Pence. “The Telluride Festival is one of the most prestigious arts events in existence, so it only makes sense for our materials to be placed in the care of the Herrick.”
Pence will formally acknowledge the donation at the Festival on September 3, with the presentation of a framed photograph from the collection to Academy Executive Director Bruce Davis.
In celebration of the gift, an exhibition of materials from the Herrick’s other holdings will be on display at the Telluride Gallery of Fine Art for the three days of the festival. Highlights of “Out of the Past: From the Collections of the Academy’s Margaret Herrick Library” include Edward Steichen photographs of Lillian Gish, Paul Robeson, Gary Cooper and Joan Crawford; animation art by Frédéric Back, Bruno Bozetto and Faith and John Hubley; production design drawings from “Gone with the Wind,” “ Mildred Pierce” and “It Came from Outer Space”; costume design drawings from “Shane,” “Bonnie and Clyde” and “The Postman Always Rings Twice”; and production correspondence on “The Wild Bunch” from the Sam Peckinpah Collection.
“We thought it would be appropriate for festival attendees to see a sample of the wide array of materials the Herrick has. It’s a way of saying ‘here’s what the Telluride collection will be joining,’” said Mehr.
The Academy announced in October 2004 that it would, through an expansion of its festival grants program, provide $50,000 per year for three years to the Telluride Festival. The first installment of that commitment will be in support of this year’s festival.
The Margaret Herrick Library is a world-renowned, non-circulating reference and research library devoted to the history and development of the motion picture as an art form and as an industry. It is regarded as one of the most complete collections of film-related materials ever assembled.
The Telluride Film Festival was first staged in 1974. In addition to honoring forgotten films and gifted filmmakers, the festival has served as the launching pad for hundreds of important works.

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon