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David Poland

By David Poland poland@moviecitynews.com

Tribeca Time Again: Festival Names Competition Shorts


Let’s see: Wednesday morning, 11:30 a.m. … It must be time to browse another batch of Tribeca releases. This time around, The Reeler has the list of this year’s short films in competition: 76 titles in all, including work featuring David Strathairn, Elvis Costello and Don Cheadle. A few films ring a bell from previous festivals (RESFest ’05 featured Jane Lloyd, while Sundance ’06 offered New Yorker Levan Koguashvili’s student short, The Debt), and no less a master than Abbas Kiarostami will crash the party with his documentary short, Roads of Kiarostami.
As usual, there are plenty more where that came from, and you can find them after the jump.


Shorts in Competition – Narrative:
This year the Narrative Shorts program includes international films from 15 counties, such as Chile, South Korea and Egypt. It also features works directed by New York music icon Laurie Anderson and actors Adrian Grenier and Melissa Joan Hart.
Afraid So, directed by Jay Rosenblatt, written by Jeanne Marie Beaumont (U.S.A.)
After June, directed by Michael Civille, written by Matthew Haberman (U.S.A.)
Alone at Last, directed and written by David Shuff (U.S.A.)
Attention (Intabih), directed and written by Akram Agha (Saudi Arabia)
Between 2 Houses (Tussen 2 Huizen), directed by Clara van Gool (Netherlands)
Blackberries, directed and written by Nicolas Panoutsopoulos (U.S.A)
The Booth, directed by Gabriela Yepes, written by Yepes and Kristin Tucker (U.S.A.)
Carla Cope, directed and written by Aileen McCormack (U.S.A.)
Dilemma, directed and written by Boris Paval Conen (Netherlands)
Errata, directed by Alexander Stewart (U.S.A.)
Euthanasia, directed by Adrian Grenier (U.S.A.)
The Falling Man, directed and written by Kevin Ackerman (U.S.A.)
Flow, directed and written by Scott Nyerges (U.S.A.)
Garden of Eden, revisited (Hof van Eden, revisited), directed and written by Titia Reiter (Netherlands)
Hidden Inside Mountains, directed and written by Laurie Anderson (U.S.A.)
I Did Not Expect You (Non ti aspettavo), directed by Barbara Rossi Prudente
Jane Lloyd, directed and written by HAPPY (U.S.A., U.K.)
K-7, directed and written by Christopher Leone (U.S.A.)
King of Central Park, directed by Max Winkler and David Gelb (U.S.A.)
Longtime Listener, directed by Keven Undergaro and Maria Menounos, written by Undergaro (U.S.A.)
Lure, directed and written by Mark Mollenkamp (U.S.A.)
Marion, directed by Ry Russo-Young (U.S.A.)
Mute, directed by Melissa Joan Hart, written by Kristin Lipiro (U.S.A.)
Octave, directed by Emily Hubley (U.S.A.)
The Offshore Reserves, directed and written by Jamie Bradshaw and Alexander Doulerain (Russia)
Out of the Woods, directed and written by Samuel Dowe-Sandes (U.S.A.)
The Package, directed and written by Brad Spencer (U.S.A.)
Paradox, directed and written by Jeremy Haccoun (U.K.)
Piece of Cake, directed and written by Cynthia Boorujy (U.S.A.)
The Secret Language (Teanga Runda), directed and written by Brian Durnin (Ireland)
Shiner, directed and written by Mike Doyle (U.S.A.)
The Shovel, directed and written Nick Childs (U.S.A.)
Spanish Boots, directed and written by Domenica Cameron-Scorsese (U.S.A.)
The Temptation of Victoria, directed by Michael Shamberg (U.S.A. and France)
Today 30 November, directed by Mahmood Soliman (Egypt)
Topor and me (Topor et moi), directed by Sylvia Kristel, written by Ruud Den Dryver (Netherlands)
Torte Bluma, directed by Benjamin Ross, written by Barry Langford (U.S.A.)
Wedlock, directed by Chris Callahan (U.S.A.)
Who cares how long the batteries last? (�Qu� importa cu�nto duran las pilas?), directed by Gustavo Rond�n C�rdova, written by Rafael Vel�squez (Venezuela)
Women Workers Leaving the Factory (Obreras Saliendo de la Fabrica), directed and written by Jos� Luis Torres (Chile)
Shorts in Competition – Documentary:
The Documentary Shorts program reflects real-life drama, from Don Cheadle’s family trip to Africa in Journey Into Sunset, to Roseanne Cash’s recollections of family and music in Marines and Musicians.
A Long Struggle, directed by Lea Rekow, written by Matthew Phillip (U.S.A.)
Dear Talula, directed by Lori Benson (U.S.A.)
I’m Charlie Chaplin, directed by Jay Rosenblatt (U.S.A.)
Ideas of Order in Cinque Terre, directed by Ken Kobland (U.S.A.)
Inside Out, directed and written by Zohreh Shayesteh (Iran)
The Highwater Trilogy, directed by Bill Morrison (U.S.A.)
Journey Into Sunset, directed by Rick Wilkinson (U.S.A.)
Mariners and Musicians, directed by Steven Lippman (U.S.A.)
My Empire, directed by Ted Ciesielski (U.S.A.)
Native New Yorker, directed and written by Steve Bilich (U.S.A.)
Never Like the First Time! (Aldrig som forsta gangen!), directed by Jonas Odell (Sweden)
Offside (Nivdal), directed and written by Daniel Sivan and Dorit Tadir (Israel)
Prom Date, directed by Poull Brien (U.S.A.)
Putting the River in Reverse, directed by Matthew Buzzell (U.S.A.)
Roads of Kiarostami, directed by Abbas Kiarostami (Iran, South Korea)
SARS, A Love Story, directed and written by Mathieu Borysevicz (U.S.A., China)
She Rhymes Like A Girl, directed by JT Takagi (U.S.A.)
Swan’s Island, directed by Bill Brand and Katy Martin (U.S.A.)
The Tribe, directed by Tiffany Shlain, written by Shlain and Ken Goldberg (U.S.A.)
Shorts in Competition – Student:
Student shorts in competition represent projects from the leading film schools in the United States as well as international film programs in Israel, Mexico, South Korea, and Australia. Creative storytelling characterizes these works from talented emerging filmmakers.
Chicxulub, directed and written by Malona P. Voigt (U.S.A.)
Dead End Job, directed and written by Samantha Davidson Green (U.S.A.)
The Debt, directed and written by Levan Koguashvili (U.S.A.)
Duncan Removed, directed and written by Peter Livolsi and Matthew Schaefer (U.S.A.)
In a Single Bound, a documentary, directed and written by Ross Marroso (U.S.A.)
Interview, directed by Boyoung Lee (South Korea)
Kite Circuit, directed and written by Austin Andrews (Australia)
Night Visions, a documentary, directed by Kathy Huang (U.S.A.)
Orange Bow, directed and written by Dee Rees (U.S.A.)
Playing the News, a documentary, directed by Jeff Plunkett and Jigar Mehta (U.S.A.)
The Projectionist (Dian Ying Fang Ying Yuan), directed and written by Elaine Liu (U.S.A.)
Recalled, directed and written by Michael Connors (U.S.A.)
Shelter, directed and written by Luke Hutton (U.S.A., Canada)
The Substitute (Hayelet Bodeda), directed by Tayla Lavie, written by Lavie and Oded Binnun (Israel)
Twenty Dollar Drinks, directed and written by David Brind (U.S.A.)
Under the Rubble (Bajo los Escombros), directed by Carlos Davila Yeo (Mexico)
Walk on a Little More, directed and written by Minyoung Shim (South Korea)

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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