Boston Film Critics

2003 | 2004 | 2006 | 2007 | 2008 | 2009 | 2010 | 2011 | 2012 | 2013 | 2014

No Country For Old Men

Julian Schnabel for The Diving Bell and the Butterfly

Marion Cotillard for La Vie En Rose

Frank Langella for Starting Out in the Evening

Brad Bird for Ratatouille

Amy Ryan for Gone Baby Gone

Javier Bardem for No Country for Old Men

The Diving Bell and the Butterfly

Crazy Love

Janusz Kaminski for The Diving Bell and the Butterfly

Ben Affleck for Gone Baby Gone

Before the Devil Knows You’re Dead

Pedro Costa, Colossal Youth (Juvenude em Marcha)

Milestone Distribution
Outfest Legacy Program
The Mozart Project

The Best Film Series of 2007
Films of Charles Burnett (MFA)
Independents Week: New American Independent Cinema 2007 (HFA)
Michael Haneke: A Cinema of Provocation (HFA/MFA)
The New Romanian Cinema (HFA)
Signore & Signore: Leading Ladies of Italian Cinema 1941 – 1977 (MFA)
Welcome to the Grindhouse (Brattle)

Best Rediscoveries of 2007
Girl with a Suitcase (Claudia Cardinale, MFA)
Killer of Sheep (Charles Burnett, MFA)
The Pumpkin Eater (Harold Pinter, HFA)
White Mane (Albert Lamorisse, Kendall)
Entre la Mer et L’eau Douce (Michel Brault, HFA)

Special Commendations
Nick Paleologos, Massachusetts Film Office
Kaj Wilson, outgoing curator for the Boston Jewish Film Festival
Tom Doherty, Brandeis professor and author of “Hollywood’s Censor: Joseph I. Breen and the Production Code”
Rhonda Moskowitz, organizer of Connect the Docs filmmaker salons at CoolidgeSteve Samuels, Boston businessman/rainmaker who financed/co-produced “Michael Clayton,” “In the Valley of Elah,” “Running with Scissors”

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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