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Kim Voynar

By Kim Voynar

SXSW Award Winners

And the winners are …

Short Jury Awards
Special Jury Award
Happy 95 Birthday Grandpa, Director: Gary Huggins
Thompson, Director: Jason Tippet
Special Jury Award
Sweet Dreams, Director: Kirsten Lepore
Shaman, Director: Luc Perez
Special Jury Award
The Idiot Stinks, Director: Helder Sun
Cattle Call, Director: Matthew Rankin & Mike Maryniuk
Sister Wife, Director: Jill Orschel
Jury Special Mention
New Pornographers, Myriad Harbour, Director: Fluorescent Hill
Special Jury Award
Fleet Foxes, White Winter Hymnal, Director: Sean Pecknold
Thunderheist, Jerk It, Director. That Go-Noel Paul & Stefan Moore
Special Jury Award
TIE Fresh Fruit, Director: Edward Kelley & Brenden Cicoria
AND A Hospital Bathroom, Director: Miguel Johnson
Performance Evaluation, Director: Breannah Gibson
SXSW Special Jury Awards
SXSW / AIGA Austin Movie Poster Award
2009 Award for Excellence in Movie Poster Design
Special Judges’ Award
Snake, Director: Becky James
Designer: Becky James & Lydia Corkin
2009 Award for Excellence in Movie Poster Design
Objectified, Director: Gary Hustwit
Designer: Michael C. Place, Build
Best in Show
The Dungeon Masters, Director: Keven Macalester
Designer: David Plunkert, Spur Design, LLC
SXSW / Chicken & Egg Emergent Woman Award
Made in China, Director: Judi Krant
Feature Film Audience Awards
Motherland, Director: Jennifer Steinman
MINE, Director: Geralyn Pezanoski
That Evening Sun, Director: Scott Teems
Feature Film Jury Awards
Special Jury Award
The Way We Get By, Director: Aron Gaudet
Grand Jury Award
45365, Director: Bill Ross IV & Turner Ross

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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