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Kim Voynar

By Kim Voynar

Press Release: Oxford Film Festival Call for Entries

Press Release:
Oxford Film Festival announces Call for Entries
Festival organizers preparing for 8th annual festival
Oxford, Miss. – The Oxford Film Festival organizers recently announced that they are now accepting film submissions from May 20 to September 1, 2010 for the 2011 film festival.
The popular non-profit film festival returns for its eighth year on February 10-13, 2011.
“We are excited to start screening submissions for the 2011 festival,” Executive Director Molly Fergusson said. “As the festival grows, the films we receive get stronger and we’re looking forward to getting some great films this year. We are also working hard this year to obtain numerous awards for filmmakers and are excited for the return of the speed pitch panel which helped filmmakers obtain distribution for their films.”
Entries are due by the regular deadline of September 1, a late deadline of September 15 and WAB extended deadline of October 1.

The Film Festival is accepting entries in the following categories: animation, documentary feature, documentary short, experimental, narrative feature, and narrative short. The entries may be submitted online using or with a paper form that is downloadable at Unsolicited entries will not be accepted. Filmmakers will be notified by or before December 15.
Submit your film to the festival that is quickly gaining a reputation for being one of the most hospitable festivals.
– Cinetic Rights Management Steve Beckman had this to say:
“Everyone in Oxford couldn’t have been more hospitable and welcoming – this is a film fest that should definitely be on your radar.”
– Attendee Elvis Mitchell, former New York Times film critic and filmmaker commented during his visit at the festival last year.
“Oxford is a smaller fest, but they get a surprising number of filmmakers to come out for it, in part because of the excellent reputation the fest has earned for being one of the most fun little fests around. Unlike more pretentious fests where the filmmakers and talent are tucked away in exclusive VIP rooms away from everyone else behind velvet ropes and security guards, at Oxford everyone mingles together. You see filmmakers and actors having casual chats with fest attendees outside the Malco theater after screenings, festival staff, talent and journalists grabbing lunch or a coffee, and hanging out at one of the many parties (every night of the fest has both a party and an after party, most of which are held in intimate private homes, and they get lots of great food donated to their parties from area restaurants. It’s a good thing this fest only lasts a weekend, or we’d have all gained ten pounds there,” Mitchell said.
Todd Gilchrist, was a panelist and juror and spoke to his festival experience.
“Cozily entrenched in the businesses and residences of Oxford, Mississippi, the town that the picturesque college Ole Miss calls home, OFF is a modest, maturing sibling of mainstay festivals like Sundance and South By Southwest whose smalltown charm bypasses superficial spectacle in favor of more substantial rewards.”
Filmmaker Jeffrey Ruggles who screened “Bicycle Lane” in 2010 said: “I’m going to make a film every year just to be able to come back here. I don’t care if it plays anywhere else.”
The 2011 festival schedule will be posted four to six weeks before the festival begins. The Oxford Film Festival is a non-profit film festival that is held annually in February at the Oxford, Miss. Malco Studio Cinema. The festival is well respected throughout both the community and Southeast.
The festival is known for showing insightful documentaries, eclectic features, and will return in its 8th year with its popular Speed Pitch distribution panel which provides filmmakers one-on-one time to pitch to a variety of distribution companies as well as a variety of other workshops and activities for filmmakers and film lovers.
For more information on the Oxford Film Festival, call (877) 560-FILM or email Melanie Addington at

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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