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Ray Pride

By Ray Pride Pride@moviecitynews.com

Chicago Underground Film Festival 2010 winners [UPDATED WITH FEATURE WINNERS]


After presenting almost all the awards for 2010 Chicago Underground Film Festival, fest director Bryan Wendorf ponders the future of film festivals, out on Western Avenue in front of the Empty Bottle music club.
Best Documentary Feature – Scrappers, Ben Kolak, Brian Ashby and Courtney Prokopas
Best Narrative Feature – Stay the Same, Never Change, Laurel Nakadate
Honorable Mention – Modus Operandi, Frankie Latina
Made in Chicago Award – Kent Lambert, Fantasy Suite
Best Animation – Everybody, Steve Reinke and Jesse Mott
Best Experimental Film – L’Internationale, Marianna Milhorat
Best Documentary Short – Sincerity: The Character of Ronald Reagan, Chris Royalty
Best Narrative Short – Home Movie, Braden King
Audience Award – Scrappers, Ben Kolak, Brian Ashby and Courtney Prokopas
Honorable Mentions
Golden Hour, Robert Todd
This Is My Show, Lori Felker
Voice on the Line, Kelly Sears
Details on the festival jury are below.


FESTIVAL JURY
Ross Nugent hails from wilds of Western Pennsylvania. He earned a BA in Film Studies at the University of Pittsburgh and studied film and video production at Pittsburgh Filmmakers, where he began working in media exhibition in 2003. Ross served as the Exhibition Coordinator from 2005-2008, and matriculated to the University of Wisconsin-Milwaukee to pursue an MFA in Film. He is also the Program Manager of the UWM Union Theatre, the Faculty Advisor for the Milwaukee Underground Film Festival, and an instructor in the Film Dept.
Spencer Parsons is a filmmaker based in Chicago, and he teaches media production at Northwestern University. He has made such award-winning short films as “Resolution” (2002) and “Once and Future Asshole” (2005), and his feature film, “I’ll Come Running,” will soon be available on DVD from IFC. From 2000-2004, he was senior programmer for the late and lamented Cinematexas International Short Film Festival in Austin, TX.
Brigid Reagan is the Assistant Director of Video Data Bank, the country’s largest archive and distributor of video art and artist interviews. As AD, Brigid manages submissions, acquisitions, public programs, marketing and promotion for the organization. She was VDB’s Distribution Manager prior to her current appointment and previously worked in both programming and educational outreach for Cinema/Chicago, presenter of the Chicago International Film Festival. Brigid has presented VDB work at festivals and conferences throughout the world, and has sat on various panels and juries in the media arts field. She holds a BA in Film and Television from the University of Notre Dame and an MA in Arts Management from Columbia College Chicago, where she was a Dwight Follet Fellow.

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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