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2010 New York Film Festival Masterworks & Special Events

Posted Wednesday, August 18th, 2010 - Comments Off on 2010 New York Film Festival Masterworks & Special Events
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48th New York Film Festival Sept. 24 – Oct. 10
NEW YORK, Aug. 16, 2010 — The Film Society of Lincoln Center’s 48th New York Film Festival, the essential showcase of the latest and best in American and international cinema will complement this years previously announced festival selections with a unique blend of concurrent programs, set to run during the festival’s 17 days at the Walter Reade Theater.
NYFF2010_325.jpgThis fascinating breath of programming will include special screenings of Andrei Ujica’s acclaimed essay film The Autobiography of Nicolae Ceausescu, the latest from documentary master Frederick Wiseman, and Martin Scorsese’s personal homage to the late Elia Kazan. Also included are two Masterworks programs, Elegant Elegies: The Films of Masahiro Shinoda and Fernando de Fuentes’ Revolutionary Trilogy; Returning to the festival stage is audience favorite, The Cinema Inside Me, this year featuring an in-depth, illustrated conversation with Olivier Assayas; as well as Views from the Avant-Garde making its fourteenth experimental journey to the screen. Once again, the New York Film Festival will partner with HBO in hosting four HBO Directors Dialogues. The Masterworks and Special event programs offer a plethora of special event screenings and discussions, exploring varying stories, storytelling-processes and filmmaking styles and allow audiences additional opportunities to sample what they have always loved about the New York Film Festival and perhaps try out what they have always been curious to explore further.
“The Masterworks and Special Events at the New York Film Festival allow us to expand the offerings that have traditionally been part of the festival, such as retrospective screenings of older films, as well as to move into new areas of programming in preparation for the opening of the Elinor Bunin-Munroe Film Center in 2011. More than ever, there is truly something for everyone at the New York Film Festival,” says Richard Pe

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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