By MCN Editor



September 23rd 2010 – The Film Society of Lincoln Center today announced that Eugene Hernandez will join the Film Society of Lincoln Center in the newly created role of Director of Digital Strategy. “Eugene is an innovative leader in digital media and one of the most respected voices in film journalism today.  His vast experience with developing digital platforms together with his passion for world cinema will help us create new ways of reaching audiences and expand our community as we prepare to open our new film center next year,” said Rose Kuo, Film Society of Lincoln Center Executive Director.

As Director of Digital Strategy, Hernandez will oversee all digital initiatives of the 48-year-old, non-profit, which produces the annual New York Film Festival and co-presents New Directors, New Films.  Most immediately, Hernandez will work with current staff to hone the organization’s website and digital messaging for Film Society programs. Additionally, Eugene will work to identify and secure digital partnerships for Film Comment and help develop a Film Society digital channel.

“Over the fifteen years that I’ve lived in New York City, The Film Society of Lincoln Center has shaped my perspective on cinema. Film Comment Magazine and the organization itself have been crucial personally and professionally and informed the evolution of indieWIRE. I’m honored to be invited to join the team and excited to work with Rose Kuo, Richard Peña, Gavin Smith and everyone at The Film Society to chart its digital future,” said Hernandez.
As the Editor-in-Chief of indieWIRE, a company he co-founded in 1996, Hernandez was a leader in the world of entertainment journalism, developing the fledgling site into the influential enterprise it is today, as well as bringing film festival coverage to ever increasing prominence.  Hernandez has also contributed articles to The Wall Street Journal Online, Variety, Screen International, FILMMAKER Magazine, and The Hollywood Reporter.
Hernandez has an extensive film festival and non-profit film and arts organization background including participating as a juror and panelist at Sundance, San Francisco and Tribeca film festivals; working as a consultant for the Creative Capital Foundation, and serving as a funding panelist for the NEA and ITVS.  As a member of various selection committees, Hernandez nominated recipients for the highly influential Independent Spirit Awards.

Prior to founding indieWIRE, Hernandez spent 5 years at ABC-TV, ultimately working in its emerging Multimedia division as a producer of websites for ABC News and the annual Academy Awards and has served as an instructor at The New School in Manhattan.

The coup of hiring Hernandez is the latest in moves by the Film Society as the organization prepares for the 2011 transition from a single screen to a multi-screen programming strategy with the opening of the Elinor Bunin Monroe Film Center.  The move also highlights the Film Society’s efforts to increase community outreach and growth.  The Director of Digital Strategy is expected to play a significant role in fulfilling the organizations’ ambitious milestones for expanding audiences and engaging the untapped potential Film Comment and the annual programming.


The Film Society of Lincoln Center was founded in 1969 to celebrate American and international cinema, to recognize and support new directors, and to enhance the awareness, accessibility and understanding of film. Advancing this mandate today, the Film Society hosts two distinguished festivals. The New York Film Festival annually premieres films from around the world and has introduced the likes of François Truffaut, R.W. Fassbinder, Jean-Luc Godard, Pedro Almodóvar, Martin Scorsese, and Wong Kar-Wai to the United States. New Directors/New Films, co-presented by the Museum of Modern Art, focuses on emerging film talents. Since 1972, when the Film Society honored Charles Chaplin, its annual Gala Tribute celebrates an actor or filmmaker who has helped distinguish cinema as an art form. Additionally, the Film Society presents a year-round calendar of programming at its Walter Reade Theater and offers insightful film writing to a worldwide audience through Film Comment magazine. For more information, visit:

The Film Society receives generous, year-round support from 42BELOW, Audi, American Airlines, GRAFF, The New York Times, Stella Artois, The New York State Council on the Arts, and The National Endowment for the Arts.

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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