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COURTNEY OTT JOINS THE FILM SOCIETY OF LINCOLN CENTER

Posted Wednesday, December 29th, 2010 - 1 Comment »
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FOR IMMEDIATE RELEASE

VICE PRESIDENT OF PUBLICITY AT IFC ANNOUNCED AS FSLC’S DIRECTOR OF MARKETING AND PR

NEW YORK – December 29, 2010 – The Film Society of Lincoln Center announced today that Courtney Ott will join the organization as the Director of Marketing and PR. Ott will head a PR and Marketing team charged with working on several fronts on behalf of the Film Society of Lincoln Center; its programs, film festivals, theaters, educational outreach and community involvement. Most immediately, Ott will focus on the transition from a single screen to a multi-screen programming strategy with the highly-anticipated opening of the Elinor Bunin Monroe Film Center next summer.

She and her team will also work closely with FIlm Society’s recent hire, Director of Digital Strategy Eugene Hernandez, to strengthen the press and marketing efforts via the internet and other digital platforms.

Ott will oversee the press and marketing department which includes Senior Publicists John Wildman and Seth Hyman, Associate Director of Marketing, David Goldberg and Marketing Coordinator Haley Mednick.

Ott served as Vice President of Publicity at IFC Entertainment where she oversaw publicity for the company’s theatrical and video on demand releases. Recent releases include; Olivier Assayas’ award winning film SUMMER HOURS; the Academy Award-nominated Armando Iannucci film, IN THE LOOP; Golden Globe-nominated films including Matteo Garrone’s GOMORRAH, Jan Troell’s EVERLASTING MOMENTS, Cristian Mungiu’s 4 MONTHS 3 WEEKS AND 2 DAYS, Olivier Assayas’ CARLOS; as well as Ricki Sterns’ critically acclaimed documentary JOAN RIVERS: A PIECE OF WORK and new films by Bruno Dumont, Steven Soderbergh, Elia Sulieman, and Abbas Kiarastami.

Ott began at IFC 5 years ago, with the launch of the “day and date” label called IFC First Take, where she oversaw the Marketing and Publicity campaigns for 24 titles each year. Prior to IFC, Ott was the Director of Publicity and Marketing at Wellspring where she worked on the release of Jacques Audiard’s THE BEAT THAT MY HEART SKIPPED, Todd Solondz’s PALINDROMES among many others.  She previously managed Regional Publicity at IDP (Samuel Goldwyn Films).

The former head of PR at the American Film Institute, Wildman is noted for film festival public relations, having worked for AFI FEST, AFI DALLAS, DALLAS IFF, NYFF, Indian Film Festival of Los Angeles (IFFLA), LA Latino Intl FF and the Feel Good Film Festival. In addition, he has written about film festivals and entertainment for Movie City News, Moving Pictures Magazine.com and currently writes a weekly column for Film Threat (“Films Gone Wild”).

Hyman recently joined FSLC to serve as a publicist for the 2010 New York Film Festival. Prior to his arrival, Hyman served as an account executive at 42West, where he worked on the awards campaigns on such acclaimed films as NO COUNTRY FOR OLD MEN, THE HURT LOCKER, REVOLUTIONARY ROAD and with Geoffrey Fletcher, the Academy-Award winning screenwriter of PRECIOUS: BASED ON THE NOVEL “PUSH” BY SAPPHIRE. In addition, Hyman also worked on many of the company’s film festival publicity campaigns for films premiering at Sundance, Toronto, Cannes, Tribeca and SXSW.

Commenting on Ott joining FSLC and the collective experience of the PR and marketing team, Kuo said, “Courtney and her team share a great passion for cinema and the artists who create the work we celebrate. She brings a fresh approach and new ideas and her appointment signals a new direction for the Film Society.”

About the Film Society of Lincoln Center

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: www.FilmLinc.com

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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Posted in Movie City News, Press Releases | 1 Comment »

One Response to “COURTNEY OTT JOINS THE FILM SOCIETY OF LINCOLN CENTER”

  1. DURET says:
    April 12, 2016 at 2:10 am

    Hello Courtney,

    Impressive FLSC …

    I am looking forward to meeting with you on your next journey to the Cannes Film Festival …

    Best,

    Marc Duret

Quote Unquotesee all »

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