By MCN Editor editor@moviecitynews.com

VOTING OPENS FOR THE 2011 CINEMA EYE HONORS AUDIENCE CHOICE PRIZE

Posted Tuesday, December 14th, 2010 - Comments Off on VOTING OPENS FOR THE 2011 CINEMA EYE HONORS AUDIENCE CHOICE PRIZE
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January 13, 2010 – Voting for the 4th Annual Cinema Eye Honors Audience Choice prize opened today, with ten nonfiction feature films nominated and voting open to the public at large.  Voting – which takes place on the Cinema Eye website – will remain for one month, with the winner announced on January 18, 2011 at the Cinema Eye Honors ceremony at New York’s Museum of the Moving Image.

This year’s nominees for Audience Choice prize reflect the extraordinary year that theatrical nonfiction films have had during 2010.  An unprecedented ten films are nominated in the category, with nominees determined by a combination of votes from the Cinema Eye Nominations Committee (comprised of international film festival programmers expert in documentary film) and North American theatrical box office.

Previous winners of the Audience Choice prize have been THE KING OF KONG: A FISTFUL OF QUARTERS (2008), UP THE YANGTZE (2009) and THE SEPTEMBER ISSUE (2009).

This year’s nominees are:

CATFISH Directed by Henry Joost and Ariel Schulman

LA DANSE – THE PARIS OPERA BALLET Directed by Frederick Wiseman

EXIT THROUGH THE GIFT SHOP Directed by Banksy

A FILM UNFINISHED Directed by Yael Hersonski

INSIDE JOB Directed by Charles Ferguson

JOAN RIVERS: A PIECE OF WORK Directed by Ricki Stern and Annie Sundberg

LAST TRAIN HOME Directed by Lixin Fan

RESTREPO Directed by Tim Hetherington and Sebastian Junger

THE TILLMAN STORY Directed by Amir Bar-Lev

WAITING FOR ‘SUPERMAN’ Directed by Davis Guggenheim

To vote for the 2011 Cinema Eye Honors Audience Choice Prize, go to: http://www.cinemaeyehonors.com/2011-audience-vote

or http://bit.ly/foAkw9

The 2011 Cinema Eye Honors are sponsored by The Museum of the Moving Image, Documentary Channel (Partner Sponsors), The Economist, HBO Documentary Films, A&E IndieFilms, P.O.V., Sheffield Doc/Fest, Hot Docs, Camden International Film Festival, Danish Film Institute, Hudson Hotel, Film Sales Company and Maine Distilleries. The event will be held Tuesday, January 18, 2011 at the newly-reopened Museum of the Moving Image in Astoria, Queens and will be broadcast on the Documentary Channel on January 30, 2011. Filmmakers Esther Robinson and AJ Schnack are the Co-chairs of Cinema Eye. Sean Farnel, programmer of the Hot Docs Film Festival, serves as Chair of the Cinema Eye Nominations Committee, Andrea Meditch is the Chair of the Cinema Eye Advisory Board. Nathan Truesdell is the Producer of the Cinema Eye Honors.

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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