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Grey Gardens to Receive 2011 Cinema Eye Legacy Award

Posted Thursday, January 6th, 2011 - Comments Off on Grey Gardens to Receive 2011 Cinema Eye Legacy Award
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Filmmakers Albert Maysles, Muffie Meyer and Susan Froemke to Accept on Behalf of the Film

New York, 6 January 2011 – The Cinema Eye Honors for Nonfiction Filmmaking announced today that this year’s Legacy Award will be presented to the landmark 1975 documentary, GREY GARDENS.  Filmmakers Albert Maysles, Muffie Meyer and Susan Froemke will accept the award on behalf of the film and the collaborative team that created one of the most enduring and influential documentaries ever made.

The award will be presented on January 18, 2011 at the 4th Annual Cinema Eye Honors ceremony to be held at the newly re-opened Museum of the Moving Image in Astoria, New York.  The event will be broadcast on the Documentary Channel on Sunday, January 30, 2011.

“GREY GARDENS stands as a testament to the collaborative nature of filmmaking,” Cinema Eye Honors Co-Chair AJ Schnack said.  “It endures not only on the basis of great characters and superb storytelling, but also on the creative choices of its makers, including the decision, somewhat risky at the time, to include the subjects’ interactions with Al and David Maysles in the film itself.”

“There are some things about GREY GARDENS that I think every documentary filmmaker would hope for–the fulfilling collaboration between producers, cinematographer, sound-person, editors, and subjects all being so pleased with the film,” said co-director Albert Maysles.  “When Mrs. Beale saw the film she said, ‘This is something everyone should do.  There’s nothing more to say;  it’s all in the film.’  We all aim for that kind of happiness.  Just as Big Edie and Little Edie so appreciated Grey Gardens, we too appreciate the film being honored with this year’s Legacy Award 2011 from Cinema Eye.  It means a lot to all of us.”

This is the second year that Cinema Eye will present a Legacy Award, intended to honor classic films that embody the Cinema Eye mission: excellence in creative and artistic achievements in nonfiction films and celebrating the entire creative team – directors, producers, cinematographers, editors, composers and graphic designers.  For the first time, a collaborative team will accept the award on behalf of the Legacy film, reaffirming Cinema Eye’s mission to celebrate the creative contributions of the entire production team.  Cinema Eye is the only US or international organization to present annual awards for documentary in the fields of cinematography, original score and graphic design and it is the only organization, aside from the guilds, that recognizes outstanding direction, production and editing.  Last year’s Legacy Award went to Ross McElwee’s SHERMAN’S MARCH.

Cinema Eye will present awards in 13 categories at this year’s event, including two new awards – one for Nonfiction Short Filmmaking and the new Heterodox Award which salutes narrative films that blur the lines between fiction and nonfiction.

About Cinema Eye Honors

The Cinema Eye Honors were launched in late 2007 to recognize exemplary craft and innovation in nonfiction film.  Cinema Eye’s mission is to advocate for, recognize and promote the highest commitment to rigor and artistry in the nonfiction field.  The Honors are held annually in January in New York City.  Co-chairs for the 2011 Cinema Eye Honors are filmmakers Esther Robinson (A WALK INTO THE SEA: DANNY WILLIAMS AND THE WARHOL FACTORY) and AJ Schnack (KURT COBAIN ABOUT A SON). The producer for Cinema Eye is Nathan Truesdell.  Sean Farnel, Documentary Programmer for the Hot Docs Film Festival is the Chair of the Cinema Eye Nominations Committee and Andrea Meditch, Exectutive Producer of MAN ON WIRE and GRIZZLY MAN, is the Chair of the Cinema Eye Advisory Board.  For more information about Cinema Eye, including previous nominees and winners, photos and video, visit http://www.cinemaeyehonors.com.

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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