By MCN Editor editor@moviecitynews.com

Outstanding Directorial Achievement in Documentary for 2010

Posted Wednesday, January 12th, 2011 - Comments Off on Outstanding Directorial Achievement in Documentary for 2010
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LOS ANGELES —Directors Guild of America President Taylor Hackford today announced the DGA’s nominees for Outstanding Directorial Achievement in Documentaries for the year 2010.

“The best documentary filmmaking provides the audience with the rare opportunity of experiencing a life, a place, or a situation that might otherwise be too remote or too unknown to ever discover on our own,” said Hackford.  “The excellent work of our five nominees illuminates, educates and inspires us in extraordinary ways.  My congratulations to each of our nominees.”

LIXIN FAN

Last Train Home

Eye Steel Film, ITVS, Canada Council for the Arts Zeitgeist Films

This is Mr. Fan’s first DGA Award nomination.

CHARLES FERGUSON

Inside Job

Representational Pictures Sony Pictures Classics

This is Mr. Ferguson’s first DGA Award nomination.

ALEX GIBNEY

Client 9: The Rise and Fall of Eliot Spitzer

ES Productions Magnolia Pictures

This is Mr. Gibney’s second DGA Award nomination. He was previously nominated in this same category for Taxi to the Dark Side in 2007.

DAVIS GUGGENHEIM

Waiting for “Superman”

Public Education LLC Paramount Vantage

Mr. Guggenheim’s Directorial Team:

Unit Production Manager: Shari Tavey This is Mr. Guggenheim’s first DGA Award nomination.

TIM HETHERINGTON AND SEBASTIAN JUNGER

Restrepo

Outpost Films National Geographic Entertainment

This is the first DGA Award nomination for Mr. Hetherington and Mr. Junger.

The winners will be announced at the 63rd Annual DGA Awards Dinner on Saturday, January 29, 2011 at the Grand Ballroom at Hollywood & Highland in Los Angeles.

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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