By MCN Editor editor@moviecitynews.com

38th TELLURIDE FILM FESTIVAL ANNOUNCES CALL FOR ENTRIES

Posted Friday, April 15th, 2011 - 1 Comment »
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FOR IMMEDIATE RELEASE

BERKELEY, CA , April 15, 2011 – Telluride Film Festival (September 2-5, 2011), presented by National Film Preserve, Ltd. announces its Call for Entries in all categories including student, short and feature length films.

Submission period begins April 15, 2011. Telluride Film Festival 2011 Film Entry Form is available for download at www.telluridefilmfestival.org.

Shorts and student film submissions must be received no later than 5:00 pm, July 1, 2011. Feature film submissions must be received no later than 5:00 pm, July 15, 2011. All submissions must have been completed after July 15, 2010 and no works in progress will be accepted. Feature-length films (60 minutes or longer) will only be considered if they are to have their first North American screening at Telluride Film Festival. Final program determinations will be made by August 1, 2010. No early or late entries will be accepted.

Professional and amateur filmmakers working in all aesthetic disciplines and genres including narrative, documentary, animation and experimental are welcome.

Each year the four-day Telluride Film Festival plays host to an average of 24 feature films and 25 shorts and student films. Films selected to screen at Telluride Film Festival will be shown out-of-competition. TFF is not a competitive festival.

For more information visit www.telluridefilmfestival.org

About Telluride Film Festival

The prestigious Telluride Film Festival ranks among the world’s best film festivals and is an annual gathering for film industry insiders, cinema enthusiasts, filmmakers and critics. TFF is considered a major launching ground for the fall season’s most talked-about films. Co-founded in 1974 by Tom Luddy, James Card, and Bill and Stella Pence, Telluride Film Festival, presented in the beautiful mountain town of Telluride, Colorado, is a four-day international educational event celebrating the art of film. Telluride Film Festival’s long-standing commitment is to join filmmakers and film connoisseurs together to experience great cinema. The exciting schedule, kept secret until Opening Day, consists of over two dozen filmmakers presenting their newest works, special Guest Director programs, three major Tributes to guest artists, special events and remarkable treasures from the past. Telluride Film Festival is a 501 (c)(3) non-profit educational program. Festival headquarters are in Berkeley, CA.

About Our Sponsors

Telluride Film Festival is supported by Turner Classic Movies, The Academy of Motion Picture Arts and Sciences, Meyer Sound, Universal Studios, Omaha Steaks, Mandarin Oriental Hotel Group, UCLA School of Theater, Film and Television, National Endowment for the Arts, Teatulia, Stella Artois, Travelocity, Cinedigm, New Sheridan Hotel, Telluride Mountain Village Owners Association, Telluride Alpine Lodging, Telluride Foundation, Dolby, Boston Light and Sound, among others.

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A 501(c )(3) non-profit educational organization

36th Telluride Film Festival

September 4-September 7, 2009

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

One Response to “38th TELLURIDE FILM FESTIVAL ANNOUNCES CALL FOR ENTRIES”

  1. Camel's Garden says:
    April 16, 2011 at 9:15 am

    The film festival is always great time of year in Telluride! Beautiful September weather, stars, industry insiders — and perhaps the first look at an Oscar winner. Hope to see you there!

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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