By MCN Editor editor@moviecitynews.com

THESSALONIKI MARKET ADDS CENTRAL EUROPE

Posted Thursday, June 2nd, 2011 - Comments Off on THESSALONIKI MARKET ADDS CENTRAL EUROPE
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November 5 – 12, 2011

THESSALONIKI AGORA MARKET NEWS

Athens, 2 June 2011 — The Thessaloniki Agora Market is bracing for a boost this year with new developments and expansions. More specifically, the Agora Market is welcoming new countries into its fold, such as the Czech & Slovak Republic, Poland and Hungary, and takes a significant step towards Central Europe. The film projects and films from Central Europe are added to the geographical roster of South-Eastern Europe and the Mediterranean (Europe, North Africa and the Middle East).

The Thessaloniki Agora Market includes the Crossroads Co-production Forum (November 8-11 2011), the Works in Progress (November 11) and the Film Market (November 5-12 2011).

Film professionals from all over the world will visit the Thessaloniki Agora Market this November in order to meet with the creative teams of the Crossroads Co-production Forum and their projects. The Thessaloniki Agora Market provides a comprehensive industry experience, which includes previewing the newest projects from the region in Works in Progress and watching films in the fully digital Film Market (titles that are included in the Festival official program, as well as other selected titles from the countries on which the Agora Market focuses).

In addition, and in light of these novel developments, it has become apparent that the Balkan region, with its many and diverse stories, has found a voice and place in international markets and festivals. In this context, the Thessaloniki Film Festival efforts have successfully come to a completion regarding Script Development. Taking into consideration the opinions of the Festival’s many professional collaborators throughout the years, a further need for Co-production, Marketing and innovative Distribution emerges; the Thessaloniki Agora Market will move forward towards this precise direction.

After 8 consecutive years and many Balkan Fund projects achieving award-winning status in international film festivals, there is no doubt that when the Balkan region required an extra push regarding Script Development, the Thessaloniki Film Festival was able to provide just that. Films such as Grbavica, Snow, Here And There, California Dreamin’, The Happiest Girl In The World, First Of All, Felicia, Small Crime, Mother of Asphalt and this year’s Man at Sea and Loverboy achieved completion and success. We thank all our participants for trusting us and supporting us all these years.

Online at www.filmfestival.gr you will find the Call for Entries for the Crossroads Co-production Forum 2011. Screenplays from the first until the completed draft are accepted.

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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