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Bastrop Fire Relief Benefit Screening of Linklater’s BERNIE With Jack Black In Attendance, Co-Presented by Matthew McConaughey

Posted Tuesday, September 13th, 2011 - Comments Off on Bastrop Fire Relief Benefit Screening of Linklater’s BERNIE With Jack Black In Attendance, Co-Presented by Matthew McConaughey
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For Immediate Release
Tuesday, September 13, 2011

(Austin, TX)–The Austin Film Society, The Paramount Theatre and Matthew McConaughey are pleased to present a sneak peek of Richard Linklater‘s newest film BERNIE with Linklater and star Jack Black in attendance on Sunday, September 18 at 4 PM at The Paramount (713 Congress Ave) to benefit Bastrop fire relief efforts. 100% of proceeds from this screening will benefit the following organizations (to date): Bastrop Emergency Food Pantry, Heart of the Pines Volunteer Fire Department and Friends of the Lost Pines State Parks. Red carpet arrivals with Linklater and Black will begin at 3:30 PM.

Filmed primarily in Bastrop, BERNIE is the true story of a beloved funeral home director in the small town of Carthage, Texas  who strikes up an unlikely relationship with the town’s richest widow. The film stars Black with Shirley MacLaine and Matthew McConaughey.

Richard Linklater, writer/director and part-time Bastrop resident says, “Since the film has been finished for a few months and isn’t coming out until next year, we had scheduled a cast and crew screening for the 18th of September. After the catastrophic fires of the last week, we quickly jumped on the idea of opening it up to the public as an opportunity for Austinites and members of our artistic community to help our neighbors in Bastrop that have been so devastated. It seems like an appropriate movie for the cause – not only was it filmed largely in the Bastrop area, but it’s a PG-13 comedy about small town Texas life. It’s the least we can do for this wonderful community that opened its doors to us during production. It feels great that because of the generosity of The Paramount Theatre, 100% of all ticket sales and donations will pass through to these important local nonprofits that are doing so much to restore and maintain their community.”

Ticket prices are as follows: $100 general seating and $250 for special reserved seating. Sponsorships are available for $2,500 which includes 6 reserved tickets and pre-show reception with cast and crew.

Tickets go on sale to the general public Tuesday, September 13 at 6pm at The Paramount Theatre website. For those unable to attend but still wanting to contribute, tickets can be donated so affected residents from the Bastrop area can attend.

Austin Film Society promotes the appreciation of film and supports creative media production by screening rarely seen films, giving grants and other support to emerging filmmakers, and providing access and education about film to youth and the public. For more information on Austin Film Society, visit www.austinfilm.org

About The Paramount Theatre
Formerly The Majestic Theatre, the Paramount opened its doors as a commercial vaudeville house in 1915 and began a legacy of bringing world-class entertainment to Central Texas.  From vaudeville, silent movies and “talkies” decades ago to more contemporary entertainment such as dance, live music and theatre, The Paramount has established itself as a non-profit focused primarily on providing legendary entertainment to the Austin community. The Paramount Theatre is visually more appealing, acoustically superior and historically more significant than any other performing arts center in Austin and is vital to the economic and cultural development of the city.

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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