By MCN Editor editor@moviecitynews.com

27TH FILM INDEPENDENT SPIRIT AWARDS TO BE HELD ON SATURDAY, FEBRUARY 25, 2012

FOR IMMEDIATE RELEASE:

Ceremony to Premiere Exclusively on IFC at 10:00 p.m. ET/PT

LOS ANGELES (October 27, 2011) – Film Independent, the non-profit arts organization that produces the Spirit Awards and the Los Angeles Film Festival, announced today that the 27th Film Independent Spirit Awards will return to its traditional Saturday afternoon on February 25 in a tent on the beach in Santa Monica. The premiere broadcast of the Film Independent Spirit Awards will air later that evening at 10:00 p.m. ET/PT on IFC. The 2012 Spirit Award nominees will be announced in a press conference on Tuesday, November 29 at The London West Hollywood Hotel. Film Independent members and all past Spirit Award winners and nominees will be eligible to vote for this year’s winners.

“The Film Independent Spirit Awards honors filmmakers who create original stories and celebrates artists with fresh, authentic voices,” said Film Independent Senior Director Sean McManus. “With the continued support of our long-standing broadcaster, IFC, the Spirit Award nominees and their work will reach a national audience.”

“Film Independent is a champion for independent filmmakers and the Spirit Awards are always an exciting star-studded celebration of films essential to fueling our popular culture,” said Jennifer Caserta, executive vice president and general manager of IFC.  “We’re thrilled to again provide the exclusive premiere broadcast of the 2012 Spirit Awards.”

As the first event to exclusively honor independent film, the Film Independent Spirit Awards has made a name for itself as the premier awards show for the independent film community. Artists receiving industry recognition first at the Spirit Awards include Joel & Ethan Coen, Spike Lee, Oliver Stone, Ashley Judd, Robert Rodriguez, David O. Russell, Edward Burns, Aaron Eckhart, Neil LaBute, Darren Aronofsky, Spike Jonze, Charlie Kaufman, Hilary Swank, Marc Forster, Todd Field, Christopher Nolan, Zach Braff, Amy Adams, Lena Dunham and many more.

Last year’s host was comedian and actor Joel McHale, with major winners including Fox Searchlight’s Black Swan, which won Best Feature, Best Director, Best Female Lead, and Best Cinematography; Roadside Attractions’ Winter’s Bone, which won Best Supporting Female and Best Supporting Male; Focus Features’ The Kids Are All Right, which won Best Screenplay; Fox Searchlight’s 127 Hours, which won Best Male Lead; Weinstein Company’s The King’s Speech, which won Best Foreign Film; Sony Pictures Classic’s Get Low, which won Best First Feature; IFC Films’ Tiny Furniture, which won Best First Screenplay; Producers Distribution Agency’s Exit Through the Gift Shop, which won Best Documentary; and IFC Films’ Daddy Longlegs, which won the John Cassavetes Award.

In addition to celebrating the broad spectrum of independent filmmaking, the Spirit Awards is also the primary fundraiser for Film Independent’s year-round programs, which cultivate the careers of emerging filmmakers and promote diversity in the film industry. Tables and tickets to attend the Spirit Awards are first made available to Film Independent’s year-round supporters and Arts Circle members.  To inquire about tables or tickets, please contact the Development Department at 310.432.1253.

ABOUT THE FILM INDEPENDENT SPIRIT AWARDS

Now in its 27th year, the Film Independent Spirit Awards is an annual celebration honoring artist-driven films made with an economy of means by filmmakers who embody independence and originality. The Spirit Awards recognizes the achievements of American independent filmmakers and promotes the finest independent films of the year to a wider audience.

Awards are given in the following categories: Best Feature, Best First Feature, Best First Screenplay, Best Director, Best Screenplay, John Cassavetes Award (given to the best feature made for a budget under $500,000), Best Male Lead, Best Female Lead, Best Supporting Male, Best Supporting Female, Best Cinematography, Best International Film, Best Documentary, and the Robert Altman Award.  The Filmmaker Grants include the Someone to Watch Award, Truer Than Fiction Award and Piaget Producers Award.

ABOUT FILM INDEPENDENT

Film Independent is a non-profit arts organization that champions independent film and supports a community of artists who embody diversity, innovation, and uniqueness of vision. Film Independent helps filmmakers make their movies, builds an audience for their projects, and works to diversify the film industry. Film Independent’s Board of Directors, filmmakers, staff, and constituents, is comprised of an inclusive community of individuals across ability, age, ethnicity, gender, race, and sexual orientation. Anyone passionate about film can become a member, whether you are a filmmaker, industry professional, or a film lover.

Film Independent produces the Spirit Awards, the annual celebration honoring artist-driven films and recognizing the finest achievements of American independent filmmakers.  Film Independent also produces the Los Angeles Film Festival, showcasing the best of American and international cinema and the Film Independent at LACMA Film Series, a year-round, weekly program that offers unique cinematic experiences for the Los Angeles creative community and the general public.
With over 250 annual screenings and events, Film Independent provides access to a network of like-minded artists who are driving creativity in the film industry. Film Independent’s Artist Development program offers free Labs for selected writers, directors, producers and documentary filmmakers and presents year-round networking opportunities. Project:Involve is Film Independent’s signature program dedicated to fostering the careers of talented filmmakers from communities traditionally underrepresented in the film industry.

For more information or to become a member, visit FilmIndependent.org.

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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