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47th CHICAGO INT’L FILM FESTIVAL ANNOUNCES AUDIENCE CHOICE AWARDS: THE ARTIST

Posted Monday, October 24th, 2011 - Comments Off on 47th CHICAGO INT’L FILM FESTIVAL ANNOUNCES AUDIENCE CHOICE AWARDS: THE ARTIST
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FOR IMMEDIATE RELEASE

CHICAGO, October 24, 2011 – The 47th Chicago International Film Festival proudly announces the Audience Choice Awards, presented by American Airlines. A record number of audience members participated in the selection of this year’s audience choice winners, with 50% of attendees casting their vote!

Audiences received ballots at every public screening during the fifteen-day Festival and ranked films on a five-point scale. Votes were tallied and averaged, so each film had an equal opportunity to win the award.

Audience Choice Award for Best Narrative Feature, presented by American Airlines

THE ARTIST (France), Dir. Michel Hazanavicius

A darling at this year’s 2011 Cannes Film Festival, The Artist is a black and white love song to silent cinema, and movies overall. Directed by Michel Hazanavicius (the OSS 117 films), tells the story of George Valentin (Jean Dujardin, best actor at Cannes) a very successful silent movie star who meets Peppy Miller (Bérénice Bejo), a young extra, and helps her on her way up the Hollywood ladder. But when talking pictures arrive, disaster strikes not only George’s career but also the blossoming romance between the two. A visually stunning film with arresting performances, The Artist perfectly captures the silent film era while staying relevant to today.

ALMANYA: WELCOME TO GERMANY (Germany), Dir. Yasemin Samdereli

A six-year-old in Germany confronts and questions the nature of self-identity after learning of his Turkish grandfather’s journey as a guest worker in the 1960s.The discussion leads the whole family to travel to their original home in Turkey, a trip that will prove surprising in more ways than one. This delightful comedy shows that your identity is not determined by where you live or where your parents come from, but rather what you feel inside.

Audience Choice Award for Best Documentary Feature, presented by American Airlines

UNDEFEATED (USA), Dirs. Daniel Lindsay and T.J. Martin

Set in Memphis, Undefeated chronicles the Manassas Tigers’ 2009 football season as they strive to win the first playoff game in the high school’s 110-year history. A perennial whipping boy, in recent decades Manassas had gone so far as to sell their home games to the highest bidder, but that all changed in the spring of 2004 when Bill Courtney, a former high school football coach turned lumber salesman, volunteered to lend a hand. The football program began resurrecting itself and, in 2009, features the most talented team it has ever fielded.

Led by Presenting Partner, Columbia College Chicago, the 47th Chicago International Film Festival’s sponsors include: Premiere Partners – American Airlines, Lincoln; Producing Partners – AMC Theaters, DePaul University’s School of Cinema and Interactive Media, The Academy of Motion Picture Arts and Sciences; Major Partners – Allstate, Intersites; Supporting Partners – Applitite, Barefoot Wine & Bubbly, Brugal Rum, Kodak, Second City Computers, WBBM, and the Festival’s Headquarters Hotel, JW Marriott Chicago.

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ABOUT CINEMA/CHICAGO

Cinema/Chicago is a not-for-profit cultural and educational organization dedicated to encouraging better understanding between cultures and to making a positive contribution to the art form of the moving image. The Chicago International Film Festival is part of the year-round programs presented by Cinema/Chicago, which also include the International Screenings Program (May-September), the Hugo Television Awards (April), CineYouth Festival (May), Intercom Competition (October) and year-round Education Outreach and Member Screenings Program.

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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