By MCN Editor editor@moviecitynews.com

LOS ANGELES FILM CRITICS ASSOCIATION NAMES DORIS DAY 2011 CAREER ACHIEVEMENT HONOREE

Posted Sunday, October 30th, 2011 - 1 Comment »
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Association Names Doris Day as 2011 Career Achievement Winner and Announces Awards Voting Date

LOS ANGELES, OCTOBER 29, 2010 – Doris Day was selected to receive the Career Achievement Award, it was announced today by Brent Simon, President of the Los Angeles Film Critics Association (LAFCA).

“Decades on from the main body of her work, Doris Day is still arguably the template to which Hollywood turns when trying to quantify and capture ‘girl-next-door’ appeal,” said Brent Simon. “Equally at home in snappish romantic comedies and more dramatic fare, Day was the biggest female star of the 1960s, giving a series of delightfully perceptive performances. LAFCA is thrilled to be able to honor her.”

Still one of the top box office performers of all time, Doris Day starred onscreen alongside some of the biggest male stars of her day, including Clark Gable, James Stewart, Cary Grant, Jack Lemmon, David Niven and of course Rock Hudson. Her screen credits include Calamity Jane, The Man Who Knew Too Much, The Tunnel of Love, Pillow Talk, Lover Come Back and That Touch of Mink. Her career as a singer was just as impressive; indeed, Day received a Grammy Lifetime Achievement award in 2008. She released more than two dozen albums, experiencing Billboard chart success and in 1957 winning an Academy Award for Best Original Song for “Que Sera Sera,” which would become her signature tune. A passionate animal rights activist for several decades, Day just this year released an album of jazz standards and cover tunes produced by her late son, Terry Melcher, her first new material in more than four decades.

Winners for the 37th annual Los Angeles Film Critics Association awards will be selected at the LAFCA annual voting meeting on Sunday, December 11. The winners will be announced via Twitter (http://twitter.com/LAFilmCritics) in addition to issued press releases. The date for the annual LAFCA awards dinner is TBC.

This year, LAFCA inducted two new members into the Association: Annlee Ellingson and Betsy Sharkey.

Founded in 1975, The Los Angeles Film Critics Association (LAFCA) is comprised of Los Angeles-based, professional film critics working in the Los Angeles print and electronic media.  Each December, LAFCA members vote on the year’s Achievement Awards, honoring screen excellence on both sides of the camera. Plaques of recognition are then presented to winners during LAFCA’s annual awards ceremony, held in mid-January.

Aside from honoring each year’s outstanding cinematic achievements, LAFCA has also makes a point to look back and pay tribute to distinguished industry veterans with its annual Career Achievement Award, which is announced in October, as well as to look forward by spotlighting fresh, promising talent with its annual New Generation Award.  In addition, over the past three decades, LAFCA has sponsored and hosted numerous film panels and events and donated funds to various Los Angeles film organizations, especially where film preservation was concerned.  LAFCA members have also collectively been vocal about taking up causes they have felt passionate about, from drafting formal protests against censorship and colorization to lending their support to controversial films.

For more information, visit www.lafca.net and follow LAFCA via Twitter at @lafilmcritics (http://twitter.com/LAFilmCritics)

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

One Response to “LOS ANGELES FILM CRITICS ASSOCIATION NAMES DORIS DAY 2011 CAREER ACHIEVEMENT HONOREE”

  1. dsinla says:
    November 1, 2011 at 6:06 pm

    Join the facebook page:

    Doris Day to be (finally) Honored by the Oscars?

    http://bit.ly/cw6akT

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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