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THE ARTIST AND HARD TIMES: LOST ON LONG ISLAND TAKE AUDIENCE AWARDS AT THE 19TH ANNUAL HAMPTONS INTERNATIONAL FILM FESTIVAL

Posted Sunday, October 16th, 2011 - Comments Off on THE ARTIST AND HARD TIMES: LOST ON LONG ISLAND TAKE AUDIENCE AWARDS AT THE 19TH ANNUAL HAMPTONS INTERNATIONAL FILM FESTIVAL
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THE FAIRY Wins Golden Starfish Award

LAURA Takes Documentary Prize

Special Juror Mentions Go To THE FORGIVENESS OF BLOOD and

VODKA FACTORY

East Hampton, NY (October 16th, 2011) – The Hamptons International Film Festival announced tonight their audience, jury and special prizes at their awards ceremony.   THE ARTIST directed by Michel Hazanavicius and Marc Levin’s HARD TIMES: LOST ON LONG ISLAND take the audience awards and were honored tonight among the film industry’s finest.

THE FAIRY, directed by Dominique Abel and Fiona Gordon, was selected by the jury as the winner of The Golden Starfish Narrative Feature Award. The Golden Starfish Award for Best Documentary went to Fellipe Barbosa’s LAURA.

Mark Jackson’s WITHOUT garnered two awards this weekend. The Kodak Award for Best Cinematography in the Narrative category as well as being awarded The Wouter Barendrecht Pioneering Vision Award.

The Narrative Jury awarded a special jury mention to THE FORGIVENESS OF BLOOD, “For engrossing storytelling that makes a specific cultural experience feel vividly personal.”

A special award of the festival went to YOU’VE BEEN TRUMPED, which took the Victor Rabinowitz and Joanne Grant Award for Social Justice.

Media Critic for Forbes.com and a member of the Broadcast Film Critics Association Bill McCuddy presented awards this evening at East Hampton’s Guild Hall, along with Penelope Ann Miller and James Cromwell.  New York Film Critics John Anderson, Lisa Schwarzbaum, Joe Neumaier, David Fear and jurors Sherry Dobbin, Jay Van Hoy and Michelle Carey were also on hand to present awards.

“Once again the weekend proved to be a true celebration of the art of cinema, says Executive Director Karen Arikian.  We are so moved by the continued support of our community and their appetite for the films we offered this year.”   “Our audience really embraced the filmmakers & talent in attendance this year, and that means so much to us as a Festival”, says Director of Programming David Nugent.  “My fellow programmers and I worked hard to select both challenging films & crowd pleasers and its great to see the warm reception that each received.”

HAMPTONS INTERNATIONAL FILM FESTIVAL CONGRATULATES THE WINNERS:

THE ARTIST

Audience Award Narrative

Directed by Michel Hazanavicius

HARD TIMES: LOST ON LONG ISLAND
Audience Award Documentary

Directed by Marc Levin’s

TWO’S A CROWD

Audience Award Winner for Best Short

Directed by Jim Isler and Tom Isler

THE FAIRY
Narrative Jury Winner

Dominique Abel and Fiona Gordon

LAURA

Documentary Jury Winner
Directed by Fellipe Barbosa’s

THE STRANGE ONES

Short Documentary Jury Winner

Directed by Christopher Radcliff and Lauren Wolkstein

WITHOUT

The Kodak Award for Best Cinematography.

The Wouter Barendrecht Pioneering Vision Award

Directed by Mark Jackson.

YOU’VE BEEN TRUMPED
Winner of the Victor Rabinowitz and Joanne Grant Award for Social Justice
Director Anthony Baxter

PREVIOUSLY ANNOUNCED

SMALL, BEAUTIFULLY MOVING PARTS

The Alfred P. Sloan Foundation

Feature Film Prize

Directed by Annie Howell and Lisa Robinson

THE BULLY PROJECT

The Brizzolara Family Foundation Award for a Film of

Conflict and Resolution

Directed By Lee Hirsch

2011 Breakthrough Performer Recipients

Emily Browning – SLEEPING BEAUTY

Alexander Skarsgard- MELONCHOLIA

Stine Fischer Christensen – CRACKS IN THE SHELL

Ezra Miller – ANOTHER HAPPY DAY

Shailene Woodley – THE DESCENDANTS

Anton Yelchin – LIKE CRAZY

ABOUT THE HAMPTONS INTERNATIONAL FILM FESTIVAL

The Hamptons International Film Festival was founded to celebrate the Independent film – long, short, fiction and documentary – and to introduce a unique, varied spectrum of international films and filmmakers to the public. The Festival is committed to exhibiting films that express fresh voices and differing global perspectives, with the hope that these programs will enlighten audiences, provide invaluable exposure for filmmakers and present inspired entertainment for all.

HIFF greatly appreciates the support from their corporate sponsors including, Altour International, American Airlines, The Wall Street Journal, Baume & Mercier, Prudential Douglas Elliman, Champagne Nicolas Feuillatte, Gibson, Dunn & Crutcher LLP, Clarins, Jeep, Fiat and Silvercup Studios.

The Hamptons International Film Festival headquarters are located at the beautiful c/o The Maidstone Hotel on Main Street in East Hampton.

For more information about the 2011 Hamptons International Film Festival, and to become a member, please visit our website at www.hamptonsfilmfest.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