By MCN Editor editor@moviecitynews.com

The Paris Film Festival Launches

THE FIRST INTERNATIONAL FILM FESTIVAL IN PARIS WILL BE AN ANNUAL CELEBRATION OF FILM ON THE CHAMPS ELYSÉES
JUNE 6th – 12th, 2012

October 24th, 2011 — The first edition of the Paris Film Festival, under the patronage of the French Minister of Culture, will take place in Paris from June 6th – 12th, 2012 on the Champs Elysées, Sophie Dulac, President and Isabelle Svanda, General Manager, announced today. The Champs Elysées is internationally well known, located centrally in the city and breathtakingly impressive, a natural choice for an important and exceptional event.

The Paris Film Festival aims to be both a celebration for the general public as well as an industry event, and is poised to become an annual fete of French and American film along the most beautiful avenue in the world.

During the Paris Film Festival, audiences will have access to independent films as well as grand
Hollywood premieres, in the presence of the cast. The Festival aims to highlight the diversity of American cinema.

The Festival headquarters will be located on the Champs Elysées in the famous Publicis building, 133, Ave des Champs-Elysées.

The lineup of this first edition will comprise 50 films including:

• A selection of 15 French and American films not yet released in France.

• A selection of 15 films submitted for Oscar consideration in the Best Foreign Language Film category.

• A prestigious preview every night in collaboration with the U.S. studios and major distribution companies.
• A tribute to a key figure from the world of cinema.

The Weinstein Company’s Harvey Weinstein will be honored by the Paris Film Festival during its first edition next year. The audience will be able to discover or rediscover a selection of films that he has produced. In addition, Weinstein will participate in a master class during the Festival and several well-known personalities will participate in this tribute.

Other special events throughout the Festival include:

• Hollywood Conversations – A unique occasion for the public to meet industry professionals to talk about film.

• The Industry Lounge – a place where producers as well as European and international actors can meet informally to talk about their work and screen the films they produce. The lounge will provide a welcoming environment for work, networking, conversation, or just a place to relax.

• A partnership with Studio Harcourt – A photography studio revered as a French institution, Studio Harcourt is well-known for its black and white portraits of cinema celebrities. Studio Harcourt will shoot portraits of the Festival’s celebrity guests throughout the week. An exhibition of Studio Harcourt’s most famous photographs will also take place during the Festival.

• During the Festival, numerous street shows will be arranged to take place along the Champs-Elysées.

A charitable dimension:

The Paris Film Festival is not like other film festivals. Apart from celebrating the world of cinema, the Festival aims to support an Intergenerational House in France. This House intends to welcome foster children or children placed by the child welfare department, alongside older retired people who prefer not to live alone. These two very different sectors of the population would live harmoniously side-by-side. The first House is set to open in 2014.
A percentage of each movie ticket sold during the Festival will go to the Intergenerational House funding efforts.

The Team:
• Sophie Dulac- President of the Paris Film Festival
• Isabelle Svanda – General Manager
• Béatrice Boursier – Director of Communications
• Eric Vicente – Program Director
• Yvan Hinnemann – Artistic Director
• Lisa Giacchero – Production Assistant
• Mathias Dulac – Communication’s assistant

www.parisfilmfest.fr

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One Response to “The Paris Film Festival Launches”

  1. Messieurs,

    Je Vous demande avec bien vouloire de m’ecrire l’adress electronique Monsieur Mathias Dulac, ou demande Lui á envoyer une reponse.
    Notre conessaince est datée du Budapest á Hongrie.

    Merci en avant
    Peter Zadori
    architect

Quote Unquotesee all »

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