By MCN Editor editor@moviecitynews.com

FILM SOCIETY OF LINCOLN CENTER ANNOUNCES CATHERINE DENEUVE AS RECIPIENT OF THE 39TH ANNUAL CHAPLIN AWARD

Posted Wednesday, January 11th, 2012 - Comments Off on FILM SOCIETY OF LINCOLN CENTER ANNOUNCES CATHERINE DENEUVE AS RECIPIENT OF THE 39TH ANNUAL CHAPLIN AWARD
Be Sociable, Share!

AWARD WILL BE PRESENTED APRIL 2

New York, NY (January 11, 2012) —The Film Society of Lincoln Center has announced that Academy Award-nominee Catherine Deneuve will be honored at the 39th Annual Chaplin Award Gala held in Alice Tully Hall on the evening of Monday, April 2, 2012. The event will be attended by a host of notable guests and celebrities honoring the international film legend’s groundbreaking career and will feature film and interview clips culminating in the presentation of The Chaplin Award.

“The Board is very excited to have Catherine Deneuve as the next recipient of The Chaplin Award,” said Ann Tenenbaum, The Film Society of Lincoln Center’s Board Chairman. “She is not simply one of the screen’s greatest and most iconic beauties and muse to some of international cinemas most notable auteurs, but has delivered rich and complex characters that continue to live with us for five decades now. It will be an honor to showcase her amazing body of work.”

The Film Society’s Annual Gala began in 1972 and honored Charles Chaplin – who returned to the US from exile to accept the commendation. Since then, the award has been renamed for Chaplin, and has honored many of the film industry’s most notable talents, including Alfred Hitchcock, Billy Wilder, Laurence Olivier, Federico Fellini, Elizabeth Taylor, Bette Davis, James Stewart, Robert Altman, Martin Scorsese, Diane Keaton, Meryl Streep, Tom Hanks, Michael Douglas and most recently, Sidney Poitier.

“It will be an honor to have Catherine Deneuve join our list of past honorees. It will be a joy to create an evening of style and grace befitting such an iconic screen presence,” said FSLC Executive Director Rose Kuo.

Born to parents who were French actors, Deneuve’s acting career has spanned five decades beginning with THE DOOR SLAMS (Les Portes Claquet) (1960) and followed by her acclaimed performance in Jacques Demy’s romantic classic THE UMBRELLAS OF CHERBOURG (1964).

During the 1960s and ’70s, Deneuve became an unforgettable presence in films such as Roman Polanski’s REPULSION (1965), Demy’s and Agnes Vardas’ THE YOUNG GIRLS OF ROCHEFORT (1967), Terence Young’s MAYERLING (1968), François Truffaut’s MISSISSIPPI MERMAID (La Siréne du Mississippi) (1969), Stuart Rosenberg’s THE APRIL FOOLS (1969), and Luis Bunuel’s BELLE DE JOUR (1967) and TRISTANA (1970).

Other notable films leading into the 80’s were Demy’s DONKEY SKIN (Peau d’âne) (1970), Jean-Pierre Melville’s DIRTY MONEY (Un Flic) (1971), Robert Aldrich’s HUSTLE (1975), Claude Berri’s I LOVE YOU ALL (Je vous aime) (1980), Truffaut’s THE LAST METRO (Le Dernier Métro) (1980) – for which she won the César Award for Best Actress, and Tony Scott’s THE HUNGER (1983).

Deneuve received an Academy Award nomination for Best Actress (and won her second César Award) for her role in INDOCHINE (1992). 1995’s THE CONVENT (O convento) for acclaimed Portuguese filmmaker Manoel de Oliveira followed. Lars von Trier’s DANCER IN THE DARK (2000) was another high point among her recent films, as well as her work in François Ozon’s 8 WOMEN (8 Femmes) (2002), de Oliveira’s I’M GOING HOME (Je rentre la maison) (2001), A TALKING PICTURE (Une Filme falado) (2003) Vincent paronnaud’s and Marjane Satrapi’s PERSEPOLIS (2008) and Arnaud Despléchin’s A CHRISTMAS TALE (2008). Most recently, she reteamed with Ozon to star in the comedy POTICHE (2010).

Denueve has a son, Christian Vadim (with the director, Roger Vadim) and a daughter, Chiara Mastroianni (with actor Marcello Mastroianni).

For ticketing and additional information, contact 212.875.5685 or galarsvp@filmlinc.com.

Film Society of Lincoln Center

Under the leadership of Rose Kuo, Executive Director, and Richard Peña, Program Director, the Film Society of Lincoln Center offers the best in international, classic and cutting-edge independent cinema. The Film Society presents two film festivals that attract global attention: the New York Film Festival, currently planning its 50th edition, and New Directors/New Films which, since its founding in 1972, has been produced in collaboration with MoMA. The Film Society also publishes the award-winning Film Comment Magazine, and for over three decades has given an annual award—now named “The Chaplin Award”—to a major figure in world cinema. Past recipients of this award include Charlie Chaplin, Alfred Hitchcock, Martin Scorsese, Meryl Streep, and Tom Hanks. The Film Society presents a year-round calendar of programming, panels, lectures, educational programs and specialty film releases at its Walter Reade Theater and the new state-of-the-art Elinor Bunin Munroe Film Center.

The Film Society receives generous, year-round support from Royal Bank of Canada, 42BELOW, American Airlines, The New York Times, Stella Artois, the National Endowment for the Arts, WNET New York Public Media, the National Endowment for the Arts and New York State Council on the Arts. For more information, visit www.filmlinc.com.

# # #

Be Sociable, Share!

Posted in Movie City News, Press Releases | Comments Off on FILM SOCIETY OF LINCOLN CENTER ANNOUNCES CATHERINE DENEUVE AS RECIPIENT OF THE 39TH ANNUAL CHAPLIN AWARD

Comments are closed.

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