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HOLLY HERRICK NAMED ASSOCIATE ARTISTIC DIRECTOR OF AUSTIN FILM SOCIETY

Posted Wednesday, May 9th, 2012 - Comments Off on HOLLY HERRICK NAMED ASSOCIATE ARTISTIC DIRECTOR OF AUSTIN FILM SOCIETY
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For Immediate Release
May 9, 2012

(Austin, TX)—The Austin Film Society is pleased to announce that Holly Herrick will join the organization as its Associate Artistic Director effective June 15, 2012.

“Our search committee saw in Holly a next-generation leader who embraces the role of film in inclusive community dialogue, advocates for programs that bring economic opportunity to artists, and respects the century-plus history of a great art form,” saidRebecca Campbell, AFS Executive Director.

“Holly stood out among many qualified candidates for her passion for our mission balanced by her understanding of what it takes to work toward a collective vision while juggling the details of creative programs,” added Campbell.

Herrick most recently served as Programming Deputy Director at the Hamptons International Film Festival, where in addition to film programming, she oversaw many of the Festival’s signature programs and special initiatives. Her background includes festival and community programming (Hamptons International Film Festival, the Sarasota Film Festival and the Newport International Film Festival), writing (IFP: Resources and Hammer to Nail) and independent film production (Associate Producer, Septien, 2011, IFC Films).

“For years, I have followed the work of AFS with great admiration for its dedication to the art of cinema and its smartly conceived programs that service the needs of working artists,” said Herrick. “It’s a dream come true for me to work in the service of an organization with a rich history serving filmmakers and promoting film appreciation.”

The Associate Artistic Director is a new position at AFS, representing a consolidated Programs Department encompassing both Artist Services and Exhibition. Herrick succeeds Bryan Poyser, who left AFS in March to pursue full-time filmmaking and teaching, and is currently in production on his new feature The Bounceback.

AFS thanks its search committee including Richard Linklater (filmmaker and AFS Artistic Director), Vikki Loving (InterSource Recruiting), Janet Pierson (SXSW Film Festival) and Chale Nafus (AFS Co-Founder and Director of Programming), Deputy DirectorSarah Ann Mockbee managed the search.

Austin Film Society promotes the appreciation of film and supports creative media production by screening rarely seen films, giving grants and other support to emerging filmmakers, and providing access and education about film to youth and the public. Through Austin Studios, which AFS opened in 2000 in partnership with the City of Austin, AFS helps attract film development and production to Austin and Texas. Gala film premieres and the annual Texas Film Hall of Fame Awards raise funds as well as awareness of the impact of film on economy and community. Austin Film Society is ranked among the top film centers in the country and recognized by the National Endowment for the Arts and Directors Guild of America. For more information on Austin Film Society, visit www.austinfilm.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