By MCN Editor editor@moviecitynews.com

Internationally renown film consultants Sydney Levine and Peter Belsito to headline seminars at La Jolla Fashion Film Festival – world’s largest gathering of fashion film professionals

Posted Tuesday, May 8th, 2012 - Comments Off on Internationally renown film consultants Sydney Levine and Peter Belsito to headline seminars at La Jolla Fashion Film Festival – world’s largest gathering of fashion film professionals
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Fashion’s freshest event attracts worldwide attention and top professionals

Monday, May 7, 2012 – This July 26-28, 2012 will see the world’s top fashion film professionals come together for 3 days of screenings, after parties, press receptions, seminars & panels, and networking events. This elite group of filmmakers will now be joined by two of Hollywood’s insiders, Sydney Levine and Peter Belsito.

Sydney and Peter spend most of their time speaking and lecturing on the international film festival circuit. Some of their friends and endorsers are: Jérôme Paillard, Directeur Délégué, Cannes Marché du Film; Rajendra Roy, Head of Museum of Modern Art NYC / MOMA Film Program; Bob Berney formerly of Picturehouse; Trevor Groth, Senior Programmer, Sundance Film Festival; Paul Federbush (formerly of Warner Bros) now head of Red Flag Releasing with former Warners Independent publicist Laura Kim; Richard Lorber of Kino Lorber Films;  David Skinner and Tom Gorai of Shadowcatcher Entertainment; Wieland Speck, Senior Programmer of Berlinale; and Wendy Lidell, Founder and President of International Film Circuit.

Todd McCarthy, Senior Film Critic of The Hollywood Reporter says: “Sydney Levine and Peter Belsito have been on the front lines of the American independent film scene before the Sundance Film Festival and any of the current indie companies even existed, and they continue to know what’s going on before anyone else does. The web they cast is wide, their contacts are unparalleled, their stature enormous, their services indispensable.”

Peter and Sydney will be presenting at the La Jolla Fashion Film Festival on one of the most important skills for any director or producer: Pitching as a Business Skill. Film creation is more collaborative than ever, and the ability to successfully convey your ideas to a supporting or sponsoring party is absolutely essential for a director’s success. Filmmakers at all levels of achievement will learn crucial new skills in this important seminar.

A Q&A following the seminar will allow participants to additionally personalize their experience

La Jolla Fashion Film Festival
www.LJFFF.com

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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