By MCN Editor editor@moviecitynews.com

On The Closing Of Brooklyn’s Indie reRun Theater

Posted Wednesday, June 13th, 2012 - Comments Off on On The Closing Of Brooklyn’s Indie reRun Theater
Be Sociable, Share!

Dear friends and colleagues:

It is with some reluctance that I announce today that I’m stepping down as curator of the reRun Gastropub Theater. Although my time with reRun has been exciting and fruitful, on the whole, there have been creative differences internally that now make it too difficult for me to contribute sufficiently to the role. I will continue with my hosting duties for this Friday’s premiere of Nacho Vigalondo’s EXTRATERRESTRIAL, as well as the June 22 premiere of Nathan Adloff’s NATE & MARGARET, before exiting at the end of this month.

However, the split is amicable, and I am incredibly thankful for the opportunity that reBar/reRun owner Jason Stevens offered by hiring me two years ago. Since the summer of 2010, Jason and I have built something that New York City was sorely lacking: a theatrical venue where acclaimed independent films from the festival circuit, underseen and mostly undistributed, could flourish. Being able to garner reviews and other press for these undervalued features regularly breathed new life into them, and gave filmgoers the chance to actually see them in a fun environment… with a cocktail in one hand, a bag of bacon-fat popcorn in the other.

According to Jason, reRun will be temporarily shut down following the NATE & MARGARET theatrical run so that he may revamp the space for whatever its next incarnation will be.

Following my departure at reRun, I will continue to work as editor of GreenCine Daily and as a freelance critic/journalist for various outlets. The timing of this decision is uncanny, but coincidental: on June 1, my wife Jennifer and I took over a Cobble Hill video store called Video Free Brooklyn, which I had originally hoped would be a natural, cross-pollinating extension of the movie theater. While we work to renovate our new business for the neighborhood community, I will be pursuing curatorial prospects elsewhere. Hopefully, this won’t be my only chance to make a difference in the realm of film exhibition.

Sincerely,

Aaron Hillis

Be Sociable, Share!

Posted in Movie City News, Press Releases | Comments Off on On The Closing Of Brooklyn’s Indie reRun Theater

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