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JOE CARNAHAN TO RECEIVE 2012 HOLLYSHORTS VISIONARY AWARD

Posted Monday, July 16th, 2012 - Comments Off on JOE CARNAHAN TO RECEIVE 2012 HOLLYSHORTS VISIONARY AWARD
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PRESENTED BY DELUXE AND WILL PRESENT THE WORLD PREMIERE ZACHARY GUERRA’S NEW SHORT FILM THE DEVIL’S DOSH

 Jason Bergh and Sal Masakela’s Tribeca Film Fest short doc Alekesam Set for West Coast Premiere, Nathaniel Krause’s short Double or Nothing written by Neil LaBute starring Adam Brody, Louisa Krause and Keith David Set For LA Premiere at HollyShorts

Extra TV’s Ben Lyons and EPIX’s Carly Steel Set To Host Opening Night Festivities

Over 320 Short Form Content Projects Accepted in Competition To screen at Grauman’s Chinese Theatres August 9-16, 2012

Hollywood, July 16, 2012—On the heels of announcing that Zachary Quinto and his Before the Door Pictures banner (Margin Call) will be opening the 8th annual HollyShorts Film Festival (www.hollyshorts.com) with the premiere of the PERIODS. comedy film series, the festival’s organizers announced today that Joe Carnahan (The Grey, The A-Team, Smoking Aces) will be the recipient of the 2012 HollyShorts Visionary Award Presented by Deluxe during the HollyShorts opening night celebration taking place on Thursday August 9 at Grauman’s Chinese Theatre in Hollywood. Along with accepting the award, Carnahan will introduce the world premiere of Zachary Guerra’s new short film The Devil’s Dosh, which he executive produced. Past HollyShorts Visionary award recipients have included Paul Haggis, Eli Roth and Neil LaBute. The 8th annual HollyShorts opening night celebration will be hosted by Extra’s Ben Lyons and EPIX’s Carly Steel. The festival runs August 9-16, 2012 at Grauman’s Chinese Theatres in Hollywood.

HollyShorts is also announcing that Jason Bergh and Sal Masakela’s short documentary Alekesam which premiered at the Tribeca Film Festival will also have its West Coast premiere at HollyShorts alongside Nathaniel Krause’s Double or Nothing written by Neil LaBute which stars Adam Brody, Louisa Krause and Keith David which will have its LA premiere on opening night. Advance tickets for the entire festival go live today and can be purchased by visiting Eventbrite.com (hollyshortsfilmfestival.eventbrite.com) or www.hollyshorts.com.

The festival is also unveiling today its official in-competition lineup, over 300 short films have been accepted to screen at this year’s festival.  The preliminary schedule and accepted shorts can be viewed by visiting www.hollyshorts.com in the blog section. Additional accepted titles and full schedule will be announced in the coming days this week. Pooled from over 1,000 submissions, this year’s HollyShorts Film Festival will feature a slew of home grown content shot and produced in Los Angeles as well as a number of short films produced and shot internationally with projects representing Australia, Austria, Canada, France, Macedonia, Italy, Spain, Denmark, South Africa, Poland, Germany, The Netherlands, Norway, Estonia, South Korea, New Zealand, Israel, the UK and Egypt.  Filmmakers from these regions will be making the trip to Hollywood to meet with agents, managers, studios, networks and other fellow content creators to advance their careers.

 

  • The Devil’s Dosh is a short film written and directed by Zachary Guerra. Joe Carnahan is Executive Producer and Brian O’Hare is Producer.

 

  • Alekesam is a short documentary film from UXE Films Directed by Jason Bergh starring Selema “Sal” Masekela, Hugh Masekela, Stewart Levine, Sunny Levine, Zach Cowie and Jessie Lapierre. The film was produced by Michael Rapaport, Cole Angenendt and Jason Bergh.
  • Double or Nothing is a short film Directed by Nathaniel Krause, Written by Neil LaBute and Produced by Andrew Carlberg and Josiah Bultema and stars Adam Brody, Louisa Krause and Keith David.

 As previously announced, Zachary Quinto, and his Before The Door Pictures will open the 8th Annual HollyShorts Film Festival (HSFF) with a special theatrical world premiere of PERIODS. (www.periodsfilms.com), an improvised comedy film series created by NY-based producers Victor Quinaz, Anna Martemucci and their ensemble crew of filmmakers.

The brainchild of founders Theo Dumont and Daniel Sol, HSFF will feature a marquee opening night celebration. The weeklong event takes placue August 9-16, 2012 at Grauman’s Chinese Theatre and will feature short film screenings from around the world, industry panels, and a whirlwind of exclusive receptions and parties. Twice named by MovieMaker Magazine as one of “25 Festivals Worth the Entry Fee,” HSFF is devoted to helping advance the careers of filmmakers by providing exposure through top-notch screenings and networking events during the highly anticipated week-long festival each August. The Festival presents over $100,000 USD in prizes to winners, with Company 3 sponsoring awards of $10,000 in post-production and finishing services to both the Best Overall Short Film and Best Director award-winners, and $5,000 in post-production services to the Best Commercial and Best Music Video winners. Other top prizes include a $5,000 camera rental package courtesy of Martini Crew Booking for the Best Student award-winner, and $12,000 in services from Greenhouse Studios. Other HSFF sponsors include Deluxe, Method Studios, Showbiz Software, Festival Genius, IndiePix, Final Draft, Adobe, Film LA, Shorts HD, Film Courage, Film Festivals APP, SLS Hotel, Constellation, WebTV Workshop, Eurochannel, Yelp, Fun Little Movies, FEARnet, StarNow, Fangoria, Script Pipeline, PopChips, LightSpeed EPS, Moviola, Law Offices of Paul Battista, and Noci Cortinfestival.

About HollyShorts

HollyShorts Film Festival is an annual short film festival showcasing the best and brightest short films from aroundthe globe. HollyShorts is devoted to the advancement filmmakers through screenings, Q&A sessions and networking events. The HollyShorts Film festival showcases the top short films produced 30- minutes or less. For more information please visit www.hollyshorts.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