By Ray Pride Pride@moviecitynews.com

2012 Traverse City Film Festival Announces Awards

Traverse City, MI — The Traverse City Film Festival this evening announced the Jury and special awards of the 2012 festival at the Filmmaker Party, hosted by Michael Moore.

“Each year the Traverse City Film Festival brings some of the world’s greatest films and filmmakers to join our audiences in a six-day celebration of cinema, and this year was bigger and better than ever,” said TCFF Founder and President Michael Moore. “Our awards decisions this year were incredibly difficult given the level of talent across the board from filmmakers who have shared their works with us — I commend our juries for selecting some of the bravest films we showed this year.”

The 2012 Traverse City Film Festival Awards presented this evening were:

Founders Prize

Best Picture

“5 Broken Cameras” | Emad Burnat and Guy Davidi

Founders Prize

The Kubrick Prize

“The Story of Film: An Odyssey” | Mark Cousins

Special Founders Prize

“Margaret” | Kenneth Lonergan

Best Foreign Film

“The World Before Her” | Nisha Pahuja

Special Jury Prize – Foreign Film

“The Flat” | Arnon Goldfinger

Best American Film

“Bidder 70” | Beth and George Gage

Special Jury Prize – American Film

“Detropia” | Heidi Ewing and Rachel Grady

Best Film by a First Time Director

“Sexy Baby” | Jill Bauer and Ronna Gradus

Special Jury Prize – First Time Director

“Missed Connections” | Eric Kissack

Best Short Film

“43,000 Feet” | Campbell Hooper

Special Jury Prize – Short Film

“Asad” | Bryan Buckley

The Audience Awards of the 2012 Traverse City Film Festival will be announced at the Closing Night Film on Sunday, August 5.

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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