By Ray Pride Pride@moviecitynews.com

2012 AUSTIN FILM FESTIVAL LINEUP ANNOUNCED

 DAVID CHASE TO PRESENT NOT FADE AWAY AS OPENING NIGHT FILM

INCLUDING SILVER LININGS PLAYBOOKTHE SESSIONS,FLIGHTQUARTETTHE SAPPHIRESSHADOW DANCERA LATE QUARTETIT’S A DISASTERTHE FITZGERALD FAMILY CHRISTMAS, AND FREE SAMPLES

AUSTIN, TX (Sept 19, 2012) ­ The 19th annual Austin Film Festival (AFF) announced today this year’s full feature-length film lineup. This list excludes the Closing Night Film, which will be announced along with additional films and guests soon. AFF will take place Oct 18-25, 2012 in Austin, TX.

Included in the lineup of anticipated independent and big-budget Oscar®-bound productions is a list of over 60 titles, with many world and U.S. premieres spanning across genres from drama and documentary to horror and comedy.  This year’s films include David Chase’s Not Fade Away (Opening Night Film) with Chase in attendance; the previously announced Centerpiece Film Flight; the new film by David O. Russell Silver Linings Playbook, fresh off its Audience Award-winning premiere at the Toronto International Film Festival;The Sessions starring John Hawkes, Helen Hunt, and William H. Macy; Dustin Hoffman’s directorial debutQuartetThe SapphiresShadow Dancer starring Clive Owen; Edward Burns’ The Fitzgerald Family Christmas, with Burns in attendance, and the world premieres of Spinning PlatesTo Kill a Memory, The Rep, Ex-Girlfriends, and Mar Del Plata.

AFF will host more than 180 film screenings and includes a Conference lineup with over 100 panelists participating in 90 plus panels and roundtable discussions. You can find information on panelists and special events already announced at austinfilmfestival.com.

Below is a listing of AFF’s film lineup which includes Marquee Screenings; the new Guest Programmersseries, featuring films selected and presented by panelists and filmmakers like Paul Feig, Phil Rosenthal, and Chris Carter; Comedy VanguardDark MattersFamily FilmsPassport to Africa, comprised of four documentary stories about this endlessly fascinating continent; and Texas Independents, a showcase for Texas filmmakers.

AFF 2012 FILM LINEUP

 

MARQUEE SCREENINGS:

NOT FADE AWAY – David Chase (Writer/Director); David Chase in attendance

FLIGHT – John Gatins (Writer), Robert Zemeckis (Director)

SILVER LININGS PLAYBOOK – David O. Russell (Writer/Director); Julia Stiles in attendance

THE SESSIONS – Ben Lewin (Writer/Director)

QUARTET – Ronald Harwood (Writer), Dustin Hoffman (Director)

SHADOW DANCER – Tom Bradby (Writer), James Marsh (Director)

THE SAPPHIRES – Tony Briggs, Keith Thompson (Writers), Wayne Blair (Director)

A LATE QUARTET – Seth Grossman, Yaron Zilberman (Writers), Yaron Zilberman (Director)

IT’S A DISASTER – Todd Berger (Writer/Director); Julia Stiles and America Ferrera in attendance

THE FITZGERALD FAMILY CHRISTMAS – Edward Burns (Writer/Director), Edward Burns in attendance

FREE SAMPLES – Jim Beggarly (Writer), Jay Gammill (Director)

A.K.A. DOC POMUS – William Hechter, Peter Miller (Directors)

ANN RICHARDS’ TEXAS – Keith Patterson (Writer), Jack Lofton, Keith Patterson (Directors)

CONGRATULATIONS – Juan Cardarelli, Brian Dietzen, Eric M. Levy, Abby Miller (Writers), Juan Cardarelli, Eric M. Levy (Directors) – World Premiere

THE EYES OF THAILAND – Windy Borman, Tim O’Brien (Writers), Windy Borman (Director)

GLOW: THE STORY OF THE GORGEOUS LADIES OF WRESTLING – Bradford Thomason (Writer), Brett Whitcomb (Director)

I DO – David W. Ross (Writer), Glenn Gaylord (Director)

IDOL IS DEAD – Yukihiro Katô (Writer/Director) – World Premiere

THE KITCHEN – Jim Beggarly (Writer), Ishai Setton (Director)

LAST WILL. & TESTAMENT – Laura Wilson, Lisa Wilson (Directors) – US Premiere

ONLY THE YOUNG – Elizabeth Mims, Jason Tippet (Directors)

THE REP – Morgan White (Writer/Director) – World Premiere

SAMPLE THIS – Robert Burris, Dan Forrer (Writers), Dan Forrer (Director) – World Premiere

SPINNING PLATES – Joseph Levy (Writer/Director) – World Premiere

TO KILL A MEMORY – Dustin Rikert, William Shockley, Philip Tiboni (Writers), Dustin Rikert (Director) –World Premiere; star and musician Kix Brooks (of the country music duo Brooks and Dunn) in attendance

 

GUEST PROGRAMMERS

Chris Carter (2012 Outstanding Television Writer Awardee) presents… Murder by Decree; episodes from “The X-Files” and “Millennium”

Eric Roth (2012 Distinguished Screenwriter Awardee) presents… The Insider

Paul Feig presents… The Human Tornado

Phil Rosenthal presents… Broadway Danny Rose

 

COMEDY VANGUARD

BAD PARENTS – Caytha Jenkins (Writer/Director)

THE BITTER BUDDHA – Steven Feinartz (Director)

EX-GIRLFRIENDS – Alexander Poe (Writer/Director) – World Premiere; Jennifer Carpenter (“Dexter”) in attendance

THE EXQUISITE CORPSE PROJECT – Adam Conover, Chioke Nassor, Dave Segal, Joel Clark, Raphael Bob-Waksberg (Writers), Ben Popik (Director)

LAST MAN(S) ON EARTH – Aaron Hultgren (Writer/Director)

MISSED CONNECTIONS – Kenny Stevenson (Writer), Eric Kissack (Director)

THE MUSLIMS ARE COMING! – Negin Farsad, Dean Obeidallah (Directors)

PICTURES OF SUPERHEROES – Don Swaynos (Writer/Director)­ – World Premiere

 

DARK MATTERS

BONEBOYS – Kim Henkel (Writer), Duane Graves, Justin Meeks (Directors)

IT’S IN THE BLOOD – Scooter Downey, Sean Elliot (Writers), Scooter Downey (Director)

SATURDAY MORNING MASSACRE – Jory Balsimo, Aaron Leggett, Jason Wehling (Writers), Spencer Parsons (Director)

VAMPIRA AND ME – R.H. Greene (Director)

 

FAMILY FILMS

FLATLAND 2: SPHERELAND – Dano Johnson (Writer/Director)

MURT RAMIREZ WANTS TO KICK MY ASS – Dan Lee (Writer/Director) – World Premiere

R.L. STINE’S THE HAUNTING HOUR – Episodes presented by Billy Brown and Dan Angel (Writers/Producers)

 

PASSPORT TO AFRICA

THE FADE – Andy Mundy-Castle (Director)

FINDING MERCY – Robyn Paterson (Director)

PUNK IN AFRICA – Keith Jones, Deon Maas (Writers/Directors)

RISING FROM ASHES – T.C. Johnstone (Director)

 

TEXAS INDEPENDENTS

THE GIRL – David Riker (Writer/Director)

SATELLITE OF LOVE – Jonathan Case, Will Moore (Writers). Will Moore (Director)

SPRING EDDY – George Anson (Writer/Director) – World Premiere

 

NARRATIVE FEATURE COMPETITION

ALLEGIANCE – Michael Connors (Writer/Director)

COME MORNING – Derrick Sims (Writer/Director) – World Premiere

JUNCTION – Tony Glazer (Writer/Director)

JUNK – Kevin Hamedani, Ramon Isao (Writers), Kevin Hamedani (Director) – World Premiere

LAST STOP: SALVATION – Baris Pirhasan (Writer), Yusuf Pirhasan (Director)

LIARS FIRES AND BEARS – Jeremy Cloe (Writer), Jeremy Cloe, Lundon Boyd (Directors)

MAR DEL PLATA – Ionathan Klajman (Writer), Ionathan Klajman, Sebastian Dietsch (Directors) – World Premiere

SPARROWS DANCE – Noah Buschel (Writer/Director)

 

DOCUMENTARY FEATURE COMPETITION

ELEMENTAL – Emmanuel Vaughan-Lee (Director)

THE FOUR HORSEMEN – Ross Ashcroft (Director) – US Premiere

INFORMANT – Jamie Metzger (Director)

LAST DAY AT LAMBEAU – Michael Neelsen (Director)

THE MISSING PIECE: THE TRUTH ABOUT THE MAN WHO STOLE THE MONA LISA – Joe Medeiros (Director)

MR. CAO GOES TO WASHINGTON – S. Leo Chiang (Director)

PLIMPTON! STARRING GEORGE PLIMPTON AS HIMSELF – Thomas Bean (Director)

WHERE HAVE ALL THE MERMAIDS GONE? – Nathaniel Kramer (Director) – US Premiere

 

Cast and crew attendance is subject to change and based on permitting schedules.

 

The 19th annual Austin Film Festival & Conference will be held Oct 18-25, 2012 in Austin, TX. For more information on films, panels and awardees, visit www.austinfilmfestival.com or call 1-800-310-FEST (3378). Festival Badges and Film Passes are now on sale and can be purchased online or by phone. All Badges and Passes grant admission to films.

 

For regular updates, follow AFF on Facebook at facebook.com/AustinFilmFestival and Twitter @austinfilmfest.

 

ABOUT AUSTIN FILM FESTIVAL

Austin Film Festival (AFF) is a non-profit organization dedicated to furthering the art, craft and business of writers and filmmakers and recognizing their contributions to film, television and new media. AFF champions the work of aspiring and established writers and filmmakers by providing unique cultural events and services, enhancing public awareness and participation and encouraging dynamic and long-lasting community partnerships.

Special support is provided to Austin Film Festival by Stella Artois, Esurance, KVUE, City of Austin ­ Cultural Arts Division, Texas Commission of the Arts, and Shweiki Media.

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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.

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