By Ray Pride


 New York, NY (October 22, 2012) – The Independent Filmmaker Project (IFP), the nation’s oldest and largest organization for independent filmmakers, announced today a new partnership with DUMBO, Brooklyn’s reRun Theater, which has been called “one of eight nationwide theaters redefining the moviegoing experience” (Entertainment Weekly).

IFP, in partnership with the editorial staff of its in-house publication Filmmaker Magazine, will program and mentor feature films to play at the reRun, allowing for filmmakers in the process of self-distribution to garner theatrical runs in New York City. The first three titles to receive week runs as part of this deal will be Jacob Krupnick’s Girl Walk // All Day, Sara Blecher’s Otelo Burning, and Susan Youssef’s Habibi.

“In the reRun Theater, IFP has found a partner equally dedicated to our core belief in nurturing diverse voices on the independent scene,” said IFP Executive Director Joana Vicente. “In today’s climate, there are more ways than ever for filmmakers to get their work out into the world. But it’s the reRun’s emphasis on the communal moviegoing experience, and their drive to open New York City’s highly competitive theatrical market to a new community of artists and storytellers, that sets the theater apart.”

Filmmakers will be able to submit their films for consideration via an online form set to launch on later this month. Alumni of IFP’s core programs are strongly encouraged to apply, as are films that have been covered by Filmmaker Magazine.

All selected films will be provided with marketing and distribution support, as well as a portion of the theater’s weekly ticket sales. IFP will assist with press outreach, and Filmmaker Magazine will cover each film preceding release.

“Our mission is to celebrate daring, vibrant works,” said Vicente. “Our first three weeks of theatrical premieres represent a dedication to this ideal, and we couldn’t be more excited to work with these emerging young talents.”

Opening November 2, Jacob Krupnick’s Girl Walk // All Day is a feature-length dance music video set to the latest album by mash-up artist Girl Talk. The film, which played at SXSW this past March, follows three dancers on a journey across New York City, as they turn the city’s sidewalks, parks, and architecture into an evolving stage.

Opening November 16-22, Susan Youssef’s Habibi follows two students in the West Bank who are forced to return home to Gaza, where their forbidden love defies tradition. An alumnus of IFP’s Narrative Filmmaker Labs, the film was also an official selection of the Toronto International Film Festival, the Venice International Film Festival, and the Human Rights Watch Film Festival.


Otelo Burning will now be opening on 9-15Habibi will be opening on the

November 9-15, for a week of “Buzz Screenings,” Otelo Burning tells the story of a group of South African township kids in 1989 who discover the joy of surfing against the backdrop of brewing political conflict. An alumnus of IFP’s Narrative Filmmaker Labs, the film had its US premiere at this year’s Seattle Film Festival and is being released by The Turner Group.

Further details, as well as tickets to all screenings, will be available via the reRun Theater website at To celebrate their new partnership, IFP and reRun will also throw a kickoff party on October 30 at 6PM at the theater (147 Front St) that is open to the public.

About reRun Theater

The reRun Theater, located at 147 Front St. in Dumbo, Brooklyn, provides a fully immersive theatrical and social experience, featuring an all-digital 1080p HD projector, a JBL 7.1 surround pro-audio sound system, a fully-stocked bar, and a gourmet snack menu. Open for operation since 2010, the theater has been named one of “eight nationwide theaters redefining the moviegoing experience” (Entertainment Weekly), a “DIY trailblazer” (Time Out New York), and one of “The World’s Coolest Movie Theaters,” (Travel and Leisure).

For more information, visit

About IFP

The Independent Filmmaker Project (IFP) is one of the nation’s oldest and largest not-for-profit advocacy organizations for independent filmmakers. Since its debut at the 1979 New York Film Festival, IFP has supported the production of over 7,000 films and offered resources to more than 20,000 filmmakers, providing an opportunity for many diverse voices to be heard. IFP believes that independent films enrich the universal language of cinema, seeding the global culture with new ideas, kindling awareness, and fostering activism. The organization has championed early work by pioneering, independent filmmakers, including Charles Burnett, Edward Burns, Jim Jarmusch, Barbara Kopple, Michael Moore, Mira Nair and Kevin Smith.

IFP represents a network of 10,000 filmmakers in New York City and around the world. Through its workshops, seminars, conferences, mentorships and Filmmaker Magazine, IFP schools its members in the art, technology and business of independent filmmaking. The year-round program includes an Independent Film Week, The Gotham Awards, Filmmaking Labs and Seminars, and a range of programs to promote racial, ethnic, religious, ideological, gender and sexual diversity. IFP, often in collaboration with other cultural institutions, builds audiences by hosting premieres and special screenings. The IFP fosters the development of 300 feature and documentary films each year. Recently, the organization licensed the popular Festival Genius software platform through which IFP now reaches over 200,000 film fans worldwide.

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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