By Ray Pride Pride@moviecitynews.com

30TH ANNIVERSARY RESTORATION OF THE KING OF COMEDY TO CLOSE 2013 TRIBECA FILM FESTIVAL ON APRIL 27

Posted Friday, March 29th, 2013 - Comments Off on 30TH ANNIVERSARY RESTORATION OF THE KING OF COMEDY TO CLOSE 2013 TRIBECA FILM FESTIVAL ON APRIL 27
Be Sociable, Share!

FOR IMMEDIATE RELEASE

New York, NY – March 28, 2013 – The Tribeca Film Festival (TFF), presented by American Express, announced today that the 30th Anniversary of Martin Scorsese’s The King of Comedy, restored in association with The Film Foundation, Regency Enterprises and Twentieth Century Fox, will close its 12th edition on Saturday, April 27. Closing night will take place at BMCC Tribeca PAC. Tickets will be available to the public via tribecafilm.com

The King of Comedy – directed by Martin Scorsese, written by Paul D. Zimmerman, produced by Arnon Milchan, and starring Robert De Niro, Jerry Lewis, Diahnne Abbott and Sandra Bernhard –was originally released in 1983. Lauded as “shockingly prescient” by Moviefone, the film is recognized for its groundbreaking foresight into reality-TV culture and lack of distinction between renown and notoriety. It also holds up as the finest dramatic work of Lewis’ career, one of Martin Scorsese’s most underrated movies and a darkly funny film that features Robert De Niro playing the scary and fascinating character, Rupert Pupkin.

The King of Comedy is being restored digitally in 4K from the original camera negatives at Sony Colorworks; John Polito at Audio Mechanics is digitally restoring the soundtrack.

“Twelve years ago when we announced the first Festival, it was Marty’s idea for us to feature Restored and Rediscovered films. This year we are proud to close our 12th Festival with a restoration of his The King of Comedy,” said Jane Rosenthal, co-founder, Tribeca Film Festival. “The King of Comedy was so ahead of its time; it seems more relevant today than it was 30 years ago. We are so grateful to Jim Gianopulos and Regency for helping to restore such an iconic film and ensuring it remains a part of our cultural heritage.”

In this unforgettable film, a funny thing happens to talk show host Jerry Langford (Lewis) on his way to the studio. Kidnapped by stand-up comedian Rupert Pupkin (De Niro) and his wacky sidekick (Bernhard), Langford is forced to give Pupkin a shot at the big time by allowing the struggling comic to perform his routine on Langford’s show. What unfolds is an incredibly funny and poignant story about the darker side of comedy.

“I was a big fan of the script and was very excited to do it with Marty and happy that we finally made it. The fact that it’s been restored (hard to believe so many years have passed) is even all the better, and I can’t wait to see it on our closing night,” said Robert De Niro, co-founder, Tribeca Film Festival.

Scorsese said, “I’ve always been partial to comedians – the irreverence, the absurdity, the hostility, all the feelings under the surface – and to the old world of late night variety shows hosted by Steve Allen and Jack Paar and, of course, Johnny Carson, to the familiarity and the camaraderie between the guests. You had the feeling that they were there with you, in your living room. Robert De Niro and I were both drawn to Paul Zimmerman’s script for The King of Comedy, which really captured the show business atmosphere and the desperate attachments that some of the people on the other side of the screen could form, the ones that in certain cases turned dangerous.

“Making the picture was quite an experience. We had Sandra Bernhard in her debut. We had New York in summer. We had the beautiful Diahnne Abbott. We had all those wonderful guest stars like Tony Randall and Victor Borge and Ed Herlihy and Dr. Joyce Brothers, and the people who were really in the business, like Freddy De Cordova and Ed Scherick. We had my mother, and my father, and my daughter Cathy. We even had The Clash in a couple of shots, in the role of ‘street trash.’ And, we had a living legend, the great Jerry Lewis.

“I’m so happy that after all this time, The King of Comedy is finally getting a restoration, from our wonderful friends at Fox.”

About The Film Foundation

Created in 1990 by Martin Scorsese, The Film Foundation (film-foundation.org), is dedicated to protecting and preserving motion picture history. By working in partnership with the leading archives and studios, the foundation raises awareness of the urgent need for preservation and has saved over 600 films. In addition to the preservation, restoration, and presentation of classic cinema, the foundation teaches young people about film language and history through The Story of Movies, the organization’s groundbreaking educational curriculum that is used by over 100,000 educators nationwide. Joining Scorsese on the board of directors are Woody Allen, Paul Thomas Anderson, Wes Anderson, Francis Ford Coppola, Clint Eastwood, Curtis Hanson, Peter Jackson, Ang Lee, George Lucas, Alexander Payne, Robert Redford, and Steven Spielberg. The Film Foundation is aligned with the Directors Guild of America.

About the Tribeca Film Festival:

The Tribeca Film Festival helps filmmakers reach the broadest possible audience, enabling the international film community and general public to experience the power of cinema and promote New York City as a major filmmaking center. It is well known for being a diverse international film festival that supports emerging and established directors.

Founded by Robert De Niro, Jane Rosenthal and Craig Hatkoff in 2001 following the attacks on the World Trade Center, to spur the economic and cultural revitalization of the lower Manhattan district through an annual celebration of film, music and culture, the Festival brings the industry and community together around storytelling.

The Tribeca Film Festival has screened more than 1,400 films from more than 80 countries since its first edition in 2002. Since inception, it has attracted an international audience of more than 4 million attendees and has generated an estimated $750 million in economic activity for New York City.

 

Be Sociable, Share!

Posted in Movie City News, Press Releases | Comments Off on 30TH ANNIVERSARY RESTORATION OF THE KING OF COMEDY TO CLOSE 2013 TRIBECA FILM FESTIVAL ON APRIL 27

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