By Ray Pride Pride@moviecitynews.com

Cannes Sets 2013 Directors Fortnight

The 2013 Selection

>>> FEATURE FILMS
* Film competiting for the « Caméra d’Or » Prize

A Strange Course of Events by Raphaël Nadjari
World premiere

Les Apaches* by Thierry de Peretti
World premiere

Ate ver a luz* by Basil Da Cunha
World premiere

Blue Ruin by Jeremy Saulnier
World premiere

The Congress by Ari Folman

La danza de la realidad by Alejandro Jodorowsky
World premiere

L’Escale* by Kaveh Bakhtiari
World premiere

La Fille du 14 Juillet*  by Antonin Peretjatko
World premiere

Henri by Yolande Moreau
World premiere

Ilo Ilo* by Anthony Chen
World premiere

Jodorowsky’s Dune* by Frank Pavich
World premiere

Last Days on Mars* by Ruairi Robinson
World premiere

Les Garçons et Guillaume, à table !*  by Guillaume Gallienne
World premiere

Magic Magic by Sebastian Silva
International premiere

On the Job by Erik Matti
World premiere

The Selfish Giant by Clio Barnard
World premiere

Tip Top by Serge Bozon
World premiere

Ugly by Anurag Kashyap
World premiere

Un voyageur by Marcel Ophüls
World premiere

El verano de los peces voladores by Marcela Said
World premiere

We Are What We Are by Jim Mickle
International premiere
>>>  SHORT FILMS

Gambozinos by João Nicolau
World premiere

Lágy Eső by Dénes Nagy
World premiere

LE QUEPA SUR LA VILNI ! by Yann Le Quellec
World premiere

Man kann nicht alles auf einmal tun, aber man kann alles auf einmal lassenby Marie-Elsa Sgualdo
Première internationale

O umbra de nor by Radu Jude
World premiere

Pouco mais de um mês by André Novais Oliveira
International premiere

Que je tombe tout le temps by Eduardo Williams
World premiere

Solecito by Oscar Ruiz Navia
World premiere

Swimmer by Lynne Ramsay
International premiere

Be Sociable, Share!

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