By Ray Pride




(Los Angeles, April 18, 2013)— The American Pavilion today announced details of it’s redesign timed to it’s 25th Anniversary. With the addition of THE PENINSULA HOTEL GROUP as a presenting sponsor, AMPAV founder Julie Sisk is proud to announce a completely new look for The Pavilion for Cannes 2013. In a first for AMPAV, the location will incorporate sophisticated design elements of THE PENINSULA properties, timed to the forthcoming opening of a historic new property in Paris.

The redesign work is being done by Glow Studios in conjunction with The American Pavilion.

The new look of The American Pavilion will be Cabana-esque, in a seaside pallet of blues, seafoam greens, dashed with exciting highlight colors. The Pavilion redesign includes an opened up/ expanded inside dining area, and comfortable sofas and armchairs available for the weary Cannes film professional. Outside on the terrace teak tables and chairs will heighten the Cabana feel, with even more rest areas dotted around the sun shaded beachside Eden.

Robert Cheng, Vice President, Marketing of The Peninsula Hotels commented “With our long heritage as one of the world’s oldest luxury hospitality groups, The Peninsula Hotels has been creating memorable moments for our guests since 1866. The combination of the glamour and style of our hotels (including our newest hotel in Paris, premiering soon), the movie world and the Festival means that this partnership with The American Pavilion is the ideal platform to take our brand to different audiences across the globe.”


Glow is a Los Angeles based design consultancy that specializes in developing prominent brand presences through exhibitions, interiors, and events. From the first spark of an idea to the final flick of the switch, we craft compelling environments that fuse a relationship between our clients and their audience.

Glow fosters a free-thinking culture that yields ongoing relationships with happy clients, many of them having worked closely with us for as long as fifteen years. We stand for projects that offer the opportunity to push our team beyond what’s familiar and comfortable, resulting in innovative and exciting work. And that work in turn stands for the kind of cutting-edge experiential design that transforms brands into destinations that inspire return. Again and again.

For more information please go to: 


Celebrating our 25th year as the center of American hospitality for the film industry in Cannes, The Pavilion brings professionals and emerging filmmakers together.

The American Pavilion is the center of activity at the Cannes International Film Festival for the American film community, offering membership for professionals, provocative and insightful programming, immersive student programs, the Emerging Filmmaker Showcase and more.

Serving as a communication and hospitality center for the thousands of Americans in Cannes during the Cannes Film Festival, The American Pavilion provides an impressive array of facilities and services to the international film community. Since its debut at the 1989 Cannes Film Festival, The Pavilion has become a permanent fixture on the Cannes landscape.

For the corporate sponsors of The American Pavilion, the dozens of exhibitors and office holders, and the thousands of American participants, The American Pavilion accommodates the need for information, orientation and recreation. For the duration of the Festival, The American Pavilion provides both a dynamic business environment and an opportunity to relax in comfortable surroundings.

Just a few steps from the Palais des Festivals, where all the major Festival films are premiered, and with a panoramic view of the Bay of Cannes, The American Pavilion is the perfect place to transact business, share ideas and effectively reach the thousands of affluent international business travelers who attend the Festival every year.

For more information, visit

Parent company of The Peninsula Hotels 

Incorporated in 1866 and listed on The Stock Exchange of Hong Kong (00045), HSH is the holding company of a Group which is engaged in the ownership, development and management of prestigious hotel, commercial and residential properties in key locations in Asia, the United States and Europe, as well as the provision of transport, club management and other services. The hotel portfolio of the Group comprises The Peninsula Hotels in Hong Kong, Shanghai, Beijing, New York, Chicago, Beverly Hills, Tokyo, Bangkok, Manila and Paris (under construction). The property portfolio of the Group includes The Repulse Bay Complex, The Peak Tower and The Peak Tramways, St. John’s Building, The Landmark in Ho Chi Minh City, Vietnam and the Thai Country Club in Bangkok, Thailand.

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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