By Ray Pride Pride@moviecitynews.com

TIME LAUNCHES RED BORDER FILMS

Posted Monday, August 12th, 2013 - 1 Comment »
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New Documentary Film Unit on Time.com Premieres With “One Dream,” Marking the 50th Anniversary of Martin Luther King Jr.’s Iconic Speech

NEW YORK (August 12, 2013) — Today, TIME launched Red Border Films, a new documentary film unit to be hosted on an interactive digital site on Time.com. Red Border Films will feature deeply reported original films by award-winning filmmakers, TIME journalists and photojournalists and will produce at least one short documentary per month and two expanded projects a year. These cinematic films will vary in length and will be presented along with interactive features at time.com/redborder, where users will be able to watch video, explore in-depth information about the filmmakers and their subjects and view photo galleries and other multimedia elements around each project.

Red Border Films’ first project is “One Dream,” a multimedia site commemorating the 50th anniversary of the March on Washington and Martin Luther King Jr.’s “I Have a Dream” speech. It will go live on Thursday, August 15 along with a TIME special issue on the subject. “One Dream” will feature ten films—five marquee documentaries and five brief personal histories—totaling one hour of original video by TIME photographer and filmmaker Marco Grob. The films include interviews with 17 participants from the movement from John Lewis to Joan Baez to Harry Belafonte as well as rarely seen photos and archival footage. “One Dream” is divided into five chapters covering the history of the march, King’s speech, logistics, memories from that day and its legacy.

This fall, TIME’s Red Border Films will release two short films. The first profiles Bobby Henline, an injured Iraqi war veteran who is now a stand up comedian. It is directed by Peter van Agtmael and produced by Shaul Schwarz. The second reports on the rise of surrogacy for Western couples in India and is directed by Schwarz.

TIME’s Red Border Films is executive produced by TIME Director of Photography Kira Pollack and Time Inc. Executive Producer, News & Sports Ian Orefice. TIME photographer and filmmaker Shaul Schwarz is a consulting executive producer. Many of Red Border Films’ original productions will be created by TIME photographers, who are increasingly bringing their unique visual perspectives to film, drawing on the traditions of photojournalism to inform their decisions as filmmakers.

“Red Border Films will combine TIME’s authoritative journalism and perspective with the unique power of cinematic storytelling,” Pollack said today. “We’re excited to combine the traditional elements of film and TIME’s iconic photography with new multimedia features on Time.com that push the frontiers of digital storytelling.”

The multimedia concept of Red Border Films was inspired by the success of TIME’s Emmy Award-winning “Beyond 9/11” project, which commemorated the tenth anniversary of the September 11 attacks. “Beyond 9/11” was executive produced by Pollack and shot by Grob and featured 40 oral histories coupled with portraits on a Time.com microsite at time.com/beyond911.

Red Border Films’ documentaries are in addition to Time.com‘s robust daily video coverage of news and entertainment at time.com/video. The new venture is one element of a major Time.com relaunch planned for this fall and is part of Time Inc’s. strategy to roll out a slate of new branded video programming across all of its sites. The name – Red Border Films – refers to the trademarked red border on the cover of TIME, and readers will find elements of each project in the pages of the magazine.

For more information, go to time.com/redborder

 

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Posted in Movie City News, Press Releases | 1 Comment »

One Response to “TIME LAUNCHES RED BORDER FILMS”

  1. Dave Wight says:
    August 15, 2013 at 1:04 pm

    I was actively involved with the civil rights movement, and I realize that my grandchildren (and children) do not comprehend what was happening before and the powerful impact that MLK had in changing our history. All 7 of my grandchildren, plus my children will see “One Dream.” Thank you for creating the film.

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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