By Ray Pride Pride@moviecitynews.com

FSLC NAMES DIRECTOR-WRITER ANDREA ARNOLD AS THE 2013 FILMMAKER IN RESIDENCE DURING THE 51ST NEW YORK FILM FESTIVAL

Posted Thursday, September 12th, 2013 - Comments Off on FSLC NAMES DIRECTOR-WRITER ANDREA ARNOLD AS THE 2013 FILMMAKER IN RESIDENCE DURING THE 51ST NEW YORK FILM FESTIVAL
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FOR IMMEDIATE RELEASE

 New York, NY (September 12, 2013) – The Film Society of Lincoln Center names director/writer, Andrea Arnold, as the 2013 Filmmaker in Residence, to take place during the 51st New York Film Festival. The initiative is in partnership with luxury brand Jaeger-LeCoultre, to further the goals of filmmakers at an earlier stage in the creative process. Arnold will have the opportunity to focus on developing or refining new work, and participate in master classes, mentorships or cultural exchange and enrichment film programs with the Film Society of Lincoln members, the film community and the public.

“We are thrilled to announce Andrea Arnold as the 2013 Filmmaker in Residence during the 51st New York Film Festival.  Our partnership with Jaeger-LeCoultre on this cornerstone program fosters excellence in the filmmaking community, and reflects our shared belief in the universal power of film to inspire and engage the global community.” — Rose Kuo, Executive Director of the Film Society of Lincoln Center

Andrea Arnold is an English director and writer who made her debut with two short films, MILK in 1998 and DOG in 2001. In 2005, Arnold won the Academy Award for Best Live Action Short Film for WASP and her first feature film, RED ROAD won the Jury Prize in Cannes in 2006. Her 2009 film FISH TANK starring Kate Jarvis and Michael Fassbender, once again won the Jury Prize and in 2011, she directed an adaptation of Emily Bronte¹s Wuthering Heights. The film was shown at the 68th Venice International Film Festival, where it won the Golden Osella for Best Cinematography.

The Filmmaker in Residence initiative also consists of Advisory Board members, announced in June, who will be participating. These include: Henry Bean, Brady Corbet, Charles Finch, Naomi Foner, Larry Gross, Philip Seymour Hoffman, Danny Huston, Tamara Jenkins, Ed Lachman, Bennett Miller, Matthew Modine, Ed Pressman, Ira Sachs, Paul Schrader and Marisa Tomei.  Their involvement may include nominating potential candidates, mentoring the filmmaker once selected, panel participation during the 51st New York Film Festival and/or attending/hosting events in support of the initiative.

The Film Society and Jaeger-LeCoultre recently announced their multi-year partnership, which kicked off at the 40th Anniversary Chaplin Award Gala in April, honoring Barbra Streisand, and extending through the New York Film Festival as well as a series of events throughout the year, including the annual Film Comment Luncheon in January. The new partnership allows for both organizations to further support the film community, and support for the arts.

About Manufacture Jaeger-LeCoultre – 1833-2013

A major player in watchmaking history since 1833, Jaeger-LeCoultre is the first Manufacture to have been established in the Vallée de Joux, Switzerland. It played a pioneering role by uniting the full range of technical and artistic professions under one roof and made an indelible imprint on the watchmaking development of the entire region. Guided by time-honored know-how and a constant quest for technical enhancements, the master-watchmakers, engineers and technicians craft each watch in harmony with the same passion. Each masterpiece, heir to 180 years of expertise, benefits from cutting-edge technologies while being crafted in harmony with the noblest traditions. Building on a vast heritage encompassing 1,231 calibres and 398 registered patents, Jaeger-LeCoultre remains the reference in high-end watchmaking.

 

Committed to a constant quest for excellence and supported by a uniquely inventive spirit, Jaeger-LeCoultre perpetuates the tradition of Grande Complication models introduced by the Manufacture through a succession of extraordinary creations: Atmos Mystérieuse (2003), Gyrotourbillon 1 (2004), Reverso grande complication à triptyque (2006), Master Compressor Extreme Lab 1 (2007), Reverso Gyrotourbillon 2 (2008), Duomètre à Grande Sonnerie (2009), Master Grande Tradition Grande Complication (2010), Reverso Répétition Minutes à Rideau (2011), Duomètre Sphérotourbillon (2012), and Master Grande Tradition Gyrotourbillon 3 Jubilee (2013).

 

 

 

Film Society of Lincoln Center

Founded in 1969 to celebrate American and international cinema, the Film Society of Lincoln Center works to recognize established and emerging filmmakers, support important new work, and to enhance the awareness, accessibility and understanding of the moving image. Film Society produces the renowned New York Film Festival, a curated selection of the year’s most significant new film work, and presents or collaborates on other annual New York City festivals including Dance on Camera, Film Comment Selects, Human Rights Watch Film Festival, LatinBeat, New Directors/New Films, NewFest, New York African Film Festival, New York Asian Film Festival, New York Jewish Film Festival, Open Roads: New Italian Cinema and Rendez-vous With French Cinema. In addition to publishing the award-winning Film Comment Magazine, Film Society recognizes an artist’s unique achievement in film with the prestigious “Chaplin Award.” The Film Society’s state-of-the-art Walter Reade Theater and the Elinor Bunin Munroe Film Center, located at Lincoln Center, provide a home for year round programs and the New York City film community.

The Film Society receives generous, year-round support from Royal Bank of Canada, Jaeger-LeCoultre, American Airlines, The New York Times, Stonehenge Partners, Stella Artois, illy café, the Kobal Collection, Trump International Hotel and Tower, the National Endowment for the Arts, and the New York State Council on the Arts.

 Support for the New York Film Festival is also generously provided by Hearst Corporation, HBO®, Dolby, Paramount Hotel, ADK Packworks, WABC-7, and WNET New York Public Media.

 

For more information, visit www.filmlinc.com and follow @filmlinc on Twitter.

 

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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