By Ray Pride

Cinema Eye Launches Voting for 2014 Audience Choice Prize

All 10 Audience Choice Films Screening in Toronto at Hot Docs Bloor Cinema

Tickets Now On Sale for January 8, 2014 Cinema Eye ceremony at Museum of the Moving Image

New York – December 9, 2013 – The Cinema Eye Honors for Nonfiction Filmmaking have opened voting for the 2014 Audience Choice Prize, the Cinema Eye award that is decided by the votes of the public.  Ten films, including a number of the most talked-about and debated documentaries of the year, are amongst this year’s Audience Choice nominees.  They are:

20 Feet from Stardom – Directed by Morgan Neville

The Act of Killing – Directed by Joshua Oppenheimer

Blackfish – Directed by Gabriela Cowperthwaite

The Crash Reel – Directed by Lucy Walker

Cutie and the Boxer – Directed by Zachary Heinzerling

Muscle Shoals – Directed by Greg ‘Freddy’ Camalier

Rafea: Solar Mama – Directed by Mona Eldaief & Jehane Noujaim

Sound City – Directed by Dave Grohl

The Square – Directed by Jehane Noujaim

Stories We Tell – Directed by Sarah Polley

 As part of Cinema Eye’s ongoing partnership with the Hot Docs Film Festival, all ten of this year’s films will be screened at the Hot Docs Bloor Cinema from December 25 to January 2. For more information about the Bloor screenings, visit:

The public can vote for the 2014 Audience Choice Prize on the Cinema Eye Honors website at or by sending a tweet to @cinemaeyehonors with the name of the film of their choice. [For example: @cinemaeyehonors I vote for Bully!].  Voting will be open through Monday, January 6, 2014.

“The Audience Choice Prize is one of our favorite awards because it celebrates the rich connection between films and audiences,” said Cinema Eye Founding Director AJ Schnack. “These films can bring audiences to their feet, may prompt boycotts and often take social media by storm.  This award celebrates great films and their lasting and continuing impact.”

In addition, Cinema Eye announced that tickets are now on sale for the 2014 Honors, to be held Wednesday, January 8, 2014 at the Museum of the Moving Image in Astoria, New York.  Tickets can be purchased on the Cinema Eye website –

 About the Cinema Eye Honors and the 2014 Awards

The Cinema Eye Honors were founded in 2007 to recognize excellence in artistry and craft in nonfiction filmmaking.  It was the first and remains the only international nonfiction award to recognize the whole creative team, presenting annual craft awards in directing, producing, cinematography, editing, composing and graphic design/animation.

Cinema Eye is headed by a core team that includes Founding Director AJ Schnack (director, Caucus and Kurt Cobain About A Son), Honors Chair Esther Robinson (director, A Walk Into the Sea: Danny Williams and the Warhol Factory; Cinema Eye nominee for Outstanding Debut, 2008), Board Chair Andrea Meditch (executive producer, Buck and Man on Wire), Nominations Committee Chair Charlotte Cook (Head of Programming, Hot Docs Film Festival) and Managing Director Nathan Truesdell (producer, Caucus and We Always Lie to Strangers).  Will Lennon is Cinema Eye’s Program Manager.

HBO Documentary Films is the Premiere Sponsor of the 2014 Cinema Eye Honors.  Venue partner for the 2014 Cinema Eye Honors is the Museum of the Moving Image.  A&E IndieFilms is a Major Sponsor of Cinema Eye. Festival partners for Cinema Eye are Camden International Film Festival and Hot Docs Documentary Film Festival.  Industry  sponsors include POV, the LEF Foundation, Ashland Independent Film Festival, American Cinema Editors, Filmmaker Magazine, and Tribeca Film Institute. Contributing Sponsors include Maysles Cinema in New York City and The Cinefamily in Los Angeles. Our host hotel for the ceremony is The Milford NYC.  Additional sponsors will be named in the coming weeks.

For more information about Cinema Eye, visit the website at Follow Cinema Eye on Twitter at @cinemaeyehonors and on Facebook at


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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