By Ray Pride Pride@moviecitynews.com

41st Telluride Film Festival Guest Directors Will Be Guy Maddin And Kim Morgan

Posted Wednesday, June 18th, 2014 - 1 Comment »
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Telluride Film Festival, presented by National Film Preserve LTD., is thrilled to announce its 2014 Guest Directors, Guy Maddin and Kim Morgan. The husband and wife team is set to select a series of films to present at the 41st Telluride Film Festival running over Labor Day Weekend, August 29 – September 1, 2014. The Guest Director program is sponsored by Audible.com.

Festival organizers annually select one of the world’s great film enthusiasts to join them in the creation of the Festival’s program lineup. The Guest Director serves as a key collaborator in the Festival’s programming decisions, bringing new ideas and overlooked films to Telluride. In keeping with Telluride Film Festival tradition, Maddin and Morgan’s film selections, along with the rest of the Telluride lineup will be kept secret and unveiled on Opening Day, August 29, 2014.

“Guy and Kim have long been a part of Telluride,” said Telluride Film Festival executive director Julie Huntsinger. “There was no question that they were the perfect choice for this year’s Festival. Their energy, knowledge and enthusiasm is a winning combination – our audience will benefit from that when their selections are unveiled at the Festival!”

 Guy Maddin is an installation artist, writer and filmmaker, the director of ten feature-length movies, including My Winnipeg (2007), The Saddest Music in the World (2003), and innumerable shorts. He has also mounted around the world over seventy performances of his films featuring live elements – orchestra, sound effects, singing and narration.

Twice he has won America’s National Society of Film Critics Award for Best Experimental Film, with Archangel (1991) and The Heart of the World (2001). He has been bestowed many other awards, including the Telluride Silver Medallion in 1995, San Francisco International Film Festival’s Persistence of Vision Award in 2006, and an Emmy for his ballet film Dracula – Pages from a Virgin’s Diary (2002). Maddin is a print journalist and author of three books.

Kim Morgan is a film, music and culture writer who has written for Salon, GQ, LA Weekly, Criterion, MSN Movies, Huffington Post, IFC, Entertainment Weekly, The Dissolve, Playboy, The Los Angeles Review of Books and Garage Magazine.

Morgan has presented movies and moderated interviews for the Los Angeles Film Noir Festival and the Palm Springs Noir Festival. She has guest programmed for TCM and recently presented two films for Telluride Film Festival.

Morgan has worked with Maddin on several occasions appearing in his short films, or “Hauntings” with Udo Kier. They collaborated together on the short, “Bing & Bela” and their upcoming series “Seances” will move to MOMA in 2014.

“We are honored and thrilled to be guest directors at Telluride, by far the most concentrated, smartly curated, and enchanting of all the film festivals,” Guy Maddin and Kim Morgan commented jointly. “More than any other festival, Telluride is driven by the sheer love of cinema — discovering new talents, honoring titans and unearthing neglected masterworks and geniuses. The opportunity to share our favorite films with Telluride and its always-discerning audience is not only exciting but an absorbing, wonderful challenge. There are so many movies we love, and to program a selection of six…  where to begin? We really wanted to show those masterpieces we felt hadn’t been revived enough, if ever, and to see them as they were meant to be seen — on the big screen. We can’t wait to watch!”

Past Guest Directors include Caetano Veloso, Michael Ondaatje, Alexander Payne, Salman Rushdie, Peter Bogdanovich, B. Ruby Rich, Phillip Lopate, Errol Morris, Bertrand Tavernier, John Boorman, John Simon, Buck Henry, Laurie Anderson, Stephen Sondheim, G. Cabrera Infante, Peter Sellars, Don DeLillo, J.P. Gorin, Edith Kramer and Slavoj Zizek.

41stFestival passes are now available at www.telluridefilmfestival.org.

 

About Telluride Film Festival

The prestigious Telluride Film Festival ranks among the world’s best film festivals and is an annual gathering for film industry insiders, cinema enthusiasts, filmmakers and critics. TFF is considered a major launching ground for the fall season’s most talked-about films. Founded in 1974, Telluride Film Festival, presented in the beautiful mountain town of Telluride, Colorado, is a four-day international educational event celebrating the art of film. Telluride Film Festival’s long-standing commitment is to join filmmakers and film connoisseurs together to experience great cinema. The exciting schedule, kept secret until Opening Day, consists of over two dozen filmmakers presenting their newest works, special Guest Director programs, three major Tributes to guest artists, special events and remarkable treasures from the past. Telluride Film Festival is a 501 (c)(3) non-profit educational program. Festival headquarters are in Berkeley, CA.

 

About Our Sponsors

Telluride Film Festival is supported by Turner Classic Movies, EY, Audible.com, Film Finances, Inc., Telluride Mountain Village Owners Association, Meyer Sound, Bombardier Business Aircraft, The Academy of Motion Picture Arts and Sciences, Peter G. Dodge Foundation, Mandarin Oriental Hotel Group, Universal Studios, UCLA School of Theater, Film and Television, Telluride Foundation, The London Hotels: NYC & West Hollywood, Américas Film Conservancy, Seghesio Family Vineyards, Teatulia Organic Teas, Dolby, Telluride Alpine Lodging, Shopkeep POS, New Sheridan Hotel, The Hollywood Reporter, Cinedigm, Boston Light and Sound, among others.

 

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One Response to “41st Telluride Film Festival Guest Directors Will Be Guy Maddin And Kim Morgan”

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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