By Ray Pride Pride@moviecitynews.com

THE WORLD PREMIERE OF PAUL THOMAS ANDERSON’S INHERENT VICE WILL BE CENTERPIECE FOR 52ND NEW YORK FILM FESTIVAL

Posted Saturday, July 19th, 2014 - Comments Off on THE WORLD PREMIERE OF PAUL THOMAS ANDERSON’S INHERENT VICE WILL BE CENTERPIECE FOR 52ND NEW YORK FILM FESTIVAL
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FOR IMMEDIATE RELEASE

 

THE FILM SOCIETY OF LINCOLN CENTER ANNOUNCED TODAY THE WORLD PREMIERE OF PAUL THOMAS ANDERSON’S INHERENT VICE AS THE CENTERPIECE SELECTION FOR THE 52ND NEW YORK FILM FESTIVAL

 New York, NY (July 18, 2014) – The Film Society of Lincoln Center announced today that Paul Thomas Anderson’s Inherent Vice will make its World Premiere as the Centerpiece selection for the upcoming 52nd New York Film Festival (September 26 – October 12) on Saturday, October 4. The first feature film adaptation of a Thomas Pynchon novel, Inherent Vice stars Oscar nominees Joaquin Phoenix and Josh Brolin; Academy Award winners Reese Witherspoon and Benicio Del Toro; Owen Wilson, Martin Short, Jena Malone, Joanna Newsom, and newcomer Katherine Waterston. This marks Anderson’s third time at the festival, having previously screened Boogie Nights (1997) and Punch-Drunk Love (2002). The Warner Bros. Pictures release is slated to open in limited release on December 12, 2014 and wide on January 9, 2015.

 

New York Film Festival Director and Selection Committee Chair, Kent Jones said: “Every new Paul Thomas Anderson movie is an event, an experience – when the lights come up, you feel like you’ve been somewhere, and come back with your mind altered. Inherent Vice is a journey through the past, bringing the texture of the early 70s SoCal counterculture back to full blown life. It’s a wildly funny, deeply soulful, richly detailed, and altogether stunning movie.”

 

Inherent Vice is a presentation of Warner Bros. Pictures in association with IAC Films, a JoAnne Sellar/Ghoulardi Film Company Production.  Anderson directed from his own screenplay, based on the novel by Thomas Pynchon.  JoAnne Sellar, Daniel Lupi and Anderson produced the film, with Scott Rudin and Adam Somner serving as executive producers.

 

The 17-day New York Film Festival highlights the best in world cinema, featuring top films from celebrated filmmakers as well as fresh new talent. The selection committee, chaired by Jones, also includes Dennis Lim, FSLC Director of Programming; Marian Masone, FSLC Senior Programming Advisor; Gavin Smith, Editor-in-Chief, Film Comment; and Amy Taubin, Contributing Editor, Film Comment and Sight & Sound.

 

NYFF previously announced the Opening Night selection Gone Girl, retrospective Joseph L. Mankiewicz: The Essential Iconoclast, as well as initial selections in the Revivals section of the festival to include Burroughs: The Movie, The Color of Pomegranates, Hiroshima Mon Amour, and Once Upon a Time in America.

 

Tickets for the 52nd New York Film Festival will go on sale to the general public at noon on Sunday, September 7. Becoming a Film Society member before July 31 provides access to a pre-sale period for single tickets to festival screenings and events ahead of the general public on-sale date.

 

Subscription Packages and VIP Passes to NYFF52 give the buyer the earliest access to tickets and are on sale through July 31. Depending on the level purchased, packages and passes provide access to Main Slate and Special Event screenings including those on the Opening, Centerpiece and Closing nights of the festival. VIP passes also provide access to many exciting events including the invitation-only Opening Night party, “Evening With…” Dinner, Filmmaker Brunch, and VIP Lounge. For information about purchasing Subscription Packages and VIP Passes, go to filmlinc.com/NYFF. To find out how to become a Film Society member, visit filmlinc.com/support/home.

 

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. The 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, The 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, Stella Artois, HBO®, the Kobal Collection, Trump International Hotel and Tower, Row NYC Hotel, 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 KIND Bars, Portage World Wide Inc., 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