By Ray Pride

Free-To-The-Public NYFF Directors Dialogues To Include Paul Thomas Anderson, Pedro Costa, Mike Leigh, Bennett Miller



On Cinema conversation with Paul Thomas Anderson as part of the 2014 New York Film Festival Talks

Free HBO® Directors Dialogues also announced with

Mathieu Amalric, Pedro Costa, Mike Leigh, and Bennett Miller



New York, NY (September 5, 2014) – The Film Society of Lincoln Center announced today the 2014 NYFF Talks will feature Paul Thomas Anderson in conversation for On Cinema, and the HBO Directors Dialogues participants will be Mathieu Amalric, Pedro Costa, Mike Leigh, and Bennett Miller. All five events are sponsored by HBO. Tickets for On Cinema will go on sale at noon this Sunday, September 7, and are $12 for students, $15 for Members and $20 for General Public. The HBO Directors Dialogues are free to the public and will be distributed one hour prior to the event. Visit for more information.


The sixth edition of NYFF’s annual master class, On Cinema, will feature Paul Thomas Anderson (upcoming Inherent Vice) in conversation with the New York Film Festival Director, Kent Jones, on Sunday, October 5 at 12:30PM at Alice Tully Hall. The films of Paul Thomas Anderson will come back to you with a visceral force—the ill-fated visit to the drug dealer’s house in Boogie Nights… the ocean of oil cascading from the derrick in There Will Be Blood… the troubled emotional momentum of The Master… these are some of the great visionary passages in modern movies. Anderson will discuss select clips from the films that have inspired and excited him.


The popular HBO Directors Dialogues return to the New York Film Festival with four filmmakers, paired with a member of the NYFF Selection Committee as they discuss their careers, views on their own approach to making movies as well as the current state of the art of filmmaking. This year’s lineup will feature Mathieu Amalric (The Blue Room) on Monday, September 29 at 6PM, Pedro Costa (Horse Money) on Wednesday, October 8 at 6PM, Mike Leigh (Mr. Turner) on Sunday, October 5 at 2:30PM, and Bennett Miller (Foxcatcher) on Tuesday, October 7 at 6:30PM.


HBO Directors Dialogues

Mathieu Amalric

Mathieu Amalric entered the world of cinema with the intention of becoming a director, but his friend and close collaborator Arnaud Desplechin launched him on an alternative path when he cast him in the lead of his 1996 film My Sex Life. In the years that followed, Amalric honed his craft in dozens of films with directors as varied as Olivier Assayas, Julian Schnabel, and Steven Spielberg, and he has become one of the finest actors in modern cinema. At the same time, he has maintained an equally impressive parallel career as a filmmaker, culminating in his stunning adaptation of Georges Simenon’s The Blue Room (in which he stars with his wife Stéphanie Cléau, who co-wrote the screenplay). We’re eager to sit down and talk with this brilliant, funny, and adventurous artist.


Pedro Costa

In Pedro Costa’s cinema, one can see the past, present, and possible future of movies. Drawing from the traditions of John Ford and Jean-Marie Straub and Danièle Huillet, Costa has created films that are at once hypnotic; pictorially and texturally stunning; incantatory; attuned to the lives, dreams, and tragedies of Ventura and the Cape Verdean immigrants who are his stars; politically and historically grounded; and made in a state of absolute independence. Costa will join us to discuss his towering new film Horse Money and the path that took him there.


Mike Leigh

A master filmmaker, Mike Leigh is just as well known for his working methods as he is for his finished products: throughout lengthy periods of exploration and improvisation, Leigh and his collaborators build their characters and narratives from the inside out, creating films that seem to have been woven from the very fibers of lived experience. The better part of Leigh’s work has dealt with contemporary life, but on a few occasions he has looked to the past—postwar England in Vera Drake; Victorian London in Topsy-Turvy, his marvelous film about Gilbert and Sullivan; and now, with his remarkable and long-gestating Mr. Turner, the early-19th-century world of Britain’s greatest painter (played by the inimitable Timothy Spall). We’re fortunate to have this brilliant artist joining us for a discussion about his work.


Bennett Miller

With one documentary (The Cruise) and three fiction films (Capote, Moneyball, and the new Foxcatcher), Bennett Miller has carved out a unique space in contemporary cinema, and touched on troubled and mysterious pockets of existence that no one else has even glanced at. In his powerful new work, he examines the “super-terrestrial twilight” world (to quote Edith Wharton) of the billionaire du Pont family’s Foxcatcher Farm, and has produced a powerfully physical tragedy that unfolds incrementally, one gesture at a time. Miller will be joining us to discuss his working relationships, his singular approach to filmmaking, and his attraction to American enigmas.


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 Kent 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.


Tickets for the upcoming New York Film Festival range in price from $15 & $25 for most screenings to $50 & $100 for Gala evenings. Film Society members receive a discount on tickets as well as the benefit of a pre-sale opportunity.


For NYFF Free events: Starting one hour before the scheduled time of the event, complimentary tickets will be distributed from the box office corresponding to the event’s venue. Limit one ticket per person, on a space-available basis. Please note that the line for tickets may form in advance of the time of distribution.


Please note: All sales are final. No refunds or exchanges. Tickets are subject to availability. Programs and prices are subject to change.


Visit for more information. The updated NYFF App is available for download on iOS and Android.





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, HBO®, Stella Artois, The Kobal Collection, Variety, 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 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