By Ray Pride


Submissions open for the 2016 Film Festival, Slamdance Alumni returns for Manager Position, and programs expand through Slamdance Cinema Club, Slamdance Studios on HULU, and beyond

(LOS ANGELES, CA—May 29, 2015) Following last year’s record breaking submission numbers, Slamdance Film Festival is now open for 2016 entries with a new program called DIG and the return of alumni Clementine Leger as festival manager. At the same time, the organization’s distribution arm Slamdance Studios, is showing major year-round growth for itsonline and live event enterprises. This month, Slamdance Studios on Hulu premieres Slam Collective’sI Want To Be an American” based on the exquisite corpse parlor game and the wildly successful ArcLight Presents Slamdance Cinema Club screens Pavan Moondi’s and Brian Robertson’s Diamond Tongues” and Chris Furbee’sHuntington’s Dance”.

Slamdance invites filmmakers to take the first step in their filmmaking careers by submitting to the 2016 Slamdance Film Festival now. Submissions open June 1st and continue through October 15th. Filmmakers may submit through the newly added platform FilmFreeway, Withoutabox, as well as through the festival’s alternative submission form at

Slamdance continues to support independent filmmaking and Slamdance alumni with the expansion of year-round programming such as Arclight Presents Slamdance Cinema Club, the premiere of the Slam Collective’s collaborative documentary feature “I Want To Be An American” throughSlamdance Studios on Hulu. Another new filmmaker partnership with Digital Bolex has created the Slamdance x Digital Bolex Fearless Filmmaking Competition that will present selections from the inaugural program at Cinegear, LA on June 5 at Paramount Studios.

Taking over the pivotal role of Manager of the Slamdance Film Festival during this time of expansion is Slamdance alumni, Clementine Leger, who has rejoined Slamdance Film Festival as festival manager after two seasons as programming coordinator for the Florida Film Festival.

Slamdance programs and competitions continue for filmmakers at all stages of their career, including the Slamdance Screenplay Competition, and the newly launched Slamdance Digital, Interactive & Gaming showcase, DIG.

“Right now, our Slamdance programs are growing at an unprecedented rate and we are very fortunateClementine Leger has returned to manage them. Our purpose of breaking boundaries for independent artists to reach audiences globally at live events and online is steadily and surely being realized and we have great partnerships to thank for that,” stated Peter Baxter, Slamdance President & Co-Founder.

Ongoing and upcoming Slamdance programs of note:

Slamdance and Digital Bolex will present a showcase of films created for the inaugural Slamdance x Digital Bolex Fearless Filmmaking Competition. This screening will take place on June 5th, 8:15pm as part of the Cinegear Expo at Paramount Studios in Hollywood, and registration is free through May 30th. All films in the showcase were shot on the Digital Bolex D16 Digital Cinema Camera.

Slamdance Studios recently premiered “I Want To Be An American” on VOD within its Hulu slate. “I Want To Be An American” is a collaborative, international documentary experience made by the SlamCollective. It is available to watch:

Slamdance Digital, Interactive & Gaming, or DIG, is now accepting entries, and will closeAugust 31, 2015. FREE to enter for artists and filmmakers working in contemporary digital art, virtual reality, augmented and expanded cinema, and gaming:

The Slamdance Screenplay Competition continues through July 28. Late Deadline June 10th, 2015; Withoutabox Extended Deadline July 28th, 2015. More information can be found here:

ArcLight Presents Slamdance Cinema Club continues with summer titles including:“Huntington’s Dance” on June 14th, “Diamond Tongues” on June 15th, “Yosemite” (starringJames Franco) on July 12th, “On Her Own” on July 13th, “They Look Like People” on August 9th, and “20 Years of Madness” on August 10th. To learn more about this program and to buy tickets go to:

About Slamdance

Slamdance is a year-round organization and film festival that serves as a showcase for the discovery and development of emerging independent talent and innovative filmmaking. Slamdance is the only festival programmed entirely by filmmakers and is a fertile ground for new filmmakers to begin their careers. The festival began as an alternative to the Sundance Film Festival in Park City, Utah and they continue to run concurrently.

Notable Slamdance alumni who first gained notice at the festival include: Christopher Nolan (Interstellar), Oren Peli (Paranormal Activity), Marc Forster (World War Z), Jared Hess (Napoleon Dynamite), Lena Dunham (Girls), Benh Zeitlin (Beasts of the Southern Wild), Anthony & Joe Russo (Captain America: The Winter Soldier), Jeremy Saulnier (Blue Ruin), Seth Gordon (Horrible Bosses) and Lynn Shelton (Humpday). Box Office Mojo reports alumni who first showed their work at Slamdance have accumulated over $11.5 billion in the Box Office to date.

Slamdance’s On The Road events and Slamdance Studios’ developing commercial distribution platform continue to increase opportunities for filmmakers both internationally and domestically. Slamdance Studios launched a film collection on Hulu in January 2015, including 12 feature films and 1 documentary short from Slamdance alumni which are available to stream now, with new films to be added throughout the year. Viewers can access Slamdance Studios on Hulu at

Over 2,500 submissions competed for prizes in the 2015 Slamdance Screenplay Competition. This year’s Grand Prize winner was the Original Teleplay Search For Life by Andrea Janakas, which was awarded a total of $7,000 in cash prizes. Submissions for the 2015 Slamdance Screenplay Competition will open on February 23rd.

2015 Slamdance Film Festival Sponsors included Digital Bolex, The International Fusion Doc Challenge, Directors Guild of America, Pierce Law Group, CreativeFuture, Writers Guild of America West, Different By Design, Carhartt, Festival Scope, Final Draft, Park City’s Treasure Mountain Inn, and Salt Lake City’s BlueStar Juice Bar & Cafe, Beehive Distilling, and Xmission. Slamdance is proud to partner with sponsors who support emerging artists and push the boundaries of independent filmmaking.

Additional information about the Slamdance Film Festival, Slamdance Studios and Screenplay Competition is available at

Connect with Slamdance:

Instagram: @Slamogram



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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