By Ray Pride Pride@moviecitynews.com

American Masters Doc Theatrical Label Announced At Sundance

Posted Friday, January 22nd, 2016 - Comments Off on American Masters Doc Theatrical Label Announced At Sundance
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WNET Launches First Theatrical Imprint 
American Masters Pictures
 
Documentaries Norman Lear: Just Another Version of You,
Richard Linklater – Dream is Destiny and Maya Angelou: Still I Rise
World Premiere at Sundance Film Festival
(Park City, UT – January 22, 2016) Today at the Sundance Film Festival, WNET, parent company of New York’s public television stations THIRTEEN and WLIW21 and operator of NJTV, announced the launch of its first theatrical imprint, American Masters Pictures, for documentaries co-produced by the American Masters series, executive produced by Michael Kantor. The first three films under the banner have their world premieres at Sundance: Heidi Ewing and Rachel Grady’s Norman Lear: Just Another Version of You (Day One), Louis Black and Karen Bernstein’s Richard Linklater – Dream is Destiny (January 26) and Bob Hercules and Rita Coburn Whack’s Maya Angelou: And Still I Rise (January 26). The three documentaries will have their exclusive U.S. broadcast premieres on PBS as part of the American Masters series with Lear andAngelou slated for fall 2016 (check local listings). Cinetic Media negotiated the deal on behalf of the Linklater filmmakers. Non-broadcast rights for all films are still available.
            “When Michael approached me with the idea for American Masters Pictures, I thought it was a natural progression for the series, which has always worked with independent filmmakers,” said Stephen Segaller, vice president of programming at WNET. “Our commitment to the independent film community is real and we want it to continue to thrive.”
            “I’m thrilled to launch American Masters Pictures at Sundance Film Festival, the premier festival for indie films. There is a huge appetite for documentary films now, and we want to reach as many people as possible,” said Kantor. “Our goal is to support filmmakers and their films every step of the way. We can help them tailor their distribution strategies from film festivals to limited theatrical release, broadcast, online, DVD, VOD, OTT and everywhere viewers can see our incredible films.”
            Additional American Masters Pictures documentaries currently making the festival circuit rounds or in limited theatrical release include Nancy Buirski’s By Sidney Lumet and Amy Berg’s Janis: Little Girl Blue. Films in production include Hedy: The Untold Story of Actress & Inventor Hedy Lamarr (w.t.) directed by Alexandra Dean and Sammy Davis, Jr.: I’ve Gotta Be Me directed by Sam Pollard.
Launched in 1986, American Masters has earned 28 Emmy Awards – including 10 for Outstanding Non-Fiction Series and five for Outstanding Non-Fiction Special – 12 Peabodys, an Oscar, three Grammys, two Producers Guild Awards and many other honors. The series’ 30th anniversary season on PBS begins January 29 with Elaine May’sMike Nichols: American Masters and continues with Jon Brewer’s B.B. King: The Life of Riley(February 12), George Scott’s Carole King: Natural Woman (February 19), Joe Lauro’s Fats Domino and The Birth of Rock ‘n’ Roll (February 26), Yap Films’ Loretta Lynn: Still a Mountain Girl (March 4), Berg’s Janis: Little Girl Blue (May 3) and Jim Brown’s The Highwaymen: Friends Till the End (w.t.) (May 27). To further explore the lives and works of masters past and present, the American Masters website (http://pbs.org/americanmasters) offers streaming video of select films, outtakes, filmmaker interviews, photos, educational resources and more. The series is a production of THIRTEEN PRODUCTIONS LLC for WNET and is also seen on the WORLD channel.
About WNET
As New York’s flagship public media provider and the parent company of THIRTEEN andWLIW21 and operator of NJTV, WNET brings quality arts, education and public affairs programming to more than 5 million viewers each week. WNET produces and presents such acclaimed PBS series as Nature, Great Performances, American Masters, PBS NewsHour Weekend, Charlie Rose and a range of documentaries, children’s programs, and local news and cultural offerings available on air and online. Pioneers in educational programming, WNET has created such groundbreaking series as Get the Math, Oh Noah!and Cyberchase and provides tools for educators that bring compelling content to life in the classroom and at home. WNET highlights the tri-state’s unique culture and diverse communities through NYC-ARTS, Reel 13, NJTV News with Mary Alice Williams andMetroFocus, the multi-platform news magazine focusing on the New York region. WNET is also a leader in connecting with viewers on emerging platforms, including theTHIRTEEN Explore App where users can stream PBS content for free.
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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