By Ray Pride Pride@moviecitynews.com

MICHAEL MOORE’S TRAVERSE CITY FILM FESTIVAL ANNOUNCES 2016 LINEUP WITH HISTORIC GAME CHANGERS

Posted Monday, June 6th, 2016 - Comments Off on MICHAEL MOORE’S TRAVERSE CITY FILM FESTIVAL ANNOUNCES 2016 LINEUP WITH HISTORIC GAME CHANGERS
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This is it – the unveiling of the 200+ movies we’ll be bringing to the 12th annual Traverse City Film Festival, July 26 -31! It is a list unlike any we have ever brought you, one that we are very proud to present. Please read Michael Moore’s thoughts about this historic festival we’ve put together.
As you go through this incredible list of movies, please note some of this year’s special events:
* A festival-wide celebration of the State Theatre’s Centennial, with screenings of some of the greatest films to grace the silver screen in Traverse City over the past 100 years;
* Michiganders Make Movies, the first time we’ve seen this many great movies made by people from our great state in one given year;
* All new, improved theaters for our venue dedicated to showing movies completely for FREE, the Buzz, as well as our showcase of interactive new media, the Woz;
* A continuation of our popular offerings like Movies on a Boat, free morningfilmmaker panels, Kids Fest, midnight movie interruptions with comedian Doug Benson, The Sidebar: Food on Film, and the TCFF Film School;
* A worldwide live screening event of Michael Moore’s new film, “Where To Invade Next,” where our audience at the State will interact with real-time audiences screening it simultaneously in the nine countries featured in the film;
* A special collection of movies making their World, Midwest, and Michiganpremieres. See them here first!
* Open Space, our outdoor cinema under the stars, returns with a lineup featuring Disney’s “Frozen,” “Wayne’s World,” “Pitch Perfect,” “Jurassic World,” “Adam’s Rib,” and the 2016 People’s Choice Winner, “Shrek;”
* Special events and screenings marking this year’s Presidential election;
* A US section of this festival unlike any other we have ever presented, narrativeand documentary. Historic, important and, we hope, a game changer.
Tickets go on sale to the Friends of the Film Festival on July 10 and to the general public on July 16. The festival runs from July 26-31, 2016. There is no increase in ticket prices for the third year in a row. There are dozens of free films and events so everyone can participate.
ABOUT THE TRAVERSE CITY FILM FESTIVAL
The Traverse City Film Festival is a charitable, educational, nonprofit organization committed to the idea that “One Great Movie Can Change You: Just Great Movies” and to helping save one of America’s few indigenous art forms – the cinema. The festival brings films and filmmakers from around the world to northern Michigan for the annual film festival in late July to early August.
It was instrumental in renovating a shuttered historic downtown movie house, the State Theatre, which it continues to own and operate as a year-round, community-based, and volunteer-staffed art house movie theater. The festival also renovated the historic Con Foster Museum building in Clinch Park and turned it into a sister screen for the State Theatre, the Bijou by the Bay.
The festival was founded by Academy Award-winning director Michael Moore who makes his home here, runs the festival, and serves as president of the board of directors. Other board members are filmmakers Rod Birleson (producer, “Capitalism: A Love Story”), Larry Charles (director, “Borat”), Terry George (director, “Hotel Rwanda”), Jeff Daniels (actor, “The Newsroom”), Tom Morello (musician, Rage Against the Machine), Christine Lahti (actor, “Running on Empty”), Mark Cousins (director, “The Story of Film: An Odyssey”), Tia Lessin (director, “Trouble the Water”), as well as Traverse City residents photographer John Robert Williams and former Walt Disney Co. marketing executive Penny Milliken.
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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