By Ray Pride Pride@moviecitynews.com

Critics Choice Documentary Awards Debut In November

Posted Monday, August 1st, 2016 - Comments Off on Critics Choice Documentary Awards Debut In November
Be Sociable, Share!

 Critics’ Choice is announcing its first ever award ceremony solely dedicated to giving recognition to those in the documentary world. The “Critics’ Choice Documentary Awards” will honor the finest achievements in documentary features and non-fiction television.

 On Thursday, November 3rd at BRIC in Brooklyn, NY, the “Critics’ Choice Documentary Awards” will present awards in categories including:

  • Best Documentary Feature Film (Theatrical Premiere)
  • Best Documentary Feature (Television Premiere)
  • Best Director of a Documentary
  • Best First Documentary Feature
  • Best Music Documentary
  • Best Sports Documentary
  • Most Compelling Living Subject of a Documentary
  • Best Limited Documentary Series for Television
  • Best Ongoing Documentary Series for Television
  • Best Unstructured Reality Series
  • Best Song in a Documentary
  • Most Innovative Documentary
  • Best Investigative Journalist, and many more.

 

Nominees will be announced Monday, October 10. More details below.

 

Thank you!

Stephanie Booker | BECK MEDIA & MARKETING

1832 Franklin Street, Santa Monica CA 90404

310.300.4818 direct   770.617.8162 cell

Stephanie@beckmedia.com

@IamStephB

Beck Media & Marketing

Media Contact: Sharn Norman

310.300.4804

sharn.norman@beckmedia.com

CRITICS’ CHOICE DOCUMENTARY AWARDS TO DEBUT

NOVEMBER 3, 2016

Inaugural Event Honoring Film and Television to be held at BRIC in Brooklyn, New York

LOS ANGELES, CA (AUGUST 1, 2016) –The first Critics’ Choice Documentary Awards, honoring the finest achievements in documentary features and non-fiction television, will be presented Thursday, November 3, 2016 at BRIC in Brooklyn, New York.

The awards will be determined by qualified members of the Broadcast Film Critics Association (BFCA) and the Broadcast Television Journalists Association (BTJA), and feature multiple categories across both television and film including:

–      Best Documentary Feature Film (Theatrical Premiere)

–      Best Documentary Feature (Television Premiere)

–      Best Director of a Documentary

–      Best First Documentary Feature

–      Best Music Documentary

–      Best Sports Documentary

–      Most Compelling Living Subject of a Documentary

–      Best Limited Documentary Series for Television

–      Best Ongoing Documentary Series for Television

–      Best Unstructured Reality Series

–      Best Song in a Documentary

–      Most Innovative Documentary

–      Best Investigative Journalist, and many more.

Awards in the documentary field, including Best Documentary Feature and Best Unstructured Reality Show, have in the past been presented as part of the Critics’ Choice Awards broadcast.

Broadcast Film Critics Association and Broadcast Television Journalists Association president Joey Berlin said: “To be able to shine a light on some of the most outstanding documentaries and nonfiction television programs is something we are really proud of.

“There is so much great work being done in these fields, but it is often difficult to introduce them to audiences. We believe the time has come to focus attention on these important, informative and entertaining productions, at an event dedicated solely to celebrating the positive effects these works have towards educating, inspiring and triggering social change amongst audiences.”

The nominees, selected by a committee of BFCA and BTJA members with a  background and expertise in the documentary field, will be revealed on Monday, October 10, 2016, with the winners announced at an awards gala on Thursday, November 3, 2016 in Brooklyn, New York.

The Critics’ Choice Documentary Awards will be produced by Bob Bain Productions. Submissions are not required to be considered for Critics’ Choice Documentary Awards.

About CRITICS’ CHOICE AWARDS

The Critics’ Choice Awards are bestowed annually by the BFCA and BTJA to honor the finest in cinematic and television achievement. The BFCA is the largest film critics’ organization in the United States and Canada, representing more than 300 television, radio and online critics. BFCA members are the primary source of information for today’s film-going public. BTJA is the collective voice of almost 100 journalists who regularly cover television for TV viewers, radio listeners and online audiences. Historically, the ‘Critics’ Choice Awards’ are the most accurate predictor of the Academy Award nominations.

A&E Networks will again partner with the Broadcast Film Critics Association (BFCA) and the Broadcast Television Journalists Association (BTJA) as the exclusive home to the 22nd annual ‘Critics’ Choice Awards’. Accolades for the finest achievements in both movies and television will be presented as part of a three-hour ceremony on A&E.

For more information, visit: www.CriticsChoice.com

 

Be Sociable, Share!

Posted in MCN Curated Headlines, Movie City News, Press Releases | Comments Off on Critics Choice Documentary Awards Debut In November

Comments are closed.

Quote Unquotesee all »

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