By Ray Pride Pride@moviecitynews.com

Michael Moore’s Traverse City Film Fest Will Close With Detroit

Posted Wednesday, July 5th, 2017 - Comments Off on Michael Moore’s Traverse City Film Fest Will Close With Detroit
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FOR IMMEDIATE RELEASE
TRAVERSE CITY FILM FESTIVAL 2017 WILL CLOSE WITH KATHRYN BIGELOW’S “DETROIT”
TRAVERSE CITY, MI July 5, 2017 — The 13th annual Traverse City Film Festival (TCFF) is proud to announce as its Closing Night Film “Detroit,” the highly anticipated new film by Academy Award-winning director Kathryn Bigelow, one of the greatest directors working today. Following the film’s July 25 premiere at the Fox Theater in Detroit, the Traverse City Film Festival (July 25-30, 2017) will screen the film in its historic movie palace, the State Theatre, at 6 pm on July 30.
“This captivating, vital film resonates strongly today, 50 years after the events took place,” said Academy Award-winning director Michael Moore, the festival’s founder, president and programmer. “We aim to bring great movies that can move, inspire, and change audiences. There could be no better way to close this year’s festival than with ‘Detroit.'”
The film focuses on the Algiers Motel killings, a brutal incident that has become synonymous with the systemic racism that helped spark the 1967 Detroit uprising. Piecing together the horrifying, true events of that evening, when a group of teenagers ducked into the Algiers to avoid the chaos outside, and police later stormed the building, Bigelow has delivered another riveting powerhouse of a film.
The new film from Bigelow and screenwriter and frequent collaborator Mark Boal stars John Boyega (“Star Wars: The Force Awakens”), Will Poulter (“The Revenant”), Jason Mitchell (“Straight Outta Compton”), Hannah Murray (HBO’s “Game of Thrones”), John Krasinski (NBC’s “The Office”) and Anthony Mackie (“Captain American: Civil War”) and Detroit native Algee Smith.
Tickets for the Traverse City Film Festival go on sale for Friends of the Film Festival on Sunday, July 9 at the Main Box Office (121 E. Front St.) at 10 am and online at 6 pm at tcff.org. Public ticketing begins July 15.
ABOUT THE TRAVERSE CITY FILM FESTIVAL
The Traverse City Film Festival is a charitable, educational, nonprofit organization committed 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. The festival was founded by Academy Award-winning director Michael Moore who makes his home in Traverse City, programs and runs the festival, and serves as president of the board of directors. Other board members are filmmakers Rod Birleson (producer, “Where to Invade Next”), Larry Charles (director, “Borat”), Mark Cousins (director, “The Story of Film: An Odyssey”), Jeff Daniels (actor, “The Newsroom”), Terry George (director, “Hotel Rwanda”), Christine Lahti (actor, “Running on Empty”), Tia Lessin (director, “Trouble the Water”), and former Walt Disney Co. marketing executive Penny Milliken, Tom Morello (musician, Rage Against the Machine), and photographer John Robert Williams.
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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