By Ray Pride Pride@moviecitynews.com

Critics’ Choice Lifetime Achievement Award to Errol Morris

Posted Wednesday, October 25th, 2017 - Comments Off on Critics’ Choice Lifetime Achievement Award to Errol Morris
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[pr] DOCUMENTARY FILMMAKER ERROL MORRIS TO RECEIVE THE LIFETIME ACHIEVEMENT AWARD AT THE CRITICS’ CHOICE DOCUMENTARY AWARDS

The Broadcast Film Critics Association (BFCA) and the Broadcast Television Journalists Association (BTJA) have announced Oscar-winning documentary filmmaker Errol Morris as the recipient of the Critics’ Choice Lifetime Achievement Award. Morris will receive his award at the second annual Critics’ Choice Documentary Awards gala event, set to take place on Thursday, November 2, 2017 at BRIC in Brooklyn, New York, hosted by Penn Jillette.

Journalist and author Kathryn Schulz will present the Critics’ Choice Lifetime Achievement Award to Morris. Damien Echols will present the previously announced Critics’ Choice Impact Award to filmmaker Joe Berlinger. Echols is one of the West Memphis Three, the group which is the subject of Berlinger’s Paradise Lost documentary trilogy. Additional award presenters include: Clive Davis, Matt Dillon, Gilbert Gottfried, Barbara Kopple, Lawrence O’Donnell, Linda Perry, and Fisher Stevens, Diane Warren, among others.

Films directed by Errol Morris have won many awards, including an Oscar for The Fog of War, the Grand Jury Prize at the Sundance Film Festival for A Brief History of Time, the Silver Bear at the Berlin International Film Festival for Standard Operating Procedure, and the Edgar Award from the Mystery Writers of America for The Thin Blue Line. His films have been honored by the National Society of Film Critics and the National Board of Review. Morris’ work is in the permanent collection of the Museum of Modern Art. Roger Ebert, a champion of Morris’ work, called his first film, Gates of Heaven (1978), one of the ten best films of all time.

 

Netflix will release Morris’ newest film, Wormwood, as a six-part event on the streaming site on December 15, 2017. The director has also prepared a non-episodic theatrical version with a single intermission. Morris is the author of two New York Times best sellers, Believing is Seeing and A Wilderness of Error, and is a regular contributor to The New York Times opinion pages and Op-Docs series.

 

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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