By MCN Editor editor@moviecitynews.com

GENE SISKEL FILM CENTER KICKS OFF AWARDS SEASON WITH 90TH ANNUAL OSCAR NOMINATIONS PANEL, JANUARY 23, 2018

Posted Tuesday, January 9th, 2018 - Comments Off on GENE SISKEL FILM CENTER KICKS OFF AWARDS SEASON WITH 90TH ANNUAL OSCAR NOMINATIONS PANEL, JANUARY 23, 2018
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GENE SISKEL FILM CENTER KICKS OFF AWARDS SEASON WITH 90TH ANNUAL
OSCAR NOMINATIONS PANEL, JANUARY 23, 2018
Panel Discussion Features Top Chicago Film Critics
J.R. Jones, Sergio Mims, Michael Phillips, Pamela Powell and Ray Pride
CHICAGO — The Gene Siskel Film Center (GSFC) of the School of the Art Institute of Chicago (SAIC) presents the 90th Academy Awards® Nominations Panel Tuesday, January 23, 2018. CBS Radio Morning Drive News Co-Anchor Felicia Middelbrooks will moderate a lively panel discussion—discussing the snubs and shoe-ins—with Chicago film critics J.R. Jones (Chicago Reader), Sergio Mims (Shadow and Act, WHPK 88.5 Chicago), Michael Phillips (Chicago Tribune), Pamela Powell (FF2 Media) and Ray Pride (Newcity).
“Once again, we can come together and celebrate an incredible year of film, filled with nuanced performances and heartfelt, poignant stories,” said GSFC Executive Director Jean de St. Aubin. “Our esteemed panel of film critics will shine a light on films we may have missed or present a different perspective on films we have already seen, and it’s always entertaining to hear them go toe to toe defending their top picks for the broadcast in March.”
This free event will be held at the Film Center (164 N. State St.) from 4:30 to 5:30 p.m. and will be followed by a post event reception featuring small bites. Guests are invited to RSVP at siskelfilmcenter.org/specialevents to reserve their seats, and will automatically be entered into a drawing for a pair of tickets to “Hollywood on State: Where You’re the Star” (a $200 value). The winner will be selected at the Nominations Panel (you must be present to win).
About the Gene Siskel Film Center
Since 1972, the Gene Siskel Film Center of the School of the Art Institute of Chicago has presented cutting edge cinema to an annual audience of 85,000. The Film Center’s programming includes annual film festivals that celebrate diverse voices and international cultures, premieres of trailblazing work by today’s independent filmmakers, restorations and revivals of essential films from cinema history, and insightful provocative discussions with filmmakers and media artists. Altogether, the Film Center hosts over 1,600 screenings and 200 filmmaker appearances every year. The Film Center was renamed the Gene Siskel Film Center in 2000 after the late, nationally celebrated film critic, Gene Siskel. Visit www.siskelfilmcenter.org to learn more and find out what’s playing today.
The Gene Siskel Film Center and SAIC are part of The Art Institute of Chicago.
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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