By Ray Pride Pride@moviecitynews.com

ACADEMY CELEBRATES 40 YEARS OF THE TELLURIDE FILM FESTIVAL

Posted Tuesday, August 27th, 2013 - Comments Off on ACADEMY CELEBRATES 40 YEARS OF THE TELLURIDE FILM FESTIVAL
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August 27, 2013
FOR IMMEDIATE RELEASE

BEVERLY HILLS, CA – The Academy of Motion Picture Arts and Sciences is continuing its sponsorship of the Telluride Film Festival with a series of special events including an exhibition highlighting the history of the festival at the Historic Sheridan Opera House.  Telluride, which celebrates its 40th anniversary this year, runs August 29 through September 2.

“The Telluride Film Festival is a showcase for great films and filmmakers, and over its 40 years has figured prominently in the careers of many Academy members,” said Dawn Hudson, Academy CEO.  “We are excited to celebrate this milestone by preserving the Festival’s history and its far-reaching cultural influence.”

Telluride Film Festival recently donated all media and ephemera related to the Festival to the Academy for preservation and to avail future generations of its important place in film history.

“The Academy Celebrates the Show” is an installation featuring photographs, documents, video footage and other treasures from the Academy’s newly acquired Telluride Film Festival Special Collection.  A companion exhibit, “Alternate Telluride,” at the Backlot, will showcase a selection of letters from notable filmmakers who – for one reason or another – could not attend, making for a fascinating glimpse into Tellurides that might have been.

The Academy, which has been supporting the Festival for eleven years, is sponsoring the Festival’s signature Noon Seminars series and will also present the following special programs from its collections:

“Telluride Film Festival has chosen the Academy as the guardian of its treasured collection so that these important media assets can serve future generations, education and research,” commented festival executive director, Julie Huntsinger.  “This special exhibition that AMPAS has curated is a wonderful glimpse into the Festival’s past 40 years. We are proud of our long-standing relationship and thank them for their enthusiasm in celebrating this exceptional year and for their generous and continued support.”

 

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ABOUT THE ACADEMY
The Academy of Motion Picture Arts and Sciences is the world’s preeminent movie-related organization, with a membership of more than 6,000 of the most accomplished men and women working in cinema. In addition to the annual Academy Awards—in which the members vote to select the nominees and winners­—the Academy presents a diverse year-round slate of public programs, exhibitions and events; provides financial support to a wide range of other movie-related organizations and endeavors; acts as a neutral advocate in the advancement of motion picture technology; and, through its Margaret Herrick Library and Academy Film Archive, collects, preserves, restores and provides access to movies and items related to their history. Through these and other activities the Academy serves students, historians, the entertainment industry and people everywhere who love movies.

FOLLOW THE ACADEMY
www.oscars.org
www.facebook.com/TheAcademy
www.youtube.com/Oscars
www.twitter.com/TheAcademy

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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