By MCN Editor editor@moviecitynews.com

Santa Barbara Film Festival Announces 2016 Dates, Ticket Sale Date

31ST ANNUAL SANTA BARBARA INTERNATIONAL FILM FESTIVAL TO RUN FEBRUARY 3 – FEBRUARY 13, 2016
 
Discount passes and ticket packages go on sale July 27th

Santa Barbara, CA – The Santa Barbara International Film Festival has announced dates for its 31st year. The festival will kick off on Wednesday, February 3rd, and will run through Saturday, February 13, 2016.

“After the Santa Barbara International Film Festival successfully celebrated its 30th anniversary last year, we couldn’t wait to start planning the next one,” noted SBIFF Executive Director, Roger Durling, “We are diligently working to continue bringing world class films to Santa Barbara.”

The Santa Barbara International Film Festival annually screens over 200 films, including over 50 US Premieres 25+ World Premieres. The festival is also known for its prestigious Tribute honor which counts Patricia Arquette, J.K. Simmons, Eddie Redmayne and Michael Keaton among recent recipients, as well as the acclaimed Panel series, where accomplished industry leaders come together for lively and revealing discussions, making the festival a key stop in the award season race.

In addition to events, screenings and film honors, the festival offers various programs to the community. These programs include Mike’s Field Trip to the Movies, where Award winning filmmakers give interactive lessons to local low-income students, the AppleBox Screenings which show free family films over a four day period, and numerous film competitions like the 10-10-10 student competition.

Starting on July 27th, the Santa Barbara International Film Festival will again offer its highly popular festival passes and ticket packages at a reduced rate. Through August 31st, both will be exclusively available for a 25% discount at www.sbiff.org or 805-963-0023.

For more information, please visit www.sbiff.org.

About the Santa Barbara International Film Festival
The Santa Barbara International Film Festival is a 501(c)(3) non-profit arts and educational organization dedicated to discovering and showcasing the best in independent and international cinema. SBIFF offers 11 days of 200+ films, tributes and symposiums that transforms beautiful downtown Santa Barbara, CA into a rich destination for film lovers which attract more than 90,000 attendees.

SBIFF continues its commitment to education and the community through free programs like its 10-10-10 Student Filmmaking and Screenwriting Competitions, Mike’s Field Trip to the Movies, National Film Studies Program, AppleBox Family Films, 3rd Weekend and educational seminars. In recent years SBIFF has expanded its year round presence with regular screenings and Q&As with programs like Cinema Society, The Showcase and its Wave Film Festivals.

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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