By Ray Pride Pride@moviecitynews.com

Film Society Of Lincoln Center Now Says “Film Lives Everywhere”

Posted Monday, May 8th, 2017 - Comments Off on Film Society Of Lincoln Center Now Says “Film Lives Everywhere”
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THE FILM SOCIETY OF LINCOLN CENTER DEBUTS FILM LIVES EVERYWHERE, A NEW INITIATIVE IN SUPPORT OF THE GLOBAL FILM COMMUNITY

 
Participants include Ava DuVernay, Apichatpong Weerasethakul, Olivier Assayas, Agnès Varda, Guy Maddin, and more

“I don’t want to be a filmmaker making movies in a scary and dangerous world. I want to be a filmmaker who makes movies about human beings in an environment where they are protected—where they are free to be themselves.”
—Olivier Assayas

“I belong to another country, which is called cinema. In this country anyone coming from any country can live and dream and create.”
—Arnaud Desplechin

“I am not alone in my fervent, passionate love of film. There is a tribe out there of other people who believe in it and hold it as dear as I do, and know that it can be what connects us more than what divides us.”
—Ava DuVernay

“Film can be honest, beautiful, life-altering. It can and should dissolve borders.”
—Guy Maddin

“Since cinema is a universal language, there should be a real universal agreement to have the cinema travel with the people that make it.”
—Agnès Varda

“You [Film Society] continue to welcome different voices and this platform makes us realize that we speak one language, which is cinema. And we evolve it together and in turn, it evolves us to see beyond borders, and that’s what we should strive for everyday.”
—Apichatpong Weerasethakul

New York, NY  – The Film Society of Lincoln Center announces Film Lives Everywhere, a new initiative in support of the global film community, launching today at the 44th Chaplin Award Gala.

More than ever, the Film Society recognizes the importance of the international community on the work we do. We have always taken pride in welcoming filmmakers from all over the world, and we will continue to do so as long as the organization exists. To show our appreciation for the diverse array of filmmakers we work with, and to communicate to the world the importance of our mission, we invited artists who have presented their films to our audiences to share videos expressing their support of this global community. The results included filmmakers from Thailand (Apichatpong Weerasethakul), France (Agnès Varda, Olivier Assayas, Bertrand Bonello, Arnaud Desplechin), Canada (Guy Maddin), Argentina (Lisandro Alonso), the U.S. (Ava DuVernay), and more.

Our first phase of this project features a short video compiling clips from many of these entries, which will premiere at tonight’s 44th Chaplin Gala, in honor of Robert De Niro. As we continue to expand the initiative and foster conversations around this essential global community, we will update filmlinc.org/everywhere with new filmmaker videos, information about free community events and screenings, and ways that audiences around the world can get involved to support the arts and embrace cinema.

The Film Society’s tagline has long been Film Lives Here, but it’s becoming increasingly important to remember that Film Lives Everywhere.

FILM SOCIETY OF LINCOLN CENTER
The Film Society of Lincoln Center is devoted to supporting the art and elevating the craft of cinema. The only branch of the world-renowned arts complex Lincoln Center to shine a light on the everlasting yet evolving importance of the moving image, this nonprofit organization was founded in 1969 to celebrate American and international film. Via year-round programming and discussions; its annual New York Film Festival; and its publications, including Film Comment, the U.S.’s premier magazine about films and film culture, the Film Society endeavors to make the discussion and appreciation of cinema accessible to a broader audience, as well as to ensure that it will remain an essential art form for years to come.

The Film Society receives generous, year-round support from The New York Times, Shutterstock, Variety, the National Endowment for the Arts, and the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature. American Airlines is the Official Airline of the Film Society of Lincoln Center. For more information, visit www.filmlinc.org and follow @filmlinc on Twitter.

 

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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