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Traverse City Film Festival Honors John Hughes with Michigan Filmmaker Award

Posted Tuesday, July 27th, 2010 - Comments Off on Traverse City Film Festival Honors John Hughes with Michigan Filmmaker Award
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TRAVERSE CITY, MI (July 27, 2010) – The sixth annual Traverse City Film Festival’s Michigan Filmmaker Award will be dedicated this year to the late John Hughes on opening night. The acclaimed writer, director and producer, widely known for his great comic films about American life, will be honored on Tuesday before the 6:30 p.m. opening night screening of “Nowhere Boy” at the City Opera House and the 7:00 p.m. opening night screening of “The Kids are All Right” at the State Theatre.
“John Hughes’ work touched two generations in so many ways, becoming touchstones in all of our lives,” said festival President and Founder Michael Moore. “The festival wants to publicly recognize his legacy and keep alive his spirit and his very important contribution to the world of movies.”
John Hughes’ wife, Nancy Hughes, and sons James and John III, wrote, “We appreciate the opportunity to acknowledge how Michigan and its culture, music, traditions and geography remained an integral part of his personality, and helped shape his humor and storytelling. To those who knew him best — and to any Michigander who crossed his path and shared his enthusiasm for poring over the most minute and fascinating details of his home state — it was evident that this connection to Michigan remained strong, and that it continues in his absence.”
Hughes, born in Lansing, MI in 1950, died of a heart attack on August 6, 2009. Some of his best-loved films include “The Breakfast Club,” “Sixteen Candles,” “Ferris Bueller’s Day Off,” “Pretty in Pink,” “Some Kind of Wonderful,” “Christmas Vacation” and “Home Alone.”


This year’s festival will be held from July 27 through August 1. Tickets can be purchased at the festival box office, located at 300 E. Front Street in downtown Traverse City, by calling the box office at 231-922-8903, or by visiting the festival web site, www.traversecityfilmfest.org.
Each year the film festival honors a native Michigander for their contributions to the art of cinema. Past recipients have included Jeff Daniels and Christine Lahti.
About the Traverse City Film Festival
The Traverse City Film Festival is a charitable, educational, nonprofit organization committed to showing “Just Great Movies” and helping to save one of America’s few indigenous art forms — the cinema. The festival brings films and filmmakers from around the world to northern Michigan for the annual film festival in late July to early August. It was instrumental in renovating a shuttered historical downtown movie house, the State Theatre, which it continues to own and operate as a year-round, community-based, mission-driven and volunteer-staffed art house movie theater. The festival was founded by Academy Award-winning Director Michael Moore, who runs the festival and serves as president of the board of directors. Other board members are photographer John Robert Williams and New York Times best-selling author Doug Stanton, both Traverse Citians, and filmmakers Larry Charles (director, “Borat”), Terry George (director, “Hotel Rwanda”), Sabina Guzzanti (director, “Viva Zapatero!”),
and Christine Lahti (actor,”Running on Empty”).
This message was sent by: Traverse City Film Festival, 233 E Front Street, Traverse City, MI 49684

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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