By MCN Editor editor@moviecitynews.com

NATIONAL GEOGRAPHIC FILMS, HOT DOCS AND REALSCREEN UNITE TO PAY TRIBUTE TO DIRECTOR/PHOTOGRAPHER TIM HETHERINGTON WITH SPECIAL ONE-OFF SCREENING OF “RESTREPO”

·         RESTREPO Co-Director Sebastian Junger will attend the event and pay tribute to his friend and collaborator, with Q&A following the screening

·         Proceeds will be donated to a charitable organization to be chosen by the Hetherington family to honor Tim’s life and work

·         Screening will take place Saturday, May 7, during the Hot Docs

Canadian International Documentary Festival in Toronto

TORONTO (April 28, 2011)—National Geographic Films, documentary festival Hot Docs and realscreen magazine are uniting to pay tribute to filmmaker Tim Hetherington with a special one-off charity screening of the late director’s Academy Award-nominated Afghanistan war documentary RESTREPO.

The screening will be held at the TIFF Bell Lightbox theatre in Toronto at 3 p.m. EST on Saturday, May 7, during the Hot Docs documentary festival. All proceeds from the screening will be donated to a charitable organization to be determined by the Hetherington family to honor Tim’s life, work and humanitarian initiatives around the world.

RESTREPO co-director Sebastian Junger will attend the screening, paying tribute to Tim, his friend and collaborator, and will host a Q&A session after the film.

Junger said: “Tim devoted his life to documenting the human cost of war, and he has now become part of that cost.  As his colleague and close friend, I know that Tim’s paramount concern was civilian suffering during war, and he would want us to do everything in our power to alleviate that suffering. The world lost a very great man, but I know that Tim’s work will continue to bring us insight and understanding for decades to come.  He will be deeply missed.”

Lisa Truitt, President of National Geographic Cinema Ventures, added: “We are shocked and deeply saddened. Tim was a very special and talented man, and we will always be inspired by his vision and passion. He was willing to take incredible risks to show us a true and unbiased picture of our world, and for that dedication he paid the ultimate price. Our hearts go out to his family and friends.”

The special screening comes after Hetherington, 40, was killed in Libya on April 20 while covering the conflict between Muammar Gaddafi and Libyan rebels. The conflict also claimed the life of his friend and fellow photojournalist Chris Hondros.

The news sent shockwaves and sadness throughout the documentary and journalism communities. Hetherington was highly praised as both a photographer and a filmmaker, having won the 2007 World Press Photo Award for his pictures of U.S. soldiers in Afghanistan, and sharing the 2010 Sundance Film Festival Grand Jury Prize for RESTREPO with his co-director, Junger.

For RESTREPO, Hetherington and Junger spent a year documenting one American platoon’s battles in Afghanistan’s danger-filled Korengal Valley. Unflinching, emotional and insightful, the film has won numerous awards — in addition to the 2010 Sundance Prize, it received the Phoenix Film Critics Society Award for Best Documentary and the National Board of Review Award for Best Documentary, and it was nominated for Best Documentary Feature at this year’s Academy Awards©.

Chris McDonald, Executive Director, Hot Docs, said: “Hot Docs is honored to host this special screening of RESTREPO. Tim’s untimely death is a tragic loss, and I’m sure our audience and documentary colleagues will join with us in paying tribute to his remarkable life and work.”

Barry Walsh, Editor, realscreen, added: “The tragic passing of Tim Hetherington has seen the documentary and journalism communities lose someone who obviously had so much to offer through his sense of commitment and his pursuit of the real story. The team at realscreen is honored to be uniting with National Geographic and Hot Docs to support this worthy cause and pay tribute to a filmmaker and photojournalist who will be sorely missed by all who knew and worked with him.”

Tickets for the screening, priced at CAD$20, are on sale now, available online at hotdocs.ca, by phone at (+1) 416-637-5150, or in person at the Hot Docs documentary box office at 131 Bloor Street West, Toronto. Additional charity donations can be made onsite at the TIFF Bell Lightbox.

NOTE: As this is a special, one-off screening designed to raise money for charity, Hot Docs pass-holders and industry delegates will not be able to use their passes or badges to obtain tickets. Tickets must be purchased.

# # #

National Geographic Films

National Geographic Entertainment (NGE) is part of National Geographic Global Media and combines into a single operating group National Geographic Films, National Geographic Cinema Ventures (NGCV), Kids Entertainment and Music & Radio. Over the last decade, NGE units have released a number of successful films in both traditional and giant screen theaters, including the Oscar-nominated documentaries “Restrepo,” “March of the Penguins” and “The Story of the Weeping Camel”; giant screen films “Sea Monsters: A Prehistoric Adventure,” “U2 3D” and “Mysteries of Egypt”; and traditional feature-length films “The Last Lions,” “The Way Back” and “Amreeka.” Daniel Battsek is president of NGF; Lisa Truitt is president of NGCV; and Mark Katz is president of NGCV distribution.

Hot Docs

Hot Docs is North America’s largest documentary festival, conference and market. From April 28 to May 8, 2011, Hot Docs will present an outstanding selection of over 190 documentaries from Canada and around the world to Toronto audiences and international delegates. Hot Docs will also mount a full roster of conference sessions, market events and services for documentary practitioners, including the renowned Hot Docs Forum, May 4 and 5, and The Doc Shop. For more info visit hotdocs.ca.

Realscreen

Realscreen is the leading news publisher for the international documentary and non-fiction content sector, comprehensively covering the factual industry via its bi-monthly trade magazine; its daily newsletters and online news at realscreen.com; and through its three acclaimed international events, the Realscreen Summit, the Factual Entertainment Forum and the Branded Entertainment Forum.

# # #

Be Sociable, Share!

Comments are closed.

Quote Unquotesee all »

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