Sundance Film Festival Archive for February, 2011

SPC Goes To Higher Ground

SPC Goes To Higher Ground

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Sundance Selects Goes For Sundance Hit The Black Power Mixtape 1967-1975

Sundance Selects Selects Göran Hugo Olsson’s The Black Power Mixtape 1967-1975

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Kevin Macdonald On Eagle-Eying Footage For Life In A Day

Kevin Macdonald On Eagle-Eying Footage For Life In A Day

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Oprah OWNs Miss Representation

Oprah OWNs Miss Representation

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Bob Koehler Wraps Sundance

Bob Koehler Wraps Sundance

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Jamie Stuart “Masterpieces” Sundance 2011 With A Blizzard Of Montage

Jamie Stuart “Masterpieces” Sundance 2011 With A Blizzard Of Montage

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Todd McCarthy’s Sundance Jury Diaries

“However you parse it, 2011 was a banner year creatively as well as business-wise, which can only bode well for indie cinema’s near future.” Todd McCarthy‘s Sundance Jury Diaries

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Canuck Guru Gets Grilling O’ Gold At Sundance

Canuck Guru Gets Grilling O’ Gold At Sundance

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Paddy Considine Trying To Make Sense Of A Lot Of Things

Paddy Considine Trying To Make Sense Of A Lot Of Things

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DP/30 @ Sundance: Reagan, Eugene Jarecki

Being released just in time for Ronald Reagan’s 100th birthday, political documentarian Eugene Jarecki (The Trials Of Henry Kissinger/Why We Fight) delivers a powerful film covering the life, politics, and ideas of Ronald Reagan. We talked about the work at Sundance.

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Yorkshire Celebrates Tyrannosaur’s Sundance Nod

Yorkshire Celebrates Tyrannosaur‘s Sundance Nod

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Madison Paper Backstages Sundance Preem of Wisconsinite Sprechers’ The Convincer

Madison Paper Backstages Sundance Preem of Wisconsinite Sprechers’ The Convincer

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Dargis Wraps Sundance

Dargis Wraps Sundance, Nods Reichert, Oscilloscope, Kino Lorber, Munch, Knuckle And The Great The Interrupters

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DP/30 @ Sundance: Being Elmo, director Constance Marks

The remarkable story of Kevin Clash’s passionate dream come true, brought to the screen by director Constance Marks.

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Kaufman Defines Sundance Sales

Kaufman Defines Sundance Sales

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Considine On Picking Up Pen And Camera For Tyrannosaur

Considine On Picking Up Pen And Camera For Tyrannosaur

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Jarecki On Reagan

Jarecki On Reagan

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Take Shelter’s Jeff Nichols Talks Spielberg, Malick And Michael Shannon

Take Shelter‘s Jeff Nichols Talks Spielberg, Malick And Michael Shannon

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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