Press Releases Archive for March, 2011

RODMAN FLENDER’S CONAN O’BRIEN CAN’T STOP CLOSES UNIQUE MULTI-PLATFORM DISTRIBUTION DEAL

FOR IMMEDIATE RELEASE AT&T & ABRAMORAMA COME ON BOARD TO TAKE THE FILM TO THEATERS Deal Happens On Heels of Film’s World Premiere at SXSW in Austin on Sunday Austin, TEXAS (March 14, 2011) – Rodman Flender’s comic documentary CONAN O’BRIEN CAN’T STOP, which had its world premiere on Sunday afternoon at the South by…

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Dallas International Film Festival Announces Full Slate

The DALLAS International Film Festival presented by Cadillac Announces Academy Award Nominee Steve James to receive the DALLAS Star Award BEING ELMO: A PUPPETEER’S JOURNEY named as Opening Night Film Opening Night Temerlin Tribute hosted by Honorary Chairs Margot and Ross Perot Full Schedule including all Features and Shorts Star-laden films include Michael Sheen, Helen…

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SONY PICTURES HOME ENTERTAINMENT LAUNCHES MY DAILY CLIP™ APP FOR iPAD, iPHONE AND iPOD TOUCH

Lets Movie Fans Discover New Films and Share Clips with Friends on Facebook CULVER CITY, Calif., March 10, 2011 – Sony Pictures Home Entertainment today announced its My Daily Clip™App for iPad, iPhone and iPod touch is available on the App Store. The app brings users a library of thousands of films and serves up…

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ALBERT MAYSLES, TIA LESSIN & THE FILMMAKERS OF CATFISH TO DEBATE DOCUMENTARY ETHICS

“Crossing the Line? A conversation on ethics and documentary film” March 9, 2011 (New York, NY) –  The New York Film/Video Council (NYFVC) the city’s oldest non-profit organization supporting the film, video and electronic arts community, presents a powerful evening of discussion and debate on the ethics of documentary film production. Since its inception, documentary…

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Cameras roll on NFB live-action 3D film The St. Judes

Toronto, March 10, 2010 – Principal photography has begun in Toronto on The St. Judes, a National Film Board of Canada experimental 3D documentary directed by acclaimed filmmaker Jeffrey St. Jules and produced by the NFB Ontario Centre’s Anita Lee. The first NFB 3D documentary since 1986’s Transitions, The St. Judes combines archival footage, black-and-white…

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PRODUCTION BEGINS ON PAUL WEITZ DRAMA STARRING ROBERT DE NIRO AND PAUL DANO; FILM IS ADAPTED FROM NICK FLYNN MEMOIR

FOR IMMEDIATE RELEASE NEW YORK, March 8th, 2011 – Production has begun, on East Coast locations, on a Focus Features drama from Academy Award-nominated writer/director Paul Weitz. The as-yet untitled film stars two-time Academy Award winner Robert De Niro and is based on Nick Flynn’s 2004 memoir entitled Another Bullshit Night in Suck City. Focus CEO…

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10th TRIBECA FILM FESTIVAL ANNOUNCES WORLD NARRATIVE, DOCUMENTARY COMPETITION SELECTIONS AND NEW VIEWPOINTS SECTION

2011 Festival to Present 88 Feature-Length and 61 Short Films April 20 – May 1 Plus Free Online Film Screenings for Viewers Nationwide New York, NY [March 7, 2011] – The 2011 Tribeca Film Festival (TFF), presented by American Express®, today announced the World Narrative and Documentary Competition film selections and the first edition of…

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IFC MIDNIGHT NABS NORTH AMERICAN DISTRIBUTION RIGHTS TO TODD ROHAL COMEDY THE CATECHISM CATACLYSM

FOR IMMEDIATE RELEASE New York, NY (March 7, 2011) – IFC Midnight announced today that the company is acquiring North American distribution rights to director Todd Rohal’s comedy THE CATECHISM CATACLYSM. The company also acquired television and digital rights for the picture in France, Benelux, Spain, Portugal, East-Central Europe, Turkey, and Greece. The film, which…

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TRIBECA OPENS WITH CAMERON CROWE’S ELTON JOHN-LEON RUSSELL DOC

FOR IMMEDIATE RELEASE 2011 TRIBECA FILM FESTIVAL TAKES OPENING NIGHT OUTDOORS WITH THE WORLD PREMIERE OF CAMERON CROWE’S THE UNION ON THE COLLABORATION BETWEEN TWO MUSICAL LEGENDS: ELTON JOHN AND LEON RUSSELL OPENING NIGHT TO CLOSE WITH A PERFORMANCE BY ELTON JOHN Tribeca Celebrates its 10th Edition with Free, Open to the Public Screening and Musical…

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Press Releases

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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