Press Releases Archive for March, 2013

2013 TRIBECA FILM FESTIVAL ANNOUNCES SELECTIONS FOR SPOTLIGHT, MIDNIGHT AND NEW STORYSCAPES SECTIONS, AND SPECIAL SCREENINGS

First-ever Storyscapes Section Showcases Innovative New Media Projects with Cross-platform Approaches to Storytelling New York, NY [March 6, 2012] – The Tribeca Film Festival (TFF), presented by American Express, today announced its feature film selections in the Spotlight and Midnight sections, projects in the new Storyscapes section and Special Screenings. The 12th edition of the…

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THE CHICAGO FILM CRITICS ASSOCIATION presents CHICAGO CRITICS FILM FESTIVAL

The Chicago Film Critics Association, a group of over 50 Chicago-area print, online and broadcast critics that has celebrated and promoted the art of film for over 20 years, is pleased to announce the first annual Chicago Critics Film Festival, a three-day collection of more than 20 features and short films comprised of recent festival…

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2013 TRIBECA FILM FESTIVAL ANNOUNCES WORLD NARRATIVE AND DOCUMENTARY COMPETITION SELECTIONS PLUS OUT-OF-COMPETITION VIEWPOINTS TITLES

FOR IMMEDIATE RELEASE Documentary Competition Section to Open with World Premiere of Big Men; Narrative Competition Section to Open with World Premiere of Bluebird; Viewpoints to open with  World Premiere of Flex is Kings at 12th Annual TFF, April 17-28   New York, NY [March 5, 2013] – The 2013 Tribeca Film Festival (TFF), presented by…

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SUNDANCE SELECTS PICKS UP NORTH AMERICAN AND LATIN AMERICAN RIGHTS TO ALEXANDRE MOORS’ SUNDANCE SENSATION BLUE CAPRICE

Isaiah Washington Starrer Will Open New Directors/New Films   NEW YORK, NY (March 5, 2013) – Sundance Selects announced today that the company is acquiring North American and Latin American rights to Alexandre Moors’ debut feature BLUE CAPRICE, which made its world premiere at the 2013 Sundance Film Festival. The film, with a screenplay by…

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FILM SOCIETY OF LINCOLN CENTER PROGRAMMER ROBERT KOEHLER RESIGNS DUE TO FAMILY HEALTH ISSUES

DENNIS LIM NAMED NEW DIRECTOR OF CINEMATHEQUE PROGRAMMING FOR IMMEDIATE RELEASE NEW YORK (March 4, 2013) – The Film Society of Lincoln Center today announced the departure of Robert Koehler, and the appointment of critic and programmer Dennis Lim as Director of Cinematheque Programming.  Koehler will step down immediately and return to Los Angeles to…

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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