AFI FEST 2010...David Lynch presents World Cinema! Midnight features! Breakthrough flicks! Stars galore!

 

AFI FEST 2010 (presented by Audi) issued a press release today to inform me that - in addition to the special presentations I penned a post on last week (8 Red Carpet Galas) - there will be an additional five (5) eclectic segments included in the Film Festival screening mix that runs Nov. 4th thru Nov. 11th.

Post:  10/13/2010

http://ijulian.blogspot.com/2010/10/afi-fest-2010presented-by-audi.html

The exciting line-up includes World Cinema (new works by renowned filmmakers); Midnight (showcasing midnight screenings of comedy and horror films); Alt/Art (which presents films about art, artists and the artistic struggle for freedom of expression); Breakthrough (a new section to AFI FEST which highlights films discovered solely through the submission process); and Shorts (with films in this section eligible for Academy Award consideration).

The six films selected by AFI FEST 2010 Guest Artistic Director David Lynch will be announced by festival organizers in the near future.

This year, AFI FEST boasts 97 films presentations (66 features & 31 shorts) selected from 3,000 submissions across 31 countries with UK (11), France (9) and South Korea (7) topping the international selections.

The breakdown by section is:

*Gala/Tribute (8)
*Special Screening (4)
*Young Americans (6)
*New Auteurs (8)
*World Cinema (23)
*Midnight (3)
*Alt/Art (3)
*Breakthrough (5)
*Short Film (31)

The films in the Gala/Tribute, Special Screening, Young Americans and New Auteurs sections were previously announced in a prior post as aforementioned.

To refresh your memory they include the following features:

Post: 10/06/10

http://ijulian.blogspot.com/2010/10/afi-festivaldavid-lynch-guest-artistic.html

AFI FEST runs Nov. 4th thru Nov. 11th (2010) due to the generous sponsorship of AUDI.

The plush theatrical venues chosen to screen the films include the historic Grauman’s Chinese Theatre, the Mann Chinese 6 theatres, the Egyptian Theatre and the Hollywood Roosevelt Hotel.

WORLD CINEMA SELECTIONS

This section presents new work by many of the world’s most renowned filmmakers.

The films in competition for the World Cinema Audience Award are:

*13 ASSASSINS:
(DIR Takashi Miike)
SCR Daisuke Tengan. Japan

*BOY:
(DIR/SCR Taika Waititi. New Zealand)

*CARANCHO:
(DIR Pablo Trapero)
SCR Alejandro Fadel, Martín Mauregui. Argentina/France/Chile)

*CERTIFIED COPY (COPIE CONFORME):
(DIR/SCR Abbas Kiarostami. France/Italy/Iran)

*CHICO & RITA:
(DIR Fernando Trueba, Javier Mariscal, Tono Errando)
SCR Fernando Trueba, Ignacio Martínez de Pisón. Spain/UK

*FILM SOCIALISM (FILM SOCIALISME):
(DIR/SCR Jean-Luc Goddard. Switzerland)

*HAHAHA:
(DIR/SCR Hong Sangsoo. South Korea)

*HIS & HERS:
(DIR Ken Wardrop. Ireland)

*THE HOUSEMAID (1960):
(DIR/SCR Kim Ki-young. South Korea)
THE HOUSEMAID (2010):

(DIR Im Sang-soo)
SCR Kim Ki-young, Im Sang-soo. South Korea

*THE HUMAN RESOURCES MANAGER:
(DIR Eran Riklis)
 SCR Noah Stollman. Israel/Germany/France/Romania

*I SAW THE DEVIL:
(DIR Kim Jee-woon)
SCR Park Hoon-jung. South Korea

*KARAMAY:
(DIR Xu Xin. China)

*OKI’S MOVIE:
(DIR/SCR Hong Sangsoo. South Korea)

*OUTRAGE:
(DIR/SCR: Takeshi Kitano. Japan)

*PINK SARIS:
(DIR Kim Longinotto. UK)

*POETRY:
(DIR/SCR Lee Chang-dong. South Korea)

*PRECIOUS LIFE:
(Dir: Shlomi Eldar. Israel)

*THE PRINCESS OF MONTPENSIER:
( DIR Bertrand Tavernier)
SCR Jean Cosmos, François Olivier Rousseau, Bertrand Tavernier. France

*RUBBER:
(DIR/SCR Quentin Dupieux. USA).

*A SCREAMING MAN (HOMME QUE CRIE):
(DIR/SCR Mahamat-Saleh Haroun. France/Belgium/Chad)

*SUBMARINO:
(DIR/SCR Thomas Vinterberg. Denmark)

*UNCLE BOONMEE WHO CAN RECALL HIS PAST LIVES (LUNG BOONMEE RALUEK CHAT): (DIR/SCR Apichatpong Weerasethakul. UK/Thailand/France/Germany/Spain)

MIDNIGHT SELECTIONS

This new section showcases comedy & horror programming worthy of midnight viewings.

*CARGO:
(DIR Ivan Engler, Ralph Etter)
SCR Arnold Bucher, Ivan Engler, Patrik Steinmann, Thilo Röscheisen. Switzerland

*JULIA’S EYES (LOS OJOS DE JULIA):
(DIR Guillem Morales)
SCR Guillem Morales, Oriol Paulo. Spain

*NORWEGIAN NINJA
(KOMMANDER TREHOLT & NINJATROPPEN):
(DIR/SCR Thomas Cappelen Malling. Norway)

ALT/ART SELECTIONS

This section presents films about art, artists &  artistic struggle for freedom of expression.

*BARBERSHOP PUNK:
(DIR Georgia Archer, Kristin Armfield. USA)

*BLANK CITY:
(DIR Celine Danhier. USA)

*FREE RADICALS:
(DIR Pip Chodorov. France . U.S. Premiere)

BREAKTHROUGH SELECTIONS

This section ¾ new to AFI FEST ¾ highlights films discovered solely through the submissions process.

The films in this section are in competition for the Breakthrough Audience Award and its accompanying $5,000 cash prize.

*HAMILL:
(DIR Oren Kaplan)
SCR Joseph McKelheer, Eben Kostbar. USA

*I WILL FOLLOW:
(DIR/SCR Ava DuVernay. USA)

*REMOVAL:
(DIR Nick Simon)
SCR Daniel Meersand, Nick Simon, Oz Perkins. USA . World Premiere

*THE WEATHER STATION (PRYACHSYA):
(DIR Johnny O’Reilly)
SCR Aleksei Kolmogorov, Johnny O'Reilly. Russia . World Premiere

*WIN/WIN:
(DIR/SCR Jaap van Heusden. Netherlands)

SHORT FILM SELECTIONS

The films in this section are in competition for the Grand Jury Prize for Live Action Short Film and Animated Short Film ¾ both recognized by the Academy of Motion Picture Arts and Sciences as qualifiers for the annual Academy Awards®.

*52 TAKES OF THE SAME THING THEN BOOBS:
(DIR/SCR T. Arthur Cottam. USA)

*THE ABYSS BOYS:
(DIR/SCR Jan-Hendrik Beetge. South African)

*THE ACCORDION:
(DIR/SCR Jafar Panahi. Iran)
*BERIK:
(DIR/SCR Daniel Borgman. Denmark)

*BOTTLE:
(DIR/SCR Kirsten Lepore. USA)

*DELMER BUILDS A MACHINE:
( DIR/SCR Landon Zakheim. USA)

*EXCUSE ME:
(DIR/SCR Duncan Birmingham. USA)

*FEEDER:
(DIR Joseph Ernst)
SCR Joseph Ernst, Dean Wei. Netherlands/UK

*THE HIGH LEVEL BRIDGE:
(DIR/SCR Trevor Anderson. Canada)

*I LOVE LUCI:
(DIR/SCR Colin Kennedy. UK)

*I MISS:
(DIR/SCR Annie Dorsen. USA)

*IF YOU DRIVE AT NIGHT, TRY TO HAVE COMPANY:
(DIR/SCR Isabel Muñoz. Mexico)

*KIDS MIGHT FLY:
(DIR/SCR Alex Taylor. UK)

*LONG LIVE THE NEW FLESH:
(DIR Nicolas Provost. Belgium)

*MARCEL THE SHELL WITH SHOES ON:
(DIR Dean Fleischer-Camp)
SCR Jenny Slate, Dean Fleischer-Camp. USA

*MARY LAST SEEN:
(DIR/SCR T. Sean Durkin. USA)

*ON LEAVE:
(DIR/SCR Asaf Saban. Israel)

*PHOTOGRAPH OF JESUS:
(DIR Laurie Hill. UK)
*PIXELS:

(DIR/SCR Paul Emile Boucher. France)

*QUADRANGLE:
( DIR Amy Grappell. USA)

*THE RESPONSE:
(DIR Andrew Spieler)
SCR Samantha Manahan. USA

*SACRAMENTO: A FAMILY FABLE:
(DIR/SCR Michael Bodie. USA)

*THE SANDPIT:
(DIR Sam O’Hare. USA)

*THE SAVAGE CANVAS:
( DIR Tim Hope)
SCR Tim Hope, Susanna Kleeman. UK

*SOME BOYS DON’T LEAVE:
(DIR Maggie Kiley)
SCR Maggie Kiley, Matthew Mullen. USA

*STRIPS:
(DIR Felix Dufour-Laperriere. Canada)

*SUCCESSFUL ALCOHOLICS:
(DIR Jordan Vogt-Roberts)
SCR T.J. Miller, Jordan Vogt-Roberts. USA

*TELEPHONEME:
(DIR/SCR MK12. USA)

*TIME FREAK:
(DIR/SCR Andrew Bowler. USA)

*TUB:
(DIR/SCR Bobby Miller. USA)

*VOICE ON THE LINE:
(DIR Kelly Sears. USA)

SPECIAL PRESENTATIONS

*3D BOOTCAMP

PRESENTED BY THE SONY 3D TECHNOLOGY CENTER:

A special seminar led by Buzz Hays, Senior Vice President of the Sony 3D Technology Center, on the making of 3D entertainment, with an emphasis on the importance of storytelling in the third dimension.

THE LOS ANGELES TIMES YOUNG HOLLYWOOD ROUNDTABLE:

A conversation with some of Hollywood ’s brightest young talent including Academy Award nominee Carey Mulligan (NEVER LET ME GO), Jesse Eisenberg and Andrew Garfield (THE SOCIAL NETWORK).
http://www.thetattler.biz

 

Rex Reed...feared film critic dapper! Articulate and outspoken...

 

Mint Julip, please!

Occasionally, I get the urge to pick up a specific newspaper or magazine.

Generally, that is a sign (my inner voice speaking) that there is an article or news item in the publication that warrants my scrutiny.

Or, just maybe, right for a post that day!

Sure enough, when I responded to the calling earlier this week by plucking up a disgarded copy of Beverly Hills (213) off a diner's table in a trendy watering hole on Canon Drive, I was not disappointed.

Rex Reed graced the cover in a publicity still that underscored what a smart-looking man-about-town he truly is (regardless of the occasional bad rap - and subsequent  baggage- that he hauls along in his shadow).

In fact, as I gazed upon the image, I couldn't help but notice his stylish attire was impeccable in every sense of the word (correctly-knotted tie, right amount of shirt sleeve peering out from the jacket sleeve, a collar that framed his cravat just so) from the get-go.

Suddenly, it struck me like a bolt of lightning, that Reed was a likely candidate for next year's prestigious Best-Dressed Men's list.

And the eyes - well - they are devastating also.

Rex is (quite simply) the country gentleman personified (in this photograph anyway) provided the acid tongue is kept firmly in check (cheek?).

The career profile was entertaining to peruse as well.

The editors noted that Reed is the most-known, well-respected, and most-feared film critics of all time.

Darn, I thought that was my slot in life!

No matter.

In respect to that dubious title, he notes for the record - after being queried about his well-earned status - that it doesn't worry him a bit about the possibility of running into a subject he has dragged through coals by virtue of a nasty film review.

"I just say what I believe (!) and that is why I have a career."

"Do you know how many people were movie critics when I first started out? Nobody even remembers their names and they're not even around anymore and they've completely vanished - even the ones who did not die - vanished!"

"I'm still here doing this," he no doubt smiled with a cheshire grin during the interview.

"Why?"

"Because I never compromise and the one thing I will say is because I have good taste (Myra Breckenridge an example of it?) And am I a snob? YES!  I'm a snob about mediocrity. I'm up to my eyeballs in second-rated-ness."

Is "second-rated-ness" actually a legit term in the dictionary?

Doesn't matter.

If Rex has coined the son-of-a-gun, it's downright kosher, alright.

One of the perks of being a legend in one's own mind, I expect, eh?

When asked about the state of the film industry, he turned bug-eyed (I imagine) and wailed that the biz depended entirely on the people who won't settle for second best (Reed and moi, of course).

The film critic was livid about the fact that few filmgoers were lining up to see a handful of recent faves  making the rounds of movie Theatres - "Up in the Air", "Public Enemies", "The Last Station" - for instance.

On the other hand, he quipped viciously that Sherlock Holmes was an absolute noisy, filthy, horrible, stupid, disgrace of a movie that was making a lot of money nonetheless.

I laughed when he also snarled that "Hurt Locker" was the best movie you'd never want to see twice.

Not primed or ready to become a classic, huh,  Rex?

Rex would prefer that movies illuminate the human condition - enlighten and inspire - too.

"James Cameron really doesn't know about life. His movies are about teenage comic book fantasies."

I suppose old age is creeping in and that Rex is subsequently losing his memory; after all, if my own grey cells  serve me right, I recall that Cameron directed one of the biggest block-buster romances of all time ever to grace the screen (Titanic).

Ooops!

But, nobody's perfect.

Rex has already written his epitaph to explain away his side of things on this mortal coil.

"He (Rex Reed) tried to make things better."

Amen!

Rex with Raquel Welch on set!

(Myra Breckinridge)

http://www.thetattler.biz

John Wildman...PR loser exits AFI Fest! Press roar in approval...

Wimpy PR bozzo!

Films critics, filmmakers, and a smattering of hangers-on pining to be bona fide power-brokers in the dream factory (Hollywood and the movie biz) - are ecstatic over the surpising (but welcome) exit of John Wildman from the PR headquarers locally at AFI.

In recent weeks during this year's AFI screening extravaganza (amidst the old-world charm of the Roosevelt Hotel) I - for one - waved adios to the AFI par-tay on the heels of atrocious back-stabbing childish behaviour by PR man (wimp) John Wildman.

I should preface this article by noting that when I first applied for press credits way back in 2008 for the AFI Fest that year, Wildman was clueless about my background (and rise through the ranks over the past decade or so) ) in the industry.

Consequently, he was inclined to grudgingly offer up a  press badge - and throw me a bone or two now and then.- when it suited his whim.

Other reporters, bloggers - and the like - also complained non-stop nauseam about unfair treatment - triggered by an ego that was blown way out-of-proportion - especially in view of his lack of actual skills, talent, smarts (whatever).

There is a wise old saying that applies in this instant case in respect to my own run-in with Bob Gazalle's "house" boy.

"Never underestimate your adversary or - at a minimum - be aware of what an individual is capable of when you're sparring with them."

Because John wasn't familiar with my own realm of success - for instance - it wasn't until later that he realized what a heap load of sh** he stepped into due to his lack of, ethics, and non-existent  intelligence.

Even when he got a rude awakening one day, he was too stupid to licks his wounds, apologize, and make amends.

For example, during a particularly explosive day on the circuit, I proceeded to pen a post on his incompetence, bad attitude, and arrogance.

In addition, I proceeded to point out all his failings as a PR Director, and how it  negatively impacted the AFI Festival.

In response - he fired back with a nasty remark or two on my blog - in a bold-faced effort to embarrass me (which simply amounted to a bit of tit-for-tat).
But, I exercised my first bit of power right away; subsequently I didn't feel the graze of any of the stinging bullets he tried to whiz my way.

I not only ingored his barbs - but poste-haste - relegated the poorly-written attack (which amounted to a twisted and distorted interpretation of the facts) to the trash bin.

Next time we crossed paths, he proceeded to whine over the incident in front of onlookers, and had the gall to infer he'd been quite nice to me!

Fooey~

He's the kind of bastard who smiles to your face, then once you  turn away,  he stabs 'ya in the back.

John made a grievous error when he also played games with more poweful media types than he.

For example, if a reporter or host rubbed him the wrong way - or didn't kow-tow to him or his staff - he'd make sure their coveted spot on the red carpet was in nowhere-land (at the end of the roped-off area where the poor schmuchs would essentially be viewed as cast-offs or lowly good-for-nothings)

Normally, by the time attendees got to that end of the gangway, they were being dragged away by equally rude and insulting underlings with no people skills, either.

Of course, all the Public Relations folks were pretty big nothings, in my opinion.

Most are failed actors, or wannabee producers, who have an itsy-bitsy piece of power shielding their clients (sometimes big stars) from the media, moguls, and tawdry social-climbers.

On many occasion, I laughed, when I witnessed their clients getting no press at all because the journalist was mistreated and put off by the public relations person's bad attitude.

If John Wildman had any ethics, sense of professionalism - or even an ounce of compassion - he would have stacked all the  nameplates into one neat pile, shuffled them vigorously, then laid them out  on the red carpet in the order they appeared from the top.

But John is  too dumb to conjure up smart ideas like that.

Beside, Wildman loves rubbing journalist's noses in sh**.

In the alternative, he's all over them like a dirty shirt, brown-nosing.

 Of course, I never put up with any of that bull, no sir!

I just kept notes, and embarrased the hell out of him and his staff, at every opportunity.

When I travelled to Dallas - you'd think that John wouldn't have been forewarned - about the perils of crossing moi!

Especially when you consider he realized early on - quite by accident - that fighting  me was a "no no" he should avoid at every cost.

For instance, one day John was googling himself  (yes, that's how vain he is) when he was shocked to stumble on a negative profile I penned on him.

He griped to one guest at the Festival lounge in Dallas - that  there was an  unsavory "review" of his public relations career skills - because of me.

That's how dumb John was.

I was quite aware of the fact that because of my stature in the industry - and due to the fact I wrote features on high-profile individuals - that I was pretty highly-ranked on search engines.

I knew right off-the-bat when he ran interference, and mistreated me, that he would end up all over the internet with a bad rep if I reported on his unprofessional conduct, ego-stroking, and selfish conduct.

Now, you'd think John would have learned his lesson, right?

No, he dug his heels in, and persisted with his shameful disreputable conduct.

On one occasion in Dallas, he actually lied and told me an event I wanted to attend (which I had been invited to by the organizers &sponsors) wasn't on the fest schedule!

Later, he relented, and admitted there was a special function for kids at Victory Park.

"I thought the tattler wouldn't be interested in the event because it was for kids," he waffled in his defense unconvincingly.

Was he kidding?

I have always loved being involved with projects for children; in fact, on numerous occasions I have promoted highly-lauded oganizations such as KIDS First, etc.

Even though that issue was ironed out to my satisfaction, with an apology to boot from Wildman, his sleazy conduct continued.

When the AFI was preparing to kick off  their 2009 Festival in Los Angeles in November, for example, I whizzed off an e-mail requesting my press pass for this year's celebration of film.

For a couple of days, John ignored my e-mail, in spite of the fact he assured me in the fall of 2008 that I was "family" now.

Yeah, he's such a phoney!

Should I have bowed down and kissed his unwashed feet?

Push came to shove, when a couple of journalists (and moi) were insulted on the opening night of the AFI Fest, after a premiere red carpet screening.

I sipped on a beer for awhile, and then elected to take in a private party at the poolside bar, at the rear of the Roosevelt Hotel.

A tall imposing Afro-American guard - after catching sight of my press badge - barred my path and gruffly ordered me away.

"No press allowed," he snarled in my direction.

I understood that, no problem.

On occasion, celebrities pine for a bit of privacy, at after-parties held by the sponsors.

So, I drifted off to rustle up some action, elsewhere.

Shortly after, a couple of journalists spied me chug-a-lugging my beer in the main bar, and dashed off to let off some steam.

"I can't believe it," one reporter bellowed.

"They treated us like dirt."

A second journalist piped up.

"We give them thousands of dollars of free publicity and they have the nerve to treat us like that."

The next day, I e-mailed John about the nasty incident, so he would be aware of the fact media types did not appreciate the way they were being treated.

In response, he zipped back a communication, in which he curtly informed me that my reservationn for a red carpet event the next night was cancelled because of a lack of space!

And, get this, he didn't even bother to respond to my complaint issues!

The next day - after a post I penned was published on the internet tossing the spotllight on the despicable behaviour of staff members (and guards) going down at AFI - he e-mailed a second communication noting that another reservation for the next night's screening was also cancelled due to a full house.

Well, I wasn't born yesterday, nor do I have stupid written across my forehead.

Fortunately, the films I was intent on screening, were part of the Envelope series sponsored by the daily paper (Los Angeles Times). 

So, I caught the flicks at the Landmark Theatre in West Los Angeles.

Betta!

I was treated well - (free soda and snacks) - and was among my "people" not jacka**es like Wildman.

Needless to say, I have not responded to any of their press notices since then, nor have I bothered to waste my professional time giving them any publicity for their festivals, top ten lists, or special functions.

Now that John Wildman has departed, I have informed AFI that I may consider covering their projects in the future once again.

Hopefully, Bob Gazalles - director of the AFI Fest in Los Angeles -will hire a professional, competent, and well-mannered individual capable of treating industry folks with a little more respect than the "Wild" man!

Like moi!

Kidding.

http://www.julianayrs.com/

Patrick Goldstein...Los Angeles Times writer pens pap! Wasted column inches...

Well, Patrick Goldstein is at it again.

Once again, he's penning ignorant musings for the morning daily, to satisfy his overblown sense of self-importance.

Just a few days ago, everyone was savoring a big chuckle over a silly piece he threw together on the Roger Ebert scandal.

If you recall, Roger Ebert confessed on his blog, that a nifty review on the feature - Tru Loved - was crafted without disclosing the fact the rotund little critic only screened about eight minutes of celluloid.

In response, Mr. Goldstein jumped into the fray (to rustle up some much-needed publicity for himself, no doubt. Poor baby!) and wildly predicted that Ebert's shame-faced admission would spark trouble for all critics around the country.

As I quipped at the time, baloney!

When I opened the newspaper and turned to the Calendar section and started to peruse his latest article this morning, I literally laughed out loud!

After noting that he attended a screening of a comedy this past week (Role Models), the ingenuous hack proceeded to ponder why the Academy didn't award more Oscars to that popular genre.

Duh!

In fact - he noted in the overly-long shallow piece - that after the screening he found himself "wondering" why the Oscars didn't recognize good work in comedy the way they do drama, animation, cinematography, editing (oh boy, he left no stone unturned on this one) - etc. etc. and so forth and so on!

The man is a piece of work, isn't he?

For starters, the subject he was whining about has been thoroughly covered - ad nauseam - for about two decades by a handful of top entertainment writers in the industry.

More galling, perhaps, is Goldstein's deceitful bold-faced effort to conjure up the impression that his take on the issue is a fresh insight!

Mr. Goldstein, do you honestly think everyone in the biz has lived in a vacuum for the past twenty years?

Or, just maybe, you thought we were born yesterday?

At this juncture, I think it's obvious why the Los Angeles Times is losing credibility (and suffering circulation losses) in recent months.

Who wants to read the tired old news that Mr. Goldstein is offering up under the pretense that it is his own original thought-provoking material?


Years ago, Frank Sinatra caught a lot of flack from the media for referring to journalists as a bunch of hookers.

In Mr. Goldstein's case, the label is right on the money.


If I was the managing editor at the daily, I would give Goldstein's butt a swift kick into the "Want ads" department.

His writing would be better-suited for drafting copy for used cars.

After all, his propensity for selling pre-owned properties, makes him well-suited for the task.