Old MCN Blogs
David Poland

By David Poland poland@moviecitynews.com

Hamptons, Tribeca and New York Film Festivals Collide in Publicity Three-Way


Three of New York’s biggest film festivals made a flurry of newsworthy announcements Monday, with Tribeca and New York setting their respective festival dates while the lovely folks at the Hamptons announced producer Ted Hope (right) as the recipient of their annual Industry Toast.
HIFF director Denise Kasell broke the news from Cannes, joining indieWIRE to celebrate Hope’s two decades producing films for the likes of Ang Lee, Todd Solondz and Hal Hartley. His producing partnership with James Schamus resulted in the Good Machine shingle, which evolved into Focus Features after the pair sold it to Universal in 2002; Hope now runs This is That with Anthony Bregman and Anne Carey. He will receive his toast and probably some hardware for the mantel at a dinner slated for Oct. 19.
The New York Film Festival does not have anything nearly as fabulous planned, unless you count a 50-year retrospective of Janus Films its own sort of honor. But at least we know that the 2006 festival–the 44th annual, incidentally–will run Sept. 29 to Oct. 15; the Janus series coincides with the event, running Sept. 30 to Oct. 27. And all told, it is a great-looking program–essentially a world cinema hall of fame featuring Renoir (The Rules of the Game), Bergman (Monika, The Seventh Seal), Antonioni (L’Eclisse) and a few rarely screened gems not yet available on video, such as Carlos Saura’s Cria Cuervos. Still no word on which Warner Brothers film modern masterpiece will open the festival, but I have my ear to the ground.
Finally, as though you were clamoring for Tribeca news so soon after the festival’s most recent go-around, organizers sent word that the 2007 event is booked from April 25-May 6. Better yet, submissions open Sept. 5, with shorts due by Dec. 8 and features due by Dec. 15. I like your chances, so get shooting.

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“Well, actually, of that whole group that I call the post-60s anti-authority auteurs, a lot of them came from television. Peckinpah’s the only one whose television work represents his feature work. I mean, like the only one. Mark Rydell can direct a really good episode of ‘Gunsmoke’ and Michael Ritchie can direct a really good episode of ‘The Big Valley,’ but they don’t necessarily look like The Candidate. But Peckinpah’s stuff, even the scripts he wrote that he didn’t even direct, have a Peckinpah feel – the way I think there’s a Corbucci West – suggest a Peckinpah West. That even in his random episodes that he wrote for ‘Gunsmoke’ – it’s right there.”
~ Quentin Tarantino

“The thought is interrupted by an odd interlude. We are speaking in the side room of Casita, a swish and fairly busy Italian bistro in Aoyama – a district of Tokyo usually so replete with celebrities that they spark minimal fuss. Kojima’s fame, however, exceeds normal limits and adoring staff have worked out who their guest is. He stops mid-sentence and points up towards the speakers, delighted. The soft jazz that had been playing discreetly across the restaurant’s dark, hardwood interior has suddenly been replaced with the theme music from some of Kojima’s hit games. Harry Gregson-Williams’ music is sublime in its context but ‘Metal Gear Solid 4: Guns of the Patriots’ is not, Kojima acknowledges, terribly restauranty. He pauses, adjusting a pair of large, blue-framed glasses of his own design, and returns to the way in which games have not only influenced films, but have also changed the way in which people watch them. “There are stories being told [in cinema] that my generation may find surprising but which the gamer generation doesn’t find weird at all,” he says.
~ Hideo Kojima