By MCN Editor editor@moviecitynews.com

GOVERNOR QUINN PROCLAIMS AUGUST 19 “MARTIN SHEEN AND EMILIO ESTEVEZ DAY”

FOR IMMEDIATE RELEASE

CHICAGO – Martin Sheen will go home with more than just the Silver Hugo for Career Achievement when he visits Chicago this August for the Chicago International Film Festival’s Annual Summer Gala.  Governor Quinn has announced that he will honor the legendary actor and his son by proclaiming August 19th, “Martin Sheen and Emilio Estevez Day” in the state of Illinois.  The Governor will be on hand at the Gala to make the official proclamation, which will be followed by a special screening of Sheen’s latest film The Way, directed by son, Emilio Estevez.

Illinois’ outstanding creative community is just one of the many reasons the Chicago International Film Festival is a great success year after year,” Governor Quinn said. “In recognition of their many contributions to the arts and other charitable causes, I hereby proclaim Martin Sheen and Emilio Estevez Day in Illinois and welcome their continued support of our state’s film industry.”

The Summer Gala honoring Martin Sheen with special guest Emilio Estevez will be held at AMC River East (322 E. Illinois St.) with reception following at The Sheraton Chicago Hotel and Towers. The evening will feature the Chicago Premiere of The Way, and will be followed by an intimate discussion with the legendary father and son duo.

Vivian Teng, Managing Director of Cinema/Chicago highlights the importance of this fundraiser: “Proceeds from this event supports our year-round Educational Outreach program, a program that brings filmmakers and their films to thousands of inner-city students, including the deaf and hard of hearing, and fosters media literacy. It will also help make possible the 47th Chicago International Film Festival, October 6-20, 2011.”

Cinema/Chicago, the presenter of the Chicago International Film Festival, is a not-for-profit cultural and education organization dedicated to fostering better understanding between cultures and to making a positive contribution to the art form of the moving image.

The Summer Gala is presented by Cinema/Chicago and the Chicago International Film Festival, American Airlines, Lincoln, and Tribeca Flashpoint Media Arts Academy. Evening partners include: Park Hyatt Chicago, Grey Goose, CS, Today’s Chicago Woman, and TimeOut Chicago.

Tickets for the Summer Gala are on sale NOW! For event and ticket information visit:
www.chicagofilmfestival.com.

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“When Bay keeps these absurd plot-gears spinning, he’s displaying his skill as a slick, professional entertainer. But then there are the images of motion—I hesitate to say, of things in motion, because it’s not clear how many things there are in the movie, instead of mere digital simulations of things. It doesn’t matter. What matters is that there’s a car chase through London, seen from the level of tires, that could have gone on for an hour, um, tirelessly. What matters is that the defenestrated Cade saves himself by leaping from drone to drone in midair like a frog skipping among lotus pads; that he and Vivian slide along the colossal, polished expanses of sharply tilting age-old fields of metal like luge Olympians. What matters is that, when this heroic duo find themselves thrust out into the void of inner space from a collapsing planet, it has a terrifyingly vast emptiness that Bay doesn’t dare hold for more than an instant lest he become the nightmare-master. What matters is that the enormous thing hurtling toward Earth is composed in a fanatical detail that would repay slow-motion viewing with near-geological patience. Bay has an authentic sense of the gigantic; beside the playful enormity of his Transformerized universe, the ostensibly heroic dimensions of Ridley Scott’s and Christopher Nolan’s massive visions seem like petulant vanities.”
~ Michael Bay Gives Richard Brody A Tingle

How do you see film evolving in this age of Netflix?

I thought the swing would be quicker and more violent. There have been two landmark moments in the history of French film. First in 1946, with the creation of the CNC under the aegis of Malraux. He saved French cinema by establishing the advance on receipts and support fund mechanisms. We’re all children of this political invention. Americans think that the State gives money to French films, but they’re wrong. Through this system, films fund themselves!

The other great turning point came by the hand of Jack Lang in the 1980s, after the creation of Canal+. While television was getting ready to become the nemesis of film, he created the decoder, and a specific broadcasting space between film and television, using new investments for film. That once again saved French film.

These political decisions are important. We’re once again facing big change. If our political masters don’t take control of the situation and new stakeholders like Netflix, Google and Amazon, we’re headed for disaster. We need to create obligations for Internet service providers. They can’t always be against film. They used to allow piracy, but now that they’ve become producers themselves, they’re starting to see things in a different light. This is a moment of transition, a strong political act needs to be put forward. And it can’t just be at national level, it has to happen at European level.

Filmmaker Cédric Klapisch