By MCN Editor editor@moviecitynews.com

TRIBECA FILM FESTIVAL NAMES FREDERIC BOYER ARTISTIC DIRECTOR

FOR IMMEDIATE RELEASE

Veteran Leader of Cannes Film Festival’s Directors’ Fortnight Arrives As TFF Starts Preparations For 11th Edition in April 2012

New York, NY (Nov. 28, 2011) – The Tribeca Film Festival (TFF) announced today that Frederic Boyer, a veteran executive who most recently ran the Directors’ Fortnight at the Cannes Film Festival, has been named Artistic Director of TFF.

Boyer will report to Nancy Schafer, Executive Director of TFF, and Geoff Gilmore, Chief Creative Officer of Tribeca Enterprises. Gilmore will take on a more active role in overseeing the Festival program, while maintaining his existing responsibilities across Tribeca Enterprises’ other businesses.

Boyer, 52, has served as Artistic Director and Head of Programming for the Directors’ Fortnight since 2009. From 2004-08, he was Head of its Film Selection Committee. He is the Artistic Director for Les Arcs European Film Festival at Les Arcs ski resort in the Alps. Before joining the Directors’ Fortnight, he created and managed Videosphere, a renowned video store in Paris with a library of some 60,000 titles, including a wide range of arthouse films.

“The Tribeca Film Festival has always been a platform for a wide spectrum of filmmaking, and Frederic shares our passion and curiosity for film and storytelling,” said Tribeca co-founder Jane Rosenthal. “We know he will make our festival team even stronger, and enhance the Tribeca experience as we enter our second decade.”

Other changes to the executive structure include the promotion of Genna Terranova, former Senior Programmer, to Director of Programming.

Boyer added, “I could not be more honored and excited to begin this new chapter at Tribeca. This Festival has matured and developed so impressively from its origins, but there are many more frontiers to explore while keeping the core focus on discovering new voices in filmmaking. I am grateful to Jane, Geoff, Nancy and the entire team for giving me the opportunity to help lead that exploration through the medium of film.”

The 11th annual Tribeca Film Festival will be held April 18-29, 2012, in New York City.

About Tribeca Film Festival

Robert De Niro, Jane Rosenthal and Craig Hatkoff founded the Tribeca Film Festival in 2001 following the attacks on the World Trade Center to spur the economic and cultural revitalization of the lower Manhattan district through an annual celebration of film, music and culture.

The Festival’s mission is to help filmmakers reach the broadest possible audience, enable the international film community and general public to experience the power of cinema and promote New York City as a major filmmaking center. Tribeca Film Festival is well known for being a diverse international film festival that supports emerging and established directors.

Since Tribeca’s founding through 2011, the Tribeca Festival has screened over 1200 films from over 80 countries and it has attracted an international audience of more than 3.5 million attendees and generated an estimated $725 million in economic activity for New York City.

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“Let me try and be as direct as I possibly can with you on this. There was no relationship to repair. I didn’t intend for Harvey to buy and release The Immigrant – I thought it was a terrible idea. And I didn’t think he would want the film, and I didn’t think he would like the film. He bought the film without me knowing! He bought it from the equity people who raised the money for me in the States. And I told them it was a terrible idea, but I had no say over the matter. So they sold it to him without my say-so, and with me thinking it was a terrible idea. I was completely correct, but I couldn’t do anything about it. It was not my preference, it was not my choice, I did not want that to happen, I have no relationship with Harvey. So, it’s not like I repaired some relationship, then he screwed me again, and I’m an idiot for trusting him twice! Like I say, you try to distance yourself as much as possible from the immediate response to a movie. With The Immigrant I had final cut. So he knew he couldn’t make me change it. But he applied all the pressure he could, including shelving the film.”
James Gray

“I’m an unusual producer because I control the destiny of a lot of the films I’ve done. Most of them are in perfect states of restoration and preservation and distribution, and I aim to keep them in distribution. HanWay Films, which is my sales company, has a 500-film catalogue, which is looked after and tended like a garden. I’m still looking after my films in the catalogue and trying to get other people to look after their films, which we represent intellectually, to try to keep them alive. A film has to be run through a projector to be alive, unfortunately, and those electric shadows are few and far between now. It’s very hard to go and see films in a movie house. I was always involved with the sales and marketing of my films, right up from The Shout onwards. I’ve had good periods, but I also had a best period because the film business was in its best period then. You couldn’t make The Last Emperor today. You couldn’t make The Sheltering Sky today. You couldn’t make those films anymore as independent films. There are neither the resources nor the vision within the studios to go to them and say, “I want to make a film about China with no stars in it.”Then, twenty years ago, I thought, “OK, I’m going to sell my own films but I don’t want to make it my own sales company.” I wanted it to be for me but I wanted to make it open for every other producer, so they don’t feel that they make a film but I get the focus. So, it’s a company that is my business and I’m involved with running it in a certain way, but I’m not seen as a competitor with other people that use it. It’s used by lots of different producers apart from me. When I want to use it, however, it’s there for me and I suppose I’m planning to continue making all my films to be sold by HanWay. I don’t have to, but I do because it’s in my building and the marketing’s here, and I can do it like that. Often, it sounds like I’m being easy about things, but it’s much more difficult than it sounds. It’s just that I’ve been at it for a long time and there’s lots of fat and security around my business. I know how to make films, but it’s not easy—it’s become a very exacting life.”
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