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By MCN Editor editor@moviecitynews.com

Darryl Macdonald to receive inaugural “Friend of International Cinema Award” from Cinema Without Borders

Burbank, California, May 3, 2012 – Today, Cinema Without Borders announced that Darryl Macdonald, Director of the Palm Springs International Film Festival, Palm Springs International Short Film Festival & Film Market and Executive Director of the Palm Springs Film Society, will be the winner of the first Cinema Without Borders annual “Friend Of International Cinema Award”.

This new award goes to a person or an organization that helps promote international cinema in the  U.S.

“Darryl Macdonald, through years of working as a festival director, has been a true friend and ally of international cinema. Mr. Macdonald has introduced films from around the globe to many thousands of movie lovers. He has also created opportunities for both established and emerging international filmmakers to meet with audiences in order to connect and discuss their works. Through his many endeavors, Darryl has proved to be an invaluable champion of the finest in world cinema,” said Bijan Tehrani, Editor in Chief of Cinema Without Borders.

The award ceremony, made possible through collaboration with the Italian Cultural Institute, will be held on May 10th at 7 PM at the Italian Cultural Institute, 1023 Hilgard Ave., Los Angeles CA 90024.

“War,” an Italian short comedy film directed by Paolo Sassanelli, will be screened before the ceremony.  The film won Cinema Without Borders’ Best International Short Film Award at the 2010 Palm Springs International Short Film Festival & Film Market.

Following the screening, Iranian-American singer, Mamak Khadem will perform. The ceremony will conclude with speeches from guest speakers concerning Mr. Macdonald and the Award.

The event will include a reception featuring appetizers provided by Shaherzad Restaurant and Italian wine.

The following organizations have joined to support this event: Consulate General ofBelgium-Los Angeles, Consulate General of Finland-Los Angeles, Consulate General of Italy-Los Angeles, EGEDA U.S., Hollywood Brazilian Festival, Los Angeles Greek Film Festival, LA Irish Film Festival, Scandinavian Film Festival-LA, South East European Film Festival, LA & Ulmer Scale.

About Darryl Macdonald

Darryl Macdonald is the Director of the Palm Springs International Film Festival and the Palm Springs International ShortFest and Short Film Market. He is the co-founder of The Seattle International Film Festival, and was its Executive and Artistic Director from 1975 – 2003.

He served as the first Artistic Director of the Palm Springs Film Festival (1989 -1993) and the Hamptons Film Festival (1993 -1996) and was the Programming Director of the Vancouver International Film Festival (1988 -1992). He has also served as the Director of the Goodwill Games Film Festival, the Women in Cinema Festival and the Washington State Centennial Film Festival.

He has served on the Award Juries of several international film festivals and the Independent Spirit Awards. He has written articles on film and filmmaking for Variety Books, Reel News and the Hollywood Reporter, among other publications. He currently serves on the Advisory Council for the Documentary Channel, the International Film Festival Summit and is a Board member of the Seattle International Film Festival. Macdonald has been named a Chevalier of the Order of Arts and Letters by the Republic of France for his contributions to French Cinema, presented with a Distinguished Citizen Award by the Mayor of Seattle and Event Producer of the Year Award from the N.E.P.A.

About Cinema Without Borders:

Cinema Without Borders (CWB) is an online film magazine whose team of multi-national contributors highlights a broad selection of world cinema and emerging filmmakers. Drawing its strength from diverse communities of international filmmakers, film students, film festival organizers and film industry professionals, the Hollywood-based CWB offers a unique online platform for peer reviews and information about movies and film-related events.www.cinemawithoutborders.com

About the Italian Cultural Institute

The Italian Cultural Institute (IIC), Los Angeles, established in 1984 by the Italian Ministry of Foreign Affairs, houses in its premises an art gallery, a theater for screenings, lectures, conferences, and concerts, as well as a library that contains over 6000 volumes and is open to the public. The Institute organizes Italian language classes at different levels, taught by native speakers. Events are produced in collaboration with local institutions in order to present Italy in all its cultural complexity, in the fields of visual arts, architecture and design, music, cinema and theater, literature, science, fashion and gastronomy.

Our Sponsors:

ELMA (European Languages and Movies in America) is a Santa Monica based nonprofit organization dedicated to showcasing European movies. ELMA’s mission is to create new avenues for better cultural understanding between the people of Europe and the USA by celebrating alternative cinema.http://www.elma.org

The Annual Polish Film Festival Los Angeles is organized by the Polish American Film Society, a non- profit organization. The specific purpose of the Festival is to promote Polish cinema in Hollywood and educate and inform the American public about Poland and Polish culture and Polish history.  Every year the Festival presents feature and short films, documentaries and animations. The Festival was founded in 1999 by Vladek Juszkiewicz, who, until present, serves as its director.  www.polishfilmla.org

Shahrezad Restaurant features the very best and most authentic of Persian cuisine. Shaherzad food fits perfectly with today’s lightened eating style.  From a cultural point of view, Persian food has always been considered to be an art of providing enjoyment to body and mind.  Shahrzad Restaurant had been catering to numerous entertainment industries related events over the last decade.http://shaherzadrestaurant.com

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“The core fear is what can happen to you, personally. Your body. That’s what horror films deal with, precisely. We are a very thin skin wrapped around a pumping heart and guts. At any given moment it can come down to that, be it diseases, or somebody’s assault, or war, or a car wreck. You could be reduced to the simple laws of physics and your body’s vulnerability. The edged weapon is the penultimate weapon to disclose that reality to you.”
~ Wes Craven, 1996, promoting Scream

MAMET
Well, that, to me, is always the trick of dramaturgy; theoretically, perfectly, what one wants to do is put the protagonist and the audience in exactly the same position. The main question in drama, the way I was taught, is always what does the protagonist want. That’s what drama is. It comes down to that. It’s not about theme, it’s not about ideas, it’s not about setting, but what the protagonist wants. What gives rise to the drama, what is the precipitating event, and how, at the end of the play, do we see that event culminated? Do we see the protagonist’s wishes fulfilled or absolutely frustrated? That’s the structure of drama. You break it down into three acts.

INTERVIEWER
Does this explain why your plays have so little exposition?

MAMET
Yes. People only speak to get something. If I say, Let me tell you a few things about myself, already your defenses go up; you go, Look, I wonder what he wants from me, because no one ever speaks except to obtain an objective. That’s the only reason anyone ever opens their mouth, onstage or offstage. They may use a language that seems revealing, but if so, it’s just coincidence, because what they’re trying to do is accomplish an objective… The question is where does the dramatist have to lead you? Answer: the place where he or she thinks the audience needs to be led. But what does the character think? Does the character need to convey that information? If the answer is no, then you’d better cut it out, because you aren’t putting the audience in the same position with the protagonist. You’re saying, in effect, Let’s stop the play. That’s what the narration is doing—stopping the play… It’s action, as Aristotle said. That’s all that it is—exactly what the person does. It’s not what they “think,” because we don’t know what they think. It’s not what they say. It’s what they do, what they’re physically trying to accomplish on the stage. Which is exactly the same way we understand a person’s character in life—not by what they say, but by what they do. Say someone came up to you and said, I’m glad to be your neighbor because I’m a very honest man. That’s my character. I’m honest, I like to do things, I’m forthright, I like to be clear about everything, I like to be concise. Well, you really don’t know anything about that guy’s character. Or the person is onstage, and the playwright has him or her make those same claims in several subtle or not-so-subtle ways, the audience will say, Oh yes, I understand their character now; now I understand that they are a character. But in fact you don’t understand anything. You just understand that they’re jabbering to try to convince you of something.
~ David Mamet

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