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Greetings Professor Carney,
I just wanted to say how much I've been enjoying your writings. As a BU alum (COM '06), and more specifically, as a COM alum, the problems I had with the program are all articulated in your essays and interviews. However, your corner of the Internet isn't just a place where my own beliefs can be validated (there are plenty of places where that is possible), but it encourages one to continue learning, continue creating, and continue bucking the status quo.
At any rate, just a little kudos (or is that validation?).
RC replies: Thanks, Greg. Much appreciate the kudos, validation, or whatever you call it! I'll take it any way I can get it. It's particularly good to hear from a former Boston University student (even if I don't think I ever had you). I'm doing my damnedest to attempt to improve the program, but it's an uphill battle, as all "good fights" are. It's hard to get people to see beyond PR issues. Most people are more interested in Boston University's "image" and "ranking" and "brand identity" (a recent lunatic buzzword that is making its way through the ranks of the faculty) than in actually doing something to raise academic standards or improve the intellectual quality of the courses. This focus on PR is an American sickness. It's everywhere, so I guess I shouldn't be surprised that it's in academia as well. Click here to read a funny story from the front about advice an academic advisor gave us on "product placement" in student films -- and other fashionable idiocies.
Keep exploring, growing, changing! That's what life is about.
(Visitors who want to read some of Ray Carney's thoughts about the study of film in American universities can begin by clicking on this link and following other links on the page they are taken to.)
Subject: regarding Cassavetes screenplays
Dear Mr. Ray Carney,
I'm sorry to take your time with a matter not directly related with your work, but I've looked hard for the contact of John Cassavetes copyright holders and found none, and I'm working on the publishing of contemporary screenplays and I'd like to inquire them about the availability of John Cassavetes screenplays.
I'd greatly appreciate if you could help me on this (not personal Gena Rowlands or Al Ruban contact but the company that manages Cassavetes works).
Thanks and my best regards
There is no such company. Gena Rowlands holds all material personally and has no plans to make it available for publication. Or even to allow scholars to read it. (Note that the only way I have been able to read all or almost all of this material is that I received my own personal copies as gifts from Cassavetes.)
I have pursued this issue with Rowlands many times in the past, asking her to please, please make available particular unpublished works (including the Husbands novel, which is completely different from the film), and she has told me explicitly that she does not want this material ever to be published. Her reply invariably takes the form of: "If John had wanted it published, he would have published it during his lifetime." (It is the exact same formula she invokes when she explains her reasons for wanting to suppress or destroy the first version of Shadows -- "If John had wanted it to be seen, he would have released it.") Balderdash, of course, but do you see why I argue she is mishandling her husband's estate -- in this respect, and in many other ways as well ....?
Subject: tarkvosky and a lot more on YouTube - more dubloons
found this user on YouTube who has posted some of the films of Tarkovsky in full, including
MY NAME IS IVAN/IVAN'S CHILDHOOD
plus other stuff like Sokurov's RUSSIAN ARK
and other films and animation that I've never heard of but looks like good stuff as well ...
Jan Philippe Velez Carpio
RC replies: Sorry, J.P. I can't think of a more horrible idea than watching a Tarkovsky film on YouTube. He must be twirling in his grave. The part-by-part download. The tiny screen. The grainy image. The tinny speakers. No thanks.
There's another issue too. I really think it's important not to "pirate" and "rip off" the work of artists. It's one thing to post your own work there, but it's something entirely different to post somebody else's work. You'll understand some day when someone puts your work on YouTube and you are denied your rightful ownership and profits in it. No matter what Stanford's Laurence Lessig calls it, in my book, it's shoplifting, stealing, pirating, defrauding the rightful owner of the rights of intellectual and legal ownership. (I have personal experience of my own in this regard, since my writing appears on something like a million web sites right now, virtually none of which have asked for my permission to use it, and none of which pays me a penny for it.) It just isn't right.
And it's even worse when the work is available in legal and moral ways. Tarkovsky is available on DVD. Drop a dime. Spend a dollar. Pay for it. Don't rip it off. His estate and his distributor are entitled to get something from people who view his work. It should be removed from YouTube, just as Cassavetes' work should, and the work of every other real artist who hasn't posted it him or herself. -- R.C.
A note from Matija Kluk. I recommend the following screening of his film if you are in New York City:
My feature film Slow Days is playing in New York at Tribeca Cinemas, Friday, September 14, 10:00 pm. So, if you have some people there - feel free to invite them. I'm scared that it might be an empty theater- it's part of the Croatian Film Festival there. Here is the website.
Subject: HOOP DREAMS maker Frederick Marx here...
Well, call me slow, but I just discovered your web page and your work. Actually, it was indirectly due to my friend Mark Rappaport. Catching up on the latest info of him online, I ran across you. I've been saying for almost 30 years now that Mark is one of our greatest filmmakers. It's nice to see someone who has more influence than me agree.
So let me first thank you for standing up for truth and film art. I just watched the doc on Henri Langlois last night. Despite it being a jumbled, non-stop, talkfest I was completely absorbed. I happily got to relive my youth and sadly take stock of the fact that so much of what I hold dear (truth-telling through art in cinema) is passed, passing, or below my (and most people's) radar. The days when people got really passionate about film, holding it to standards of truth at 24 fps, demanding that film artists be accountable to that standard, seem long past.
I'm a little perplexed by your realization about the true complexity of Cassavetes however. Maybe you were projecting a bit of your own youthful "gold" on to him which blinded you from the fuller truth of the man he was? I just take it for granted that every man has his shadow. (As you see, I prefer the Jungian formulations.) And unless someone is consciously grappling with those shadows they will invariably rule much of their lives. (Uh, President Bush anyone?) But your sharp analysis of the pervasive effects of a thoroughly debased culture seem inconsistent with your earlier idolization of him. Stars, celebrities, great artists, ALL are given wide berth by people in general (and the culture as a whole) BECAUSE their shadows so neatly dovetail with society's. It's not just the matter of who has the guts to call a great artist out on his/her irresponsible behavior, it's a matter of who's willing to name (much less hold someone accountable for) something they themselves struggle with. Very, very few. No one wants to challenge celebrities because they all want to BE them - not just the rich and famous part, but to live life unconsciously, to give free rein to their shadows. Why do you think you are Gena Rowland's boogie man? You're not only putting her husband's shadows in her face, you're putting hers!
It's a far, far cry from Cassavetes but I'd be curious to hear what you make of my film THE UNSPOKEN. If you're ever curious to see it, let me know and I'll send a copy.
Blessings on your continued work. Keep the truth coming!
Thanks for an uncommonly deep and perceptive letter. You are right. I idealized Cassavetes (and Rowlands) to a certain extent in my youthful work. When I researched my Cassavetes on Cassavetes book, I stumbled, reluctantly, upon the more complex realities -- to my shock and dismay. And when I published them even in a somewhat "sanitized" and "edited" form in that book, Rowlands came down on me like a ton of bricks. (There is more than anyone wants to know on that subject on other pages of the site.) The "demon" -- what you call "the bogey man" -- side of the artist is something that is not to be spoken about in public. Or at least that is Rowlands's view. And you are also right that Rowlands's response has shown me -- oh, in what depth and detail -- how many demons she herself is possessed by, and with what fury she unleashes them on anyone who "crosses" or displeases her in any way. It's bogey men in every direction, as far as the eye can see.... (It is worth noting, however, that virtually everyone else is still writing idealized accounts of Cassavetes' and Rowlands's lives. They still haven't moved beyond the "hero-worship" mode of commentary. See my reply to the letter that follows this one on this page, and click here to read about other "star-struck" accounts of Cassavetes' and Rowlands's lives and relationship.)
Well, all of life is an education, and this has been a supreme one for me (just as my struggles to uphold academic standards against the opposition of an unnamed administrator at my own university have been). The lessons I've learned have been invaluable to my own growth and development. I thank God every day I have been so blessed, so lucky to have experienced these things before I die. It's been a great gift from heaven.
With gratitude for your comments,
From: Paul Cronin
Ray, v interesting article in the new FILM COMMENT about how Fassbinder's legacy has been controlled and sanitized by various parties. Reminds me about Gena and John etc.
Hope all is well.
There is joy in the air here.
Paul, great to hear from you! I was unaware of the Fassbinder imbroglio, but I know that my situation with Rowlands is far from unprecedented. Beatrice Welles did similar damage to the Orson Welles legacy. And many a movie star has moved into the "Norma Desmond" phase and done damage to his or her own reputation in a similar vein. But I strongly doubt if there will ever be a comparable article in Film Comment about Rowlands. Journalists are like hyenas. They only attack weak, contemptible, or crippled prey. Rowlands is still too powerful (and film journalists are still too "star-struck" with the fact that she was Cassavetes' wife and the lead actress in several of his films) to do an exposé on her. I haven't read the Film Comment Fassbinder article, but I would bet that the people they are attacking are not glamorous, famous movie stars. That would take courage, something that there is not an abundance of in American film journalism. -- R.C.
Paul Cronin responded:
Subject: Re: satan's mills
Nice, thanks Ray
Indeed, the people (person) under attack in the article are not movie stars
Far from it ... Your struggle at BU is a microcosm of the whole damned place
Never stop fighting until the fight is done
Learning by Doing: George Balanchine,
Suzanne Farrell, and Arthur Mitchell
A note from Ray Carney: I wanted to give a shout-out to Mike Plante's "Iblamesociety" web site and publication, Cinemad. Some of the material is currently available at this url. Mike has been one of the stalwarts of indie film coverage, criticism, and programming for many years (and if I'm not mistaken, is currently running the Cinevegas Festival).
One of his recent postings is an interview conducted by Nick Murray with filmmaker Betzy Bromberg. I recommend the entire interview, but as a teaser, here is an excerpt from Bromberg's discussion of her discovery that, while capitalism is about making PRODUCTS, art is about undergoing a PROCESS -- a process of discovery, learning, growing, and deepening yourself. In other words, making art is fundamentally different from manufacturing something to sell. It is about going on a journey, and being brave enough, and persistent enough, and patient enough to keep going, and to hold yourself open to wherever the journey takes you and whatever it reveals to you. -- R.C.
"When I was younger I wanted to make films faster. I think now about 'God, wouldn't it be great to be able to knock out films every two years?' to keep people present with your work. But honestly, it's really about the process. It you want to make long films, that process takes longer. I've never pressured myself that way. I've never rushed a film out to make a screening or a deadline. It takes as long as it takes, as long as you can stay with that process.
"Sometimes certain filmmakers will base the speed of the process based on a deadline or a grant. Some people need that motivation. I see that in students too. A deadline is a great thing because it motivates them to get it done. I believe that staying on something for a long period of time actually deepens the experience of making it....
"It's such a great process. It's wonderful to have this thing in your mind working all the time. Even when you're not working on the film. You know, driving, for instance and you're still thinking about it. I like being in that process. It feels good.
"And the between film time doesn't feel that good. You put so much life into making them, you finish a film and then you crash. Then you get all antsy because you know you need to start something. For me, the comfort is knowing that you're working on a film, just working on it, staying in that space is great. And then, of course, you have to finish. I mean, you can't let it go on eternally.
"All filmmakers have different approaches to how they make films. But when it comes to style, there is concern for being more distinct as you continue making films. This can be daunting unless you can get past that aspect and make the film you want to make. But that's something I'm completely over. I can't say that it was never one of my concerns. But now, I look forward to the moment where there's some clear thread that's exciting enough for me to feel like it's the journey I want to go on now. THAT's the film I want to pursue."
From: "Donal Foreman"
Subject: some Irish cinema worth watching...online!
Most of you know I'm usually a whiney git when it comes to the state
of Irish filmmaking, so I thought I'd share some positive news with
you on the subject, for a change... The very talented team of Lenny
Abrahamson and Mark O'Halloran, who made ADAM & PAUL and the recent
Cannes success GARAGE, has a four-part TV show that's started in
Ireland---and not only is it really really good, it's also available
to watch online.
I wrote about it on my blog here
and you can watch the show here
See what you think....
Tom Noonan -- the magical, mysterious guru in The Wife
A note from Ray Carney: This just in from my friend, Tom Noonan. I highly recommend his workshops. He is one of the great living actors and directors. (Enter the titles of his two films -- What Happened Was and The Wife-- in the site search engine, available in the blue ticket icon in the left margin of most site pages, to read more about his work.)
Subject: Tom Noonan's Drama Workshop December 1 - 9, 2007
Dear Friends and Artists,
I'm going to be conducting an intensive 9 day workshop (expanded from the previous 8 day version) .
All artists will act, write, and direct multiple scenes. The process will culminate in a performance of the produced work. Open to those with professional experience acting, writing, or directing for film or stage. Enrollment is limited to twelve artists.
NEXT WORKSHOP: Saturday, December 1 to Sunday, December 9, 2007
For information click here.
A note from Ray Carney: This also recently came in from MovieMaker magazine (which I've written for in the past). I also recommend their web site and hard-copy publication. -- R.C.
UPCOMING FILM FESTIVALS & CALLS FOR ENTRIES
AFI DALLAS International Film Festival, presented by Target and founding sponsor Victory Park, will be held March 27 to April 6, 2008. Early Deadline: October 26, 2007. Target will award unrestricted cash prizes of $25,000 to the winners of the Narrative and Documentary Competitions. Also, there's a $10,000 prize from HDNet for the Best HD Feature, as well as the Tex Avery Animation award and awards in the Texas, Student Film, and Shorts categories. Audience awards for Narrative Feature, Documentary and Shorts will also be presented. For more information email: info@AFIDALLAS.com Subscribe for the latest news and updates at www.AFIDALLAS.com.
Ever dream of becoming a famous filmmaker? If yes, then enter the only festival that promises to make its participants ALMOST FAMOUS! The Almost Famous Film Festival (A3F) is now accepting entries for its Short Film Festival February 11-15, 2008. The A3F is one of the fastest growing events in the country. Offering cash prizes, awards and A3F goodies, Almost Famous is a professionally run event where the filmmakers are first priority. For more information or to submit your film, visit www.theA3F.net or email@example.com.
The 7th annual ASHLAND INDEPENDENT FILM FESTIVAL takes place April 3-7, 2008 in the town The Washington Post says "is like a dream". Henry Jaglom declares Ashland "the dream festival of all time!" Ninety percent of seats are filled with engaged, arts-oriented audience members. The festival takes place on the five screens of the art-deco Varsity Theatre in historic downtown Ashland. Ernest Hardy (LA Weekly) says Ashland is "well on its way to being one of my favorite American festivals. It's the almost perfect blend of programming, audience and location." Early deadline: October 19. For more information go to www.ashlandfilm.org, firstname.lastname@example.org or myspace.com/ashlandfilm.
The BELOIT INTERNATIONAL FILM FESTIVAL is one of four festivals in the country that The New York Times suggested as alternatives to Sundance (Dec 2006). The 2008 BIFF will start on Jan.17 with a lavish launch party in Wisconsin's Gateway city of Beloit. The Festival will add a new venue in 2008, bringing to the number of community settings to nine, at which will be shown the anticipated 125 films from around the world and every genre. www.beloitfilmfest.com
CAROLINA FILM AND VIDEO FESTIVAL celebrates three decades of showcasing emerging filmmakers. The CFVF invite independent and student filmmakers to submit their works for our 2008 festival. It accept works from both student and independent filmmakers, divided by experience into the following categories: narrative, Documentary, experimental/animation, North Carolina, and high school. For rules and more information about submitting your film to next year's festival, visit: http://www.carolinafilmandvideofestival.org or www.withoutabox.com/login/1075. Early Deadline: September 30, 2007 Final Deadline: November 15, 2007. North Carolina and student filmmakers enjoy reduced entry fees.
The CHICAGO CINE TECH EXPO at Columbia College (Chicago) runs Sept. 27-29, 2007 and offers hands-on workshops, screenings, seminars and equipment exhibits. It's promotion, education and networking all in one. Sponsors include SMS Productions, Chicago Film Office, Columbia College, BDP&W Financial Group, MovieMaker Magazine, National Academy of the Moving Image, Reelchicago.com and Third Eye Productions. Speakers will include Frank Partipilo, NBC (three time Emmy winner); Rich Kim, Hollywood Director & Julie Laughlink, Executive Producer; Brian Valente, Redrock Microsystems; Peter Abraham, Hollywood Steadicam Operator; HD24P Workflow, JVC & Apple. Registration: three-day pass (regular $50.00/students $30.00), daily pass ($25.00), Equipment Exhibit & Screenings (FREE), Columbia Students (FREE). C ontact: Helena at 312/440-8963 or register at http://www.chicagocinetechexpo.com/registration.html.
The 11th CINE LAS AMERICAS INTERNATIONAL FILM FESTIVAL will be held April 23-May 1, 2008 in Austin, Texas. Call for Entries: September 15-December 15, 2007. Late deadline: January 15, 2008. Cine Las Americas showcases contemporary films from North, Central, South America, the Caribbean and Spain. Works made by or about Latinos and indigenous groups of the Americas are eligible. The festival grants Jury and Audience Awards in the categories of Dramatic Feature, Documentary Feature, Narrative and Documentary Short Film, and Youth Film. The festival is developing a market. For more information, visit www.cinelasamericas.org or contact email@example.com or call 512/535-0765.
The 9th Annual CROSSROADS FILM FESTIVAL will run April 3-6, 2008 in Jackson, Mississippi. Come challenge Mississippi's creative class & STILL be showered in Southern hospitality. This is where the music of delta bluesman Robert Johnson runs straight into the home of the international ballet competition. Tennessee Williams, Morris, Welty, Faulkner, James Earl Jones, Oprah, Morgan Freeman; some of the world's greatest musicians, quirky and creative folks. There'll be cash prizes, Southern celebrities, workshops, daily receptions and nightly jukin' with live music to toast you, the filmmaker. It's all about your story. Share it. They'll show you a great time. Entry Deadline Dec. 31, 2007. www.crossroadsfilmfest.com.
FILMSTOCK thanks everyone across the Earth who entered the fest, calling it their "pleasure to sift through the mountains of entries." Entrants should be expecting to receive word from the festival shortly whether their film has been chosen or not. And, whether you're in or not, if you want to go visit, contact the festival to start those travel arrangements. Filmstock starts on November 1st. www.filmstock.co.uk
FIRSTGLANCE FILM FEST 8 Hollywood Call for Entries!! Deadline for Entries Dec 8 2007. Features, Documentaries, Shorts, Animation, Student shorts, music videos, and more... Grand prize valued at over $12,000 and distribution opportunities for all Official Selections. FirstGlance has twice been named one of MovieMaker's Best Festival Investments and has been featured in Time Magazine. Don't miss out on what's been called "the go-to festival for indie films and filmmakers!" AND don't miss FirstGlance Film Fest Philadelphia 10 September 28- October 7, 2007 Philly's biggest truly indie film festival in history. Ten nights of screenings, events, seminars, courses, classes and afterparties. Tickets on sale NOW!! FirstGlance Film Festivals...by indie filmmakers, for indie filmmakers. Logon to www.firstglancefilms.com for info.
The FLORIDA FILM & MEDIA MARKET GLOBAL CONFERENCE will take place October 18-21 at the Alexander Resort in Miami Beach, Florida. Are you interested in having the opportunity to meet directly with buyers, distributors and production companies from all over the world at one venue? If the answer is "yes," then the Global Film & Media Conference is a must-attend event for you. Now in its second year, this international conference encourages networking, learning, sharing ideas and building new business relationships. Submissions: September 8, 2007, Regular Deadline; September 15, 2007, Late Deadline; September 22, 2007, WAB Extended Deadline http://www.withoutabox.com/login/6240.
THE INDIE SHORT FILM COMPETITION - Entering this innovative short film and video competition gives you a shot at being discovered by the right people and opening the right doors. Entrants stand a chance to win over $20,000 in cash and prizes. Winners are determined by an international panel of top industry judges. Ten categories to enter (Comedy, Horror/Thriller, Documentary, Music Video, etc.)! Winning short film and videos will receive international exposure. Sponsored by Sony Creative Software, Partners In Rhyme, Glidecam Industries, MovieMaker Magazine, Blackmagic Design, United One Productions and more! Deadline for entries is November 30, 2007. For more information visit their website at www.IndieShortFilms.net.
The INTERNATIONAL FILM FESTIVAL SUMMIT (IFFS) is the annual conference and trade show for professionals from the film festival industry. The International Film Festival Summit provides a platform for the community to explore ways to collaborate and promote the advancement of the film festival industry. This is a place to dialogue with your peers, share insights and gain knowledge that will help you grow your film festival and keep it thriving.
The JACKSON HOLE FILM FESTIVAL's early submission deadline is October 15th, 2007. Submit now for great savings and a chance to be a part of a premier competitive film festival that keeps the spotlight on the independent filmmakers. The 5th annual film festival will take place June 5-9, 2008. Eighty films will be screened to over 6,500 attendees. Lively evening events, unforgettable bands, high profile forums will enrich The Festival and give filmmakers a chance to network with film industry veterans. Find out why past filmmakers are raving about June in Jackson Hole and be a part of a truly independent film festival. Visit www.jacksonholefilmfestival.org for more information.
For six remarkable days in October, filmmakers, distributors and broadcasters join leading scientists, writers and conservationists in the heart of Grand Teton National Park for the most prestigious and well-loved nature filmmaking event of the year: the JACKSON HOLE WILDLIFE FILM FESTIVAL! Gathering from around the world, they come to this wild landscape for inspiration, to exchange and challenge ideas, explore new technology and celebrate the world's finest wildlife and environmental films. Network with 700 media professionals from over 30 countries in a backdrop of unparalleled wild beauty, October 1-6. Expand your knowledge. Perfect your craft. Develop projects, and examine prototype technology! Information: www.jhfestival.org. Questions: firstname.lastname@example.org.
The MILL VALLEY FILM FESTIVAL is turning 30! Known as a filmmakers' festival and regarded by Screen International magazine as one of the premiere non-competitive film festivals in the United States, the annual Mill Valley Film Festival offers a high profile, prestigious environment perfect for celebrating the best of independent and world cinema. Presented by the California Film Institute, the 30th Festival runs October 4-14, 2007 at the CinéArts@Sequoia, the Christopher B. Smith Rafael Film Center and other venues throughout the San Francisco Bay Area. Tickets are available beginning in mid-September. Tickets may be purchased online at www.mvff.com or by phone at 1-877-874MVFF (6833).
The fifth annual MILWAUKEE INTERNATIONAL FILM FESTIVAL, will take place September 20-30, 2007. The festival is a showcase and competition of premier fiction and documentary films from around the globe and features the Midwest Filmmaker Competition, an annual competition for films and filmmakers from the 12-state Midwest region. Shorts and features are eligible for Jury and Audience Awards. Cash prizes will be awarded for Best Feature and Best Short. "The level of audience interest and attendance at MIFF was amazing. The technical aspects were flawless. The overall program is extraordinary." - The Life of Reilly director Frank Anderson. For more information, visit http://www.milwaukeefilmfest.org.
Since the NH FILM FESTIVAL's debut in 2001 as the NH Film Expo, it has grown in leaps and bounds. These days, heavy hitters such as Avid and Regal Cinemas provide sponsorship, while industry leaders from Emerging Pictures, Film Threat and Philly Fests participate on panels and in workshops. Alumni film credits include national distribution, Academy Award nominations and screenings at major festivals worldwide. For more information about the upcoming event, check out www.nhfilmfestival.com or email email@example.com. The seventh annual NHFF will take place October 11th-14th 2007.
THE NEW STRAND FILM FESTIVAL, held in a historic downtown theatre, will feature three days of independent films, with Sunday highlighting children's films. This small Iowa festival offers independent filmmakers the opportunity to get involved with their audiences and won't have the hassles of larger festivals. For further information visit www.newstrandfilmfestival.org or firstname.lastname@example.org. Submissions accepted through February 14, 2008. Festival May 2-4, 2008 in historic downtown West Liberty, Iowa.
THE NEW YORK CINEMA MARKET's objective is to connect low-budget filmmakers with non-traditional financing sources. A filmmaker will show their existing film and after that provide information (including a detailed budget of under $200K) on their next film project. Targeted audience will include bankers, hedge fund executives, etc. who can come watch films and evaluate potential investment opportunities in a non-sales pressure pitch environment. The NYCM founder's background as a corporate banker provides access to this type of audience. Call for entry deadline is August 31. Visit http://www.newyorkcinemamarket.com or contact Paul at 646/285-6596 for more information.
THE NEXT REEL INTERNATIONAL FILM FESTIVAL at New York University's Tisch School of the Arts is the oldest international student film festival of its kind in the United States. During the weeklong festival, young filmmakers compete for almost $30,000 in cash prizes and awards. This year, Next Reel will take place in Singapore in conjunction with the official opening of Tisch School of the Arts Asia, the school's first campus outside of New York. The festival will take place from October 7 - 14, 2007 with daily screenings of over sixty films from over twenty countries. For more information please visit www.nyu.edu/info/tisch/ms0183.
The second annual A NIGHT OF HORROR INTERNATIONAL FILM FESTIVAL is now accepting feature films, shorts and music videos. Taking place in Sydney, Australia (April 2-6, 2008), the festival promotes the work of independent horror filmmakers. Winning films - chosen by a jury of film and media professionals - share in several thousand dollars of cash and other prizes. People magazine hailed the fest as "ghoulish gold for all tastes". Showtime Movie News asserts: "If your taste runs into the darker side of life then you don't want to miss A Night of Horror Film Festival". Regular deadline: October 5. Details: www.anightofhorror.com.
The OTTAWA INTERNATIONAL ANIMATION FESTIVAL (OIAF) is the premier animation festival in North America and an Academy Award recognized festival. For five days every September, Ottawa becomes the center of the animation world as animation fans, artists and industry executives descend on Canada's Capital for animation screenings, workshops and parties. Other events include the Television Animation Conference, the world-famous Animators Picnic, Technology Forum and the Animarket Trade Show. This year's festival runs September 19 - 23, 2007. For more information, visit www.animationfestival.ca or call 613-232-8769.
The PHOENIX FILM FESTIVAL is now accepting films and screenplays for its April Festival. Go to www.phoenixfilmfestival.com to submit your film today. The Phoenix Film Festival is the largest festival in Arizona and accepts features, shorts, animated shorts, student films and foreign films in both short and feature length. The festival has repeatedly been called "the best filmmaker festival" by filmmakers that have attended. The screenplay competition offers a cash prize and studio exposure.
SAN LUIS OBISPO INTERNATIONAL FILM FESTIVAL - March 7-16, 2008. Celebrates and supports the films and filmmaking community of yesterday, today and tomorrow. Located on California's Central Coast half-way between San Francisco and Los Angeles, SLOIFF offers you the opportunity to showcase your film before a wide array of active and influential members of the international filmmaking community. Now accepting foreign and domestic features, documentaries and shorts. Regular Deadline: November 1, 2007; Late Deadline: December 1, 2007, Withoutabox Extended Deadline: December 15, 2007. Best of Competition Award is $500. To submit, visit www.slofilmfest.org.
7th annual SCREAMFEST HORROR FILM FESTIVAL & SCREENPLAY COMPETITION takes place October 12-21 at the prestigious Grauman's Mann Chinese 6 at Hollywood and Highland in the heart of Hollywood. Call for entries deadlines are approaching for new horror feature films, shorts and feature-length screenplays. Film submission deadlines: July 15th (early); August 15th (final). Screenplay submission deadlines: June 15th (early); July 15th (regular); August 15th (final). Winning screenplay receives $1,000 cash and Movie Magic software. Screamfest is sponsored by Boost Mobile and Write Brothers, Inc. For more info www.screamfestla.com or email email@example.com.
THE SEDONA INTERNATIONAL FILM FESTIVAL & WORKSHOP announces its call for submissions for the 14th Annual festival, February 27 - March 2, 2008. The five-day festival features more than 125 films, including features, documentaries, shorts and animation. Filmmakers and audiences from around the world have heralded Sedona's festival as one of their favorites. The deadline for submissions to the Sedona International Film Festival & Workshop is Sept. 15, 2007, with an extended late entry deadline of Nov. 1, 2007. Visit www.sedonafilmfestival.com to download a film submission form or submit your entry through www.withoutabox.com. For more information, please call the festival office at 928/282-1177.
WHISTLER FILM FESTIVAL - Now in its seventh year, the Whistler Film Festival is an action-packed celebration of film set in North America's premier mountain resort. Showcasing 90+ films from Canada and around the globe, including premieres from top directors, and awarding $42,000+ in prizes and commissions, this premier event also features innovative industry programming including professional development, market and networking opportunities, invaluable networking and special events. Don't miss the action! Submission Deadlines: June 29 for early film submissions; July 13 for shorts; August 10 for features. Info: www.whistlerfilmfestival.com.
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