James Franco is asking the Australian Classification Board to reconsider its decision to ban "I Want Your Love," a feature film from Franco's "Interior. Leather Bar." co-director, Travis Matthews.
"This just is such a disappointment to me and just seems really silly," Franco says in a video uploaded to Matthews' YouTube channel on Monday.
Matthews' film –'I Want Your Love" –exploring gay male relationships has been banned from screening at festivals in Australia due to scenes containing explicit sex that the censors don't believe have any narrative context.
"Travis is making this film, including sex because he wants to explore story and character in the nuances that sex contains," the actor says. "Because films have been banned because of sex, sex in films hasn't had a chance to grow and become a sophisticated storytelling device."
"I Want Your Love" was scheduled to be screened twice at the Melbourne Queer Film Festival this month, but organizers have reluctantly replaced the programming and apologized to the audience.
"We're shocked that Classification Australia have taken this path. 'I Want Your Love' has screened to critical acclaim at dozens of festivals around the world. Australia is the first film festival to have it banned," a message on the MQFF's website reads. "We're sorry our audience won't be able to make up its own minds about adult content."
Franco, who returns to the box office this weekend in Sam Raimi's "Oz the Great and Powerful," agrees that adults should "be able to choose" their own viewing.
"They're not going in blind. I don't know why, in this day and age, something like this — a film that is using sex, not for titillation, but to talk about being human — is being banned," he concludes. "It's just embarrassing."
Watch Franco's plea:
Sundance is coming to Los Angeles. The Sundance Institute will launch a four-day film festival in Hollywood this summer, an extension of the Sundance Film Festival’s NEXT section.
That section of the Park City, Utah-based festival features films that take risks with visual and narrative style, defined by little more than their audacious filmmakers. It launched in 2010, and has been home to such projects as Craig Zobel's divisive thriller "Compliance," Mike Birbiglia's "Sleepwalk With Me" and Alexandre Moors' unreleased "Blue Caprice."
The new festival will feature unreleased films, panels, a shorts program and the annual ShortsLab: Los Angeles, a short filmmaking workshop. There is no lineup yet for this summer.
Running from Aug. 8 to 11, NEXT Weekend will be headquartered at Sundance’s own Sundance Sunset Cinemas in West Hollywood and will have additional screenings around the city at venues like the Museum of Contemporary Art and Hollywood Forever Cemetery. Sundance has already expanded to London.
“The best part of independent filmmaking is the freedom to tell your stories your own way, to take risks and not be beholden to convention of any kind. At the core of NEXT Weekend are artists that are taking risks and pushing boundaries,” Robert Redford, president & founder of Sundance Institute, said in a statement. “As such, it’s fitting that Sundance Cinemas will be the home for this festival and these films.”
The festivities will begin with an outdoor screening Aug. 8 at the cemetery and end with screenings at venues across the city.
The Los Angeles summer festival lineup grows more and more crowded, as this new event follows June’s Los Angeles Film Festival and July’s Outfest.
The Film Society of Lincoln Center has appointed former Village Voice film editor Dennis Lim as its new Director of Programming, a position previously held by Robert Koehler.
Koehler is resigning due to unspecified family health problems and moving back to Los Angeles.
Koehler, a critic and festival programmer, took the job in September after Richard Pena, head of programming for both the center and the New York Film Festival, stepped down. Koehler has written for such publications as the Christian Science Monitor and Variety.
“I am leaving the position of Director of Programming both with a sense of regret, particularly the feeling of personal separation from a wonderful staff and programming team, as well as absolute confidence, given the entrance of Dennis Lim, who has been a friend, colleague and fellow cinephile for several years and whom the Film Society is extraordinarily fortunate to have in a leadership role,” Koehler said in a statement.
Lim, who was the film editor of the Village Voice from 2000 to 2006, is a regular contributor to both the New York and Los Angeles Times. A professor at New York University, he is also the founding editor of Moving Image Source, the online magazine of New York's Museum of the Moving Image, where Lim has organized film series.
The Film Society of Lincoln Center spotlights independent and international filmmakers through screenings, retrospectives and festivals. As director of programming, Lim will oversee the curation of those events. He will begin April 1. In the interim Kent Jones, who oversees programming for the New York Film Festival, will do the same for the society as well.
Rose Kuo, executive director of the film society, described Lim as “an ideal partner and leader” thanks to his “important contributions to film writing and his talent as a programmer.”
“I’m excited and honored to be joining an institution that has played a central role in the vitality of New York film culture and meant a great deal to me personally as a writer and a moviegoer,” Lim said in a statement.
“Stoker,” the psychological thriller from director Park Chan-wook, averaged an impressive $22,689 per theater in its specialty box-office debut this weekend.
Fox Searchlight released the film, starring Mia Wasikowska, Matthew Goode, and Nicole Kidman, in seven theaters and its grossed $158,822 over the three days. In "Stoker," a mysterious and charming man comes to live with a young woman and her unstable mother after her father dies.
Also debuting was “Leviathan,” the documentary about the commercial fishing trade in the North Atlantic. It took in $10,018 on one screen at New York's IFC Center, distributor Cinema Guild reported.
Tribeca Films' “War Witch,” the Best Foreign Language Oscar-nominated tale of a 14-year-old African girl telling her unborn child the story of her life amid a war, opened to $10,260 on two theaters.
Also opening was "Hava Nagila," a documentary on the history, mystery, and meaning of the ubiquitous Jewish standard that follows the around-the-world journey of the song from Ukraine to Youtube. Harry Belafonte, Connie Francis and Leonard Nimoy appear in the film, which took in $9,521 from a single New York theater for International Film Circuit.
The Weinstein Company expanded “Quartet,” Dustin Hoffman's directorial debut set in a retirement home for musicians, from 356 theaters to 725. It took in $1.7 million, an average of $2,428 and raised its domestic total after eight weeks to $8.9 million.
David France's 2012 documentary "How to Survive a Plague" has been optioned by ABC Studios, which is planning to develop the film into a dramatic miniseries.
The film, which was nominated for an Oscar in the Best Documentary Feature Film category, chronicled the early days of AIDS activism by the coalitions ACT UP and TAG (Treatment Action Group).
France, who wrote and directed the film, will executive produce the miniseries project, along with Howard Gertler (who produced the film) and John Lyons.
In addition to the Academy Award nomination, "How to Survive a Plague" was nominated for an Independent Spirit Award and was an official selection at the Sundance Film Festival.
"Mistaken for Strangers" will be the opening night film at the Tribeca Film Festival this spring.
The film follows the indie band The National on tour. It was directed by Tom Berninger, who also happens to be the brother of The National's lead singer Matt Berninger.
It's an edgier choice to kick off the festival than "The Five-Year Engagement," the Judd Apatow-produced romantic comedy that opened Tribeca last year.
"Mistaken for Strangers" also will have its world premiere at the festival. The opening screening will take place on April 17, will be followed by a special performance by The National.
For the uninitiated, The National is a Brooklyn-based band that has been likened to Leonard Cohen and Wilco. Their 2010 album High Violet sold more than half a million copies worldwide. A brand new studio album from The National is slated for a May release.
Their songs have also been featured on the soundtracks to films like "Win Win" and "Warrior."
"When my brother asked me along on tour as a roadie, I thought I might as well bring a camera to film the experience,” Tom Berninger said in a statement. “What started as a pretty modest tour documentary has, over the last two and a half years, grown into something much more personal, and hopefully more entertaining. It's a huge thrill to be showing this movie at the Tribeca Film Festival."
Tribeca runs through April 28.
A24 will release Sofia Coppola's "The Bling Ring" June 14 and James Ponsoldt's Sundance hit is set for "The Spectacular Now" Aug. 2, the independent distributor announced on Thursday.
A24 acquired both projects in January — "The Bling Ring" on the eve of Sundance and "Spectacular" after it screened well at the Utah-based festival.
Coppola's film stars Emma Watson as one member of a group of real-life kids who tracked celebrities' wherabouts in order to rob their homes. They stole more than $3 million of goods from the likes of Paris Hilton.
Coppola wrote and directed the film based on Nancy Jo Sales’ Vanity Fair article, “The Suspects Wore Louboutins."
Ponsoldt's film stars Miles Teller as Sutter, a high-school senior who refuses to think about his future as those around him begin to plan for college and the next phase of their lives. After breaking up with his girlfriend, he meets Aimee (Shailene Woodley), a sweet, hard-working girl whose life contrasts with his own more hedonistic approach.
"(500) Days of Summer's" Scott Neustadter and Michael Weber wrote the script.
A24 launched publicly last August and just released its first movie, Roman Coppola's "A Glimpse Inside the Mind of Charles Swan III." It will open two more in March, "Ginger & Rosa" and "Spring Breakers," before turning to these two summer titles.
“Amour” was always the clear favorite in the Oscar foreign-language category, and its win on Sunday was one of the least surprising parts of a generally unsurprising ceremony.
But if Michael Haneke’s drama hadn’t been in the mix, there’s a good chance that Kim Nguyen’s “War Witch” would have emerged as a serious contender for the prize.
The film is the wrenching story of a teenage girl who becomes a child soldier in an unnamed African country – and then, because she can see the dead, the “witch” of the gang of rebels.
Starring the remarkable Rachel Mwanza, who won the best-actress award at last year’s Tribeca Film Festival, it will receive a post-Oscar release from Tribeca Film on Friday in New York and March 8 in Los Angeles.
Born in Montreal to a Vietnamese father and a French-Canadian mother, Nguyen has made four features. He was able to secure a visa for Mwanza and bring her to the Oscars.
How did you hit upon the story?
I was hunting for good stories, and I just found this amazing story about Johnny Htu, who was a Burmese child soldier. Johnny was nine years old, and he woke up one day and said he was the reincarnation of God. He became a kind of half God. He was forbidden to walk on the soil, because they were afraid it would soil his visions, so he was carried around all day. And he would smoke cigars every day.
As a storyteller I thought his story had power and humanity and all the elements that make a good film. And slowly I got pulled into the child-soldier element.
Did you meet with child soldiers while writing the script?
I went to Burundi to meet ex-child soldiers. What I saw in Africa was this complete superimposition of these heavy, intense, war-ridden countries where the love stories are the same as here. You still have boyfriends and girlfriends, and the girlfriends that are jealous because the boyfriend came home late last night. It's very simple. I find that odd and beautiful at the same time, and I wanted to try and convey that.
The story has its supernatural elements – but did you feel pressure to accurately convey a world of child soldiers in which truly horrifying things have happened?
Absolutely. And for me, the way to get it right was not to try to make the characters symbols for any political point of view. In fact, for many drafts we were so worried that we wouldn’t give the right message that we weren’t telling a good story. In the end, that was the greatest gift that this film has given me: to accept brutal honesty and truth.
In what way?
The best example is the rebels forcing children to kill their own parents. It’s not a generalized way of indoctrination, but it’s quite frequent. We kept trying to make it so maybe the [lead character] didn’t really kill her parents. Maybe she got slapped and lost consciousness, and the general put his finger on her finger, and we keep thinking that she did kill them but she didn’t. And it didn‘t work. In the end, we just had to say, “No, this is how it is.”
Where did you find your lead actress, Rachel Mwanza?
Well, I was really fearful that we weren’t going to find the right actress, because in this case I wouldn’t have a movie. One of the reasons we chose to shot in the Congo is because there was great amazing natural talent there. I guess it‘s from the heritage of verbal storytelling, you know?
And so we did an open call for actors. We already had the intuition that kids from the street could be pretty amazing, because of their rawness and their fearlessness. And it turned out to be pretty true. In the cases where these people could project their own personal lives onto the screen, it was just amazing. And Rachel was the best of them. She had this nonchalance. I guess when you live in the streets and you sleep on the side of the road, you don't care anymore about what people think. You're just there. And that's an amazing tool for an actor.
Was she living on the streets?
She was living on the streets. But as soon as we cast her we established a reinsertion program. She has a caretaker and she has a place to live, and she's back in school. But at the time she was still living on and off the streets.
Does she want to act more now?
She does. I'll have to be honest, there's a long way before she can work. She doesn’t know how to read yet. She’s learning, and she’s getting better. And she has her Facebook page so we can contact her. But she’s still a long way from understanding the subtleties of dialogue. I thinking there’s at least five to 10 years of work.
So Uncle Kim, which is what I am, tells her that she should learn another trade. But she hates me for doing that. She’s a teenager. [laughs] We bought Rachel a phone, and she said, “Kim, I can't put music on this.” There wasn't an MP3 reader and she couldn't take pictures, so she wanted a better phone.
How could she act in your film if she couldn’t read?
Because we work in such a different way. The actors never read the script, and we filmed in continuity. Every day it was like directed improvisations. All of the script and the dialogue was written, but the idea was to direct the improvisation in such a way that the dialogue would appear even though they never read it. And what's strange is that it did. Maybe 85 percent of what is on the page is there on the screen, and the rest is better.
How did you hit upon that process?
I had seen “Fish Tank,” and Andrea Arnold's work method was a huge inspiration. It blew me away in regards to performances. For me, that's my mantra: everything for authentic performances. You don't have a film, for me, if you don't have those performances.
I think Andrea Arnold is really influenced by Cassavetes, and their approach really echoes what I want to do from now on: organize everything so the actors are projecting their own selves on the screen. It makes it really real and raw.
It it hard to get financing when the process is that unconventional?
It was for a while. But Canada has a funding system that is quite organized and specific, and we were fortunate that the script had the strength to convince script analysts that it should be done.
The hardest part was convincing people that there shouldn‘t be Caucasian actors in the film. I’ve seen a lot of films where Africa gets saved, symbolically, by North America. And I wanted to give a voice to the real heroes in the stories.
You’ve made several other films, but “War Witch” was your first to get an Oscar nomination and receive this kind of attention. What was different this time around?
I do feel that “War Witch” was a breakthrough for me, where I was rediscovering my initial impulses to do film. The first three films, they’re my babies and I love all of them. But I did feel that when I did the one before this, “City of Shadows,” I had reached a kind of wall where the pressures of funding institutions, producers, co-production deals and all of that put a kind of varnish over the film that. It wasn’t raw and I didn’t feel that my hand was at the heart of the actors, in a way. I let down the actors because I didn’t push them to where they should have gone.
But in a way, I guess you have to do these films and scrape your knees and stand up.
So what did you do differently?
The big thing was not overpreparing, oddly enough. You prepare in a different way. You prepare in the way of understanding the characters, understanding the people, getting drunk with people in Kinsasha and understanding their lives. It’s not storyboarded anymore. It’s more like, we look at what’s happening and where the actors want to go and we bend our method to what they’re doing on the set. Very different from the previous films.