2009 Souvenir Program Guide - California Film Institute

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tickets 877.874.6833 TRIBUTE TO WOODY HARRELSON SELECTED FILMOGRAPHY 2009 The Messenger Zombieland 2008 Transsiberian 2007 No Country for Old Men The Walker 2006 A Prairie Home Companion 2005 North Country 1996 The People vs. Larry Flynt 1994 Natural Born Killers 1992 White Men Can’t Jump 1986 Wildcats TRIBUTE TO WOODY HARRELSON Thursday, October 15, 7:00 pm Tribute and Reception $75 TRIB15P Please note there are no Tribute Only tickets available for this event Christopher B. Smith Rafael Film Center Reception to follow at Tiburon Grill Woody Harrelson will participate in an onstage conversation about his career and will be presented the MVFF award. Following the screening of The Messenger, Harrelson will be joined by invited guests, co-star Ben Foster and director/co-writer Oren Moverman for a Q&A with the audience. Directly following the program don’t miss the reception at Tiburon’s hottest new restaurant, Tiburon Grill, featuring wine, cocktails and a delicious array of fresh, contemporary cuisine. Woody Harrelson will be presented with the MVFF award, designed by celebrated artist Alice Corning. RECEPTION SPONSORED BY WITH SUPPORT FROM THE MESSENGER US 2009 112 MINS Woody Harrelson is a by-thebook soldier assigned to the US military’s Casualty Notifi cation Offi ce in a fi lm that examines the complexity of grief, pain and loss as gently as a kiss, with a message like a punch in the gut. See page 95 for complete fi lm information. 65
PLAYING AGAINST TYPE by Michael Fox After a career-launching fi ve consecutive Emmy nominations (and one win) playing an ingenuous, much beloved bartender on a hit TV show, Woody Harrelson had to convince casting directors and moviegoers alike he could play someone else. In the box-offi ce smashes White Men Can’t Jump and Indecent Proposal, he did exactly that. Then came a dramatic lead in The People vs. Larry Flynt, earning an Academy Award nomination for his layered, sympathetic portrayal of the controversial Penthouse publisher. Versatility has become Harrelson’s trademark. The unassuming Texas-born, Ohio-reared actor’s remarkable range is on display this fall in the moving independent drama The Messenger (screening Oct. 15 in the Festival), the horror comedy Zombie- THE WALKER land, the apocalypse extravaganza 2012 and the dark character-driven comedy Defendor. Throughout his career, Harrelson has been an outspoken activist as well (his website is www.voiceyourself.com). We spoke with the MVFF Tributee via phone from Toronto, where he was attending that city’s fi lm festival. How did you escape being typecast in a top-rated sitcom? While I was doing Cheers, I felt like I couldn’t get a job doing anything else. Luckily, I met with Michael Caton-Jones at Michael J. Fox’s behest, and he hired me to do this movie [Doc Hollywood], which was similar in a lot of ways to Cheers but a little rougher character. It was lucky that Keanu Reeves couldn’t really play basketball; otherwise I wouldn’t have got White Men Can’t Jump. [laughs] Ron Shelton gave me a break, and it was ironic because it was around the time of Bush War I and I was in my own way protesting and getting a lot of fl ak for it. Ron, as opposed to maybe some other, more timid director, was kind of enamored by that and thought that was a real good thing. I don’t know how much it helped me but it didn’t hurt me because we had pretty similar opinions. 66 WOODY HARRELSON You give credit to others, but when the cameras rolled you had to be convincing as someone other than a doofus bartender. I look at him more as a naïve bartender. Right after White Men Can’t Jump came Indecent Proposal, and that was a little more dramatic. It was all by slight gradations that things shifted. When I did Natural Born Killers, and The People vs. Larry Flynt, that helped move me out of this one-note type of perception. What was it like working with Oliver Stone on Natural Born Killers? It was a pretty wild way to make a movie. It was shot very fast, in 50-something days. After he’d be done working with us, he’d go and edit this other movie [Heaven & Earth]. The hours he was putting in were kind of staggering,—and then still managing to out-party us all. We’d be on a big soundstage, and we’d be in one room and we’d shoot something and they’d already have this other thing set up and lit and we’d go immediately over and shoot that. He might shoot with another mvff.com
Page 2 and 3: MILL VALLEY FILM FESTIVAL 32 CONTEN
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Page 10 and 11: A WORD ON OUR GREEN INITIATIVE Cali
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Page 20 and 21: CALIFORNIA FILM INSTITUTE EDUCATION
Page 22 and 23: THOUGHT INTO ACTION, OR BUBBLING UN
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Page 26 and 27: Thurman’s career is notable for i
Page 28 and 29: BE TRUE TO YOUR HEART: BRING THE MA
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Page 34 and 35: MIROIR…MYSTÈRE…MAGIQUE by Kare
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Page 38 and 39: WORLD PREMIERES Imbued Passengers P
Page 40 and 41: 5@5: OSCILLATE WILDLY 5@5: SISTER I
Page 42 and 43: THE BASS PLAYER: A SONG FOR DAD VAL
Page 44 and 45: EAT THE SUN THE ECLIPSE AN EDUCATIO
Page 46 and 47: THE GIRL ON THE TRAIN (LA FILLE DU
Page 48 and 49: HIPSTERS (STILYAGI) WORLD CINEMA FO
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Page 52 and 53: THE MESSENGER MINE MIRACLE IN A BOX
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Page 68 and 69: THE YOUNG VICTORIA YOUTH IN REVOLT
Page 70 and 71: THURSDAY OCTOBER 8 SATURDAY OCTOBER
Page 72 and 73: WEDNESDAY OCTOBER 14 RAFAEL RAFAEL
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Bonnie Leonard, Leslie Leslie, Davi
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Flavio Gomez, Jean Gomez, Christine
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MVFF HOSPITALITY LOUNGE Adjacent to
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Happy Tears Meghann Burns Roadside
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Sparrow Jon Soo Tai Seng Entertainm
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2009 Souvenir Program Guide - California Film Institute

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