by Sean Uyehara
Photos by Michael Rauner
This past weekend, we presented the third annual Essential SF, the Film Society’s newest edition in our growing compendium of people, organizations and films that we consider “essential” to Bay Area film culture.
There’s a necessary arbitrariness to the selection each year, as there is no way that we can include every person, film, thing and idea that comprises the Bay Area film community (of course), and that’s not really the goal anyhow. So, the Essential SF list isn’t exhaustive.
What it’s really aiming towards is the celebration of the social context we luckily have here for making, presenting and attending movies.Read More
By John Slattery
Having been overseas for three and a half years, I returned to the United States. When I came back, I came straight to San Francisco.
In the first few weeks people would ask, “So, where’d you move here from?” When I told them I’d just come from a year of teaching in Paris, 99% of their responses had a similar theme, which all fit into one category: I LOVE PARIS!
Often in the same conversations, their follow up question had to do with where I was before Paris. When I told them that I’d been a Peace Corps Volunteer in Morocco for two and a half years—they had a very different kind of response.Read More
By Alejandro Adams
“If we do not reunite Sykes and Thornton, which shows that people do side together, that they do stick with each other...then perhaps we have destroyed everything we have been talking about in this picture.”
—Producer Phil Feldman in a letter to Sam Peckinpah regarding the final scene of The Wild Bunch*
It's not every day that a notorious bruiser of a director gets along with his producer. But it's equally rare that a producer respects a filmmaker and his vision to the degree illustrated by the note above—Feldman had even protested Peckinpah excising some of the film's more violent bits. Directors are usually the ones who get so far up the ass of their own work they can't see clearly. In a somewhat alarming inversion, Feldman was a producer exhibiting more concern for the integrity of the film than for the paying audience.**
I've started with an anecdote about a producer not only because this quasi-promotional outing is brought to you by Ted Hope's kind invitation but also because filmmaking is about relationships, sometimes just one relationship, and it can feel like the scene that reunites Sykes and Thornton. Or not.Read More