AFI has announced that Academy Award® and Emmy®-winning writer/director Aaron Sorkin will be honored by AFI FEST 2017 presented by Audi with a Tribute and Premiere Closing Night Gala screening of STXfilms and The Mark Gordon Company’s MOLLY’S GAME on Thursday, November 16, at the historic TCL Chinese Theatre.
The Tribute will celebrate Sorkin’s career with a moderated discussion of his work followed by the Gala premiere screening. Written and directed by Sorkin, MOLLY’S GAME stars Academy Award® nominee Jessica Chastain and Idris Elba. The film was produced by Mark Gordon, Matt Jackson and Amy Pascal. Entertainment One (eOne) and The Mark Gordon Company financed the feature, with eOne directly distributing the film across its territories. (Sierra/Affinity handled international sales). The Closing Night Gala will be sponsored by VIZIO.
Note that all previously secured tickets to ALL THE MONEY IN THE WORLD and the two previously scheduled MOLLY’S GAME screenings will be honored at this newly announced Closing Night Gala.
“Aaron Sorkin is an American master, and we are proud to shine a proper spotlight on his directoral debut, MOLLY’S GAME, on AFI FEST’s Closing Night,” said Jacqueline Lyanga, AFI FEST Director. “As Sorkin embarks on this next chapter of his career, his talents are timely for a tribute as he brings his gift of crafting compelling narratives and complex characters to the story of female impresario Molly Bloom.”
One of our nation’s most acclaimed screenwriters, Aaron Sorkin has been honored with an Academy Award® for Best Adapted Screenplay for THE SOCIAL NETWORK (2010) and four Emmys® for THE WEST WING. Additional film credits include A FEW GOOD MEN (1992), MALICE (1993), THE AMERICAN PRESIDENT (1995), CHARLIE WILSON’S WAR (2007), MONEYBALL (2011) and STEVE JOBS (2015). Sorkin has also created and written THE NEWSROOM, SPORTS NIGHT, STUDIO 60 ON THE SUNSET STRIP and THE WEST WING for television.
ABOUT THE FILM
Oscar® nominee Jessica Chastain stars in Oscar®-winning screenwriter Aaron Sorkin’s directorial debut, set in the glamorous world of high-stakes underground poker games. DIR Aaron Sorkin. SCR Aaron Sorkin. CAST Jessica Chastain, Idris Elba, Kevin Costner, Michael Cera, Jeremy Strong, Chris O’Dowd, Bill Camp.
As part of AFI FEST 2017 and the 50th Anniversary of the American Film Institute, a celebration of the late filmmaker Robert Altman’s work , a true master and icon of American cinema, is on display through a series of films.
Born in Kansas City in 1925, Robert Altman was one of the preeminent auteurs of American cinema, from his first studio hit M*A*S*H (1970) to his 39th feature A PRAIRIE HOME COMPANION (2006). In the pantheon of American directors, Altman was a maverick who worked both inside and outside the Hollywood system. His films exhibit a trademark style of diffuse ensemble narratives, complex soundtracks and restless zoom lenses. Film remained Altman’s tireless passion until his death in 2006, and he remains an iconoclast of modern American cinema. This year, AFI FEST is proud to present 12 of his greatest achievements.
Ahead of the festival retrospective, AFI spoke with Stephen Altman, Robert Altman’s son and frequent collaborator. Stephen Altman served as the production designer on a wide range of Altman films, from THE PLAYER to GOSFORD PARK, which earned him an Oscar® nomination.
The Robert Altman Retrospective launches at AFI FEST on Thursday, November 9, with THE PLAYER. Head to the Film Guide for free tickets to all 12 Altman screenings.
AFI: You were a production designer on many of Robert Altman’s films. Can you talk about what it was like to collaborate so closely with your father?
Stephen Altman: It was heavy teamwork. He told me what to do, and I said “Yes, sir.” No, actually it started early on. I started as an apprentice editor and projectionist when I was 17, for CALIFORNIA SPLIT — if you’re a gambler, that’s a great one — and on NASHVILLE, I was apprentice editor and did projection for the dailies, but during the day I was helping the sound team. He had made that eight-track sound recorder, with seven mics, which was a new thing. Then I segued into property. I was then on the set for most of the filming, so [Robert Altman] got very used to me. It was an easy transition from there to being his property master and later his set decorator, then his art director, then production designer. I hadn’t stopped working for him since 1974. His last two films I didn’t work on. When he died, sadly, we were scouting locations for another movie. It was abrupt. Had I known that A PRAIRIE HOME COMPANION was his last movie, I would’ve quit what I was doing and ran to it.
AFI: The AFI FEST Retrospective offers a wide-ranging survey of Robert Altman titles, including some his better known efforts such as NASHVILLE, as well as works awaiting rediscovery, such as VINCENT & THEO and KANSAS CITY. What are some of your personal favorites?
SA: MCCABE & MRS. MILLER may be one of my favorite films, not just a favorite “Bob” film. I think it stands out among all of them. I love THE LONG GOODBYE — just really watchable, and fun and interesting. M*A*S*H is timeless. It’s still funny to me, and cool. NASHVILLE I may not like as much as everybody else does, but I get it. I understand why it’s insane and wonderful at the same time. Of all of them, MCCABE & MRS. MILLER is maybe more conventional in some way, with real movie stars.
AFI: And what about a film like SHORT CUTS, which is three hours long but thoroughly engrossing from start to finish, and with a huge tapestry of characters and interweaving plots?
SA: That was very personal for me. It was very funny. At the first screening, it shook me. I used to be in property and editorial and so I would end up watching every single frame of film like a hundred thousand times between dailies and cutting the film. When I moved into production design, I avoided editorial, so when I watched the first cut I thought, “Oh this is fresh and new to me.” I left the screening and my dad called me the next day and said, “I think everybody loved the movie except one person.” I said “Who?” He replied, “You.” I was just shaken by the movie. It’s really heavy. I loved working on it. There’s another one, A WEDDING: it’s not similar but in an Altman kind of way, he turned it from a farce and a comedy into a tragedy without you realizing.
AFI: This retrospective is a treat for Altman fans, but is also meant as an entry-point for those who haven’t discovered Altman before. What would you say to a neophyte who’s starting to navigate the world of his films?
SA: You can see a thread in a lot of them, but they’re all really different. He never did the same movie twice. I would just say what he always said, which was, “Giggle and give in.” Some of them are more commercial or accessible than others. You go from something like MCCABE & MRS. MILLER to NASHVILLE — that’s a pretty big stretch in seven years.
AFI: 3 WOMEN is a good example of a movie that certainly would not be made today.
SA: Right. Exactly. That was the luxury of Fox films at the time. [Robert Altman] said, “Hey, I had this dream the other night. I wrote a script.” And Alan Ladd, Jr., who was running Fox at the time, said “Here’s a million-and-a-half dollars, go to Palm Springs and make a film. Don’t go over budget.” That’s how he used to do those kinds of things. That was quite a fun time in the desert. That’s his real weird dreamy thing. He loved playing with the camera. He had this kind of a water-and-oil mobile sculpture, what he called “the wave machine.” It looked like a flat aquarium. It had oil on the top and blue water on the bottom and it rocked back and forth on a machine and made what looked like ocean waves across the screen. He was always inventing those kinds of things. On QUINTET, he would put Vaseline on the lens to blur the edges.
AFI: Altman had the spirit of an independent filmmaker even while making studio films, where he maintained creative freedom. How did he accomplish that?
SA: For the most part, they let him go. On one of his later films, THE GINGERBREAD MAN, with Kenneth Branagh, he was more of a director-for-hire. His shooting style, his camerawork and his editing are pretty much done in his head as he’s making the movie. The studio basically got scared of the movie, took it away from him and gave it to a Hollywood editor to try and recut it, with traditional close-ups and that kind of thing. They couldn’t do it, and they couldn’t even put it back together. They gave it back to [Altman] later and said, “Here, put it back together, do what you want. We can’t make any sense of this movie.” He had such his own style that it was hard for anybody really to interfere. It’s hard to go onto the set and say, “You’re doing this wrong.”
On THE PLAYER, we have that 10-minute opening shot. That was no improvisation. That was planned to a T. We built a model of the parking lot, with models of cut-out people. The camera was on this crane with a partially flattened tire and we used the parking lot as basically a huge dolly, and we rehearsed the hell out of that. We could have probably used the first take and walked away. They used take 16, and wrapped right after lunch, and we were four days ahead of schedule. He was really efficient with his money, and everyone knew that, so I think the studios let him be because he would only spend a certain amount of money and come back with a movie. People were eager to gamble with him.
AFI: Why do you think Altman is a filmmaker we are still talking about today?
SA: He was innovative; he didn’t give in. He had basically final cut on his movies. He was never rich, never got big budgets precisely because he would never let the studios make a movie for him. He said, “If you want a movie, I’ll make my movie.” He was brutal to screenwriters — you give him your script and it may not be recognizable at the end of the day.
After POPEYE, which was deemed the biggest bomb in the entire history of filmmaking, it was hard for him to get any kind of work. That’s when he was filming one-hour plays in a theatrical stage the size of your closet. They offered him M*A*S*H 2. He said, “I can’t do it. It would ruin my career. I’d be like everybody else.” At the end of the day, everybody’s pleased he didn’t do stuff like that. He stuck to his guns. I hate to put him on a pedestal but he was kind of pure in this way. He really didn’t give in to the pressure.
Actors loved him so much because he basically said, “Go out there and act.” Some people were intimidated by that, not having an actual script. “Wait, I’ve got to write my dialogue by myself?” The ones that loved it, embraced it, it was a big joy to them. I think he made everybody comfortable — except for the crew.
AFI today announced the Presentations and Conversations lineups for AFI FEST 2017 presented by Audi.Events include a conversation on directing with Christopher Nolan; a conversation with filmmaker Agnès Varda; a roundtable of documentary filmmakers presented by the Los Angeles Times; The Hollywood Reporter’s Indie Contenders Roundtable with eight standout artists; an in-depth conversation with director Patty Jenkins; a conversation on storytelling with Angelina Jolie and Loung Ung; and a conversation with Martin McDonagh and Sam Rockwell about THREE BILLBOARDS OUTSIDE EBBING, MISSOURI, presented by Variety.
The complete AFI FEST program includes 137 films (93 features, 44 shorts), representing 53 countries, including 40 films directed/co-directed by women, 19 documentaries and 14 animated short films. The breakdown by section is: Galas/Tributes (6), Special Screenings (7), American Independents (11), New Auteurs (11), World Cinema (30), Midnight (3), Cinema’s Legacy (9), Retrospective (12), Youth and Family (2) and Short Films (44). This year’s program includes 14 official Best Foreign Language Film Oscar® submissions and 25 films featuring 76 AFI alumni.
CINEMATIC STORYTELLING: A CONVERSATION WITH CHRISTOPHER NOLAN
Director/writer/producer Christopher Nolan discusses his latest film, DUNKIRK, centering on the British maneuvers from the land, sea and air as the military and civilians attempt to save 400,000 soldiers from the beaches of Dunkirk, France, during World War II. A special 70mm film presentation of DUNKIRK will precede the discussion.
WORLD CINEMA MASTER IN CONVERSATION: AGNÈS VARDA
French auteur and AFI FEST 2013 Guest Artistic Director Agnès Varda sits down for a discussion of her career and her new film FACES PLACES (co-directed with French installation artist JR). The event begins with a screening of FACES PLACES. The event will be moderated by Serge Toubiana, President of UniFrance.
INDIE CONTENDERS ROUNDTABLE
Hear from a diverse panel of artists who have done standout work in independent film this year. Presented by The Hollywood Reporter and moderated by columnist and blogger Scott Feinberg, the panel will feature a 90-minute discussion with the artists about their careers and influences, as well as the challenges and rewards of working on indies. Panelists include Sean Baker (THE FLORIDA PROJECT), Richard Gere (NORMAN: THE MODERATE RISE AND TRAGIC FALL OF A NEW YORK FIXER), Salma Hayek (BEATRIZ AT DINNER), Diane Kruger (IN THE FADE), Kumail Nanjiani (THE BIG SICK), Robert Pattinson (GOOD TIME), Margot Robbie (I, TONYA) and Lois Smith (MARJORIE PRIME). The roundtable is presented by The Hollywood Reporter and will be moderated by Scott Feinberg their lead awards analyst.
Los Angeles Times film critic Justin Chang sits down with a panel of distinguished directors behind some of the most talked-about and acclaimed documentaries of the year. The panelists will include Evgeny Afineevsky (CRIES FROM SYRIA), Greg Barker (THE FINAL YEAR), Kasper Collin (I CALLED HIM MORGAN), Feras Fayyad (LAST MEN IN ALEPPO), Yance Ford (STRONG ISLAND), Bryan Fogel (ICARUS), Steve James (ABACUS: SMALL ENOUGH TO JAIL), Amanda Lipitz (STEP) and Brett Morgen (JANE). The roundtable it presented by the Los Angeles Times.
ON DIRECTING: PATTY JENKINS
WONDER WOMAN director and AFI Conservatory alumna Patty Jenkins sits down for a moderated, in-depth discussion.
ON DIRECTING: SOFIA COPPOLA
Director/writer Sofia Coppola sits down to discuss her latest film, THE BEGUILED, set during the American Civil War and centering on an all-female Southern boarding school that takes in a wounded Union soldier, with unsettling results.
ON ACTING: BRINGING APES TO LIFE – ANDY SERKIS, TERRY NOTARY, MATT REEVES, JOE LETTERI
Actors Andy Serkis and Terry Notary, director Matt Reeves and Senior Visual Effects Supervisor Joe Letteri of the critically acclaimed and visually stunning WAR FOR THE PLANET OF THE APES sit down for a panel discussion on how performance capture and visual effects bring complex and emotional characters to life.
ON COLLABORATIVE STORYTELLING: ANGELINA JOLIE AND LOUNG UNG
Director Angelina Jolie and writer Loung Ung discuss the artistic and cross-cultural collaboration that brought FIRST THEY KILLED MY FATHER to the screen. Based on Ung’s autobiography, the film centers on a young girl who must embark on a harrowing quest for survival amid the sudden rise and terrifying reign of the Khmer Rouge in Cambodia. FIRST THEY KILLED MY FATHER is Cambodia’s official Best Foreign Language Film Oscar® submission.
CINEMA’S LEGACY: A CONVERSATION WITH JORDAN PEELE
GET OUT director/writer Jordan Peele sits down for an in-depth conversation about his film and the impact and legacy of GUESS WHO’S COMING TO DINNER (1967), the groundbreaking, Oscar® winner about an interracial romance starring Sidney Poitier that celebrates its 50th anniversary this year. GUESS WHO’S COMING TO DINNER will screen following the conversation.
IN CONVERSATION:MARTIN MCDONAGH AND SAM ROCKWELL
Director/writer/producer Martin McDonagh and actor Sam Rockwell, who have a long relationship working together for both the stage and screen, sit down for a moderated discussion with Jenelle Riley of Variety on THREE BILLBOARDS OUTSIDE EBBING, MISSOURI, a darkly comedic drama centering on a mother (Frances McDormand) who makes a bold move to find her daughter’s murderer, riling local law enforcement. The conversation is presented by Variety.
Academy Award®-nominated director and producer Ridley Scott will be honored by AFI FEST 2017 presented by Audi with a Tribute and World Premiere Closing Night Gala screening of TriStar Pictures’ ALL THE MONEY IN THE WORLD on Thursday, November 16, at the historic TCL Chinese Theatre. The Tribute will celebrate Scott’s legendary filmmaking career with a moderated discussion of his work followed by the World Premiere screening. Directed by Scott, ALL THE MONEY IN THE WORLD stars Academy Award® nominees Mark Wahlberg and Michelle Williams, and Academy Award® winner Kevin Spacey. The Closing Night Gala will be sponsored by VIZIO.
One of our most prolific directors and producers, Ridley Scott is a four-time Academy Award® nominee, including Best Picture for THE MARTIAN (2016) and Best Director for BLACK HAWK DOWN (2001), GLADIATOR (2000) and THELMA & LOUISE (1991). Additional films include ALIEN (1979), BLADE RUNNER (1982), LEGEND (1985), BLACK RAIN (1989), G.I. JANE (1997), MATCHSTICK MEN (2003), KINGDOM OF HEAVEN (2005), AMERICAN GANGSTER (2007), ROBIN HOOD (2010), PROMETHEUS (2012), THE COUNSELOR (2013), EXODUS: GODS AND KINGS (2014) and ALIEN: COVENANT (2017).
ALL THE MONEY IN THE WORLD follows the kidnapping of 16-year-old John Paul Getty III (Charlie Plummer) and the desperate attempt by his devoted mother Gail (Michelle Williams) to convince his billionaire grandfather (Kevin Spacey) to pay the ransom. When Getty, Sr., refuses, Gail attempts to sway him as her son’s captors become increasingly volatile and brutal. With her son’s life in the balance, Gail and Getty’s advisor (Mark Wahlberg) become unlikely allies in the race against time that ultimately reveals the true and lasting value of love over money.
Directed by Ridley Scott, TriStar Pictures’ and Imperative Entertainment’s ALL THE MONEY IN THE WORLD is written by David Scarpa, based on the book by John Pearson. Produced by Dan Friedkin, Bradley Thomas, Quentin Curtis, Chris Clark, Ridley Scott, Mark Huffam and Kevin Walsh, the film stars Michelle Williams, Kevin Spacey, Mark Wahlberg, Romain Duris, Charlie Plummer and Timothy Hutton.
The Meet the Press Film Festival in Collaboration With the American Film Institute has announced its full slate of official selections — 16 short-length political documentaries produced by filmmakers from across the country.The inaugural film festival will be held at the Landmark Atlantic Plumbing Cinema in Washington, DC, on the evening of November 13. Film screenings will be organized under seven issues and followed by Q&As with the respective filmmakers and an NBC News correspondent.
See below for descriptions of the selected films. Tickets to the festival are now on sale and available here.
Battling America’s New Epidemic
“Heroin(e)”: Once a bustling industrial town, Huntington, WV has become the epicenter of America’s modern opioid epidemic, with an overdose rate 10 times the national average. This flood of heroin now threatens this Appalachian city with a cycle of generational addiction, lawlessness and poverty. But within this distressed landscape, Peabody Award-winning filmmaker Elaine McMillion Sheldon (“Hollow”) shows a different side of the fight against drugs — one of hope, highlighting three women working to change the town’s narrative one person at a time.
Love and the Law
“62 Days”: Marlise Muñoz was 33 years old and 14 weeks pregnant with her second child when she died, suffering a pulmonary embolism. Pronounced brain-dead in a hospital in Fort Worth, TX, she had discussed her end-of-life wishes with her husband and did not want to be on life support. Director Rebecca Haimowitz tells the story of how, despite this, her family was forced to keep Marlise on mechanical support due to a little-known state law.
“Edith + Eddie”: Edith and Eddie, at ages 96 and 95, became America’s oldest interracial newlyweds. Their love story, told by director Laura Checkoway, is disrupted by a family feud that threatens to tear the couple apart.
Life After Prison
“Knife Skills”: Over 650,000 people are released from prison every year. Director Thomas Lennon follows the launch of an haute cuisine restaurant in Cleveland, staffed by men and women recently released from behind bars to tell the story of re-entry, second chances and the healing power of fine food.
Higher (Court) Education
“Fight for the First”: Director Sharon Liese addresses the freedom of the press in the Trump era through the eyes of journalists-in-training at the world’s oldest journalism school.
“Gavin Grimm vs.”: Director Nadia Hallgren tells the story of transgender teen Gavin Grimm suing his local school board in 2016 after its members refused to let him use the bathroom of his choice. He was ready to take his case all the way to the Supreme Court — and then the election happened.
The Cost of Justice
“A Debtors’ Prison”: Across the racially segregated landscape of St. Louis County, MO, thousands are routinely sent to jail because they cannot pay local court fines and fees. The vast majority of those fined are poor and black. Directors Brett Story and Todd Chandler follow two plaintiffs in an unfolding court case, as they describe the matrix of controls that subjected them to incarceration for being poor.
“Shawna: Life on the Sex Offender Registry”: After having consensual sex with a younger boy while she was still a teenager, Shawna Baldwin found herself one of the 800,000 people on America’s sex offender registries. Director David Feige explores the effects on her life, as she is now in her mid-30s and a mother of three.
“219”: A chilling portrait of the inner-workings of the death penalty in America, directed by Ed Hancox and told by the man once known as “the face of executions.”
Living in America
“Election Day 2016″: After a long and contentious presidential campaign, 10,000 people spontaneously came to pay tribute to Susan B. Anthony’s grave in Rochester, NY. They placed their “I Voted” stickers upon her headstone and expressed their pride and gratitude to America’s most famous suffragette.
“Osama and Ayman”: Osama and Ayman are brothers, skateboarders, entrepreneurs, Americans and Muslims. As they skate through the streets of our nation’s capital, they navigate growing Islamophobia with characteristic style and humor in a film directed by Ben Mullinkosson, Sam Price-Waldman and Chris Cresci.
“From Aleppo to L.A.”: Director Julia Meltzer tells the story of Dalya and her mother Rudayna fleeing Aleppo for Los Angeles in 2012. Can they hold on to their Islamic traditions in a country that doesn’t embrace them?
“Roadside Attraction”: After a very famous airplane arrives at Palm Beach International Airport, an otherwise ordinary stretch of Florida highway attracts an avid cluster of excited onlookers and selfie-takers, directed by Ivete Lucas and Patrick Bresnan.
On the Edge
“Ferryman at the Wall”: Originally proposed as an international peace park with Mexico, Big Bend, TX has a unique relationship with its southern neighbor. For the past 40 years, Mike Davidson has been ferrying tourists across the Rio Grande for a little taste of Mexican life — but now, as director David Freid shows, a great big border wall might divide the park.
“Los Lecheros”: The fates of undocumented immigrant workers and Wisconsin’s $43 billion dairy industry are closely intertwined, as director Jim Cricchi tells the story of how both are grappling with their options for survival as fears of ICE raids and deportations under the Trump administration grow.
“Monument | Monumento”: Director Laura Gabbert tells the story of Friendship Park, a unique meeting place along the US-Mexico border where family members and loved ones from both countries can see and speak to each other through a meshed fence, but cannot touch.
Actor, director, writer and producer George Clooney will be the recipient of the 46th AFI Life Achievement Award, the highest honor for a career in film. The award will be presented to Clooney at a Gala Tribute on June 7, 2018, in Los Angeles, CA. The AFI Life Achievement Award Tribute special will return for its sixth year with Turner Broadcasting to air on TNT, followed by encore presentations on sister network Turner Classic Movies (TCM). Audi and VIZIO return as Official Sponsors of the event.
George Clooney is one of Hollywood’s most dynamic multi-hyphenates, a presence bigger even than his movies. With an instantly recognizable charm, he has captivated audiences in front of the camera, and defined a cinematic voice all his own behind it — all while using his global voice to shine light on issues of human rights, climate change and more. Throughout a career spanning screens big and small, his work has earned him eight Academy Award® nominations and two wins — with nominations in the most categories ever. He won an Oscar® for Best Supporting Actor for SYRIANA (2005), and went on to earn Best Actor nominations for MICHAEL CLAYTON (2007), UP IN THE AIR (2009) and THE DESCENDANTS (2011) — all films grounded by his signature charm, and his universal relatability.
Clooney is as accomplished a filmmaker as he is a performer, from his directorial debut CONFESSIONS OF A DANGEROUS MIND (2002) to his multiple-Oscar®-nominated GOOD NIGHT, AND GOOD LUCK. (2005) and THE IDES OF MARCH (2011). He earned a Best Picture Academy Award® for producing ARGO (2012). On screen, he continues to deliver performances that are moving, humorous and human, with additional acting credits including: OUT OF SIGHT (1998), THREE KINGS (1999), O BROTHER, WHERE ART THOU? (2000), the OCEAN’S trilogy (2001, 2004, 2007), SOLARIS (2002), BURN AFTER READING (2008), FANTASTIC MR. FOX (2009), GRAVITY (2013), and HAIL, CAESAR! (2016). His latest project is SUBURBICON (2017), which he directed, and also co-wrote alongside his frequent collaborators the Coen brothers.
About George Clooney
Born in Lexington, Kentucky, to a former beauty pageant queen and an anchorman, George Clooney spent much of his youth in Ohio and Kentucky. He had dreams of becoming a professional baseball player, but did not make the cut for the Cincinnati Reds. He was instead encouraged to pursue acting by his cousin, late actor Miguel Ferrer.
In 1984, Clooney landed his first major role on the TV sitcom E/R — not to be confused with the long-running hospital drama, ER, that would later make Clooney a household name. Early TV credits included popular series such as THE FACTS OF LIFE and ROSEANNE, and bit parts on MURDER, SHE WROTE and THE GOLDEN GIRLS. His breakout as Dr. Doug Ross on ER earned him two Primetime Emmy® nominations for Outstanding Lead Actor, and led to high-profile film roles in FROM DUSK TILL DAWN (1996), ONE FINE DAY (1996) and BATMAN & ROBIN (1997). His starring role in the film OUT OF SIGHT marked the beginning of a long-lasting collaboration with one of our greatest filmmakers, Steven Soderbergh, on films including the OCEAN’S trilogy and THE GOOD GERMAN. In 2000, he starred in the Coen brothers’ O BROTHER, WHERE ART THOU?, forging another iconic collaboration that continued with INTOLERABLE CRUELTY (2003), BURN AFTER READING and, most recently, HAIL, CAESAR!
In 2006, he established his reputation as a filmmaker with a distinctive vision when he was nominated for Best Director and Best Original Screenplay for GOOD NIGHT, AND GOOD LUCK. — the same year he received his Oscar® for SYRIANA.
In 2010, the Academy of Television Arts & Sciences honored him with the Bob Hope Humanitarian Award in recognition of his humanitarian efforts.
For information about purchasing tickets to the Gala, please contact AFI Special Events at ACampbell@afi.com or 323.856.7676. Ticket prices start at $3,000.
AFI has announced an inaugural, annual retrospective to spotlight one filmmaker of global significance, as part of AFI FEST 2017 presented by Audi, running November 9–16, 2017, in Hollywood, CA.
This year, AFI FEST will present the work of Robert Altman, with screenings and discussions of 12 films — historically the most programmed in the festival for one filmmaker. For the retrospective, legendary director/producer/writer Altman (1925–2006) will be honored with screenings and discussions of his classic films, including: M*A*S*H (1970), MCCABE & MRS. MILLER (1971), THE LONG GOODBYE (1972), CALIFORNIA SPLIT (1973), NASHVILLE (1975), 3 WOMEN (1977), VINCENT & THEO (1990), THE PLAYER (1992), SHORT CUTS (1993), KANSAS CITY (1996), GOSFORD PARK (2001) and A PRAIRIE HOME COMPANION (2006).
pictured above: NASHVILLE, #59 onAFI’s 100 Years…100 Movies