Betraying Passion Catalog

NE AN OLIVER STO

FILM FESTIVAL

–11, 9 T S U AUG

2013

CONTENTS 5 Welcome 7 Tickets 8

Oliver Stone

10 Wall Street 12 Any Given Sunday 14 Wall Street:

Money Never Sleeps 16 Alexander 18 Platoon

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Welcome Undoubtedly one of the most controversial directors in Hollywood, Oliver Stone has made films that are remarkable for both the way in which their subject matter is handled and the degree of controversy such handling inspires.

Although Stone has served as a producer, screenwriter, and actor on a variety of films, he is consistently identified with his more political works, from 1986’s Platoon, the first of his so-called Vietnam trilogy, to Wall Street: Money Never Sleep, his 2010 take on the global financial crisis.

Never underestimate the power of jealousy and the power of envy to destroy.

OLIVER STONE

Despite this association with political films, Stone has stated that he considers his films “first and foremost to be dramas about individuals in personal struggles,” and that he believes himself to be a dramatist rather than a political filmmaker.

I thank you again for your support. Enjoy films like you’ve never seen, in a town like no other!

—Mark Evans

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Wall Street

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gust Fri 9 Au

8pm

Admit One

$15.00

EMBARCADERO CENTER CINEMAS 1 EMBARCADERO CENTER SAN FRANCISCO

FILM TICKETS

Every event must be ticketed.

BOX OFFICE: $25 ONLINE: $20 Buy 5 or more film tickets online to use any way you want (e.g. 5 individual shows, 3 tickets for 1 show and a pair for another) and the price per ticket falls to $15!

TICKETING POLICIES Online Sales: To purchase tickets and All Festival Passes online, visit betrayingpassion.com.

In-Person Sales: To purchase tickets and passes in person, please visit the Box Office at the venue. The Box Office opens one hour prior to the first screening of the festival, and closes thirty minutes after the last festival screening begins.

Seating Information: All ticket and pass holders must be seated 15 minutes prior to show time to guarantee a seat.

20 Minutes Before Each Film...

FESTIVAL PASS

A ll Festival Pass

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Admit One—$15.00 G–SUN

U FRI 9 A

11 AUG

The Best Way To Experience The Complete Festival ONLINE OR BOX OFFICE: $110 A single pass which allows entry into any screening, and the afterparty! Plus, this pass includes: .Priority seating at all screenings .Priority entry to all parties .Betraying Passion T-shirt .Extras bag .Access to online festival documentary.

All–Access Festival Pass holders and filmmakers are admitted to the theater.

15 Minutes Before Each Film...

All ticket holders are admitted to the theater.

10 Minutes Before Each Film...

All unclaimed seats are sold at the theater door for $15. Standby lines form 45 minutes prior to the screening time. We usually release 20-40 tickets at the door.

Exchanges & Refunds: All ticket and pass sales are final.

There are no refunds or exchanges of tickets or party festival passes.

Admit One $110.00

EMBARCADERO CENTER CINEMAS 1 EMBARCADERO CENTER SAN FRANCISCO

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Oliv and er Sto Tort ne ured

was created, and the language and the culture that was exchanged between peoples.

POW

Betraying Passion: A lot of your films are about powerful people and how they wield power. What draws you to that subject in particular?

Oliver Stone: I also do films about a lot of underdogs, I hope you realize. Whether it’s Any Given Sunday or Alexander, I’m not only interested in power, per se. I’m interested, I suppose, in tortured power. The tortured power of Alexander fascinate me.

With Alexander, you have to remember that when he went east, he never came back. He stayed with the idea that he would integrate the East and West. He married three princesses. He asked his generals and his leading officers to intermarry. He wanted to stay in the East, and he let them govern themselves autonomously.

There was tremendous peace in his wake, unless of course you betrayed the pact you made with him. But he honored his word and created a concept of civilization that fell apart at his death, although the four parts that were merged were well–ruled and had relative stability and peace, and that became the model of the Roman Empire. So his contributions to peace and prosperity were enormous. Trade that

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BT: Are you optimistic in general? Do you feel like we’re moving in a positive direction in the country, in the world?

OS: I think everyone has the same question on their mind: Is the

ER

glass half–full or half–empty? We have enormous challenges in front of us.

Every day that you get up, it’s some kind of victory if you’re making a good product, or working on a project that can only help mankind.

We pray for no destruction, and for the forces of destruction not to take over. We’re all divided, but some of us have children, and we are invested in the future and would like to see good things happen. I feel like my answer’s ridiculous, but that’s all I can do. I don’t have a mandate as a filmmaker to answer that.

BT: You’re no stranger to making films on a large scale.

How do you maintain control on a project like Alexander that sprawls like that?

OS: Alexander was independently made with Moritz Borman and Intermedia, so we had control from the beginning. We never financed it out of one studio. Warner Bros. took control, in a sense, because they had the U.S. release

and they kind of insisted on some notes, but I ignored their notes for the most part, and got in a lot of trouble. Notes about cutting the homosexuality and cutting the violence— which was quite a bit, but nothing compared to the new one. So this is a version of Alexander that’s completely free of any constraints, completely free.

You know, what I should’ve done at the time is what Sergio Leone did with his Once Upon A Time In America.

I would’ve released a full-blooded version in Europe at Cannes or something, and released some bowdlerized version in the United States earlier, which would have been panned and had no trace of sexuality or violence in it.

It would’ve been an ugly version, but I think the European version would’ve predominated over time.

But I would’ve been in deep trouble with the system. I was trying to make everyone happy and I was dealing with different countries. When I say it was an independent film, you realize it was financed by separate countries, so I was trying to make many people happy.

BT: Do you think you’re too defined by your politics?

OS: Oh, that’s another problem. Although as a dramatist, I don’t have politics. You go into this thing, and you may dislike someone like George Bush, but you make the movie from empathy. Same with Nixon, by the way. I do have a side as a citizen, and I’ve always expressed it, and that’s where I’ve gotten into misunderstandings, because some people see me as a leftist nut or whatever. A conspiracy nut.

All that stuff. These are definitions that don’t really apply to a dramatist, because a dramatist is working from empathy.

Scarface can be one form of it that I express, or I could be

writing something like World Trade Center, which is from the point of view of a policeman. Every time you go into a movie, you go into the point of view of who it is about.

BT: Your visual style has evolved over time. Do you consider yourself still at this age a student of film? Do you study what other people are doing and try to apply it to your work, or do you try to forge your own path?

OS: I do and I don’t. I see films in theaters, and I enjoy films. I enjoy the art of storytelling, and the different ways to tell them. I’ve changed my style constantly, so I’m not sure I have one defined style, except perhaps style of subject matter.

But you learn as you go, I suppose. I’m more comfortable with simplicity as I get older. Before, it was more about layers of complexity, but Alexander is about as complex of a movie as I’ve ever made. That’s why it was challenging, the original 2007 version, which is going to be showing at The Museum Of The Moving Image. If you have a chance to see that in a theater, that’s really where it should be viewed…

I hope it looks great.

That’s the most complex film I’ve ever done, because we go back and forth like Nixon from time past, time present, time future, all tied to the storyline with Ptolemy and the library. The style fits the movie.

Simplicity reigned in Wall Street 2. It was in straightforward chronological time, but complex for me because we had different storylines with different people.

Directed by

Oliver Stone Produced by

Edward R. Pressman Written by

Oliver Stone Stanley Weiser Starring

Michael Douglas Charlie Sheen Daryl Hannah Music by

Stewart Copeland Cinematography Robert Richardson Editing by

Claire Simpson Distributed by

20th Century Fox Release date

December 11, 1987 Running time

126 minutes Budget

$15,000,000 Box office

$43,848,100

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Greed captures the essence of the evolutionary spirit.

GORDON GEKKO

Wall St FRI 9 AUG 8pm

reet

The sto ry a Wall is told large ly thro Street ugh sto with a strong ckbroker in e the lens of B arly 19 desire ud Fox with h 80’s to ge , wor is s ld of yu high-p pare time fin t to the top. New York pp owered ding an Workin li f e , f ast mo ies, shady bu ,e g a and gr n siness ey and eedy) b xtremely suc ngle with th v e ry muc deals fas e ces rok meets that w h at odds wit t women. This , the good with G er Gordon G sful (but rut e h e e h r le kko, w li e impr kko. Fo his win ss ho inted o the blue–co festyle is x g llared v n him “Greed and explain takes the yo finally G e k k d alu o uring h s his p ’s v is Goo hilosop uth under is yout es d”. of Bud alues could h h . y ’s no that Taking man at father Carl, a t conflict mo the ad r li B e vice an Gekko, machin luestar Airlin fe–long main with those dw Fox so es and ists’ un tenanc on find orking close e forepreside ion, wh throug ly with s hims h nt o elf swe of valu hard work an believes suc of Bluestar’s pt into ces e d a produc to many peo actually crea s is achieved ple, no ts and ting so to efforts m of othe nly gamblin ething g on th rs. e

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Directed by

Oliver Stone Produced by

Richard Donner Written by

Oliver Stone Daniel Pyne John Logan Starring

Al Pacino Jamie Foxx Dennis Quaid Cameron Diaz Music by

Stewart Copeland Cinematography

Salvatore Totino Distributed by

Warner Bros.

Release date

December 22, 1999 Running time

162 minutes Budget

$55,000,000 Box office

$100,230,832

y a d n u S n e v i G ny

A S

0 AUG 1 Y A D ATUR

12pm

When a devastating hit knocks a professional football legend and quarterback Cap Rooney out of the game, a young, unknown third–stringer Willie Beaman is called in to replace him. Having ridden the bench for years because of a string of bad luck stories, Beaman jumps at the opportunity, and presents a raw display of athletic prowess. His stunning performance over several games is so outstanding it brings a new era to the history of the team. Much to D’Amato’s anger, Beamen ignores the team’s traditional offense

strategy and changes the plays in the huddle, not understanding the lack of respect this shows to the team’s coaching staff.

This forces aging coach and thirty-year veteran, Tony D’Amato to reevaluate his time-tested values and strategies. Adding to the pressure on D’Amato to win at any cost is the President of the team, Christina Pagniacci. Her driving desire is to prove herself in a male dominated world that has been intensified by her focus on the business of the game, in which all coaches and players have been made into properties.

On any given Sunday you’re gonna win or you’re gonna lose. The point is—can you win or lose like a man?

TONY D’AMATO 13

Directed by

Oliver Stone Produced by

Edward R. Pressman Eric Kopeloff Written by

Allan Loeb Stephen Schiff Starring

Michael Douglas Shia LaBeouf Josh Brolin Music by

Craig Armstrong Cinematography

Rodrigo Prieto Editing by

David Brenner Distributed by

20th Century Fox Release date

December 14, 2010 Running time

133 minutes Budget

$65,000,000 Box office

$134,748,021

14

Wall Street: M oney Never Sle

eps

SAT 10 AUG 3pm

With the global economy balancing on the brink of disaster, a young Wall Street trader partners with fallen from grace prior Wall Street corporate raider Gordon Gekko on a two–tiered mission: to alert the financial community to the coming doom, and to find out who was responsible for the death of his former employer and mentor.

After being released from federal prison, Gekko returns to the Wall Street financial scene by writing a book about his pursuit of greed and the ultimate price he paid for it. His estranged daughter Winnie is a political activist engaged to Jake Moore, a rising star Wall Street trader

from the next generation. Meanwhile, an old nemesis of Gekko’s, Bretton James, devours the firm Jake works for—causing it’s founder and Jake’s mentor to commit suicide.

With the fiscal crisis of September 2008 as background, Jake tries to maintain a relationship with Winnie, get the help of her father in order to get his revenge on James. Further complicating things, Jake is also actively seeking funds for a green– energy project he champions with a secretive partner in India. Gekko is navigating new territory as he tries to build a relationship with his daughter and steer his future son–in–law into the ways of Wall Street without falling into old ways.

Money is not the prime commodity in our lives… time is.

GORDON GEKKO

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Directed by

Oliver Stone Produced by

Moritz Borman Written by

Oliver Stone Christopher Kyle Starring

Colin Farrell Angelina Jolie Val Kilmer Music by

Vangelis Cinematography

Rodrigo Prieto Editing by

Thomas J. Nordberg Distributed by

Constantin Film Release date

November 16, 2004 Running time

175 minutes Budget

$155,000,000 Box office

$167,298,192

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AUG

7pm

Conquering 90% of the known world by the age of 25, Alexander the Great led his armies through 22,000 miles of sieges and conquests in less than a decade. Coming out of a small, but powerful state of Macedonia, Alexander led his armies against the mighty Persian Empire, drove west to Egypt, and finally made his way east to the undiscovered lands of India.

This film concentrates on those eight years of battles, in a non–linear fashion, weaving it together

as to bring attention to the greater struggle Alexander faced from within his the ranks of his own army. It also sheds new light on his relationship with his boyhood friend and battle mate, Hephaestion.

Alexander’s conquests paved the way for the spread of Greek culture (facilitating the spread of Christianity centuries later), and removed many of the obstacles that prevented the expansion of the Roman Empire. The Western world as we know it today might never have been if not for Alexander’s unifying, conquests.

Conq u you, er your f you w ea ill co r, and I p ALEX nque AND r ER T r dea omise HE G th.

REAT 17

Directed by

Oliver Stone Produced by

Arnold Kopelson Written by

Oliver Stone Starring

Tom Berenger Willem Dafoe Charlie Sheen Music by

Georges Delerue Cinematography

Robert Richardson Editing by

Claire Simpson Distributed by

Orion Pictures Release date

December 19, 1986 Running time

120 minutes Budget

$6,000,000 Box office

$138,530,565

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n o o t a l P SUN

GUST 11 AU

2pm

Platoon is a loose recounting of Oliver Stone’s experience fighting in Vietnam. The movie’s characters are based on composites of people Stone knew in the war. After dropping out of college, Stone volunteered for infantry duty and asked to be assigned in a combat role.

Stone’s idealism was quickly erased by the war and after the returning to civilian life Stone was disillusioned and angry. This trajectory is clearly depicted in the story’s protagonist, Chris Taylor.

Taylor is assigned to Bravo Company, positioned near the Cambodian border, he is worn down by the exhausting conditions and his enthusiasm for the war wanes. Taylor is wounded twice and continues to fight.

Taylor eventually gains acceptance from the tight–knit group in his unit who socialize and use drugs in a cabin clubhouse. He finds a mentor in Sergeant Elias as well as the elder King. The platoon is sent back into combat to maintain positions as they are continuously surrounded by the death and destruction with every turn that they make.

What happened today was just the beginning. We’re gonna lose this war. ­­ SGT. ELIAS

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Wall Street

FRI 9 AUG 8pm

Any Given Sunday

SAT 10 AUG 12pm

reet: llNeSt Wonaey ver Sleeps M

SAT 10 AUG 3pm

Alexander

SAT 10 AUG 7pm

Platoon

SUN 11AUG 2pm

NE AN OLIVER STO

FILM FESTIVAL