In the winter of 1942, a young filmmaker named Orson Welles arrived at the Academy Awards on a wave of promise, hype, and startling talent. His first film, Citizen Kane (1941), was nominated for nine Oscars, including four for Welles himself; Best Picture (as the film's Producer), Best Director, Best Actor In A Leading Role, and Best Original Screenplay, the only person ever to be nominated in all four categories in the same year. Though Kane is widely considered to be the greatest American film ever made, Welles won only the Best Original Screenplay award that night, sharing the prize with co-writer Herman J. Mankiewicz. Despite a long and storied career as one of America's finest directors and actors, Welles would never win another Academy Award, receiving only an "honorary" award in 1970. Well, at least he won one. Alfred Hitchcock never did (he picked up an honorary Thalberg award in 1967). Clearly, there is a disconnect in Hollywood when it comes to recognizing true greatness.

Martin Scorsese is the greatest American filmmaker working today. Any reasonable examination of his body of work reveals a wide-ranging and diverse group of films that includes the some of the finest American movies of the last four decades; Mean Streets, Taxi Driver, Raging Bull, The Last Temptation Of Christ, Goodfellas, The Age of Innocence. But Scorsese's own Academy Awards horror story rivals that of Welles and Hitchcock in the annals of Oscar injustice. In 1980, Scorsese was nominated as Best Director for his magnum opus Raging Bull (not just the best picture of 1980, but probably the finest film of the entire decade.) The Academy chose Robert Redford's fine Ordinary People as that year's Best Picture and Redford as Best Director. Another decade, another injustice: In 1990, Scorsese was up again for Best Director and Best Picture for his seminal Goodfellas. This time, the Academy chose another actor-turned-director, Kevin Costner, and Dances With Wolves for the sweep. Sunday night, Scorsese's The Aviator, a film of startling virtuosity and dazzling direction, is topped by Clint Eastwood's boxing tearjerker Million Dollar Baby. History has conspired again to keep the prize away from its rightful owner.

There is no intimacy like the private satisfaction that arises from keeping a promise that you made to yourself. Wednesday night, only two days back in the city, sick as a dog. I went into the Nantucket Film Festival offices for my first day back, and after a relatively smooth day, hopped on the 9 train to Houston Street (with my dear friend Elizabeth in tow) in order to complete Personal Mission Number One: Return To The Film Forum. The occasion? Jean-Luc Godard's Masculine Feminine.

Ah, the nomadic life of the film festival set...

The Sarasota Film Festival wrapped on February 6th, and I am very proud of the work that was completed at the festival. It was my first year in Sarasota, and it is clear by the low-key coverage in the trades and the industry sheets that we have a long way to go to create a more visible event. That said, those who made the trip to Sarasota-- filmmakers, artists, members of the film industry-- all came away more than satisfied. The parties and rock shows all came off without a hitch, and the festival throws such spectacular events, it is not hard to understand why they have been the cornerstone of fundraising for the Festival... the Sarasota community loves to have a good time. But the most powerful piece of the festival, for me anyway, was the film program.

As the Programming Director, my job was to raise the bar for the films at the festival and create a program that addresses the broader concerns of the Sarasota community. In that regard, I think the festival was a huge success and that Sarasota is a festival to be reckoned with in the future. We had a great line-up, with films ranging from one of my favorite films of this or any year, Kings and Queen, to Condemned, a powerful local film about housing conditions in Sarasota's Janie Poe projects (Yes, Sarasota has projects). I was so proud to see that the films engaged the community, and I think we have built a strong foundation for next year's program, which I hope will be even more challenging. Keep your eyes peeled for possible acquisitions from this festival as well-- there is some interest in a few of our titles.

I know this is all a bit self-serving, but I want to spread the word on this festival and generate some real interest for next year, because if the industry embraces this festival, we could create an outstanding regional festival that is the envy of the industry by being serious about cinema as well as having fun. At least someone thinks so.

It is good to be home in Brooklyn. When I arrived, J had a little present for me (or a not so little present), one that is so perfect, it is ineffable... I collect movie posters, mostly recent French films, and My Sex Life... is one of my all time favorite films... It's the best present ever.

Of course, I need to get over to the Film Forum to see Masculine Feminine. As always, it is important to me to go to the Film Forum, my way of feeling "home" again, my reconnection with the city. I am very much looking forward to feeling well enough to go... maybe tomorrow?

I also am behind in my Oscar viewing. The dirty little secret about working at a film festival is, once the program gets rolling, you have no time to keep up with the current film line-up. So, I still need to see The Aviator and Million Dollar Baby this week as well.

So. Apologies for the long delay in writing to the blog. The festivals tend to eat up so much time, it is almost impossible to think creatively about film. I am now back in Brooklyn and getting settled in. Despite my heavy case of the flu, I am ready to get cracking on programming the Nantucket Film Festival... Lots of films I am interested in bringing in, and lots to do.

More very soon.