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A MAN NAMED PEARL – Q&A with the MAN himself, Pearl Fryar

July 9, 2008


The Angelika was privileged to speak with Pearl Fryar, the gifted topiary artist and humanitarian featured in the upcoming documentary A MAN NAMED PEARL, about his work, (both artistically and charitably), his background and why he decided to be a part of this film. Mr. Fryar stepped away from his garden in hopes to promote his message, his film, and his scholarship foundation, and our interview with him is below.

Q: What did you think when the directors first came to you and asked to make a movie about you and your garden?
A: The movie came about because of a television show I did – the viewing audience was to vote on the best garden out of 4, mine being one of them. I didnâ??t think I even had a chance and I didnâ??t even vote for myself â?? but I won by 54%. So then they presented me with the blue ribbon as a part of another TV show, and they told me “we canâ??t tell the story in 5 minutes so weâ??d like to do a movie.” And I said, “no way”, because I didnâ??t think I have enough to do a movie about it. But they kept on, so finally I agreed because they said they had to raise the funds for the movie, and I didnâ??t think theyâ??d do itâ?¦but they did and thatâ??s how the movie came about.

Q: What did your family think? Were they excited for you?
A: Well quite naturally everyone was excited! I mean what are they odds of a person living in Bishopville, SC – approximately 20,000 people in the whole county – and theyâ??re going to come in and make about movie about somebody in Lee County, SCâ?¦ everybody was up in arms about it.

Q: What was it like once the filmmakers and the cameras â??invadedâ? your small townâ?¦ how did the people in the town and the county react?
A: Everyone was excited â?? youâ??re talking about Bishopville, SC getting some attention â?? and usually anything of that size is an event here, so we just had all kinds of things going on here while the movie was being made. People were very cordial, they would just welcome everybody here, they were just great.

Q: You seem so genuinely good-natured, and you let so many people into your topiary garden everyday for free-you were very adamant about making sure that nobody has to pay to see it unless they can afford it or want to donate â?? do you ever get sick of having people visit and having to show them around?
A: Oh no, some days I have over 200 people visit me. And see, one of the ideas of the garden was to do something from a creative point of view. I work with students and one of the things we make a mistake with is that we judge everybody from an academic point of view and not everyone is gifted academically. If you are an average student, you may be gifted in another area thatâ??s comparable to the person thatâ??s gifted academically. If youâ??re a C-student and very creative then you are on your own, and I wanted to bring attention to that problem, because I wanted those kids who came from that kind of [disadvantaged] background or environment to have encouragement -and that is the reason that the movie was made.

Q: Are those kinds of kids one of the reasons you started the garden in the first place?
A: Yeah that was the idea of the garden because it was like a hobby. There was 2 things I wanted to accomplish with the garden â?? I wanted to create a garden that when you walked through it, there was a message within the garden â?? you walk away with a message. Something youâ??ll remember about this garden or something that you saw in the garden. The other thing is that I wanted to create a garden that you could walk through, and once you walked away, you couldnâ??t copy anything in the garden! Those were my two main objectives. So, because of that, and because I used my creativity to create the garden, there is a uniqueness in the garden, because itâ??s just totally different. I knew nothing about horticulture, nothing about what you should or shouldnâ??t do from that point of view, and I just did what I had a gift to do â?? and be creative. And I took the plants and I made them do what I wanted them to do and that was it.

Q: The so-called horticulture â??expertsâ? are totally amazed and blown away by what youâ??ve been able to do with plantsâ?? they say in the film that they have no idea how youâ??ve managed to create such incredible topiaries – there is no horticultural explanation. Do you know how you do it, or is it just a natural instinct?
A: Itâ??s not any different from any other artist â?? in other words, if youâ??re a creative person then you work from that point of view. You have to think about â?? itâ??s no different if I had been a painter â?? but it just so happened that I used plant material or scrap metal to create the images that I can imagine, and if you said to me put it on paper and then do it, I canâ??t do it. But I can imagine an image, and work toward accomplishing it â?? sometimes it will take me 7 years â?? but I just have the natural ability to do it. And so Iâ??m hoping that when you walk away from the movie, you walk away with the idea that everyone is not just gifted academically â?? it can be creatively or in other areas, and maybe we should focus on those kids that weâ??re allowing to fall through the cracks because theyâ??re not academic â?? they fall through the cracks and become a problem.

Q: How do you think you were able to escape falling through the cracks and make such a success of your creative talent?
A: I did come from a strong family â?? my family was very important to me. They didnâ??t have a lot- they were all poor from a material or financial point of view, but they always encouraged me to do and accomplish more than they did, because they thought I would have a better opportunity. But what really gave me that hope was in 1947, when Jackie Robinson broke into the majors. I was one of those kids that was growing up in North Carolina and it was farming that was the main occupation, and occasionally you saw kids go off to college or whatever, but when Jackie Robinson broke into the majors, I thought at first, baseball was going to be my way out. I was a pretty good baseball player and all my friends were too, but we didnâ??t have the scholarships we have now [to go through with it]. But when I saw what Jackie Robinson could actually accomplish with his natural ability â?? even though I never played one day of baseball, I’m where I am today basically because Jackie Robinson was that person that took me to that next level. And if you have the ability to work, I found that you may not be able to afford your talent, but you just get out and you work so hard until people come along and they will feel sorry for you and they will just help you.

Q: Good plan!
A: Iâ??m serious! Thereâ??s no way I could afford what you see in this movie, but people come through. I have a donation box and Iâ??m telling you, people are very generous. Itâ??s not that you have to pay – it was other people that made me put the box up. One lady came by one day and she basically said â??Iâ??m not gonna leave until you put a box up so people can donate, because that makes people feel better about walking through this garden.â? And so when people see you are sincere about what you do, then people will help you.

Q: And you really come across as such a sincere and genuine man â?? do you think that has helped people want to fund your garden?
A: I think that could be it but then also, youâ??re seeing this story being told by a person that came from [a less fortunate] background â?? I am speaking from experience. I was one of those kids that wasnâ??t supposed to make it. If you had walked into my graduating class and said to us, “At some point in your lifetime, thereâ??s going to be a movie made about one of you”, I promise you it would not have been me. So the point is that, and I made this statement in the movie, you never ever allow obstacles to determine where you go in life â?? have dreams, at least try to accomplish some of your dreams. Sometimes we wait for things to fall in our laps but thatâ??s not going to happen â?? if you have the talent and you donâ??t use it then you lose it. You look at success â?? itâ??s not determined by your SAT score. Success is determined by the amount of work you put into what you do well. If youâ??re not willing to work then youâ??re not going to be successful. You can be an average student and really apply yourself and really work hard and at some point, you will be successful at what youâ??re doing. You donâ??t have to be president of the United States â?? the idea that you can make a good living and support your family â?? that is success. In the final analysis, you can see that the message in my garden is LOVE, PEACE AND GOODWILL. If thatâ??s not what life is about, then you’re going to always have an empty void in your life, because the love is that you care, you have peace within yourself, and goodwill is the ability to help others less fortunate than you are. And in the final days, if you have done that, you will feel good about what you have accomplished in life.

Q: Has your life changed at all since the movie, or are you the same Pearl out in the garden?
A: Iâ??m really the same person, except Iâ??m a little more excited, because I can see the difference that the movie has made, because now we have created a foundation to preserve the garden. The Garden Conservancy out of New York- they preserve unusual gardens â?? they just voted to take it on as 1 of the 17 gardens that are under preservation. We have a foundation and people donate to the foundation for the preservation of this garden, but within the bylaws of the foundation, this garden has to give scholarships to C-students, and that is the primary goal of this garden. If I can go back and change the lives of people that feel they donâ??t have a chance â?? for kids who donâ??t plan to go to college – I want to go in and help. We have a satellite here university here, Central Carolina. It costs about $1500 a year to attend this University, and you get an Associate’s Degree. And we also are trying to create a safety net, tutoring and whatnot, and once you get that Associateâ??s Degree, we want to see that you get into a major university and get a B.A. or B.S. degree. Now these are the kids that would ordinarily fall through the cracks and once you save those kids, then they become a tax payer instead of a tax burden.
Itâ??s very simple â?? but itâ??s being told through the eyes of an average person and someone who has been in that environment.

I would also like to say that if this movie is halfway successful, then some of the proceeds from this movie will go back into the foundation to preserve the garden and support the scholarship â?? thatâ??s the real reason I agreed to make this movie.

Please don’t miss A MAN NAMED PEARL at the Angelika – the film opens Friday, July 18th in New York and Friday, August 22nd in Houston and Dallas.

Amusing Angelika Google Alert – Part 1

June 25, 2008

If you’re not already using the discrete invention called Google Alerts to scour the web for pertinent information related to you (or just sort of tangentially related to you in any way at all)… you should. We get lots of funny Angelika alerts, so we thought we’d share.

This week, Whizziwig discusses War, Inc., and informs us that “Ben Kingsley shows up, because heâ??s now required to be in every movie shown at the Angelika.”


Look for Ben Kingsley in THE WACKNESS, TRANSSIBERIAN, and ELEGY, all opening up this summer at the Angelika New York!

Q&A with ELSA & FRED director Marcos Carnevale

June 19, 2008

ELSA AND FRED director Marcos Carnevale took some time to answer a few of our questions about the film. The film, an uplifting tale of two completely different people who yearn for the same thing as they approach the end of their lives: one last chance to find happiness, opens at the Angelika New York on June 27.


Q: Can you describe ELSA AND FRED in your own words?
A: Elsa & Fred is a story about two people who, at the end of the road, discover that itâ??s never too late to love or to dream. Elsa always dreamed of a moment that Fellini had already envisaged: the scene of â??La Dolce Vitaâ? at the Fontana di Trevi. The same scene without Anita Ekberg in it but Elsa instead. Without Marcello Mastroiani but with that love that took so long to arrive. Elsaâ??s dream was also my dream: all my life I wanted to meet Fellini. Itâ??s a story that teaches us that itâ??s never too late to live what we haven´t lived yet.It invites us to live with no fears.

Q: Why do you think that the emotional conquests of elderly people are always so endearing?
A: Elderly people are endearing because of their vulnerability and their need to be protected. Elderly people and children can awaken our tenderness; they are touching and they reach our feelings easily. Everything is magnified at these ages. Everything takes on a higher value. Love between two elderly people has a greater dimension because it is unlikely to happen. In younger people it’s normal to happen.

Q: The film makes reference to the Fellini classic LA DOLCE VITA â?? is that a film close to your heart?
A: LA DOLCE VITA was the first Fellini movie I saw and it changed my life. Since then I became his greatest fan. I even got his address and wrote letters to him. I keep two letters he wrote to me and they are my biggest treasures.

Q: Why was there a three year gap between the making of the film and the American release?
A: Latin-American movies must go a long way before having access to American screens. And during that process –than can take several years– the film must prove that it has achieved an enormous interest from the public.

Q: What inspired you to make this filmâ?¦ were there any influential people in your own life?
A: There are two people that inspired me to make this film: one was Fellini, who I never met personally and with whom I only kept an epistolary relationship. This movie besides making my dream of shooting in the Fontana di Trevi with my own Anita and Marcello come true, is a tribute to he â??Maestroâ?. The second person is my mother, who taught me to live without fear.

Q: What was the casting process like?
A: China Zorrilla was always Elsa, from the beginning, even before we started to write the script. I could never imagine another actress for that role. Elsa is a lady with a body 82 years old and head of a girl of 20. China is like that also in real life. As for Manuel Alexandre it was a suggestion made by the Spanish producer José Antonio Félez. Manuel is a great actor; he has worked in 320 films. He is a little bit like Mickey Rooney in Spain.

Q: Who are your biggest influences as a director?
A: Federico Fellini, Roman Polanski, Clint Eastwood, Woody Allen.

Q: What do you most want audiences to get out of the film?
A: I would like them to realize that the moment to live is now. Future and past donâ??t exist; we must live our moment and make our dreams come true now.

“I want them to hate me in the right way.”

June 16, 2008

We had the privilege of interviewing Guy Maddin, director or BRAND UPON THE BRAIN and MY WINNIPEG and one of the most interesting minds in the film world. He talked about everything from his neediness as a narrator, to what it means to be Canadian, to how he feels about blindingly hot underwear models. Check it out below.

Guy Maddin

Why do you like to do the live performer/orchestra thingâ?¦Why include live elements?

BRAND UPON THE BRAIN was the first time I did it and I kind of liked the transformation going on inside of me. I have all these state supported films and artists, so [normally]you feel like a filmmaker, with all the bad connotations that word has, and you feel like youâ??re making film for yourself – self-absorbed, selective, for a small audience. But when you introduce the live element, all of a sudden you feel like a showman and you really do want to make a connection with an audience. You really feel it when itâ??s live, because you donâ??t want any of the live performers to die on stage, so you really do become a showman that gives a shit. You just really care a lot, and at the end of the show the beer tastes unbelievable because youâ??re so relieved that you got through it, and then the adrenaline is there for the next time and usually I just finish a movie and watch it once or twice at the most and then file it away, but live shows, I was going nuts, I was watching them every night because each one is a different narrator and each one is a little different, itâ??s like a real experiment and experience to see the tiny differences, because the narrator plays such a small role, but makes a huge impact to set the tone for the whole thing -so itâ??s this big experience to me.

But I also just realized that there was far more or fewer empathy, I guess because they were scared something might happen, or desired that something might go wrongâ?¦ maybe a certain part of everyone wanted something to go wrongâ?¦everyone sort of wants to see someone fall flat on their face- I donâ??t know, this kind of weird suspense you get from watching someone live.

How do you pick your performers?

That was a weird process, because I’m not exactly a household name, it wasnâ??t like I just chose my favorite list and they all said yes.

You do have a following thoughâ?¦

Yeah, and that started to feel good and that really expanded it a lot and then I became good friends with a lot of the narrators. With MY WINNIPEG, I always knew it was going to be small, and the Toronto Film Festival was going to play it for sure, because they always play my movies. But I just kind of thought that after BRAND UPON THE BRAIN, they would maybe just slop this in some quiet place. I knew it was kind of a distant relative to a travelogue, and Iâ??d seen some travelogues as a kid with live narration and I thought, â??This really has to be narrated liveâ?, at least for some sort of flippant, retro reason, but I didnâ??t want to do itâ?¦.

But you did it in Toronto, right?

Yeah, and I did it in Sydney a couple nights ago, so Iâ??m a little bit deliriousâ?¦ it was fun, because you tend to do it in big movie palaces- film festivals always set nice places aside. I did it at the Village East, at Tribeca, but once again, I think that people who might have normally attempted to walk out, might just be scared youâ??ll see them walking out, and go â??Wait a minute!â? So people tend to stay to the end, and if you stay to the end, you might end up liking it more. So Yeah, I keep the cowards in their seats! And usually when youâ??re vacillating about whether to stay or not, if you see other people leaving, youâ??ll just go too. I know, because Iâ??ve studied the patterns of walkouts early in my career, when I had high walkout ratios all the time

How do you do thatâ?¦ like observational studies?

Yeah, I would go to my own movies, and I would notice, â??Hey no oneâ??s walking out of this oneâ?, then all of a sudden one person would get up and leave and then you give courage to about 10 other people too and you go â??Oh manâ?â?¦

So just one ballsy person can ruin the whole night.

Yeah exactlyâ?¦so if I can just feel the energy in the room just dipping a little bit, and Iâ??m no actor, but if I can just feel that, you can actually change your performance. In acting youâ??re told not to do that, not to play to the audience, I know that for a fact. But not me, Iâ??ll always be a big slut up there! If I can feel audience engagement sort of sagging a bit, I try harder, so it might stink of desperation after a while, but at least it gives me a chance to control it a little bit, and I find that even though I wrote the lines myself, I can re-interpret them a bit. Or that I actually finally understood what the hell I wrote, like it will come to me, Iâ??ll go, â??Wait a minute, this is what I meant!â?, and Iâ??ll actually say it that way and it makes a big difference. You can just hear it somehow, itâ??s kind of crazy. I donâ??t mean to sound like an actor, I kind of pity actors and their needinessâ?¦ but boy have I become a needy person when Iâ??m narrating,

Like you just want the audience to love you?

Yeah, and then I need some sort of reinforcement after that it was okay.

Do you think the neediness is because so many of your films are autobiographical, like MY WINNIPEG even has a main character named Guy Maddinâ?¦

Yeah probably, although I donâ??t need them to approve of me as a person, I know Iâ??m pretty reprehensible! So I just want them to hate me in the right way.

Hate you for the reasons you hate you.

Yeah exactly. Just sort of get on board the self-loathing train.

Do you feel like making autobiographical films helps you understand your life a little bit better?

It has a little bit, but itâ??s also turned elements of my life into so much footage that needs to be edited that I kind of get a little sick of it. Itâ??s kind of like a therapy, like aversion therapy. I just donâ??t feel like thinking about that part of my life anymore. Itâ??s like Iâ??ve just done it already. Then I have to talk about it and do screenings of it. So Iâ??m happy not to talk about my childhood anymore, because Iâ??ve made a couple movies about it, and I think Iâ??ve buried my mother finally -if not literally, at least â??filmicallyâ?. So, Iâ??ve moved on. Yeah it helps.

People are calling MY WINNIPEG maybe your most Canadian filmâ?¦and I read that youâ??ve said things like maybe you donâ??t want something to be too Canadianâ?¦ so what does that mean?

Yeah, it probably can mean many thingsâ?¦probably when I first started using that term, when I first began, I probably just didnâ??t want it to be bad! I just didnâ??t want it to be full of sincere performances that are falling short of the mark, you know, so I was probably hedging my bets with irony and stuff, stylizations. Now it might mean most honest or most regionally specific -Iâ??m not sure. Or maybe it captures the spirit of Canadian identity, whatever the hell that is, but thereâ??s some kind of self-loathing and self-deprecation, self-erasing qualities in most Canadians – hello look at me- so I donâ??t know. Canadians define themselves as â??not Americanâ? â?? they canâ??t define themselves because theyâ??re too similar, virtually identical, so they just go, â??Well weâ??re not Americanâ?.

Do you find the audiences are different?

Theyâ??re identical. Exactly the same TV shows and moviesâ?¦ we donâ??t watch Canadian films.

What do you watch? Like if youâ??re in your house.

Iâ??m a little bit different because I watch older cinema and stuff, but I do go out on a Friday night to a premiere of a Will Ferrell movie, Iâ??m just a regular moviegoer. Iâ??ll also go to some indie stuff and some European stuff – the best of the film festivals, plus just mainstream crap…and I canâ??t wait for BATMAN to come out.

Do you have any particular directors or actors – or maybe you pity actors – but directors or filmmakers or anyone in the business that you really admire?

I really like Paul Thomas Anderson a lot, I really enjoyed THERE WILL BE BLOOD. Also Wes Andersonâ?¦some experimental filmmakers in Austriaâ?¦Martin Arnold, Mattias Mueller. And Iâ??ll check out any Will Ferrell or Jack Black movie, no matter how good or bad. There are too many to name really, but itâ??s not that bizarre a profile. It would be like a hipsterâ??s MySpace list of favorite movies and directors.

Are you working on anything now?

Yeah but I just donâ??t have that obsessive compulsion to make it. So I think Iâ??m going to spend the summer daydreaming. Iâ??m going to be coming to the end of a long road. I made a couple of movies back to back and Iâ??ve been promoting them, so Iâ??m looking forward to going to the summer cottage and reading from books. Itâ??s where most of my ideas come from, little lateral thoughts that step out of the pages.

But I do have a couple of projects. Iâ??m collaborating with Kazuo Ishiguro, a British Pulitzer Prize winner on a feature script. Iâ??m making a ballet version of SVENGALI, and Iâ??m making an internet interactive â??choose your own adventureâ? narrative, so that will be fun. For that, Iâ??m working with a Pulitzer Prize winning poet, John Ashbury. I wanted to have that made for his 80th birthday, but I didnâ??t quite get my act together, so itâ??s going to have to be for his 82nd birthday or something like that. Iâ??m not sure which one Iâ??ll make first.

Oh and I also got a commission to make a low budget feature from the Wexner Center in Ohio. The Wexner guy is the guy behind Abercrombie and Fitch and Victoriaâ??s Secret underwear.

About him, or with him?

I think whatever I want, so I might just make a big underwear melodrama or something like thatâ?¦.I cant wait to shoot it.

It should be a fun casting callâ?¦

Yeah those fantastic peopleâ?¦you just donâ??t even care what gender they are after a certain point, theyâ??re that prettyâ?¦just find out when you take their clothes off, like â??I cant tell what gender that is but letâ??s just strip it down now and find out!â?

Errol Morris @ the Angelika Dallas

June 11, 2008

Academy Award winning director Errol Morris sat down with us in Dallas to discuss STANDARD OPERATING PROCEDURE, his latest documentary that explores the horrors behind the Abu Ghraib prison torture photographs that shocked the nation. Backed by a two-year research arsenal, Morris’s film probes the prison policies in Iraq to prove that the torture at Abu Ghraib was in no way an isolated incident.

Watch the exclusive interview footage below.

[QUICKTIME 320 257]

Say hello to the winners of the Angelika’s SEX AND THE CITY contest

June 2, 2008

SEX AND THE CITY blew away competition and expectations this weekend with an estimated box office of almost 56 million dollars. Scads of women (and men!) dressed up and came out to support their favorite television series-turned-big screen smash, probably leaving sad street-cleaners and janitors to clean up the the debris of shattered martini glasses and broken high heels that the crowds left behind.

For the past three weeks, the Angelika Film Center hosted its own SATC column/look-a-like contest, and it’s time to announce the winners. Posted below are the first prize winners of our photo and column categories – enjoy!

Winning Photo Entry: Sarah Bergervoet


Winning Column

Going To Extremes by Amy Adams

When dealing with the aftermath of a love affair gone wrong, there are several coping strategies available to todayâ??s female. Thereâ??s the tearfully – eat – ice – cream – straight – from – the – carton – while – watching – bad – television approach. This lies in stark contrast with the troll – bars – for – attractive – strangers – with – whom – to – engage – in – meaningless – revenge – sex tactic.

Most of us gravitate to one extreme or the other. But the question remains, do extreme measures ever make us feel better?

The rational side of our brains tells us that time heals all wounds. After all, most of us arenâ??t still pining for Todd, our high school boyfriend who dumped us right before the prom in order to escort the slutty cheerleader best known for her ability to camouflage hickeys with BonneBell concealer. Yet, in the throes of extreme despondency, rational thinking rarely prevails. So we engage in behavior that serves to distract us, often to the detriment of our mental ­- or physical ­- health.

Because none of us want to stand idly by and wait to feel better. We want to hasten the healing process by doing something tangible! After all, the things-will-get-better-soon attitude is often what got us where we are today: dumped by a jerk. We ignored the warning signs and waited for an impossible situation to improve. When it didnâ??t, we compounded the problem by drunkenly assuming a compromising position on a strangerâ??s futon, trying desperately to forget about Mr. Aforementioned Jerk. Perhaps the most extreme measure would be learning to avoid him in the first place.

We hope you enjoyed them and remember, SEX AND THE CITY is now playing at the Angelika Dallas and Houston.

Village East Cinema – NYC’s Best Kept Secret; Angelika has good pastries

May 27, 2008

The New York Daily News did a little pre-summer movie theater analysis, and luckily the outcomes were in our favor. Below is what they had to say:


The first screening room in this landmark building still houses pieces of its Yiddish theater past. Check out the Star of David and the elegant chandelier adorning the ceiling, as well as its grand balcony. The recently renovated auditorium seats 370 in refurbished chairs, and there’s new carpeting. 181 Second Ave., atE. 12th St. (212-529-6998).


This cool corner independent theater’s got a cafe that’s almost good enough for a trip of its own. The focus is on items made in the city, so there’s a full espresso bar serving Puerto Rican beans, Sedutto ice cream shakes and sandwiches, some organic, from Karen’s on LaGuardia Place.

For Village East Cinema showtimes and tickets, visit For Angelika showtimes and tickets, visit


May 8, 2008


If youâ??ve ever sat around and wondered why you canâ??t make your living writing sex columns, or looked in the mirror and sworn you were Samantha Jonesâ?? long lost twin, the Angelika Film Center is giving you the chance to prove your case.

SEX AND THE CITY finally hits the big screen on Friday, May 30th, and in honor of the long-awaited, much anticipated release, the Angelika Film Center invites you to participate in our exclusive SEX AND THE CITY LOOK-A-LIKE contest.

Patrons are invited to either write their own Carrie Bradshaw-style column, or dress up like their favorite character – send us your column or your photo, and weâ??ll pick our favorites. One winner in each category gets $150 in Angelika Cinemoney and their entry featured on this blog. Two runners up in each category get $75 worth of Cinemoney.  Please send all submissions to

Also in honor of the big premiere, the Angelika Dallas will be serving cosmos all week long, so make sure to join us! SEX AND THE CITY opens on Friday, May 30th. See you there!




How to enter:
You can enter in either one (but not both) of the below categories:

Write your own Carrie Bradshaw-style column. While the topic choice is yours, please keep it under 350 words. If the written word isn’t your thing, you can also try dressing up as your favorite SATC character – snap a photo of yourself and e-mail it to us (clothing required).

Official Rules:

  • Entries must be received by midnight on 5/29/2008 to be considered eligible
  • Please send all entries to
  • Written entries must be 350 words or less. Photo entries are to be sent in .jpg format only and are to be no larger than 2 MB. Any written work with pornographic or x-rated implications will not be considered. Any photos containing nudity or sexually explicit content will not be considered. The Angelika Film Center reserves the right to define said terms at its discretion.
  • Contestants must be at least 18 years old to enter
  • There will be a winner and a runner up in the both the look-alike category and the written category. First place winners will receive $150 Angelika Cinemoney and runners-up will receive $75 Cinemoney.
  • Only 1 entry per contestant
  • By entering this contest, contestants acknowledge and agree that, if chosen as a winner or runner-up, their entry will be featured on the Angelika Film Center website (, the Angelika Blog ( or both.
  • The Angelika Film Center will own all submissions. Entries cannot be returned to contestants. Digital entries are strongly encouraged.
  • No purchase necessary. Void where prohibited.