LSIFF.07 Day Five: Awards Brunch, Badlands, Low and Behold, and The Theater Fire Live!

The awards brunch at the Worthington Renaissance honored a number of filmmakers and festival films, including my friend, Bryan Poyser (pictured above left with his girlfriend--the other picture's a guy named Martin Sheen).

This has been quite a week for Bryan; for, along with his "Up and Comer" award at the Lone Star International Festival and his birthday, his intensely provocative and personal look at pornography, Dear Pillow has been officially released on DVD as of yesterday. What I really liked about Dear Pillow is Bryan's sincere look at the dirty, perverse aspect of it that we like to hide underneath our beds. Where do we draw the line between the sensual and the perverse? Is there a point at which we've become far too enthralled with the process of pornography itself and not so much with sexuality? I really think Bryan's film is especially important currently, due to all the sexual outlets currently available. Like a voyeur, Dear Pillow peeps into that seedy world we'd all just as soon leave in the closet or under the mattress.

Dear Pillow also features Bryan's shorts, Grammy's and Pleasureland.

Buy Dear Pillow here: http://hereticfilms.com/indie/films/dp/index.html

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I vaguely remember watching Badlands on television when I was a kid. I don't remember my reaction much, but I'm quite sure I wouldn't have liked it back then. Of course, anything formatted for my TV, edited and chock full of commercials isn't really worth seeing anyway. What really impressed me was Martin Sheen's brief speech before the film where he mentioned he was most proud of his work in this film, above all, including Apocalypse Now. Although, the only copy available was on DVD (Sheen wasn't too happy about this), I'm really glad I caught it on the big screen. It's really one of those films that needs to be seen, so if you haven't seen it, go rent it. After seeing the film as an adult, I suddenly found myself wondering what all the fuss was about with Natural Born Killers, for after viewing this film, you just don't need the Oliver Stone film. It's entirely unnecessary and arbitrary by comparison.

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I was really excited about finally seeing Barlow Jacob's Low and Behold, given its subject matter. Barlow plays a confused young man, Turner Stull, who travels to New Orleans after Hurricane Katrina, to help his uncle adjusting hurricane claims. Working as an independent adjuster, Stull finds himself in a foreign, tragic environment full of hostile individuals who have lost all of their worldly possessions and homes, and some, even their families due to the catastrophe of Hurricane Katrina.

Apparently, Barlow actually worked in Florida--not New Orleans--as an adjuster; and I've been told he really didn't like it. Due to the nature of my business--I'm in storm restoration--I quite related with the film, and although Barlow takes comedic license with his portrayal of adjusters and their practices, the responses met are probably quite true. I actually worked in Florida as well, although, I did not work in flood areas and my customer's were far better off than the ones portrayed in this film.

I'll actually be working with Barlow, who will star in an upcoming music video this weekend in Dallas. David Lowery is producing the project and I'm helping out. More details on that later.

For more information on this film, go to: http://www.lowandbeholdmovie.com/

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After the film, we all headed over to The Flying Saucer for the closing night party, featuring The Theater Fire! Everything I said about them before, still applies. They are absolutely the best thing going in Fort Worth right now. Each of the seven members are so talented when it comes to instrumentation. Most of them can--and do--play multiple instruments and a lot of times, uncommon and interesting ones. The melodic mixture of sound, coupled with the folksy vocals and daring lyrics, is really quite jaw-dropping. Many of the filmmakers and several of the celebrities I spoke to were going on and on about them. I really hope to see these guys succeed! Shout outs especially to Curtis and Jesse, my friends from way back (Jesse way, way back)!

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Fort Worth really needs this event. The Lone Star International Festival proved to be a success, according to all the filmmakers I spoke to, the sponsors, the celebrities and the hard-working volunteers who made sure the festival went off with a bang. There really weren't too many flaws or late-starting films. In fact, the worst I heard was a print for Da was lost and, oddly enough, Barak Epstein (who also worked on The Stranger and is currently in post for his feature, Blood on the Highway) ended up picking up a, get this, VHS copy at Premiere Video in Dallas. Other than that, the festival really seemed to take off without a hitch, and I'm really looking forward to it next year!

LSIFF.07 Day Three & Four: The Education of Charlie Banks, Float, The Good Life, and The Rumblers Live!

Unfortunately, I didn't get to the festival until about 2:00pm on Friday. I'd missed several films that I wanted to see and decided simply to hit the Lounge for some drinks and a rare chance to check my email. Clay met me over there and wished me a happy birthday by buying me lunch (thanks Clay!). Somehow I spent the entire day there until The Education of Charlie Banks.

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The Education of Charlie Banks marks the film debut of Fred Durst of Limp Bizkit. And what a remarkable debut it is! The film's themes deal with love, change and facing one's fears. Durst really makes the characters come to life and, despite many films of the same ilk, creates a likable antagonist--albeit a brutally violent one--who proves to be human, despite all his flaws. Jason Ritter plays a fearsome character, but just as the protagonist, Charlie Banks, expressed his need to "protect" him, I too sensed something in him that was precious. Unlike Variety magazine, who said Ritter "simply lacks sufficient menace and charisma," I find Ritter to be quite right for the role. In fact, the next day, I met him at Club Embargo and asked him not to beat me up! The real star, however, is Jesse Eisenberg, who plays the lovable Charlie Banks. His sincerity and genuine concern for others rightfully took an emotional toll on me as I sat in the theater. Tom Huckabee mentioned the film ought to be up for an Oscar nomination. I think I could agree with that.

For more information on this film, go to: http://www.charliebanksmovie.com/

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After the screening, I caught a ride over to the Longhorn Saloon for the Friday night party in the Stockyards. I was wearing a t-shirt from the 2000 Fort Worth Film Festival, and coincidentally ran into the artist who painted the graphic for the shirt, Nancy Lamb.



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After the party, a large group of us went back to The Flying Saucer and closed down the bar.

The next morning... er...afternoon, I barely made it to the Mumblecore panel. Mostly made up my DIY friends and colleagues, the panel went over the basics of Mumblecore--what it is, what the movement represents and how it helps independent filmmakers. It all goes back to a community of talented individuals all helping each other in an effort to get the word out about decent films. That's the movement's foundation, whereas the specifics of the movement (if you can really call it that), rely on the types of films being made: late twenty-something white people--primarily straight--in quirky relationships, where, the films focus on dialogue--usually fairly unscripted--between non-professional actors. As a side note, many of the actors tend to be filmmakers themselves.

After the panel, we all hit The Flying Saucer for lunch and then I caught a movie!

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Calvin Simmons' Float is a quixotic tale of a wannabe Hollywood director, Paul Greene, and his foolish pursuit at fame, fueled by his great idea. There's only one problem, his "great idea"--creating an all female prison on a ship--is absolutely ridiculous! Greene, however, will stop at nothing to get his film made. After pitching a big studio executive, played by Joshua LeBar, Float is a go, until his sudden termination. Losing his multi-million dollar budget, Greene must now figure out how to raise the money on his own and film the movie independently.

Intermixed with a workable romantic story, Float proves more than humorous. As Simmons mentioned in the Q&A after the film, the viewer doesn't necessarily relate to or want to be Paul Greene, but is sympathetic to his plight. His character, played by the writer, Paul Kolsby, is a likable--albeit pathetic--gem. I want to see more of his adventures! Float certainly doesn't inspire the independent filmmaker--nor should it--but it does laugh at the expense of Big Hollywood.

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After Float, I decided to check out The Good Life, a film where Bill Paxton served as executive producer. I had been wanting to catch this movie, based on Bill's own comments about it at a Dallas Producer's Association meeting, where he was the keynote speaker, just before AFI Dallas. I spoke to Bill after the meeting (that's where the picture was taken) and left with such a warm feeling in my chest. Bill is probably the humblest "celebrity" I've ever had the pleasure of meeting. He has a sincereness about him I can only describe by saying that when he speaks to you, he never looks past you... Many people do that. They look at the other person, but glance off in the distance, as if to make sure they're not missing something better. Bill, on the other hand, wants to make sure he's not missing anything from you.

I haven't blogged about the incident after the DPA meeting, so I'll presently take the opportunity. As I left the restaurant--I think it was Sambuca?--I gave my ticket to the valet and he brought up my truck. Another valet brought up a Corvette and, for whatever reason, accidentally put the vehicle in reverse, hitting the front of my truck. As traffic accidents really aren't a surprise to me anymore, I remained calm and immediately snapped some photos of the damage. The Corvette driver, however, wasn't quite as calm. In fact, he was quite livid. He was lambasting the valet service, the restaurant and anyone else within ear shot. It was really annoying and was creating quite a scene out front. Anyway, Bill Paxton comes out and inadvertently calmed the whole scene when he jokingly expressed his desire to park the cars himself: "You should have hired me to park the cars," he said. So the story was relayed to Bill at the Saucer during the Thursday night after party, and he laughed about it and remembered me and I was giddy. Alright, alright, on to the movie.

Given there's already quite a number of reviews of The Good Life--it did play at Sundance, after all, I'm not going to discuss the plot of the film, except to briefly say that it's a film about the suffering and isolation of one man, Jason, in a town he's trapped in for all the wrong reasons. He is surrounded by deceitful and manipulative individuals who do nothing but bring him down and pull him further and further into desolation. That is, except for his one true friend, Gus, an old man who owns a neighborhood theater. The film deals with themes and perspectives and actions viewers don't typically find appealing on screen--and it is largely depressing. Reviews are mixed for this film, as to be expected. Some find the film hopeful or inspiring at the end--I just see it as survival.

The well-fleshed out characters in this gloomy tale are all impressively played. Mark Webber's performance as Jason is incredibly riveting and believable. As for Chris Klein, I agree with some critics who believe this might be his best role yet. Zooey Deschanel manipulates me into loving her once again. Bill Paxton's character is quirky and odd and gay, and Bill pulls it off perfectly. Gus, however, is probably my favorite character. I kept looking over at Harry Dean Stanton, who gives a heartfelt performance as a dying man, wondering, as the film progressed, how he felt watching himself play this character--at his age--and how it effects him. Of course, he's far more active than Gus...


Professional skateboarder Stephen Berra has written and directed a truly important film, built on decent story and cemented together with remarkable performances from the actors. Berra's portrait of small town America manufactures a painful environment which grabs the viewer by the throat. The film doesn't necessarily say anything new or even profound for that matter, but it's certainly an emotional experience I won't soon forget.

***
After an interview outside Club Embargo, I made my way inside. Already incredibly inebriated, I proceeded to the bar and ordered several margaritas at the time and shots of Patron for me and my friends. Although not a huge fan of the venue, it seemed a decent stage for The Rumblers, featuring Robert Rodriguez and Johnny Reno, to play the soundtrack of Road Racers. The party was fun and I met a lot of people, but once the band was offstage, I was ready to go back to the filmmaker's lounge for a quieter setting, where I would meet a few more people and really, the rest of the evening is top secret.

We left in style:

LSIFF.07 Day Two: Tijuana Makes Me Happy, Orphans, and Texas DIY Shorts!

Tijuana Makes Me Happy is a coming of age story shot with unprofessional actors in a quasi-documentary style. In the short span of time the film covers, fifteen year old Indio has to make decisions regarding sex, crime and friendship (with a rooster). The plot details are fairly simplistic and linear, but that certainly doesn't take away from the film in any way. That the film seemingly has no moral perspective about the dubious activities in the film, really gives the film more credit in my mind. It's light-hearted approach to activities such as cockfighting, prostitution and drug trafficking seems far more realistic and gripping when told by the amoral eye.

Perhaps I'm partial to films photographed in Mexico, however, given my love of Central America in general. Even the most ordinary scenes give me great pleasure when I see them on the screen because they are so different than America. I did appreciate the story (although, I could have lived without the spelling errors in the subtitles), but the vision of Tijuana and its inhabitants reeled me in.

For more information on this film, go to: http://www.tijuanamakesmehappy.com/

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Aside from the final sequence of Orphans, I felt Ry Russo-Young's film was a brilliant piece of cinema. The story follows two very different sisters who reunite for a birthday party and rehash their childhood. They discover how they really feel about each and justify why they moved apart in the first place. The dynamic between the two characters really makes this a great film--especially a dance sequence smack dab in the middle of the film which is utterly amazing. What I didn't like about the film was the director's choice to make something like a MADD commercial at the end of the film. And, especially, the choice to have one of the sisters actually talk to a grave. Other than that, I adored the film for its style and grace, it's zany character design and phenomenal performances by the actors, it's realistic dialogue and its gritty sense of direction.

For more information on this film, check out: http://www.orphansmovie.com/

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The Texas DIY ("Do It Yourself") Program consisted completely of filmmakers I've found friendship with over the years. I helped produce one of the films in the program and am working with several of the other artists as we speak. James M. Johnston programmed this particular block of films primarily due to the artistic connection between filmmakers. Before the program, he talked about the devotion we all have to each other and the film making process. I remember when *my* particular circle within this group of people, rested solely in Irving, TX... And then it spread to Fort Worth, and then into Dallas as well. And then into Austin. And now, it's nationwide. Over the years I haven't been readily available to help these guys out on a lot of their freshman and even sophomore projects. Presently, I'm remedying that. And now, the films:

Anytime I feel awkward during a screening due to its content usually means I'm engaged in a film worth viewing. Lions' Den is one of those films. Frank Mosley has created an intense fifteen minutes of film that shames and embarrasses the audience. These emotions compel the viewer to continue watching... Just as long as no one else is looking.

The haphazard photography intensifies the situation with its blurring images and gritty movement. What's really amazing about the short however, is that it was completely improvised--a method of film making that's becoming more and more popular these days. But while many films lack substance due to their unscripted dialogue, Mosley's seems to be more refined, due to its extreme realism. Mosley's ability to create such a stressful tone with his film is truly right on. Check out Lions' Den, if you have the stomach for it.

For more information on Lions' Den, check out: http://www.myspace.com/backyardmovies

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According to filmmaker Bryan Poyser, Grammy's was really just an excuse to put Joe Swanberg and Rusty Kelly together. In a SXSW interview, Poyser explains that he actually organized a benefit screening of Swanberg's Kissing on the Mouth and his own Dear Pillow, which Rusty Kelly stars in. Joe Swanberg, a Chicago based DIY filmmaker, plays a likable, straight-as-arrow dork, while Rusty Kelly plays his obnoxious, jaded younger brother. When Swanberg's character attempts to set up a fishing trip on private property, in a pathetic attempt to bond with his brother, the two find themselves in a world of trouble.

The set of events that follow get funnier and funnier the more I watch the film. There's masturbation! There's sadomasochism! There's thievery and back-stabbing! Grammy's is quite a lot of fun. But what's really neat is how it's such a fine example of what DIY'ers are doing these days. Independent filmmakers are putting each other in their films, propelling each other instead of competing against one another. This is exactly what the DIY experience is all about and what makes it so important to current indie filmmakers. So go on and enjoy the film--just don't forget your wallets on your way out. We wouldn't want you to get into any trouble.

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When David Lowery's The Outlaw Son was slated to play at the Sarasota Film Festival, he expressed an interest in the film festival's blurb of the film. The blurb isn't really important, but his reaction to it is. "I love it," Lowery stated, "because it's an interpretation that I'd never have thought of myself, but that's entirely applicable to the film all the same." That's really the magic of this high-concept, experimental narrative with absolutely no dialogue--save three words at the very end of the film. It's the subtle placement of things, the body language and facial expressions and a mood created by lighting, sound and music (in this case, The Theater Fire!) that tells a story. The fact that there are no words and that the audience can take away their own interpretations of the film, really adds to its essence. Much like a painting in a museum, The Outlaw Son relies on its audience to complete the story.

Currently, David and I are in pre-production for his next feature, St. Nick, which will rely as much on imagery as The Outlaw Son does. I'll discuss that more later.

For more information on the film, check out: http://www.road-dog-productions.com/films/outlawsonmain.html

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Yen Tan's Coda is an incredibly short film which creates quite an impact. Much like The Outlaw Son, the film does not rely as much on dialogue as it does the photography and sound design. Coda features Frank Mosley, as a guy taking his dog out for a final, quiet walk. The bond the two have creates quite an impact and its difficult not to rub your eyes at the end.

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A shocking coincidence at a party sets an uncomfortable tone in James M. Johnston's GDMF. The film playfully begins with an exotic dancer describing an odd fetish of one of her clients. Certainly setting the awkward tone at the beginning, GDMF proves to take its uneasiness even further with an accidental act that makes her professional line of work seem just the same as any cubical jockey's. Interestingly enough, the act itself isn't enough for Johnston, as he shows us the unlikely aftermath which compels the viewer to question who really is or is not the victim of this bizarre tale. The gritty look of the film and the slamming music of Top Secret...Shhh really fits the overall design of the film as a whole. And the cinematography at the end, with a scene involving a mother and a daughter, is absolutely perfect.

For more information on this film, check out: http://www.myspace.com/gdmffilm

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Although I hate to admit it, Yen Tan's second short of the program, Booty Recall, really hit home with me. I mean, it's happened to everyone. You're just out of the shower, ready to get dressed and head out, when you find out the person you're planning on meeting has other plans. It's Saturday night and you want to head out! So, you get on your cell phone and start dialing. Name after name... Dismissal after dismissal. Until finally, you start calling people you haven't spoken to in years and people you really don't want to hang out with anyway. It's really just pre-drunk dialing and Yen Tan captures it perfectly. Beyond that, the film takes a lonely Saturday night to quite a few other levels like drinking wine out of a beer mug and watching gay porn just because it's there. The film stars Sean French of The Theater Fire!

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Clay Liford's The Stranger--based on Camus' work of the same title--packs a hilarious punch and marked a great way to end a series of fantastic DIY films. I helped produce the eleven minute short and loved every minute of it. What's really amazing, however, is the editing Liford did in post. The finished product left the entire audience--including myself--seamlessly laughing out loud. Erotic and sensual, The Stranger strokes the viewer at his very core. It's a story of love and obsession. Or, maybe it's just a cool way to jerk off.

A new soundtrack for the film is currently being worked on. I'll keep you posted on any updates and additional releases. No website is available for the film at this time.

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Here are a few more stills from The Stranger.


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After the films, James persuaded all of us to go eat at The Spiral Diner. Little did we know that Spiral was later catering the Thursday night party at Encore Lounge! What a sly, capitalist dog!

Here's patriotic Clay, cramped in the back of Barak's car on the ride over to Spiral!


After the party, a few of us went back over to the filmmaker's lounge at The Flying Saucer for many more libations, perfect to fuel next morning's regrets...

LSIFF.07 Opening Night.: Kabluey, and Brave Combo!

Driving into Sundance Square is always a treat; with its sparkling gold lights, the glimmer of movie theaters and pubs, and the faint artistic air. Fort Worth is the slowly becoming more and more like my true love, Austin, TX. I'm really excited about the Lone Star International Film Festival because it brings an important film event back to Fort Worth. But unlike its predecessor, I think this one--by the grace of Bill Paxton--will continue to be an annual event.

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The really amazing thing about Kabluey is the celebrity cast Scott Prendergast puts together. Not only is the film made on a shoe-string budget (no trailers or amenities folks!), but this is Prendergast's first feature length film! Topping that, he writes, directs and stars in it! After the film ended, Prendergast tells us that his co-star, Lisa Kudrow, actually phoned him up one morning and told him in person she'd do the film. He'd sent her a script directly. Apparently, after she signed on, several other stars (including Teri Garr and Christine Taylor) followed suit.

Not only is the cast of characters spot on, but the film itself certainly delivers a wide spectrum of joyous emotions. I felt joy throughout the film, but that joy ranged from laugh-out-loud funny, to giddiness, to emotions that made me feel like I should cry but still made me feel happy. Either way, I was quite amused and had a smile on my face the entire time.

The quirky concept of the film is an oddball kind of guy, Salman, trying to help his sister-in-law with her two, non-stop ruckus driven brats, while her husband is away in Iraq. Salman ends up getting a seemingly useless job as a guy who dresses up in a huge blue, faceless suit and hands out flyers promoting office space for rent at a glorious expanse of a building so large and magnificent and yet, so empty. I asked the writer/director about the company during the Q&A session and he said he'd manufactured it after these grand buildings owned by bankrupt and defunct dot com companies, who'd busted.

Prendergast finds humor in so many ordinary parts of life. This, coupled with his ability to tell a story by only showing its aftermath, makes me think we'll be seeing quite a bit more of him on screen and behind the scenes. Prendergast received a round of applause when he announced Kabluey had been picked up and will be distributed, with a theatrical release, sometime next year. It's blurific!

For more information on the film, go to: http://kabluey.com/

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Nothing starts a festival off right like an opening party with Brave Combo headlining. Hailing from Denton, TX, this polka/rock band has certainly impacted the North Texas music scene for over twenty-five years now. Any UNT student (and I was one!) should know Brave Combo!

After the party, a few of my friends and I hit that fabulous neighborhood bar in Fort Worth, The Chatroom Pub for a few after-party cocktails and fun. What makes the Chat Room so great is its co-owner, Brad. The first time I went in there, I was amazed at his service and genuineness. In fact, he didn't charge me all night (I suppose it was because who I was with), but I made up for it in tips! He's remembered my name, and always has a follow question for me the moment I walk into his bar, ever since.

Alright, so I'd had enough to drink and had water. What are you gonna do about it?! Either way, the first day packed a punch and I'm ready to experience the rest of it! Bullocks! I'm late for a film... I'm off!

Lone Star International Film Festival

Fort Worth has brought back it's film festival! Now, instead of the Fort Worth Film Festival, it's changed its title to the Lone Star International Film Festival. It's next week--November 7th thru 11th--and should be a lot of fun.

A short film I helped produce is in the Texas DIY Shorts program, along with a whole slew of local filmmaker friends. Some other great films from talented individuals are also featured at the festival.

I'm looking forward to it and I hope to see some of you out there! Go support art, you bastards! There will be drink and merriness and festival parties as well!

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Come check out The Theater Fire at the Lone Star International Film Festival Closing Party, this Sunday, November 11th at The Flying Saucer in Fort Worth at 8pm.

Not only should it be an amazing concert, but you'll get to mingle with filmmakers and celebrities! Woo hoo!

The Theater Fire is best described as an alt country musical group; however, with a multitude of instruments and it's folksy, melodic tone, The Theater Fire packs a pure Texas country punch that's really undefined in any specific genre. They really are quite a treat and well worth checking out!

If you can't see them on Sunday in Fort Worth (or you just don't want to make the drive if you're in Dallas); well, you're in luck! They're also playing at world famous (okay, maybe not "world famous"--but it should be!) Lee Harvey's on Saturday, November 10th at 9pm.