MMSW Poster

My Mom Smokes Weed
Poster art by Yen Tan.

Indiana for Obama

This just in from my good friend and fellow filmmaker, Bill Sebastian. It stars Indiana Jones!

The Weekend of 420: Probably Not the Best Time to Film in a Head Shop

It was Friday, April 18th around eleven o'clock in the morning. The morning and evening before, I'd called a local head shop smoke shop, Pipe Dream, only to get the runaround. At 11:00 AM, this Friday morning, I was determined to get a location set up for the final scheduled shot--the first shot of the actual film--for My Mom Smokes Weed. I called the Gas Pipe and immediately I was interrogated: was I part of a news crew? After briefly explaining that I was merely part of an independent film production, the manager assured me he'd get an answer from corporate, by the end of the day. The end of the day came and went, and still no answer. Clay physically went to an independent shop in Deep Ellum, The Deep End, and got permission to shoot there. The morning of our shoot, I also secured the Gas Pipe as a back up. Thanks go out to both of these fine establishments.

Here are some stills:

Clay Liford films nervous Nate Rubin as he passes the head shop. Barak Epstein on sound and me wrangling! Thanks Yen Tan for the photo.

Deep Ellum's own, The Deep End, ended up being a better location; and we got to support a dying neighborhood that frantically needs our help.

Clay and Barak filming Nate walking up to The Deep End.

Scary, tattooed man, James M. Johnston scares little-pansy-boy Nate in this clever piece of foreshadowing.
Finally, a brief photo study of Yen Tan:




See additional photos on MySpace and/or Facebook.

Also, Check out writer/director, Clay Liford's MMSW blog post!

My Mom Smokes Weed

As the title suggests, Clay Liford's semi-autobiographical short, My Mom Smokes Weed, is a film about a son and his relationship with his pot-smoking mother. Chip, a straight-laced squirt who really needs to shave, pays a much needed visit to see his septuagenarian mother, and, upon arrival, is met with a barrage of smoke, his high mother a flurry of awkwardness. Although uncomfortable Chip completely disapproves of his loopy mother's illegal dabblings, he somehow finds himself on a wild quest with her to score some Marijuana. But submissive Chip will soon find that uncomfortable situations are the least of his problems.

Chip’s septuagenarian MOM sits on the edge of her bed,
fastening a smoldering bud to a roach clip.

Cinematographer Jason Croft and key grip/gaffer Chris Simpson strap down an HVX to the hood of producer Yen Tan's car.

The HVX strapped down to the hood of Yen's car with sound guy, Barak Epstein, and camera dude, David Lowery, inside.
Unfortunately, the production saw it's own bit of misadventure when said car backed into Jason's vehicle! Fortunately, however, the incident was minor and no one--nor any camera--was hurt.


Enthusiastic Nate Rubin (and sleeping Barak) before he smashed up Yen's car. Sorry Nate! Keep smilin'!

Fans of Yen Tan will recognize this similarly blocked shot from Ciao. Mother, Sylvia Luedtke, and son, Nate Rubin, tepidly approach the ill-fated drug dealer's apartment!

The looming drug dealer towers over mother and son. Nervous Nate appropriately reacts.

Sandwiched between his mother and really creepy gang banger, Chris Gardner, Chip finds himself in yet another uncomfortable position. To make matters worse, his mother overtly flirts with Rastafarian, James McKinley, and passes glances back-and-forth with strong man, John Phelan.

A gleeful mom passes a joint to her new Rastafarian friend, as drug dealer (and Starbucks barrista) Scott Logan looks upon .

John continuously lifted weights throughout the course of this entire shot!

James and Sylvia share a moment while Chris is passed out.

Sylvia hits the TIMENATRIX bong!

Meek Nate finds himself in a threatening position with Scott on the balcony, as Tanner faithfully watches over.

Jason also finds himself in a threatening position shooting the balcony!
Check out a short video of Chris teaching Sylvia how to properly hit a bong!



As I've said before... Also, thanks much to Ellen Weaver for procuring the fantastic "water pipe" and herbal smoke-stuff (yes, it was fake. I swear!). Thanks to Chipotle for donating burritos for the cast and crew one out of the two days. And thanks to Jerry for allowing us to rampage through his apartment!

See additional photos on MySpace and/or Facebook.

Celebrating Friends at AFI Dallas and Beyond!

Two of my dear friends, David Lowery and Yen Tan won Special Jury Prizes for, A Catalog of Anticipations (Part II) and Ciao, respectfully. As usual, David missed his moment of glory. Either way, I'm so proud of both of these fine fellows. David, in particular, really spearheaded my renewed passion in film. Sometimes I wonder what my life would have been like had I not met him way back in 1998. Or was it 1997? I can't remember exactly.

In other news, another friend and fellow filmmaker, James M. Johnston, will be available for his second screening of Merrily, Merrily at the Sarasota Film Festival on...well, today, actually (A Catalog of Anticipations is also playing at Sarasota). I literally watched this film only a few moments ago, finally, and immediately felt the inclination to blog about it. James has a relentless filmmaking quality that's wholly unique and entirely blunt. In Merrily, Merrily he makes brave, broad swoops that usually would be unheard of and critically unacceptable. But for some odd reason, they all seem to work out as if it were completely normal.

James produced St. Nick along with me and I truly don't know how we would have pulled it off without him. David, of course, wrote and directed the film. Yen Tan also helped by unloading P2 cards (a full-time job indeed!).

Speaking of St. Nick, David, James and I spent last Saturday filming some final pick-up shots with Tucker and Savanna. David summed it up best.

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And now to celebrate some final photo moments from AFI Dallas 2008:


Awesome Bill Sebastian with lively fiancée, Dana Pupkin.
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Blair Rowen, Jacques Thelemaque, Robin Gierhart, and Chris Gardner.
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Me and Negin Farsad, the director of Nerdcore Rising.

AFI Dallas Gets All Environmental (Well, Its Films Do Anyway)

A welcome growing trend at film festivals worldwide has been presenting films dealing with environmentally conscious themes. AFI Dallas has actually created an entire block, dealing solely with environmental subjects ranging from the world-wide water problem to the coal industry. The following two films were both hits at Sundance and although I missed them there, I was lucky enough to catch them here, at AFI Dallas. Both of these films deal with the subject of water. While Up the Yangtze focuses on a microcosm, Flow: For Love of Water focuses on the global issue (and even references the particular issue dealt with in Up the Yangtze). Watching either one of these films should drastically change your views on water conservation and modern industry as a whole. Rightly so, Up the Yangtze has received a limited theatrical release and hopefully more screenings will be available in the future. Flow: For Love of Water has also received some limited screenings and will most-likely be distributed as well.

A breathtaking cinematic experience, Up the Yangtze visually displays the problematic nature of industry and technology along the river Yangtze in China. Upon completion, the Three Gorges Dam will be the largest hydro-electric power station in the world. But the ramifications are catastrophic: over 1,500,000 people have been, or will be, relocated; cultural and archaeological sites will be flooded and destroyed; and the negative effects on the habitat of the region is impossible to avoid, due to the dramatic environmental change.

Filmmaker Yung Chang shows the devastating effects the dam has had on the surrounding community. Whole cities are being drowned and their inhabitants forced to relocate. Many families have been promised prosperity by government officials, and yet they tell tales of being beaten and dragged from their homes. The impoverished, though they can't afford to move, are forced to. They can no longer farm because of the vast changes of the land and their homes are going under water. Some, ironically, choose to work on the dam; others, on luxury cruise liners carting rich foreign tourists along the river, as if the destruction of all this geography and civilization were merely an amusing spectacle.

Chang follows two teenagers in particular, who choose to work on the boats: sixteen year old Shui Yu (or "Cindy") and nineteen year old Bo Yu Chen (or "Jerry"). They are given "American names" for the benefit of the tourists. As a footnote, they're also not allowed to talk about current politics or anything that might make the Americans more uncomfortable (particularly, anything related to the independence of Canada, the struggle in Northern Ireland, and the monarchical system of the United Kingdom). Shui Yu comes from an impoverished family who's had to build a hut from scraps because they cannot sustain themselves in the city where you have to buy vegetables and pay rent. Because her family is so poor, Shui Yu really has no choice but to work. She must forget about attending high school (she used to dream of being a scientist, but knows that fantasy is an impossibility). Bo Yu Chen, on the other hand, aspires only to have a lot of money and holds solely himself in esteem. His selfish behavior gets him into trouble, however, and because of it, his success is fleeting.

Clearly an ironic metaphor for what's happening to the region, these two teens, along with their fellow co-workers, sleep under the main decks in rooms filled with bunks and lacking air-conditioning, while the tourists marveling at the changing environment enjoy fine dining and all the amenities of a luxury cruise line. The metaphor becomes clear towards the end of the film when an elderly man stands on the dam and stares out over the drowned cities and flooded landscapes and notes only his amazement with the Chinese government, for its ability to split the gigantic river in two. He smiles faintly, as we linger on his brittle face. A similar sentiment earlier in the film gives us a downtrodden man attempting to defend the actions of the government, but in the end, finds himself weeping uncontrollably.

Martin Heidegger was deeply concerned with man's relationship with nature, specifically when dealing with the question of Being. He wrote that man's increasing technological quest was directly changing his relationship to Being. That man is concerned only with conquering nature, severely alters his ability to be harmonious with nature. In this passage from his essay entitled, "The Question Concerning Technology," Heidegger describes the hydroelectric power station on the Rhine river:

The hydroelectric plant is set into the current of the Rhine. It sets the Rhine to supplying its hydraulic pressure, which then sets the turbines turning. This turning sets those machines in motion whose thrust sets going the electric current for which the long-distance power station and its network of cables are set up to dispatch electricity. In the context of the interlocking processes pertaining to the orderly disposition of electrical energy, even the Rhine itself appears to be something at our command.^[1]

The problem has been festering for some time now. Where so many philosophers have argued in favor of conquering nature to suit our own practical needs, others have found that view point problematic from the start. Aristotle, for example, was largely concerned with merely understanding nature, while Descartes, the "Father of Modern Philosophy," wished to "render ourselves masters and owners of nature" (cf. Descartes' Discourse on Method). As Descartes' view of the world became the prevailing and popularized view of the world, at least when dealing with Western philosophy, Heidegger warned us of it's consequences, from a purely philosophical perspective. Now, we're seeing the practical complications of technology and industry, as such.

Up the Yangtze ends with a joke told by one of the inhabitants of the river Yangtze, a worker on one of the luxury cruise ships:

Two leaders, one an American and the other Chinese, are riding along in a car. They come to a fork in the road. To the right is the way of capitalism. To the left is socialism. The American leader suggests they go right. The Chinese leader agrees; though he suggests they do so, but turn on the left blinker.

^[1] Martin Heidegger, "The Question Concerning Technology," Basic Writings Ed. David Krell (New York: HarperCollins Publishers, 1993), 321.

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Director Irena Salina deals with the global issue surrounding the need for water conservation, due to the shortage of water world-wide, the social and political ramifications of privatization of water control, the startling realization that water all over the world is basically unsanitary, and the negative impact of water bottling.

Not only are governments building enormous dams, largely funded by the World Bank, that displace millions of people, but most of the world's water goes largely unchecked--both out of the tap and into the bottle. Millions of Americans, for example, get sick every year due to the stuff found in the water supply. And bottling companies are doing immense damage by sucking out all of the water in local areas and destroying the habitant and natural environment of nearby inhabitants. Far worse, they're taking all of the water and, in cahoots with government officials, forcing the poorer people to pay for the water that's already theirs.

The film focuses a great deal on local, community water sanitation systems in India that are affordable and practical. One of the neatest systems referenced in the film, is basically a merry-go-round for children. When the children spin each other around, the machine goes to work. Many governments shut these systems down, however, and substitute largely inefficient and costly systems, at the expense of the local community. The locals then have to walk several miles and pay a ridiculous amount for the water. Most of them cannot afford to pay, so they take their chances on the polluted river water.

What really made me cringe, however--and what really hit close to home--was the facts presented about major bottling companies and their practices. It's fairly common knowledge now that most bottled water is not from the springs or mountain valleys or whatever; but mostly just tap water. Many people that I've talked to about bottled water, say they drink it because, even though it's tap water, it's filtrated and more reliable than city water. Yet there's really no evidence to substantiate this. Unfortunately, there really is no regulation in the industry; and what little regulation there is, largely goes unchecked due primarily to a lack or resources. So, the bottled water you're drinking could actually be worse than the city tap water freely available at home.

Both of these films deal with the harsh realities of privatization of industries and the drastic negative effects they've had worldwide. The fact is that this is, and will remain, a global problem. No government or company should ever claim ownership or control the water supply, as it is necessary and essential for human survival. When President Skroob sucks the air out of a can (see Spaceballs), we all had a laugh because it was a parody: no one would ever really own air, would they? But corporations and governments currently own water and manipulate the water supply to suit their needs. Let's stop this before the slippery slope continues. Sign the petition to add a 31st article to the Universal Declaration of Human Rights, establishing access to clean water as a fundamental human right (thank you Flow: For Love of Water's website for making this accessible).

Blood on the Highway at AFI Dallas

Yeah, that's me (in the white t-shirt) being all undead and stuff.
Only two days into the the AFI Dallas Film Festival and I'm already worn out! The turnout for the pre-party was a huge success, with over two-hundred people, throughout the evening, all there to celebrate Blood on the Highway. But even better, the midnight screening was completely sold out and the crowd was amazing. Before the screening commenced, a heckler came from nowhere and launched soda all over some of the cast and crew. Unfortunately, I was talking to them and my jacket was one of the primary targets! Word has already spread all over the festival and it's anticipated that the next screening will be even more chaotic (you know, riots in the streets, dogs and cats living together, mass hysteria!).


Me and Tom Towles.
During Q&A, Tom Towles (who had a cameo in the film) talked about how much he really liked Blood on the Highway. His words were genuine and his praise sincere. And the entire house agreed. What a fantastic premiere screening it was!

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View of Victory Park from ghostbar.
Okay, so I'd never actually been to ghostbar before, but the Dallas Film Commission hosted a party there on Friday (just before our party) and it was top notch. The view of Dallas is really spectacular at thirty-three floors up, especially when walking out onto the see-through balcony.

So far, the festival's been a lot of fun. Other than Blood on the Highway, I've seen Flow: For Love of Water, a documentary about the vast need for water conservation, the state of the world's water today and the evil of bottled water (you will NOT want to drink bottled water ever again); The Guitar, Amy Redford's directorial debut; and a block of shorts, featuring Josh Brolin's X. I'll write more about these films later; but for now, enjoy a picture of me and "The Amazing Kumar"!


Me and Kumar Pallana.

St. Nick: That's [Sorta] A Wrap.

Today David and I met with the kids to give them a reel David cut together. It's been almost two weeks since we wrapped principle, so it was great to see the kiddos again. David's already cut over twenty minutes of footage (and that's just been the last few days since we got back from SXSW!) and apparently it's looking great. The reel was super-rad-cool so I'm anticipating a great film!

Here are a few more stills from the last few days of principle photography:


Tucker's bloody hand. Interestingly enough, apparently David has written this in many of his scripts.

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Mark Sharon sets up the log gag. In the film, the boy sets it up as a trap. Barlow Jacobs plays a contractor who's the first to find the trap... Will he get hit? Will it hurt? Will he die? Will he bleed? Oh, the suspense!

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A superhero ice cream truck.

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Jonathan "Rambo" Rudak sets up some candles.

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Filming across the street from the abandoned house.

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The impeccable Bosque Brown, along with Curtis Heath (of The Theater Fire). Thanks much to Curtis and Valerie for allowing us to ransack their home!

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A picture perfect family?

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This is what happens when an actress doesn't obey David "The Dictator" Lowery!

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Below are some photos from Annetta North. Thanks to James' grandmother for allowing us to shoot on her ranch and for the Town of Annetta North for allowing us to shoot at an abandoned church. Oh wait, we didn't have permission. Well, thanks anyway.


Yen with some ass!

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Poster, t-shirt or postcard shot!

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Welcome to Annetta United Methodist Church.

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Annetta North railroad tracks.

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Officer Donaghey sees something strange.

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Hot cop ass?

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Pick-up shots after Martin left. Thanks Barak for stepping in and helping!

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Convenience store location. Thanks to Lin for allowing us to shoot!

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That's a wrap... For now. I'll have all the pictures available on my MySpace within the next day or two. In the meantime, check out more stills from Jonathan Rudak and from James Watkins. Thanks guys!

There Will Be Vader

Via Matt Zoller Seitz.

From the very beginning of this clip YouTube user AAC8888 understands There Will Be Blood to a tee. Granted, he's got the amazing score from the film to work with, but when Vader/Plainview looks at Emperor Palpatine (Revenge of the Sith) and boldly, yet subtly, announces, "yes I do!" it sent chills down my spine.

The really fine-tuned part of the clip, however, is when Vader/Plainview confronts Luke Skywalker. It starts with Vader/Plainview screaming at Skywalker (The Empire Strikes Back): "I told you I would eat you up!" And then move towards the entire "bastard in a basket" sequence. Brilliant!

The clip ends with the always clever and fun "I drink your milkshake!" sequence and a rad lightsaber fight from Return of the Jedi.

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Speaking of milkshakes, Savanna (lead actress in St. Nick) was kind enough to buy me a really awesome There Will Be Blood "I Drink Your Milkshake" t-shirt at CafePress. Not only did she contribute to purchasing the shirt (in case you don't know: she's nine), but also had the foresight to have it printed on American Apparel's Sustainable Edition (an organic cotton tee, made in the U.S.A.).

Read my response of There Will Be Blood.

For kicks, read my riposte of an article written in The New Yorker just after the opening of Revenge of the Sith.

Salt Lake City: Moments

Other than talking to crazy anti-Mormons, me, David (Lowery) and Bill (Sebastian) enjoyed the Salt Lake City flavor. I actually thought these photos were lost, but forgot that I'd uploaded them to my external hard drive when my computer was getting a tune-up! Enjoy!


Bill Sebastian in front of the infamous Red Light Books in Salt Lake City.

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Good ole' Immigrant Italian Dining. Definitely not "Made in the U.S.A." here! What I love about this picture is all the signs. Other than the "Immigrant Italian Dining" sign, you've also got "AIR CONDITIONED," "Lunch Served Daily" and "COLOR TV." Other signs of note (that you can't see unless you're looking at the original size of the photo) are "Elegant Dining" and "COCKTAILS."

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Some pictures really don't need a caption. Like pictures where I'm mounting a smiling pig statue and slapping it on the rear.

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Another picture that doesn't need a caption: Bill giving the thumbs up to a pile of dog poo.

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SLC Pepper.

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The Gateway.

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The Olympic Legacy Plaza.

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RBAN OUTFITT RS.

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David Lowery. Under the PINK.

TIMENATRIX

As soon as David and I were back in Dallas from SXSW, it was back to work on a new short film from writer/director, Clay Liford--who played one of the four leads in the short, as well. Shot entirely at Barak Epstein's abode, the film shows us one of the lamest excuses for adultery ever!

Based on the collected erotica of D.H. Lawrence, TIMENATRIX takes us where other films only dare to dream! We find ourselves in the past... the present... the future! TIMENATRIX will make you laugh... Cry... But in the end, it really just makes you want to toke up!


I'll bet you didn't know time travel was powered by the obvious--yet, never realized until just now--connection between a bong and an Atari joystick!


Chris Gardner (as "Chris") and Robin Gierhart (as "Robin") heat it up. David on B-Cam and guess who's on boom? I'll give you a hint: he's the moron with a broken collar bone that thought it'd be cool to do sound for the day!


Dual cameras! David Lowery afar on B-Cam and Barak Epstein on A-Cam.


Clay Liford (as "Clay") getting jiggy with Beth Featherstone (as "Beth"; and don't worry Sharon and Chris... This is for a moooovie!)

Also, thanks much to Ellen Weaver for procuring the fantastic "water pipe" and herbal smoke-stuff (yes, it was fake. I swear!). And for taking stills for me while I was on sound. Also involved and not mentioned: Yen Tan on P2 cards and in a general producerly capacity; and Sharon Wright on catering. Fun shoot, guys!

See additional photos on MySpace or Facebook.

SXSW.08: This Is What Filmmaking Is All About

Benny & Josh Safdie

Man, I really like the Safdie's. I remember seeing Josh's short, We're Going to the Zoo, at SXSW last year. I also just recently saw Benny's short at Slamdance in January. What's really great about these guys is their natural eye for beautiful shots. They shoot on film--16mm no less--which is refreshing and daunting at the same time. In The Pleasure of Being Robbed, I found myself falling for Josh and his friend Eleanor, as they steal a Volvo and take a long drive to Josh's apartment. Even though I should probably be upset with the moral character of these two, I can't help but find them innocent and lovely.

There's a beautiful scene where Eleanor frolics with a man in a polar bear suit in a river. It could have been silly, but the film literally dances along the screen, in rhythm with the river and the trees. Josh Safdie's eye for cinematography is calculated and capricious at the same time. It's this sort of filmmaking that inspires me to make films myself.

The beauty in The Pleasure of Being Robbed isn't in the story or the dialogue or the setting. The narrative or moral conundrum is really arbitrary, with perspective for the whole scheme of things. It's all of the visual matter that holds everything together--and if that isn't pleasurable, I don't know what is.

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Matthew Lessner

Matthew Lessner recently emailed me this marvelous picture of himself (he's the dude). Along with several others, he was chosen to judge the shorts competition this year at SXSW (his short By Modern Measure played last year).

One film in particular really blew me away. Glory At Sea is an amazing narrative which takes an entirely different look at tragedy. The film deals with flooding in New Orleans, but it's almost a Outopia ("no place"). The dramatic element of the film isn't specifically limited to those who have suffered losses due to natural catastrophes. Instead, it's very human and corporeal. It's almost as if you can reach out and grab it.

There were some intense under water shots that boasted a whole new, peaceful world. It was really surreal for me and difficult to comprehend how I was feeling after-the-fact, but the enticement of the film is still a sparkle in my eye. It's spiritual and noble and true and bold. Somehow, for me, it was both highly--and necessarily--ambitious, yet subtly quixotic at the same time. A quest of a film that mounts on the absurd in a romantic way that casts off any doubt that the events in the film are really happening. As utterly believable as Eleanor and her polar bear, I truly found myself in an under water graveyard, surrounded by hopeful and glorious individuals with Glory At Sea.

SXSW.08 Docs: Not Your Typical Bigfoot Movie, Woodpecker, & Of All The Things

Not Your Typical Bigfoot Movie was totally miscategorized this year at SXSW. Thrown into the 'Round Midnight category (a category reserved for all things horrific and scary), NYTBM tells the tale of two Bigfoot believers, Dallas Gilbert and Wayne Burton. Throughout the film, we see all sorts of research techniques--rarely scientific.

This isn't a hybrid documentary, and you certainly never see the elusive mythical beast. Instead, you find yourself absorbed in the lives of two close friends who are following the American Dream--a prevailing theme in many decent documentaries--however screwed up and silly it all seems to be.

The film is not deep or meaningful; nor is it inspirational or really even all that informative. But for some reason, I was momentarily charmed and mildly interested by the subject matter. This story doesn't need to be told, but I'm certainly happy to have spent the hour or so listening to it.

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Okay, so Alex Karpovsky's Woodpecker isn't really a documentary. It's considered a hybrid documentary--in this case, perfectly defined by the film's synopsis: "From its documentary underpinnings to its narrative arc, all truth becomes subjective in this existential tragicomedy about hope, perception, and some very very strange birds."

The problem with most hybrid documenteries, mockumenteries, and other films of that ilk, is that, by and large, the film's narrative suffers, due to the fact that the documentary portion of the film is largely unbelievable, or simply badly written. Generally, I don't have a whole lot to say about these types of films. In Karpovsky's case, however, I was more than charmed or interested--I was sutured in and completely willing to go along for the ride.

The story takes place in the Arkansas bayou, where we follow fictional characters, Jonny and Wes, in search of the real Ivory-Billed Woodpecker, a bird thought to be extinct. The dynamic between Jonny, the outspoken goof ball, and his silent sidekick, Wes, is crack-up funny and really fun to watch. At one point we see Jonny tarred and feathered, in an effort to scare off a crazy environmentalist (who doesn't recycle).

Karpovsky takes us in and out of reality and I found myself not really knowing what was real and what wasn't. More importantly, I didn't quite care. The story stands on its own merit. A beautifully shot sequence where Wes travels alone to a local roller rink is just good filmmaking. And that's really what makes this film work.

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Of All The Things tells the story of singer/songwriter, Dennis Lambert, a man who doesn't have a Wikipedia article yet has managed to write some of the greatest pop songs of all time (e.g., "Rhinestone Cowboy," "Ain't No Woman (Like The One I've Got)," and "We Built This City"). And, apparently, he's frickin' huge in the Philippines. His one chart-bottoming album, Bags and Things--a complete failure in the United States--was a pinnacle success in the Philippines. Oddly enough, Lambert was only recently informed of this phenomena by a pop disc jockey in the country. This documentary takes us on Lambert's tour of the Philippines, even after giving up the music business altogether (Lambert is now living in Boca Raton and serving as a luxury real estate agent).

I don't like the titular song "Of All The Things" at all. In fact, I didn't really like any of the songs I heard Lambert sing throughout the film. But the story of this guy is amazing. That he's been a huge sensation in the Philippines for so many years now, coupled with the fact that he only recently found out about it, and in response, packed up and toured the country, is really a fantastic undertaking. The film inspires by telling an informative, heartfelt story of successful re-emergence and the positive vibe on a small family, and also a fairly large country.

SXSW.08: Wrap Up, "Burger Hut" Trailers, Yeast

Purposeful graffiti in the Epoch Coffeehouse, Austin, TX
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The city of Austin, TX has seen rapid growth and prosperity in the last few years. Part of that falls between March 7th and March 17th of each year. The South By Southwest Film, Interactive and Music Festival has seen the same exponential growth as the city itself. I remember last year's festival being amazingly jammed (especially when the film & interactive portions were fading into music). This year, however, has been a staunch increase. According to a local bartender, his restaurant has averaged one-thousand more dollars a day during the festival than last year.

Keeping that in mind, I've tried to stay off the beaten path these last few days. When the music guys come in--due to the extremely large influx of people--the whole vibe of the festival changes. The days seem to get hotter; the streets trashier; the venues louder.

In general, I did a lot less partying and gallivanting--and even movie going--in exchange for intimate discussions in relatively quiet atmospheres. I also spent a great deal of time walking. As many of you already know, I broke my collar bone while snowboarding in Keystone, so I couldn't drive to the festival. Instead, I flew one-way and have been experimenting with various forms of public transportation. All-in-all a positive for the environment, but not so much for convenience. Tomorrow, I'll be riding back to the Dallas-Fort Worth area with David, leaving this great city behind.

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Kent Osborne outside the Alamo Ritz

Mumblecore ruled SXSW this year; and it all started with the trailers. This year, SXSW brought back the Burger Hut trailers (originally from the 2002 festival), starring Kent Osborne. This year's mockery include: a "mumblecore" theme party (Kent confuses it with "Dumbledore" theme party), and spoofs of 300, Close Encounters of the Third Kind, and Glengarry Glen Ross.

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The art of filmmaking is convoluted and complex. The naked and unguarded rarely receive the accolades they deserve because mainstream cinema is far more concerned with feeling good. Call me masochistic, but I don't want to feel good after leaving a film. Sure, if it's a Sunday afternoon and I want a cheerful cry as I laze around the house in boxers, reminiscing my old high school days and eating ice-cream, I may want to pop in a feel good comedy. Alright, those feelings actually surface a great deal--I won't lie to you. But when I'm at a film festival, I want to view films that impact me, that send shivers down my spine. I want to cry because it hurts. I want to cringe and laugh and then cringe again. I want intensity and experimentation. I want to learn something. And I don't want everything to be happy-go-lucky.

Mary Bronstein's Yeast is an intense look at friendship human beings. At its core, Yeast tackles the juvenile nature within us all. You may not want to admit it, but there's often been times you've wanted to slug someone you care about because, at the moment, you feel nothing but loathsome disgust for them. When everything they say or do grates on your eyeballs.

Bronstein's character, an extremely selfish control freak is extremely unlikable and irritating to the core. Her "friends," Amy Judd, a stubborn, immature brat and Greta Gerwig, a gadfly obsessed with the need for attention, both show me new flavors of puke. Watching them should bring me to convulsions. But again, I'm strangely attracted...

Yeast is a claustrophobic rage of a film. Largely shot by filmmakers Sean Williams and (really nice guy) Michael Tully, the film stays close to its subjects--oftentimes too close for comfort. Bronstein totally trumps any film dealing with jealousy and obsession. It's real, it's nasty and it's uncomfortable. You won't necessarily enjoy the experience of watching the film, but you'll certainly appreciate it for its honesty.

But then again, you may prefer the sugar-coated blandness of Hollywood and you may care nothing for truth or genuineness. If that's the case, go watch "Friends" or something. And stop reading my blog.

St. Nick: At the Ranch

With two HVX digital cameras and a Steadicam, we all piled into separate cars--many from different places in the metroplex--and drove sixty miles (well, that's how much I drove, anyway) to Valley View, TX. A family friend, Sandy Staley (who also sold me my hyrbid, let all of us destroy his property in the name of high art.

As you may remember, I briefly wrote about the ranch after David and I scouted it out. Clay and I will also be using the location for Cutlet.


The crew admires a horse.
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David prepares for a shot.
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Penske Trucks advertisement.
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Cutlet prequel! C-R-E-E-P-Y!
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Joe Swanberg on B-Cam.
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Tucker carves a stick under a tree.
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Barlow Jacobs.
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David Maddox on steadicam.
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The St. Nick sled.
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The crew with the St. Nick sled.
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How's this for a view?

St. Nick: Week One

The first week of St. Nick proved a charming learning experience. I've had the fortunate opportunity to work with some amazing crew members--many of whom have worked together on multiple projects in the past--and two lovely non-actor actors--for the most part--Tucker, eleven, and Savanna, nine. I've absolutely fallen for Savanna. Her effortless performance has completely enveloped her character and brought her a charm only a truly gifted young girl and a photogenic face can give. And Tucker, who's wise beyond his years and humbly quiet about it, has found a grave tension in his character. The dynamic between the two cannot be cast.

I've learned quite a bit this week, and these are just a few of my reflections:

Unexpected charms might occur when uncast extras suddenly roll in: there are some perfect occurrences that simply can't be planned.

Making it up as you go along can lead to significantly better choices than one might have expected.

Curbside trash digging is a popular sport in The Fairmount District of Fort Worth, TX.

Children build better tents than adults.

Every now and then a producer may run an errand that takes all day and takes him all over the metroplex; and, in the end, the errand might never have had to be run at all. But, as they say, it's the thought that counts.

Hybrids are great when you run out of gas...

Being at calltime, on time, may save you from playful-yet-serious ridicule.

I'm emo, according to a nine year old and an eleven year old.

And now, some images of a first, enticing week.


Make up artist, Heather Henry, creates a new hand for Tucker.

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Cast and crew meet n' greet.

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The kiddos.

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Clay always finds a way to sit down on set!

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Savanna showed me this sign, displayed on the window of the Arts Fifth Avenue. We don't put up with any guff.


...Yuppies use the front?

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Savanna really had a hard time with this bicycle. And at her most difficult moment, a procession of bicyclers passed by, in the opposite direction, briefly passing a glance and moving on. Certainly serendipitous, as David rightly stated.


Savanna getting the hang of it...

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A lot of great extras came out to shoot a scene where the girl crashes a birthday party. This, the first day of shooting, proved Savanna's ability.


Clay cuts the cake at the birthday party scene.

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We found this great wood-burning stove at The Butler's Antiques. Jim, who own's the antique shop along with his wife, let us borrow this, and several other items, used in the film.


Tucker tries to keep warm.

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Savanna and the dandelion. Adorable, albeit cliché.

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Several of us left base camp to guerrilla shoot a small scene at a closed down Carnival Food Stores grocery store. This young mouse was, sadly, barely alive. And further down, the larger mouse--a rat, perhaps a mother--was very much quite dead.


Savanna and the mouse. Adorable, and not-so-cliché.

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Savanna and David stand on a huge, giant rat!

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An early morning shoot at The Spiral Diner and The Chatroom Pub, respectively. Tucker nabs some beans from a delivery truck and dumpster dives for nothing more than a few sandwiches.


Tucker sneaking onto a delivery truck.

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Tucker's head pops out of a dumpster.

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The script calls for many scenes involving the children finding usable objects in several curbside trash heaps. People driving by with pickup trucks eyed the goods and several stopped and tried to take it. It's really difficult to explain to people that trash is not... trash.


Tucker and Savanna find treasure in one man's trash.

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David found the decomposed remains of a small dog quite a while ago and finally found a use for it: a young girl's creepy, pseudo-pet. Savanna affectionally named it "Donut Dog" (probably because David put it in a donut box).


Savanna serves me a dog skeleton!

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Savanna doubles as a "sound guy" when she's not acting.

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Tucker throws paper airplanes out of an attic window.

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David finds himself in a compromising position.

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The greatest footage is always improvised. This shot set up a wonderful, candid sequence where Tucker and Savanna explored a downhill stream. At one point Tucker lifted Savanna, helping her across the stream.


This sunset photo taken outside of an abandoned church.

SMU Tate Lecture Series: Martin Sheen

Martin Sheen accepted an award at the LSIFF (back in November) and he was a keynote speaker tonight at the SMU Tate Lecture Series. Barak's father works for Merrill Lynch, who sponsored the reception tonight, and hooked us up with tickets.

Interviewed by Dallas film reviewer Gary Cogill, Martin Sheen regaled the auditorium with touching, personal stories about himself and Charlie Sheen, his son. He talked about the recent, tragic death of Heath Ledger and why these things happen to Hollywood celebrities. He also told a lovely story about his meeting with Mother Theresa in an attempt to help end the Gulf War. Martin's a vocal advocate for peace and he's also quite a spiritual man, full of inspiration and vigor for positivity.

After the lecture, we headed over to the Merrill Lynch reception for a quaint meet-and-greet. Anyway, Martin remembered all of us from the Lone Star International Film Festival (Clay and I talked to him at the awards brunch and Barak actually brought the only copy of Da available in the DFW area because the festival programmers forgot the print!). He pointed us out to several others at the reception and talked to us at length about some of his early films. He's really such a sweet, gentle man and a real treat to talk to.

On the Set of St. Nick: Family Pictures & Braces

Meet the St. Nick family:

Laura Stone as the mother.

Andrew Sensenig as the father.

Savanna Sears as the sister.

Tucker Sears as the brother.

Sunday we took some "family photos":




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After we wrapped the family photos shoot, we headed over to The Spiral Diner for lunch before heading to Trinity Park for some more rehearsal time with the kids. I'd like to take this opportunity to thank The Spiral Diner, especially James M. Johnston (who's also producing St. Nick with me), for catering our entire shoot for wholesale, rock-bottom prices.




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Tucker, our lead male role for St. Nick, went in to get his braces applied today. A total trooper, the application went off without a hitch. Many thanks to the whole team at the Baylor College of Dentistry, Department of Orthodontics. But especially, a huge thank you to Dr. Emile Rossouw, professor and chair of orthodontics, who made it all possible. His contribution of both time and materials were of utmost import to the production.


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As a general update, we've basically tied up most of the loose ends in preparation of the production. We've only got a few more props to secure and one or two interim locations. It's all going as scheduled and I'm really excited to get down to brass tacks with the brother and sister duo, to see what they can do in front of the camera with a full crew! Friday, we're holding a dinner for the primary cast and crew and then we start principle photography on Saturday!

Sundance / Slamdance 2008: Moments

Following is a brief photoblog of some of my occurrences in Park City. Each one of the photos really doesn't have enough narrative to warrant its own post, but as a collective, they're an interesting set of moments.


Ronnie Bronstein & Benny Safdie at Slamdance HQ

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Kent Osborne, Ashley Sabin & David Redmon at the Queer Lounge Party
The Queer Lounge had parties like every night and it was right across the street from our condo, so we had to hit it up. I drank a wee bit too much for that night (Poyser can vouch for that) and did some really, amazingly annoying things that night. Probably the dumbest, was going around poking everyone in the club with a lift ticket pass plastic holder thing... Right. Going around, "Poke! Poke! Poke!" Really though, the only person who seriously seemed upset was the bouncer, who almost threw me out.

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Joe Swanberg at the spa!

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A view of Park City thru some tree branches.
This photo was taken on my way to the Slamdance Sled Off; which I almost missed, because I had to go home and get my jacket. When I got there, I saw all sorts of people sledding down the hill and I just had to try it. I've got a few snippets of video that I may upload at a later date. But I'm really glad I went out and checked it out and was even happier when I found a short cut back to our condo! I could see it from the hill!

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One final sled on the Slamdance banner. Courtesy Slamdance.

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We all survived the Slamdance Sled Off! Courtesy Slamdance.

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T-Shirt and shorts on Main St.! Courtesy David Lowery.
This was taken right outside the condo. I was totally ready to get into the hot tub--so ready that I quickly put my hiking boots on and walked about three blocks to meet up with our friends to hop on in. People were really looking at me funny in the street though!

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The Ghost of Bryan Poyser!
This photo of Bryan was taken in the "VIP Room" of a nifty little condo party we happened upon after, well, some other party we were at. David actually called me with directions and I couldn't understand his voice mail, so I attempted to call him back. Being cold and frustrated, I mashed the wrong button and ended up calling his parents' house... at 1:00am their time! I still haven't apologized to them because I think I want to do it in person. Anyway, the "VIP Room" was really just the bathroom where we all sort of ended up in order to talk to each other. And so we'd be close to our shoes... In the bathtub. Right... Moving on.

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A meditative break from the festival!
I only got to snowboard once while I was at the festival, but I chose to do it during night skiing hours (4:00 to 7:30). It was totally worth it. The night pictures really didn't come out, but it was such a spectacular sight. Although, it was about ten below--plus a wind factor--so the lifts were pretty chilly. And I lost my gloves. But with the London Symphony Orchestra in my ears I seemed to make it through just fine. Oh yeah, I totally caught air on a ramp I didn't mean to jump. And then my board sliced through the snow and it kinda hurt. But everything else was mellow and Zen.

Sundance 2008: Blue Collar Confessions

The Church of the Latter Day Saints affects people in very different ways. Some find solace in its structure and organization. Being told what to do and how to do it gives many people meaning and purpose in an otherwise vapid existence. But it's the other group of people that I find most interesting. Those people who've been raised by practicing Mormons and have broken away for one reason or another.

We checked out of Park City early this morning and caught a cab to Salt Lake City, where we'd spend the afternoon engrossed in history and religious discourse. After getting an earful from an irate hotel desk clerk who thinks the complex should just "shut down during Sundance," we hopped into the taxi. We were exhausted:


Upon reaching our destination, we had a bit of trouble acquiring our hotel room so early in the morning. After a bit of discussion, however, we were able to check in. Bill and a friend of his met up with us and, after sharing a few drunken tales, we immediately left in search of Temple Square.


In the center of Temple Square lies the Salt Lake Temple, the largest Mormon temple in existence. Members of the church must be "recommended" by church authorities to be allowed inside. The official LDS response to this is that the temple is a "sacred" place and therefore it cannot be made public.

Below are an exterior and interior (Bill gives it a thumbs up) shot of the Salt Lake Tabernacle:



The Victorian Gothic Salt Lake City Assembly Hall:


After taking in the sights and chatting it up with local LDS missionaries, we all decided to hit a downtown vegetarian restaurant, Sages Café.


After talking at length with our waiter, we discovered our first alternative viewpoint of LDS. What I find particularly fascinating about the church is all the secret happenings inside the temple. I asked our server about his knowledge of such things and, while he had no personal experience inside the temple, he too had heard similar stories of odd practices. One of the most well-known practices, "Naked Touching," was abolished in 2005.

I was intrigued by our waiter's candor and his willingness to discuss Mormonism so openly and naturally. After bumming around the city for awhile and then seeing the new Zellner Brothers' film, Goliath (I'll post a follow up with pictures and perhaps my reaction to the film later), we decided to hit the hay early and called a taxi.

What began as a normal, monotonous discussion about Sundance and film, turned into a brutal dissection of organized religion--in particular, the Church of LDS. A victim of an abhorrent sexual crime very young in his life, this tormented soul reflected on his experiences--effectively indicting the LDS for all its sins, calling it an "anti-sexual predator." Without getting into all the obscenely graphic details, he basically argued that debasing sexuality and all its naturalness is equally as bad as forcing oneself sexually onto another person.

His logic is flawed and he's incapable of being objective because his emotions are clouded and jaded; but his passion and his need to express his viewpoints are far more important than the specific points he attempted to make. And this is what makes these stories and confessions so vitally important. The bitter contrast I've seen between members and non-members shocked and amazed me today.

An interesting end to the festival, indeed. Tomorrow, I'll be on a plane back to Dallas. While I've immensely enjoyed the Sundance experience, I'm certainly ready to go home. I have a lot of blogging to do!

Slamdance 2008: I Think We're Alone Now

What thoughts enter your mind when you see the above image? If you're on higher ground and have thoughts of marriage and love and all that other mushy stuff, then you might already be in the documentary film, I Think We're Alone Now. The film chronicles two over-obsessed Tiffany fans, who's sole purpose in life (or one of the top three life goals, according to one fan) is to marry the burnt-out pop singer. To get an idea about the nature of the documentary and the people it documents, check out the trailer:



I saw the film several days ago and I've already heard some criticism on the Slamdance grapevine. Several fellow filmmakers seem to think the documentary does less documenting and more exploiting of these two individuals. While I agree the film doesn't necessarily portray them in a positive light, I don't think they themselves portray themselves positively either--at least in the "normal" mainstream light.

Jeff Turner, a victim of Asperger syndrome, is a likable enough guy and I'd totally hang out with him because he's a vessel of knowledge. However, most of this knowledge is dedicated to his pseudo-relationship with Tiffany. He's taken great steps and read many books in an attempt to justify his idea that Tiffany loves him as much as he "loves" her. For example, Tiffany's appearance in Playboy was apparently a silent gesture of love for Jeff.

Towards the end of the documentary, we learn that he's begun a similar fascination with Alyssa Milano. He even thinks she's gone back in time in order to prevent his relationship with Tiffany! Jeff's innocuous attitude and gentle perspective on life really persuades the viewer to fall in love. He's kooky and fascinating and I really adore him and it's the opinion of this reviewer, that he's portrayed fairly and accurately.

Kelly McCormick, however, is really where I believe all the controversy lies. A hermaphrodite, Kelly already has to deal with a great deal of persecution already. She (I say "she" because Kelly's ultimate desire is to fully become a woman) too believes she's destined to be with Tiffany, but for a very different reason. After a bicycle accident that left her in a coma, she claims she had a vision of a woman who looked just like Tiffany (even though she'd never seen the pop star, nor heard of her) surrounded by a white light and all the other normal comatose visions people claim to have. This vision has thrown her into a tailspin of mental anguish and depression every day she's not with her love. At one point she really breaks down and while I did not feel it was appropriate to laugh as some did, it did disturb me a great deal.

A documentary, in order to stay true to its form, must be unbiased and objective about its subject(s). In this case, the documentarian, Sean Donnelly (this is his first feature film), does just that. He shows these people for who they are and they're more than happy to display themselves. Whether you like them or not, or feel sorry or pity for them, the fact of the matter remains: this documentary is a) true to its form and b) interesting.

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