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February 2008
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Texas-fried rockers ZZ Top have joined the spangled roster at the Texas Film Hall of Fame Awards bash March 7 at Austin Studios, while previously announced guest Thomas Haden Church has bailed out of the ceremony for unmentioned reasons.
ZZ’s Billy F. Gibbons, Dusty Hill and Frank Beard will be there to snatch the AMD LIVE! Soundtrack Award from the hands of presenter Luke Wilson.
The bearded band joins honorees Mike Judge, Morgan Fairchild, the late Jayne Mansfield (accepted by daughter Mariska Hargitay) and the Texas mechanical-bull flick “Urban Cowboy,” accepted by Debra Winger. Dan Rather emcees the show. Actress Tess Harper is a presenter.
Details HERE.
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More cool news from SXSW
And it all starts next week!!
Check out these headlines from SXSW Film and click ‘em for the whole story:
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Your work not ready for SXSW? Try the big fall fest
With SXSW almost over (ha!), it’s time for moviemakers and writers to focus on the next big local festival:
Here are the links: Film Entries and Screenplay Entries.
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Sort of like Slamdance, but in Austin
On the first Sunday of SXSW, filmmakers who feel left out can screen their work during the fifth annual SouthSlam Film Festival at Ringers Sports Lounge (425 Colorado St.).
According to mighty local film outfit Reel Women, SouthSlam is “a great chance for up-and-coming filmmakers to get their work shown during SXSW and for you to see the work being done in Austin. … (It) supports these artists by giving them a constructive and supportive environment to screen their work to a larger audience and by presenting each submission with a unique award for its own creativity.”
Shorts, features, music vids, docs and works-in-progress are accepted. Late deadline is March 5. All will be shown March 9.
The nitty-gritty at southslam.com.
Continuing a spectacular streak of FREE screenings, the Austin Cinematheque shows Charlie Chaplin’s masterpiece “City Lights” in a new print at 7:30 p.m. Monday at the Texas Union Theatre at UT. Again: free.
Check out www.austincinematheque.com.
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One more star added to the celeb galaxy at SXSW
Our comrade in all thangs movies, Matt Dentler, who happens to direct SXSW Film, tips us off to one more celebrity sighting to be had at the big March film fest. He stars in last night’s Best Picture Oscar winner and his name rhymes with Gosh Shmolin. And he’s bringing a short film.
Find out who at Dentler’s fine blog HERE.
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After the envelopes: Did the right people win?
A few big surprises on Hollywood’s biggest night, especially in the actress categories. Marion Cotillard came out of nowhere for her best actress win, and Tilda Swinton shocked with her supporting actress win for her role in ‘Michael Clayton.’ The other biggies held some suspense, especially with the ‘There Will Be Blood’ and ‘No County for Old Men’ battle, but the Coen brothers and their film, much of which was shot in Texas, carried the day, winning best director and best picture. As for Diablo Cody’s win for best screenplay, we’ll spare you our vitriol.
What do you think of the night? Did the right folks win? Who got snubbed?
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Sans CGI, still enchanting
Poor Amy Adams. She had to go up there and trill her little heart out in front of her peers like that.
She looked forlorn, all alone on the wide open stage. In the movie “Enchanted,” from which her song appears, Adams sings with a swirling, frisky team of cartoon forest animals. Not here. Not fair.
But she was a sport. Sort of blushing while she girlishly gripped her hands to her chest and sustained a smile that blinded billions.
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Hot host
Oscar emcee Jon Stewart begins with a bang, riffing, often ruthlessly, on the topical — the writers strike, politics, the war, Obama — Hollywood culture and the nominees. He’s got rhythm and beat and form. And he’s very funny.
We couldn’t keep up with the stream of quips — not a dud in the bunch — but liked how he described “this year’s slate of nominated psychopathic-killer movies” and addressed screenwriter newbie Diablo Cody.
Cody, “an exotic dancer, now an Oscar-nominated screenwriter. I hope you’re enjoying the pay cut.”
An OK joke went: “Oscar turned 80 this year, which automatically makes him the front-runner for the Republican nomination.”
There were lots more, we promise.
(Snide sider: Who does Jack Nicholson think he’s kidding with the sunglasses indoors?)
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Colin all fists
I might be the only person on Earth who really appreciates the performances of Colin Farrell, so I held high hopes — too high, perhaps — that the actor would punch Ryan Seacrest on the red carpet.
He failed me. He owes me one.
And, with Farrell, we’ve just the received the evening’s first mention of Heath Ledger, whose recent death surely will be lugubriously noted throughout the show. We hope speakers keep it tasteful and subtle, like the late actor himself.
Oh! Hilary Swank just threatened to slug Seacrest if he misbehaves. (Yes, yes, yes …)
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E!-rase, please
E! stands for: Egads!
I like most of the Oscar hoop-dee-do, but the red carpet parade isn’t part of it. (“Who are you wearing?” “My cleaning lady.” Now that would be fresh.)
E!’s fawning giddiness is toxic. It’s mike-mauling greeters spoil the lines of worshiped multi-millionaires as if they’re orphan children with self-esteem problems. Thank heavens the celebs get those vaunted goodie bags.
“You know what’s great about these shows?” Ryan Seacrest asked. “It’s live, so you can’t go back!”
We know, we know.
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I need a large polo mallet
Just when I thought Ryan Seacrest had redeemed himself playing it self-effacingly nasty in “Knocked Up,” he returns to his odious, obsequious, unfunny ways on the red carpet: hectoring Amy Ryan to fake punch him (I would have handed her an Oscar for really doing it); carrying-on about the lame “Crotch-Cam”; showing us the new, terrribly unwitty hairdo, “The Bardem,” on best actor nominees; and simply being an overbearing knucklehead.
But I will shut up, for the celestial Anne Hathaway has just appeared, unmolested by Seacrud, and summarily eaten my heart.
(Most unpleasant news of the night so far: “Let’s go back to Ryan.”)
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Watch Malick’s movie take root in Smithville
Some crafty YouTubers have posted clips of what they claim (and we have no reason not to believe them) is video of the actual moving and planting of the title live oak in Terrence Malick’s “Tree of Life,” which starts shooting in March in Smithville with Brad Pitt and Sean Penn.
There’s a helicopter view and two ground-level scenes. So this is the centerpiece of the movie, which is reported to weigh 65,000 pounds and had to be hauled quite a stretch.
News from East Austin Stories, the series of UT student short films depicting a prismatic look at the East Side in all its hues and moods, overseen by UT film prof Andrew Garrison:
“Quinceanera” by Sergio Carvajal and Ruwan Perera plays at SXSW in the Texas Shorts program.
“Letters for Las Manitas” by Joshua Tate, Yuta Yamaguchi and Jeff Gipson is screening at the San Francisco International Children’s Film Festival.
And Garrison’s own feature documentary “Third Ward TX,” about Project Row Houses in Houston, is airing on KLRU beginning Monday night. Showtimes: 9 p.m. Monday; 10 p.m. Tuesday; 12 a.m. Thursday; and 2 a.m. Saturday.
Watch the “Third Ward TX” trailer HERE.
‘Third Ward TX’
A top-tier cast — including Jesse Plemons, Brad Williams and Dana Wheeler-Nicholson, all from “Friday Night Lights” — will read the new script by filmmaker brothers Alex and Andrew Smith at 7:30 p.m. March 2 at Cap City Comedy Club (8120 Research Blvd.).
The script is “Out of the Woods,” a feature length road film by the Smiths, whose 2002 drama “The Slaughter Rule,” starring Ryan Gosling and Amy Adams, played Sundance and was nominated for an Independent Spirit Award.
The brothers are on a hot streak: They’ve been named by Variety as one of Ten Screenwriters to Watch, and recently sold a one-hour TV crime drama to the F/X network.
Put on by the Austin Film Festival, the special reading is part of the Conversations in Film series sponsored by the Academy of Motion Picture Arts and Sciences.
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Austin’s Dunn wins Spirit Award
Austin doc-maker Laura Dunn’s film about Barton Springs and the land issues surrounding the treasured pool, “The Unforeseen,” won the Truer than Fiction Award today at the Independent Spirit Awards — a rather big deal in the film world.
Dunn, a UT RTF alum, beat out Gary Hustwit for “Helvetica” and John Maringouin for “Running Stumbled.”
The film, co-produced by Robert Redford and Terrence Malick, premiered at Sundance in 2007 and also played last year’s SXSW.
Read a review of the movie by the Statesman’s Asher Price HERE.
See the film’s lively Web site HERE.
Austin filmmaker Jeff Nichol’s extremely well-reviewed feature “Shotgun Stories” — which took a top award at last year’s Austin Film Festival — was nominated for the ISA’s John Cassavetes Award, given to the best feature made for under $500,000, but was beaten out by Chris Eska’s “August Evening.”
See the complete list of the ISA winners, at which “Juno” did very well, HERE.
I can’t tell you how much I hated the new desperately unfunny teen comedy “Charlie Bartlett,” and so I won’t.
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‘Blue’ and a Bling
A restored print of Josef Von Sternberg’s “The Blue Angel” screens free at 7:30 p.m. Monday at the Texas Union Theatre at UT.
The tragic tale, told in classic Weimar Germany, stars Marlene Dietrich in her breakout role as manipulative showgirl tart Lola and Emil Jannings as her hapless victim.
More HERE.
Shooting in Austin and Houston starting in April is the “rags-to-riches comedy” — that’s what they’re calling it — “Primos,” starring Houston’s Latin rappers Baby Bash and Chingo Bling and the great Danny Trejo.
That’s all we know for now.
Chingo Bling
Kat Candler is up to her teaching tricks again, offering the Spring Break Youth Filmmaking Camp, a full menu of “hands-on narrative moviemaking techniques using digital video technologies in a fun project-based environment.”
Fellow hot-shot filmmaker Stacy Schoolfield joins Candler in teaching the course, which runs March 10 — 14. Ages 12 — 17.
Register by emailing christian@austinfilm.org, or call 322-0145 ext. 207.
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SXSW announces schedules
SXSW Film has released its full schedule of panels and screenings for the March festival. Check out the official site for the comprehensive lists.
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Texas Film Hall of Fame adds more beauty and brains
The inductee list for the Texas Film Hall of Fame just got a little more funny and glamorous with the additions of Mike Judge and Morgan Fairchild. Austinite Judge (“King of the Hill,” “Beavis and Butt-head,” “Idocracy,” “Office Space”) will accept the Ann Richard Award at the eighth annual Texas Film Hall of Fame Awards on March 7. The award “recognizes someone who breaks creative barriers and forges new paths,” certainly appropriate for the groundbreaking cartoonist.
Judge and Fairchild (“Falcon Crest,” “The CIty”) join honorees Thomas Haden Church, Jayne Mansfield and the film “Urban Cowboy.” The evening’s events will be emceed by legendary Texas newsman Dan Rather.
Tables (seating 10) range in price from $5,000 to $25,000. For table sales and sponsorship information, contact AFS Director of Development Shannon Moody at (512) 322-0145, Ext. 222 or by email at shannon@austinfilm.org.
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Malick officially shooting in Smithville
The Statesman’s Michael Corcoran — sort of a blend of Bob Woodward and Kelso — shoots us this crackling dispatch straight from the perilous terrain of Smithville:
It’s official. After weeks of rumors and speculation, the location manager of “Tree of Life,” the Terrence Malick project starring Brad Pitt and Sean Penn, addressed the Smithville City Council on Monday night to talk about filming there, which will begin at the end of March.
The shoot will last approximately three months, location manager John Patterson said.
“Security is going to be a big issue with( the film company),” says Smithville city manager Tex Middlebrook, who laughed and said he’d met notoriously private director Malick a few times without knowing who he was until recently.
Middlebrook says he helped the crew find and move a 60,000 pound live oak — the title tree — to a back yard in Smithville last week. Many of the cast and crew on the film, a 1950s period piece, have rented houses in Smithville, a town of 4,000 located 45 miles east of Austin.
Although Pitt has not been officially confirmed, he recently told Charlie Rose in an interview that his next project would be “Tree of Life.” It’s not known if Angelina Jolie and the kids will accompany Pitt to the town that might as well be called “Pittville” for the next four months.
Malick, shooting ‘Badlands’ in the ’70s
A tree
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‘Taxi’ driver screens his Oscar-nominated doc
Oscar-nominated doc director Alex Gibney will hold a Q and A following the 7:30 p.m. Friday screening of his film “Taxi to the Dark Side” at the Arbor.
The official line on the film, which opens for a full run Friday:
A stunning inquiry into the suspicious death of an Afghani taxi driver at Bagram air base in 2002, the film is a fastidiously assembled, uncommonly well-researched examination of how an innocent civilian was apprehended, imprisoned, tortured, and ultimately murdered by the greatest democracy on earth. Combining the cool detachment of a forensic expert with the heated indignation of a proud American who holds his country to a high standard, Gibney’s film reveals how the Bush administration has systematically betrayed the very ideals it professes to uphold.
“Taxi” is nominated for an Oscar this year, as his movie “Enron: The Smartest Guys in the Room” was in 2006. His latest documentary, “Gonzo: The Life and Work of Hunter S. Thompson,” earned raves at Sundance and will play SXSW in March.
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SXSW Film announces more panels
The folks over at SXSW Film, which kicks off on Friday, March 7, have announced a few more panels for the festival. Among the newly-announced additions to the schedule are:
- “A Conversation with Billy Bob Thornton & Dwight Yoakam”
- “Coming Soon: The Making of a Trailer”
- “An Actor’s Workshop with Jeffrey Tambor”
- “Drugs, Politics, and Race: A ‘Harold & Kumar’ Panel”
- “What the Writers’ Strike Taught Us”
These panels join the following (with descriptions from the SXSW site):
Filmmaking used to be an elite club and up-front financing was a necessity. But with advancement in digital technology, and more alternative distribution routes, the options are virtually endless. These days, no budget equals no problem. Come listen to filmmakers and experts talk about the subject and learn how to jump start your film without the help of financiers and rich uncles.
You can get paid to create a videoblog (vlog)? Meet some the people who have made internet video a full-time endeavor, and find out how they got that job, where they think it’s all going, and how you can get into it, too.
Jeffrey Tambor - the acclaimed TV, film and theater actor - explores different avenues leading to a great performance. Tambor will rehearse and refine scenes with actors onsite, to break down the performance process. This workshop is intended for those interested in bridging the gap between actor and director. Attendees are encouraged to bring questions.
Sophisticated visual effects and computer-generated animation used to be big-ticket items, best left to the $100 million blockbusters from Pixar and the Hollywood majors. But new tools are making visual effects and CG-animation more accessible to independent filmmakers, and also spawning smaller VFX and CG shops willing to work with indies. We’ll get an update from several innovators on the front lines.
When it comes to making a film, “nobody knows anything,” and novice filmmakers know even less. Poor choices can ensure that no one will watch what you’ve made. Early attention to legal and technical issues could mean the difference between having a viable film, or just an expensive calling card. Are you ready to talk about your project? Who should you talk to and what should you say (or not say)? Veterans of the industry discuss how filmmakers most often sabotage themselves, and discuss how to avoid it by doing your homework.
How can indie directors/producers get their work onto the growing number of digital screens in the US, and what are the economics of encoding your film so it can be downloaded digitally and onto a cinema’s server? We’ll also explore how digital cinema is changing the balance of power between Hollywood studios and independents, and what new developments lie ahead.
Use the Internet before the Internet uses you. Thanks to blogs, web-video, and social networking sites, the online universe is a valuable (but no less intimidating) landscape for artists. How do you get the best out of blogs and other sites, to maximize your potential for an audience? Or, how do you get yourself introduced to the booming industry of online journalism and video sharing? These experts will dig deep into these ever-changing trends.
For some filmmakers, getting their work to the masses becomes a very personal task. And, even when a conventional DVD or cable deal is part of the equation, some decide to take on the theatrical release solo. What is this process like? Seasoned filmmakers and members of the industry chat about the complicated world of “self-distribution,” and whether or not they would do it again.
SXSW is happy to announce the inclusion of acclaimed musician Moby, as part of the 2008 SXSW Film Conference. Moby will participate in a session entitled “A Conversation with Moby,” hosted and moderated by Doreen Ringer-Ross of BMI. The session, scheduled for Tuesday, March 11, will take a look at the musician’s relationship with cinema, from composing original scores (Southland Tales) to contributing and licensing his music for film and TV projects (The Bourne Ultimatum, Heat). In addition, it will include a look at “moby gratis,” the musician’s new endeavor to offer some of his music, free-of-charge, to independent filmmakers.
Documentarian Stanley Nelson, one of the most prolific nonfiction filmmakers working today, will attend SXSW 2008 next March to take part in a discussion of his work and his process. The acclaimed filmmaker (Jonestown: The Life and Death of Peoples Temple, The Murder of Emmett Till) will showcase samples from his award-winning career as part of the 2008 SXSW Film Conference. Nelson’s career includes a bevy of lauded historical documentaries, and he will share how he’s achieved such an impressive body of work. Nelson will also dissect the way he approaches historical documentaries with a fresh and inventive sensibility. From the gripping portrait, The Black Press: Soldiers Without Swords, to the popular music doc, Sweet Honey in the Rock: Raise Your Voice, Nelson’s filmography speaks for itself as a glimpse into the sometimes-overlooked aspects of American history. Join Stanley Nelson for his panel session, “Stanley Nelson: History in the Making,” at SXSW 2008.
The entire lineup of panels and schedule will be available on the SXSW Web site on Friday, Feb. 15. Buy film passes now at Waterloo Video for $70. Check out the official SXSW site for more information.
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Swatting ‘Fireflies’
Remember last year when locals gasped and google-eyed at downtown spottings of Ryan Reynolds (and girlfriend Scarlett Johansson), Willem Dafoe, Emily Watson, Carrie-Anne Moss and some aspiring actress named Julia Roberts?
That constellation of stars was shooting the small family melodrama “Fireflies in the Garden,” written and directed by relative newcomer Dennis Lee, in Austin, Bastrop and Smithville. The film’s cinematographer is Danny Moder, Roberts’ husband, and a clue as to why she’s in this minor movie.
The film opens later this year, but the trades have filed harsh reviews from the Berlin International Film Festival, where “Fireflies” world-premiered this week.
Writes Variety:
Despite the mega-wattage of pic’s starry cast, theatrical prospects seem dim for this clumsy melodrama, which looks and sounds no better than an average made-for-cabler. U.S. market potential looks best in ancillary. …
[It’s] set in an unnamed Midwestern suburb that the pic implies is near Chicago (but filmed in Texas, so the landscape looks totally wrong) …
Apparently aspiring to the dark comedy of “Igby Goes Down,” Lee’s semi-autobiographical script fails to sustain any tone convincingly. Dialogue lacks wit, relying overmuch on vernacular (“It sucks” is a frequent comment) and the F-word. False happy ending is in no way earned.
Perfs are all over the place, from Dafoe’s one-note monster dad to Boyd’s simmering resentment. On the distaff side, Roberts and Watson at least come off as warm mothers. Moss is a cipher treated as a deus ex machina.
Flat lighting and wan lensing by Roberts’ husband, Danny Moder, doesn’t do the actors any favors. Low-rent look of other tech credits leads one to suspect the major portion of budget was spent on the cast.
Writes The Hollywood Reporter:
In his film “Fireflies in the Garden,” Dennis Lee comes up empty. Kids, parents, siblings, an aunt and an estranged wife all bicker and yell, but the noise cancels itself out. The movie is one long argument, tiresome and repetitive, that produces more heat than light. The wonder is that the first-time writer-director rounded up a cast that includes Willem Dafoe, Emily Watson, Carrie-Anne Moss and Julia Roberts. …
Dafoe never gets a handle on his overbearing character. Similarly, Roberts spends her rather brief screen time trying to pacify other people, her husband, her son and then her sister without ever getting a chance to define who her character is. The movie pretty much wastes Watson, and Moss seems to have dropped in from another movie.
To which we respond: Oof!
Dafoe and Roberts
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A portal for screenwriters, who can use any portal they can get
Another day, another screenplay fast-tracking plan to furnish struggling writers a sliver of hope, or a dollop of delusion.
Check out The HollyAustin Project, which is not Austin-based, and operates other branches with similar names (e.g., HollyNorth for Canada).
The program — and we quote — “gives you direct access to Hollywood decision makers that (sic) will read all submitted specs. Quality over quantity is what sets the HollyAustin project apart from any other writing competition, or pitch fest in existence.”
Oh, yeah? See for yourself RIGHT HERE.
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SXSW Film passes are on sale
As we told you last Tuesday, SXSW has announced its full slate of films for the March festival. For those of you non-badge holders, SXSW has told us that film passes are now being sold for $70 at Waterloo Video (behind Waterloo Music, for those who were not aware). Passes allow entry to movies once badge holders have been accommodated, and are a fantastic alternative for those not looking to splurge on a badge. Individual film tickets will cost $10 per movie this year, we’ve been told, but from past experience, we can tell you that a pass is worth the money if you intend to hit more than a couple of movies, as individually-ticketed entry is generally pretty hard to come by.
Check out all of our SXSW Film coverage here or head over to the official SXSW site for more information.
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Linklater’s latest
Austin’s Richard Linklater embarks on his new film “Orson Welles and Me” next week in London. (He didn’t write the script.) It stars Zac Efron of “High School Musical” fame. The scoop RIGHT HERE.
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Movie composer returns to Austin
Local composer-performer extraordinaire Graham Reynolds — he wrote and played the “Scanner Darkly” soundtrack, among so much more — tells us that his composer friend Ludek Drizhal has returned to Austin, and a film he scored, “Badland,” plays at local Tinseltown theaters starting Feb. 29.
Drizhal conducted Reynolds and Peter Stopschinski’s first symphonies in Austin. “In the meantime,” Reynolds says, “he moved to L.A., became a full-time film composer, and has now relocated to Austin and is continuing that career from here, traveling back and forth. He has a contract that I’m jealous of, composing (a lot of) music for Sci-Fi Channel in-house movies.”
Drizhal is also scoring the Austin-shot comedy “The Sno-Cone Stand,” which filmed late last year. Check out his Web site HERE.
Drizhal
SXSW film director Matt Dentler offers news of an exciting global documentary program at the festival. Read all about it at Dentler’s boffo blog RIGHT HERE.
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SXSW’s strong 2008 line-up announced
Who needs to go to Sundance when SXSW is importing a chunk of the best from this year’s Park City soiree — including the big Austin-linked movies — to town in March?
Among a wealth of major titles by Martin Scorsese, Julian Schnabel, Kimberly Peirce, Harmony Korine, Helen Hunt, David Schwimmer, Michael Almereyda, Morgan Spurlock and of course Harold and Kumar, are sprinkled these Austin-oriented films that played Sundance with a splash:
Margaret Brown’s glowingly reviewed Mardi Gras doc “The Order of Myths”
Mark and Jay Duplass’ raved-about, Bastrop-shot comedy-thriller “Baghead,” which was scooped up by Sony Classics at Sundance
Nathan and David Zellner’s bizzaro Austin-made dark comedy “Goliath”
Other big Austin names are Ellen Spiro’s (with Phil Donahue) Iraq doc “Body of War,” which was shortlisted for the Oscar this year; Spencer Parson’s narrative feature debut “I’ll Come Running”; and Rene Pinnell’s doc portrait of his legendary filmmaking uncle Eagle Pinnell “The King of Texas.”
Three of the biggest-hitting films at Sundance also play: Alex Gibney’s dizzily informative “Gonzo: The Life and Work of Dr. Hunter S. Thompson”; Elvis Mitchell’s probing doc “The Black List”; and Nanette Burstein’s much-lauded doc “American Teen.”
Lots of more good stuff where that came from in the complete SXSW film list RIGHT HERE.
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Whole lotta screenings
Tribeca-winning best doc “The War Tapes” will be screened free at 7 p.m. Feb. 11 at WEL 1.316 on the UT campus (corner of 24th and Speedway). It’s part of the Strauss Center International Security Film Series.
Sgt. Steve Pink, a subject in the doc, will be there for a post-show Q-and-A. The free seating is first-come, first-served. The movie presents a ground-level view of the Iraq war as shot on video by soldiers.
Screening info HERE.
And see the film’s trailer HERE.
Fritz Lang’s atmospheric crime classic “M,” starring a panicked pre-Hollywood Peter Lorre, screens in a fresh 35mm print at 7:30 p.m. Feb. 11 at the Texas Union Theatre at UT. It’s part of the superlative — and free — Austin Cinematheque series, which you can learn all about HERE.
Not enough? Part two of the Essential Cinema series “Children of Abraham/Ibrahim: Films of the Middle East and North Africa” from the Austin Film Society presents five rare films from Feb. 19 to March 25 at the Alamo Ritz and Alamo South.
The lineup: Feb. 19, “Le Grand Voyage”; Feb. 26, “Men at Work”; March 4, “Times and Winds”; March 18, “Fireworks Wednesday”; and March 25, “Beaufort,” which is nominated for this year’s foreign language Oscar.
Details and film info available soon HERE.
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