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Tuesday, March 16, 2010
SXSW Film award winners
FEATURE FILM JURY AWARDS
DOCUMENTARY FEATURE
Winner: “Marwencol,” directed by Jeff Malmberg (read our capsule here)
Runner-up: “War Don Don,”directed by Rebecca Richman Cohen
NARRATIVE FEATURE
Winner: “Tiny Furniture,” directed by Lena Dunham (read our capsule here)
Special Jury Award, Best Ensemble: “Myth of the American Sleepover,” directed by David Robert Mitchell
Special Jury Award, Best Individual Performance: Brian Hasenfus in “Phillip the Fossil,” directed by Garth Donovan
FEATURE FILM AUDIENCE AWARDS
DOCUMENTARY FEATURE
Winner: “For Once in My Life,” directed by Jim Bigham & Mark Moormann
NARRATIVE FEATURE
Winner: “Brotherhood,” directed by Will Canon
NARRATIVE SHORTS
Winner: “Cigarette Candy,” directed by Lauren Wolkstein
Runner Up: “Teleglobal Dreamin’,” directed by Eric Flanagan
DOCUMENTARY SHORTS
Winner: “Quadrangle,” directed by Amy Grappell
Runner Up: “White Lines and The Fever: The Death of DJ Junebug,” directed by Travis Senger
ANIMATED SHORTS
Winner: “The Orange,” directed by Nick Fox-Gieg
Runner Up: “One Square Mile of Earth,” directed by Jeff Drew
EXPERIMENTAL SHORTS
Winner: “Night Mayor,” directed by Guy Maddin
Runner Up:“Kids Might Fly,” directed by Alex Taylor
MUSIC VIDEOS
Winner: Cinnamon Chasers, “Luv Deluxe,” directed by Saman Keshavarz
Runner Up: Grizzly Bear, “Forest,” directed by Allison Schulnik
TEXAS SHORTS
Winner: “Petting Sharks,” directed by Craig Elrod
Runner Up: “The Big Bends,” directed by Jason William Marlow
TIME WARNER CABLE & OVATION YOUNG FILMMAKER SCHOLARSHIP for TEXAS HIGH SCHOOL SHORT
Winner: “Give the Dog a Bone,” directed by Edward Kelley
Runner Up: “The Sleep Project,” directed by Whitney Bennett & Matthew Cunningham
SXSW FILM DESIGN AWARDS
EXCELLENCE IN POSTER DESIGN
Winner: “Feeder,” designed by Joseph Ernst
Runner Up: “Amer,” designed by Gilles Vranckx
Audience Award Winner: “Richard Garriott: Man on a Mission,” designed by Michael Anderson
Special Jury Award: “Equestrian Sexual Response,” designed by Martim Vian & Zeke Hawkins
EXCELLENCE IN TITLE DESIGN
Winner: “Zombieland,” designed by Ben Conrad
Runner Up: “earthwork,” designed by Stan Herd
Audience Award Winner: “earthwork,” designed by Stan Herd
Special Jury Award: “Enter the Void,” designed by Gaspar Noé and Tom Kam
SXSW SPECIAL AWARDS
SXSW WHOLPHIN AWARD
Winner: “Quadrangle,” directed by Amy Grappell
SXSW CHICKEN & EGG EMERGENT NARRATIVE WOMAN DIRECTOR AWARD
Winner: Lena Dunham for Tiny Furniture
Special Award, The Chicken & Egg Pictures “We Believe in You” Award: Martha Stephens for “Passenger Pigeons”
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SXSW live: ‘Lemmy’ rocks the Paramount
Motorhead frontman Lemmy arrives Monday at the Paramount. (Photo: Chris Garcia)
“How exciting is THIS?” asked Janet Pierson, SXSW Film producer, as she introduced the much-anticipated world premiere of the rock doc “Lemmy” on Monday night at the Paramount. The crowd, as it would a lot, roared.
From the black-garbed throngs waiting outside to see Lemmy and his Motorhead bandmates arrive at the theater to the actual movie and the post-show Q-and-A, this event was a prolonged rock ‘n’ roll fangasm. Adding to the rock-concert aura was a schwag table in the lobby offering “Lemmy” movie posters ($10) and an array of black Motorhead t-shirts ($35).
It was a packed theater of salivating devotees. Directors Wes Orshoski and Greg Olliver joined Pierson on stage, and one of the burly men boomed into the mike: “Who wants some rock ‘n’ roll! Lemmy’s in the house!!” Crowd roars. Hands making the devil sign rocket to the roof.
Fun as it is, the movie is unapologetic hagiography, too long at 123 minutes and fashioned for the die-hardest fans who don’t mind riffling through the Motorhead singer-bassist’s vast collection of antique war weapons, watching him hang out on an old German tank just for fun, or hearing (incessantly) what an unimpeachable, Olympian deity he is from ground-level fans and sycophantic musicians (James Hetfield, Henry Rollins, Dave Grohl, Slash, Joan Jett and, from a more sober peer perspective, Ozzy, Alice Cooper and others).
To be fair, Lemmy cuts an impressive, even intimidating, figure, and, full disclosure, I’ve been a fan of him and Motorhead for almost 30 years. An authentic rocker who began in ‘60s British band The Rockin’ Vickers, worked as a roadie for Jimi Hendrix and fronted influential space-rock group Hawkwind before founding seminal speed-metal outfit Motorhead, Lemmy has never wavered or compromised from a bedrock integrity. Times and tastes have changed. He hasn’t.
A speed freak, chain-smoker and functioning alcoholic, he’s a survivor, stomping forth in his self-designed cowboy boots to his own thundering beat. As someone in the film notes, if a nuclear bomb drops, only Lemmy and cockroaches will remain.
Lemmy, who looks part-biker, part-pirate and all-outlaw, lives in a small, shabby apartment complex in Los Angeles. His homely pad is a mountain-scape of gold records, action figures, memorabilia, weapons, posters, trash and, disconcertingly, walls of Nazi regalia, including swastika banners. (He’s asked if he’s a Nazi. His denial is too simple-minded to be taken seriously. He doesn’t seem to get it, and the filmmakers and Monday’s viewers seemed to give him a pass, because, you know, he’s Lemmy. It’s bothersome.)
Lemmy, visibly indifferent to all the attention lavished upon him in the movie and at the Paramount, says he lives in the tiny apartment because the rent is fixed at $900 and is located one block from the Sunset Strip, where his second home, the legendary Rainbow room, resides. There, he will sit for hours, alone, playing a video game at the bar and drinking rounds and rounds of Jack and Cokes.
There’s plenty of energetic concert footage in the movie: Lemmy playing with Motorhead, Lemmy with Metallica, Lemmy with The Damned and Lemmy with his rockabilly pals in The Head Cat. But after all the excitement, an almost elegiac portrait of a solitary, aging man emerges. Lemmy lives alone. He’s never been married. And he erects ramparts around himself to keep people at a safe distance. He declares he has no regrets, life’s too short for rubbish reflection. But he doesn’t seem especially happy. (Then again, who really is?)
The official “Lemmy” tour bus, outside the Paramount.
During the Q-and-A, Lemmy, in trademark cowboy hat and black skinny jeans, indulged the audience with directors Orshoski and Olliver, and was eventually joined by Motorhead guitarist Phil Campbell and drummer Mikkey Dee.
Someone asked Lemmy what it was like to have cameras following him around for three years “I thought it was ridiculous,” he rasped. “But I think it turned out pretty well. What about you?” (The house exploded.)
Asked who he’d want to play him in a movie, Lemmy croaked, “Helen Mirren.”
Motorhead plays tonight at Stubb’s and Wednesday night at the Austin Music Hall.
“Lemmy” screens again at 9:15 p.m. Friday at the Paramount. Details and trailer HERE
Lemmy, the man, will be interviewed on a SXSW Music panel at 5 p.m. Wednesday at the Austin Convention Center, Room 18ABC. Details HERE.
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Panel wrap: ‘MacGruber’
Kilmer actually fired off the first question, asking someone in the audience if he liked the movie and what parts he liked. Forte humored the audience with a story about a “courtesy pillow” that was used, much to his dismay, during intimate scenes with Wiig. He joked that he didn’t want the pillow between them, but that Wiig had insisted. The adorable and quite blonde Wiig, did not do too much talking, but had a great line when she discussed the sweat of sex scenes as “body drool.”
Taccone, who said the film, which was produced in short time and on a budget of only $10 million said that he got inspiration for the film from the 80s vibe of the “Lethal Weapons” movies and “Die Hard.” All of the interiors were smoky, he said, while all these exteriors were soaking wet. He also discussed the nascent stages of what became Loney Island and confessed that in their early days in Hollywood, he, Schaffer and partner Andy Samberg lived off of the food he stole from the set of “Spin City,” on which he worked as a writers’ assistant.
Kilmer did digress from the jokes a bit with a nice nod to the creative process behind the movie and “SNL,” which he described as inspired and painstaking work, although he did joke that he thought “the entire script is kind of designed to ruin (his) career.”
Although he did not say too much at the panel, and I continue to wonder if that is actually Ryan Phillippe’s real voice, Taccone said that the Ken-doll-handsome actor was one of the keys to the film because his straight character is “us watching the movie.” Taccone also gave great credit to Kilmer’s perspicacity regarding comedy.
Phillippe dodged a question from the audience about his involvement in a Captain America movie, but he did coyly say that he was “into it” and we’d just have to see what happens.
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