I grew up watching Siskel and Ebert, and was hooked almost immediately. It really intrigued me to see people discussing film in such a manner. I had not been accustomed to such a dissection of the elements of film. From their discussions I learned a lot about the history of film and began my own explorations. It didn’t matter whether  I  agreed or not with their decisions, it was  how they each  backed up their arguments. That is what I learned, how to support my believes on film with a history of cinema. Many years later, when I was starting the newspaper Austin Daze, Ebert was an advocate for other reviewers. He had come out in support of the online trend of reviews, and I thought that was very cool. He opened so many doors. I never got to meet Ebert in person, but many of my friends did, and I feel that he helped so many people grow into their professions. A few months after being in town I attended a QT fest at the Old-School Alamo. It was there, amongst strangers, that I was able to discuss films, even among characters such as QT and other famous directors. At that place, it really didn’t matter who you were, or what you had done, as long as you could hold your own and discuss the films with knowledge of other films. Thank you for the tools Mr. Ebert.   I am grateful for what Ebert has done in making criticism about movies mainstream, and for showing the world that with an understanding of the elements, then you can argue or have an opinion. This really goes beyond film…….

Episode 4: Dony Wynn (part 2) – drummer for Robert Palmer and many more

• August 20th, 2011

welcome to episode 4, our first two-parter. in the last four decades dony wynn has played drums with robert palmer, dr. john, brooks & dunn and many, many more. he is an extremely inspired and colorful person with a very rich history in this business. i have been friends with dony for years and i’ve always wanted to get to sit down and hear just how he got here. well, i got to! from “growing up” in the extremely fertile new orleans music scene to moving to los angeles with bobby kimball (toto) and getting fired by larry graham which lead to a chance meeting with robert palmer, the artist with whom he would forge a musical and personal relationship that would last from 1979′s “bad case of loving you” until robert’s untimely death in 2003. we talked for an hour and a half!

if you’d like to learn more about dony, just go to www.donywynn.com

howdidigethere.podbean.com

TONI:  I  WANTED TO MAKE SOMETHING WARM    AND  COOL,  SWEET   AND SATISFYING, LIKE  ICE        CREAM ON   A SUMMER SUNDAY  AFTERNOON.

So, I have been told I might be biased.

Yes, I have been to a few of her shows and yes she is a  friend, but biased no. If this disc sucked, I would tell ya. It is   pretty darn good. In general, I  am not a huge fan of   Toni’s CD’s.   I prefer the live shows much more. Glad I live in such a place where I can speak   that statement and actually follow it up  by going out  and seeing things live. The improvisation of any live  show never gets old.  The musicianship  on all her cd’s is stellar, alwaze has been and continues with this  new  release. Gathering all this talent requires magic  schedules and   a     huge  studio.  That is mainly why is why  her previous cd’s  don’t do it   for     me. With  a   few exceptions, most tracks  have felt  like studio  work. It’s  all too clean and too package perfect in my opinion. Radio  stations love that stuff   and       I  guess  most people   do too.    I      guess     if   I didn’t   live here,  I would     too. Gwil Owen is one  of the best songwriters I  have found,  he fits  Toni to a T.    All that  said, this    new CD has something. It feels live.     I put it in, close   my  eyes   and  am transported to a  packed, old school jazz  club. Dark and   smokey is  the   scene as the band belts out   the tunes. The joint starts to swing. The songs just flow into     each other. When    a disc   can  transport you,  you know    it’s   something good.  It is  good.  Many of my favorite players are on  this  recording. I still prefer the real  experience, but if I  am out of town or on   a road trip, this CD will be there.

This CD will be   available at the Continental Club, Ebay  and Waterloo Records shortly.Pick (UP) one or some up todaze.

Those crisp cool nights back in November & December flood on in. The time passed through our dancing bodies, oh so fast. If you were one of the fortunate souls to be at The Continental Club you know the magic on this new cd by Alejandro Escovedo, called; Street Signs of Love. Last November AND In to December he played a stint of Tuesdaze nights after Toni Price. I was waiting for a ride to snag me so I stayed for the first one. I knew who Alejandro was, maybe had seen him a few times, but nothing really stuck with me. He started and I was sucked in. Needless to say, I did not miss a gig after that first one. Anyway, at these shows he would introduce two new tracks from the (yet to be recorded) new cd amidst his repertoire. Magic ensued. So,  I knew for many months that this cd was going to be amazing.His   backup band,  the sensitive boys and sensitive girls are smokin. The Boss  (Bruce Springsteen) sits in on a track.    Yes it is that cool. It is also produced by Tony Visconti! This disc is gold. It ranks up  there among the greats in my cd  collection. Part of this disc includes the lyrics to each tune. You just don’t get that in cds anymore.  I  thought I  knew the song but they become cooler when the real words are seen.  Cooler and shattering at the same time. The riffs of “AFTER THE METEOR SHOWER” send me into a state of beauty and lost love. Really an   awesome piece of work. Powerful. I am full of joy and tears when i listen to         this cd. We plan to interview Alejandro  when we can  catch him………………… GET THIS DISC!

Musicians crossed my path from the exotic locales of Chile, Barbados, Puerto Rico, Mexico, Denmark, Poland, Australia, Israel, Nigeria, Japan, China, Cambodia, and northwestern Oklahoma.  Music from a wide variety of genres is easy to find at SXSW. If you only see one genre at SXSW, you’re just not trying. To think like a label exec for a minute, the 56 acts could be unfairly stereotyped, typecast, and pigeonholed into genres: 8 indie bands, 7 rock groups, 7 funk/soul/r&b acts, 4 punk rockers, 4 jazz artists, 3 hip-hoppers, 3 string bands, 2 psychedelic rock bands, 2 Americana acts, 2 singer-songwriters, 1 folk group, 1 electronic group, 1 big band, 1 New Orleans brass band, 1 Latin band, and 1 Tejano band wearing Mexican wrestling masks. Defying any attempts at genre generalizations, there also was a banjo punkabilly group, a Blaxploitation soundtrack band, and one alt-classical orchestra providing a live soundtrack to a silent film. Some musicians were born in the 90s. Then there was Wanda Jackson, the First Lady of Rockabilly, whose first hit the charts in 1954.  Joining Wanda in the “hey kids – been there, done that” category was Smokey Robinson, Ray Davies from the Kinks, and Gordon Gano of the Violent Femmes. 

Where genre labels fail at accurately describing music, the band’s instruments paint a better picture: 60 electric guitars (2 Flying Vs!), 8 acoustic guitars, 40 electric basses, 5 upright basses, 47 drum kits, 3 sets of congas, 1 set of tablas, 1 set of timpani drums, 35 keyboards, 2 baby grand pianos, 1 upright piano, 1 keytar (yes keytar!), 18 trombones, 17 trumpets, 15 tenor saxes, 5 baritone saxes, 4 flutes, 1 alto sax, 1 oboe, 1 French Horn, 1 sousaphone, 6 fiddles, 3 violins (there is a difference – and it’s attitude), 3 cellos, 4 accordions,  4 banjos, 2 washboards, 1 mandolin, 1 dobro, 1 lap steel guitar, 1 pedal steel, 1 Theremin, 1 jug, 1 kazoo, 1 set of steel drums, 1 human beat box, and 1 Carolinian playing percussion with cattle bones. Yes, cattle bones. If your band uses cattle bones, it’s best not to leave them on stage next to your guitar. The stage crew may wonder “who ordered ribs?” and toss them in the trash.

People in the mix included 7 female backup singers, 6 rappers, 5 djs, 3 bounce hip hop dancers, 2 R&B dancers wearing knee high stripey socks and white top hats, 1 clogger, only 1 girl with a Mohawk (need more Mohawks next year please), 1 guy working a hockey arena sized smoke machine inside a small bar, 1 stage manager that lost control of a band who wouldn’t stop playing, and 1 band who played three songs after being told “time to stop”.  There was 1 party host who asked “are you a journalist?” after seeing me write notes about the band playing. Yes, notes were taken, the numbers are not made up. The numbers should be between 99% and 102% accurate (depending on my bbq intake for the day).

All this hopping around tested the myth of long lines at SXSW. The myth of long lines is just a myth. Out of 56 shows, only four had any kind of line to deal with. Stubbs attracts long lines, as do a few high profile bands. Otherwise people can safely hop to venue to venue with either badges or wristbands. Only 51 weeks till SXSW 2011!

"Cactus - My Home Club" Townes Van Zandt

Cactus Cafe Waiting Around to Die

The bureaucracy and decision making at UT can be a funny thing. When UT hired a new general manager and a program director for music radio station KUT, they chose people without experience in running a music-centric radio station like KUT, instead choosing people with backgrounds in news radio. The result? Local music programming severely axed at KUT, sparking public outcry.

Another funny thing is Austin’s iconic Cactus Café. The folks over at UT have placed the fate of the Cactus Café, a legendary music venue and cultural institution with a world wide reputation, in the hands of the Texas Union directors, people mostly concerned with cheap bowling and foosball tables.

As you probably know by now, the Texas Union recently decided to shut down the Cactus Café, and discontinue all Informal Classes. Both are community traditions that go back to the 1970s. According to Andy Smith, the executive director of University Unions, the purpose is to save $122,000 annually.

Juan Gonzalez, vice president of student affairs, said “while the students understand the loss, they also understand there are higher priorities, and to direct services to students, I think, is the higher calling.”  Yes, Andy and Juan are leaders who understand the higher priorities of the Texas Union’s glow-in-the-dark bowling. Why provide education and life enrichment through Informal Classes when there is the inspirational higher calling of air hockey tables? True, the Cactus has launched the careers of many musicians, and the Austin economy benefits from their success, but once the Cactus is removed, and there is more convenient access to a Taco Bell, just think how that will inspire and benefit Austin’s economy. Higher calling indeed!

To Mr. Smith and Mr. Gonzalez, I apologize for the weak attempt at ironic sarcasm, watching too much of the Daily Show has worn off on me. But really guys, you had to see this reaction coming. Faster than you can say “Tea Party”, protest has sprung up via four different “Save the Cactus” Facebook groups, the largest one adding 5,700 members in a day (and 22,000 in a week!). Quite impressive for a venue that only holds 153 people.

There are several reasonable ways to keep the Cactus alive. The only thing unreasonable is that no options were explored before pulling the plug.

Here’s some ideas to save the Cactus:

UT does culture right when they want to. UT deserves big credit for funding the Blanton Museum and Ransom Center with multi-million dollar budgets. Even though neither makes a profit, and both mainly draw crowds of non-students, UT still sees their benefit. The first thing to do is to have UT look at the Cactus Café in the same way: as an important cultural asset to the community.

The Cactus could become part of Texas Performing Arts, the group responsible for presenting music in every other UT music venue (such as the Bass Concert Hall and Hogg Auditorium). Booking can still be handled by Griff at the Cactus. Texas Performing Arts offers resources not available from the Texas Union. The Cactus would become more profitable and thrive under the support of Texas Performing Arts.

Tweak the business model and find donors to cover temporary budget shortfalls. The Cactus is a non-profit, so do a public radio style pledge drive. The donors will be “members” for the year, receiving thank-you gifts (like Cactus Café posters), and get a $2 discount on tickets. Of the 5,700 (and growing) Facebook supporters, it would take just 1000 people to donate $122 each. Austin has philanthropists annually giving large amounts to the arts, UT has wealthy alumni, and the musicians in town will gladly support. With a big potential donor pool, finding money for the Cactus will be no problem.

Informal Classes also offer a simple fix: raise the average price of each class by a measly $12. The extra twelve bucks from the 10,000 people enrolled in informal classes would easily raise $120,000. If you give people the choice of a) not learning anything with informal classes cancelled forever; or b) still take the classes but have an extra cost equal to two Big Mac combo meals; people will gladly fork over twelve bucks.

The Cactus can update their web presence to attract more students and increase overall attendance. The Cactus website provided by the Texas Union is minimal, even by web standards of 10 years ago. An email mailing list, a calendar with descriptions of bands, and posting set times would all help. Selling advance tickets online for all shows would draw bigger crowds. When tickets are available at the door only, some people don’t try to come, thinking the show will be sold out. See ticketweb.com and brownpapertickets.com for examples of inexpensive ticketing services.

Try all of the above, or even just one, for a year and see what happens. Do something, anything, but don’t leave us like the Townes song, just waiting around to die.

What else can help save the Cactus? Let’s hear your thoughts and ideas…

The Save the Cactus Café Facebook group can be found here: http://ow.ly/12ojw
Please view Save the Cactus website here: http://www.savethecactuscafe.org/

That was my Austin Film Fest 09 see yall next …………………….

After catching early shows from Sugar and Gold and the mega-funky Foot Patrol (music for those with a foot fetish), I caught Shonen Knife’s set. This all female trio from Osaka, Japan showed us what women can do with guitars and choreographed stage moves. They wowed an exuberant crowd with their poppy songs and eye-popping fluorescent dresses.

I next heard Vega, a disco rock dance that put on an exciting performance with their combination of synthesizer, bass and drums. Keep your ears out for this outfit in the future.

Then came the highlight of the day for many, including me – The Sword. Playing with purpose and enthusiasm, they blew away the audience with their combination of killer tone and incredible riffs. It got me to thinking that great riffs are one of the things that are sadly lacking from rock n roll today. Thanks to The Sword for bringing them back!

Athens, Georgia’s Dead Confederate rocked me with their reverb and delay drenched sounds. Their dynamic music was both atmospheric and driving, and the members were completely absorbed in their performance, drawing you in along with them.

The much anticipated group Death started their set as night began fall, and were mightily impressive. They were nearly unheard of before their recently discovered 1974 demo was found in an attic and released by Drag City records. Proving themselves way, way, way ahead of their time, this Detroit trio played garage rock that would have sounded progressive even if it had been written ten years later.

Day 2 of Fun Fun Fun Fest promises to deliver many more thrills. Be sure to stop by Waterloo Park and catch it if you can. My picks for the day include Street Dogs, Lucero and Mission of Burma. Look out for me at those stages Darlings, and keep an eye on the Daze website for photos, interviews and more reviews.

Silent Bob Speaks

Director, Writer, Actor, Producer, Comic-book Aficionado and all around awesome guy, Kevin Smith was in town to screen his new movie “Zack and Miri Make a Porno.”  I would share with you the plot line but I think the title pretty much takes care of that job for me. I’ll fill you in that they are making a porno in order to get out of debt.   When one is strapped for cash the next logical step is clear — make porn.  Why didn’t I think of that??  Kevin didn’t stay that long in Austin seeing is how he is screening his movie across the country before its national release at the end of October, but he was spotted at the Driskill hotel chilling on his balcony according to www.austinstarmap.com.

World Premiere

Former Austin resident Benjamin Mckenzie returned to his hometown for the world premiere of his new film “Johnny Got his Gun.”  The movie tells the story of a young American soldier hit by an artillery shell on the last day of the World War One.  Sounds like pretty heavy stuff for the young actor.  Well….maybe not that young, it seems like just yesterday I was watching the 30 year old actor play high school student Ryan Atwood on the O.C.  We know how directors like to cast their ‘high school students’ (I’m having some awful flashbacks of Andrea from 90210).  Ben attended the premiere at the Paramount theatre, and I’m sure in his down time he was spending time with his family since they still reside in Austin.

RollerGirls

A-list star Drew Barrymore has recently been spotted around town shooting her new movie Whip It!  The movie is about a Texas girl who discovers a roller derby league in Austin that helps her deal with her small-town blues.  Austin was lucky enough to play host to the ‘exterior shots’ of the movie (Damn you Michigan and your 40 percent incentives!)  Drew was spotted at Cedar Street Courtyard checking at Austin’s own Spazmatics.  Also in attendance was one of Hollywood’s new “it” girls, Ellen Page, who will be starring in the movie.

The Return of Peter Venkman

Bill Murray put in a surprise appearance at Fantastic Fest at the screening of his new movie, City of Ember.  This filmed closed the festival.  Seeing how the movie takes place underground, the audience was whisked away by buses to the Longhorn Caverns for some underground partying where Bill also made an appearance.  In random and exciting news, Bill mentioned that he would definitely be into doing another Ghostbusters movie, and their have been writers working on potential scripts.  Bring back Peter Venkman!

Anyone catch any ACL action this year?  Besides the obvious people performing did anyone spot any Celebs checking out some shows this year?

This is a simple story. This is a story of love requited, a love of a culture, and a willingness to share it with others. This requited love eventually begets a child. Lulu B’s is its name. Famished denizens of South Austin, who find themselves in a perpetual search for the unexpected, are once again, the beneficiaries of such a profound love, and Magnus is here to tell you the story…

Laura Bayer was born unto Thao, her Vietnamese mother. Raised in Southern California amidst a very prevalent Asian population, Laura was indoctrinated at an early age into the finer aspects of Vietnamese cooking. It didn’t hurt that, in Laura’s words, “Thao is a great cook, and when she wasn’t in the kitchen, she’d take me to all these great local mom and pop joints. All those incredible taste sensations over the years left a lasting impression.”
But, ultimately, it was a visit to the mother country itself that cinched the deal. Whilst visiting there with Thao, Laura fell in love with the familial custom of selling culinary wares from the front stoops of their respective houses; one family specializing in fruit smoothies, another grilled pork dishes, for instance. During this trip and others, Laura was baptized in the culture, and the tastes, sights, and smells of rural Vietnam grew very dear to her heart. Her dye was cast…
Nine years ago, on a whim, Laura moved to Austin and in no time at all found herself longing for foods of her homeland that had captured her heart, as well as her taste buds, specifically authentic Vietnamese sandwiches. So -the only reasonable alternative at the time- she began to host parties where she’d serve them, as much for herself as anything.
Along the way, Laura began experimenting with recipes, gauging the partygoer’s reactions, taking notes, basically practicing her own brand of market research. Not laying claim to any formal business training, Laura did what came naturally, following intuition’s lead, the winds of fate filling her sails. To hear her tell it, these gatherings were just fun parties, but slowly, ever so slowly, unbeknownst to her then, a plan was hatching.
At some point, Laura suffered what can only be described as a life-altering epiphany, realizing, as she did, there was a serious void of Vietnamese sandwiches in South Austin. “It was then”, she said, “all the pieces of life’s puzzle began to take a rather interesting shape.”
Due to her lack of a business degree, nor having any prior restaurant experience -short of waitressing- Laura knew securing a business loan would be next to impossible, and so began the slow ascent up her personal mountain.
Even though Thao initially questioned her daughter’s dream, Laura was determined, knowing in her gut she was onto something and nothing was going to stand in her way. Already teaching, she added summer school for extra income, took out some credit cards, and lucky for her, her beau had some friends at Libertad Bank, who eventually proved to be very helpful.
Next, Laura went directly to the source, querying friends already in the big show for business advice, most notably Fernando at Taco Express and David Ansel, The Soup Peddler himself.
Here’s what David had to say about his young upstart… “It takes a massive amount of gumption to put your money where your mouth is, especially in this business. Starting from scratch, really bootstrapping like she has, requires a delicate balance of self-confidence and self-delusion, which she displayed during our conversations. She’s sharp and sweet, which is also a great combo… think of a twist on the South Austin archetype, Maria Corbalan. To give you a glimpse into Laura’s psyche, let me tell you about her encounter with taggers. This trailer that she laid down her life savings on got tagged… she got it repainted… tagged again. She wrote a note and left it on the trailer saying, “I’ve worked hard my entire life for this… please don’t tag this trailer anymore.” And they didn’t. …Laura could be said to be in possession of a huge brass set.”
As it turned out the City of Austin offered small business seminars, too, which Laura mentioned also proved beneficial. An avid devotee of the book, “Starting Your Own Business”, Laura laughed and said, “ In those days I would kayak out to the middle of Town Lake with this book and tell everyone I was in my office. It was just me, the sun, the water, and my big dreams.”
Pooling all these resources, finding a perfect location on South Lamar under a sprawling oak tree, Laura unveiled her labor of love, Lulu B’s, on Jan. 4, 2008.
The vittles…
One word stands out in my mind when pondering all I’ve partaken at Laura’s creation, and that word is FRESH! After a meal at Lulu B’s my mouth sparkles from the exotic combinations of herbs found in these dishes, my body maximizing the clean, healthy ingredients.
The choices are limited at Lulu B’s, and this is GOOD.
First, they offer Summer Rolls, two to an order, either pork, tofu, shrimp, or avocado. Again, FRESH, delightful, with both a peanut sauce and nuoc cham (a savory fish sauce) for dipping, and only $3! I made two shrimp rolls disappear in short order, my taste buds filled with happy happy joy joy.
Then there are the traditional Vietnamese sandwiches, the house specialty. First off, as any great sandwich lover knows, the bread is uber important, and in the delightful French baguette of her choosing, Laura has chosen wisely; the bread soft, not too thick, not too thin either, in perfect balance with the rest of the ingredients. All their meats are marinated overnight. They offer either grilled, lemongrass, or Chinese barbecued chicken and pork. For vegetarians, tofu and avocado are available. Each sandwich is garnished with carrots, cucumber, cilantro, dakon, and chili. I got acquainted with the Chinese barbecue pork, extra meat a buck more -which I recommend, by the way- and it really hit the spot! Base price? $4.
Also available are vermicelli bowls, which come with any of the meats mentioned above, plus tofu for the vegetarians, natch. These bowls are nothing if not generous; loads of vermicelli noodles, mint, cilantro, lettuce, carrots and cucumbers, topped with peanuts and nuoc cham, and for the complete ride, you must drizzle with the infamous Sriracha hot chili sauce. $5.75… a bargain!
They also offer a variety of delicious fruit smoothies, either hot or iced Vietnamese coffee, green or black tea, and a variety of sodas and chilled teas and waters, too.
You can either take-out, or eat-in under the majestic oak whose limbs literally drip with colored lanterns. And for the eco conscious, Lulu’s B’s does the right thing, offering compostable, recyclable containers only, and they encourage all their customers to bring their own bags for transport home. For to-go orders, call (512) 921-4828
For now, cash is king at Lulu B’s.
Hours of operation are 11:30 to 6:00PM, Tuesday thru Friday, and 11:30 to 6:30 PM Saturday.
In the not too distant future, look for a delivery service manned by snappy young drivers on scooters, as well.
Laura’s aim, along with her mother, Thao, and her partner/sister, Christina, is for happy faces, happy tummies, and we should all be supportive of such harmonious ideals!
If you get a hankering for a dose of requited love, Vietnamese style, head on over to the corner of South Lamar and Oltorf (in between Office Depot and Austin Quality Tire) and saddle up to Lulu B’s trailer where you’ll be greeted with a smile. You’ll be glad you did.
Tell ‘em Magnus sent you.

* Laura would like to extend a special thank you to George Reiff.

We sat down with Caroline Suh and Erika Frankel of Frontrunners, a timely, smart, documentary about the student union presidential elections at Stuyvesant high school in NYC. The film is both a microcosm of what is happening in our country as well as a personal, human piece about these kids and their unique school environment.

Director Caroline Suh’s sweet, engaging documentary Frontrunners puts the student union presidential elections at Stuyvesant front and center, right there for all of us to observe, laugh at and talk about later. In fact, it is the conversation afterward that makes Frontrunners such a worthwhile film, as it forces us to look at the much bigger world of elections. Stuyvesant could act as a microcosm for America — the student election carries many of the same detestable themes that we see in the elections for public officials in this country. They deal with issues of racism, sexism and of course, the art of the spin.
AUSTIN DAZE: What was the inspiration for this project?

CAROLINE SUH: When we started out we wanted to make a campaign film but we wanted to do it with a twist. We really loved the old school campaign films like The Perfect Candidate and Primary but we wanted to do something with young people and do something funny. That was one of our goals. So that’s how the film started. We searched around for a real story where there was actually a real election story with teenagers and not just something that we would have to fabricate from nothing where it would really just be a popularity contest and where really no one cares. So we found out that Stuyvesant in New York City had these great elections and we knew about the school because we lived in New York and it’s a very prestigious and competitive school. It kind of just took off from there.

AD: How did you guys meet?

ERIKA FRANKEL: We met years ago actually at PBS working on some projects there. We’ve worked on a few different projects over the years but this is the first feature independent documentary that we’ve worked on. I think we are crazy enough to want to do it again.

AD: How did the students react to the camera?

CS: We were really surprised because they were very unselfconscious around the camera for the most part. Much more so than we would have assumed they would be. I think it’s because it’s that generation of people are much more used to documenting themselves and seeing themselves on videos. They make videos for their classes. They have seen reality television which is totally different than what we were doing but much more part of their culture.

AD: Did you find a difference between the teenagers of today and what you were like when you were a teenager?

EF: I think that what in a way charmed us about the place in some ways. It brings back all the memories about being in the school. The announcements; the buzzer ringing. The atmosphere in the school has this very intense teenager vibe. When you are there you just kind of feel very hyped up and kind of sweaty—it’s very hormonal. We lived by the life of the school, making appointments for 5^th period. It was great.

AD: What’s next for you all?

CS: We’ve been talking about our next projects. Erica may direct a project next and I may direct another project but we love working together so we wanted to be supportive of whatever we do.

EF: We had a fantastic editor who is someone who we also knew from PBS so it was kind of a familial situation. Michael Tully who was our music supervisor is a friend of the editors. We liked the idea of over the years working on our own projects but also working together.

AD: Have you both always wanted to be documentary filmmakers?

CS: I haven’t always wanted to be a documentary filmmaker. At times I’ve wanted to be a writer but I kind of fell in love with documentaries.

EF: I started as an anthropologist. Film was just a medium to look at different cultures.

AD: Do you have any wisdom for other filmmakers just starting out?

CS: We were at the awards ceremony and a couple of people who one said, “You can do it.” And I totally agree with that. I think there is an intimidation factor sometimes and there is a block against starting but I do think that once you start it will take on a life of its own. It really is about the experience of making the film as well as everything after it. At least for us.

AD: How did you go about starting?

CS: We did have all the finances together and we owned a camera and sound equipment. We both work in the industry to make a living but decided we were just going to start doing this and everything kind of fell into place as we started filming. We knew certain things: how many days we were going to shoot and the price of post-production and we had all these ideas of these things but we really just started. These days if you have a camera and equipment you can just do it.

EF: I wanted to say for filmmakers, it’s supposed to be fun. We didn’t go into investment banking. We made a choice to make films because it is fun and we want to share it with people. Keep that in the back of your mind during those hard times.

AD: Can you talk to us about what you were trying to get across with this film?

CS: Yeah, that’s something I wanted to talk about. We really wanted the film to be a campaign film and it also became a slice of life film about the school because we really fell in love with the school and thought it was a really great place. It is a portrait of the school and it’s a campaign film also that’s driven by these great characters that we were lucky to find. We think it’s very, very funny.

AD: They have real personalities.

CS: They are wonderful. I think they all come across very well on film—they are very expressive in their own ways.

AD: Did you find that your perspectives changed at all about campaign film?

CS: It really became very clear to us while we were filming that we had to make it about the school. It’s a very unique place and that is definitely a big part of the story.

AD: Where are you headed after?

CS: We are trying to figure our distribution.

We were lucky to briefly catch up with the writer, Mark Webber (writer), Rosario Dawson and Francisco Burgos to talk about Mark’s beautiful and touching film, Explicit Ills.

AUSTIN DAZE: How are you guys enjoying the film festival so far? How long have you been here?

ROSARIO DAWSON: Just a couple of hours. I had a film that was accepted to screen here last year and it didn’t work out and I was really bummed out because I’ve just heard such wonderful things about this festival for years. I’ve worked in Austin a couple of times and I think it’s a great city. It’s a place, when you think of, that you just know automatically people here love art and they love music and they love movies. Culturally, it’s a place where you want to present something like this. If it does well here it says something really powerful. I think it speaks to a community of people that I feel should see this film and if it does well here it says that in a strong way. More so than I think some other festivals—it’s renowned in that way. So I’m really excited to be here with the project.

AD: Thoughts on SXSW festival?

MARK WEBBER: I’ve been dying to come to this festival for a really long time. Amongst our peers and festival circuit, even being at some of the other ones they talk about this one. So I’m honored to be here. You feel the vibe and it just feels really right for me.

AD: Where did this story come from?

MW: It’s a very personal story for me. I grew up in North Philadelphia next to the badlands—where this film was shot and the two characters live in. It’s a story about love and drugs and poverty and friendship and relationships and the social movement in this country. I wanted to tell this story in a very fragmented way. It builds up and connects in the end in a way that I have experienced so much of life through marching and activism.

RD: I worked with Mark on a film that was Ethan Hawke’s directorial debut called, Chelsea Walls. At that point we were both very young and talked a lot. We were just in this little room in the Chelsea hotel. And that place itself inspired a lot of conversation because it is such an insane space and it is all about these artists who have come from around the world to try and make it there with all the rest. And he (Mark) had spent a lot of years involved in activism because of his mom and they had really harsh times of extreme poverty where they lived out of his car with his mom. So we talked about that then and I talked about how I grew up in a squat on the Lower East Side and there was a period there when we didn’t have water, heat or electricity and my family made do. So we had this really interesting background that made activism and social awareness a very natural thing for us. We really bonded over that. And then we kept in touch and then suddenly I get these calls from Mark saying, “Oh my goodness I’ve got this script that I’ve written and I want you to read it and be a part of it and tell me what you think.” And I jumped on a plane with it. And all of a sudden I’m reading this script on the plane and I’m balling. I’m just crying my eyes out and was so touched by it. I’m reading about this man’s childhood and his home and going, “This is the first movie that you wrote and the way that you want to tell this story is just incredible.” There are these incredible people that are flawed. And they are not always done so honestly, authentically and richly. I was just moved and sent him a text immediately because I wanted to tell him exactly how I felt right after reading the end. Then we talked and I was so honored that he asked me to be a part of it and so touched that this was the story he had to tell. This is authentic coming from him. This isn’t I’m going to tell this story about poor people and maybe it will give me some kind of cred. It is really heartbreaking but it also is really beautiful. He is amazing.

AD: How about your experience with this film? How did you get the part?

FRANCISCO BURGOS: I got the part by just going to this big place and meeting Mark Weber and Mike Lemon. I was trying my best to read the lines but then I made this little mistake and I said, “I made a mistake” to Mark Weber but then he said, “It’s Ok, if you go to the movie that’s how you get the lines.” So then I tried my best to say it perfectly. I came out but then he said sit down and then he called my mother. That’s when he said, “I’m an angel just like I am in the movie.” So that’s when I figured out that maybe I might be called so I went all the way to the Bronx. My mom went to the shop that she works in, this ice cream shop then we went to this store just to eat and then she went to the bathroom and then out of nowhere she heard the phone ring and she picked it up while I was eating French fries and said that I got a callback for the movie.

How did this project get started?

Every year Super Pal gives a grant, called the Change 4 Change Fundation Grant, to community-involved organizations. The grant was an opportunity for young people from the Austin area involved to use their creativity. Although Austin Voices didn’t win the grant competition last fall, Super Pal was so impressed by the submission and mission of this organization that one of the committee members decided to give them a $1000 personal grant. In essence, they hired them as a Super Pal Merchandising Partner.

What is Super Pal Universe all about?

Super Pal Universe is about PDA – Pop-driven activism. It is a five-person band and a community outlet for Austin youth. It’s a band and a brand targeting teens and pre-teens with pop driven activism. They want youth to be involved in the community.

Why is the message of community involvement with Super Pal Universe important?

You can be in a band, you can be whoever you want to be, or do whatever you want to do, but you can’t forget your community, you should stay involved. Emulation is huge: pre-teens emulate teens and teens emulate adults. The mission of SPU is to have the youth feel like they can be involved. It sends a clear message when you do it directly and following through with what you believe.

How are Austin Voices students helping out, specifically the Garza class? What are they doing with marketing?

At the beginning of the semester, we worked with Austin Voices to come up with a marketing and economic curriculum, which incorporated a plan to be executed by the class. The plan teaches them how to execute a marketing plan from beginning to end, taking economics into consideration.

At the beginning of the project, they were asked to come up with products that the band would be able to sell. Choosing a product involved coming up with graphic designs and doing research. After revising their creative ideas several times, they were able to come up with a branding logo, which is incorporated in every product they create.

They were asked to think of ways to come up with cost-effective products to be made available at Super Pal Universe’s upcoming concert. Some ideas they came up with were t-shirts, buttons, guitar picks, dog tag necklaces for guys and earrings for girls.

The theme of production has been keeping things green. The Garza class was collect 400 donated T-Shirts, and their ideas for the t-shirt designs happened with recycled t-shirts in mind.

They have helped SPU design and produce products that will be sold to support SPU’s mission. Other products they have helped create have been ‘zines and planners. At the SPU shows in March, they will help to sell the merchandise.

How long has Super Pal Universe been together and do they have any upcoming shows?

The five member band has been together since the summer of 2007.

Their most current upcoming events this year include a performance at SXSW on March 15, at Auditorium Shores at 1 p.m. as well as the Blastbeat Party at Freddie’s that same day at 4 p.m. They are also getting ready to release their debut EP – that show is a free show March 22, 4 p.m., at Ruta Maya.

What happens after the show at SXSW for the Austin Voices Youth Action Network students?

Garza High School’s economic class gets to be involved in a focus group where they will evaluate results of the concert and sales of the merchandise. They will be able to take a look back and see what worked and what did not work.

Why do you think this partnership works?

It works – and, in fact, it’s special – because the Super Pal Universe band members are approximately in the same age group as the Garza students, and consequently are experiencing similar types of struggles and triumphs.

What do you expect the Austin Voices kids to take away from this experience?

They should become prideful in seeing their work and how their efforts contribute to the success of the band. They should recognize their ability to complete a project from beginning to end and they should also enjoy the feeling of youth and community involvement.

What should SPU take away from this experience?

They should want to stay in compliance with the youth for youth dogma. It is important that young adults talk to each other. The SPU members are really excited to know that much of their merchandising has been done by people their own age, because they have similar ideas.

What is the goal of this project?

One goal was to help SPU get integrated into the community through the Austin Voices Youth Action Network, creating a mutually benefiting relationship with students from the Garza class to learn and be more involved with artistic and musical production. Another goal is to have the Garza class continue to be involved with SPU and realize that their success is gained through their efforts. I’m really looking forward to listening in on their focus group because they’ve learned so much and they’ve been very well informed with the path being taken through the marketing plan. What they like and take away from the project is very important.

What is the expected time frame involved with this project?

The project should run through the end of 2008, which will include the students assisting the band with a planned summer camp for young musicians and a number of local shows.

Okay, here’s the deal… my life has been spent in the pursuit of excellence on many levels, not the least of which is gastronomic splendiferousness. Today is no exception. However, today I’m in search of something specific, something arguably ambiguous, yet, in my mind, very specific. Today, my quest is simple. I must find the most get down burger in Austin (or surrounding areas), and nothing less will do!
In my checkerboard, brawlcrawling existence I’ve sampled some of -what I consider-the best burgs to ever pass between two lips. If you’ve not had a full on double meat, cheese, bacon and egg Fat Burger with chili fries in Hollywood on LaCienega around 3am when the patrons are a highly volatile and mixed lot, or to Port of Call on Esplanade off the edge of the French Quarter in New Orleans and slammed down a half pound mushroom cheeseburger with a loaded baked potato after a night of getting your yaya’s out, then you’ve not yet lived, my friend Simple as that. If not, do yourself a favor and hit those two before you cack. Snag a chocolate milkshake with those puppies, too, you’ll thank me in absentia.
But no, my challenge to you today, dear reader, is to assist me in rooting out the very best burgers Austin has to offer. My quest.
Righteous groceries are always the bottom line in my book, but in this case, since one seems to be synonymous with the other, if there is some ‘scoscious atmosphere that needs to be sopped up with the burg, too, then fine, so be it, by all means, let ‘er rip! Also, am big into alternative meat burgs, too, whether it be ostrich, or turkey, or any wild game. Hell, vegetarian, too, if the taste and texture is backyard righteous. I’m game! (sorry)
So, if you would be so kind, dear reader, commit to sharing the wealth and submit your fave raves with an accompanying short explanation “why” to magnusopus@austindaze.com, and I shall endeavor to get down with the get down, give you the skinny on what I done rooted up when I done done it.
Submit… now. My taste buds await! And you, dear reader, will again, be the beneficiary of my ongoing culinary intrigue.
Y tan va.

Every time of the year when the SXSW Film Festival rolls around I find myself getting itchy, extra geezy, in fact. Just think, a solid week in which escape into the ether of another’s celluloid spin becomes my reality; a glorious, welcome respite from the rigors of the daily grind; a golden opportunity to giggle, titter, squirm, shout, cry, shudder and tremble before big-screen images and THX sounds which, in turn, burn themselves permanently into the recessed fissures of your medulla oblongata. Yeah, like that. …Itchy, I tell you, dear reader, plumb itchy…

More and more I find myself drawn to the medium of documentary, feeling less and less satisfied with the fictional narrative structure as a multitude of those who toil in that medium these days don’t seem to remember, or know or care what constitutes a story, much less a proper ending! Having two hours of your life wasted on such ill-conceived dribble and dreck is nothing short of maddening beyond measure, so I’m very careful which movies I actually deign see; very selective in that regard. Documentaries, on the contrary, seem to be getting better and better courtesy of a new evolvement of international filmmaker who mines incredibly obscure nuggets. Rather than choosing the safe, more universally acceptable, accessible subjects, the new documentarian isn’t afraid to go to extraordinary lengths to bring you the peculiar, the strange, the bewildering, the beguiling, the pitiable, the downright fucking scary as well as the in your face obtuse, and then crank a heart tugging, uplifting, enlightening story from their efforts which, in many cases, take several years to bring to fruition. How far out is that?! Only the driven, the utterly compelled, are willing to go to such exhaustive lengths to satisfy their muse and thank God for ‘em. This example of documentary filmmaking was in generous supply at this year’s SXSW Film Festival, happy to say, and the icing on the cake? My ass was, once again, in attendance, present and accounted for. Oh yeah…

I tend to look at SXSW Film Festival as a moveable feast, many courses consumed over a period of days in a variety of settings, and so, that said, the bountiful buffet laid out before me, I sharpened my cutlery, stuffed a napkin down my shirt, and dove in face first with the gluttony of a starving piglet.

First one up was “Fall From Grace”, a rather disturbing look into the world of evangelical minister Fred Phelps, he of the Topeka, Kansas based Westboro Baptist Church, a congregation who specialize in the unrelenting and unrepentant attack on homosexuality, a scourge Rev. Phelps espouses caused America to incur God’s wrath via 911 because we are a nation who openly tolerates “fags”. Watching this movie is about as close as I’d ever want to get to Rev. Phelps and his flock, who, not so ironically, are mainly comprised of his extended family. Their single minded hatred was a bit hard to bear, especially watching the contorted faces of the children of his congregation spouting the same hate-filled jargon and catch phrases that are crammed into their psyche all day every day by their parents and pastor, yet not having a clue of what they speak, obvioused by their confused, blank looks and nothing forthcoming when probed a bit further by the filmmaker immediately after a specifically worded, vitriolic rant, which -even though I’m no Freud- fare you well reeked of ritualistic brainwashing; tragic, I tell you, these young lives perverted by adults who’ve apparently lost the plot. From a purely technical point of view the film struck me as rather amateurish at times, but still, the subject matter itself was entirely riveting and the filmmaker did balance all the vile rhetoric with views from others much more knowledgeable in the field who were able to dissect Rev. Phelps’ rants and show just how off base he and his followers truly are. In the Q&A afterwards it was interesting to hear the filmmaker recalling when Rev. Phelps and his congregation viewed the completed movie with him for the first time, saying they were quite pleased as they felt the only important thing was for their message to be spread by any means possible. Can you say seriously affected?! I went home immediately after viewing this movie, my head spinning, my heart troubled.

Needing some lighter fare to wash away the vulgarity of the night before, next morning I strolled over to the Paramount to view “Doubletime”, a documentary about the world of competitive rope jumping. I must admit that prior to this film I didn’t have a clue this sport even existed. What I witnessed blew my mind. I hadn’t any idea of the precision and speed and acrobatics that now infiltrate this -what I remember- schoolyard pastime. Like I felt when first encountering break dancing in days of yore, I was left slack jawed by what the film showed the human body capable. Simply put, awesome. The filmmaker targeted two teams, one inner city black and one suburban white, both from the South, as they trained for a special competition at the famed Apollo Theater in NYC where they would be pitted against teams from all over the world. Watching the team from Tokyo practicing was worth the price of admission alone, as they simply dazzled with all sort of martial arts moves and flips, almost incomprehensible to the naked eye. This film was very moving, wonderfully edited, a definite feel good flick, as I watched these youngsters stretch their horizons of what is possible if you believe in yourself and work hard. And their coaches, too, provided wonderful leadership and guidance and support. Neither team won the grand prize at the Apollo, but they were all winners in the end. I noticed many in attendance who reacted as I did, wiping moist eyes as they departed the theater, moved by the joy and triumph of the human spirit.
Later I joined some friends in from out of town who religiously attend the film festival every year. We gathered to view, “Run Granny Run”. This film was based upon the latter day exploits of a very courageous woman, Doris “Granny D” Haddock, a Vermont native now in her mid to upper nineties, one would suppose, who has more than a few things up her sleeves she could certainly teach many younger than she. At age 90, for instance, she walked across the entire width of America to rally attention to the undue influence of big money on our political elections. This woman, after losing her husband, was searching for purpose in her life and decided to get involved because of what she saw as the crumbling of our democracy at the hands of corporate lobbyists and the politicians who line their pockets. So much so, at age 94 she launches a grassroots campaign, running for a seat in the U.S. Senate. She assembles a motley group of advisors, both professionals and amateurs, and does her best to bring back what she feels is important to America as a whole, true democracy working for and by the people. Up against the typical money fueled campaign of today, she is dogged in her determination and represents the ideals upon which this country was founded, exercising a ton of grit and common sense while her insipid, vacuous, political opponents show her nothing but smarmy condescension. This woman displayed tremendous courage and wisdom at every crook and turn during her campaign yet eventually loses the election, but not her soul, nor her heart. Quite simply one of the most remarkable people I’ve ever beholden. And by the spunkiness she showed in the Q&A that followed, Granny D is far from done, too. Righteous to the bone.

Got the next day started with “One More Hit”, a documentary about the trials and tribulations of one, J Swift, a record producer and member of the ground breaking rap group, Pharcyde. Apparently the filmmaker, Shauna Garr, was friends with Swift in the day and was shocked to find him living under a tree in Hollywood many years later, hopelessly addicted to crack. I will say this, this woman showed the patience and persistence of Job. She goes well beyond the call of duty to get this guy some help, even brokering a reality show for him to get back on his feet (which goes horribly wrong when the producers buy him more and more crack to complete numerous takes), several trips to counseling and rehab, and countless introductions to folks in the biz who were willing to give him a second chance based upon his formidable, musical talent. I’ve never seen a guy so gifted and yet so fucked up. This guy gets chance after chance after chance after chance to get back on top, even cleaning up for a while and working on a great new record, but before it’s released, yep, he disappears for months and is found again, under another tree in Hollywood. Tragic story. Man wants to make music. Lives for music. It is his savior. But the allure of crack is stronger and begets yet another music business casualty. Bummer. Story reads like a worn out skipping record, great documentary though.

I walked into the Paramount and a short film was playing I wasn’t expecting, a music video of sorts. The music was artfully sung by a woman named Angela McCluskey. The song was “Autumn in New York”, the title of the piece, too. The film was a series of shots set against Central Park in the full bloom of autumn, all quite breathtaking, making me fall in love with New York City all over again. I was totally knocked out by this flick. What followed was equally as good, both done by photographer, Bruce Weber.
“Let’s Get Lost” is a beautiful movie about a beautiful man, Chet Baker. We get to know Chet present day in a series of staged interviews and photo shoots, hanging out with Flea of Red Hot Chili Peppers fame at The Frolic Room in Hollywood in one, always smoking, always drinking, talking in his soft, mellifluous voice as if he really isn’t part of the human race at all, existing in a separate parallel universe from the rest of humanity. There was some outstanding archival footage of him in his heyday, before he tragically turned to a life of junk. And he was also brought into a recording studio to sing on some new recordings with his longtime pianist, still sounding genius, if looking a bit worse for the wear. So serene. So troubled. So gifted. So sad. So moving. So real. There were also interviews with some of the women who played prominent roles in his life. All of them were still in love with him, even though he wouldn’t be called the world’s most trusted lover or confidante by any stretch. But all throughout the movie it’s obvious he exudes an animal magnetism and beautiful, mysterious women are drawn to him, and he seems to completely immerse in their presence, too, totally given to them in that moment. A most intriguing man. A beautiful movie. A retrospective at this festival, “Let’s Get Lost” won the 1989 Critics Prize at The Venice Film Festival. I’m glad SXSW brought this one back. In a word, splendiferous…

I hiked over to the Alamo Downtown to see my next film, one I was really looking forward to especially after reading the online synopsis; a documentary entitled “Dirty Country”. Larry Pierce is a small town Midwestern plant worker and part time musician. One day he writes a song to amuse himself, a really dirty one. The next time he plays a show for his friends in his garage he plays them the dirty song and they go crazy for it. Larry seizes manifest destiny and continues to write more and more of these dirty country songs, and when I say dirty, imagine graphic recounting of every type of sex act known to man set to country music and you’ll get a good idea where Sir Larry lives. Well, fast-forward several years later and Larry is now a bona fide underground music legend to truckers nationwide as that’s where his recordings are sold, at truck stops all over the country. This film is hilarious because Larry is just your average joe who’s stumbled onto something that everyone -and I mean EVERYONE- seems to want. Several musical historians are interviewed and they impart bawdy songs have been with us since the beginning of music and Larry and others are just following in the grand tradition. Several other performers of dirty songs are featured in this movie, too, bolstering the historian’s proclamations, from Blowfly to Doug Clark and the Hot Nuts, and others. But back to Larry… Eventually the plant forces Larry into an early retirement where he faces an uncertain future. About this time the directors pair him with another dirty song group, “Itis”, a rock band who are huge admirers of Larry’s work. Since Itis has a following all over the country and tour year round, they eventually meet at Larry’s garage where we witness a true friendship being born. Well, since Larry has never performed on a stage before, and all of Itis’ fans are also Larry fans, I guess you can see where the film goes next. Watching Larry onstage, backed by Itis, with hundreds of screaming fans singing along to all his songs is a total hoot and tickled the shit out of me. Itis and Larry continue to tour together when they can, performing at The Fox and Hound right after the screening, in fact. The Q&A afterwards was equally fun with Larry and his adoring wife and Itis all in tow. Larry closed the Q&A with his standard departing call, howling a resounding, at the top of his lungs, “Pussy!” which fare you well rattled the theater’s rafters. Ah yes. Such a night….

I closed the evening by seeing my first narrative feature, a midnite showing of “Butterfly: A Grimm Love Story”. Admittedly morbid curiosity got the best of me as the movie was based on a real event that recently took place in Germany where a man wrote in a strange sex chat room that he desired to eat a person, and he welcomed anyone who was interested in being eaten. Well, I’ll be damned if some guy responded to the fellow’s post and they actually went through with the whole enchilada… sorry, couldn’t resist. This film was shot very well; it had a most distinct look, and was well acted, too. But, and this is where I got some serious beefs, I’m engaged, pulled along by the story, and then WHAMMO! the movie abruptly ends without any resolve or anything even remotely resembling an ending. Consider me madder than a pissed on monkey! Two hours of my life wasted! Bug fugum! I was reminded days later of a conversation in the movie “Helvetica” (seen the next day), where a designer remarked that with computers everyone has access to fonts and design materials, but even with these tools they can only now truly appreciate the designer and his ability, his role, his stock in trade. The same thing applies to both film and music, too, as software to make both is readily available to anyone with a computer. But again, without the talent and the vision, you very well might get bupkiss. Style over substance, usually. And this movie reminded me of that. Great look. Decent acting. No fucking ending! Like Clinton stated, “It’s the economy stupid”, and I say, “It’s the story, stupid”. If you can’t tell one, go find something you can do to seriously help mankind. I’ll never get those two hours back and the filmmaker was damn lucky he wasn’t in attendance. If so I very well might’ve reverted to wolf from my current shepherd status and throttled his ass. Just for starters. ‘Nuff said….

There was already a buzz on the street about “Cat Dancers” before I attended next morning. Afterwards, I knew why the buzz existed. “Cat Dancers” is the story of Ron and Joy Holiday, two dancers -teenage sweethearts actually- who migrate to NYC and eventually achieve worldwide fame and renown in their specific field of dance, and then, before there was a Siegfried and Roy, they followed their muse a bit further and began an exotic cat routine which brought them yet another wave of fame and fortune, and ultimately disaster, too. It became apparent early on that this was a tale of love and devotion, a most unusual one at that. Along the way the couple bring another younger man into their routine, Chuck Lizza, and he is drawn into their love, and quite literally, too, eventually having a very open affair with the both of them. In Ron’s words, it was the greatest time of his life, having not only this beautiful love with both his wife and this young man, but also the love and respect of all the animals under their stewardship and care. At some point, at Chuck’s insistence, they bring a white tiger into their fold and even though Ron is skeptical, knowing the very real possibility of inbreeding with these rare cats, he too falls in love with the new arrival. Years later disaster strikes, Chuck accidentally falling on the cat one day and the cat reacting, quickly ending Chuck’s life right in front of Ron. This horrible event, coupled with one of Joy’s favorite cats dying, too, sends her into a grave depression, refusing food, bringing her to death’s door as Ron helplessly watches his wife shrink, disappearing before his very eyes. One day they venture forth from the house to go walk the grounds and spend time with all their brood. Ron takes this as a good sign. When visiting the white tiger, again, accidentally and tragically, Joy’s life is swiftly taken by the tiger, too, and again, right in front of Ron. Ron understood in that instant the cat was indeed inbred, but doesn’t hold it against him, recounting how sad and upset the tiger was immediately afterwards knowing full and well what he’d done. As a matter of fact, Ron doesn’t regret one day, not one minute of one day of his remarkable life, but there is a palpable sadness that envelopes him as he recounts his adventures and this is made manifest when he finally breaks down, unveiling that in ten years time he wants to retire to a famous monastery in Thailand where the monks live freely amongst wild tigers, and that is where he will finish his days. A touching, beautiful, yet unusual love story, one I’m fortunate to have seen courtesy of the years of tireless research which went into this film. Remarkable people doing remarkable things, living their life to the fullest, is a rewarding thing to witness and partake.

Next I sauntered over to the Alamo Downtown to see “Hell on Wheels”, a documentary based in Austin where some tattooed love girls -who wanted a bit more excitement in their lives- went about organizing a league of Roller Derby teams, a sport long absent from the public arena. I got all the thrills, chills, spills and catfights I expected, but I also got a huge dose of what I didn’t expect as well, and it was this revelation that made the film hugely satisfying. The human ego is a fragile thing to witness in action, and in this film -and this is when the movie took a definite left turn- you watch as the women who started the league exercise a bit too much control at a crucial juncture which makes the players balk, then ultimately exit to form their own league. The meetings between the two factions are intense, even moreso than the action at the oval, which is admittedly a rollicking, balls to the wall slice of entertainment. And if you don’t think the action is real, watch as several of the women have violent accidents whilst in the throes of competition, compound fractures left and right. Yikes! The premiere was attended by many of the Roller Derby girls themselves and it was fun watching with them, hearing them cheering at specific moments when persistence and working together triumphed over adversity. At the end a graphic showed just how powerful these gals were in promoting this long dead sport whereby hundreds of Roller Derby leagues are now scattered quite literally all over the world. “Hell on Wheels” is a dramatic tale of tough women, pioneering spirits, too cool.

A documentary is usually based on some very colorful characters or an unusual situation, so imagine my curiosity of a film solely based on a singular font, “Helvetica”. I’d already been turned away once trying to see this film and was equally surprised that the third showing at the Convention Center Theater was packed to the gills, too. What could be so compelling about this flick, thought I? Still curious before the start of the film I turned to the couple next to me and asked them why they’d decided to attend this movie. Well, first off, they were filmmakers, but they, too, were like me and curious how good a movie can be based upon a font, of all things? The lights invariably went down and we soon found out just how good. The film absolutely blew me away. We got to know the history of how Helvetica came into being, a product of the modernist art movement in the 50′s, developed by a special design group in Switzerland. It boggled the mind seeing just how ubiquitous this font actually is, as you’re taken all over the world in a dizzying set of collages and every sign, every advertisement everywhere carries the Helvetica font. We are totally bombarded by it daily and don’t know it! The filmmaker targeted specific design groups of renown at various locales around the world to get their take on this unique font, Helvetica. All of them gave us interesting insights, but across the board all were just wowed by its absolute sheer perfection. Apparently, many over the years have sought to improve it, even slightly, all with non-results. The damn thing is just perfection to the core! I was totally entertained and educated by this movie, a hard combo to accomplish. The music, in particular, was excellent and framed the flick’s visual montage perfectly. I exited the theater invigorated, and to think, all from a friggin’ font!

Next up was a film that completely creeped me out. “Confessions of a Superhero” is a documentary that chronicles four individuals who spend their lives wearing the superhero outfit of their choice while holding court at Grauman’s Chinese Theater in Hollywood, posing for pictures with tourists and accepting tips, their livelihood, in return. We, the viewing audience, were privy to the heretofore-private lives of Superman, Batman, The Hulk, and Wonder Woman, and the film wasn’t at all what I expected. At all… Let the creepification begin! Not so slowly we get to know each person behind the superhero costume, and what we find is incredibly sad as well as incredibly creepy. The Superman person is totally besotted with everything Superman. Every square inch of his squalid Hollywood apartment is covered in Superman memorabilia. EVERY SQUARE INCH! He claims (with a straight face) his collection is worth well over a million dollars. In front of the mirror he spends hours getting the curl on his forehead just right ala the Christopher Reeve version. He dates a shrink (they marry in the movie at a Superman convention in the Midwest, and yeah, he’s wearing his get up in the ceremony) Scary only begins to sum this guy up. Consumed another. Batman is another twisted case of bizarro. He fancies himself a bad man who’s done more than his fair share of badness. While in costume he tells his shrink that he’s killed several people, all unsolved, while the shrink can hardly believe what he’s hearing, telling the man that there is no statute of limitations on murder. The man is whacked, fancies himself a George Clooney look-alike and is always on the edge, the cops called on him several times from frightened tourists during the filming. One could say the man’s got some anger issues, amongst other things. The Hulk is incredibly depressing. He’s a country black man from South Carolina who wants nothing more than to be in Hollywood in the film business. The man has no talent whatsoever. He finally lands a part in a remake of some 70′s blaxploitation movie, playing…. yeah, you guessed it, a superfly pimp, which has him excited beyond belief. Watching him clump around in his ridiculous costume doesn’t help matters, either. In short, pitiful. Wonder Woman is a cute thing from Tennessee, but seems to be incredibly clueless, marrying someone she’s known for a couple of weeks, confused when it doesn’t work out months later, meeting with her acting coach who dispenses the most mindless psycho-babble, empty, meaningless pap, which she gobbles up like bleeding prime rib on Sunday. In a word, these people are all seriously DELUDED! I’d heard they were all in town during the film’s initial screenings, all in costume, no less (like we would expect any different, right?). I’m glad they weren’t at my screening, as I don’t know if I would’ve laughed as loud as I did at every cringing moment of their on-screen delusion. Wonderfully weird documentary. Creepy subjects.

I got off to a great start the next day when I showed up at The Alamo South (let’s hear it for our incredible Alamo Theaters!!!!!!!!!) to see an odd little film called “Fish Kills Flea”. The story takes place at an abandoned mall in upstate New York, in a town called Fish Kills. The once thriving and bustling mall falls prey to a bigger better mall that opens on the other side of town and closes. In its place a ragtag flea market opens up run by a guy who fancies himself a Mafia Don, or some such, complete with big cigar and menacing, unsmiling, sunglass wearing henchmen who silently follow him around as he makes his “collections”. I sat dumbstruck in this amazing film, watching in horror the decay of American civilization, capitalism at the end of its rope. The folks who sold goods in the market were all off kilter, sad and desperate, and the people who came to the flea market all walked around like shopaholic zombies, rutting through the junk the vendors were selling as if they were programmed to show up at this place regardless of what was there. Eventually the flea market folds, the vendors scattering to the hinterlands as the owner is unable to negotiate a new deal to move everyone to another location, even though he told the vendors weeks before he’d signed a contract with another closed mall, giving them all hollow guarantees, or as I might call it, a fucking LIE. In its place a Home Depot is scheduled to be erected, yet another example of good ole’ American capitalism running amuck. Watching this film was like watching The Apocalypse, The End of the American Dream. The film was beautifully shot, however, each frame an exquisite photograph. Imagine my surprise during the Q&A where the director told how compassionate he was for the people he shot, how much he cared about them. I thought he was taking the piss but he went on and on about what wonderful people they were and how much he liked them, prompting me to engage him at the close of the Q&A. I told him his compassion struck me as odd, first expressing my feelings about the film then telling him I was reminded of the Robert Frank photography book, “The Americans”, where even though those photos showed a squalid America sifting through the debris of what was left, there was at least a feeling, a hope, that all was gonna get better by virtue of the trust that everyone who puts forth effort will in fact achieve the ideals of the American Dream, but in my mind, his film was like the bookend to the Frank book, showing America on its last legs after capitalism and the corporatization of America had run its final course. The director appreciated my take on it and said as much, especially digging the Frank connection. I lauded him for his endeavors and walked away feeling like I’d just seen a great and important film chronicling the decline of America.

As luck would have it I got to keep my same seat for the next movie. Having a bit of time to spare I was visiting with some folks in the lobby where one festival patron warned the next film in my crosshairs was brutal in nature. The documentary in question is “Campaign”, the saga of an upwardly mobile Japanese man who is chosen to represent his district and run for what is akin to city councilman. The movie was brutal in that it lingered “waaay” longer than most films would have in one scene after another of his tirelessly campaigning, and mostly to people who completely ignored him, if there were any people at all. He’d quickly set up his poster and a banner in the most innocuous of places, set his little speaker close by, grab his microphone and begin to recite party jabber about how he was going to continue the reforms his party had initiated, over and over and over and over and over again, ad nauseum. The man was nothing short of loyal, and I even had the feeling he truly believed in what he was doing. All I got to say is I’m glad I live in America, where even though our politics are the stuff of nightmares, this movie was chilling in what it unveiled about Japan and its way of life. If he did anything out of line, not looking a man in the eye long enough when shaking hands and bowing twenty times, for instance, he was scolded, curtly reprimanded by his party elders. And for the most part, the party elders stayed deep in the man’s ass, where he would go to bowing a hundred times and apologizing profusely for some of the most inane bullshit of which he was accused. Really sad this. In the end, although a close race, the man wins the election, but is late for his victory party where once again party elders get in his ass and tell him over and over again how indebted he is to them and he’d better not forget that fact. Like I said, chilling, soulless, and brutal. I’m glad I live in America yet I love visiting Japan. I find the country and its inhabitants to be incredibly interesting and beautiful, but those folks are squeezed into patterns of very unusual behavior. They are driven like slogged beasts by their own culture. Woo hoo! Brutal movie, yeah, but perversely enjoyable nonetheless.

Next movie up was a hard choice. I’d been told that “Audience of One” was outtasite and right up my alley, but I’d also read of this quirky movie called “Frownland”, and what I’d read intrigued me to no end. The movies were both playing one last time and unfortunately times overlapped. In the end I chose to see “Frownland”, my curiosity piqued even more when I watched the clip online, which was as bizarre a clip for a movie as I’ve ever seen. Very Lynchian, and this bode well (but not shown in the actual movie, which only adds to my ultimate confusion). After viewing it I’m still unsure of what I think about this film. It was a narrative feature, and kinda told a story, I guess. You had a guy who was seriously afflicted, seemingly unable to communicate on any level. A girl who was mysteriously misaligned, prone to injuring herself, seeking his company for some reason of which I’m still unsure. His roommate was this total dick electronic music composer. Totally fucked. All of them were totally fucked and inextricably linked. In the end, girl disappears, roommate tells idiot what he thinks about him, idiot totally flips out and goes on this bizarre destructive evening. He wakes up in the morning, walks on a rooftop and pees. The End. The Q&A was even more bizarre. The director went off in some very esoteric explanations of why and what and none of it made the least bit of sense to me. The jury is still out on this one, and may be permanently. Ironically -at least to me- this film won the Special Jury Award. Go figure.

My final movie of this year’s SXSW Film Festival was a hoot and a holler rolled into one. Yet another midnite show at the Alamo Downtown. When entering there was a rather festive mood in the air, all brought into focus when the owner of the Alamo walked onstage, clearly shitfaced, and demanded that everyone shoot a beer before watching this, his favorite film of the festival, “The Devil Dared Me To.” The staff began handing out free Lone Stars and on cue, we all stood and downed our beers. The directors, both New Zealanders, livened up the joint with some spirited banter (people from that part of the world just plain out and out like to have FUN!!), the lights went down, and away we went. This film, about a young man born into a lowbrow family of stunt/carny people and later becomes one himself, was like a cross between Animal House and Jackass. The move was full throttle, full bore fun. At the events they stage tons of shit blows up, everything catches fire, people everywhere get maimed and fucked up beyond compare. Violence. Crazy, sick violence. We’re talking prison gang rapes that are actually funny, every manner of death and destruction possible, and all the while you’re laughing your ass off. Completely over the top. What a way to end this year’s festival. Fuck yeah.

Over the next week or so, absorbing all that I’d seen and heard, something very odd, yet not, occurred. Slowly, bits of certain moments I’d witnessed the week prior bore direct correlation to events now transpiring in my