Local Cast and Crew
Layla (newcomer Devon Keller) is a high-school senior shacking up with her dropout boyfriend Danny (Kiowa Tucker). An honor student, she gets a scholarship to UT Austin and then finds out she's pregnant. Given her predicament, what can she do? Petting Zoo, from director Micah Magee (see my interview with her), thrusts the viewer into several months of Layla's life.
One notable facet to the main character is that she is working poor. Layla refuses to live with her financially stable but abusive father, so has to move in with her elderly grandmother (Adrienne Harrell, Zero Charisma) and share a bed. Magee perfectly conveys the utter vulnerability of her situation. We see Layla sleeping many times -- through loud parties in Danny's apartment, in a friend's car after seeing Girl in a Coma, on her grandmother's couch after hearing bad news. Such sequences illustrate the precariousness of her life, and the limits of her control -- especially when she loses her support system.
This is not to say that Layla has no choice in anything; that would be a false statement. What decisions she can make, she does. She leaves her loser boyfriend, decides to keep her baby, and wants to make it on her own. She also falls into a relationship with fellow graduate Aaron (Austin Reed).
This is turning out to be a very different year for SXSW, as though last year's tragedy marked a turning point where the city and the SXSW staff realized that things had gotten out of hand with too much going on at once with too little control. The result has been in my own observation that downtown seemed practically dead when I arrived Friday to pick up my badge. Strictly limited permitting for outside events and venues in addition to much of the interactive events being relocated away from the convention center have thinned the crowd to manageable levels, though we will see if that persists as the music portion of the fest kicks into gear.
Movies I've seen:
This documentary by brothers Bill and Turner Ross (who premiered Tchoupitoulas at SXSW 2012) covers 13 months in the border city of Eagle Pass during Chad Foster's last term as mayor. Foster gained recognition as an outspoken opponent of the border fence idea.
Much of the film focuses on the lives of ranchers and cattle traders who purchase cattle on the Mexican side of the border and transport them for sale in the US. Eagle Pass is presented as an idyllic locale where the Mexican and American cultures are so intermingled as to be indistinct. Foster, for instance, in his speeches switches between perfectly-accented Spanish and a completely authentic Texan drawl English mid-sentence. As outside political forces close the border and begin to erect walls that threaten their livelihood, the citizens of Eagle Pass struggle to understand the paranoia over drug cartel violence until it reaches their doorstep.
The number of parties in Park City, Utah, during Sundance and Slamdance Film Festivals can be overwhelming for any festgoer who wants to experience more than just the extensive film programming available. To balance between screenings, interviews and parties, I select a few events to attend each year.
Most important are the film commission events, which provide a great opportunity to network with industry colleagues and learn about movie projects supported by the film associations. The Texas Association of Film Commissions hosted their annual Film Texas reception last week, with representatives from various film commissions including Kim LeBlanc from the Texas Film Commission and Janis Burklund, director of the Dallas Film Commission, both seen above with Results star Tishuan Scott.
The San Antonio Film Commission also hosted an event with director Drew Mayer-Oakes in attendance. Both events provided a great opportunity to discuss the Texas Moving Image Industry Incentive Program. Many of the conversations that I took part in focused on filmmakers expressing their concern about the impact of legislative changes that could come about in the upcoming legislative session under a new governor. A reduction or elimination of the incentive program could result in the relocation of film projects that are currently on hold.
The Other Worlds Austin science-fiction film festival blasted off to a great start last Thursday, with a pre-apocalyptic happy hour at The Tigress cocktail bar where several of us tried the Pan Galactic Gargle Blaster. I really appreciated that social events were scheduled around the screenings. Saturday morning's "2014: A Brunch Odyssey" was held at The Goodnight, and provided a great opportunity to network with other attendees including filmmakers.
Despite the fact that this was the first year for this film festival, which only spanned Thursday and Friday evenings and all day Saturday -- primarily at Galaxy Highland -- I was impressed by the number of filmmakers who traveled from as far as Los Angeles and New York to support their films. Just a few of the filmmakers in attendance included writer/director Cidney Hue (Odessa), director Bryan Costanich (Slumptown), and Apt 3D writer/director/actor Zack Imbrogno and editor/actress Maxxe Sternbaum.
In my book, short filmmakers (not judged by their height but the length of their movies) were the true guardians of the Galaxy -- Galaxy Highland 10 Theatres, that is.
My attendance Friday at the inaugural Other Worlds Austin science-fiction movie festival will be saved in my mental hard drive; not only was this Austin's first dedicated science-fiction movie festival, but my first attendance at one. Oh, I've had many informal science-fiction movie fests on my couch in front of the TV (alone because none of my friends or family members enjoy science-fiction, they're more into rom-coms).
The Other Worlds Austin Cthulhu-like logo sold me instantly. It brought back many memories, like when I first heard about H.P. Lovecraft, author of the short story "The Call of Cthulhu." I was in middle school, stuck at home sick and bored, so I dug around in a box of a family member's belongings and found a DVD of the first episode, Dreams in the Witch-House, of the now sadly defunct Showtime series Masters of Horror. This led to me scrounging my local public library for anything associated with Lovecraft, who, despite his sexism and racism, probably has the coolest last name. Ever. My anthropoid homie Cthulhu and I have been tight ever since.
This "passage to the unknown" lines up well with the short movies I saw at OWA for its second shorts program (aptly titled "Passage to the Unknown"). One short even almost made me cry.
A recent New York Times article reports that droughts are intensifying across the United States western and southwestern regions, with California, Nevada and Oregon bearing the brunt. Texas is also experiencing drought across much of the state, and prolonged dry conditions put a considerably strain on water supplies for all uses. Many states are using innovative technologies -- aquifer storage and recovery, desalination, water "scalping" -- but are still forced into placing restrictions on water use, with fights over water rights ensuing between local government, landowners and consumers.
This contemporary scenario supports the premise of production designer Thomas Hammock's (The Guest, You're Next) writing and directorial debut The Well, a "science factual" post-apocalyptic film thattakes place in a barren Oregon valley ten years after the last rainfall. Seventeen-year-old Kendal (Haley Lu Richardson) hides away in the attic of The Wallace Farm for Wayward Youth caring for fellow orphan Dean (Booboo Stewart), venturing out to check on the few remaining neighbors while scavenging for resources including water from their well and a vital piece of equipment to power an abandoned Cessna. Kendal and Dean dream of escaping in the plane, but they are thwarted by Dean's ailments and both vagrants and hunters that roam the valley in search of any remaining water.
I grew up in the greater New Orleans area, I have minors in political science and history from LSU ... I even worked in the Louisiana State Capitol for awhile. But it wasn't until I saw 61 Bullets at Austin Film Festival that I heard a viable alternative theory about Huey Long's death. (Sure, I heard speculation, but I gave it as much credence as alternate Kennedy assassination theories.) 61 Bullets not only presents the case for this theory compellingly, but it brings in the personal -- the family of Dr. Carl Weiss, accused of assassinating then-Senator Long.
For those of you who haven't had to learn this for a pop quiz, who haven't poked their fingers in the bulletholes in the State Capitol wall, here's the background: In 1935, former La. Gov. Huey Long was shot in the State Capitol. The story we learned is that Weiss leaped out from behind a pillar and started shooting. Long's bodyguards peppered Weiss's body with 61 bullets (thus the documentary's title), and rushed Long to the hospital, but he died several days later. The rationale generally provided for why Weiss did it is that he was mentally unhinged, and perhaps had a beef with Long over Weiss's father-in-law possibly losing a judgeship.
However, many of Weiss's relatives have never quite accepted this theory, it seems. They believe the political ambitions of the Long family (which indeed are legendary) are a big reason behind the concealment of the facts. For example, a federal investigation of the incident never took place -- everything was handled locally, information is missing, etc. Long's body is buried under so much concrete in the Capitol that an autopsy would be impossible, and his surviving descendants/relatives still believe Weiss assassinated him.
Boxer Heather "The Heat" Hardy lives with her parents, sister, nephew and her own young daughter in a working-class Brooklyn neighborhood. She trains with her trainer/boyfriend Devon at the famed Gleason's Gym and dreams of making a full-time career out of fighting and moving out of her current crowded living situation. In the documentary Hardy, from first-time filmmaker (and Austin native) Natasha Verma, the boxer asserts, "I don't wanna get paid like a female, I wanna get paid like a boxer."
The film shows Hardy's path toward signing with a big-time promoter and making more money. In 2012, boxing became the last sport at the Olympics to accept women, and Verma's film displays some aspects of the macho culture still involved in the sport. Posters plugging fights for the male athletes adorn the gym, while Heather is responsible for selling a certain portion of tickets to her bouts. As she waits impatiently before one of her fights, rapper 50 Cent comes into the dressing room full of mostly men and makes disgusting jokes about domestic violence and women who fight back.
"Keep Austin Weird" isn't just a catch phrase created by some offbeat tourist marketing campaign, but rather a mantra that emulates the quickly diminishing quirkiness that drew me to Austin from the big city of Houston, Texas in 1993. The cast of characters often encountered in the local scene, whether on the Drag or downtown, contributed to the charm and allure of the Capital City.
Any given day or night you could walk down Sixth Street and see street musicians and vendors hawking their talents or wares, including Crazy Carl Hickerson -- is best known for selling and spinning flowers. Crazy Carl's penchant for flashing his man boobs and dancing outside of Esther’s Follies has long been a source of amusement -- and sometimes horror -- for unsuspecting visitors to the intersection of Sixth and Red River.
Beef and Pie Productions filmmakers including director Mike Woolf, producer Karen Yates, and director of photography Andrew Yates have captured the public and personal story of Crazy Carl in their latest documentary Crazy Carl and His Man-Boobs, which premieres at this year's Austin Film Festival. Woolf and Andrew Yates as well as editor Landon Peterson answered questions about the film via email recently, and here's what they had to say:
Slackerwood: Why Carl?
Andrew Yates: He is my neighbor. And he has boobs. Man-boobs.
Landon Peterson: Crazy Carl is Yates and Karen's (our co-director and producer) neighbor in an old neighborhood in central Austin. So they would see this aged hippie doing very noticeable things like checking the mail in his underwear and robe with his boob jars bulging underneath.
Mike Woolf: Yates started this whole film because he saw (partially naked) Carl taking care of his wife Charlotte Ferris who is a polio survivor. Yates said there is a great love story going on over there. I thought he was just enamored with Carl’s man-boobs.
After years in the making, the documentary 61 Bullets will screen at Austin Film Festival next weekend. The film, which won an AFS Grant and was partially backed through Kickstarter, is the latest project from Austin director David Modigliani (Crawford). He and co-director Louisiana (Lucy) Kreutz worked with producer Yvonne Boudreaux to delve into the story behind the death of famed Louisiana governor/controversial figure Huey Long.
Before AFF kicks off, the filmmakers answered some questions for me via email about what led them to make the film and the process involved.
Slackerwood (for Boudreaux): Can you talk about your connection to this historical event, and what drew you to look deeper into the circumstances of Huey Long’s death?
Yvonne Boudreaux: "No one has ever told the story right," my grandmother Ida Boudreaux said to me when I was an eighth grader studying Louisiana history. I was working on a report of the shooting of Huey Long, and had learned from my mom that my great uncle, Carl Weiss, was the alleged assassin.
I was fascinated that the subject was never spoken about in the family, and even more so by the mystery that I sensed in the official version of the story. Obviously, this film and the characters are very close to me personally. As production went on and I approached the ages of Carl and Yvonne [Carl Weiss's wife] at the time of the shooting, I began to connect with her story very deeply.
I worked hard to wrap my head around the consequences for Yvonne and her young son after losing the man she loved, leaving family behind, and raising a child alone. The pain that she must have endured and the strength that she showed in moving on were both heavy on my mind. I still think about and admire her often, and will continue to do so as my life unfolds.
Slackerwood (for Modigliani): How did you become involved in this project?
David Modigliani: My friend from graduate school in Austin, Yvonne Boudreaux, brought the story to me. She had seen my first feature documentary, Crawford, and she knew I was interested in exploring political stories through the eyes of the people they impacted. As I learned about the mystery, about the extraordinary, larger-than-life history of Huey Long, and about the families seeking to find closure over the death of their patriarchs, I knew we had a compelling film to make.