Local Cast and Crew
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.
While working as a journalist in Karachi, American Daniel Pearl was kidnapped and beheaded in early 2002. It seemed timely to watch the 2007 film A Mighty Heart, based on his wife Miriane's memoir of the experience, as similar attacks by ISIS have been in the news in recent weeks.
The main reason I'd been hesitant to see A Mighty Heart is the casting of Angelina Jolie. Nothing against her as an actress, but having a white actress play a mixed-race woman continues a long history of "whitewashing" in film. Jolie does a fine job here, mimicing well Mariane Pearl's French accent and cadence. She plays Mariane as contained and determined during the search, then fierce and raw when she receives the tragic news of her husband's death. Logically I know that if Jolie hadn't been involved, the movie might not have ever received wide release. Yet I couldn't help wondering what qualities an actress of color might have brought to the role.
Jolie anchors the film, which includes a cast so large that it's nigh impossible to keep track of all their names. Reporters Mariane and Daniel Pearl look forward to leaving Pakistan as they prepare for their first child. The night Daniel (Dan Futterman, actor in Judging Amy, but also screenwriter of Capote and Foxcatcher) disappears while working on a story, Mariane hurriedly begins calling his contacts and the authorities. A team of sorts is formed to search for her husband, including acclaimed Indian actor Irrfan Khan (The Lunchbox, Life of Pi) as a Pakastani officer, and two familiar faces from The Good Wife -- Archie Panjabi and Denis O'Hare -- as an Indian-American writer and a Wall Street Journal editor, respectively.
Filmmakers Aaron Katz and Martha Stephens, who have teamed up for Land Ho!, have individually premiered all of their previous features at SXSW Film Festival. They're each known for films where characters are deep in exploration -- about themselves but also perhaps, a mystery (Cold Weather, Passenger Pigeons) or even a landscape (Brooklyn in Quiet City, Kentucky in Pilgrim Song). In Land Ho! (which premiered at Sundance this year), the same type of exploration takes place -- this time in Iceland -- with two primary characters who are gentlemen in their retirement years. It's a change for Katz, whose characters are usually in their late teens/early twenties.
No matter what the age of the characters, however, Stephens and Katz sustain the audience's interest in the type of story that sounds terribly slow and dull when explained in print, but is very rewarding as it unfolds onscreen. Two retired brothers-in-law, Mitch (Earl Lynn Nelson) and Colin (Paul Eenhoorn), couldn't be more different. Mitch is a brash New Orleans doctor who loves talking to people -- and he has no filters -- smoking pot and unabashedly admiring women. Colin is a quiet, thoughtful Australian, frequently embarrassed or annoyed by Mitch. The two embark on a trip to Iceland together, beginning in Reykjavik and heading to less populated locales.
The focus of Land Ho! is the relationship between the Mitch and Colin, and how they affect one another, and where that leads over the course of the movie. The chief entertainment value is Mitch's dialogue, which is often outrageous and eye-opening (I had never heard steak compared to the female anatomy before). Of course, the film's best moments occur when he's not that way, but the conversation is never dull.
Few films explore the creative process as insightfully -- and bizarrely -- as Frank.
A strange, genre-defying mix of dark and slapstick comedy, Frank follows Jon (Domhnall Gleeson), a struggling British musician whose life is forever changed when he joins an avant-garde pop band with an unpronounceable name, the Soronprfbs.
As the band spends months recording a new album in a remote cabin in Ireland, Jon discovers his bandmates are enormously talented and predictably oddball. Singer and theremin player Clara (Maggie Gyllenhaal) is a snarling terror. Drummer Nana (Carla Azar) says almost nothing (we sense this may be a good thing), and bass player Baraque (François Civil) is a snooty Frenchman who apparently speaks only in insults. But the oddest of the lot is Frank (Michael Fassbender), a charismatic but emotionally disturbed lead singer who, afraid to face the world directly, wears a giant papier-mâché head at all times.
As a film critic, I hear a lot about websites where thieves steal and repost other critics' reviews, sometimes not even bothering to remove identifying material.
But this week, I got my first experience in seeing a purported "filmmaker" post short films to his website that he might claim are his, but obviously do not belong to him. I know this because I saw one of the films in its original incarnation: the very funny short My Mom Smokes Weed, from Austin filmmaker Clay Liford -- it screened at Austin Film Festival in 2009 as well as a number of other film fests. And if you've watched any of Liford's movies (Wuss, Earthling), you know this is so very much his trademark work that anyone else trying to pass it off as his own is an idiot.
If you haven't seen My Mom Smokes Weed, now's your chance. I've embedded it below. And as a bonus, I would like to point you to an Arts + Labor blog post that includes some of the back-and-forth between Liford and the genius who retitled the film Smoked and posted it to his film production site, as well as a link to the Reddit thread where Liford learned about the plagiarism in the first place. He's not the only filmmaker whose films this person is stealing.
When he's not battling moronic plagiarists, Liford is currently working on Slash (aka S/ash), the feature-length expansion of his short film of the same name. You can follow the status of that production on its Facebook page. The short screened at Fantastic Fest 2013 -- read Debbie's interview with Liford about the short and planned feature.
And now the authentic My Mom Smokes Weed (YouTube link), starring Nate Rubin and Sylvia Luedtke, shot in Dallas before Liford moved to Austin:
It's difficult to even begin to describe the phenomenal growth and activity in the craft beer industry this year, but it's evident from the number of selections on tap and on retailers' shelves that craft brewing is booming. As the number of Texas craft breweries increases, existing ones are prospering with brewery expansions and new beer offerings.
Filmmaker Mike Mann (Brewed) and host Greg Zeschuk have been documenting and sharing stories from many of these Texas breweries through their ongoing web series, The Beer Diaries. Zeschuk recently visited the brewers of Kamala Brewing at the Whip In (pictured at top), an award-winning brewpub here in Austin.
Another recent episode features the first cooperatively owned and managed brewpub in the world, Black Star Co-op Pub and Brewery, and an upcoming show takes viewers behind the scenes of the Spoetzl Brewery in Shiner. Check out one of my favorites below featuring Live Oak Brewing Company founder Chip McElroy.
Though it may sound a tad far-fetched, there will be a number of theaters not showing the latest installment in Michael Bay's juggernaut Transformers film series. Likewise, there are no doubt a good many cinephiles wishing a break from the continuing saga of those deceptacons. Luckily, the indie film world has come to the rescue with one of the most diverse July arthouse lineups ever Liam Neeson in a rare non-action role, an anticipated LaCarre adaptation, a celebration of one of the movie world's most prolific figures and the unveiling of Richard Linklater's coming-of-age opus.
Third Person (currently in theaters)
Boasting one of the most impressive and eclectic casts of the year, Paul Haggis' Third Person looks to inject some much-needed human drama into a summer dominated by special effects. A writer in Paris (Neeson) is torn between his mistress (Olivia Wilde) and his estranged wife (Kim Basinger) -- while in New York, a lawyer (Maria Bello) helps a single mother (Mila Kunis) fight for rights to the child she had with an artist (James Franco) as a traveling businessman (Adrien Brody) in Rome is pulled into a con game by a beautiful, desperate woman (Moran Atias). The cast has been praised for the weight they bring to their challenging, and tricky roles (in particular Basinger, who manages so much in just a couple of scenes) and the production values are quite stunning. Haggis is certainly no stranger to the ensemble film, but rather than survey the social and political as he has in the past, in Third Person, the director focuses on the personal and complex nature of human behavior.