SXSW 2011: Day One
Right now I'm finally giving my iPad its first real workout and I'm glad I already know I'm a lousy typist because I seem to be unable to not hit the "a" key. I started off the day by checking out the SXSW panel for beginners that Jette was on, and now I'm the unofficial Cap Metro expert for SXSW Film. I also finally got to meet Agnes Varnum from AFS, who moderated the panel. Took me along enough eh?
I dragged Jette over to Parkside for dinner and we both ended up having three courses; it was all I could do not to wave around our spiffy dining guide that SXSW printed up (which should be available at the various venues). I shouldn't tell you it was delicious because then y'all will be eating there and I won't get a seat when I go for an early and delicious dinner. But the price of fine dining was missing the first round of screenings, so I wandered around a bit and ended up by the Paramount just as Jake Gyllenhaal arrived for the opening-night film Source Code, much to the glee of screaming fans (my ears are still ringing).
The lines for Source Code were huge, with the badge line circling the block and filling the alley behind the Stephen F. Austin hotel. Standing and talking with friends in the pass line and watching the badge line take several minutes to come out of the alley was something out of an absurdist comedy. The studio screened the film early for press, so as much as I enjoyed Source Code, I let someone else have a seat for that movie. After some wandering around, I ended up at the film lounge at the Hideout, in the theater where they used to show shorts reels. It's a bit quiet but the couches are quite comfortable.
Eventually I wandered back over to the Paramount and the insane line system there for the world premiere of locally produced blacktino. Line management is a bit crazy this year, not just because the new-to-SXSW State Theatre is right next door to the Paramount, making for twice as many lines on one block. This year the time-honored tradition of line-leeching is a big no-no, and futher compounding matters was the blacktino food truck serving (very delicious smelling) fried chicken tacos featuring paqui tortillas, and a special photo shoot. Not dissing the blacktino promotions, it just made things messy. Tip for the Paramount and State screenings -- check the signs of the line you are standing in.
Seating didn’t even start til well after blacktino was supposed to begin, making for a somewhat cranky crowd. Don't blame the SXSW crew or the venue volunteers, if you were one of the people waiting, and waiting, and waiting for no apparent reason. Apparently there was an "altercation" involving some jerk harassing a Source Code star in the men’s room. As 1) wasn’t at the screening, and 2) I’ve never been a men’s room, this is all hearsay, but 3) even if I was physiologically disposed to being in said location I would never presume to bother someone there. Seriously. I can say I've never before seen police officers inside an Austin festival screening until Friday night and it saddens me that the SXSW film crew and volunteers had to deal with the situation. It tarnishes the austin film experience. Then at blacktino an apparently inebriated man just had to let everyone at Paramount know he was disappointed an actress didn’t bare her chest on screen. For those of you new to Austin and SXSW film screenings, these are anomalies; it does not represent Austin. Our crowds are often rowdy but usually in the enthusiastic sense. Seems like some people need Etiquette 101.
Anyway, enough of selfish jerks who make people miss screenings and parties. Back to the good stuff.
Tomorrow (today at this point) there are tough decisions to make. I have to choose between Clay Liford’s latest feature, Wuss, or the documentary Incendiary: The Willingham Case. Then I’m catching Aaron Rottinghaus’ Apart, featuring Joey Lauren Adams and Josh Danziger. If you are a Fantastic Fest fan, Little Deaths is an anthology by Simon Rumley, Sean Hogan and Andrew Parkinson; but be warned, Little Deaths is not for the faint of heart. I’m also hoping I can somehow swing the screening of El Bulli - Cooking In Progress as, well, you can see I’m a foodie. But I don’t think I’ll make it Saturday.
I'm glad I've had a chance to see The City Dark, the latest documentary by Ian Cheney (King Corn). The City Dark explores just just how much artificial lighting has impacted our lives, far beyond than you might guess. If you liked Helvetica and appreciated how something as simple as a font has profound impact on your life, you’ll likely enjoy The City Dark. And even more, Saturday night's screening will be followed by a special stargazing session with local astronomers. It does screen twice more, but if you can make it Saturday night, do; following up a screening with a little (polite) star-gazing is a very Austin and SXSW film experience.