SXSW

What's the best way to say "creepy and at times bordering on the distasteful ... but in a good way"? When you figure it out, let me know so I can describe Lovers of Hate, the latest film from Austin filmmaker Bryan Poyser, which premiered at Sundance this year before screening at SXSW and on IFC Video on Demand (where it's now available to watch). Normally I'm not fond of movies with unlikeable characters doing things that make me wrinkle my nose in distaste, but somehow Poyser and his excellent cast and crew pull it off in an arresting manner.

Rudy (Chris Doubek) is the saddest sack blowing around Austin -- his wife kicked him out and he has nowhere to live except his car, and his job prospects are dwindling by the moment. All he wants is a shower, and his wife Diana (Heather Kafka) back. In the middle of this, his brother Paul (Alex Karpovsky) shows up, a famous children's author in a Harry Potter sort of way. Paul's books are based on stories Rudy used to tell him when they were growing up, and Rudy hasn't finished his own magnum opus (with the same title as the film), so he's nursing a helluva grudge. He convinces his wife to pretend they're still a couple while they have dinner with Paul, but the shaky premise simply can't hold up. Rudy's also suspicious of his brother Paul having designs on Diana. What he wants is for Paul and himself to travel to a secluded house where Paul's been staying in Park City, so they can both finish their writing, but somehow nothing turns out quite as planned.

Only four hours of sleep.  But the beer-soaked clothes are cleaned, and I'm as awake as I expect to be on day four of SXSW. 

This afternoon I had the opportunity to chat with Erasing David's David Bond. His documentary on the lack of secure privacy in government databases is a wake-up call to anyone who thinks, "I've done nothing wrong, so there is nothing to worry about." Check out my review. You have another chance to see Erasing David at the G-Tech theater in ACC at 11 am. Not only will Bond be there, but one of the investigators tasked to finding him as he attempted 30 days off the grid. Based on our lively conversation today, I predict it will be a good Q&A.

Yesterday I took a quick tour of the incredibly packed Film/Interactive Trade Show. What a circus. Today, I actually spent a little more time there, or tried to. I just was not feeling it.   But then, I hadn't had breakfast yet. It took me nearly 9 hours between an orange juice and an actual meal. I got a kick out of seeing the matador and the bull heading over to the trade show together. 

Just realized I haven't let you all know that I'm interviewing one of the filmmakers from World's Largest, Amy Elliott, at Studio SX on Tuesday, March 16, at 11 am. Studio SX takes place on the fourth floor of ACC in Ballroom D. It'll be recorded so I'll share it with you later if you don't go ... but I hope you'll stop by and listen. Also, go see World's Largest if you get the chance, it's a good documentary.

Some actors and filmmakers just walk on stage for a Q&A like any ordinary person. But John C. Reilly, after the SXSW  Cyrus screening at the Paramount on Saturday night, added a little flourish and style, doffing his hat for the audience. It was a charming moment.

Reilly was joined in the Cyrus Q&A by filmmakers Jay and Mark Duplass, former Austinites, and actor Jonah Hill. In the film, Reilly's character falls for Marisa Tomei's single mom, a lovely woman with a son who Has Issues, played by Hill. The movie played to a full house at the Paramount. The Duplasses mentioned that they used to go to the Paramount a lot for the Summer Classic Film Series back in the day, and would never have imagined they'd be the ones on stage to a packed, excited audience.

"We've been waiting almost 20 years to show a movie on a Saturday night at the Paramount," Mark said.

I am so tired. I hope this all makes sense.  Today I managed to make it to The Happy Poet world premiere.  I'm really glad I asked for a reserved seat as a guest of the filmmakers, because badges got turned away. It was in fact so packed, that the filmmakers were standing in the back to give up seats, and one guy was sitting on a table. Seriously, space was indeed reserved for Dave's butt. 

As it turns out, all of us made a great choice to see The Happy Poet because it's a fun film. In fact, I have to say that The Happy Poet is my favorite film so far at SXSW.  Writer/director/star Paul Gordon's delivery are very deadpan yet reflect the earnest wish of a man with little resources and no food service experience to open up an organic food stand.  The cast is a charming ensemble, all portraying characters rooting for Bill (Gordon) as he struggles to start a business and find his voice. 

Contributor Rod Paddock was lucky enough to get into a "first look" at Predators during SXSW and wrote up the following account of the event. The film is being produced and co-written by Austin filmmaker Robert Rodriguez and was shot in part at local Troublemaker Studios.

On Friday night I was in possession of what has to one of the "golden tickets" of SXSW. This golden ticket was the combination of a SXSW Express pass and a red Predators ticket (see image). The combination of these two items gave me the chance be a part of the sneak preview of the Robert Rodriguez and Nimrod Antal reboot of the Predator franchise: Predators.

After hours of waiting the house lights dimmed, and out came the master of ceremonies, Austin's native son Robert Rodriguez. He started the evening showing us the trailer for Predators. I don't think I have ever been so pumped after seeing a trailer. By every indication this movie is going to be off the hook and will satisfy Predator fans worldwide. The trailer introduces our protagonists, who find themselves transported to a Predator hunting planet. There are some heavy hitters in this cast: Lawrence Fishburne, Adrien Brody and Topher Grace. We also have one of my favorite actors, Walton Goggins (who you might remember from the FX show The Shield).

Among the world premieres at SXSW 2010 is Texas native Chad Feehan's feature writing/directing debut, Wake, which screened at the Paramount this afternoon. Wake is a twisty thriller featuring The Bone Collector's Josh Stewart and Soprano's Jamie-Lynn Sigler as a couple on the way to a wedding when they decide to stop for the night in a roadside motel. Instead of a restful night's sleep, strange encounters force them to deal with a haunting secret from the past, including a overly helpful and creepy hotel clerk. 

Very slowly two apparently unrelated storylines evolve that eventually collide with devastating results.  While atmospherically shot, Wake suffers from simultaneously trying to be too clever and making sure all the pieces are tightly assembled.  One of the more frustrating aspects of catching films at festivals is finding ones with an intriguing concept that doesn't quite work as delivered to the screen. 

Despite my wishes, I was felled by a migraine overnight. I had hoped to make it to some panels, a press conference and 4-5 screenings.

Thankfully, I didn't miss out on Wake or Micmacs, as I'd seen them earlier. I hope you had a chance to see Micmacs, because Jeunet was here in town, and he's such a great, distinctive director.  My review of Micmacs has to wait, but the one for Wake should be up soon. Wake is one of those films that's a bit frustrating while proving the director is one to watch. 

I also missed the world premiere of Mars, by Austin's own Geoff Marslett. Jette and I talked with Marslett a few weeks ago, and I was really hoping to be there for the panel and the premiere. I did hear the line was already to 7th Street an hour before the screening was scheduled to start, so I can safely say it was a sold-out crowd.  And thankfully, Mars screens twice at the Alamo Lamar. 

Just how much privacy do we have these days? Director David Bond decides to find out on a personal level by attempting to disappear for 30 days in the documentary Erasing David.

With a wife and child at home, he plans to leave home and avoid two trained investigators who will try to chase him down. In the beginning, Frank M. Ahearn, privacy consultant and co-author of How to Disappear (Volume 1) advises Bond of ways he can be tracked and just how easily surveillance can be initiated. But the comical interludes with Ahearn set up some very real and understandable paranoia. 

Erasing David picks up where Ondi Timoner's We Live in Public leaves off -- instead of choosing to live in public and seeing the results, Bond focuses on a relatively ordinary life and how invasive the lack of data privacy is within the Information Age.

Every film festival wants its Opening Night Film to make a statement that sets the tone for the rest of the festival, and SXSW 2010 opened with the aptly titled Kick-Ass.

The anticipation was high; the crowds enormous. To put it into perspective, someone tweeted that there were 7,000 film bags prepared, meaning 7,000 potential people in line for Opening Night. The line was so long it circled the entire block, and not all badges got in. That's a first in my experience at the Paramount, with 1,200 seats. Even the 2004 special screening of Hellboy did not encircle the block. I suspect the extremely positive reaction from us BNAT11 attendees helped. Or perhaps it was the balls-out promotional work the Lionsgate people are doing, with taxis and SUVs covered in Kick-Ass branding.  There was even a Kick-Ass inspired floodlight making a rather amusing statement on the side of a downtown building (pictured above).

I feel sorry for the folks that didn't get in, but know this: Many of the reserved seats were for guests who were also badgeholders. I admit, I line leeched, but I also got to say hello to friends I hadn't seen in a while.