Jyllian Gunther and 'The New Public' on the Road

East Tennessee State University Our first screening on the tour - we drove from the Full Frame Festival in Raleigh Durham through torrential downpours and Blue Ridge mountain fog so thick we could not see two feet in front of us. 5 hours later we emerged at The Carnegie Hotel in Johnson City - “where old world meets modern comfort” then to dinner with the faculty of  ETSU, who were gracious and super interesting - Shara K. Lange Assistant Professor, RTVF Director Department of Communication, Tammy Hayes, Director, Anita DeAngelis, Director, Heidi Ehle, Assistant Director, Mary B. Martin School of the Arts. The screening was attended by 68 people and our Q&A was enlightening. A few exchange students from China were floored at the way the school in our film was run, they said they could not believe it existed, and would be interested but scared to attend a school that allowed kids so much freedom.  It was a great first screening. Following day we met with Kim Hale, an interim associate dean in education, and Alison Barton, an associate professor in teaching along with Heidi and a few others. It was really interesting for both Penelope Falk, (film’s editor) and myself to get a sense of the education system in Johnson City, and it really felt gratifying that the film offered a platform to spark discussion for everyone. Western Carolina University The highlight of this screening was our cafeteria dinner with senior student, Jefferey Ray, who was also our host and MC’d the screening. There were about 25 audience members here and once again we were amazed by the similarities and differences the audience, a mix of both students and educators sited. They gave us a reception and served a cake with our name on it!  Educators expressed their frustration of being underfunded and overworked and in response to our tag line,  “It’s bigger than school -  Dr. Catherine Carr, Director of English Education Western Carolina University said AMEN!” PS:  We went horseback riding on our way to….
Clemson University Friday Night Lights! On a Wednesday. Aga Skrodzka-Bates hosted this screening, which had a packed audience. Afterwards, she told us that the film was her favorite of all from the Southern Circuit tour and she felt it made a great impact- who could ask for more? A student, Katie Capurso came up to us at the end and told us she wanted to stop the film in the middle to give one of the students in the film a hug.
Presbyterian College This was our favorite screening to date - and it wasn’t because we were staying in a luxurious farmhouse with goats and alpacas, thanks to Molly McGehee, Director, Southern Studies Program. The school’s campus was beautiful, the faculty took us to dinner and were amazing and fascinating people. They said it was their most packed house of the season - there were local hs teachers, educators and students from PC, the former Dean of the school, and the Superintendent of the school district, David O'Shields, not only came, but gave us a standing ovation!  Penelope and I were riveted by the audiences responses as they watched - usually we step out during the film, but the energy in the room was gripping and we could barely bring ourselves to miss any of it. The young people asked eye--opening and challenging questions, the educators applauded the schools honesty the way it did not push an agenda - was really wonderful all around.
Link Centre Got food poisioning, wah! So sorry to have missed this! Hope it was a great screening!
Georgia College and State University It’s post spring break finals week at college right now, which means folks are pretty busy, but a small group made it to our screening and we had a lengthy and intense conversation afterwards. At each screening, we hear from folks that there are ways in which the film highlights their own experiences and also surprises them with just how different things are. I was thrilled to meet Grace, a young woman who runs an LGTBQ organization and connected her Live Out Loud, and organization that supported JOhn Dargan, one of the main subjects of The Public. Thanks to Mary, Joe and Doug for their hospitality - a lovely dinner and a tour of the Georgia’s antebellum capitol!
The Arts Council University of North Georgia, Gainesville Great Q&A about both education and filmmaking, which was refreshing!  Of course, I enjoy talking about education issues, but it’s nice to share about the filmmaking process as well, especially with media students.  Also, appreciated Jeff Marker’s  Q&A style - very energetic and knowledgable - I bet he is also a great teacher. Jeff said our film was in high demand on the southern circuit --so  great to hear We had about 35 audience members, combo of students and educators. I love it when folks are not afraid to be critical or ask hard questions and a real debate gets started. We discussed what preparation BCAM school founders had and if it was enough - also, if there is ever enough. On the filmmaking front, one student was disappointed that we skipped from 1st year to 4th year - ulitmately, i took it as a compliment that he could have watch 2 more years, but I appreciate that he was not crazy about the jump in time, so I suggested he  watch the Michael Apted  7UP series…  : )  We stayed at a B&B in the woods - nice respit from Comfort Inn living. We’re looking forward to Memphis BBQUE in just a few hours and also meeting Brighid Wheeler who has been our point person for our Indie Memphis screening!
Indie Memphis Indie Memphis screening was everything we hoped for. Thanks for Brighid and Eric for making it happen. Their gigantic screen and a sound system allowed us to hear things we never even knew were in the film.  We had an amazing, passionate and knowledgable panel Marc E. Willis, Co-founder & CEO of Omni Schools Inc. Cardell Orrin, Memphis City Director of Stand For Children, Chris Caldwell, Shelby County school board, District 1, and moderated by Barbara Prescott, a former 3 term member of the Memphis City School Board (as President and VP.) We iphone video recorded this panel and will include it here in the days to come. Also, here’s a link to WKNO Memphis Public radio intvw by Kacky Walton with editor Penelope Falk and myself! https://soundcloud.com/jyllian-gunther/the-new-public-on-wkno-intvw-by-kacky-walton-feat-penelope-falk-jyllian-gunther
Halsey Institute of Contemporary Art, College of Charleston School of the Arts Our last screening on our Southern Circuit tour could not have been more gratifying - only sorry we didn’t have more photos - was so caught up in the Q&A that I totally forgot to take snaps. (photos above are the theatre and the poster they made in a local cafe : )  Our audience members said one after another that they felt the film should be shown in every school in the country (!) and the Q&A was more like  testimonials of personal experiences from students, parents, and educators. ONe student said he went into teaching and after a year could not handle it, but wished he had been able to see The New Public before he did that which he felt would have prepared him for what to expect. A parent with two teens found the film so inspiring he asked if he could show the film to his kids who he felt were in crisis to help give them some perspective on perservering. A public defender noted that the film resounded with the same issues he faces in his work everyday - issues that cannot be addressed by one public insitution alone - not his own or schools. And many of the educators in the audience said they saw their own experience in the film and appreciated the way it didn’t vilify or glorify their job. Thanks to Lizz Biswell of the Halsey Institute for doing such a great intro and making it happen!

Filmmakers Rob Kuhns & Esther Cassidy encounter inquisitive & enthusiastic Southern audiences

From Rob Kuhns:

Oct 20 - Georgia College and State University, Milledgeville, GA

Joe Windish, Associate Director of the Georgia College and State University Library, and my host for the screening here greeted me on my arrival and graciously took me to lunch. Turns out we both went to NYU film school – he graduated in ’87 and me in ’85.  Joe had lived in NYC (where Esther and I live) for 28 years, and we even knew and worked with some of the same people. Joe had done a great job advertising the screening – there was a fabulous poster he put on the floor of the library and one in the lobby of auditorium.  The screening was very well attended by both staff and students at the university. Happily, there were both Romero-fanatics and those who avoided horror films altogether. Esther and I always like to see that – part of the mission of the documentary is to “de-ghettoize” the horror film and Night of the Living Dead in particular, which is often seen as less-than art. 

This was my first screening without Esther – she, unfortunately, had to return to her job at NYC, and I was sorry she couldn’t be here.  It’s always more fun with Esther! Questions after the screening included what was the time frame in making the documentary. The idea came to me in 2005, shortly after reading about the making of Night in Paul Gagne’s book, “The Zombies that Ate Pittsburgh” (a wonderful book that takes readers from Romero’s childhood through the making of Day of the Dead in 1985).  I was captivated by the making of Night as an underdog story of a “little-movie-that-could.”  We interviewed Romero at the very end of 2006 – the first of the shooting – and finished the film in 2012. This is a bit deceptive because Esther and I both held day-jobs during production and post-production. I’d guess it would probably would have taken us just two years or so if we could have worked on it full-time. Another question was what non-Romero zombie movies do I like? I asked the questioner what his response would be – he answered 28 Days Later and I enthusiastically agreed – LOVED that movie.  

I was also asked about the scene in the documentary with the children who were studying Night in Christopher Cruz’s literacy through film class in the Bronx – how did we find them, and how their response to Night compares with children’s first response to it in 1968.  As shown in Birth, the children in ’68 experience of Night was made famous by Roger Ebert’s review of Night. Ebert wrote, “they had no resources they could draw upon to protect themselves from the dread and fear they felt.”  We also interviewed for the documentary Elvis Mitchell, Michael Kimber and Clara Tirado, who both saw Night as children and how it completely freaked them out. In Cruz’s class, however, many children, while they found Night thrilling, were completely able to handle it.  I chalk this up to simply their being exposed to much, much more media violence, through movies and video games, than children in 1968 were.

Photo caption (Left – Right)

Alexandra Campos (Student), Jenny Harris (Librarian), Elise Fitzgerald (Student), 

Joe Windish (Associate Director of Library), Rob Kuhns, 

Mary Magoulick (English Professor)

There was a reception in the lobby of the auditorium after the screening, and I was greeted very warmly by the students and faculty. Some of them even wanted autographs, which I was delighted and honored to give. Tomorrow morning I’ll participate in a class on “Deconstructing the Zombie Genre” held by Joe Windish, Dr. Brad Koch and Dr. Mary Magoulick. Sounds pretty brainy. I requested this be more of a discussion than a lecture – it’s always more fun to hear other people’s thoughts than my own!

From Esther Cassidy:

October 18 - Link Center, Tupelo, MS

At the suggestion of Melanie Deas, Executive Director of the Link Center, Pat Raspberry, Tupelo Film Commissioner, and Shawn Brevard, Chairman of the Board of the Link Center, Rob and I went to “BBQ by Jim,” a local restaurant with a regional reputation for incredible BBQ (see photo of a happy Rob). It was dreamy…and a perfect way to begin the screening in Tupleo, the birthplace of Elvis Presley.

The Link Center is a multi-purpose community and arts center at the edge of downtown Tupelo. The intimate black box space where the screening took place also often hosts theater groups. The audience here was younger and made up of fanatic fans of all of George A. Romero’s films, as well as fans of horror films in general and a few emerging filmmakers. They were totally attentive and responsive during the screening of Birth of the Living Dead.

The audience wanted to talk about Night of the Living Dead, when they had seen it, what it had meant to them. They shared their enthusiasm and love of Dawn of the Dead and Day of the Dead. One young woman said she wanted to get her own, “Bub.”  Bub was a zombie in Day of the Dead who the mad scientist character was attempting to train to co-exist with humans.

They wanted to know - How did George A. Romero, Image Ten and their gory glorious Night of the Living Dead, escape the movie industry coding system? Rob explained that the film was released during a tiny window of time when the Production Code – the guidelines in place since the 1930s which dictated what was deemed an acceptable level of sex and violence - was abandoned and the ratings system (G, PG, R, X – now NC17) was put in place. Other films of that era that also fell through the ratings crack included: Rosemary’s Baby, and Bonnie and Clyde.

The audience asked about the after school class of 8-9 year olds that we portray in our documentary. Where did we find those children? Larry Fessenden, the Executive Producer of our film, and a terrific horror film director (Beneath, The Last Winter, and Wendigo, among many others) connected us to the after school instructor, who used Night of the Living Dead as a tool for literacy with his class. We also wanted to juxtapose the difference between the 1969 youngsters who were terrified when they the film and kids today, who are fascinated and thrilled, but not disturbed by Night of the Living Dead.

After the formal Q & A, audience members converged upon us to talk informally and to receive signed copies of the Birth of the Living Dead poster. I was so glad that Tupelo was the last stop on my Southern Circuit tour. I will always remember the warm and gracious people at this screening and all of those we met in town. The next morning the trunk of our rental car opened and stayed in the up position the whole time we had a leisurely breakfast at IHOP, talking with a woman who lived down the road. When we came out into the parking lot, we saw that our luggage was still there, safe and sound. These experiences in Tupelo reminded me of all the gracious people I had met in the other stops on the Southern Circuit tour: Gainesville, GA; Auburn, AL; Memphis, TN; and Charleston, SC.  I do hope I can return to these places again soon. 

October 17 - Halsey Institute of Contemporary Art, School of the Arts, College of Charleston, Charleston, SC

The screening took place in the spacious and airy recital hall at the School of the Arts in the middle of the magical and gracious city of Charleston. 75 people attended – with at least 60% saying they had previously seen Night of the Living Dead. Rob and I had wondered if people who had not previously seen George A. Romero’s masterful film would be interested in seeing our documentary, Birth of the Living Dead. Lizz Biswell, the Halsey’s Curator of Education and Public Programs, introduced our film to an audience that was a mix of older adults and college students. Many of the Southern Circuit audiences had laughed and commented noisily throughout several of the previous screenings of Birth of the Living Dead. Rob and I were amazed at the Charleston audience’s very different low-key response. We had to admit they were attentive – they seemed to absorb every second of the film.  But, it was very different than what we had experienced so far. Many of their questions were also different! They wanted to know why we had used archival footage and stills in a documentary about a horror film. We believe that some of the iconic images in Night of the Living Dead reflected the turmoil of the late 1960’s, specifically those television news images of the Vietnam War and the race rebellions in Detroit and Newark, N.J. That led to a confession – Rob and I let it be known that we agree with those authors that believe that good horror films are an expression of society’s deep anxieties.  We hope to pursue that concept in future films. Another question: what was the recognized turning point – when did people realize that Night of the Living Dead was a masterwork – not just another horror film? Rob remarked that Night of the Living Dead began to be taken seriously when it succeeded at the box office and when European critics gave it excellent reviews. In 1970, the Museum of Modern Art exhibited Night of the Living Dead to standing room only crowds, and acquired it for its permanent collection. A film student asked us what the budget of Birth of the Living Dead was. This seemed important because film students want to know if making an independent is possible. We spoke of the difference between out-of-pocket expenses, like paying for a DP, travel and accommodations costs, and production and post-production supplies, and the considerable time we had both put into the project in directing, editing, and producing. We also assumed the expenses of film festival submissions and some early promotion costs. Yes, it is possible to independently produce a feature-length documentary and then attract distribution.  After Birth of the Living Dead was featured at eight film festivals, we did get some good press, which led to distribution offers! First Run Features is distributing Birth of the Living Dead in North America. After the Q&A dozens of people lingered over cookies and tea, and asked us even more questions about how we made our film, and to tell us about their great love of George A. Romero, and Night of the Living Dead. People who hadn’t yet seen Romero’s film said they were going to seek it out right away. We are very grateful to Lizz Biswell and Allison Ross-Spane, a Halsey intern, for organizing the screening and we were delighted with the very focused and knowledgeable audience in Charleston. An older man left us with this: “Thank you for bringing Birth of the Living Dead to Charleston. It brings back horrible memories!”  (He saw Night of the Living Dead in 1969.)

October 16 - Indie Memphis, Memphis, TN

Rob, Brighid Wheeler, Dylan, Levy, Erik Jambor, Esther

Esther in the lobby.

October 15 - Jule Collins Smith Museum of Fine Art, Auburn University, Auburn, AL

Rob and I were amazed by the magnificent grounds and museum and couldn’t believe a venue such as this would host a screening of Birth of the Living Dead. Of course, the Museum of Modern Art had exhibited Night of the Living Dead to standing room only crowds in 1970 and George A. Romero wowed the crowd during that Q&A with his audacity and creativity. 

We found fascinating outdoor sculptures and bright human shaped bicycle racks that lined the drive up to the museum and were placed around the building. Inside the spacious light-filled high ceilinged museum the first gallery exhibited a large walk-in sculpture by David Henderson (see photo) and a gorgeous multi-colored chandelier made out of 600 pieces of blown glass. The museum’s other gallery spaces are currently exhibiting Carol Mickett and Robert Stackhouse’s series of large paintings and related drawings, prototypes, and engineering studies for sculpture projects. We also loved many of the impressive world-class art works in the Museum’s permanent collection.

Rob and I believed this audience may have a slightly different demographic than the lively and talented film students we met in Gainesville.  Scott Bishop, the Museum’s Curator of Education, and Lauren Haynes, Event Manager, introduced Birth of the Living Dead, and Rob and I waited to see what this audience of mostly older adults and a sprinkling of college students would think of our tribute to George A. Romero and his literally ground-breaking creation of a new monster – the resurrected flesh-eating monster.

This audience loved our documentary! It reminded them of all the glory and gore in Night of the Living Dead.  During the Q&A and afterwards many people recalled the first time they had seen Night of the Living Dead and how much the film had meant to them. They seemed to be proud that they had seen Night of the Living Dead in the early 70’s when it first came out. One woman said that her father was a Vietnam war veteran who had fought in the Tet offensive. She said the historical material in our documentary was particularly meaningful to her because of his experiences. One older man mentioned that the reason he remembered Night of the Living Dead, was that the ending was so shocking…Ben, the hero gets killed. Rob added that it is especially compelling because no one alive remembers that Ben fought so hard to live. And no one left alive even knows that he wasn’t a flesh-eating ghoul when he was killed.

This older audience wanted to know all about George A. Romero.  They were grateful to us because they thought Birth of the Living Dead made them feel like they knew him.  Several people in this audience asked insightful filmmaking questions like: How did you select the people you interviewed in your film?  What was it about Night of the Living Dead that inspired you to make a documentary about it? And what gave you the idea to use school children in your documentary? Rob and I were so happy to screen the film at the Jule Collins Smith Museum of Art and we now know that screening Birth of the Living Dead fits right into their mission of presenting compelling exhibitions and programs to diverse audiences…to foster the transformative power of art.

Heart of Stone in Charleston, SC

 April 25
Charleston, SC 

Talk about saving the best for last! I never realized how much Charleston has to offer. It was voted the best tourist destination in the "world" and perhaps rightfully so. First of all Lizz Biswell from The College of Charleston was able to attract a large audience of diversity from lower income after school programs, retirees, educators to even college students! This proved an interesting Q&A afterwards. I also got a lot of tips on local restaurants and indeed the food here is exceptional. With my free time I fit in a harbour boat tour and an old town carriage ride. This was the most important city of the Civil War and wasn't burned down by Sherman so it's charm still oozes Lucky to end an eye opening South Arts Film Festival in the quintessential southern city of Charleston . Thank you South Arts for a wonderful journey.

 - Beth Kruvant

Regions

Martin McCaffery’s tour of Montgomery raised my awareness about the history of the southeast region and after visiting Charleston, which is an utterly charming place to spend a couple of days, I read a little bit about the history of slavery there.  During slavery the city was an urban slave-trading center and the Civil War started at Fort Sumter in Charleston Harbor, and .  http://www.nps.gov/nr/travel/charleston/osm.html 

Scene from Downside UP

Scene from Downside UP

Last fall, when I noticed on the Southern Circuit schedule that TRUST would screen at the Halsey

Institute of Contemporary Art in Charleston,  I mentioned to our host Lizz Biswell that Kenji and I had made a documentary about how the Massachusetts Museum of Contemporary Art (MASS MoCA) brought my dying home town back to life.  Lizz arranged for me and Kenji to speak to Assistant Professor Jeanette Wood Guinn’s Art Management class.  Apparently, Jeanette has used Downside UP in her courses for years, and all her students have seen the film.  Jeanette asked us some probing, thought-provoking questions and we spent an enjoyable hour and a half with her and her class.  www.downsideupthemovie.org

Exhibit at the Halsey

The next day, Kenji and I were essentially free from any obligations, and we really enjoyed walking around the city, it was a great contrast with all the hours we spent on the plane and in the car.  Kenji and I stayed in an historic guest house on the College of Charleston campus, visited the Halsey's galleries, and walked around enjoying the beautiful buildings, the blooming rhododendron, azalea and magnolia, the pelicans diving into the harbor and the river flowing broad and fast.

Gwen Clancy and me, Surprise Valley, CA

When we were flying home to San Francisco, I raised the shade on the window and saw that we were flying over the Sierra Nevada mountain range.  The young, jagged ridges were covered in snow, the valleys were brown and bare, the area covered by the mountains was broad and long.  I fell in love with the western US in the 1970s, during a Sierra Club hike in the Idaho Primitive Area.  I was in my early 20s at the time, had just graduated from college, was working my first professional job as a health educator, paying off my one small college loan, figuring out life.  I loved those raw granite mountains, loved getting above tree line and seeing miles and miles of wild land, I loved the high elevations, the thin dry air, the way the stars and the sky sparkled through that aridity, I loved the independent self-sufficient attitude of the Western people I met, they seemed different in a basic way from the people I knew in working class Massachusetts where I grew up.  I loved the way their eyes seemed accustomed to looking out over vast distances.  I loved the way horses were a part of life there.

After those two weeks backpacking in the wilds of Idaho, I returned to Massachusetts and every morning, as I drove my car or rode my bicycle east from my house to my office, I said to myself, “I wish I was driving west.” 

Three years later, while editing our documentary A Cowhand's Song in San Francisco, I met my future husband, native Californian Kenji Yamamoto and get up into the Sierras as often as possible.

Although I had loved getting to know a bit about the southeastern region of the US and meeting so many wonderful people there as I traveled from city to city showing TRUST, I was very happy to get back to the region that spoke to me so many years ago and became my home.

SAHKANAGA - Days 1 & 2

Hey, I'm John Henry Summerour. I'm on the road and in the skies with my feature, SAHKANAGA, on the Southern Circuit Tour. I may be one of the few remaining filmmakers (and human beings?) who don't own a smart phone or digital camera, so I will try to create pictures out of words.

I've been on the festival circuit since April of last year (you can check out the playdates here) and since then the only months where I got to be at home without traveling were June, January and March, so I'm pretty used to packing my bag and heading to the airport at this point. Well, something surprising happened this week. I actually started to get nervous about departing for the Circuit. I had dreams in which I was visiting friends and they kept telling me to sit down but they had no chairs, or the one where Julia Roberts was at a party, dressed as a mime, standing with her nose in the corner as though she had misbehaved. All the dreams were eerie and I kept thinking, "Why am I getting nervous about this trip? I've been all over the world, cool as a cucumber. Why now?"

#1 - This tour represents the completion of an incredible year, traveling to new places and sharing the movie with audiences who have surprised and inspired me. The film will continue to play a few festivals here and there, but once you've been on the road for a year it's time to pass the torch to the new crop of independent filmmakers, and things inevitably slow down. I also realize that the Circuit could be my last opportunity to sit in a room with others who are experiencing the film for the first time, to feel them reacting as the story takes them on a journey. I know many filmmakers hate sitting in the theater as their movie plays, but I think that's crazy. We make movies to share with audiences, right? For me, getting to spend time with each audience is the reward after years of hard work, and it teaches me so much about my own storytelling.

#2 - I will turn 35 on this trip. Birthdays are always a time of reflection on the year I've had as I ponder where I'm going, and the conveyor belt of life chugs along, making me want to live every single moment to the absolute fullest. So, you know, it can be an emotional and slightly edgy time of year.

#3 - Festivals are fun! I get to show up and someone else has booked the theater, sold the tickets, hired a projectionist and worried about the logistics and finances.  Now that I'm reaching the end of my festival year, I still have the goal to self-distribute the film in New York (where I live) and Chattanooga (where I grew up, and shot the film). Fun time is over. I'll spend the next several months trying to execute my plan for self-distribution while negotiating deals to make the film available on Netflix, iTunes, DVD, etc. It's been good for me to learn the business-side of filmmaking, but it ain't no party.

#4 - Now what? More than anything else, I really want to be working on a new film, but I haven't been able to focus my energy on writing new scripts and building the foundation for a new project while trying to bring SAHKANAGA to completion. Someone asked my sister what I was working on next and she said, "John has to ride that SAHKANAGA pony all the way to the stable before he can take out another horse." I do think the stable is in sight, and though the pony is gagging and stumbling, he's definitely going to make it. But once we get to the stable will I have the energy to climb back on a new horse and take off again? Will I remember how to ride a horse? Will the horse get spooked? Will I run out of apples?? And so a new cycle begins... facing the unknown, challenging myself to rise to the occasion, summoning strength and passion from the depths. It's a daunting endeavor, but it's time.

#5 - Sometimes strange dreams and bad feelings come true:
My trip to Charleston was a S_ _ _ SHOW. I'm not gonna lie. The first plane out was delayed, then the entire flight was cancelled due to "Mechanical." (One word, that's all we got.) I spent an hour trying to book another flight to Savannah, Augusta or Greenville so I could drive to Charleston, but everything was sold out due to Easter Weekend traffic. (Never travel on Easter/Passover Weekend, folks, not unless you like to witness cross-generational familial meltdowns in which strollers become weapons.) My rebooking was interrupted by a guy running through the terminal cheering, "We got you another plane to Charleston!" That plane was being flown in from Boston, so they loaded us onto a bus and shuttled us 30 minutes to the Marine Terminal where no one had been given advance notice that a plane was coming in from Boston to pick up a busload of angry passengers. Not a good scene. The computers crashed, printers ran out of ink, paper jammed, no one could get rebooked. I witnessed an old man in a wheelchair screaming, "I WANT A PRIVATE JET!" Time stopped. The Delta representative considered him and said, "Sir, that's not how it works. We are trying to get another plane for all the passengers..." "I WANT A PRIVATE JET I WANT A PRIVATE JET!!!!"

It was nuts, but we finally made it to Washington DC, and then Charleston, where I encountered total gridlock while people on the other side of the highway screamed across to us, "The First Lady is in town! They've shut down the interstate!" (I later found out it wasn't Michelle Obama, but the First Lady of South Carolina who was on a book tour, or something.)

Once I made it to the Halsey Institute, everything mellowed. I was greeted by Lizz who checked me into the beautiful historic housing and recommended a place to grab a sandwich before we did a picture/sound check. The screening went well. I got to meet my editor's best friend from college, my composer's brother, and a woman from back home who has been a Facebook friend for years but we've never met in person. (It's always extra special to have people from Walker County in the audience since they really know the world of the film.) I had a late and delicious dinner at Husk, and the next morning I took off for Savannah where I've finally had a moment to jump off the pony, take Julia Roberts out of the corner, and blog it out.

And so it begins...

(Stay tuned, I'm going to get more coffee.)

Anne Makepeace and "We Still Live Here" Head South

After a sweet sad goodbye to my husband Charles and my dog Cassius, I flew to Charleston to begin my Southern Circuit tour.

Charleston was balmy after the frozen north, and the wonderful old house where I stayed made me feel that i was really in the Old South.  I had a corner room just off this balcony.

Street life was lively, with lots of boutiques and shops and restaurants, though chains like Pottery Barn,  J Crew and Williams Sonoma  have begun to invade the beautiful southern architecture.

We had a wonderful screening at the Halsey Institute of Contemporary Art,  part of the College of Charleston.

Lizz Bissell and her fabulous interns helped with the screening and with selling DVDs

The audience was small - 60 or 70 people - but very enthusiastic with many smart and insightful questions.  I was grateful to all who came, as we were competing with the Food and Wine Festival, the Charleston Film Festival, and a ballet, and and this was the first day of Spring Break at the college.

After the screening we gathered in the lobby for delicious cupcakes and interesting conversation.  I was charmed by the diversity of the crowd - a beautiful young couple from Cuba, a Chippewa from Minnesota, a Ukrainian real estate agent and former filmmaker, and many more.  It was a great night.

A good time was had by all!