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| Myrna - Star of 'Myrna the Monster' admires her name on the marquee at Carolina Theatre of Greensboro (Greensboro, NC). |
Showing posts with label New Orleans LA. Show all posts
Showing posts with label New Orleans LA. Show all posts
Thursday, September 17, 2015
Myrna's Name in Lights
Friday, February 11, 2011
ABEL RAISES CAIN in New Orleans
I'm typing this blog entry with one finger, just as I have my other posts. This broken iPhone may be persnickety at times but, oh boy, when it works, it's magical. I think I slept well last night, but I'm not sure. I'm sitting with my coffee listening to a song bird chirping outside the kitchen window while my dad snores in the other room. And wherever we go, so goes the sound of that train somewhere off in the distance.
We stayed in a cute apartment that we sublet for the night. The Ursulines Retreat was on a beautiful tree-lined street in Bayou St. John. Eileen Julien of the New Orleans Afrikan Film Festival arranged the whole thing. A special thanks to Geoff and Karley for taking in two weirdos. It truly was lovely!
Our less than 24-hour stay in New Orleans was a tease of sorts. Like when you're starving and all you have is a tiny crumb to savor, I had never been to this city before. And it's impossible to explore its vast depth and rich history in so little time. From the bits and pieces I saw on this trip, it was a feast for the eyes. I fell in love with the colors and the architecture and the people we met. But there is so much healing to be done, aside from all the rebuilding.
The deep sadness and loss is beyond palpable. I was overrun with emotion as we transversed the city. Any which way you turn, the devastation is evident. Immense wealth clashes with poverty. Wrecked stores flank rebuilt ones. There is definitely a sense of hope, despite the tragedy, as members of the community whom we met remain strong and proud.
It was an honor to be welcomed by our warm and gracious hosts, Eileen Julien and Joseph Gaye. They are passionate about film and promoting the arts. They founded the New Orleans Afrikan Film Festival together. Their son, Lat Joor Awa, made an indelible impression on me. I could have spent hours talking and laughing with him. He was hilarious and charming and unlike any other 9-year old I've ever met. My only regret is that I didn't take a family portrait of this dynamic trio!
The screening at the Cafe Rose Nicaud was a hit. Thank you to the Gambit Weekly for promoting the event. A packed house usually guarantees a rowdy response to my father's antics. That's the fun part of playing the film to a live audience... laughter can be contagious!
My mind was blown when I realized that we weren't just screening the film inside the cafe. The image was simultaneously blown up and projected onto the building across the street! Outdoor speakers carried the sound so that passersby could watch and listen, too. It was crazy, brilliant, funny and another unprecedented presentation of ABEL RAISES CAIN!
Thank you so much to Ken and Melba Ferdinand, owners of the Cafe Rose Nicaud, for opening their doors to the weird world of the Abels, Bernard Productions for their fine technical support, and to Eileen and Joseph, who felt like old friends even after one meeting. It was a memorable night in a vibrant and eclectic city. And we will be back...
That's a promise and not a threat.
We stayed in a cute apartment that we sublet for the night. The Ursulines Retreat was on a beautiful tree-lined street in Bayou St. John. Eileen Julien of the New Orleans Afrikan Film Festival arranged the whole thing. A special thanks to Geoff and Karley for taking in two weirdos. It truly was lovely!
Our less than 24-hour stay in New Orleans was a tease of sorts. Like when you're starving and all you have is a tiny crumb to savor, I had never been to this city before. And it's impossible to explore its vast depth and rich history in so little time. From the bits and pieces I saw on this trip, it was a feast for the eyes. I fell in love with the colors and the architecture and the people we met. But there is so much healing to be done, aside from all the rebuilding.
The deep sadness and loss is beyond palpable. I was overrun with emotion as we transversed the city. Any which way you turn, the devastation is evident. Immense wealth clashes with poverty. Wrecked stores flank rebuilt ones. There is definitely a sense of hope, despite the tragedy, as members of the community whom we met remain strong and proud.
It was an honor to be welcomed by our warm and gracious hosts, Eileen Julien and Joseph Gaye. They are passionate about film and promoting the arts. They founded the New Orleans Afrikan Film Festival together. Their son, Lat Joor Awa, made an indelible impression on me. I could have spent hours talking and laughing with him. He was hilarious and charming and unlike any other 9-year old I've ever met. My only regret is that I didn't take a family portrait of this dynamic trio!
The screening at the Cafe Rose Nicaud was a hit. Thank you to the Gambit Weekly for promoting the event. A packed house usually guarantees a rowdy response to my father's antics. That's the fun part of playing the film to a live audience... laughter can be contagious!
My mind was blown when I realized that we weren't just screening the film inside the cafe. The image was simultaneously blown up and projected onto the building across the street! Outdoor speakers carried the sound so that passersby could watch and listen, too. It was crazy, brilliant, funny and another unprecedented presentation of ABEL RAISES CAIN!
Thank you so much to Ken and Melba Ferdinand, owners of the Cafe Rose Nicaud, for opening their doors to the weird world of the Abels, Bernard Productions for their fine technical support, and to Eileen and Joseph, who felt like old friends even after one meeting. It was a memorable night in a vibrant and eclectic city. And we will be back...
That's a promise and not a threat.
Location:New Orleans, LA
Tuesday, November 30, 2010
Burning In the Sun Dives into the Gulf
I drove down from Birmingham towards Ocean Springs, MS for the last leg of the tour. Ocean Springs was a quaint little town on the Gulf, and the 2nd oldest settlement in the U.S. after St. Petersburg, FL. I stayed at the Gulf Hills Hotel, which I mention because it was a regal establishment straight out of another era, and served as Elvis’ summer home from 1951-1957. The screening in Ocean Springs was at the Mary C O’Keefe Cultural Center, affectionately known as the ‘Mary C,’ and cosponsored by the Anderson Museum of Art. This museum was devoted entirely to acclaimed regional environmental artist Walter Anderson, whose murals adorned the theater inside the Mary C. The Mary C itself was a giant art deco-style schoolhouse building that had been restored into a multi-purpose arts center. Executive Director Eric Zala was my gracious host and told me about the conference the center had hosted earlier in the day about the BP Oil Spill. While the spill hadn’t hit Ocean Springs directly, it had certainly affected the larger community. Teams of kids had made art projects responding to the spill, and one of the projects on display in the Mary C lobby had been named ‘Burning In the Sun.’ I was honored and amazed that our film had entered into the discussion, if even subconsciously, surrounding such a major environmental issue.
Eric promised me that the crowd assembled to see the film was small, around 25 people, but enthusiastic, and he delivered. Afterward there was a reception with yummy African food, cooked that day by students from the Mary C’s ‘learning kitchen.’ Amazing! I really appreciated and enjoyed this. Several people mentioned to me that they had never seen solar energy used anywhere nearby.
Before scooting out of town the next day, Eric gave me a tour of the Mary C. Naming the town in Mississippi that had actually been Katrina’s epicenter, Eric offered up some controversial (in my mind) views on the intrastate politics of the Katrina cleanup and rebuilding effort, reminding me once again not to underestimate the power of regionalism and local perspectives when it comes to understanding any given political or cultural situation.
I also made a point to get down to the Gulf shore. I spent some time on a pier, watching the pelicans go by, breathing in the air. I was joined by a fisherman and a young boy. The father was teaching his son how to fish. Seemingly they had been out fishing together before, but this was the first time the father had offered any insight into the process, or that the son had been old enough to ask questions. I was reminded of one of my favorite movies, Alamar. The waters here in Ocean Springs hadn’t been contaminated by the oil spill, I was told, but this father-son duo really brought its impact home for me anyway.
I drove from Ocean Springs a quick 90 minutes on I-10 to New Orleans for my final stop on the tour. This was the only place on the tour I had been previously, so it’s unique hotstep was not such a shock.
I spent a couple hours at the Ogden Museum of Art, where my new friend Shawne Major’s work was hanging in the lobby. I loved seeing her intricate work in person, and also really enjoyed Clementine Hunter’s folk art paintings upstairs.
I headed over to Frenchmen Street, where that nights’ screening was to take place. Frenchmen Street blew my mind, as I had never been there before, and felt like I had finally stepped into the real New Orleans. This is where locals come to hang out and play.
At Café Rose Nicaud, an unsuspecting little café, I met Eileen Julian, director of the New Orlans Afrikan Film and Arts Festival and an African Studies Professor at Indiana University. About 25 people showed up to watch the film on the screen that was pulled down inside the café. However, outside, Eileen’s team had arranged for a dual projection scenario in which the film was simultaneously projected onto the side of a giant building across the bustling street! So not only was the café packed with audience members, but outside people were watching the giant projection too, both seated in front of the café, random passers-by, people lounging in front of clubs down the street – amazing! People would stop with their friends to watch 2,5, and 10-minute segments, others literally plopped down on the sidewalk to stay for the whole film! What a great idea this was. I commended Eileen and her partner Joe for this vision, as it really brought in a whole new audience and expanded the impact of the film and the experience of watching it. The sound outside was impressive too, as we were competing against the music emitting from jazz clubs down the street and also crowd noises from an Indian festival organized by Governor Bobby Jindal one street over. Just a typical New Orleans night…
We had a great Q & A, with a large number of filmmakers and activists in the audience. A couple of shorts had played before the feature, and one of those filmmakers joined me for questions as well. A few people in the room had moved to New Orleans after coming to town to help in the rebuilding effort after Katrina, and I felt overall the room connected with the film’s energy and focus on building and empowerment. One woman in particular, an activist in the Lower 9th Ward, was moved by what she saw and wanted to show the film to the community there, and by that I was very honored. I saw a lot of people feeling personally connected to the film, and for that reason I think the film could sustain a longer theatrical run in New Orleans. Thanks to Eileen, Joe, the projection team, and Melanie Grace for making this magical final screening happen.
Since it was my last night on the tour, and since I was in New Orleans, it seemed only appropriate to cap off the adventure with some jazz at Snug Harbor, some new friends, and revelry.
Eric promised me that the crowd assembled to see the film was small, around 25 people, but enthusiastic, and he delivered. Afterward there was a reception with yummy African food, cooked that day by students from the Mary C’s ‘learning kitchen.’ Amazing! I really appreciated and enjoyed this. Several people mentioned to me that they had never seen solar energy used anywhere nearby.
Before scooting out of town the next day, Eric gave me a tour of the Mary C. Naming the town in Mississippi that had actually been Katrina’s epicenter, Eric offered up some controversial (in my mind) views on the intrastate politics of the Katrina cleanup and rebuilding effort, reminding me once again not to underestimate the power of regionalism and local perspectives when it comes to understanding any given political or cultural situation.
I also made a point to get down to the Gulf shore. I spent some time on a pier, watching the pelicans go by, breathing in the air. I was joined by a fisherman and a young boy. The father was teaching his son how to fish. Seemingly they had been out fishing together before, but this was the first time the father had offered any insight into the process, or that the son had been old enough to ask questions. I was reminded of one of my favorite movies, Alamar. The waters here in Ocean Springs hadn’t been contaminated by the oil spill, I was told, but this father-son duo really brought its impact home for me anyway.
I drove from Ocean Springs a quick 90 minutes on I-10 to New Orleans for my final stop on the tour. This was the only place on the tour I had been previously, so it’s unique hotstep was not such a shock.
I spent a couple hours at the Ogden Museum of Art, where my new friend Shawne Major’s work was hanging in the lobby. I loved seeing her intricate work in person, and also really enjoyed Clementine Hunter’s folk art paintings upstairs.
I headed over to Frenchmen Street, where that nights’ screening was to take place. Frenchmen Street blew my mind, as I had never been there before, and felt like I had finally stepped into the real New Orleans. This is where locals come to hang out and play.
At Café Rose Nicaud, an unsuspecting little café, I met Eileen Julian, director of the New Orlans Afrikan Film and Arts Festival and an African Studies Professor at Indiana University. About 25 people showed up to watch the film on the screen that was pulled down inside the café. However, outside, Eileen’s team had arranged for a dual projection scenario in which the film was simultaneously projected onto the side of a giant building across the bustling street! So not only was the café packed with audience members, but outside people were watching the giant projection too, both seated in front of the café, random passers-by, people lounging in front of clubs down the street – amazing! People would stop with their friends to watch 2,5, and 10-minute segments, others literally plopped down on the sidewalk to stay for the whole film! What a great idea this was. I commended Eileen and her partner Joe for this vision, as it really brought in a whole new audience and expanded the impact of the film and the experience of watching it. The sound outside was impressive too, as we were competing against the music emitting from jazz clubs down the street and also crowd noises from an Indian festival organized by Governor Bobby Jindal one street over. Just a typical New Orleans night…
We had a great Q & A, with a large number of filmmakers and activists in the audience. A couple of shorts had played before the feature, and one of those filmmakers joined me for questions as well. A few people in the room had moved to New Orleans after coming to town to help in the rebuilding effort after Katrina, and I felt overall the room connected with the film’s energy and focus on building and empowerment. One woman in particular, an activist in the Lower 9th Ward, was moved by what she saw and wanted to show the film to the community there, and by that I was very honored. I saw a lot of people feeling personally connected to the film, and for that reason I think the film could sustain a longer theatrical run in New Orleans. Thanks to Eileen, Joe, the projection team, and Melanie Grace for making this magical final screening happen.
Since it was my last night on the tour, and since I was in New Orleans, it seemed only appropriate to cap off the adventure with some jazz at Snug Harbor, some new friends, and revelry.
Tuesday, February 16, 2010
Do You Know What It Means to Miss New Orleans?
The names will be familiar to anyone acquainted with zydeco and cajun music:
Opelousas; Grand Coteau; Lafayette; Atchafalaya.
Pumping out of the Grand Marquis' speakers:
Clifton Chenier, Boozoo Chavis, Queen Ida, Buckwheat.
On my way to New Orleans for Mardi Gras.
Sunday, November 15, 2009
Louisiana
Tired. I don't want to sound weak, but its only 8:30 pm and I don't even feel like crawling out to the bar in my hotel. The last two days have only felt like a minute. I spent 20 hours in Alexandria and 16 hours in New Orleans.
Alexandria had a nice crowd and I had the honor of staying at the famous household of Nicole and David Holcombe. If you don't know why it is so famous, you are missing out. Please notice David's Saturday morning dance attire.
Spent this morning in the 9th ward. I guess people are drawn here for the same reason they are drawn to the ground zero memorial. I met two fine Viking fans who were canal fishing with frozen chicken legs for Thanksgiving crabs. More good news is a brand new Walmart is being built in the St. Bernard Parish.
Updated music list:
NPR All Songs Considered - "The Decade in Music Defined"
LCD Soundsystem - "Sound of Silver"
The Rolling Stones - "Exile on Main Street"
And HEY David, met you in IDFA last year. Big fan of you and Mr. Longo!
Bigger and more photos from my trip:
http://bit.ly/4FLH01
Some people have been requesting my podcast with Allen Bell, you can listen to it here:
http://bit.ly/44k1nr
Wednesday, October 29, 2008
Louisiana and Kentucky
Day4 - My screening in Lake Charles was great but my time there was brief. I had dinner at a local cafe, screened, did a Q and A and headed off to New Orleans. The drive there was fascinating due to all the bridges and the swampy land around it. It was all right out of a horror movie. Very cool. Unfortunately, it was all off of bridges so there was no place to pull over for a photo.
Day 5 - My day off was spent in New Orleans. My generous hosts there requested I drive from Lake Charles so that I could wake up in New Orleans for "cafe-aw-lay" and "been-yays". I am so glad I did. I spent the whole day eating and soaking up the culture there. I had a tour that included part of the French Quarter and a very old cemetery. I learned (and ate) more than I thought was possible in one day.
Day 6 - I slept through the flight to Lexington. I was so surprised to discover how big and bustling Lexington was. I walked through downtown to the public library screening facility. The crowd in Lexington was so great. They had challenging questions and encouraging comments. Nathan and some of the young local filmmakers took me out for drinks, food, and live music after the screening. They also screened a locally made short film. I was so thrilled to see such support for an emerging local filmmaker. It was great to be a part of that. I got my start as a filmmaker that way, and I was impressed by the arts community in Lexington. I had a great time out on the town with those guys. Thanks Nathan!!
Day 7 - I drove to Ashland Kentucky the next day loving every second of the trip. Rolling hills filled with fall colors. I requested October for my tour so that I could experience a bit of fall. We don't get much of it in LA. Thanks Kentucky for giving me a few days of autumn. The Paramount Arts Center is an astonishingly gorgeous theatre. I have never seen the likes of it. Ornate and enormous. It was a fun screening and I was so touched by all the people I spoke to afterwards. There is nothing more satisfying that someone who has been personally effected by the film, coming up and thanking me. Everyone has had their lives effected by cancer. I am so glad that"Counting Backwards" can make them feel a little better about it. Thanks to everyone who shared their personal stories with me.
I drove back to Lexington to stay the night. I liked my hotel there, wanted to return to the gym, and liked being a few hors closer to Paducah.
Day 8 - Paducah is RAD! A much bigger city than I imagined and full of art and charm. Harvey and Sue took such great care of me. Took me to dinner and breakfast (Thanks again!) and put me up one block from their house so we could hang out with ease. I loved getting to know them both and it seems like my stay in Paducah is a warm blur of celebration. The Q and A was long and insightful. I learned a lot about my film that I didn't know. Great time in Paducah. I can't say enough.
Only a few more stops and my tour is over. I am sad to return back to my "real life" but I do look forward to making myself dinner. Also, with all this hotel room cable, I have developed a severe CNN addiction. Its gonna be tough to break. Georgia and South Carolina soon to come.
Day 5 - My day off was spent in New Orleans. My generous hosts there requested I drive from Lake Charles so that I could wake up in New Orleans for "cafe-aw-lay" and "been-yays". I am so glad I did. I spent the whole day eating and soaking up the culture there. I had a tour that included part of the French Quarter and a very old cemetery. I learned (and ate) more than I thought was possible in one day.
Day 6 - I slept through the flight to Lexington. I was so surprised to discover how big and bustling Lexington was. I walked through downtown to the public library screening facility. The crowd in Lexington was so great. They had challenging questions and encouraging comments. Nathan and some of the young local filmmakers took me out for drinks, food, and live music after the screening. They also screened a locally made short film. I was so thrilled to see such support for an emerging local filmmaker. It was great to be a part of that. I got my start as a filmmaker that way, and I was impressed by the arts community in Lexington. I had a great time out on the town with those guys. Thanks Nathan!!
Day 7 - I drove to Ashland Kentucky the next day loving every second of the trip. Rolling hills filled with fall colors. I requested October for my tour so that I could experience a bit of fall. We don't get much of it in LA. Thanks Kentucky for giving me a few days of autumn. The Paramount Arts Center is an astonishingly gorgeous theatre. I have never seen the likes of it. Ornate and enormous. It was a fun screening and I was so touched by all the people I spoke to afterwards. There is nothing more satisfying that someone who has been personally effected by the film, coming up and thanking me. Everyone has had their lives effected by cancer. I am so glad that"Counting Backwards" can make them feel a little better about it. Thanks to everyone who shared their personal stories with me.
I drove back to Lexington to stay the night. I liked my hotel there, wanted to return to the gym, and liked being a few hors closer to Paducah.
Day 8 - Paducah is RAD! A much bigger city than I imagined and full of art and charm. Harvey and Sue took such great care of me. Took me to dinner and breakfast (Thanks again!) and put me up one block from their house so we could hang out with ease. I loved getting to know them both and it seems like my stay in Paducah is a warm blur of celebration. The Q and A was long and insightful. I learned a lot about my film that I didn't know. Great time in Paducah. I can't say enough.
Only a few more stops and my tour is over. I am sad to return back to my "real life" but I do look forward to making myself dinner. Also, with all this hotel room cable, I have developed a severe CNN addiction. Its gonna be tough to break. Georgia and South Carolina soon to come.
Monday, April 14, 2008
new orleans morning
a great day off on the last day of the french quarter fest...free
music pouring out every pore of this town.
including the chance encounter with a new orleans jazz band
from sweden. canal creepers. they were fantastic. would be
great to have a presenter on the tour in this town! hats
off to the brave instigators in lake charles who are trying to
build an audience for independent cinema, including an up-
coming film festival. first person to notice that the archival
footage in my film can also be seen in marcel ophuls'
"the sorrow and the pity" and wants to steal my experimental
use of rear screen projection. i say, steal away. ideas are
best when they are free to circulate. i myself borrowed ideas
from cocteau and hitchcock. happy to be participating in the
discussion of cinematic form. cathy
music pouring out every pore of this town.
including the chance encounter with a new orleans jazz band
from sweden. canal creepers. they were fantastic. would be
great to have a presenter on the tour in this town! hats
off to the brave instigators in lake charles who are trying to
build an audience for independent cinema, including an up-
coming film festival. first person to notice that the archival
footage in my film can also be seen in marcel ophuls'
"the sorrow and the pity" and wants to steal my experimental
use of rear screen projection. i say, steal away. ideas are
best when they are free to circulate. i myself borrowed ideas
from cocteau and hitchcock. happy to be participating in the
discussion of cinematic form. cathy
Monday, February 11, 2008
Rebuilding New Orleans
I have had a chance to see quite a bit of the South on my Southern Circuits Tour. I was especially eager to see New Orleans since Katrina.I had wonderful guides in my friends John Alford (fellow Echoing Green fellow '07) and Mary Chastain. This past fall, they opened the Langston Hughes Academy in New Orleans, serving 4th and 5th graders this year. Next year, they will be running a full K-12 school.
Langston Hughes is an extraordinary charter school, exemplified by high standards, a passionate and brilliant staff and overwhelming committment.
When I walked in the door, I saw banners in each classroom: Dream It! Do It! Be It! I heard teachers asking their kids to assume the "scholar position." I saw classes being referred to by the name of their teacher's alma mater: U. Penn, Yale, Dartmouth. I could see John's expertise with building highly successful KIPP schools at work in Langston Hughes.
I was left with a tremendous amount of hope for New Orleans. Check it out: NOLA180.org.
Sunday, November 04, 2007
On the road
I made it to my Disappearances screening at HIGH POINT, NC, by the way, and was pleasantly surprised by the turnout and reception to the film. The program director, Louisa Hart, had prepared me for a small turnout and said that the attendance
in the series so far numbered about 15--this is their first year. But about 35 people showed up. I gave my intro, comparing the picture to a western and adding in the ways in which it being a New Engkand picture made it a different kind of western, steeped in elements like generations of family, settled community, and a rich cultural past that generally didn;'t show up on the edge of the western frontier until later. And I talked up the film's magical realism.
A local NC actor with whom I'd corresponded but never met showed up and we went out for dinner once the show started. I told him I felt that I had said the wrong things in the intro since people didn't seem to keen on any of it. I said I expected a cool repsonse, at best. But we came back for the end of the show and the crowd responded great--better than I'd dreamed possible. And they bought a raft of DVD's--always a good sign. A 92 year-old veteran of the west Virginia coal mines came uo afterwards and talked about his families participation in the illegal booze business back in the 20's and 30's. A 12 year old kid asked most of the questions during the Q & A--and he seemed satisfied with the film--and my answers. His mom bought him a DVD, too.
High Point is best known as a place where thousands of furniture buyers show up twice a year for mammouth showcases in the multi-million square foot showrooms that abut the theater. During the rest of the year, things apparently stay pretty quiet. The outskirts of town are filled with modern malls, however, and what appears to be a thriving retail and restaurant scene.
I told the High Point crowd that my next planned film, They Don't Dance Much, is based on an only novel by a now-deceased newspaperman from Greensboro, just 8 miles down the road. The fact that I have a southern script in my back pocket is allowing me to meet a number of potential supporters and/or participants on the tour.
One of those people materialized unexpectedly at the ASHEVILLE, NC screening. A former Hollywood director took me out to dinner afterwards and offered to involve the college where he now teaches in the production of They Don't Dance Much. He said he mobilize experienced students and faculty along with some equipment and who knows what else? This was a good contact, although, strangely, I'd met the director at his home in LA in 1989, when I was starting to prepare my first feature. I didn't know anybody or anything about the movie business and he kindly allowed me to come by his place and ask questions. It's a small world.
The local Southern Circuit organizer and director of the Media Arts Project, Alison Watson, had her work cut out for her, mobilizing an audience for this Halloween screening. The crowd was small but it was great to hear about all she's doing for area media artists--and we talked about doing something again in the future. The theater was terrific and everybody was good to work with. Back at the hotel pandemonium reigned as hundreds of Haloween costumed young people showed up, beer coolers in tow, for a Widespread Panic concert. The final party cresecendo peaked between 2 and 4am, with lots of revery and good cheer.
The CLEMSON screening went smoothly and I joined organzer and Clemson faculty member Amy Monaghan for dinner before the show. Several current and former students also joined us--and it interesting to hear about the fledgling film studies program there. Amy is well-versed in film and has also worked at places like the Brattle Theater in Cambridge. So she knows the indie scene, too. The audience of about fifty consisted of mostly students and there were a number of good queestions. In retrospect, i wished I'd planned to have Amy join me up front to help solicit and frame questions that suited the classes she's teaching. But the session went fine and one student expressed interest in working on my next picture as an intern. And she said she liked the film.
CHARLESTON was a blast. I spent the afternoon with South Carolina-based producer Peter Wentworth who took me to the College of Charleston's John Rivers Communication Museum where we spent more than an hour talking with Rick Zender an amzing source of information about the film, television, radio, and live music scenes in an around Charleston for the past century. They Don't Dance Much is set at an early 1950's roadhouse--and we got to lay our eyes on an authentic juke box from the period, among other things. I'm hoping that Peter Wentworth will help produce the picture--and that we'll shoot it in the Carolinas or Georgia. This will be a new move for me, outside of New England. I shot my third feature, The Year That Trembled in Ohio but it was for producers there. They Don;t Dance Much will be my first feature which I produce outside of Vermont.
We went to dinner with Halsey Institute of Contemporary Art director, Mark Sloan. Mark does extraordinary visdionary work, curating a ground breaking exhibition program and making opportuntites available to other artists as well. He gave me a book, Wild, Weird, and Wonderful, that he wrote about circuses that rolled through Brockton, Mass. during the early 20th century and were photographed by F.W. Glasier. It's a beautiful and fascinating book--and Mark knew of my involvement as co-founder of the Vermont-based Circus Smirkus during the mid-80's, an ambitious grass-roots circus starring kids who go on the road each summer under a 500 seat tent.
Peter Wentworth's wife, Margery, also joined us for dinner and added a lively dimension, as South Carolina's poet laureate. The whole afternoon and evening, set against the respendent backdrop of old Charleston, were a delight. Oh, right, I almost forgot to mention the screening, which went great. A very responsive and thoughtful audience seemed to "get" the film and they asked a number of stimulating questions. Although no one yet has commented on the fact that the film's French-Canadian villain, Carcajou (played by Lothaire Bluteau) wears both Union and Confderate officer's uniforms in two different scenes. Maybe they simply had it figured out. Thanks to Mark and also to Katie Lee who got me set up at the fine campus guest house and ran the tech part of the program, never an easy task when a director adjusts picture and sound levels to the point of distraction.
LAKE CHARLES, LOUISIANA also produced an enthusiastic modest-sized crowd that stayed around for a lengthy Q & A--and bought a raft of DVD's. The event was sponsored by a new film series group, mostly consisting of local media makers and screenwriters. What they're doing is quite exciting--screening work by each other and other area filmmakers--and building audience for local work. If I'd had a little more time, it would have been interesting to conduct a screenwriting workshop while I was there.
I took my day off in New Orleans, always a treat. The city seems to be gearing up to its former glory, with an energetic music scene along Bourbon Street and a terrific new version of Waiting for Godot, set against the 9th ward's wait for FEMA in the wake of Hurricane Katrina.
in the series so far numbered about 15--this is their first year. But about 35 people showed up. I gave my intro, comparing the picture to a western and adding in the ways in which it being a New Engkand picture made it a different kind of western, steeped in elements like generations of family, settled community, and a rich cultural past that generally didn;'t show up on the edge of the western frontier until later. And I talked up the film's magical realism.
A local NC actor with whom I'd corresponded but never met showed up and we went out for dinner once the show started. I told him I felt that I had said the wrong things in the intro since people didn't seem to keen on any of it. I said I expected a cool repsonse, at best. But we came back for the end of the show and the crowd responded great--better than I'd dreamed possible. And they bought a raft of DVD's--always a good sign. A 92 year-old veteran of the west Virginia coal mines came uo afterwards and talked about his families participation in the illegal booze business back in the 20's and 30's. A 12 year old kid asked most of the questions during the Q & A--and he seemed satisfied with the film--and my answers. His mom bought him a DVD, too.
High Point is best known as a place where thousands of furniture buyers show up twice a year for mammouth showcases in the multi-million square foot showrooms that abut the theater. During the rest of the year, things apparently stay pretty quiet. The outskirts of town are filled with modern malls, however, and what appears to be a thriving retail and restaurant scene.
I told the High Point crowd that my next planned film, They Don't Dance Much, is based on an only novel by a now-deceased newspaperman from Greensboro, just 8 miles down the road. The fact that I have a southern script in my back pocket is allowing me to meet a number of potential supporters and/or participants on the tour.
One of those people materialized unexpectedly at the ASHEVILLE, NC screening. A former Hollywood director took me out to dinner afterwards and offered to involve the college where he now teaches in the production of They Don't Dance Much. He said he mobilize experienced students and faculty along with some equipment and who knows what else? This was a good contact, although, strangely, I'd met the director at his home in LA in 1989, when I was starting to prepare my first feature. I didn't know anybody or anything about the movie business and he kindly allowed me to come by his place and ask questions. It's a small world.
The local Southern Circuit organizer and director of the Media Arts Project, Alison Watson, had her work cut out for her, mobilizing an audience for this Halloween screening. The crowd was small but it was great to hear about all she's doing for area media artists--and we talked about doing something again in the future. The theater was terrific and everybody was good to work with. Back at the hotel pandemonium reigned as hundreds of Haloween costumed young people showed up, beer coolers in tow, for a Widespread Panic concert. The final party cresecendo peaked between 2 and 4am, with lots of revery and good cheer.
The CLEMSON screening went smoothly and I joined organzer and Clemson faculty member Amy Monaghan for dinner before the show. Several current and former students also joined us--and it interesting to hear about the fledgling film studies program there. Amy is well-versed in film and has also worked at places like the Brattle Theater in Cambridge. So she knows the indie scene, too. The audience of about fifty consisted of mostly students and there were a number of good queestions. In retrospect, i wished I'd planned to have Amy join me up front to help solicit and frame questions that suited the classes she's teaching. But the session went fine and one student expressed interest in working on my next picture as an intern. And she said she liked the film.
CHARLESTON was a blast. I spent the afternoon with South Carolina-based producer Peter Wentworth who took me to the College of Charleston's John Rivers Communication Museum where we spent more than an hour talking with Rick Zender an amzing source of information about the film, television, radio, and live music scenes in an around Charleston for the past century. They Don't Dance Much is set at an early 1950's roadhouse--and we got to lay our eyes on an authentic juke box from the period, among other things. I'm hoping that Peter Wentworth will help produce the picture--and that we'll shoot it in the Carolinas or Georgia. This will be a new move for me, outside of New England. I shot my third feature, The Year That Trembled in Ohio but it was for producers there. They Don;t Dance Much will be my first feature which I produce outside of Vermont.
We went to dinner with Halsey Institute of Contemporary Art director, Mark Sloan. Mark does extraordinary visdionary work, curating a ground breaking exhibition program and making opportuntites available to other artists as well. He gave me a book, Wild, Weird, and Wonderful, that he wrote about circuses that rolled through Brockton, Mass. during the early 20th century and were photographed by F.W. Glasier. It's a beautiful and fascinating book--and Mark knew of my involvement as co-founder of the Vermont-based Circus Smirkus during the mid-80's, an ambitious grass-roots circus starring kids who go on the road each summer under a 500 seat tent.
Peter Wentworth's wife, Margery, also joined us for dinner and added a lively dimension, as South Carolina's poet laureate. The whole afternoon and evening, set against the respendent backdrop of old Charleston, were a delight. Oh, right, I almost forgot to mention the screening, which went great. A very responsive and thoughtful audience seemed to "get" the film and they asked a number of stimulating questions. Although no one yet has commented on the fact that the film's French-Canadian villain, Carcajou (played by Lothaire Bluteau) wears both Union and Confderate officer's uniforms in two different scenes. Maybe they simply had it figured out. Thanks to Mark and also to Katie Lee who got me set up at the fine campus guest house and ran the tech part of the program, never an easy task when a director adjusts picture and sound levels to the point of distraction.
LAKE CHARLES, LOUISIANA also produced an enthusiastic modest-sized crowd that stayed around for a lengthy Q & A--and bought a raft of DVD's. The event was sponsored by a new film series group, mostly consisting of local media makers and screenwriters. What they're doing is quite exciting--screening work by each other and other area filmmakers--and building audience for local work. If I'd had a little more time, it would have been interesting to conduct a screenwriting workshop while I was there.
I took my day off in New Orleans, always a treat. The city seems to be gearing up to its former glory, with an energetic music scene along Bourbon Street and a terrific new version of Waiting for Godot, set against the 9th ward's wait for FEMA in the wake of Hurricane Katrina.
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