Page 12 - the NOISE January 2015

The first feature film shot entirely in Flagstaff, using local talent, was stephen roots’ Unconscious. It’s a delightful romp into the imagination of a writer, Raymond Hopajoki,
(Hop.) When Hop gets hit over the head with an Underwood type-writer, he blacks out for a year and wakes to find he’s a best-selling author. His unconscious writing attracts the attention of agents, publishers and beautiful women. Hop and his greedy agent wonder if this act of God/type-writer fluke is repeatable. This cult classic is now available online at Vimeo on demand: vimeocom/ondemand/20554. Mr. Root explains, “People can now watch it in the comfort of their own home whilst smoking tobacco from a pipe and wearing a monocle.”
Austin Film Festival is a screenwriter’s fest, first and fore- most. Great films play all week long, but it’s the intimate interaction with writers at workshops and panels that make this festival different. It honors the writer and the profes- sional attendee’s go out of their way to inform novice writers. These novices attend to glean whatever hints they can from working professionals. This year they honored Jim Sheridan of My Left Foot, in america and in the name of the Father as Outstanding Screenwriter. The Outstanding Television Writ- ing Award went to Matthew Weiner, who’s the creator of Mad Men and the Extraordinary Contribution to Filmmaking went to Edward Zwick, who has directed such films as Glory, Leg- ends of the Fall, Courage Under Fire, The Siege and The Last Sam- urai. Mr. Zwick was born a few miles up the street from me in Winnetka, Illinois. Very approachable, he told me the genesis of his concept for The Siege. He stated, “The 1993 bombing of the World Trade Center was where, in 1997, I got the idea for terrorists coming to New York City and bombing the World Trade Centers with air planes.” Hollywood’s always three years ahead of the “real” terrorists.
Over one hundred workshops, conversations and panels were offered, from 9AM to 6PM, spanning four days in eight locations. During each time-slot you could choose from eight different panels, conversations or discussions to attend with diverse learning opportunities from industry professionals. Workshops range from topics like: “From Prose to Prime Time,” about the adaptation process, “Artistic Integrity,” about stay- ing true to your artistic vision, “Science Fiction VS. Science Fact,”“Non-linear Storytelling,”“Agents,”“The Writer/Producer Relationship,” “Deconstructing: No Country For Old Men,”
“Script-to-Screen: Dead Poets Society,” “Finding Your Voice,” “POV,”“Storytelling Through Documentaries,”“Write What You
Don’t Know,”“The Art of War Writing,”“Historical Fiction,”“Tick- ing Time Bomb,” and “A Conversation with...” John Ridley, Whit Stillman, Jim Sheridan, Edward Zwick, Matthew Weiner, etc. Literally, dozens of conversations with your favorite writ- ers, where you get to ask story questions about your favorite
new year’s classics & indies
films and television shows. Every night parties allowed for more ‘personal’ questions, like, “Where do you get the good drugs in Hollywood?” Many writers suggested Charlie Sheen.
Some of the writers that showed up to mentor were: John Ridley, Tom Schulman, Ed Solomon, Richard Lagravenese, Randall Wallace, James V. Hart, Susannah Grant, Bill Broyles and John August. Just to name a few. They have written scripts, respectively: 12 Years a Slave, Dead Poets Society, Men in Black, The Fisher King, Braveheart, august rush, erin Brockov- ich, apollo 13 and Big Fish and they’re accessible! They’re in Austin to help the screenwriter and give back to their profes- sion. A great festival and well worth checking out!
oscar buzz: What films are showing up on the horizon that interest you? What have you seen or heard about that has garnered your interest as we move closer to the Academy’s announcement in January? Should we even care about Best Picture, if they nominate up to ten films? Here are some of the front runners at this stage: Foxcatcher, Birdman, interstellar, Boyhood, The imitation Game, The Theory of everything, Selma, Mr. Turner, Whiplash, a Most Violent Year, american Sniper, Un- broken and Gone Girl.
Boyhood and Foxcatcher are two films that stood out imme- diately. richard linkletter’s 12 year filmic journey, Boyhood, which follows a young boy from the age of 6 to 18 years old, is an exercise in patient observance. It’s a fascinating study of family immaturity in America, as much for the parents as the child. This film’s a gem from a master filmmaker in the prime of his creative life. A prediction: Mr. Linklater will be nominat- ed and he will win for Best Director. As a side note, “21 Years richard Linklater,” a documentary about Mr. Linklater’s early films played in the 1,100 seat Paramount Theatre to a packed house in Austin. Mr. Linklater, not only started the Austin Film Festival, but makes his home there. As a local hero of the in- dependent cinema movement, his film drew a standing ova- tion. Mr. Linklater, 54, easily has another 21 years ahead.
The only other director who could snatch the mantle from Mr. Linklater is bennett Miller. Foxcatcher is a film of psycho- logical nuance that works on so many levels. It’s the story of brothers, father-figures and mentors. Like Mr. Miller’s Acad- emy nominated film Capote, Foxcatcher is a study of a histori- cal figure, John du Pont and a tragic event in USA wrestling history. Mr. Miller presents it as a fly on the wall documentary, but delves deeper, using grainy cinematography to get us in- side the minds of his characters, while exploring the dark un- derbelly of America. Our deep desire to be slaves, to be race horses for the super-rich, to have someone mentor us, spon- sor us; whether it’s brother or father or money. This is a major component of the American psyche, inherent in Foxcatcher’s subtext. This intense study of human nature will someday be taught in college psychology classes.
Citizen Kane
is playing at the CA&l Film series January 13.
Finally, as a dark horse, Birdman could slip in as the meta- movie of the decade. What are your favorites? Talk it up at coffee shops, debate, fist-fight at holiday gatherings, spill Jell- O over it and have fun. It’s not politics or religion, so go for it.
The College of Arts and letters Film series for Spring 2015 presents “The Screenwriter: Oscar Winning and Oscar Nominated Screenplays,” playing Tuesday nights for free in Cline Library at 7:00PM. The public and students interact with informative Q & A’s after the film, as well as knowledgeable introductions by local cinema enthusiasts.
In January, they present three award winning scripts, one is considered by top ten lists as the best film of all time. On January 13, 2015 Citizen Kane graces the big screen. Nomi- nated for nine Oscars and winner of best script, it was writer/ director Orson Welles’ first film at the age of 25. It changed the way movies were made, with the invention of new cam- era techniques and storytelling devices. The flashbacks, story set-ups and pay-offs, the planting of clues like “Rosebud” are infamous. On January 20, 2015 check out road to Utopia with Bob Hope and Bing Crosby as they head to Alaska in an Os- car nominated script. On January 27, 2015 Alfred Hitchcock’s mysterious notorious explodes across the screen. This is an Oscar nominated script by the late, great Ben Hecht; with Cary Grant and Ingrid Bergman, a near perfect spy thriller from the “master.” nau.edu/filmseries
The nAu International Film series continues this Spring with the theme “Oppression and Liberation.” Films screen Wednesday night for free at 7:00PM in the Liberal Arts Build- ing, room 120. Most films are unrated, so viewer discretion is advised. The only film this month is on January 28, 2015. A Mexican/USA/Spain production aqui y alla` follows the story of Pedro, as he returns to Guerrero, Mexico, after years of work- ing in the United States. His family and community dream of going to America, but things have changed for Pedro. “You can never go home,” is a classic literary motif. What do we lose, when we migrate away from our homes and what do we gain? What do we lose when we come home? nau.edu/intfilms
sedona International Film Festival (SIFF) prepares for their film festival in February. John Waters will be attending this year, so hide your flamingos and get your hairspray ready for some classic Water’s comedies! This festival is dedicated to Orson Welles and the 100th anniversary of his birthday. His daughter, Beatrice, who lives in Sedona, will join film critic Jeffrey Lyons to discuss Orson’s career! sedonafilmfestival.com
Bob Reynolds is spilling the jell-o all over the oscar debate. film@thenoise.us
12 • january 2015 • the NOISE arts & news • thenoise.us