The annual AFI film festival is one of the most prestigious film festivals on the festival circuit, a kind of festival that filmmakers like myself dream harder about than we probably should on the regular. Being mostly invite only, AFI scouts explore the trenches of the big boys such as Sundance, Cannes, Toronto, etc searching for the best and brightest of that years cinema to bring to the heart of Hollywood. Now, for those of you who don't know and I'm not sure how you don't, there was only a banner on every lamppost on every street in LA for Jack's sake... AFI was giving away free tickets to their 2011 film festival this year bankrolled on Audi's dime, not a bad way to keep up appearances I might add. Being the film buff and lover of independent cinema that I am, I naturally jumped at the chance and fired up the ol' macbook for an afternoon geek-out session as I scoured the columns of this years selected films. To my delight, the website was great, with an easy to use and organized interface breaking the list of offered film categories on their film guide into:
"Breakthrough, Galas, Midnight, New Auteurs, Shorts Programs, Special Screenings, Spotlight, World Cinema, and Young Americans"
Naturally biased and independently minded, I focused mainly on the Breakthrough, New Auteurs, and Young American's section, opting to skip the Glitz infused Gala's such as Clint Eastwood's "J Edgar"in hopes of catching some of this years best independent cinema and the opportunity to potentially mingle with some of the years most promising independent filmmakers. That said, I booked tickets for Sophia Takal's "Green," Brett Eicheberger's "Light of Mine," Over Moverman's "Rampart" starring Woody Harrelson, Ralph Fiennes directorial debut and Shakespearian Classic "Coriolanus,"and "The Zone" an AFI spotlight film by mumblecore avant garde Joe Swanberg.
No sooner than I had my reservations when it hit me that this was one of those times... one of those rare but glorious times where living close to Hollywood has its advantages. blinking back tears at the sheer ecstasy from not having to drive, I laced up my sneaks and was out the door, booking out of hipstar village and onto the Blvd. like Jack Bauer on a time bomb... I was going to the movies... and I was going real freaking pro.
After grabbing one of the best slices of LA cheese pizza I have ever had, I can't remember the name but it's across from the Egyptian Theatre, I made my way to the consumer mecca and modern day temple to the god's of pop culture that the Hollywood & Highland center truly is in search of the AFI box office. Post my fifteen minute delay as I navigated level upon level of pop-a-rized strip shops and material enterprises, I finally found her tucked away in a corner. To my surprise there was a decent line, but the staff was great and they got me through in now time with my low-key reservations.
A few minutes later I was sitting in the ambient Chinese 3 for my first time as Sophia Takal came up to open the screening for her directorial debut titled "Green," a film with they kind of semi-vague title that tends to pull my interest from the get go. The first thing I noticed off the bat was how just how beautiful Sophia Takal is, an aspect that she clearly doesn't mind embracing, so I sat back and prepared myself for a good night.
The first thing I noticed about the film was it's use of color... an aspect you may not find as surprising as the title suggests... but nonetheless the film opens with a two to three minute, continuous framed shot of a very green landscape. Being the fan of long takes and still framing that I am... I was instantly caught up as the first bit of action in the form of a vehicle drove it's way into the scene. From then on I was thrust with the rest of the audience into a well written, well performed psychological drama-thriller dealing with themes of jealousy, isolation, and really bad miscommunication... as Sophia Takal said in the Q & A following the end credits, their goal was to make a drama film in the vein of a horror film... well that's exactly what they did and the outcome was "Green."
The next night I made my way back down the Blvd. to the Egyptian Theatre for the film that I was anticipating most of all, "Light of Mine," A film by Portland, OR native Brett Eichenberger. As Brett got up to introduce his film I was struck by the mans confidence and natural sensitivity, a sign of a good director, so I sat back in even further confidence to see his work.
Going in mostly blind to the basic concept of what the film was about, I was instantly captivated by the opening scene, in which a eye doctor tells Owen (Ji Tanzer) and his wife Laura (Rebecca Sanborn) that he has a rare eye disease and will be loosing his sight in a matter of months, which begs the question as the Brett, the director, sincerely suggests "if you only had weeks of sight left... what would you want to see?" A great concept and script by Jill Eichenberger along stunning cinematography by Mike Ferry keep this well directed and well performed film fresh from start to finish. Pair that with Terrance Malick-esque visuals of American Buffalo in their natural habitat and you will have more then enough to start questioning the meaning of life... and keep tears flowing.
As the show came to a close, the audience stayed glued to their seats and universally dabbed the corners of their eyes as Brett came up to discuss the film. After the informative and soulful Q&A I had a chance to discuss the film for a few minutes before he invited me out with the rest of the cast for a drink to continue are discussion. Being right next to the Egyptian, we stopped by the Pig & Whistle for a quick drop of liquid but ducked out before it gave me anything to write about in favor of the Hwood Roosevelt. Word on the street is if you have anything to do with the AFI fest this is where it all goes down.
So there I was again strolling down the blvd, this time with a pack of Oregonian filmmakers as the saturday night scene kids and and the G-list club scrubbers held up real-estate outside of their preferred venues. It's always interesting to watch out of towner's in Hollwood, I'm not talking trourists, but people that have an actual reason to be dropped into the chaos. It's as if the energy coming off them is screaming "I'm much to pure for all this, but I can't deny that their is something in me that wants a taste." Two years later I'm still touching the stove. It's that exact thought that entertained me all the way down the three or four expansive blocks between the Egyptian and the Hotel.
Now I've been to the Roosevelt before, I actually went in their with my mom, brother, and sister when they payed me a visit last year, but I had never seen it like this. as we entered the lobby of the black tie lined social scene of shady business man and rail thin call girls I almost dropped the "I'm probably a little casual..." line that seems to get me out of almost anything, but before I had to pull out the big guns I realized that aside from appearing to be 18 I probably looked any other grungy, out of town filmmaker exclusive to AFI so I kept my mouth shut and repped that stereotype for all it was worth, and at the AFI fest it's worth quite a lot.
It wasn't long before some random actor got us a booth and I sat down with Brett and the rest of the light of mine crew for a few drinks. It was great, in between bouts of catching up on all things Portland, I had a chance to talk to the cast specifically about the film, what attracted them to the roles, etc, then I had a chance to talk to Mike, the cinematographer about the filming process and what that was like. He bought me a beer and we kicked back and talked about buffalo... when your chilling in the Hwood that's about as rural as it gets.
By the end of the night, we made our way back out into the lobby, I started saying my good-byes when I get a tap on my shoulder. I turn around to see a weathered, bright-eyed, surfer type of guy smiling like Charlie Brown on Christmas. He just looked at me like he knew me, but other than the fact that the guy was holding it down more casual then myself I had never met him. "Hi I'm Brett Harrelson... Woody Harrelson's brother... dont' I know you from somewhere."
This was one of those moments that I wish I was cool enough to be like "Yea man, you probably do" But being the honest upstanding kid that I was I knew it was no use to try and play it cool... it was more likely that he just mistook me for Michael Cera or something. So what did I say? The only thing you can say when talking to someone oozing of so much cool "I'm not sure how you would but it's good to meet you." After much insisting I digressed enough to give him an "it's possible that you may know me" a reply which I felt was justified. Hey, if Brett Harrelson says he know me... who am I to argue. The truth is, I was guilty, I ditched my reservations to the premier of "Rampart," his brother Wood Harrelsons knew film that was screening at the Grauman's that night, to hang out with the Light of Mine crew. Did I regret my decision? Not at all... in fact I wouldn't have had it any other way. With that, I thanked everyone for the good time, said peace out to the cast and crew, then made my exit... back out to the blvd. for a late night stroll home.
It wasn't until early the next week when I caught a few remaining screening on the tail end of the AFI fest. My first was "Coriolanus", Ralph Fiennes directorial debut. Running a bit late I plunge into the cold dark Egyptian out of the blinding sunlight of a crisp Los Angeles afternoon. It took me a few minutes for my eyes to adjust as the curtains rolled back and the screening began. What happened next I'm gonna be honest and say I wasn't in the mood for it, but who gives a flying fock when you watching Ralph Fiennes!
The movie blew my mind. The writing speaks for itself. And the performances... don't even get me started on this all-star cast. Brian Cox, Gerard Butler, and Ralph Fiennes all had incredible performances perspectively, but in my opinion it was Vanessa Redgrave a Volumnia that stole the show. Her epic intensity and unbelievable fortitude that she was able to command in her performance saw me through the film beat by beat by beat as the diction wafted over me like music, preparing me for the unbelievably abstract final death-match when Coriolanus meets his end. At that point there was nothing left to do... so I clapped with the rest of the crowd. Unfortunately, I couldn't stay for the Q&A if there even was one because I was on a freaking meter... another plus of not having to drive in Hwood... and it was expiring quickly, however, looking back... I wish I took the ticket.
That night I hung up the keys and once again took to the street as I made my way back to the Chinese for the world premier of "The Zone," a film by Joe Swanberg that was being spotlighted by AFI this year along with two of his other films "Art History" and "Silver Bullets." For those of you who aren't familiar with the mumblecore movement, it is by definition a series of low budget films rooted in naturalism and often featuring non-professional actors in the white, twenty-something, middle-class age group. Now, for those of you who don't know Swanberg's work let me start by saying that it is first and foremost entirely subjective. You'll either love it or hate it, and there really is no in-between. I find it interesting to say the least, but most people I talk to don't care much for Swanberg's work. I'm not speaking for the mumblecore movement itself, to which Swanberg is a pioneer.
While other mumblecore directors have recently begun to take advantage of the small time fame that their previously successful films have brought them, such as Aaron Katz, who's recent film "Cold Weather," a film that is quickly becoming one of my favorite films of the year, was filmed on a six figure budget, unheard of for most mumblecore themed films. This is not the case for Joe Swanberg. Unlike Katz, who's films are tonally and aesthetically beginning to feel and look like the kind of Hollywood feature you might see on the annual roster for Fox Searchlight, Swanberg truly is a man of his roots, pumping out, what I believe to be if I remember correctly, 15 feature films in the last 2 years, a number that is surprisingly staggering even for the likes of the mumblecore crowd.
The Zone begins with Swanberg, a cheery and and seemingly lighthearted thirty-something, taking front and center at the Chinese to introduce his feature. After a few words, he fades back along with the lights as the screen flickers on. "The Zone", which I later found refers to a "communal like" apartment Swanberg stays at when he is making films in or around New York City, focuses on an incestuous group of friends and the lives they live inside of this "zone" or apartment which is actually true to real life. As they share both their thoughts and their love lives, they battle the spiritual and emotional demons that inevitably come attached to the choices they make. Sophia Takal, director and actress of "Green" stars as well as her "Green" co-stars Lawrence Michael Levine and Kate Lyn Sheil, an actress that is additionally featured in another spotlighted Swanberg film, "Silver Bullets."
An interesting aspect to the film is that it steps back mid-way through its time length as Swanberg himself makes an appearance of making the movie within the movie, a concept which I have seen done before but never in such a way. Basically, the audience sees him on an editing bay equipped with final cut pro as he edits the footage of "The Zone,"in "The Zone" (apartment), while the cast of "The Zone" implement their opinions and comments. This technique, much of which is filmed on an iphone, a film quality that I personally found nearly unwatchable and unfit for a cinematic experience, looks as if it was implemented in an attempt to create a three-way, or even four-way reality, the only question, as many film goers have asked before... is why?
Although it had it's moments, such as the prayer circle when the tenants were giving thanks for things outside of their "zone" or when Sophi Takal performs a particularly fascinating monologue showcasing her use of accents, I found much of Swanbergs film to be irrelative. I don't like the term self-indulgent so I will not use it, but basically I feel it was the closest thing I have watched to that term in a while. My reasoning for this is simply content, I don't believe there was much of a story. For the audience, when there is no story to be told and the camera is rolling it almost always comes down to vanity... because why are we watching? To be moved! To learn! To experience! That is why. As much as I liked some of Swanberg's previous work, such as 2006's "LOL" or 2007's "Hannah Takes the Stairs," I can not say the same for "The Zone," and the big difference here is story. After a fascinating Q&A session where I disagreed with Swanberg on nearly his entire philosophy regarding the future of film, I can't dock the guy for being pushing the boundaries and taking risks. As mentioned before, every Swanberg experience is a subjective one... still... I left the theatre that night feeling cheated, but you can't complain for free independent cinema.
Over all, my 2011 AFI experience was a blast! From the screening theaters to Hwood Blvd, it just fortifies my desire to write and produce a film that is great enough to compete with the best of the years independent cinema. If you havn't already, mark the 2012 AFI Fest on your calender for next year so you can reserve free tickets ... the experience will be well worth it.
As the show came to a close, the audience stayed glued to their seats and universally dabbed the corners of their eyes as Brett came up to discuss the film. After the informative and soulful Q&A I had a chance to discuss the film for a few minutes before he invited me out with the rest of the cast for a drink to continue are discussion. Being right next to the Egyptian, we stopped by the Pig & Whistle for a quick drop of liquid but ducked out before it gave me anything to write about in favor of the Hwood Roosevelt. Word on the street is if you have anything to do with the AFI fest this is where it all goes down.
So there I was again strolling down the blvd, this time with a pack of Oregonian filmmakers as the saturday night scene kids and and the G-list club scrubbers held up real-estate outside of their preferred venues. It's always interesting to watch out of towner's in Hollwood, I'm not talking trourists, but people that have an actual reason to be dropped into the chaos. It's as if the energy coming off them is screaming "I'm much to pure for all this, but I can't deny that their is something in me that wants a taste." Two years later I'm still touching the stove. It's that exact thought that entertained me all the way down the three or four expansive blocks between the Egyptian and the Hotel.
Now I've been to the Roosevelt before, I actually went in their with my mom, brother, and sister when they payed me a visit last year, but I had never seen it like this. as we entered the lobby of the black tie lined social scene of shady business man and rail thin call girls I almost dropped the "I'm probably a little casual..." line that seems to get me out of almost anything, but before I had to pull out the big guns I realized that aside from appearing to be 18 I probably looked any other grungy, out of town filmmaker exclusive to AFI so I kept my mouth shut and repped that stereotype for all it was worth, and at the AFI fest it's worth quite a lot.
It wasn't long before some random actor got us a booth and I sat down with Brett and the rest of the light of mine crew for a few drinks. It was great, in between bouts of catching up on all things Portland, I had a chance to talk to the cast specifically about the film, what attracted them to the roles, etc, then I had a chance to talk to Mike, the cinematographer about the filming process and what that was like. He bought me a beer and we kicked back and talked about buffalo... when your chilling in the Hwood that's about as rural as it gets.
By the end of the night, we made our way back out into the lobby, I started saying my good-byes when I get a tap on my shoulder. I turn around to see a weathered, bright-eyed, surfer type of guy smiling like Charlie Brown on Christmas. He just looked at me like he knew me, but other than the fact that the guy was holding it down more casual then myself I had never met him. "Hi I'm Brett Harrelson... Woody Harrelson's brother... dont' I know you from somewhere."
This was one of those moments that I wish I was cool enough to be like "Yea man, you probably do" But being the honest upstanding kid that I was I knew it was no use to try and play it cool... it was more likely that he just mistook me for Michael Cera or something. So what did I say? The only thing you can say when talking to someone oozing of so much cool "I'm not sure how you would but it's good to meet you." After much insisting I digressed enough to give him an "it's possible that you may know me" a reply which I felt was justified. Hey, if Brett Harrelson says he know me... who am I to argue. The truth is, I was guilty, I ditched my reservations to the premier of "Rampart," his brother Wood Harrelsons knew film that was screening at the Grauman's that night, to hang out with the Light of Mine crew. Did I regret my decision? Not at all... in fact I wouldn't have had it any other way. With that, I thanked everyone for the good time, said peace out to the cast and crew, then made my exit... back out to the blvd. for a late night stroll home.
The movie blew my mind. The writing speaks for itself. And the performances... don't even get me started on this all-star cast. Brian Cox, Gerard Butler, and Ralph Fiennes all had incredible performances perspectively, but in my opinion it was Vanessa Redgrave a Volumnia that stole the show. Her epic intensity and unbelievable fortitude that she was able to command in her performance saw me through the film beat by beat by beat as the diction wafted over me like music, preparing me for the unbelievably abstract final death-match when Coriolanus meets his end. At that point there was nothing left to do... so I clapped with the rest of the crowd. Unfortunately, I couldn't stay for the Q&A if there even was one because I was on a freaking meter... another plus of not having to drive in Hwood... and it was expiring quickly, however, looking back... I wish I took the ticket.
That night I hung up the keys and once again took to the street as I made my way back to the Chinese for the world premier of "The Zone," a film by Joe Swanberg that was being spotlighted by AFI this year along with two of his other films "Art History" and "Silver Bullets." For those of you who aren't familiar with the mumblecore movement, it is by definition a series of low budget films rooted in naturalism and often featuring non-professional actors in the white, twenty-something, middle-class age group. Now, for those of you who don't know Swanberg's work let me start by saying that it is first and foremost entirely subjective. You'll either love it or hate it, and there really is no in-between. I find it interesting to say the least, but most people I talk to don't care much for Swanberg's work. I'm not speaking for the mumblecore movement itself, to which Swanberg is a pioneer.
While other mumblecore directors have recently begun to take advantage of the small time fame that their previously successful films have brought them, such as Aaron Katz, who's recent film "Cold Weather," a film that is quickly becoming one of my favorite films of the year, was filmed on a six figure budget, unheard of for most mumblecore themed films. This is not the case for Joe Swanberg. Unlike Katz, who's films are tonally and aesthetically beginning to feel and look like the kind of Hollywood feature you might see on the annual roster for Fox Searchlight, Swanberg truly is a man of his roots, pumping out, what I believe to be if I remember correctly, 15 feature films in the last 2 years, a number that is surprisingly staggering even for the likes of the mumblecore crowd.
An interesting aspect to the film is that it steps back mid-way through its time length as Swanberg himself makes an appearance of making the movie within the movie, a concept which I have seen done before but never in such a way. Basically, the audience sees him on an editing bay equipped with final cut pro as he edits the footage of "The Zone,"in "The Zone" (apartment), while the cast of "The Zone" implement their opinions and comments. This technique, much of which is filmed on an iphone, a film quality that I personally found nearly unwatchable and unfit for a cinematic experience, looks as if it was implemented in an attempt to create a three-way, or even four-way reality, the only question, as many film goers have asked before... is why?
Although it had it's moments, such as the prayer circle when the tenants were giving thanks for things outside of their "zone" or when Sophi Takal performs a particularly fascinating monologue showcasing her use of accents, I found much of Swanbergs film to be irrelative. I don't like the term self-indulgent so I will not use it, but basically I feel it was the closest thing I have watched to that term in a while. My reasoning for this is simply content, I don't believe there was much of a story. For the audience, when there is no story to be told and the camera is rolling it almost always comes down to vanity... because why are we watching? To be moved! To learn! To experience! That is why. As much as I liked some of Swanberg's previous work, such as 2006's "LOL" or 2007's "Hannah Takes the Stairs," I can not say the same for "The Zone," and the big difference here is story. After a fascinating Q&A session where I disagreed with Swanberg on nearly his entire philosophy regarding the future of film, I can't dock the guy for being pushing the boundaries and taking risks. As mentioned before, every Swanberg experience is a subjective one... still... I left the theatre that night feeling cheated, but you can't complain for free independent cinema.
Over all, my 2011 AFI experience was a blast! From the screening theaters to Hwood Blvd, it just fortifies my desire to write and produce a film that is great enough to compete with the best of the years independent cinema. If you havn't already, mark the 2012 AFI Fest on your calender for next year so you can reserve free tickets ... the experience will be well worth it.
