My suitcase weighs 49.5 pounds. It is packed to capacity. The other bag is full of shoes. Why a bag just for shoes? Because when you stand on your feet for 12+ hours a day (sometimes running into a theater) one or two pairs of shoes for two weeks is not going to work.
I’m ready for more BBQ and breakfast tacos, familiar faces and a big Texas sky. Plus Whataburger. I’ve been craving it all week.
Keeping it short and sweet on this travel day. Here’s a few odds and ends that have been on my mind lately:
A new podcast from the crew of This American Life and Serial! S-Town is here on March 28. I’ll be binging on my flight post-festival, until then no spoilers please!
ICYMI, Cate Blanchett & Richard Linklater start shooting the adaptation of Where’d You Go, Bernadette this summer.
I was sad to hear of the passing of Amy Krouse Rosenthal earlier this month. In case you missed it, grab some kleenex and read one of the of her last (beautiful) essays.
One of the tricks about finding a place to live in LA is figuring out how far you are from the freeway or airport, both as a convenience and for all the noise/pollution. You can look up your neighborhood here: National Transportation Noise Map. #NoiseNerd
Late March/early April is FULL of great film festivals. Kudos to all my friends out there making it happening with amazing lineups this year. Indiewire (which use to have larger coverage of film festivals in general) has a post that gives a run down of some announcements.
This: “At the root of this is the American obsession with self-reliance, which makes it more acceptable to applaud an individual for working himself to death than to argue that an individual working himself to death is evidence of a flawed economic system. The contrast between the gig economy’s rhetoric (everyone is always connecting, having fun, and killing it!) and the conditions that allow it to exist (a lack of dependable employment that pays a living wage) makes this kink in our thinking especially clear. “
SXSW is one of the top tier festivals on the circuit. Based in Austin, Texas the festival has three major (of many) components: music (which was the origin of the event), film, and interactive.
It’s also a festival I’ve never attended.
Sadly, it is one of the largest festivals I do not get to attend based on my own work deadlines. I experience it through all of the other hundreds and thousands of people that attend.
I’ve heard of how the festival has grown to excess with many of those attending the Interactive conference making it difficult for folks to see movies. Some people have said it has gotten a little more under control in the last two years, but between tech’s influence on all things media you can not be surprised that parts of the festival (and films themselves) may get overlooked through all the hype. I can imagine this festival has unique challenges that others may not face. (One key difference: this event is a for-profit company unlike many other non-profit film festivals.) I hope to experience it myself one day.
So while I don’t have any first-hand advice on where to go or where to eat during this massive event (though tacos or BBQ are always a good bet – and SXSW programmer Jarod Neece is a connoisseur of tacos), here are a few highlights from their film lineup to try to catch:
Song to Song – Terrence Malick’s latest film will open the film festival on Friday before releasing later this March. I’m always curious to see what Malick is up to.
I Am Another You– Filmmaker Nanfu Wang stormed onto the circuit last year with her powerful documentary Hooligan Sparrow. One year later, she is back with a film she began making before Hooligan. It’s thoughtful and proves that Wang is a great storyteller.
Dealt– Luke Korem returns to SXSW with this portrait of one of the nation’s finest card magicians. Richard Turner is quite the character.
Muppet Guys Talking – I’m a big fan of the Muppets and this film directed by Frank Oz is one I’m most looking forward to seeing this spring.
Shorts – Programmer Claudette Godfrey always puts together an eclectic lineup of shorts, with a vibe that is oh-so Austin. A few to note: Perfectly Normal, The Mess He Made, Raised by Krump and Spring.
Sending best wishes to my fellow Texan festival cohorts this week!
If you happen to be traveling to Austin, let me know what you’re excited to check out and how you’re experience goes!
Today I am off to Utah for 10 long days of films, festing, meetings and screenings. The Sundance and Slamdance Film Festivals start later this week, but first I’ll be in Midway to attend the Art House Convergence and Film Festival Alliance conference. It’s my first time attending the conference and I’m not sure what to expect.
From what I’ve heard, this conference is informative and friendly. Seeing people at Sundance is always a hustle, but this conference is more relaxed. You’re not rushing to make a movie or navigating your way through a crowded party. There’s time to sit down, get to know people and chat. My hope is to make a few new connections and meet the folks I’ve only heard about by name or email address for years.
The conference schedule is full of different panels and I’m still debating on which ones to attend. One topic of interest to me is “Cultivating a younger audience”(aka how do you get 21-year-olds to buy tickets, engage in cinema and have them not snap chat in the theater the whole time?). This is something everyone struggles with. I hope the panelists share ideas that worked for them and don’t just complain about how it’s an issue (because that we already know about).
Last fall I volunteered with another attendee to curate the speakers on a panel called “Cultivating Your Lineup”. The discussion includes festival programmers and distributors who will share experiences about investing or supporting relationships and navigating the politics of programming. Relationships are a huge part of programming for festivals. People come in and out of different work circles and connect you with other artists all the time. As with most industries, your success is often dependent on your network. That network could also mean that films come across your path for political reasons and there’s a balance between what you want and what may help your organization for the future based on a certain connection. (This topic is a long one in and of itself. To be discussed!) I’m curious to hear what our panelists think.
My new business cards and snow boots are packed. Excited to let the cinema and logistics nerd in me come out to play and share ideas on the work of theaters and festivals. Some of those thoughts may appear here in the future, so stay tuned!
What panels do you think look the most interesting? Let me know if you think there’s one I should attend in particular. And how many days will it take before you think I’ll be tired of the snow?