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Film Festival ReViews explores and highlights the increasing number of film festivals around the world via interviews, podcasts and articles assessing current trends in independent filmmaking, festival venues and emerging film markets.
CHRISTINA KOTLAR, founder and producer of Film Festival ReViews, LLC is a writer/producer and independent filmmaker and most recently managing editor and writer for Film Festival Reporter, a tabloid publication dedicated to reporting on independent filmmaking and the film festival circuit in North America.
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Film Maker's Blog
END OF THE ROAD
Jun 19, 2006 05:43AM
Got in very late last night - 2 a.m. That was because I took the long way home, the backroads to Annapolis (stopped for coffee at City Dock cafe)over the Bay Bridge spanning the Chesapeake Bay and then through what's left of Maryland's Eastern Shore countryside, a little bit of Delaware and then over the Delaware Memorial Bridge into New Jersey. If it wasn't so late I would've driven through the Pine Barrens on the lookout for the New Jersey Devil whose legend spawned many tales of terror. In any case, I always look for the roads less traveled, stop at a diner or two and eventually get to my destination.
In a (black walnut) nutshell, it was an extraordinary week spent in Silver Spring, Maryland. SILVERDOCS was enlightening, awesome, fun, and I look forward to next year which no doubt will be just as jampacked as the the rollerderby teams in JAM! sans the knee and elbow pads, I'm sure.
I have lots of interviews, insights and interesting bits and pieces that will be on my next podcast which I'm working on right now and will be posted this week. Check it out on the Film Festival reViews at:
web.mac.com/christina.k/iWeb/FilmFestivalreViews/Reviews.html
Thanks, Christina
In a (black walnut) nutshell, it was an extraordinary week spent in Silver Spring, Maryland. SILVERDOCS was enlightening, awesome, fun, and I look forward to next year which no doubt will be just as jampacked as the the rollerderby teams in JAM! sans the knee and elbow pads, I'm sure.
I have lots of interviews, insights and interesting bits and pieces that will be on my next podcast which I'm working on right now and will be posted this week. Check it out on the Film Festival reViews at:
web.mac.com/christina.k/iWeb/FilmFestivalreViews/Reviews.html
Thanks, Christina
DAY FOUR & FIVE: GETTING IT ALL IN
Jun 18, 2006 04:09PM
Saturday, June 17 and Sunday, June 18, 2006
This weekend melded together as I attempted to see more films, talk to more festival attendees, sit in on panel discussions while keeping hydrated and the circulation going in my lower extremities. In an early Saturday morning “Master Class”, Susan Lacy, executive producer of American Masters showed clips of music documentaries – Judy Garland, Ella Fitzgerald, Leonard Bernstein and Bob Dylan (No Direction Home, directed by Martin Scorsese) – and discussed ways that recreated moments of a climactic experience. Unfortunately, the tight theatre venue schedules did not allow showing the final clip in its entirety or a Q&A because a film screening was due to begin. So, I felt a bit rushed, but that’s because the festival’s growth has surpassed the number of available venues. I talked to Steve, one of the Venue Captains about the growing need for screening rooms and his plan for next year may include expanding to different areas for additional theater settings.
Grabbing a “lunch box” meal from the Cinema Lounge (thankfully, ahead of the lunchtime crowd), I plopped into the back row of Shoot First, Writer Later session with John Koch of the Writer’s Guild of America, West Documentary Program (WGAw). What started as an interesting concept – that I discussed with several successful doc filmmakers about what comes first – the script or the shots? – it veered off into a topic of unions. Not exactly what I was hoping to get from the session description although it did bring up an innovative concept of a contract that included writing credits, medical benefits and residuals for documentary filmmakers. Now that is very interesting to me and I’ll get to it more at some future time. He also threw out some statistics that I found exciting: Since 2001, there was a 90% increase for theatrical releases; in 2004, 31% of all Americans saw a political documentary; and NetFlix, with over 60,000 titles, accounts for 2 out of 3 video releases indicating a strong film viewing audience with film tastes that are very broad and diverse.
I had to take a short break this afternoon because a friend was getting married at 3 o’clock and I was expected to do a reading. It wasn’t very far from downtown Silver Spring, so in between the cocktail hour and dinner reception, I managed to get back in time to hear the awards announcement: Jesus Camp won the Sterling Award and Rolling Like A Stone won the Music Award. The directors, Stefan Berg and Magnus Gertten, (their photos were reversed in the festival directory), were surprised since their own home town thought the film and its characters were too obscure and boring. I caught up with them a little later at the Closing Night Party and found their natural way of finding a story in a little known or remembered tidbit firsthand when they noticed in their hotel room a short history of Silver Spring. Earlier that afternoon they went on a search for the sight of the site where the spring actually was. After asking countless people who have lived in Silver Spring for decades, it seemed that no one knew where it was, except for someone named Bob who directed them to the spot. It was funny to listen to their story and how it turned into an obsession to finding the origins of what is now an obscure tidbit of tourist information. Maybe next year I’ll see a documentary on it.
The festival officially ended with the presentation of the Audience Awards – Will Mr. Smith Get to Washington Anymore? And two shorts tied – Sheriff of Gay Washington and, hmm, I don’t have the second one, but I’m sure it’s posted on the Silverdocs website. And that was it. Fini. Usually, what happens next is a veritable exodus and the lounges and streets are eerily empty. Not so here.
After coffee and an interview with Doug Hawes-Davis about next year’s Big Sky Documentary Film Festival (President’s Weekend 2007), I headed to the Silver Theatre and caught a glimpse of the bike race peloton zipping through the streets and roadways. The downtown area was teeming with activity over the weekend and many filmmakers took advantage of the area’s plethora of tourist attractions as well as the proximity to the Washington monuments and museums. However, I continued in my film feeding frenzy (can’t get enough) and was among the capacity filled filmgoers to watch Wordplay, stay for the Q&A with New York Times Crossword Editor, Will Shortz and director Patrick Creadon and then be among a throng of crossword puzzle enthusiasts for a crossword challenge at the Cinema Lounge. The fun was contagious and while I headed out the door to get out of Dodge (a four hour ride back to New York), the crowd remained in the lounge area without any sign of it winding down.
This weekend melded together as I attempted to see more films, talk to more festival attendees, sit in on panel discussions while keeping hydrated and the circulation going in my lower extremities. In an early Saturday morning “Master Class”, Susan Lacy, executive producer of American Masters showed clips of music documentaries – Judy Garland, Ella Fitzgerald, Leonard Bernstein and Bob Dylan (No Direction Home, directed by Martin Scorsese) – and discussed ways that recreated moments of a climactic experience. Unfortunately, the tight theatre venue schedules did not allow showing the final clip in its entirety or a Q&A because a film screening was due to begin. So, I felt a bit rushed, but that’s because the festival’s growth has surpassed the number of available venues. I talked to Steve, one of the Venue Captains about the growing need for screening rooms and his plan for next year may include expanding to different areas for additional theater settings.
Grabbing a “lunch box” meal from the Cinema Lounge (thankfully, ahead of the lunchtime crowd), I plopped into the back row of Shoot First, Writer Later session with John Koch of the Writer’s Guild of America, West Documentary Program (WGAw). What started as an interesting concept – that I discussed with several successful doc filmmakers about what comes first – the script or the shots? – it veered off into a topic of unions. Not exactly what I was hoping to get from the session description although it did bring up an innovative concept of a contract that included writing credits, medical benefits and residuals for documentary filmmakers. Now that is very interesting to me and I’ll get to it more at some future time. He also threw out some statistics that I found exciting: Since 2001, there was a 90% increase for theatrical releases; in 2004, 31% of all Americans saw a political documentary; and NetFlix, with over 60,000 titles, accounts for 2 out of 3 video releases indicating a strong film viewing audience with film tastes that are very broad and diverse.
I had to take a short break this afternoon because a friend was getting married at 3 o’clock and I was expected to do a reading. It wasn’t very far from downtown Silver Spring, so in between the cocktail hour and dinner reception, I managed to get back in time to hear the awards announcement: Jesus Camp won the Sterling Award and Rolling Like A Stone won the Music Award. The directors, Stefan Berg and Magnus Gertten, (their photos were reversed in the festival directory), were surprised since their own home town thought the film and its characters were too obscure and boring. I caught up with them a little later at the Closing Night Party and found their natural way of finding a story in a little known or remembered tidbit firsthand when they noticed in their hotel room a short history of Silver Spring. Earlier that afternoon they went on a search for the sight of the site where the spring actually was. After asking countless people who have lived in Silver Spring for decades, it seemed that no one knew where it was, except for someone named Bob who directed them to the spot. It was funny to listen to their story and how it turned into an obsession to finding the origins of what is now an obscure tidbit of tourist information. Maybe next year I’ll see a documentary on it.
The festival officially ended with the presentation of the Audience Awards – Will Mr. Smith Get to Washington Anymore? And two shorts tied – Sheriff of Gay Washington and, hmm, I don’t have the second one, but I’m sure it’s posted on the Silverdocs website. And that was it. Fini. Usually, what happens next is a veritable exodus and the lounges and streets are eerily empty. Not so here.
After coffee and an interview with Doug Hawes-Davis about next year’s Big Sky Documentary Film Festival (President’s Weekend 2007), I headed to the Silver Theatre and caught a glimpse of the bike race peloton zipping through the streets and roadways. The downtown area was teeming with activity over the weekend and many filmmakers took advantage of the area’s plethora of tourist attractions as well as the proximity to the Washington monuments and museums. However, I continued in my film feeding frenzy (can’t get enough) and was among the capacity filled filmgoers to watch Wordplay, stay for the Q&A with New York Times Crossword Editor, Will Shortz and director Patrick Creadon and then be among a throng of crossword puzzle enthusiasts for a crossword challenge at the Cinema Lounge. The fun was contagious and while I headed out the door to get out of Dodge (a four hour ride back to New York), the crowd remained in the lounge area without any sign of it winding down.
Smorgasbord
Jun 17, 2006 06:49AM
Friday, June 16
After a sampling of what is going on here, I’m going to get into the thick of things and try to see more films, today. The day began with a program sponsored by Docuclub (New York) and Docs-in-Progress (D.C.) with a look at Ken Burns’ documentary in progress film about the Second World War, a seven part series, The War. Two special guests attended, both veterans of the D-Day invasion. I interviewed Ken Burns briefly at the press conference during the Tribeca film festival, so I’ll get some of that conversation on a future podcast on Film Festival ReViews.
I popped into Silver Sessions – small groups (15-20 people) – set up with industry professionals on all kinds of topics presented. The CPB (Corporation for Public Broadcasting) sponsored a luncheon bringing out hundreds of filmmakers and industry professionals together that, as one filmmaker put it, allowed them to get to know the organizers on a more personal level. The organizers have been going out of their way to make international filmmakers comfortable and engaged in festival sponsored activities and throughout these festival days. Silverdocs is truly a filmmaker-friendly festival (media-friendly as well).
A couple other films, panel sessions, receptions I got to see/sample today included Jam, a look at RollerDerby, a sport still and around (with thirty-year veteran skaters still on the same teams) and after being shown on a Classic Sport cable network, is gaining a new audience; Rolling Like a Stone (Scandinavia), an understated, artistically-honed film springing from 1960s home movies with the British sensation Rolling Stones staying at a local rock band’s house; and finally, the film recently picked up by ThinkFilm – F**K, an entertaining and outrageous look at this four-letter word, that alternately stirs up interesting and provocative responses about its origin and usage. After a stimulating Q&A, the film remained the topic of discussion at The Quarry, a local underground pub for an After Party gathering. Late Night.
After a sampling of what is going on here, I’m going to get into the thick of things and try to see more films, today. The day began with a program sponsored by Docuclub (New York) and Docs-in-Progress (D.C.) with a look at Ken Burns’ documentary in progress film about the Second World War, a seven part series, The War. Two special guests attended, both veterans of the D-Day invasion. I interviewed Ken Burns briefly at the press conference during the Tribeca film festival, so I’ll get some of that conversation on a future podcast on Film Festival ReViews.
I popped into Silver Sessions – small groups (15-20 people) – set up with industry professionals on all kinds of topics presented. The CPB (Corporation for Public Broadcasting) sponsored a luncheon bringing out hundreds of filmmakers and industry professionals together that, as one filmmaker put it, allowed them to get to know the organizers on a more personal level. The organizers have been going out of their way to make international filmmakers comfortable and engaged in festival sponsored activities and throughout these festival days. Silverdocs is truly a filmmaker-friendly festival (media-friendly as well).
A couple other films, panel sessions, receptions I got to see/sample today included Jam, a look at RollerDerby, a sport still and around (with thirty-year veteran skaters still on the same teams) and after being shown on a Classic Sport cable network, is gaining a new audience; Rolling Like a Stone (Scandinavia), an understated, artistically-honed film springing from 1960s home movies with the British sensation Rolling Stones staying at a local rock band’s house; and finally, the film recently picked up by ThinkFilm – F**K, an entertaining and outrageous look at this four-letter word, that alternately stirs up interesting and provocative responses about its origin and usage. After a stimulating Q&A, the film remained the topic of discussion at The Quarry, a local underground pub for an After Party gathering. Late Night.
Day Two: Al Gore and Martin Scorsese
Jun 16, 2006 05:17AM
Thursday, June 15
This morning I went to the 11a.m. film, Guerrilla Girl, an intimate look at a 21 year old women’s decision to become a guerilla soldier with the revolutionary People’s Army FARC in Colombia. Although they are taught survival and combatant skills, the film captures their desire for a semblance of the normal life they left behind – such as salsa dancing under the night sky – while always on the move, ready for battle. After a couple of outspoken remarks from the audience, director Frank Piasecki Poulsen provided additional information about the making of this candid view during the three shooting months in the Amazon. Later in the Cinema Lounge, I interviewed Poulsen about his work (that was in competition for the Sterling and Audience Awards), future projects and traveling the festival circuit to promote the film.
The afternoon zipped by quickly because of the anticipated keynote address by former Vice President Al Gore promoting CurrentTV, his media venture where filmmakers are welcome to submit their short documentaries and An Inconvenient Truth, a documentary about global warming. Alternately direct and witty with a bite, Gore spent quite a bit of time extolling the reaffirmation of democracy through current digital media vehicles “ to engage and recreate a marketplace of American ideas” not unlike Withoutabox’s philosophy of “leveling the playing field” for the masses of independent filmmakers.
Afterwards, while the impromtu entourage followed Gore to the Ceviche restaurant, I followed a different trail and wound up at a panel discussion Celebrating South Africa! Here, the filmmakers talked about filmmaking trends from the time of the uprising against Aparteid in 1976 and how music contributed as a means of getting the word out to the world about what was happening there. One such doc highlighted was Soweto Blues, with songs of South Africa as part of the liberation of the continent and up until 1976 were only sung by Africans, but since then the rest of the world joined in. Currently, more black South Africans are encouraged to get their personal stories out giving them opportunity to establish their identities as indie filmmakers.
I headed back to the Cinema Lounge for another DocTalks session, only to find it was delayed. However, it turned into a decidedly, unstressful gathering with festival participants milling around allowing opportunity to talk about films seen, panels heard and filmmakers meeting other filmmakers. It was a nice feeling not rushing to the next scheduled event, but that didn’t last too long when it came time for the Charles Guggenheim Symposium honoring filmmaker Martin Scorsese.
The Silver Theatre was packed to the limit and the obligatory introductions and recognitions seemed more relaxed and befitting the evening audience. Two filmmakers seated next to me found a way to get in whether they actually had an invitation or not, Martin Scorsese was far more alert than his interviewer, Jim Jarmusch and the best clips came from his Italian family documentary. By 9 p.m. it was over due to an outdoor screening of The Last Waltz. Pouring out of the Silver, the outgoing crowd streamed past crowds of people lined up, ready to get into the evening screenings.
It’s quite a balancing act for the festival organizers. While wanting to increase festival attendance, there’s always concern that it would be overcrowded and possibly uncontrollable. With constant vigilance, the festival organizers created a film festival ambience that underscored what filmgoers anticipate as part of their film festival experience. As a reception in the gardens at the Discovery headquarters waned into the late evening, I appreciated being under the cool, night sky (really, at this time in June!).
This morning I went to the 11a.m. film, Guerrilla Girl, an intimate look at a 21 year old women’s decision to become a guerilla soldier with the revolutionary People’s Army FARC in Colombia. Although they are taught survival and combatant skills, the film captures their desire for a semblance of the normal life they left behind – such as salsa dancing under the night sky – while always on the move, ready for battle. After a couple of outspoken remarks from the audience, director Frank Piasecki Poulsen provided additional information about the making of this candid view during the three shooting months in the Amazon. Later in the Cinema Lounge, I interviewed Poulsen about his work (that was in competition for the Sterling and Audience Awards), future projects and traveling the festival circuit to promote the film.
The afternoon zipped by quickly because of the anticipated keynote address by former Vice President Al Gore promoting CurrentTV, his media venture where filmmakers are welcome to submit their short documentaries and An Inconvenient Truth, a documentary about global warming. Alternately direct and witty with a bite, Gore spent quite a bit of time extolling the reaffirmation of democracy through current digital media vehicles “ to engage and recreate a marketplace of American ideas” not unlike Withoutabox’s philosophy of “leveling the playing field” for the masses of independent filmmakers.
Afterwards, while the impromtu entourage followed Gore to the Ceviche restaurant, I followed a different trail and wound up at a panel discussion Celebrating South Africa! Here, the filmmakers talked about filmmaking trends from the time of the uprising against Aparteid in 1976 and how music contributed as a means of getting the word out to the world about what was happening there. One such doc highlighted was Soweto Blues, with songs of South Africa as part of the liberation of the continent and up until 1976 were only sung by Africans, but since then the rest of the world joined in. Currently, more black South Africans are encouraged to get their personal stories out giving them opportunity to establish their identities as indie filmmakers.
I headed back to the Cinema Lounge for another DocTalks session, only to find it was delayed. However, it turned into a decidedly, unstressful gathering with festival participants milling around allowing opportunity to talk about films seen, panels heard and filmmakers meeting other filmmakers. It was a nice feeling not rushing to the next scheduled event, but that didn’t last too long when it came time for the Charles Guggenheim Symposium honoring filmmaker Martin Scorsese.
The Silver Theatre was packed to the limit and the obligatory introductions and recognitions seemed more relaxed and befitting the evening audience. Two filmmakers seated next to me found a way to get in whether they actually had an invitation or not, Martin Scorsese was far more alert than his interviewer, Jim Jarmusch and the best clips came from his Italian family documentary. By 9 p.m. it was over due to an outdoor screening of The Last Waltz. Pouring out of the Silver, the outgoing crowd streamed past crowds of people lined up, ready to get into the evening screenings.
It’s quite a balancing act for the festival organizers. While wanting to increase festival attendance, there’s always concern that it would be overcrowded and possibly uncontrollable. With constant vigilance, the festival organizers created a film festival ambience that underscored what filmgoers anticipate as part of their film festival experience. As a reception in the gardens at the Discovery headquarters waned into the late evening, I appreciated being under the cool, night sky (really, at this time in June!).
Day One
Jun 15, 2006 05:47AM
Wednesday, June 14
Beautiful day to start and one of the little surprises that makes life easier when trying to get somewhere on time is where to park your car so you don’t (a) get a ticket (b) get a ticket and booted or (c) get a ticket, booted and towed. The last doesn’t happen much in Silver Spring (unlike D.C.) but I don’t want the stress of worrying about feeding the meters, etc. The public transportation is excellent here, and getting around on foot is the most convenient since everything pretty much is within walking distance. The parking situation is one of the best deals - $7 for the entire day and you can leave for a while and come back using the same all day ticket. Good deal.
This morning I went to see the first film scheduled on the festival roster Love Letters From a Children’s Prison in competition for the Sterling Award (Best in Show). David Kinsella, a native of Belfast now living in Norway was teaching a master photography class in Russia when he ventured making a documentary about youths incarcerated in Soviet-style – gulag – prisons. Part of his Children of Perestroika trilogy, the film alternates between disquieting black & white starkness of life behind bars against the hopeful love letters between an inmate and his steadfast sweetheart.
CINEMA LOUNGE
At one time, this section of Silver Spring was just an alleyway for truck deliveries but now has become a busy thoroughfare of restaurants and retail with the Cinema Lounge nestled in between this business stretch. Just about all film festivals have a place for filmmakers, media, and industry pass holders to gather with press info, wireless connection, catching up, networking and, of course, coffee.
SILVERDOCS is known for its informative yet informal conferences and organized Silver Sessions connecting industry professionals and filmmakers alike. I dropped in on a couple this afternoon – one was called the D-Word Face 2 Face which was a roundtable setting of 45-minute moderated discussions with perspectives on distribution, co productions and as always, fundraising. There was also a filmmaker’s presentation with ideas and suggestions based on personal experiences exchanged about the filmmaker’s work-in-progress.
Sandwiched in between this and upcoming DocTalks I hopped back around the corner to the Silver Theatre for Peter Broderick’s session Distribution Revolution, a presentation on new business models for indie filmmakers. No longer alternative but current forms of distribution, he showed trailers and discussed strategies for connecting core audiences with distribution outlets. It reminded me of a conversation I had with Rob Moretti, festival director of the Montclair International Film Festival in my first Film Festival ReViews podcast. Good to know I’m in sync with the next wave of thinking about distribution other than the “broken” (according to Broderick) distribution deal model.
Back to the Cinema Lounge I made it for DocTalks with Allan King, the best-known documentary filmmaker in Canada. King and his biographer (really), Seth Feldman talked about the films he made since the early sixties and his attempts at capturing life as it actually happened in his documentaries. An easy, intimate conversation, the audience had an opportunity to hear about cinema verite as it was in those early years. Great to see one of the pioneers in docs taking the time from his busy schedule (still making films) to share personal stories and insights at this festival. Very suave.
After the DocTalks reception, I tried to get into the film Guerilla Girl that was sold out as of early afternoon. After a half hour on the wait line, they announced no more seats were available. Oh, well. I’ll see it tomorrow morning and so our trio I connected with earlier at the Lounge headed to one of the Festival receptions for comparisons of the day’s events and films seen or planning to be seen. By the time we finished catching up, another late night evening party went into full swing at the Cinema Lounge, but I headed out from the music blasts – tomorrow is going to be another big day.
Beautiful day to start and one of the little surprises that makes life easier when trying to get somewhere on time is where to park your car so you don’t (a) get a ticket (b) get a ticket and booted or (c) get a ticket, booted and towed. The last doesn’t happen much in Silver Spring (unlike D.C.) but I don’t want the stress of worrying about feeding the meters, etc. The public transportation is excellent here, and getting around on foot is the most convenient since everything pretty much is within walking distance. The parking situation is one of the best deals - $7 for the entire day and you can leave for a while and come back using the same all day ticket. Good deal.
This morning I went to see the first film scheduled on the festival roster Love Letters From a Children’s Prison in competition for the Sterling Award (Best in Show). David Kinsella, a native of Belfast now living in Norway was teaching a master photography class in Russia when he ventured making a documentary about youths incarcerated in Soviet-style – gulag – prisons. Part of his Children of Perestroika trilogy, the film alternates between disquieting black & white starkness of life behind bars against the hopeful love letters between an inmate and his steadfast sweetheart.
CINEMA LOUNGE
At one time, this section of Silver Spring was just an alleyway for truck deliveries but now has become a busy thoroughfare of restaurants and retail with the Cinema Lounge nestled in between this business stretch. Just about all film festivals have a place for filmmakers, media, and industry pass holders to gather with press info, wireless connection, catching up, networking and, of course, coffee.
SILVERDOCS is known for its informative yet informal conferences and organized Silver Sessions connecting industry professionals and filmmakers alike. I dropped in on a couple this afternoon – one was called the D-Word Face 2 Face which was a roundtable setting of 45-minute moderated discussions with perspectives on distribution, co productions and as always, fundraising. There was also a filmmaker’s presentation with ideas and suggestions based on personal experiences exchanged about the filmmaker’s work-in-progress.
Sandwiched in between this and upcoming DocTalks I hopped back around the corner to the Silver Theatre for Peter Broderick’s session Distribution Revolution, a presentation on new business models for indie filmmakers. No longer alternative but current forms of distribution, he showed trailers and discussed strategies for connecting core audiences with distribution outlets. It reminded me of a conversation I had with Rob Moretti, festival director of the Montclair International Film Festival in my first Film Festival ReViews podcast. Good to know I’m in sync with the next wave of thinking about distribution other than the “broken” (according to Broderick) distribution deal model.
Back to the Cinema Lounge I made it for DocTalks with Allan King, the best-known documentary filmmaker in Canada. King and his biographer (really), Seth Feldman talked about the films he made since the early sixties and his attempts at capturing life as it actually happened in his documentaries. An easy, intimate conversation, the audience had an opportunity to hear about cinema verite as it was in those early years. Great to see one of the pioneers in docs taking the time from his busy schedule (still making films) to share personal stories and insights at this festival. Very suave.
After the DocTalks reception, I tried to get into the film Guerilla Girl that was sold out as of early afternoon. After a half hour on the wait line, they announced no more seats were available. Oh, well. I’ll see it tomorrow morning and so our trio I connected with earlier at the Lounge headed to one of the Festival receptions for comparisons of the day’s events and films seen or planning to be seen. By the time we finished catching up, another late night evening party went into full swing at the Cinema Lounge, but I headed out from the music blasts – tomorrow is going to be another big day.
Opening Night at SILVERDOCS
Jun 15, 2006 04:09AM
As with Film Festival ReViews podcasts, I give an insider look/festival experience at this fourth annual SILVERDOCS International Documentary Film Festival trying to keep a balance between a full schedule of competition films, feature films, shorts programs, conferences, special events and special screenings, including a tour of Downtown Silver Spring, Maryland,
June 13
So, it’s Tuesday night and while the height of rush hour Downtown Silver Spring can be maddening, it was, for me, a welcome back to the place where I was before. As I approached the AFI Silver Theater, its marquee running continuously with the announcement that the film screening was sold out, I became enmeshed with the arriving masses for this Opening Night event. It was a red carpet affair complete with a cast of characters out of films featured in BOFFO! TINSELTOWN’S BOMBS AND BLOCKBUSTERS, a behind-the-scenes documentary delving into the mysterious prognostication (as well as homage to the “Movie Gods”) as to whether the film will be a box office hit or bust.
The pre-film gathering in the theater lobby reached capacity by 6:30 p.m. and I spoke with several staff and volunteers (three hundred volunteers have been gathered for this massive undertaking) about the start of this main event that’s fast becoming the “Documentary Mecca” or “Docuwood” as some referred to when I still lived in the Silver Spring area.
A doc film about Hollywood filmmaking – its bombs and blockbusters – is a testament to the interest Hollywood is taking especially in light of the recent theatrical documentary successes at the box office. Jack Valente was in the audience while Dan Glickman commented on the emergence of a new form of film story based on things that are known. Hey, as documentary filmmakers, we know that, don’t we? Also, how docs were once put down and mentioned along with four letter words in hushed tones with the inevitable question – how would they get audiences to watch documentaries?
Well, there wasn’t any problem here, as all the seats were filled in this beautifully restored 1930s Art Deco theatre. The film I saw when the Silver was renovated and reopened was Lawrence of Arabia and geez, were Peter O’Toole’s eyes the bluest I had every seen! In any event, I am looking forward to seeing more films in this grand venue – a tribute the proper showing of so many great films – particularly after talking to some of the filmmakers at the Gala reception held in the great halls of the Discovery building across the street. By the way, the close proximity of event locations is an added plus intertwined with the everyday downtown hustle and bustle.
The Gala reception was a great place to talk about the film and several area residents commented on how it didn’t seem to be the regular crowd of Washingtonians, but an influx and melding from New York, L.A. to international filmmakers – an excellent observation for the locals as this festival gains a greater national and international spotlight. Other discussions with several documentary filmmakers centered on technical matters about this evening’s screening as well as, the KA-CHING, KA-CHING aspect. While most documentaries are stories the filmmaker is passionate about (that’s why it turns out to be so good) the question always comes up – will the filmmakers benefit and reap the rewards of their vision and hard work? I look forward to the panels and conferences lined up for the rest of week that will shed some light on these topics and can’t wait to see the films. Onward!
June 13
So, it’s Tuesday night and while the height of rush hour Downtown Silver Spring can be maddening, it was, for me, a welcome back to the place where I was before. As I approached the AFI Silver Theater, its marquee running continuously with the announcement that the film screening was sold out, I became enmeshed with the arriving masses for this Opening Night event. It was a red carpet affair complete with a cast of characters out of films featured in BOFFO! TINSELTOWN’S BOMBS AND BLOCKBUSTERS, a behind-the-scenes documentary delving into the mysterious prognostication (as well as homage to the “Movie Gods”) as to whether the film will be a box office hit or bust.
The pre-film gathering in the theater lobby reached capacity by 6:30 p.m. and I spoke with several staff and volunteers (three hundred volunteers have been gathered for this massive undertaking) about the start of this main event that’s fast becoming the “Documentary Mecca” or “Docuwood” as some referred to when I still lived in the Silver Spring area.
A doc film about Hollywood filmmaking – its bombs and blockbusters – is a testament to the interest Hollywood is taking especially in light of the recent theatrical documentary successes at the box office. Jack Valente was in the audience while Dan Glickman commented on the emergence of a new form of film story based on things that are known. Hey, as documentary filmmakers, we know that, don’t we? Also, how docs were once put down and mentioned along with four letter words in hushed tones with the inevitable question – how would they get audiences to watch documentaries?
Well, there wasn’t any problem here, as all the seats were filled in this beautifully restored 1930s Art Deco theatre. The film I saw when the Silver was renovated and reopened was Lawrence of Arabia and geez, were Peter O’Toole’s eyes the bluest I had every seen! In any event, I am looking forward to seeing more films in this grand venue – a tribute the proper showing of so many great films – particularly after talking to some of the filmmakers at the Gala reception held in the great halls of the Discovery building across the street. By the way, the close proximity of event locations is an added plus intertwined with the everyday downtown hustle and bustle.
The Gala reception was a great place to talk about the film and several area residents commented on how it didn’t seem to be the regular crowd of Washingtonians, but an influx and melding from New York, L.A. to international filmmakers – an excellent observation for the locals as this festival gains a greater national and international spotlight. Other discussions with several documentary filmmakers centered on technical matters about this evening’s screening as well as, the KA-CHING, KA-CHING aspect. While most documentaries are stories the filmmaker is passionate about (that’s why it turns out to be so good) the question always comes up – will the filmmakers benefit and reap the rewards of their vision and hard work? I look forward to the panels and conferences lined up for the rest of week that will shed some light on these topics and can’t wait to see the films. Onward!
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