Sundance Film Festival...Robert Redford to screen flicks across pond in London! A gamble?

 



In a bid to spread the good word about the wonders of celluloid and Independent film (now a major U.S. export overseas) and its ability to touch and inspire the human spirit, officials at Robert Redford's "Sundance Film Festival" announced ambitious plans to launch a version of the Utah-based fest overseas in the heart of London.

The much-ballyhooed cultural reach is slated for an ceremonious unveiling next year (to run April 26th thru the 29th).

In addition to an eclectic string of thought-provoking insightful movies, Redford's "baby" is known for, there will be a stimulating calendar of events that range from live stage performances, to industry panels on a myriad of filmmaker topics, and insightful one-on-one interviews with high-profile celebs on the independent film landscape.

"It is our mutual goal to provide the U.K. with the very best in current American Independent Cinema, to introduce the artists responsible for it, and in essence help build a picture of our country that is broadly reflective of the diversity of voices not always seen in our cultural exports," the respected actor underscored in a press release in recent days.

Will there be as keen an interest in Sundance "picks" (which usually set filmmaking trends) across the big pond as there is on these shores?

News at 11!

http://www.thetattler.biz



From heartthrob to respected film director!

AFI FEST...Tilda Swinton causes sensation at career tribute! Kathleen Quinlan radiates at star-studded premiere...

Tilda Swinton strode in the door and a ripple of electricity streaked through the room, Kathleen Quinlan wowed the press with her beauty and grace, and the cast of Black & Sexy were a high-energy delight.

"Tilda! Tilda!"

Yes, that was the excited battle cry last night, as the frenzied paparazzi lunged forward to nab their best shot of the "WOMAN" of the hour - Tilda Swinton - who was being honored by the AFI with a career tribute.

Of all the events this past week at the 11-day Fest, this was undoubtedly the highlight.

Shortly after Ms. Swinton alighted next to me to have a few words with a couple of gushing female reporters - it was evident within a few minutes - that Ms. Swinton was my kind of gal.

For instance, when one of the newsies asked Ms. Swinton who inspired her as an actress, she was quick on the uptake.

"Do you know Margaret Rutherford?" she quizzed the newsies almost reverently.

When their faces went blank, I was inclined to pipe in and lend a hand.

"Yes! Great English character actress," I noted with a Cheshire grin on my face.

Then, she surprised me again.

"Particularly, in the Ms. Marpole series."

Oh my God!

One of my favorite series - along with Hercule Poirot - of course!

A few minutes later, Ms. Swinton was standing before me, gazing deeply into my eyes.

"This woman is intense," I made a mental note to myself.

And there, before me, the depths of her soul sang out in beautiful harmony.

When I asked Ms. Swinton if it was difficult for her in the beginning of her career - what with her distinctive look 'n all - she reacted like a tightly-wound-spring that had just been released.

"They didn't know what to do with me," she fluttered, with a slightly exasperated tone in her voice.

After noting she obviously had to believe in herself, I asked if she was ever inclined to quit the business because of the frustration of dealing with casting's limited perceptions.

"I don't know that I've begun, yet."

I laughed out loud.

Tilda's quick, and bright, with a refreshing deadpan sense of humor.

Later, I was invited to the AFI Fest Tribute - a series of clips highlighting Ms. Swinton's remarkable career to date - and was astounded by the versatility of the woman on the silver screen.

A Festival organizer made a surprise announcement at this juncture.

"Tilda's new film - Julia - will be unveiled for you tonight as a special treat. It's a world premiere."

A review will follow on the new release and Ms. Swinton's remarkable performance in this dark, offbeat, transformative character piece.

Undoubtedly, this was her most challenging role to date.

And, she snagged it.

Kathleen Quinlan, who first broke onto the feature-film scene years ago in the thought-provoking - "I Never Promised You a Rose Garden" - was dazzling.

Ms. Quinlan wore a chocolate brown pant suit, punched up with a neckline trimmed in understated sprays of soft glitter, which caught the light now and then.

The understated choice was a classy outfit which suited her to a "T".

Hillary Clinton, take note!

What struck me most about the fifty-something woman (surely she's not older?) was her flawless skin. So much so, that I was inclined to ask her to share her beauty secrets with my readers.

"Leave your face alone. Don't touch it. Do Yoga."

For additional pointers - check out my blog post on "Faces at 50" - for tips on how to make your skin radiate like Ms. Quinlan's.
(Post: 02/03/08)

When I asked the enduring star which film was a highlight in her long-distinguished career, she was at a loss for words, though.

A true diplomat, she focused on her new film - POUNDCAKE - as the one she was quite proud of it.

It's about a couple going through a divorce - urged by family - to try to make the long-term union work.

"We live in a disposable society. If something doesn't work, get rid of it," she astutely noted to one reporter.

"That's our society. Why not try to salvage something for a change?"

The most rambunctious energy-charged entourage on carpet last night was the cast of "A Good Day to be Black & Sexy".

At one moment, I thought I'd suffer from a chronic case of sensory overload!

A few of the ladies wore elegant cocktail dresses - bolstered just-so with tasteful designer accessories such as - oversize hoop earrings, one-of-a-kind broaches, and flourishes here and there that individualized their looks. Heels tended to be on the dizzying high side, ladies.

The guys made me stand up and take notice, too!

"We want to have our own individual style. That says who we are."

T-shirts were spruced up with touches of glitter, etched with motifs, and often form-fitting.

"I work out. I want clothes that show-off my build."

When the director walked up and he was asked how he felt, he didn't hesitate to utter up a quip.

"After last night (the Obama win) it was a great day. We walked down the street and people moved aside. 'Cause we're in style now," Dennis Dortch responded.

The film was shot over an extended period for a couple of reasons - noted Producer Layla Sewell - who captivated me with her beaming outgoing personality.

There were location problems to deal with, cash-flow demands which needed to be met, that sort of thing.

A show-stopper was definitely Bai Ling who first broke into the spotlight in "Red Corner" playing opposite Richard Gere.

An exquisite dress - with a smattering of Art Deco leanings - exalted her lithe sensuous body and was crowned with a dramatic flat-pressed "do" sparked up with a tasteful headband and elegant bow.

The young "Dim Sum Funeral" star has an instinct for style and a flair for the dramatic.

"We shouldn't be slave to designers. They are here to serve us."

The cast of "DIM SUM" raved about their low-key Director - Anna Chi (Joy Luck Club) - who was on hand to take questions and share some of her noble thoughts.

To me, it appeared the talented auteur took a spiritual approach to her work, in view of the comments that the performers were offering up at the Cinerama Dome.

"It's all about respect," she asserted.

Ms. Chi loves to futz about in the kitchen, by the way. And, the charismatic woman, was quick to draw an analogy between the art of cooking and filmmaking.

"You gather up your ingredients. A bit of this, a bit of that. And, go from there."

The director of the animated feature - "A Day at the Beach" - noted that she was hopeful that "Sundance" might call.

To draw attention to her fictional work - which focuses on all aspects of "love" - her and the producer strode along the carpet with a sprightly-colored promo to tout the foreign production which boasts a score of tantalizing Brazilian music.

Another short film - "Two Owls in Love" - looks to be a clever creation which I intend to take in, if possible.

Check it, and all the other offerings out, at the AFI Fest site.

www.afi.com

Cannes & Toronto Film Festival tops amid garden variety of mediocre fests!

Well, there has been quite a proliferation of wide-ranging Films Festivals in the past couple of years.







I was just coming off the "Backlot Film Festival" when I received word that the "Beverly Hills Festival" was starting up.



And, when I logged into my e-mail, I was confronted with a series of frenzied communications from the "Very Short Films" venue, urging me to attend a couple of final events before the big wrap at their Hollywood fest.



The "Arab Film Festival" (gave them a big promo last year) has been firing off news releases, too.



On "Facebook" in May - the Cannes Film Festival "group" I joined - was gearing up for the big bucks extravaganza where big names were sure to be bouncing off Festival walls throughout a dizzying array of high-profile high-energy events on the Riviera.



Of course, festivals are a dime-a-dozen and come in garden varieties.



The world's first major film festival was held in Venice in 1932 with major film festivals in Berlin and Moscow to follow on its heels.







The longest-running fest is - "The Edinburgh International Film Festival" - established in 1947.





North America threw its reels into the ring in 1953 - and with little fanfare - started up the Columbus International Film & Video Festival ("Chris Awards").



"The Chris Awards" - fifty-four years in the running now - primarily focus on documentaries, educational films, and business and informational competitions in the U.S.





When the San Francisco International Film Festival was launched in March 1957, the festival played a major role in introducing foreign films to avid American audiences. In the initial year of screenings, film-goers were delighted to thrill to the captivating original works of Akira Kurosawa (Throne of Blood) and Satyajit Ray (Pather Panchali).



Film Festivals often showcase films in one or more movie theaters during their runs. So, you may have to dash helter-skelter all over town to keep up. Most offerings are recent, and include major international releases, as well as those made outside a country's established film industry.



A particular genre (film noir) or type (documentaries) may have a drawing power for a specific audience that promoters will utilize to their advantage to get film enthusiasts in the door.



Some Fests have a definite mission, although they may stray from it without notice.



Sundance notes on their site,



"Sundance Institute is a year-round non-profit organization dedicated to the discovery and development of independent artists and audiences. Individual donations to Sundance Institute support theatre, film, and music artists. The community of supporters help these artists navigate the challenges of creating new work and see their projects succeed. Individual donors support the Institute by making general contributions, providing program specific support, purchasing tables and tickets to the annual Gala in New York, or by joining the Patron Circle."



Other festivals of note include the - "The Toronto Film Festival” - which is centered around upscale Yorkville (once a hippie hangout before the yuppies moved in) where trendy alfresco cafes, luxury hotels, and VIP movie theatres (they serve popcorn and soft drinks ringside in your comfy high-back leather seats) lure the big whales in.



There has been a lot more focus on mainstream Hollywood films over the past decade; but, the Festival has not forgotten its roots in the independent vein.



TTFF - as it is known, features retrospectives of National cinemas, individual directors, and highlights of Canadian cinema - along with a veritable staple of African, South American, and Asian films.



The festival is considered a place to listen for "Oscar-buzz".

It's great organizers open their doors wide and permit first-timers to unveil their fledgling projects, and likewise, provide a forum so that newcomers can rustle up much-needed feedback.



But, is that what's unfolding these days around the circuit?



Last week - promoters of the "Backlot Festival" complained that some filmmakers weren't showing up for their own screenings - let alone hanging around to take in the labors of love screened by their peers.



Young auteurs these days are more focused on landing a spot at a prominent Film Festival. If luck and timing is on their side, they may garner a coveted prize, to tack on their film resume as a noteworthy credit.



The Icing on the cake?



Just maybe, a young maverick can rustle up a distribution deal or additional funding to blitz the heck out of his "baby".



Feedback? Forget-about-it!!!



In some cases - some constructive criticism would have been a Godsend to a handful of the slip-shod producers I've crossed paths with - believe me.



For example, one project at the Backlot ("Roses in April") was a friggin' mess.



The production values were poor and the editing equally lousy.



The narrative - what there was of it - was lost in a tangle of clichés and what-ifs.



Although the young director took a novel approach in a couple of scenes - which signaled her potential as a "film artist" - a few innovative visually-stunning minutes on screen do not a film make!



About a quarter of the way into the screening "Roses" turned into a thorny proposition.



Undoubtedly - the first-time-outer would have benefited from some honest input from friends, fellow filmmakers, show organizers - you name it.



So, there goes another pile of celluloid onto the old scrap heap, because it's doubtful it will even make it to DVD.



In my view, Festivals should be a breeding ground for artists.



For instance, a hotspot where creative folks can unveil their projects, engage in a meaningful dialogue, and explore the artistic temperament in a purposeful, nurturing, and satisfying way.



In such a forum - filmmakers have an insightful opportunity to discuss the latest trends (leading-edge developments in the industry, for example), or mull over new product (like camera gear and film stock) with fellow shooters.



Chit-chatting about the skuttle-butt - and the "who's who" and "what's what" - is a great way for industry-newcomers to fathom ways to survive in an ever-growing filmmaking landscape now predominated by innovations in rich media.



The goal?



To nurture and develop the talent and improve the product for market.



Curiously, "Roses" did create some dialogue, albeit unexpectedly.



When the young director chose to feature a photographic still of a child playing in the nude, the organizers of the Backlot Film Festival were stridently opposed to showcasing the poster (after labeling the image "porno").



Ha! What nonsense.



I studied the Mapplethorpe case in the days when the key legal issues were relevant - and more recently - the Robin Sharpe case in Canada (Sharpe was a neighbor of mine in Kitsilano, B.C. years ago) and am quite cognizant about what constitutes "art" verses "porno".



Essentially, the argument boils down to this.



Is the image being used to exploit the subject in a sexual way or to satisfy prurient interests?



In the case of "Roses" - an image depicting the innocence of a child - can hardly be construed as pornographic by any stretch of the imagination.



Look to the HOWL litigation for further guidance.



In that landmark case - where the issue of obscenity was raised in respect to poet Allen Ginsberg's literary work ("Howl") - Judge Horn (who presided over the case) was inclined to set a few guidelines for future cases on obscenity after dismissing the criminal charges.



For instance, in his opinion he wrote,



"If material has the slightest redeeming social importance it is not obscene because it is protected by the 1st and 14th Amendments of the U.S. Constitution."



A second legal finding is my favorite,



"In considering material claimed to be obscene remember the all-important motto: honi soit qui mal y pense."



Or, in plain old English, "Evil to him who Evil thinks".



In the hands of the "Backlot Film Festival" committee, censorship would have a chilling effect on artistic expression in the community at large.



In the final analysis, that's what determines if a festival is relevant and highly regarded - prestigious, in fact - or just one of many bogged down in a smattering of mediocrity.



Artists should strive for the higher ground, in my estimation.



As Buck Rodgers once said,



"There are countless ways of attaining greatness, but any road to reaching one's maximum potential must be built on a bedrock of respect for the individual, a commitment to excellence, and a rejection of mediocrity."

Red Carpet glamour pose...