Hi, it's Anne, with a few parting shots as I head back for LA. I have to admit, Monday morning felt like school for me. I was hanging out at my hotel, it was snowing outside, and I was in the mood for a lazy day in front of the fire. But down on Main Street at the Queer Lounge, attorney and good pal Jonathan Handel was doing a panel on the Writers' Strike, its causes and effects, and prospects for a solution. I wanted to show up for him. So (cue the violins) I made the coffee, got up, got out, and got myself down there. The panel was so intriguing, I was glad I did.
Onstage (from left) were Jonathan Handel, attorney and digital-media law specialist ; Writers' Guild member Howard Rodman (screenwriter of festival entry Savage Grace); and Jason Stuart, chair of the Screen Actors' Guild's LGBT committee. Jonathan and Howard sparred on the question of why the negotiations between studios and writers had been derailed for so long. Jonathan put it down in part to intense dislike between the negotiators for the two sides. Howard countered that studios and writers make deals with people they dislike all the time. (Good point!) In Howard's view, the suits have been taken aback to find that this time around, the writers weren't going to settle for business as usual. Some of the issues in contention: writers' residuals for home video that were set way back when videos cost $99 to buy and plenty to make. Now the content costs pennies to produce, the studios are getting much higher profits; but the writers' share has stayed unchanged since -- as Howard put it -- "George Michael was in WHAM." Predictions? Jonathan: "The writers will settle by Oscar night. Howard (darkly): "We'll see."
GO HBO! THE NETWORK REALLY REPRESENTS AT A LIVELY PANEL ON "WHEN I KNEW"
In a couple of hours, it was my turn to moderate a panel, on HBO's upcoming documentary "When I Knew." It's based on the charming 2005 book by director and photographer Robert Trachtenberg, which tells around 80 personal stories not of coming out, but of something that happens long before: The moment when you KNOW you're different. We can all relate about that moment; often it happens in childhood, and it's not even consciously sexual. Instead, person after person, in the book and in the doc, talks about "getting butterflies" or "a funny feeling." One of my favorite moments from the film has a handsome guy remember how he was affected by TV's Grizzly Adams. "I guess I liked bears," he says.
Robert Trachtenberg was on the Sundance panel along with World of Wonder's head honchos Fenton Bailey and Randy Barbato, who made the film. Rex Lee (who plays Lloyd, the long-suffering assistant in HBO's "Entourage") rounded out the group. Only at the last minute did I realize the panel would be attended by HBO vice president John Hoffman as well as Sheila Nevins, president of HBO documentary and family entertainment. Wonderful to see that HBO is so firmly supporting this project. Plus Sheila made incisive, not to mention hilarious, additions to the dialog in the room. Sorry I can't show you photos of the event itself. But take a look at this:
It's HBO's "When I Knew" video booth, one of the most popular features of the Queer Lounge. See the little camera lens on your far left?
Go behind the curtain, look at the lens, and this high-tech video booth lets you push a button and talk about When You Knew. Everybody's stories get uploaded to wheniknew.com. The booth was doing a roaring business the whole time I was at Sundance. Even better, it will tour the country this summer, so people like you and me will be sharing When We Knew for many months to come. As Randy Barbato told me, "For this film, the end is just the beginning." HBO's John Hoffman elaborated: because the "When I Knew" moment is so inoffensive, so innocent, and so universal, these anecdotes are a great opportunity to promote understanding. And the network will reach out to make sure they are seen in schools and so on. Of all the cool things HBO has done involving the gay community, this has got to rank near the top.
THE FINAL FRONTIER: THE NEW FRONTIER ON MAIN
So now it's Tuesday, and I've crammed all my sweaters into my suitcase. I have just a few minutes before my cab comes to take me to Salt Lake City and back to the day-to-day LA craziness. As always, I've Sundanced as fast as I can, but as always, I know there's something I missed. In this case, it's New Frontier on Main -- the new-media showplace located on the meandering basement floor among the various art galleries at 333 Main. Several people have raved to me about how affecting it is. Do I have time to catch it? Will I miss my cab/make my flight? I decide to chance it, anad I head for Main Street.
As I enter the seductive black labyrinth of New Frontier, digital trees wave their glowing leaves to welcome me. Everywhere there's a new interactive display or visually challenging film. There's not time to learn about them all. But with the clock ticking, I already know the one display I mustn't miss. In their own quiet room, off the main corridor are two interactive digital sculptures by Daniel Rozin: Snow Mirror (2006) and Peg Mirror (2007).
There's no describing the feeling of seeing these pieces, but here's what Rozin has to say:
"Peg Mirror comprises 650 circular wooden pieces that are cut on an angle. Casting shadows by twisting and rotating, wooden pegs forming concentric circles surround a small central camera. The mirrored image produced in this work is activated by software authored by Rozin that processes video signals and breaks up imagery geometrically, seemingly pixel by pixel."
In other words, when you approach Peg Mirror and make a gesture, it "sees" you and responds, like this:
Here's Peg Mirror as I first see it.
Now, I come closer and lift my arm. It "sees" my shoulder, and the wooden pegs swivel to mimic my shape. It's very…friendly, somehow. I'm always moved to see technology used in such human ways. But my favorite, I have to say, is Snow Mirror, housed a few feet away.
It looks at first like a pull-down home-movie screen, full of digital static, suspended in front of a black wall. That tiny black shape midscreen is the camera. As I walk closer, camera in hand, the "snowflakes" onscreen begin to rearrange, unhurriedly, as if they have their own tempo in mind. And then:
There I am, waving my arm and holding my camera high. You can see what I'm saying: "Wow!"
This ghostly image, so real but so abstract, sends a torrent of impressions through my mind. I think how quickly things disappear. I think of the ways in which Sundance has faded -- the plodding "Mysteries of Pittsburgh," presented this year as something fresh; the dazzling "Edward II," screened as something dated. But I also remember the excitement on the faces of the young filmmakers who stormed Park City this week. When they stand in front of Snow Mirror, they won't think how fleeting life is. They'll think, I can do better than this. And I know they'll find a way.
Hi, it's Anne, catching you up on the annual Outfest Queer Brunch, sponsored this year by Here! TV. Like everything else at Sundance, the Queer Brunch has grown fantastically. When I got to the Grubsteak Restaurant in Prospector Square, there was, get this, a press line, with a smallish phalanx of photographers flashing away at one of the stars of festival film The Hottie and the Nottie--a bit surreal at 11 in the morning, with snow on the ground and nothing but shuttered shops surrounding us.
Inside, it was hot and cold running queers chowing down on eggs, bacon, and bloody marys. Not to stereotype, but the first thing I overheard was a guy near the food line wailing to a friend, "But he said I looked FAT!"
Further inside, though, were some lovely gays, starting with:
(from left) Jason Stuart, David Millbern, and Paul Colichman. (Paul, chairman of Regent Entertainment and CEO and founder of Here! TV, is also David's partner.) The highlight of the gathering was Paul's pitch for the Outfest Legacy Project, which aims to help preserve LGBT film. You've probably never heard Paul speak about the fight for gay equality. If you had, you'd remember. He rocked the joint.
At a nearby table was Scott Seitz of SPI Marketing. When you feel that good gay vibe from brands like Absolut, Scott's professional expertise may well be involved.
Creative and life partners Andrea Sperling (left) and Jamie Babbit shared a quick hug. Their subversive romp Itty Bitty Titty Committee hit a home run with gen-next queer girls in 2007.
WHAT A LAME CONNECTION!
I've got more pix to show you, but, what can I say, tonight the wireless broadband connection from Park City is totally useless. Better to let it go and post more for you soon.
BUT WHAT GLAAD NEWS!
Before I log off, though… Corey, our A&E Editor, already told you in this blog that The Advocate was nominated for four GLAAD Media Awards yesterday, in an announcement held here in Park City. This is the first year gay media were considered eligible for inclusion in GLAAD's awards competition. Obviously, awards don't mean everything. But we put in many hours of
effort to bring you fresh and interesting stories in each issue of The Advocate, and
it feels great to be recognized.
Hi, it's Anne, wrapping up on all the happenings from Saturday. My day started with a crazy dash to the press screening of Tom Kalin's incest-among-socialites drama Savage Grace, which proved to be an intense experience right after my first cup of coffee. It required a monumental mood change to head right over to my next screening. One of this year's big-name premieres, The Great Buck Henry stars John Malkovich as a has-been mentalist, Colin Hanks as his underachieving assistant, and my new favorite actress Emily Blunt as a wise-ass publicist who comes memorably between the two.
Colin's dad, Tom Hanks, was on hand to introduce the movie -- fitting, since Hanks's Playtone Pictures produced it and he, Hanks Sr., is in it for a couple of scenes. Pleasant if not a home run, Buck Henry gives Malkovich lots of chances to put his special madness on display, and Hanks the Younger lots of opportunities to use that deadpan "you've gotta be kidding" take we so associate with his father.
PLANETOUT SHORT MOVIE AWARDS
Next stop, Main Street -- meaning the Queer Lounge -- for the PlanetOut party, featuring PNO's annual presentation of the $10,000 Short Movie Award, sponsored by Scion. On the bus down, I got a chance to hang out with two old friends:
Kathy Wolfe (left) and Maria Lynn, the driving forces behind Wolfe Video. Whichever queer DVD first inspired you, chances are you got it courtesy of these ladies. As we hit the pavement on Main Street…
Outdoors, Park City was looking particularly postcard-like. Indoors, the PNO party got underway.
With our Scion representative looking on, Miami Gay & Lesbian Film Festival director Carol Coombes (center) and PlanetOut entertainment editor Jenny Stewart (right) announced the five winners. The Grand Prize went to Claudia Morgado Escanilla for "No Bikini," which you can see later this year at the Miami G&L Film Fest or surf over to Gay.com and see right now.
All night long, the creme de la queer turned up to celebrate. Naturally GLAAD was in the house…
Rashad Robinson, GLAAD's senior director of media programs, absolutely could not keep his hands off his BlackBerry.
PlanetOut's Dave Posegay (left) and Chris Frederick blissed out.
Nicole, Brianne, Christy, Jeimi and Amanda (not necessarily in that order) surveyed
the action from the sidelines.
Adepero Oduye, star of the short film "Pariah," sported the killer ensemble of the evening. The whole "Pariah" posse partied with us, including writer-director Dee Rees, her partner and producer Nikita Cooper, and costar Pernell Walker. They were leaving soon, because tonight their film was premiering. I went along to the screening, to see what they'd been up to.
GIVE IT UP FOR "PARIAH"
The ride over was one of those Sundance nail-biters. Would the slooow-moving bus would get us there on time? It did -- barely. But we were so late, Dee and Nikita had to walk me in as part of their crew.
An NYU film student, Dee had been mentored on this film by Spike Lee. Obviously he knows talent when he sees it. Rees hit home with her story of a Bronx teenager caught between two worlds, changing into her butch clothes at school and back to her earrings and girly tops to go home to her parents' house. Oduye and Walker, neither of whom is gay, convinced completely. And the cinematography, by Bradford Young, is layered and evocative. For the audience tonight, and apparently for festival programmers and talent scouts in general, "Pariah" will be remembered as one of Sundance 2008's gems. Producer Effie Brown (Rocket Science, Real Women Have Curves) has already signed on to develop the short as a feature.
Give it up for "Pariah!" Even in a blurry shot, you can feel the joy: (l to r) Oduye, Walker, Young, Cooper, and Rees soak up the applause.
Rising stars: Walker (left) and Oduye, radiant after the Q&A, posed against this year's Sundance screensaver.
Proud parents: Bradford Young, Nikita Cooper, and Dee Rees can finally exhale. With tonight's premiere, they're on their way. However hyped Sundance gets, tonight has been all about the good stuff: seeing talent spread its wings. That never gets old.
Hi, it's Anne. Here's how things have changed since I was here two years ago. This morning I tried to get a taxi to a screening and it was Out of the Question. The size of the festival crowd has blown right past the taxi population. But after a high-altitude sprint, I caught the Red One bus to Prospector Square, where I flew in, grabbed my press credentials, and hit the next bus headed for Eccles Theater, the biggest venue at the festival.
The first film of my day was The Guitar, directed by Amy Redford (daughter of Robert, who's also the father of Sundance). Redford's first film stars the tall, gorgeous bisexual Brit Saffron Burrows as a repressed woman who learns she has two months to live, rents a ritzy Manhattan loft, and goes on a credit card spree that includes a stack of Marshall amps and a Fender Stratocaster (as a little girl, she wanted one). Frankly, Redford's first-time filmmaking foibles were obvious. But Burrows, a thinking-woman's sex symbol, was fun to watch anyway, especially in her love scenes with Paz de la Huerta, unconvincing as a pizza delivery girl but more at ease in bed; and with dIsaach De Bankole as a deliveryman whose biceps are as appealing as his smile.
When Redford brought the cast and crew up for Q&A, she credited Burrows, her star, with a lack of vanity very unusual in an actress who's "so stunning."
Burrows, up next, did that unnerving British thing of being not just stunning but witty as well. If rumors are true, the London-born actress has excellent taste in real-life romance. For a long time she was in a relationship with gifted British director Mike Figgis; since then she's said to have been linked to classical actress Fiona Shaw. (Actually, the very classy Shaw also plays the class-challenged Aunt Petunia in the Harry Potter movies.) If you don't remember Burrows from any of those associations, you might just remember her being felt up under the table in a restaurant booth by Salma Hayek in Frida. If you don't remember that, you may not be gay after all.
MAIN STREET!
With the sun sinking and the temperature dropping, I was carried along in a mass of people toward Park City's Main Street, where the parties--at least the first round of parties--were getting underway.
Everybody on the bus! (Traffic was so heavy that this bus couldn't get to the station. The driver let us all out two blocks away.) Incidentally, the bus is a great place to hear juicy conversations about deals in progress and so on.
My destination: The Queer Lounge, bigger than ever, with a great big shingle hanging out over Main Street. Inside, it's great as well, with a quiet(er) downstairs with couches and a cool display of vintage queer film posters curated by Jenni Olson. Upstairs is the DJ and dance floor and...
A great view of the Main Street scene from the Queer Lounge's smoking balcony. It's cold out there, though, so I zipped inside to chat up our hosts for this particular Queer Lounge reception…
The guys from GLAAD: Entertainment Director Damon Romine and President Neil Giuliano. That's me in the middle.
Also in the house are our compadres from Out magazine, Matt Breen and Bill Keith. Hard to feel competitive with guys you like so much, but we try. Whoops, check the watch, and it's time to head for the Racquet Club, for the world premiere of Sunshine Cleaning, starring red-hot Amy Adams and today's second disturbingly smart Brit, Emily Blunt, as sisters breaking out of their little-money, less-hope lives by opening a cleaning service that specializes in mopping up the gore after murders and suicides and such.
You can tell this is one of the festival's buzzed-about films. As the bus crawls its way toward the Racquet Club, passengers count down the minutes...six, five, four...till the standby tickets are released. As we pull up, hopeful moviegoers blast out of all the doors, running on the icy pavement in the parking lot. Meanwhile, a dozen figures, men and women, walk up and down the lines, looking for an extra ticket.
The excitement continues inside, for me at least, because I get to see Quentin Tarantino stopped cold by a festival volunteer who won't let him out of the theater to go to the men's room without his ticket stub. To his credit, he doesn't pull a "don't you know who I am"; he just lumbers off in search of the ticket.
The film itself is highly charming, even if it doesn't entirely come together. With Adams and Blunt supported by an ace cast including Alan Arkin and eight-year-old Jason Spevack, the acting is a pleasure.
Afterward, as the cast and crew head up for the Q&A, there are few questions from the audience. They clearly liked the movie, so why not speak up and discuss it? One audience member gets it right: People weren't asking questions because we were too tired. What can I say? It's been a long day. And Emily Blunt (above center, flanked on the right by director Christine Jeffs and screenwriter Megan Holley) leaves the crowd in a great mood as she describes forming a sisterly bond with Amy Adams during the location shoot in Albuquerque, NM. "We cooked for each other," Blunt says, talking about visits to one another's rental houses. "When you're in Albuquerque…" Her eyes roll up, and we understand the rest of the sentence: "You're all you've got." She also does a mean impersonation of Alan Arkin fending off his hero-worshiping young leading ladies: "Get OFFA me!"
As I write this, the late-night parties are going on all over the snow-covered landscape. As for me, thought, I headed back home. I knew I'd never top Emily Blunt channeling Alan Arkin.
Hi, it's Anne Stockwell again. This is actually the view from outside
my window this morning. The snow's still falling. Two guys on the
roof above me are risking their lives tromping around and hacking
icicles off the eaves. Sounds like Elephant Club Night. Last night
was all about Albertson's, where the independent filmmakers of America
were buying Ramen and spring water. I bought my Sundance battle gear:
I'm not paid to endorse any of these products. On the other hand, no event happens without this stuff, so a little respect is in order. Now I'm headed off to the press office to get my credentials and start with the screenings. Catch you later!
Ahhh. Found a taxi in Salt Lake, quietly cruising up to Park City. It's a miracle, frankly, after the chaos at LAX. Everybody in Los Angeles is probably here by now. For sure they were in the security line with me. "I can't believe you won't help me!" bleated one guy to the TSA employee who wouldn't get him cut ahead in line. (A minute later, she did. A minute after that, she let me through too. I was so late, the whole TSA crew was helping me get my laptop out and my boots off and onto the conveyor belt. It was like a Lamaze birth.)
On the flight up, I was sandwiched between an indie producer and a suit. A couple rows ahead, a Sundance-ette in cowboy hat, size 0 jeans, a rodeo-rider belt, and over-the-knee stiletto cowboy boots. The minute she hits the icy sidewalks, she's going to fall on her tuchas. Somebody will catch her, though. God bless her. Careers have been started on less.
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