sundance 2006 - Zoael

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BY LILY HATCHETT AMERICAN HARDCORE (Steve Blush, Paul Rachman, U.S., Park City at Midnight) Ninety-eight minutes of footage were acquired inch-by-inch from all over the country. Steve Blush’s book American Hardcore, the definitive tome for rock music bookshelves, kick-started the film project. There would be no Red Hot Chili Peppers without the likes of Black Flag or Minor Threat in the early 80s. Three years ago, Steve told me about the film he and Slamdance cofounder and filmmaker Paul Rachman were doing. I got a sneak peek and wrote a sneak blurb, but they weren’t sure when it was going to be finished. Ironically for the man who started the alternative fest as a counterweight to Sundance, American Hardcore gets selected for Sundance <strong>2006</strong>. “We knew each other through shows. It was a small subculture. We kind of met through the scene. Bad Brains in D.C. Parties in N.Y. Seconds Magazine. Stacy Fine.” Paul said that he was getting “L.A. burnout.” He returned to NY to reconnect. They ran into each other as Paul was finishing his film, Four Dogs Playing Poker, and Steve was finishing the book. “We both experienced the dismal state of music and life at the same time. Hardcore was our community, our music. Slamdance, also, came out of a communal zeitgeist” Steve felt that there was “a layer of conformity and under it was a layer of really sleazy subculture-sleazy in a happy, positive sense, more like decadent, physical, hungry.” Steve was doing book tours and rock shows at Don Hills. The film idea created a camaraderie. “The film was made from our guts, casually, like we are talking now-organic, and the story tells itself. We took off months at a time to collect footage in a van tour around the country.” Paul told me the secret to maintain- 26 SUNDANCE SOUND BITES “Homecoming” On Shakey Rock AMERICAN HARDCORE Director: Paul Rachman Screenwriter: Steven Blush Producers: Paul Rachman, Steven Blush Cinematographer/Editor: Paul Rachman Motion Graphics/ Graphic Designer: John Vondracek IN THE DETAILS American Hardcore’s Blush and Rachman ing momentum. “The creators have to be in love with the project from beginning to end and it all has to do with the approach and the process. The new culture of cinema is not driven to make films like this—the industry is not set up for casual laptop filmmaking. Slamdance has shown me how this works, the successes and the failures. With American Hardcore we are far from dealing with the industry. Steve thought that this kind of filmmaking “approaches the mindset of independent music.” Paul questioned the meaning, or meaninglessness, of the word “independent.” “We have close relationships with the artists. This is our cache. We are all part of a subculture. When we get together twenty years later, it’s like the army—we have all experienced something together. Hardcore was an ethic, a no-bullshit mindset. The extended common group NEIL YOUNG: HEART OF GOLD Director: Jonathan Demme Executive Producers: Bernard Shakey, Elliot Roberts, Gary Goetzman Producer: Ilona Herzberg Cinematographer: Ellen Kuras Editor: Andy Keir Production Designer: Michael Zansky had a lot of strength. Life was hard, the environment was hard, it was not easy to do anything—records made in one takeno overdubs, no remix. We went around the country and hung out.” American Hardcore PHOTOGRAPHED BY LILY HATCHETT AWESOME: I FUCKIN’ SHOT THAT! (Adam Yauch, shot by the audience, U.S., Park City at Midnight) This concert film was made by distributing fifty cameras to audience members at a 2004 Madison Square Garden Beastie Boys concert. Yauch assembled the shaky, grainy footage and glued it together with video effects. The unusual means of documenting the show captures the entire concert experience, including bathroom and beer runs, and attempts at backstage entry. The mix of footage accelerates like a fugue. It is a collage of quick bites and remixes. Having the audience shoot the film brings in unexpected, unscripted random factors. The film brought the Beastie Boys to Sundance to promote it. They put on a killer concert in conjunction with the premiere. Awesome: I Fuckin’ Shot That! will be released by ThinkFilm in late March. NEIL YOUNG: HEART OF GOLD (JONATHAN DEMME, U.S., PREMIERES) PARAMOUNT CLASSICS Neil Young is the subject of a muchneeded concert on film, especially considering inflated ticket prices and infrequent live shows. Neil Young: Heart Of Gold captures a two-night “Prairie Wind” concert at the fabulous Ryman Auditorium in Nashville, Tennessee in 2005. Jonathan Demme’s meticulously loving documentary of the concert and of Neil Young’s state of health following his brain embolism surgery shows us the way music works on the heart, soul and body. Young has unrelentlessly, uncompromisingly kept the fire burning. Promos and trailers are touting the film as a “homecoming” for Mr. Young, although this is misleading as it is only meant as a metaphor; Neil hails from Winnepeg to the North. Jonathan Demme, twice named Best Director by the New York Film Critics Circle, has been nominated for fifteen additional Oscars, including two wins for screenplays. Demme has also filmed documentaries on Haiti and other music concerts including Stop Making Sense which featured the Talking Heads.
Salt Lakeand Swamp: SparkyWinners Light Up Night BY SANDY MANDELBERGER THE SLAMDANCE FILM FESTIVAL came to a close on Friday evening with the announcement of the Sparky Awards at the edgy nightclub Suede. Winners were announced in twenty-plus categories. Over $200,000 in prizes were awarded. Following the ceremony, revelers partied into the wee hours with celebrity DJ’s Swamp, C-Minus and Tito Plenty ramping up the techno music. Award winners were screened in Salt Lake City on the concluding weekend of the Festival. A “Best Of” program will screen in New York and Los Angeles in February, with other cities to be announced on a national tour. 27 SLAMDANCE <strong>2006</strong> SLAMDANCE AWARD WINNERS Grand Jury Award for Best Narrative Feature: WE GO WAY BACK (Lynn Shelton) A sly and tender depiction of one young woman’s journey of selfrediscovery. Grand Jury Award for Best Documentary Feature: EMPIRE IN AFRICA (Philippe Diaz) The story of the unjust war the international community waged against civil war stricken Sierra Leone. Grand Jury Prize for Best Narrative Short: THE SAVIOUR (Peter Templeman, Australia) This director won the same award at the 2005 Sparky Awards. Grand Jury Prize for Best Documentary Short: UNDER THE ROLLER COASTER (Lila Pace) Grand Jury Prize for Best Animated Short: DRAGON (Troy Morgan) Audience Award for Best Narrative Feature: THE SASQUATCH DUMPLING GANG (Tim Skousen) Young fantasy/sci-fi aficionado Gavin Gore and his friends stumble onto some huge footprints in the woods, while two of his dim-witted neighbors hatch a scheme to profit from the situation. Audience Award for Best Documentary Feature: ABDUCTION: THE MEGUMI YAKOTA STORY (Chris Sheridan & Patty Kim) The haunting story of a 13 year-old Japanese girl kidnapped by North Korean spies. Special Jury Prize THE GUATEMALAN HANDSHAKE (Todd Rohal)
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Good Color Space in Miami BY SCOTT
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31derful Flavors BY MICHAEL SILBERG
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