Park Cities Magazine

Dallas Movie Geeks
by Shawn Mahan

The Dallas Movie Geek Discussion Group meets every Monday night at the Angelika downstairs café at 7:30 p.m..

The group was founded in January 2002 by Angelika Manager Shawn Mahan as the ‘Angelika Roundtable’ - a discussion group for local film buffs. The initial group found its core members made of veterans from a previous weekly movie chat group founded by local WFAA movie critic Gary Cogill.

When Mr. Mahan moved from the Angelika over to the Magnolia, the discussion group remained at the Angelika, but now as a private group (the Dallas Film Geeks) not sponsored by the Angelika.

Still going strong after almost six and a half years – the group offers a home for those film lovers in the Dallas area who want to experience an intelligent, informed, and friendly discussion about all things cinema with other film lovers from the area.

There is no set format to the group or films one is required to watch. The setting is relaxed and the conversation is usually lively.

The group is open to anyone.

Shawn Mahan
General Manager
The Magnolia Theatre
3699 McKinney Ave., #B -100
Dallas TX 75204
(214) 520 0098
shawnma@landmarktheatres.com
www.landmarktheatres.com

Each spring the USA Film Festival hosts it’s week-long screening of the best new American and foreign films. April 21, 2008 will mark the 38th year of the festival. Yet, little is known about the history of one the oldest and most prestigious festivals in the country.

The USA Film Festival is a non-profit organization founded in Dallas, Texas in 1971 with the goal of presenting unknown American films for competition. Two years later, the festival changed themes, shifting from a competition to a showcase. Instead of judging and choosing the best films, the filmmakers were invited on-stage to lead discussions about their work. Today, the USAFF continues to present the Dallas area with the top independent films.

During the eight-day gala, additional programs like the Great Director Tribute and The National Short Film and Video Competition are integrated into the festivities. The latter was an addition to the USAFF in 1979 as a way to showcase what the Festival recognized as an essential form of cinema. The entries are chosen by a panel of film experts and is an Academy-qualified competition. In the past, a short has gained popularity, and a few times adapted into a full-length feature, after being screened at the competition. For example, Billy Bob Thornton achieved recognition after the original short version of “Sling Blade” was shown at the USA Film Festival’s National Short Film and Video Competition in 1994, where it was awarded the Jury Prize. In 1996, “Sling Blade” became a full-length film that landed Thornton a nomination for Best Actor, and a win for Adapted Screenplay.

Throughout the year, the USAFF holds other events and ceremonies to celebrate cinema. The KidFilm Festival was established in 1983 by Ann Alexander, the current President of the USA Film Festival, as a way to help celebrate excellence in children’s cinema. It was the first of it’s kind when it was founded, and it is the largest children’s film festival in the United States today. Every January, the festival draws over 23,000 children, teachers, and adults to celebrate classic and new children’s films. KidFilm screens and premieres some of the biggest children’s movies in Hollywood. The 22nd Annual Kid Film Festival in 2006 included “Akeelah and the Bee”, “Nanny McPhee”, and the animated adaptation of H.A. Rey’s classic “Curious George”. Along with presenting children’s movies, the KidFilm Festival, like it’s USAFF counterpart, honors those who have contributed to the world of art for children. Past honorees include author and illustrator Laurie Keller, author Rosemary Wells, and Maureen Cronin and Betsy Lewin in 2008.

The 38th Annual USA Film Festival will continue the tradition of showcasing excellent independent film. The honoree in the tribute this year will be character actor and native Texan Rip Torn. “Lucky Days”, a film directed by Torn’s children Angelica and Tony, is one of the many films being presented this year. Finally, the 2008 festival will close on Sunday with the Dallas premiere of Clark Gregg’s adaptation of Chuck Palahniuk’s seedy and sordid, yet often humorous, novel Choke. The films this year should be an interesting combination of irreverent and sarcastic comedy classics, insightful documentaries, cinematic classics, and heartfelt dramas.

Did You Know:

• Native Texan Wes Anderson’s original 13-minute, black and white version of “Bottle Rocket” premiered at the National Short Film and Video Competition in 1993.
• Every year the USAFF holds the Master Screen Artist Award and Tribute. The first recipient of the award was Gregory Peck in 1974. Other honorees include Audrey Hepburn (1991), Christopher Walken (1998), and Gary Oldman (2001).
• Todd Haynes, the director of “I’m Not There”, the Oscar nominated experimental biopic of Bob Dylan, served as a juror for the short-film competition in 1995.

by Chad D. Jones

(Editor’s Note: In a departure from our typical content, and the occasion of the USA Film Festival to welcome the originator and five other former members of the “MST” cast to this years fest, we felt it only right to hand this story over to one of our more youthful contributors, Chad D. Jones, in order to provide the hard-core perspective of of the fans that make Mystery Science Theater as relevant today as it ever was.)

In the not-too-distant past,
Last Sunday A.D.,
There was a guy named Joel,
With a show on cable TV.

That show, Mystery Science Theater 3000, would become an underground hit with a devoted fan base of “MSTies.” Lasting seven seasons on Comedy Central (and later being resurrected for a further three on the Sci-Fi Channel) and producing 198 episodes, the show garnered critical praise, and was nominated for two Emmys, three Saturn Awards, 5 CableACE Awards, and won a Peabody award in 1993. Fans to this day trade tapes of episodes they don’t have, and the DVD revolution has led to several sets of episodes being released to strong sales. It also brought new life and popularity to the watching of bad movies…and more importantly, making fun of them. It appears to be an addictive thing; even after the show ended, eight of the people who worked on the show started new ventures in a similar vein, carrying on its legacy.

Pretty good for a show that started out as a time-filler on a local public-access channel in Minnesota.

The brainchild of Joel Hodgson, Kevin Murphy and Jim Mallon, it started out on KTMA-23 in 1988. The premise was simple but original–a couple of mad scientists, Dr. Forrester (played by Trace Beaulieu) and Dr. Earhardt (J. Elvis Weinstein), working from their lab in Deep 13, had trapped a man named Joel Robinson (Hodgson) on the Satellite of Love, and were now forcing him to watch the worst movies ever made.* Their reasons were never crystal clear; presumably their madness was reason enough.

In order to alleviate his loneliness, the very handy Joel built three robots, collectively known as “the ‘bots,” which he named Crow T. Robot (brought to life by Beaulieu), Tom Servo and Gypsy (both Weinstein). Gypsy helped keep the satellite running, and the other two kept Joel company during the watching of the movies. This led to the iconic image of the silhouettes of the three, sitting in the lower right corner of the screen as the movie played.

In order to try and keep their sanity during these movies, the three would crack wise throughout, tossing out comments and jokes to try and alleviate the pain the movies often brought to those watching (including the audience.) During the breaks in the movie, we would see them go about their lives in vignettes that often featured the small but talented pool of writers, staff, and other employees working for the show in various (usually one-time) roles.

The show ran for 21 episodes on KTMA-23 from 1988 to 1989. It garnered many fans, but its success was not enough to keep the station afloat, and it was cancelled. However, they sent a reel to The Comedy Channel (later to become Comedy Central). They shot their first official season, and slowly but surely gathered a rabid group of fans.

by Barbara Lewis

Let’s be honest. Nobody wakes up on Saturday morning, springs out of bed, smiles brightly and says “I think I’ll see a message movie tonight!”

But these films are everywhere, and audiences are embracing them in increasing numbers. Although the term “message movie” resists a textbook definition, we know one when we see one. Generally speaking, this is the kind of film that makes us think. The filmmaker thrusts a controversial issue into the public eye, hoping to elevate our collective consciousness and inspire us to go forth and effect social change.

Message movies have often gravitated toward the low budget, independent end of the filmmaking spectrum, and many filmmakers who produce them work outside the Hollywood system in order to preserve the integrity of the message. For some of them, the sole purpose of cinema is to make a social comment, and they are passionate about their point of view. The stories they tell can range from absurd to somber to gritty to offensive to incendiary. They frequently have a dark side and often make us squirm.

In recent decades, major Hollywood studios have also gotten into the act, delivering plenty of their own messages. A number of Tinseltown’s message movies have done quite well at the box office, while others have won prestigious awards, and some have even been funny.

But regardless of whether a filmmaker enlightens us by making us laugh or making us cry, a movie with a message definitely has a higher calling than that of the multiplex blockbuster. By its very nature, a film like this seeks to do more than simply entertain. Rather than dulling our senses with fantasy or escapism, the message movie is intent on giving us a dose of reality. Such a film nudges, pushes, shoves or drags us, kicking and screaming, to acknowledge some social problem, and challenges us to decide where we stand on the issue. If the film’s mission is accomplished, we are not only intrigued by the story but also galvanized to play our part in healing the social wound it exposes.

By Diane Webb
with Aurek Brillowski

Whether it be a burning desire to promote awareness of a social concern or a subject matter dear to you, or Hollywood glamour and fame, or simply the need to create through a moving medium, filmmaking can be a very exciting endeavor. Unfortunately, a mere 3 page essay cannot begin to encompass what may be required. However, we hope to provide some significant resources and insight to get you headed in the right direction.

Fortunately for most of us, the first place to start no longer has to be Hollywood. Dallas right now provides both the aspiring director and the veteran producer of features all the resources needed for the majority of films produced today.

Indeed, the Dallas area has been involved in the film and television industry for many years. From 1962’s version of State Fair with Pat Boone, Bobby Darin, and Ann-Margret to the creepy Logan’s Run with much of it’s set at Valley View Mall, to Oliver Stone’s JFK and Born on the Fourth of July. Along with 50+ other well known films, Dallas and it’s surrounding communities provide one of the widest selection of locations anywhere in the country. And the professional production resources, sets, and crews are all at the ready. And lets certainly not forget, for better or worse, our television productions including Prison Break, Walker, Texas Ranger, and of course old Barney and Wishbone, and of course our very own short-lived reality show, The Benefactor.

And with budgets ranging from a few thousand dollars to over $100 million, filmmaking can have a significant impact on a local economy. Recognizing the growing importance and potential of the filmmaking industry to the local economy the Dallas Film Commission was founded in 2002. The film commission is a department of the Dallas Convention and Visitors Bureau, and is a non-profit organization, which is supported by the City of Dallas. Janis Burklund, is the Director of the Dallas Film Commission, and has been promoting the Dallas/Fort Worth area since 1997 thru film commissions.

By Bart Weiss

From the earliest days of cinema there were two urges for filmmakers. First to tell a fictional story imaging our dreams and fears while the other was to present, represent or interpret the real world in front of them.

For most of the history of cinema, the dramatic impulse has garnished the most attention, and the most money. Some of the success of the narrative form is due to the marketing of stars, and the creation of a cult of celebrity, which is strongly with us today.

It is interesting that as the documentary form has evolved there has also become a strong element of celebrity. At any festival there are docs that draw you in because you want to know more about the musician (for instance this week, Meatloaf), artist, politician, or other famous person. Other great docs are about people you never heard of, but you have to read a good blurb or get a nod from a friend to be motivated to see it.

Indeed casting is just as important in a documentary as in a dramatic film. There are a million films that may have concerns that relate to people close them. They may be struggling with a disease, searching for a lost place, or are on some other quest. Some are wondrous cinematic experiences, some are not. That special quality of both the character and vision of the director make the difference.

But why are documentaries important? There are many reasons. First is the issue of completeness of story. We see so many short stories on the news that only scratch the surface of the complexity of any ongoing issue. How can we understand poverty, war, global warming, our out of control debt, or any of the pressing issues of the day from the few moments they receive on the Network news.

To achieve this completeness of story, the Independent filmmaker takes their time. Time shooting. Time getting to know the subject. Time looking for archival images that give historical context. And mostly time to edit. In the shooting of a film, the documentary filmmaker is able to catch the nuance, see through the mask, get the facial expression beyond what the subject usually says when asked the question. Sometimes it is a fly on the wall approach, born about by the direct cinema and cinema verite movements. Other times it is a series of interviews. In either process the truth comes out, but in different ways.