Maryland Film Festival Notes

04.25.99
Gabe's Notes:
Day Three Part I
Part II

04.24.99 - Gabe's Notes: Day Two

The repeat screening of With Fire and Sword at 9:30 AM drew such a large audience that it was moved into the biggest theatre (Theatre A). Before we could even open the doors to the eager, early-bird crowd, the line stretched half-way down the block in front of the Charles Theatre. The crack volunteer staff, working on little sleep, got them loaded into the theatre in no time.

Fireworks erupted at the Saturday morning panel, the provocatively titled "Filmmaking Outside the Mainstream." Shael Stohlberg of Festival Products moderated the maylay between Ian Grey and Sarah Jacobson, while panelists Skizz Cyzyk and Martha Colburn tried to get a few words in edgewise. Despite her late night screening, Jacobson came armed and dangerous. A consummate festival veteran, at any lull, Jacobson jumped right in to comment. The ascorbic Grey (author of Sex, Stupidity, and Greed) lunged into a critique of corporate movie making, assuring the audience that he was full of "suicide inducing information." One of his favorite observations concerned sponsors for the Sundance film festival: "Mercedes Benz and Hugo Boss: companies that outfitted the Nazis and built their tanks." It was at this point that I decided to exit the theatre. From all accounts, the discussion heated up from here.

One of the great pleasures of the film festival was the atmosphere in the lobby.

The Charles Theatre's lobby

The Charles Theatre's lobby

The Charles Theatre's new lobby combines modern elements with the classic structure, exposing the original brick work and some protruding beams: the term rustic doesn't really do it justice. The brick face of the lobby is punctuated by large arched windows which allow the light to shine into the wide-open space. The floor is designed in a sunrise pattern emanating from the snack bar. A metal-work catwalk (very Janet Jackson Rhythm Nation) overlooks the lobby. Throughout the weekend, people congregated in the warm, welcoming space.

As the morning sun shines, the space looks great. In between shows, I meet with filmmakers and festival goers, collecting feedback. Susan Muska and Greta Olafsdottir, the directors of the Brandon Teena Story are here. I am extremely glad to see them because up to the last minute, their trip from New York was uncertain. After we introduce their film for a noon show (a good turnout), I meet with Adolfas Mekas to prepare for his screening of Hallelujah the Hills.

Adolfas was a teacher of mine at Bard College. He remains the spiritual head of the Film Department at Bard and keeps in close contact with the department's graduates. Adolfas is perhaps best known in some circles as the brother of Jonas Mekas, but those who have seen Hallelujah the Hills know better. Adolfas is a character --his Lithuanian accent coupled with his sharp wit make him a force to be reckoned with. His screening is delayed because of the Polish film: the three hour long screening has bumped Adolfas' starting time by a half hour. His Lithuanian roots begin to show. Wanting to avoid an international incident, I think it is best to keep an eye on him.

In the lobby, as we are chatting (he wants to know where he can get some oysters) something else happens: Sarah Jacobson emerges from the "Outside the Mainstream" panel. (She is the only person smiling.) Sarah and Adolfas meet face to face. It is the first time they have seen each other since Sarah transferred from Bard to San Francisco Art Institute in 1991. The reunion is actually quite amicable. Grins, hugs, and nice words. All good fun. While I am tending to Adolfas, I miss my chance to speak with Heidi Van Lier (Chi Girl) entirely. (She leaves town and that is it.) Meanwhile the Polish question and answer is going over. Because of the translation issue, it takes twice as long to run the Q&A.

Inside the theatre, people are lined up to speak with Jerzy Hoffman. His translator is feeding him questions from the English speakers in the audience. When a Polish speaking member of the audience asks a question, the translator must scramble to translate it for the English speakers in the audience as Jerzy begins one of his impassioned and detailed responses. I enter the scene and attempt to limit questions holding up the "two more" sign. I realize people must think I'm giving them the "peace" sign. But this is running like a machine and people are eager to get their comments in. It takes another ten minutes before I can encourage the audience to take the discussion to the lobby.

Finally we clear the theater and get Adolfas' show loaded in. His introduction is brief and flattering. "Hallelujah the Hills played in the first New York Film Festival. It is a great festival mostly because the people who organize it select the films by invitation. Let me congratulate Gabe and Jed here with the Maryland Film Festival. The programming is some of the best I have seen. I am proud to be part of the first annual Festival here in Maryland and I wish them the same success as the New York Film Festival."

Back in the lobby, I am told that the Leopard is packed. This doesn't really surprise me as Visconti's legendary Italian classic is not available on video. I look into the theatre and see people sitting on the steps.

The next show I introduce is Do the Right Thing --one of my favorite all time films. That there has been no other recognition of it's 10th Anniversary is appalling. Cast member Giancarlo Esposito and his wife Joy have flown to Baltimore for the screening. I am very happy he is here. The newest cast member of the Baltimore based TV show Homicide: Life on the Street, Esposito is one of the most talented actors working today. Also, it took a few months of back and forth to work out the travel details and it has all come together. What he can offer is unique to the film and the discussion: behind the scenes anecdotes, insight in to playing the Militant Buggin' Out character, personal reflections on the racial tension in the film. The print is gorgeous. As the opening credits roll, and Rosie Perez begins to dance, I get a little choked-up. This is, for me, the perfect festival moment. I want to sit and watch, but reluctantly leave the theatre to tend to a dozen other things going on.

The late afternoon shows bring with them a handful technical problems. The late start of the Hallelujah the Hills screening has started a chain reaction, and the Mixing Nia screening has been delayed by half and hour so they projectionists can build the print and break-down the long Leopard print. We still have a few dozen "goodie bags" leftover from opening night -- Berger Cookies and Goetz candies placate the patient crowd.

In Theatre C, Giancarlo Esposito finishes his Do the Right Thing Q&A and then sticks around to host a screening of Trouble on the Corner with director Alan Madison. Because of his busy schedule, Esposito has not yet seen the complete film. Madison says a few words and the screening is off.

I peek into Theatre B. A shorts program "Getaways" has been derailed by sound problems. The audience is shifting a little. I get in front of the house and tell a story about my first year as a projectionist for Slamdance. "It is not a festival unless there are a few technical problems. The projection staff is busting tail to screen fifty films in three days. A few bumps on the road is par for the course. A few years back in Park City, Slamdance screened at the Yarrow Hotel in a makeshift theatre constructed from folding chairs, with rented equipment from L.A. usually used to run dailies. Usually used to run SILENT. Needless to say, the Frankenstein projection system was wrought with problems. One of the projectors had a buzz that would not go away. We performed exorcisms on this thing. So there we are, trying like hell to clean up the sound and the producer of the film is down on his knees pulling cords and patching cables. I'm thinking, 'Who the hell does this guy think he is.' Until I realize who it is. Steven Soderbergh! He didn't quite look the same down on the floor. The point of the story is this: there was a real cooperative spirit there. Everyone was pitching in to make the screening happen. And when we finally got it to play, it was worth the wait: Daytrippers went on to win the Grand Jury Prize and go a deal with CFP (now Lion's Gate). That's what festivals are about. Thanks for your patience. It WILL be worth it." In truth, I was buying time for the booth who had the show up and running a few seconds later. Loads of fun. Three directors were in the auditorium -- including Elizabeth Holder and her star Jill Hennessy, on of my favorite actresses, formerly of the TV show Law and Order.

For what it's worth, the next few hours have become little more than a frenetic blur.

Robert Towne

Robert Towne

Robert Towne is in the big theatre talking about Without Limits. His limo is out front taking up a half dozen parking spaces. Baltimore native Jason Freeland is here to present Brown's Requiem. His family and friends are here to represent. The line begins to wind through the lobby. The theatre is packed and people are sitting on the floor. Jammed.

Rob Walton introduces Speedy Boys. Ben Taylor wants to speak before In the Flesh -- the film has started before he can say anything and we have to stop it and re-thread... Michael Shamberg hosts his second screening of Souvenir, John Paizs is here for Top of the Food Chain (brilliant) and as I head to the In the Flesh Q&A, kids have begun to line-up for the midnight show of Meeting People is Easy, the Radiohead doc. We got lots of coverage from the local alternative radio stations for this screening and the kids have come out in full force.

I first met Ben Taylor in Atlanta where he shot In the Flesh and had attempted to play it at the Atlanta Film & Video Festival. But money problems and technical delays kept it from screening. The post production process of his screening was truly night-marish. Not to mention the story of the shipment of the print. It barely arrived for the Saturday screening because it was tied up in customs from Italy. leading up to the festival. Ben and the producer Julie Lee had to wrangle the print from DHL -- literally she had to cry before DHL agreed to "release the print" and to deliver it Saturday afternoon. The appreciative audience responded.

The final act of the night. Loading in the hundreds of Radiohead fans. Lined fast against the wall, they wound through the hallway and spilled back into the lobby. I am relieved to know that Midnight movies still have a life. And with that, they filed into the theatre and Day Two spilling into Day Three, drew to a close.

Day Three >>