Don’t worry, your first film festival screening probably wasn’t as bad as mine.

Following is an account of my very first film festival screening for the feature film, LULLABY―a project we’re all very proud of but buried long ago. The film premiered at the 2000 Fort Worth Film Festival (now Lone Star International Film Festival) and went on to screen at the Dallas VideoFest (still going strong). Writer/director, David Lowery, was responsible for keeping the film alive; but last I heard, he’d copied over it, or something. And I haven’t seen my SVHS copy since I graduated college in 2002. Such is life. Introduced by David, and originally published on his website, here’s my accounting of our very first screening at the Black Dog Tavern in Fort Worth (now defunct).

Lullaby First Screening Review

Well, both screenings are now over. The Saturday show was great; however, with the screening on Friday, we had both the honor and the nightmare of being the very first film to play at the Fort Worth Film Festival (and it was more of a nightmare); they obviously hadn’t given their equipment much testing prior to the screenings. Luckily, as I predicted, hardly anyone showed up. Adam was there, though, and he has provided this first hand account of an experience no indie filmmaker wants to go through. So without further ado:

The room was dark―black―the very essence of its name. As I ran into the Black Dog Tavern to present the first screening of “Lullaby”; with sweat pouring down my cheeks and soaking my Kenneth Cole shirt, and rainwater having already dampened my freshly polished Versace shoes, I realized, as I was already five minutes late to the screening with a fresh tape―re-edited, color washed out and sound enhanced―that it was going to be a very long day. Running inside, I was confronted by one of the festival guys: “Are you the filmmaker?” he asked. “Yeah, I’m representing the film,” I responded quickly, “and I’ve got the refined tape.”

I addressed the audience, which consisted of two women at the front table whom I had never seen before; one guy directly behind them and to my right who I think may have been associated with the film playing directly after “Lullaby”; Doug’s father behind him; a good friend of mine, Evan, to the far left, my sister and her friend, Kevin behind Evan; my mother, directly behind them; and two club guys running around. They seemed relieved when the new tape came in, and I was too, despite the fact that I ran all the way from 1st to 8th street and four blocks of cross streets to get there. Panting and sweating harder then ever, I apologized for the delay as the club guys put in the new tape and pressed play. “Great,” I thought, “everything should be fine now.” But to my horror, everything went horribly wrong. The black and white contrast in the images was blurred and shaky, making it impossible to see what was going on at key points in the film. We stopped the film, and I ran to a corner and called David. No answer, so I left a frantic message on his voicemail.

A few minutes later he called and told me to apologize and cancel the screening. I couldn’t do that―most of the people who had gone out there were there to support us totally and I couldn’t take that away from them. So, the club guy went and got another VCR. Twenty minutes later as I was at the end of the bar out of sight, drinking a glass of water, and hiding my face, the VCR came. We plugged it in, taking another slight delay. Relieved once again, I prayed that the movie would run right.

Did it? Of course not, same problem occurred, albeit a tiny bit cleared up. The only thing that kept me from stopping the film altogether was the fact that no one left during the screening. I mean, the most exciting thing that happened during the screening was when the beer guy came with the beer and when an electrician started working outside the bar and then came in and said, “You’re online.” The screening sucked and the worst part was thanking everyone for coming at the end and having to hide my anguish and fear. However, the guy that I didn’t know asked for the website, so I guess that’s good. But, all in all, it was a pretty bad screening. And of course, when I took the tape home and played it on my Super VHS VCR, it worked fine. Bummer.

The less known half of Road Dog,
Adam Donaghey

Stay tuned for a report on the GREATLY IMPROVED Saturday show (we brought our own VCR)…

Filed under: Film Festivals, Fort Worth Film Festival, LULLABY

Houstonian Mark Chavarria and team recognized for stunts by Screen Actors Guild

The 17th Annual Screen Actors Guild Awards took place on January 30 and Houston stunt coordinator and performer Mark Chavarria was recognized as part of a group of stunt performers to take the “Outstanding Performance by a Stunt Ensemble in a Motion Picture” for Christopher Nolan’s INCEPTION. Mark has performed stunts for both independent and big budget films and television for over twenty years. I caught up with Mark and asked him what it was like to work on INCEPTION, playing Cheech Marin’s stunt double (in Robert Rodriguez’ MACHETE) and the difference between low-budget indie and big-budget films.

SCENE Magazine: “You won a SAG Award for INCEPTION – what exactly did you do on that film and what was most intriguing about it?”

Mark Chavarria: “The most intriguing thing about INCEPTION was the budget; and the special effects. Chris Nolan does not like to use CGI for the stunts and action. It is all real. He is old school, and I believe respects the audience in that respect. Because now-days, people can say oh that was fake, or that is CGI―not a real person.”

SM: “What’s different between these big budget studio pictures and your typical indie film?”

MC: “Big budget films have a lot of money; little indies don’t. Major difference. What we spend in one day on a show like INCEPTION is probably the budget for an indie. So you have to learn to be real creative when working on indies. I love working on both because you really have to think outside the box sometimes; and your creativity is more appreciated and valued.”

SM: “You’re credited as Cheech Marin’s stunt double in MACHETE – tell me about that.”

MC: “Doubling Cheech was a blast. He was so nice; and it is always amazing to me that I grew up watching his movies as a kid, never knowing in a million years I would one day double him. It is complete job satisfaction that everyday you never know what you are going to be called to do, but you wake up loving every minute of it. On MACHETE I get my butt kicked by Robert DeNiro as well, and then he takes my taxi. Now that was an experience of a lifetime!”

SM: “So, you and your team got the award―albeit, recognized off-screen. What’s that like?”

MC: “Winning a SAG award is nice; but it’s funny how the actors get a statue, and we that risk life and limb, get a certificate for the win. Still unfair treatment in that arena. Not very many news outlets even knew of the stunt category in the SAG awards. Thank you for recognizing it and giving us props. Even though we love our craft, and not looking for bragging rights―like “look at me”―but it is nice to be recognized for your craft during awards season. Actors/makeup people/directors of photography/sound designers/music composers plus many others get awards for their craft, but yet another part of the film making process, the “action,” gets no credit or recognition. I think I may start dedicating my time to get stunt personnel more attention for their craft. We get Emmys, but no Oscar? Really? Can you believe that?  Someone can get an Oscar for putting clothes on an actor, but no Oscar for a stuntman making the action in the movie. Can you picture movies with no action? Keep up the good fight and have faith!

Originally published on The SCENE Magazine LIVE – www.SCENElive.net

Filed under: Artist's Profiles, SCENE Magazine, Mark Chavarria, SAG Awards, sunts

Crazy Alan’s Swamp Shack spices up their menu

Boudreaux and Thibodeaux have been working hard over at Crazy Alan’s Swamp Shack. The upstairs deck is temperature controlled, perfect for all the intense weather we’ve been having in the Clear Lake Area recently. You can’t get a better view of the Kemah Boardwalk Marina anywhere else in the area. And most importantly, a barrage of new menu items are coming this February. On the horizon for spring, when the weather settles and live music starts back up, you might see the two cousins swinging hammers, building a brand new outside kitchen for boiling crawfish and smoking Alan’s famous oysters!

The Swamp Shack’s humorously named menu items add a fun, swamp-like atmosphere to the dining experience. But clever names don’t adequately describe the satisfaction in each savory bite! Due to popular demand, additions will include some old Seabrook Beach Club gems, along with several mash-ups of current crowd favorites and some exciting new items to fill out the menu.

Swamp Shack’s burger menu is getting several major additions. Prized among patrons, Alan’s mouth-watering ground beef burgers are infused with fresh ingredients, creating a uniquely enjoyable taste. Two of the most popular burgers on the menu, the Swamp Hog – a beef patty stuffed and cooked with bacon – and the Water Moccasin – a beef patty stuffed and cooked with jalapeños – have been swamptastically combined to create the colossal “In-Breed” burger. Another exciting addition is the Alligator burger – a beef patty stuffed and cooked with tenderized chunks of real alligator meat. Crawfish lovers already appreciate the Mudd Bugg burger, but try it blackened in crawfish spices and you’ll be a fan forever.

Those who recall Alan’s famous shrimp stuffed jalapeños from the Beach Club days, will be pleased to see they’re now on the Swamp Shack menu. Other appetizer additions include an award-winning shrimp & oyster diablo (shrimp, an oyster and a jalapeño wrapped in bacon and deep fried), crab stuffed mushrooms, smoked oysters, real alligator legs (if alligator nuggets aren’t enough!), and various sampler plates to try them all. If you’re with a group of friends, be sure to share some boiled seafood treats. The Mix Crab Pot includes a Blue Crab, clusters of each Snow Crab, Dungeness and a leg of King Crab; and the ultimate Boiled Seafood Feast includes everything in the Mix Crab Pot plus two pounds of crawfish, half a pound of boiled shrimp and lobster tail!

More traditional seafood plates have been added to round out the menu, satisfying a diverse array of palates. Additions include buffalo wings, Swamp tacos (alligator, fish or shrimp), Bayou Po-Boys (fried alligator, shrimp, crawfish or shrimp slaw), a rib-eye steak sandwich, a club sandwich, fried oyster dinner, Cajun fried Blue Cat dinner, chicken & sausage jambalya, Cajun shrimp and/or crawfish etouffee, BBQ bacon shrimps, Red Snapper, a fried “Trash” platter (with jumbo shrimp, oysters, catfish fillet and alligator), and grilled “Captains” platter (with jumbo shrimp, scallops, and snapper filet). Top it all of with Alan’s new strawberry pudding cake!

Nearly doubling the menu, the Swamp Shack is fast becoming a full service seafood restaurant, equipped to cater to any needs of its diverse clientele. Already a hit with the locals who are crazy about crawfish all year round and its award-winning gumbo, the added selections are certainly a “win” for the restaurant. Just look at the cover of this month’s SCENE – and Thibodeaux must be very proud.

Originally published in The SCENE Magazine – February 2011

Filed under: Food, SCENE Magazine, crawfish, Crazy Alan's Swamp Shack, Kemah TX

TIGER TAIL IN BLUE: The joke’s on you!

Last week I flew home from Chicago, while most of my friends and colleagues were flying home from Salt Lake City. Although I missed all the hubbub that was the 2011 Sundance Film Festival, I was lucky enough to be a part of a truly inspiring and rewarding experience. All that, and I still got to go sledding!

Frank V. Ross, a completely self-taught filmmaker, has made seven movies in the Chicagoland area. Not only does he write, direct and edit his own films; but oftentimes he’s one of the lead actors, he runs sound, and up until his last few pictures, he’s operated his own camera. Essentially, he’s a one man movie making machine. He’s also waited tables for over ten years and has no idea how to do anything else.

I first met Frank after a screening of his fifth film, PRESENT COMPANY, at the 2008 South By Southwest Film Festival. I was impressed with his ability to capture working people in real situations in an interesting way. Maintaining that balance between real people and the characters they play is key when creating a narrative meant both to convey the real world and to entice its viewers. Additionally, I’m fascinated in Frank’s remarkable ability to play jokes on his viewers and get away with it. He’ll often use suspense in humorous situations throughout his films to build the interest of the audience and then offer no real payoff. The audience will go along with it, oftentimes knowing they’ve been duped, because of his keen ability to distract and redirect.

As I read the script for AUDREY THE TRAINWRECK (our first collaboration), I found myself consistently amused, expecting something to happen and then chuckling when it didn’t. Frank even blatantly adds a title card, displayed after the main title while a supporting character has a tire blowout, that reads: “Or… These Things Happen in Threes.” Maintaining a pleasant vibe and keeping it fun for the audience, we ultimately get a payoff at the end – albeit, a non-traditional one.

In Frank’s latest incarnation, TIGER TAIL IN BLUE, he ups the joke’s-on-you ante. The film will thoroughly confuse some audiences and they’ll be constantly trying to figure out what’s going on. Whether or not the confusion over something so simple actually matters in the grand scheme of things is up to them. That being said, when discussing filmmaking over a glass of Scotch one evening, Frank said, “Movies aren’t a painting that you can stare at and make your own conclusions.” The endings don’t change, and the viewer can either accept that and go along for the ride, or not.

Some of the highlights in Chicago included reading an infamous John Wayne interview from a 1971 edition of Playboy Magazine, sledding down a hill on a snow shovel, Drew falling down the hill with all the sound gear (unscathed!), sausage and peppers, stares I got when I whipped out my koozie, realizing that I really enjoy slate jokes, laughing at how much fun it really is to count down the New Year over and over again in the middle of January. Somewhere in between all of that we made a movie. Follow TTIB on Twitter @TIGERTAILinBLUE.

In the meantime, the day before this edition of The SCENE Magazine rolls out, AUDREY THE TRAINWRECK will be screening in Los Angeles at UCLA. Towards the end of March, we’ve got a screening in The Netherlands. You can catch up with Frank while he’s waiting tables at Vincitori Restaurant in Westmont, Illinois – despite the fact that aspiring filmmakers should be paying him buckets of money to teach them how the heck to make movies.

Originally published in The SCENE MAGAZINE – February 2011

Find out more about TIGER TAIL IN BLUE, including links to still photos, Facebook and Twitter sites.

Filed under: Film Production, SCENE Magazine, Frank V. Ross, TIGER TAIL IN BLUE

Historic Texas Theatre’s Tainted Past, Promising Future

When I was in high school, one of the coolest jobs was being a projectionist at a movie theater. Especially a movie theater that gave you a key because of the long hours. Not only did you get to see first run movies for free and have first dibs on all sorts of uber-cool swag like posters and film trailers, but you got to take your friends to the movies at like three in the morning to see any movie you wanted.

I never worked in a movie theater; but I was the friend of the guy who worked in a movie theater. There was a time where I was seeing every first run print of a movie at no cost and in the wee hours of the morning – oftentimes before the film premiered at the theater. That’s pretty darn neat for a kid who just got his driver’s license.

A mere two days before The SCENE Magazine went to print, Aviation Cinemas, Inc., a brand new venture I’m a part of, signed a lease to take over operations of the historic Texas Theatre in Oak Cliff (south Dallas). Formed specifically to close this deal, Aviation Cinemas is named in honor of billionaire Howard Hughes, who financed the Texas in 1931. The solid concrete, “fireproof” structure was the largest suburban theater in the metroplex at that time and the first in Dallas to have air conditioning. In its heyday, the Texas attracted the Dallas elite with its grand design and state of the art projection and acoustics.

That all ended the day President John F. Kennedy was shot and his alleged assassin was captured at the Texas after not paying for a movie ticket. Soon after that fateful day, the Texas underwent a massive facelift – all of its glorious designs and vibrant colors were covered in plaster, sealing it away from public view. Since then, the Texas has struggled, moving from one owner to another and barely avoiding the wrecking ball. Oliver Stone remodeled the marquee and exterior facade for his 1990 film, JFK, when the theatre was under the ownership of the Texas Theatre Historical Society; and in 1995 the theatre barely survived an interior fire.

Today, the Texas Theatre is under the ownership of the Oak Cliff Foundation and, up until recently, has been a community run theater, holding special events and screening films using modest equipment. On August 30th, the Oak Cliff Foundation officially handed the keys to the historic Texas Theatre over to Aviation Cinemas. Our expressed goal is immediately renovating the theatre by installing a 35mm changeover system, tweaking the existing digital projection system to meet I-Cinema compliance, and installing a new adjustable 40 foot screen. This will allow the theatre to screen movies of various exhibition formats, utilizing state of the art equipment. The large screen will be moveable to allow for other kinds of entertainment including plays and concerts. The old school style film changeover system will allow the Texas to screen repertory film prints that would not normally be allowed to be spliced together on a platter. Additional exhibition for small format films and filmmaking will be supported by the addition of 16mm and Super 8mm projection. Plans also include constructing a concession stand and a separate full-service bar in the main lobby and soundproofing the area between the theatre and the bar.

Future goals include restoring the existing balcony, remodeling additional areas for lounge space and installing a digital cinema 2K and 3D projector. Currently, there’s actually no seats in the balcony area – in fact, it’s rather spooky up there and quite dangerous. We believe that creating a barrier between the balcony area and the lower screening area (which seats 650 people) will be an acoustically sound decision. Filling out the balcony with seats and installing additional projectors will allow us to utilize that space most effectively and provide additional outlets to entertain audiences. There’s also a great deal of space in the building that could be used as lounge areas and/or green rooms for theatre patrons and/or guests of the theatre.

Our hopes are that patrons will not only come out to the theatre because of the movies, but also to come hang out at the bar and enjoy the intriguing space of the Texas. The bar will have an assortment of bottled, canned and draught beers – including some craft beer selections. Additionally, the bar will have wine and liquor – with a variety of movie themed signature drinks. The wall between the screening area and the bar will be made of glass so that patrons can see what’s being screened from the bar area and art work will adorn the walls around them.

Long term goals for the Texas are to continue the Oak Cliff Foundation’s plan to restore the interior of the theatre back to its 1930s era design. The exterior facade and marquee will remain as is – a restoration of the 1960s era. We believe the value of the Texas Theatre is unparalleled because of its rich history. We aim to provide solid movie entertainment while promoting the values, culture and spirit of independent cinema and filmmaking. We’re independent filmmakers who now run a movie theater – what better way to foster the creative and artistic aspects of filmmaking and help cultivate a community of filmmakers?

Although theater expansion is certainly a distance off, we’ve already been discussing potential locations. The Houston area is certainly on the list, given my residence in Kemah. And with the recent closing of the Angelika downtown, there’s an even greater opportunity to succeed.

So, coming full circle, I’ll soon be able to bring my friends out to my movie theater in the wee hours of the morning and have special screenings and parties and all the other crazy events you do when you operate a movie theater. Will you be my friend?

Adam Donaghey is Vice President and CMO of Aviation Cinemas, Inc.

Keep up to date at http://TheTexasTheatre.com and become a fan on Facebook at http://facebook.com/TexTheatre.

Originally published in The SCENE Magazine – September 2010

Filed under: Film, Aviation Cinemas, Texas Theatre

Historic Texas Theatre Goes High Tech!

DALLAS, TX (August 31, 2010)—The Oak Cliff Foundation has officially handed the keys to the historic Texas Theatre over to Aviation Cinemas, Inc., a newly formed movie theatre company with the expressed goal of renovating the theatre by installing a 35mm changeover system, tweaking the existing digital projection system to meet I-Cinema compliance, and installing a new adjustable 40 foot screen. This will allow the theatre to screen movies of various exhibition formats, utilizing state of the art equipment. The large screen will be movable to allow for other kinds of entertainment including plays and concerts. The old school style film changeover system will allow the Texas to screen repertory film prints that would not normally be allowed to be spliced together on a platter. Additional exhibition for small format films and filmmaking will be supported by the addition of 16mm and Super 8mm projection. Plans also include constructing a concession stand and a separate full-service bar in the main lobby and soundproofing the area between the theatre and the bar.

“Phase one is to get the theatre in good working condition in order to exhibit films in traditional and digital formats,” said Barak Epstein, President and CEO of Aviation Cinemas. “Long term goals to restore the theatre to its original condition still exist; but in order to realize those goals we’ve got to be on par with competing theaters. Attracting audiences is the only way this theatre will survive.”

Aviation Cinemas, named in honor of billionaire Howard Hughes, who financed The Texas Theatre in 1931, is the brainchild of award-winning independent filmmaker, Barak Epstein. Epstein has been scouting potential spaces in the Dallas-Fort Worth area for several years. Following the Oak Cliff Foundation’s involvement with the Texas Theatre led him to his first opportunity.

Award-winning Independent film producer, Adam Donaghey, is Vice-President and CMO. “Barak and I have been looking for the next project to team up on,” said Donaghey, who’s produced several films alongside Epstein, “and when the opportunity to be a part of a movie theatre with the kind of history the Texas has, I jumped all over it.”

Creative Director for The Oak Cliff Foundation, Jason Reimer, will stay on as a part of Aviation Cinemas, continuing to head up programming and book shows. “When Barak came to us with his ideas for the Texas Theatre, “ says Reimer, “I knew instantly he was the right fit. Coupled with Adam’s ability to scout the latest and greatest on the indie film market, will make for some quality programming.”

While the theatre has content booked through the rest of the year, beginning in October, including the Texas Blood Bath Film Festival in November, the grand opening of the new Texas Theatre is scheduled in January 2011. Following the grand opening, phase two will consist of remodeling the balcony by possibly turning it into two additional screens (ala the Inwood Theater in Dallas), remodeling additional areas for lounge space and installing a digital cinema 2K and 3D projector.

The Texas Theatre is currently booking independent films, concerts, theater programs, parties and events. Book your event by visiting: http://TheTexasTheatre.com

Upcoming Shows

Following are a selection of confirmed shows
all dates subject to change

* Thurs. Sept. 30 – encore showing of Return to Giant (w/ dir. Kirby Warnock)
* Tues. Oct. 5 – Touch of Evil (dir. Orson Welles)
* Tues. Oct. 12 – Harold and Maude (dir. Hal Ashby)
* Tues. Oct. 19 – After Hours (dir. Martin Scorsese)
* Tues. Oct. 26 – Bonnie and Clyde (dir. Arthur Penn)
* Tues. Nov. 2 – Last Days of Disco (dir. Whit Stillman)
* Tues. Nov. 9 – Bring Me the Head of Alfredo Garcia (dir. Sam Peckinpah)
* Tues. Nov. 16 – Jesus’ Son (dir. Alison Maclean)

* Nov. 13/14 – Blood Bath Horror Film Festival

Coming Soon:

* Strange Powers: Stephin Merritt and the Magnetic Fields
* Adventures of Power
* Until the Light Takes Us
* Life During Wartime

Featured Directors of the Month Series:

* Akira Kurosawa
* Jacques Tati
* Alfred Hitchcock

Corporate Bios

Barak Epstein earned a degree in Radio, Television, and Film from the University of North Texas and afterwards moved into independent film production, distribution and Film/TV technology sales and consulting. As film producer, Barak has completed five feature films, which have played at film festivals throughout the world and have international distribution. Recent films include BLOOD ON THE HIGHWAY, which was released internationally in 2009 and EARTHLING, which premiered at SXSW 2010. Barak also works as a senior production consultant at Videotex Systems and has several start-up ventures in various stages of incubation including Film Out Releasing, an alternative independent film distribution company, and Texas MicroCine, a co-op and resource for small format filmmaking in north Texas.

Adam Donaghey, President and founder of Zero Trans Fat Productions, is an award-winning independent film producer from Texas. His work has been seen at festivals and special screenings all over the world and have international distribution. Adam’s latest projects are Independent Spirit nominee Bryan Poyser’s LOVERS OF HATE, picked up by IFC Films, and Clay Liford’s MY MOM SMOKES WEED, both of which screened at the 2010 Sundance Film Festival; Frank V. Ross’ AUDREY THE TRAINWRECK and Clay Liford’s EARTHLING, both premiered at the 2010 South By Southwest Film Festival. He recently wrapped principle photography on Clay Liford’s WUSS and Eric Steele’s UNCERTAIN, TX, and is currently in pre-production on Michelle Mower’s PREACHER’S DAUGHTER.

Jason Reimer is a composer and filmmaker responsible most recently for the multi-media group History at Our Disposal (creative capitalism). Reimer’s also been a member of Ghostcar and the Baptist Generals (Sub Pop), and recorded music for Bridges and Blinking Lights, The Angelus, Raised by Tigers and Center Divider. In 2001 he founded Pyramid Scheme art collective, producing records and art shows for various regional artists. Since 2002 Jason has scored soundtracks for various films, including Dennis Lee’s Academy Award-winning short, JESUS HENRY CHRIST, as well as producing his own installation shorts. Currently, Jason is filming VESPA GIRL with his newly formed Pyramid Scheme Production Group.

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WEBSITE:
http://TheTexasTheatre.com

Check out all the press related to the Texas Theatre on my website!

Filed under: Film, Press Releases, Aviation Cinemas, Texas Theatre

That’s a Wrap on WUSS; Company Move to UNCERTAIN, TX

At this very moment, I’m surrounded by a comforting, slow-rolling breeze amidst the quiet air of the small historic town of Jefferson, TX. The birds are singing and I’m overlooking an overgrown backyard garden upon a second floor balcony at the Alley-McKay House Bed & Breakfast Inn. Attempting to clear my head, I’m mentally preparing myself for a chaotic nine day shoot for Eric Steele’s first feature length film, UNCERTAIN, TX. That much more intense, given we just wrapped on Clay Liford’s WUSS (previously MINOR IN POSSESSION) only a few days ago.

To be shot entirely on location in Jefferson, Marshall, and Uncertain, TX, news of the film shoot has already spread like wildfire in this small, tight knit community. While much of pre-production such as casting, preliminary crew hires and location securement, was initiated prior to principle photography on WUSS, logistics regarding photography, lodging, scheduling and general production were all tackled over the course of two fifteen hour days. In other words: we’re nuts!

But even in this brief, peaceful moment, I can’t help but reflect upon the absolute insanity that was WUSS. By and large the shoot went smoothly, albeit with ultra long hours. The actors really nailed it take after take and the entire crew was on point. Like all productions, however, the set of WUSS was not without its problems, culminating on the very last shooting day. Utilizing a “poor man’s” process trailer (i.e., a Uhaul trailer) we were filming all of the driving scenes. Down to the very last scene with two shots left, our trailer carrying the picture car carrying our actors was pulled over by Dallas PD. Fumbling to find something illegal with what we were doing, the stop ended up merely being an inconvenient delay―no tickets were issued and everybody went home.

Even more interesting and relevant, considering I recently joined the Kemah Volunteer Fire Department, was a small fire on set from the extremely hot exhaust of a generator. The fire started on the grass just behind the generator and ended up catching a furniture pad covering the generator to muffle the sound. Naturally, the location we were on did not have an accessible fire extinguisher; so we had to grab one out of the grip truck, parked in front. The fire department was called, as I put out the fire. Apparently, it was more amusing than shocking, given the fire was so small compared to the intense blast of the dry chemical in the extinguisher. All of this was caught on tape but then recorded over with footage of Tony Hale―probably a good idea.

Speaking of which, for those of you who are “Arrested Development” fans, Tony Hale is an absolute riot and a constant performer. There wasn’t a straight face behind the scenes during his time on set. Luckily, no one busted a take! Endearing, sweet and genuinely happy to participate, Hale was a welcomed addition to our cast.

Ultimately, even with some minor setbacks, a multitude of locations and complicated scenes with a lot of actors, we managed to pull off a great shoot. The wrap party took place at the historic Texas Theatre, where we showed a blooper reel and a rough edited assembly of about ten minutes to the cast and crew. All that behind us, we’re taking a break from WUSS in order to shoot UNCERTAIN, TX, where the small town vibe has created an interesting juxtaposition to hectic city life of Dallas.

It’s now 12:30 a.m. and call time is six and a half hours later. The house is silent, save for me, clicking away on my computer. Tomorrow we begin a brand new endeavor and my exhaustion is overcome by my anxiousness. I’m certain most of the crew is feeling the same way, having also just worked on Liford’s film. I’ll say it again: we’re nuts; utterly nuts.

Thankfully, we’ve got an amazingly talented group of individuals taking on this task. I’m once again partnered with my right hand man, Daniel Laabs―my production coordinator and friend. My wrap present to him after WUSS was a crumpled up one sheet for the film, TRASH HUMPERS, I found in the garbage at the Texas Theatre. While this seems odd to most of you, I’m sure―it meant a great deal to Daniel. Although I’m super happy with this serendipitous find (seriously, watch the movie and you might begin to understand why it’s so great), this time I might need to spring for a bottle of Jim Beam.

As silly as this will sound, I’m uncertain about where this film is going to go; although I’m quite certain it will be something great. Having a smaller cast and crew and a shorter shooting schedule in an intimate location will surely create an entirely different vibe. But that’s what movie making is all about. If it’s the same old thing every day, we wouldn’t be so driven to do it. This raw intensity is my passion and what fuels me―I can never stop making movies.

Originally published in The SCENE Magazine – August 2010

Filed under: Film Production, SCENE Magazine, Jefferson TX, UNCERTAIN TX, WUSS

Back on Set with WUSS and UNCERTAIN, TX

Update: The film previously titled “MINOR IN POSSESSION” is now titled “WUSS.”

This month, we begin principle photography on a feature dark comedy, tentatively titled WUSS (previously MINOR IN POSSESSION). Written and to be directed by Clay Liford, the film is somewhat of a follow-up to the Sundance short, MY MOM SMOKES WEED. Nate Rubin loosely reprises his role as “Mitch,” an awkward late twenty-something individual with little direction in life. A high school English teacher, Mitch finds himself incapable of relating to his students, his peers or his family. Barely managing to get through life as it is, things turn from ugly to worse when he’s beaten up by a group of his own students. Too embarrassed to tell his fellow teachers and having no where else to turn, Mitch teams up with Maddie, a young girl feared school-wide because of a dark family reputation. Bonded in battle, the student and teacher form a friendship that stretches the use of the word inappropriate.

The Film, to be shot in Dallas and surrounding areas, features a hodgepodge of local talent and well-known faces, such as Tony Hale from “Arrested Development” fame and Alex Karpovsky, who starred in Sundance favorite LOVERS OF HATE. Set to be shot in HD on the Canon 5D Mark II with all sorts of fancy lenses, rigs and adaptors, WUSS will continue a recent trend in independent (and some studio) productions of utilizing low cost camera solutions to produce quality, high definition video.

I got my first dose of the Canon 5D the last weekend in June while producing the short film NEAL, which Liford shot, about a poolside escapade that turns deadly for two lovers unaware of what lurks beneath the crystal clear water. Adding into the mix some heavy underwater footage, I was really impressed with what this camera can accomplish with the proper gadgetry―in this case, underwater housing specifically designed to keep the camera water tight. Although the most rewarding experience on this particular shoot was spraying co-lead Dallas based actor Ryan Harper Gray with a water cannon filled with fake blood.

We plan to shoot WUSS in fifteen days―a very small window of time, relatively speaking. During that time, I’ll be staying with one of my producing partners, Eric Steele, whom I stayed with during the production of NEAL. Lucky for me, I’ve already bonded with his dog, Jimmy―I’m hoping that’s some sort of omen. Along with general producing, I’ll be acting as unit production manager (UPM); meaning, I’ll be the primary producer on set. In short, I will be living, eating and breathing WUSS. It’s really hard for me to comprehend the fact that it’s actually been over a year since I’ve been on set for a feature (and other than NEAL, the set of a short, for that matter). Although, between film festivals, small dealings with distribution matters, and preparing for future projects, I’ve somehow stayed fully engrossed in filmmaking.

That being said, immediately following MIP, we go into pre-production for a measly five days before shooting our next project (also on the Canon 5D), co-written and to be directed by my future and temporary housemate. The film, titled UNCERTAIN, TX, is named for the small Texas town, with a population of approximately 150, on the west side of Caddo Lake; and will touch on it’s rich history and eerie superstitions. Although our principle location is a bed and breakfast located in the neighboring city of Marshall, there will be plenty of footage filmed on location.

Much like LOVERS OF HATE, which was conceived during a stay at the principle location, the script for UNCERTAIN, TX was largely written because of the already existing bed and breakfast. The film takes place on the banks of Caddo Lake and follows two drifting con-artists who deceive the aged, blind proprietors of a cozy bed and breakfast and their semi-retarded son by posing as two guests who have made reservations for the following week. They all sing songs and dance around and fish and garden and everything is quite comfortable and nice. And then… Wham!

Steele is interested in the reality of sudden changing moments. Heightened and stylized in the script, these moments can be very real and truly horrifying. Most of us have been in situations in life that suddenly, for whatever reason, everything seems to change. Without warning, the good times are over and our gut tightens up. What if we could pin point these moments and prolong them in cinematic time for an audience? A thriller, of sorts, I read UNCERTAIN, TX in under an hour on my iPhone on my way to Chicago for three screenings of AUDREY THE TRAINWRECK. Upon landing I immediately emailed Steele (and co-writer, Hunter Wood) the following: “This is incredible! I’m overcome with a sense of dread after completing the script! I read it in like an hour―couldn’t stop. I’m super excited about this and totally creeped out! Thanks a lot guys―my night is ruined!”

WUSS and UNCERTAIN, TX are just two of many films on the horizon. In early September I plan to work once again with my old friend David Lowery, writer/director of ST. NICK, on his short, PIONEER; but can’t give details on that just yet. Later that month, I’ll be producing Michelle Mower’s THE PREACHER’S DAUGHTER right here in Houston―with locations in Alvin and other surrounding areas. PD follows the estranged daughter of a small town minister who is forced to return to the strict, religious home of her youth and face the demons she left behind four years before. A small break in October to produce the Houston Film Race and then it’s back to Dallas in November for John Wildman’s STRIPPED, a film following the events of a birthday outing that turns into a horrific fight for survival when two brothers and a friend become trapped in a house with a “family” of malevolent women.

More details on those films and others currently in development as they come. In the meantime, I’ll be reporting next month from high school and the following knee deep in Caddo Lake.

Originally published in The SCENE Magazine – July 2010

See more information, including synopses, press and other information for WUSS and UNCERTAIN, TX

Filed under: Film Production, SCENE Magazine, MINOR IN POSSESSION, UNCERTAIN TX

Wine & Dine or just Fall in Love at Signature Bistro

Under new ownership since November, Signature Bistro has been completely renovated inside and out. With a fresh new look and an updated menu, the cozy, converted house is the perfect place to wine and dine. With live music on the weekends and low lights in the evenings, the Bistro provides a truly intimate experience. Top it all off with extraordinary chef-prepared dishes and a sophisticated selection of fine wines, and you’ve got yourself a fine dining destination – without the long drive.

The time, effort and service put in by the staff at Signature Bistro is inspiring. Sisters, Elizabeth Grella and Melissa Baccus own the restaurant; but are often seen bar-tending and serving food. Executive chef, Bradley Hamil, greets guests whenever possible, garnering feedback on his signature dishes. Patrons feel more like family than customers and there’s a welcoming spirit unparalleled with most establishments due to the quaint, homelike layout and small scale of the restaurant.

Family-owned and operated restaurants are simply tradition for these two sisters. Their great-grandparents, Sam and Jean Grella, owned the famous Scampi Miramar located both in Boynton Beach, Florida, and Port Washington, Long Island, where high society and famous celebrities would dine in the 1940s and ’50s. As the name implies, the restaurant was responsible for creating and popularizing shrimp scampi. The sisters’ father (also named Sam) and mother, Jan, owned a restaurant in Houston coincidentally called The Bistro, and later played a prominent role in bringing live Maine lobsters to Houston by building the largest live holding system in the Southwest United States. Currently, he is a producer and importer of fresh and frozen seafood which helps in sourcing product for Signature Bistro!

The sisters continue the inventive tradition by creating unique and savory dishes with the help of chef Hamil. Graduating at the top of his class at the prestigious Le Cordon Bleu College of Culinary Arts in Austin and previously working at Brennan’s of Houston, Hamil specializes in fresh, quality cuisine with a modern focus on presentation and design. Ingredients are of the highest quality and sourced locally whenever possible, ensuring less travel time from farm to plate.

The Bistro specializes in seafood, with dinner entrees such as lobster ravioli and linguine pescatore, and farm-raised fish, such as Texas striped bass and salmon. Seasonal specials include lobster stuffed with a delectable crab stuffing on Fridays and Saturdays (while supplies last) and a new featured fish each week. Past featured fish include amberjack, black drum, snapper and red fish. In addition to fresh seafood, the restaurant also features fine dining regular dishes such as stuffed quail, lamb chops, pork chop and filet mignon. Quality appetizers, soups and salads are provided to accompany entrees – I, personally, recommend the Turtle Soup – along with a variety of spectacular desserts.

Lunch at The Bistro consists of lighter versions of the dinner menu, along with a variety of pastas and the mouthwatering Texas Kobe burger. Look out for the Reuben, Cuban, muffuletta and club sandwiches starting this month!

The Bistro, now open Sundays, welcomes guests for brunch with delicacies such as stuffed French toast topped with Cointreau berry compote and crab Benedict (poached eggs atop potato crusted crab cakes, topped with a spicy beurre blanc sauce). Happy hour crowds will be especially pleased with the bar menu. Monday through Saturday 11 a.m. to 7 p.m., Signature Bistro’s full bar features tapas such as Texas Kobe beef sliders and tournedos topped with herb goat cheese and wild mushrooms – all under $5!

With a sophisticated variety of fine wine grapes ranging from Cabernets, Pinots and Merlots, but also including Carménères, Malbecs, and Muscadelles, Signature Bistro is fit for business meetings and wine tastings as well. Reserve your spot now for the July 28th Wine Social―a great way to meet and greet other wine aficionados, sample hors d’oeuvres, and talk about the various wines.

In addition to fine dining, guests enjoy a wide range of romantic soft-rock classics and blues with David Scwope and his 12-string guitar on Fridays and a variety of musicians on Saturdays. Several outdoor patio tables and seating in the bar area are provide a comfortable environment for the casual diner.

Come be a part of the family at Signature Bistro, located at 1918 NASA Parkway in Seabrook. Open 11 a.m. to 2 p.m. for lunch, Tuesday through Friday and 5 to 10 p.m. for dinner, Tuesday through Saturday, with the bar open until midnight on Fridays and Saturdays, and Sunday brunch from 11 a.m. to 3 p.m. For more information, please call 281-474-4455 or visit the website for a full menu at www.signaturebistro.com; and be sure to become a fan on Facebook with updates, specials and lots of pictures!

Originally published in The SCENE Magazine – July 2010

Filed under: Food, SCENE Magazine

Introducing Club Pure: Clear Lake’s Hottest Night Club

Clear Lake’s newest hot spot opened its doors in June. Club Pure is located at the corner of NASA Road 1 and Highway 3 at 229 E. NASA Road 1.

Providing complete VIP treatment without the VIP price tags, the 5,000-square-foot ultra lounge is the ultimate place to lounge, drink and, most of all, dance. With its state-of-the-art light and laser show, surrounded by an eclectic mix of live DJ spun dance remixes, rock, hip hop and house music, Club Pure offers a nightlife experience and high energy dancing without the long commute downtown – ensuring more dancing and less driving!

Formerly Breaker’s Pool Hall, the space has been completely revamped to cater to Clear Lake’s hottest nightlife crowd. Upon entering the club, guests are surrounded by white walls and low lights. A red chandelier accents the space and carefully placed artwork adorns the walls. Turn the corner and the room opens up to a full-service bar, surrounded by more chandeliers and an enormous mirror framed in gold, giving the space a luxurious ambiance. Flat screens are located throughout the club, mixing music videos to coincide with the music.

Turn another corner and you’re in the middle of all the action. Go-go dancers entertain the crowds, patrons dance to the reverberating beat, and others lounge around. With lush, red booths and tables surrounding the dance stage, it’s easy to get caught up in the mix. And for more private occasions, reserve one of the numerous VIP areas, set off from the general public, where patrons receive premium bottle service and the assistance of a VIP hostess. Complete the VIP experience with limo service to and from the club – perfect for bachelor or bachelorette parties and birthdays.

Club Pure is open from 9 to 2 a.m., four nights a week, with a different theme every night. Industry Mondays with DJ Trey encourage patrons to “come as they are.” Relaxed and casual, industry night is the perfect mix of dancing and casual mingling. 2-4-1 Throwback Thursdays with DJ Playboy encourage patrons to dress sexy casual as they enjoy the best music of the ’70s, ’80s and ’90s. Dress to impress with DJ Playboy on Famous Fridays and DJ MPulse on Seductive Saturdays and enjoy the hottest dance remixes.

With no cover (excluding special events), ladies night is every night. “We have the craziest drink power hour in all of Clear Lake,” Club Pure Promoter Jaime Gonzalez said. Come early and enjoy $1.25 domestics and wells from 9 to 11 p.m. and $2 Club Pure shots all night. With plenty of parking available and optional valet service, Club Pure is convenient and hassle free. Club Pure provides a smoke free environment, but smokers can enjoy the outdoor patio.

Mark your calendars: On Friday, July 16, Club Pure will host 94.5 The Buzz Rod Ryan Hottie Posse Annual Party.

To reserve your own party or VIP table, call 832-378-4417. Find out more at www.pureclearlake.com and become a fan on Facebook for the scoop on all the parties and specials.

Originally published in The SCENE Magazine – July 2010

Filed under: SCENE Magazine