SUN BLOOD STORIES: "ALL THE WORDS IN MEANING"

Not only has the vinyl arrived for the much-anticipated Sun Blood Stories September release of "Haunt Yourself", but the searing second video for the album ("All the Words in Meaning") has been released today.  It's from the lyrics of this song that the album claims its name.

"All the Words in Meaning" exhibits Amber Pollard's impressive vocal control, ranging from soft-spoken and whispered to enraged and blistering, addressing any woman who has suffered the broken tea sets of childhood and the loss of innocence shattered by sexual abuse. An intensely personal offering, "All the Words in Meaning" hopes for the remedial redemption of music to counter the injustices of childhood and pleads for listeners to speak up and speak out.

As Pollard reveals: "This song is about my childhood. My awful childhood. My parents split when I was still a toddler. Maybe not even 2 years old yet. Around age 3, my mother started dating a man who would abuse me in every form of the word daily for the next 14 years. Escapism was my only reprise from the physical and emotional pain that was inflicted upon me. I often time found myself fantasizing about what my life could have been like if my parents had stayed together. That is what this song is about. Ben, Jon, and I just really hope this song makes you feel something. Anything. If you or someone you know is being hurt please call the National Domestic Abuse Hotline 1-800-799-7233. We love you."

Pollard does triple duty here, not only as troubador / town crier, and vocalist, but also the video's editor. She flexes a singular distinct DIY aesthetic exploring found footage and lo-fi imagery, with three edited videos under her belt and five to come. "All the Words in Meaning", directed by Thomas Newby and the Green Zoo Arts Collective, with Lighting/Set Design Assistance and Official Photography by Bethany Peterson, Pollard fairly gives credit to her son George Pollard for letting them use his room and personal belongings for the setting of this music video.

In a time of reflection when you realize
The sum of your parts don't make a whole life
Cuz some parts are broken, missing, buried
Hidden away in memories of pain
Never giving your eyes to to adjust. 

Like the Vision that
You had in the Garden

I can't forgive leaving, childhood you are stealing
Stood outside your doorway did you hear me?
Listened through the hallway did you notice me?
I just want to feel, I just want to feel
Why won't you let me feel something?

I have my mother's eyes, my father's nose
On my face is where they stayed together.
I've got to learn to hide or haunt myself
Red flower leaking remember how that felt?
How it felt?

With all the words...

... before I fly I hide my memories in the wild flowers...

With all the words in meaning.

© 2019 Sun Blood Stories

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THROWBACK THURSDAY: THE MIX-UP—Revisiting The Evening Class Interview With A.J. Eaton

In the Fall of 2007 I was invited by Bruce Fletcher, a colleague from the Bay Area and then-programmer for the Idaho International Film Festival (IIFF) to attend the festival's upcoming edition. Although at that time IIFF's importance on the festival circuit was near to negligible, I had become interested in the regional cinema populating such overlooked festivals. For me, such regionality held a certain allure and a refreshing authenticity separate from the more valorized and publicized festivals.

Further, in an effort to remain "right sized" about my film reportage, I had adopted the ameliorative practice of balancing opportunities to interview "famous" celebrities with giving due time and attention to filmmakers who were just starting their careers. As a consequence, after interviewing an auteur like Bela Tarr at the Toronto International, something felt "just right" about interviewing a young 27-year old director at his second festival with his first short. At the time, nearly 12 years ago, it was important for me to include a conversation with A.J. Eaton within the body of my work. "Perhaps, down the line when A.J. Eaton is gathering his laurels," I wrote, "I can say I was one of the first to recognize his talent and champion his work. Believe it or not, such delayed gratification would give this old film writer much pleasure and satisfaction."

With his first directorial feature David Crosby: Remember My Name emerging as a Sundance darling picked up by Sony Pictures for theatrical distribution, I was touched by A.J.'s invitation to moderate the Q&A after the film's premiere in Boise, Idaho at The Flicks. Evidencing "a large dimension to small actions", as diarist Anaïs Nin once wrote, it was with genuine pleasure and satisfaction that I accepted the invitation. It was great to know that A.J. was still the affable, accessible young man I met so many years ago.

A.J. Eaton's The Mix-Up (2007) kicked off IIFF's "Local Heroes" program of shorts and set an unsurpassed bar for the evening. A perfectly pitched comedy, crisply edited, well-acted, and concisely written, The Mix-Up proved to be an intact professional piece of filmmaking, integral unto itself, putting the other entries in the sidebar to shame. Having already played at the 2007 Palm Springs ShortFest, IIFF was the short's second stop, on what I predicted would be a robust festival run. Sure enough, Eaton's The Mix-Up courted the festival circuit and worked as a successful calling card in helping Eaton secure editing gigs in Los Angeles. In addition, The Mix-Up ended up in a Japanese collection of short films frequently screened to a viewing public.

I revisit the friendly and informative conversation on shorts filmmaking that A.J. and I had over coffee and raspberry shortbread in the selfsame spirit that informs Crosby's revelatory presence in David Crosby: Remember My Name: it is sometimes only in looking back that we can actually look forward. To revisit this conversation is to likewise honor A.J. for his perseverance and tenacity in achieving his goals. I had no doubt that A.J. would eventually create a document like David Crosby: Remember My Name. Each time we conversed, he had leapt forward in experience and know-how. When we sat down at the 2013 Sun Valley Film Festival to discuss the theme of cinematic disruption, he was already displaying major growth through his experiences in the industry. While looking forward to talking to A.J. about his first directorial feature, I likewise look back to our conversation on his first festival short.

* * *

Michael Guillén: Where did the idea for The Mix-Up originate? How did you develop this impressively tight script?

A.J. Eaton: It was a conglomeration of a few things. I wanted to do a well-done short film and so I started pursuing two ideas. One idea was a play called Sure Thing by David Ives where the same scene is played out over and over again. I phoned the author's agent and I said, "Hey, I'm trying to do a short film and I'm really interested in Sure Thing." She goes, "Well, you're about the fifth person to call this week on that. It's a really popular piece and the author's been adamant that it's going to remain in the theater." So that idea was gone.

I decided to go on an idea that my brother and I had worked up. We were just joking around in the car. My brother's a musician and we're both theatrical when we get together. I said, "What you need to do is get yourself a ball peen hammer and just beat the hell out of it" and then it just kind of evolved from there. I started thinking about my grandfather who's this little Italian guy who's had this hobby where he does construction. But the problem is that he's never quite done it right. The house that he and my grandmother live in is a 40-year conglomeration of bad construction projects. He took a deck one time and turned it into a TV room. The ceiling's sagging and all of that but it's his work and he's very proud of it.

Guillén: So your grandfather became the template for the character of Bill in The Mix-Up?

Eaton: Somewhat, yeah. But my main concept for the character was like a roly poly older Chris Farley. When I was starting to write it, I thought, "What's my grandpa's value?" Obviously, I love him dearly and his attitude is his value.

Guillén: At the Q&A you mentioned that the idea of the mix-up came from when you were working for a television studio?

Eaton: One of my first jobs in live TV was working at a local TV station in Pocatello, Idaho. It was an NBC affiliate and I was a camera operator and production assistant on this early morning show. We were on the air live at 6:00 AM every day. It was murder. We had to fill an hour's worth of news content every day and there isn't a lot of news in Eastern Idaho. I mean, there isn't that much news in Boise, Idaho. At least news that comes reaching out at you. The TV station didn't have the staff or resources to get reporters to actually do hard hitting news stories so we would find ourselves getting "experts" from a variety of different places. Some guy would show up about 10 minutes before he was supposed to be on the air. "Oh yeah," he'd say, "Duffy [the anchor] said I'd be on the second half, so just show up at 6:30" and his segment was at 6:40.

My job was to go into the break room where they had bad coffee and go get that person and bring him on to the interview set and I was like, "Now, what are you here for? What are you talking about?" "Oh," he'd say, "I'm going to be talking about fertilizer." "Are you from some kind of greenhouse?" "Oh no, I work for the school district. But I just met Duffy at dinner the other night and I told her that I'd been fertilizing my lawn…" and the rest was history.

Guillén: Would you say that early haphazard environment is why you now favor a tight, lean production style?

Eaton: Yes, absolutely.

Guillén: Among the shorts in the "Local Heroes" program, yours stood out for its fully-realized production value. Some of the shorts were being used to pitch for seed money for features, as the one filmmaker admitted, but what I admired about The Mix-Up was that it was complete; it was an intact universe. Clearly, you'd had some training in production?

Eaton: I started doing production when I was about 15. I was lucky because my dad is a songwriter [Steve Eaton] and he enjoyed some moderate success in the late '70s-early '80s. I spent a lot of time in his recording studio. That's how I got into film production. He was working on some TV music and the two filmmakers from PBS came to my dad's studio. He lived a Sun Valley lifestyle with a recording studio in the basement. We lived on an acreage where a lot of people would come to the studio and work. These guys were talking about sounds and shots and how the sounds work together. From that point forward I was addicted.

Guillén: Has that opportunity for early production training and access put you in conflict with peers who are operating off more of a DIY aesthetic? I sensed this last night. What I recognized as professional, I suspected others felt was privilege. Has this caused tension between you and other filmmakers your age?

Eaton: Absolutely.

Guillén: So what's the philosophy behind your filmmaking? What are you going for?

Eaton: I have a lot of films that I've made that were that DIY type of idea; but, they're not films that I feel comfortable showing in public. However, public feedback is always good; but, I would get the feedback after I showed it to a friend or family member. I've been involved in a few projects where I wasn't the director and I learned from the director's mistakes. A lot. I was so gung-ho by 21 to be a film director but I learned to be patient. I don't know all that I don't know.

Guillén: Let's talk about your directorial style. Your actors are natural. Do you have a way you work with your actors or do you let them bring what they're going to do?

Eaton: With The Mix-Up I took the approach that I was going to let the actors fill in the grout inbetween the bricks, if you will. I knew who was going to be right in the casting process. We went with something of an improvisational approach on this. But it all depends on the piece. I have another piece right now that I'm working on where I will be very strict with the actors because of the style of it. With this piece, I was so lucky to get all of the actors I got.

Guillén: You had a very good cast.

Eaton: They were. And thank Patti Kalles, who's a casting agent. Casting agents have become almost like executive producers these days. They have access. They know who's out there. They know who's not working. She was very encouraging. I was so concerned for our first day of shooting because even though Wally Dalton ["Bill"] and Rodney Sherwood ["the construction boss"] had worked together before, I hadn't rehearsed their scene. So I wasn't sure how these guys would gel. When I called Wally Dalton, I said, "I'm so excited to work with you, Wally. Your audition was amazing. I cast a guy named Rodney Sherwood to be your nemesis in that first scene…." He said, "Rodney and I used to tour on stand-up comedy together." The chemistry between those two was an absolute blessing; they had this unspoken communication. It was just right on. I rehearsed everything else, especially that scene where they take Bill into the studio and the people are pouring in and they're testing his microphone; I felt the timing had to be just right on that. I had the script. I had the group of people for the rehearsal. I said, "Here's what we're thinking. The camera's going to be here. You guys are going to be doing that." The actors would come up with ideas, they'd do stuff and I'd say, "Y'know, I don't think that's working for me. That's not right for the character." But they were all very detailed and so eager to work.

Guillén: The Mix-Up runs 13 minutes. How long did it take you to make the film? From the germ idea to writing the script to burnishing the script to actually shooting, which I understand took three days?

Eaton: Right. I started more than a year ago. My feet were on the ground where I decided, "I'm going to do this short film right away." There was a program On the Lot that Steven Spielberg and Mark Burnett were producing. I thought, "That would be really cool to get my short on that program." The deadline for that was January 1, I believe, so I was gung-ho to get The Mix-Up done by January 1. We were going to make this happen. No one else was going to hire me to make the film. We shot 80% of the film in November in Seattle. Then we edited it. I put in temporary music and some of the temporary sound effects and then deemed that, okay, I'm going to do some pick-up shots, put in a few more insert shots, and set up the crew again to do some of the fill-in shots that I knew that I was going to need when I was shooting the first two days but we just didn't have the time to do them. So I went back to Seattle and shot. I completed the film after editing in July. There was always something that I wanted to do. "Okay, we're going to have to remix the sound because it's not right." I was really really picky on this. We did it on a full digital intermediate. We shot high definition and the digital intermediate process is becoming an essential part to every great film production. I was lucky enough to get some time with the top colorists in Hollywood.

Guillén: Where did The Mix-Up's central joke of using construction metaphors to represent relationships come from?

Eaton: That came out of thin air, I suppose, going on the theme of how can someone's bad work still be valuable? The last line that Bill says when he's on the show is a verbatim quote from my grandfather. We had this friend who was visiting, came to my grandparents' house with us, and he's kind of a makeshift construction guy himself, but he does things right. He's sitting in my grandfather's living room and says, "Boy, Johnny, this is quite the production you got going here," or something to that effect and my grandfather responded, tapping the side of his head, "Yeah, it's all about engineering." I worked backwards from that. Engineering, y'know.

Guillén: Let's talk a little bit about reception. You've shown The Mix-Up at the Palm Springs Short Fest and now here at the Idaho International. Have you confirmed any further festival appearances?

Eaton: Not yet. I've been invited to submit to five film festivals.

Guillén: Explain that process a bit. How does that work with a short film? I imagine most filmmakers would start with a short. How do you go about knowing where you want to place it?

Eaton: I'm learning a lot about this. I was reluctant to step to the director's chair until I knew that I was going to do a good short. I happened to come into contact with a lady named Kathleen McGinnis. She is a leading shorts programmer. I didn't even know that when I met her. Someone said she was a film festival consultant. She's programmed the Seattle International, was one of the programmers at Palm Springs, and is a qualified publicist and producer as well. She's so eager to help people, which is amazing. She said, "Well, send me a copy of the film and I'll take a look at it." I Fed-Exed a copy to her and she said, "I like it." One of the things that Kathleen and I talked about is that there are shorts film festivals that are all about shorts where the shorts aren't just a side thing to the features, which can be a good strategy. She said, "You want to premiere at a shorts festival and these are the festivals you want to go to." She gave me a list and said, "Good luck."

As they say in the business, it only takes one yes. I applied to CineVegas. I was so excited about CineVegas. I thought it was a huge growing film festival. We didn't get into that, but there's only 10 slots for short films. I applied to a number of others but got a yes from Palm Springs. They called me personally on the phone and said, "Is this Mr. Eaton?" and I was like, "It is." They said, "This is Alan Spano and we're from Palm Springs Film Festival and we just want to wish you congratulations." For a second I was like, "Congratulations for what?" They said, "We love your film and we love the character of Bill and we really think it's going to play well here in Palm Springs."

Guillén: Did it?

Eaton: It did! The audience was laughing out loud, which was validating.

Guillén: What's it like starting out as a director where you've been accepted into a program of shorts with five or six other directors? What are the dynamics of that? Do you find yourself interacting a lot with those other directors who are submitting shorts? How do you gauge yourself against your peers?

Eaton: I can see the problems with my film but compared with others here at the Idaho International. I can say, "We might have something." But in Palm Springs, I almost felt like I was the underdog.

Guillén: The caliber was higher?

Eaton: Yeah! Absolutely. These guys are coming from Great Britain and Canada and Australia where they have lottery funding for filmmakers. Budgets were up to $500,000 for a short film.

Guillén: So humility becomes requisite?

Eaton: Absolutely. The other thing I was really nervous about—because, I think, directors are type A personalities; I know that I am—sometimes egos can clash, not as bad as actors together, but egos can clash. When I went to Palm Springs—which was the first big festival of that caliber that I had been to—I was nervous to go into a room with all these other filmmakers because I was thinking it was going to be more of a defense mechanism where I was going to have to defend the choices I'd made in my film. But there were no egos. It was all congratulatory and other people giving points; but, it's from an artist to an artist, so it was really great. The British films that I saw absolutely blew my mind. They were deep, great directing, everything about them was perfect. I've seen movies that have been box office smashes that didn't have the technical prowess that these films had. There was actually one director—Mal Woolford—who had two films in the festival, which was remarkable. One was this dark moody piece called Redblack, a perfect short film, and the other piece was a comedy piece called Fluffy. He and I sat down and we started talking about styles and "How did you shoot that?" It was so inspirational.

Guillén: So shorts directorship then and these festival opportunities become a training ground for you?

Eaton: It's like camp.

Guillén: Is your intention to do a few more shorts before attempting a full feature? Do you want to film a full feature?

Eaton: I do want to go to full features, but when the time is right, when I feel that I'm ready. Even with this short film, I decided I'm going to wait a few years, save up some professional capital, before I'm ready. I feel like I'm getting ready to do a feature. I've got two that I'm really pushing for; but, a lot of people are saying, "We want to see the darker side of A.J. We want to see the angst-ridden A.J."

Guillén: Is there an angst-ridden A.J.?

Eaton: There can be; I'm a chameleon! I just talked to a producer yesterday about doing a short film that takes place in … either the first scenes would take place in New York or Los Angeles at a high-rise music corporation office and then it goes to the French district in New Orleans. It's a story that has a definite twist but it will be dark, it will be very moody, it will be the opposite of The Mix-Up. I want to do it to prove to myself that I can do it. I also want to show everyone else that I'm versatile because I think that's what makes a successful director these days, is versatility.

Guillén: Let's talk some about how a young first-time director like yourself markets a short like The Mix-Up. Marketing. Distribution. Do you have a gameplan of how you want to get your film out there or what you hope it will do for you? How it will pay for itself?

Eaton: I do. It's transformed as the production process has gone about; but, surprisingly enough, there is a fertile market for short form content right now. With media expanding daily, with iTunes. I've gone into debt, obviously, to do this. We built sets. The way that we shot The Mix-Up was to look a little bit Curb Your Enthusiasm-esque. My DP is from Curb Your Enthusiasm. I wanted it to look a little bit more on the video side rather than the film side; but, the construction scene … we shot on a practical location for that; but, the TV set and the TV studio, those are all sets. On the TV monitors we digitally put in the logo of my fictitious TV station. We built risers in a big movie studio and put curtains down and the whole thing. So I thought, "Okay, I'm going to spend some money on this and I'm going to use it as momentum to get me another piece." I've cut my teeth on commercials, working as a producer or whatever on commercials, doing the music for commercials, so I thought, "I can show them this piece to show I can direct a 13-minute movie pretty well. I know where to put a camera and I know how to mix things together." But now I'm finding that—I've been talking to a company in Toronto—they buy short form content and put it on airlines. I had done a lot of research before fully going forward on The Mix-Up to find out what are my options? HBO and Cinemax, they're dealing with odd-numbered content, movies that can be 105 minutes long, so they end up finding themselves needing 13 minutes. I thought, if we do it well enough, we can possibly sell it there. In Canada there's two short film channels, two! One's called Movieola; the other one's Channel Zero. In Europe Shorts International just launched their own shorts channel too.

Guillén: Are there money prizes for shorts at the festivals?

Eaton: Yeah, at Palm Springs the shorts that won—which were very well-done and now are Oscar contenders—one of the prizes was a $30,000 Panavision package. It's like, "You've done great, kid, now here's your Panavision. Go and shoot another." I think there were some prizes that went down to $5,000 or $3,000. That would be nice to win that. But right now, my goal is to get into AFI.

Guillén: When does that run?

Eaton: That runs in November. I'll hear probably in three weeks whether that happens. I'd also love to get into Toronto Worldwide Shorts or the Aspen Shorts Fest or Clermont-Ferrand, which is a big shorts film festival in France. In fact, right now, I'm working on getting the French translation of The Mix-Up, which has been a fun, amusing process.

SUN BLOOD STORIES: "UP COMES THE TUNNEL"

Sun Blood Stories.  Photo: © Jenny Bowler.  All rights reserved.

A continuing tale of two cities. Sometimes I wonder if San Francisco is the silver backing to the mirror called Boise or if Boise is the silver backing to the mirror called San Francisco? Mine is a reflection facing in two directions, just as surely as I have coursed the conduit between these two cities for the past decade.

With the first video release "Up Comes the Tunnel" from their upcoming album "Haunt Yourself" (put a BIG RED CIRCLE around September 20, the album's release date, y'all!!), that conduit remains assured with Sun Blood Stories' Godardian use of lyrics and intertitled evocations laminated onto vintage forties footage of San Francisco. For those in the know, that footage starts out with an approach to San Francisco's Stockton Tunnel (deftly embracing the song's lyrics).

Photo courtesy of Sun Blood Stories.

Even as Boise's music scene shifts, my love for the creative talents of Sun Blood Stories (Ben Kirby, Amber Pollard and Jon Fust) remains steadfast. From first hearing Kirby growling "Barfly Blues" at Treefort Music Fest so many years ago, the band has morphed members and stylistic signatures over the years, having an undeniable influence on younger bands in Idaho's Treasure Valley. With the release of "Haunt Yourself", I anticipate their influence will range further.

I'm so pleased with the vocals on "Haunt Yourself" as the members of Sun Blood Stories step out from behind their mask of sonic texture (aka "high desert psych fuzz"), kicking off with Kirby's breathiness on this track, and spotlighting Amber Pollard's strong and sultry stylings throughout!! This is the album I've been waiting for from Sun Blood Stories, and--you might not know it yet--but, it's the album YOU'VE been waiting for!!

"Haunt Yourself" can be pre-ordered at Bandcamp. Boiseans, prepare yourself for an album release concert to beat all album release concerts as Duck Club presents Sun Blood Stories, Like A Villain, Chief Broom and Endless Atlas (plus some surprise guests) on Saturday, September 21, 2019 at the Neurolux.

 

SFFILM FESTIVAL 2019 / THE SAVAGES—The Evening Class Interview With Laura Linney

Photo courtesy of SFFILM.

In addition to appearing at SFFILM's opening night premiere of the Netflix limited series Armistead Maupin's Tales of the City—wherein she reprises her role as Mary Ann Singleton—Laura Linney is being fêted the following evening, Thursday, April 11, 2019, with an onstage conversation and tribute screening of Tamara Jenkins' The Savages (2007), wherein her characterization of Wendy Savage garnered Linney an Oscar®-nomination.


As observed by Dennis Harvey in his informative online career overview "Raising the Game of Everyone Around Her: Laura Linney": "The meticulous care with which she illuminates complicated dramatic personae is ideally illustrated in Tamara Jenkins’ The Savages (2007).... In its way a barbed companion piece to You Can Count on Me, this more acerbic yet bittersweet sibling saga co-stars the late Philip Seymour Hoffman as brother Jon to her sister Wendy, two Savages approaching middle age, both working (more or less) in theater—though in that, as in most things, they’ve fallen considerably short of their own expectations.

"They’re brought together by the news that their father Lenny (Philip Bosco) has lost a partner, is losing his home, and may have dementia. This is even more of a problem than it sounds, because Lenny abandoned his children long ago. Forced to take on care of a parent they were estranged from, the younger Savages react in different ways: Jon with droll but pitiless pragmatism, Wendy with a not-necessarily-helpful mix of guilt and neediness.

"She is the kind of deeply flawed character at which Linney so often excels, bringing warmth and humor to a figure whose actions are sometimes indefensible. (Not only does Wendy steal pharmaceuticals from a dead woman and sleep with a married man, she fibs about both a cancer diagnosis and a Guggenheim fellowship.)"

Back in the Fall of 2007, Director/screenwriter Tamara Jenkins and actress Laura Linney accompanied The Savages when the film screened as the opening night feature for the 30th Mill Valley Film Festival, at which time I was offered the chance to interview Linney, one of my favorite actresses, alongside one of my favorite film writers: Omar Moore of The Popcorn Reel. It's hard to believe that was nearly twelve years ago; but now seemed as good a time as any to revisit that conversation.

* * * 

Omar Moore: There's a lot of things to say about this film; it's a wonderful piece of work and, of course, you're one of the hardest working people in the business these days and for the last few years. You come to a point where you get immersed in a lot of characters; but, has there ever been a character that you've been so immersed in that you actually think, "Wow. This character could actually help me to become a better person in my real life"?

Laura Linney: They all help me. I'm fortunately one of those people who's able to work and then go home. Though I keep working at home. When you're working on a film it's non-stop because you're constantly simmering, ideas are constantly coming to you, you're daydreaming and fantasizing about the character and circumstance, maybe something technical or maybe something about their background; but, I think I learn from all of them. The joy of being a perpetual student, which is what I treasure the most about what I get to do.

Guillén: I'm a great fan of your work and have watched nearly every movie you've been in since Tales of the City. These characters that you've embodied as an actor, do you carry them around with you? They're such real people. It sounds like you have the professional skill to detach yourself from your assignments, but I was wondering if they don't pop up while you're shopping for produce in the grocery store?

Linney: [Laughs.] No, they don't actually. It's fun to think back on the work and try to remember what [was involved]. Claire from Jindabyne is so completely different from the girl in Love, Actually, who's so completely different from the Mystic River woman. It's fun to think back on them. They're like people I've met in my past.

Guillén: I ask because—knowing you were returning to San Francisco, the setting for Tales of the City—I was wondering if Mary Ann Singleton was coming up?

Linney: If there is a character and an experience that I carry around with me, that I enjoy carrying around with me, it's that one. A lot of that has to do with that being an extremely important experience for me. It was the first thing I did on film in front of the camera where I was on from beginning to end. I learned an enormous amount. The friendships I made during that are lifelong friendships. I consider Armistead Maupin one of the most important people in my life. My dear friend Stanley DeSantis—who played Norman Neal Williams and who, unfortunately, is no longer with us—was one of my best friends in the world. It was an extremely important very happy time and I loved playing her. There was a sense of joy and excitement about it and a lightness, which I treasure. Tales is something that I don't want to let go of.

Moore: In The Savages you play a writer who, I guess, undergoes a certain sense of self-delusion and perhaps also tries to find herself in many different ways but does so through a variety of unfortunate circumstances with some characters that she deals with….

Linney: She's a mess. She's not your typical protagonist.

Moore: Do you try to find different ways to look at this character? You might look at a script—of this film for example—but how many different ways do you try out a character before you even rehearse? Conceptually, as you read the script as an actor, and you look at your character jump off the page, are there any things prior to rehearsal that you do in order to really gear yourself up for this character?

Linney: Oh, of course. There's an enormous amount of preparation. In this situation there was. There's not always in every movie. With films that have spectacular scripts, those are the ones where you sit with the script the most because you know there's so much in there and—like a really good detective—you've got to find it. You know it's in there somewhere. It's maybe not in the script but it's in you somewhere and—through the script—you'll be prompted to think about things and you'll follow a line of thought and then you'll get to an answer, which will illuminate a lot about a character. Also, I had this script for a while. It didn't get made right away and there was a time when we all thought Phil Hoffman and I were going to be replaced by other people. Thankfully, for us, the movie then went to another company and Tamara Jenkins stuck by the two of us. I'm extremely grateful to her and to the producers because they could have had it made by other people. It's almost one of my favorite parts of the process, that sort of hunting and finding the answers. You're like, "Why? Why does this happen? Why?" And then really finding an answer. Not the why of just because she does this; but to find the real origin of behavior.

Guillén: I'm glad to hear you say that because it's such a well-written script, there are so many great lines in it, but what was really expressive to me was the behavior of these people. Your exercising in front of the television speaks volumes about your character's aspirations, how she's always trying.

 Linney: Isn't that funny?

Guillén: So this eloquent behavior, these behaviorisms, did you work them out with Tamara? How do you come to those bits?

Linney: No. That's my own work and it develops over time. It's influenced by the other actors; certainly my relationship to Phil. He'll say something that will affect you and you respond to it physically in a way and the characteristics will develop. There's different phases. There's the script stuff, which I sort of love because it's private and you usually have time and it's your own personal connection to the script; the real intimate work that you do just with your self and the script. Then, there's the phase where you're putting everything together. Decisions are being made about costume, look, design, those things, and that's another layer that will influence you. Then, there are the other actors, which is the greatest of all. Everything will contribute and effect. Everything will have a cause and effect. Everything that comes into will add on; they'll be another layer and another layer. Hopefully, you get to a point where the script starts to work on you. You are no longer working on the script. The script is working on you. And it's a fantastic moment. It happens in theatre a lot; the moment where it lifts off and the play will work on you. Then things start to really gel and deep connections are made that you're not generating, that just sort of grow and happen. That's difficult to do on film sets because you just don't have the time if you're working with an actor and a script that is accessible and rich and giving and complex. That's when the pinball machine really starts to go. [Laughs.] Things start clicking and flashing….

Guillén: [In my best impersonation of a pinball machine] Ding ding ding ding! 

Linney: Yeah, it's just fun. It's a team sport in many ways. While I was certainly never an athlete, I can sort of imagine that there are those moments in soccer, in basketball, in football, in synchronized swimming, whatever, where there's a collective moment that pushes everybody forward.

Moore: Philip Bosco and Phillip Seymour Hoffman in this film are both tremendous as well. There is one scene that's really remarkable—without giving it away—where you're all in the car and there's a fight going on between you and Bosco where he does this thing….

Linney: Yes, isn't that wonderful? It's a beautiful moment, isn't it?

Moore: Talk a bit more about your collaboration with Philip Bosco and how that all came about for you and how much time you had to spend with him? 

Linney: Philip Bosco is a legend in the Broadway theatre. He is a colossal figure for actors in New York. You can't say enough about Philip Bosco. When I was growing up, I saw him. I grew up in Manhattan and I went to the theatre a lot as a kid and I saw him in a lot of plays and he was just this bigger-than-life character, even to the point where—I don't know if you remember there was a chocolate syrup called Bosco?—and I called it Phil Bosco milk. That's how much a part of my life he was without even knowing him when I was little. So it was wonderful to get to have him play this larger-than-life imposing figure who I knew very well but was very distant. I didn't know Phil Bosco from Adam. As a human being I'd met him maybe once or twice but I had seen him for years and I was a fan. Phil Hoffman would probably feel the same way. So both of us had this sense of this man who has impacted both of our lives and for whom we have tremendous respect but don't really know. Bosco was fantastic. The man is happy to be there. He's always in a good mood. We were three theatre actors hanging on set. It was fun. There was the occasional dirty joke.

Guillén: I was just telling Omar before we came in here that I had just seen the film a few days ago at a press screening and I had just come in from Boise, Idaho where my sister and I had just put our mother into an assisted living facility and—though I had heard of the success of The Savages at Sundance—I had not yet researched the reviews and didn't really know what the film was about. So I came into the movie thinking, "Oh good, I'll be taken away from my family issues…"

 Linney: And there it is.

Guillén: There it is; but, what I wanted to say was what I appreciated so much about the film—having just gone through this fire myself—was the film's strong humor. I phoned my sister up after watching the film to tell her about it. The jokes we made about our mother during the process….

Linney: God bless, you have to! It's to take the curse of the dread off it. Doing this film, and also my age, it's made me think a lot about what's ahead and what I'm responsible for. There are several people who I will be responsible for, helping them through the end of their life, and it's a privilege.

Guillén: There was some commentary after Sundance that several of the films featured at Sundance addressed the theme of parental aging, intimately linked to an aging process among the filmmaking community.

Linney: I think so. Yes. Absolutely. It certainly made me think about getting papers in order for everybody so we can do it now while everyone can still….

Guillén: Crack a joke?

Linney: Yeah, crack a joke and honestly just prepare for it. I don't want to feel guilty. And I don't want them to feel unloved or deprived. I don't know what will happen with my parents or where they'll end up or even if they'll be lucky enough to reach that age where they'll be put into [a facility] like that. A lot of people just drop dead out of nowhere. So it's sort of the blessing of being able to live that long and the curse of the reality of the world in which we live, where people live far away from each other and lives are not intertwined the way that they used to be. They're difficult issues and people don't really talk about it. There is that unspoken thing when someone says, "I just had to put my father in a home." That's all people say and it reverberates intensely throughout the room because people know how difficult that is. And then the things you find. I don't know if you'd had to clean out a house but the delicious things you find that were left behind! Whoo-hoooooooo! [Laughter.] It can be so funny. The things you learn; it's just delicious and fantastic.

Moore: Within the context of your question, Michael, in American society there really is a much more cynical and, unfortunately, a more unpleasant outlook towards people as they age. When you go into other cultures in Africa or Asia, the elderly are respected on high. In this film there's a certain sensitivity and it's textured. The film is not being played in the way that a lot of films might look at the elderly. It's something that's really very very refreshing and even for the characters—the character you play and the character Phillip plays—there's a sense of hope that these characters are trying to travel towards. Was there anything in the collaboration with Tamara Jenkins that dictated this? Was there something in the script that was different from the way it felt at the end? When you first read the script, was there anything in the drafts that you read that changed from the actual finished product?

Linney: The script was almost in word perfect condition when we started and almost in word perfect condition from the time I was handed the script, which was almost a year and a half before we started filming. She had been working and working and working on that. It's also an unusual situation because it's also these people who are going through this experience. It's not like normal people going through this experience, which would then make it a Lifetime movie. It's these people. It's this trio. This wild trio of people going through this experience. And with a parent who did not treat them well. What do you do with that? I find that topic really interesting. How do you handle that? How do you handle a parent who didn't treat you well who you then are responsible for? There's that line where Phillip says to me, "Y'know, we're taking better care of him than he ever did of us." They have to for their own sense of self and for their sense of character. It's interesting when you treat people better than they deserve. What is that instinct in someone's character to do that?

Guillén: That hit me because I actually said that about my mom. But it also brought into focus this process of family crisis where you get pulled back into the family to do the things you need to do that actually betters you as a person.

Linney: And it's interesting to find yourself sliding back into a fourteen-year-old mind. Or you become twelve. Where you're surrounded by certain people where the dynamics and the relationships that are calcified at an early age that you try to break out of and grow out of but the core of it never really changes.

Guillén: One of the things I admired about Tamara's script was how she inferred commentary without voicing it. For example, that final scene where your character's play is on the stage and you're mixing the magical realism with the literalism, the audience realizes that obviously Phil's character had been beaten by his father as a child and that his strategy for survival was to disembody himself. It enrichened our understanding of his behavior throughout the movie.

Linney: That's right. That is, in some ways, the result of someone who's been working on a script for a long time. There's not one moment that hasn't been obsessed over and thought of and cared for. There are connections in this movie that I'm not even aware of yet. People will bring things up to me and I'll think, "Oh God, I didn't even think about that." When clearly it's all there.

Guillén: You've mastered these portrayals of siblings. You Can Count On Me hit us by storm and then you've followed suit with The Savages, which only highlights that you don't see complex portrayals of brother-sister siblings that often. Do you come from a family of many brothers and sisters?

Linney: No, I don't have a brother. I have a younger sister who I adore. She's my half-sister. We didn't grow up together but we're very close.

Guillén: All the more remarkable that you've skillfully captured that dynamic.

Linney: These two jobs You Can Count On Me and The Savages, as far as the quality of the work is concerned, are two of the things I'm proudest of. Certainly my relationship with Mark Ruffalo and Phil Hoffman are two that I absolutely value.

Guillén: The best brothers you've never had.

Linney: Best fictional brothers. It's funny because a lot of people were like, "Well, do you really want to do another brother-sister movie?" I thought, "What does that mean? I can never be another wife in another movie? I can never be another girlfriend? I can never be another lawyer in a movie?" It was so funny for people to say that to me. I was like, "What are you talking about?"

Guillén: Boy, am I glad I didn't say that! [Laughter.]

Linney: I understand it in some viewpoint but then I was like, "Well, if you really think that logic through, it's absurd." Besides, they're totally different relationships.

[At this point the publicist stuck her head in and signaled we had a couple of more minutes and Laura smiled and cooed, "Give them ten more minutes. I like them. Give them ten." We all laughed.]

Moore: I wanted to ask you about Jindabyne. It's a tremendous piece of work.

Linney: Thank you.

Moore: When you're in a different location like Australia and you have these kinds of things going on in the film and you tap into these dynamics, what are you driving into? The whole racial aspect of the film, what kind of things do you as a performer draw upon? Real life? Your own experiences? How do you mine that as a performer in a film like Jindabyne?

Linney: That's a very good question in relationship to that movie. There are many different currents to that film. There is the place itself, southeastern Australia, which is an incredibly powerful place. I had never been to Australia before. I had never felt nature that was that powerful and I lived part of the time in the Rocky Mountains. I'm not just a city girl although I grew up in Manhattan. The power of that country. The vibrations of the nature. It's a whole other thing. So there's that element, number one.

We were also shooting in a location where the town was submerged in water. Just that can give you pause to think about. That character, I found her really interesting. A woman who had postpartum depression to such a degree that she left. What must that be? If you have to ask, that was a situation where I had to ask, "Why?" Other than just accepting a generalized reason, I really had to look at what is postpartum? What does it do? How bad does it get? What is it? And why would she leave? Then I realized she left because she was scared she was going to kill her kid. She was scared she was going to hurt her child. Just exploring all of that and being a foreigner in a foreign land, marrying another foreigner, it was so layered and everyone was so haunted. It was all so visceral and thick and another script that was beautifully written. So where I "got it" was from all over the place really, I guess, but it was very deep, emotionally it was very demanding. It was very murky.

But, at the same time, it was a one-shot film. Everything was in one take. There was only natural light. Days went fast and easy and breezy. Ray Lawrence was fantastic and we all had a jolly good ol' time doing this very intense film that dealt with murder and race and home and emotional politics and disappointment and shattered expectations and youth. Those children were just delicious. I loved those kids. My God, did I love that little boy. Looking at that little face and thinking about coming back and the guilt of knowing whatever was possessing her at the time that scared her so badly that she had to abandon them and then have no one understand what she was going through. For Americans, mental health is here if you need it. It's accepted. Should be required. I just found the whole thing so interesting. It was a fecund script. It was teeming with stuff.

Guillén: Viscerality is clearly an adjective that can be applied to many of your performances. Do you have a meter when you're reading a script? Is it viscerality that appeals to you? The idea that you can take an unattractive figure and find what will physically make them acceptable to an audience, perhaps even loveable? Can you tell that when you're reading a script?

Linney: What I clue into first and foremost is: "Is this actable?" I've said this a lot but many scripts are not written now to be acted. The agenda behind the script is to be greenlit, to be financed. They're written for people who are not trained to read a script. That's not a criticism; that's just a reality. When those scripts get to actors who are trained and are looking for certain things, who have requirements of scripts to help them, and it's not there, then you have to do an enormous amount of work and 90% of the time the movie's not going to work. It might work financially but it's not going to be a satisfying experience. It's going to be hard.

So if you have a script that's actually actable, then you know there are places to go, there's things to unearth, dynamics that are there, the narrative's going to work, you can see it. It's the equivalent of an architect looking at a blueprint. They can see the angles of the house and it's just on the paper. They can feel the wood even though it just says, "This will be cedar." It's like a chess player who can see five steps ahead. There's something that actors have, who work in this way, and we can see it or we can tell, "This scene is off and I need it to be different so that the scene down there will make sense." That's fun. Tinkering that way is really fun. I just did this huge mini-series for HBO and we were constantly figuring out how to reshape and what did we need and—if we do this in episode two—will it pay off in episode six?


Guillén: Those are the brilliant bits in The Savages. I loved the scene in the airplane where you're guiding your father back to the bathroom and his pants fall and it's your fault because, earlier, you took away his suspenders!

Linney: That's right.

Guillén: And you had that guilty realization on your face: "I'm trying to help and I'm completely messing things up."

Linney: That's Tamara. That was all Tamara.

Guillén: Well, you had a little something to do with it too….

Linney: Well, you're aware, but you have to place it, you have to pitch it. It has to be the correct pitch. The right note has to be played. You can't do it too high or too low. A perfect example, Mystic River. It was a small part with this thing in the end. In some ways it was like, if you envisioned the thing at the end as being a blob of paint, I had to take the paintbrush and go, "This way." So that it would build. You'd see more and more paint as you got into it. There had to be hints throughout the rest of the movie so that when that monologue hit, the audience was prepared for it subconsciously and then it would hit hard. It couldn't just come out of nowhere. It had to be set up. The fun for me was, "Okay, how do I set this up?" I'm in the first scene of the movie or one of the first scenes of the movie and you don't know who the hell she is really until that scene and then it all becomes exposed. But how do you set it up that way? That's what's fun.

Moore: But is that always going to be in a subtle fashion that you have to set it up?

Linney: You can't tip your hand. I mean, you could tip your hand if you wanted to. You could tip your hand from the very first scene but then that monologue's not going to land the way it's supposed to. It's not going to have the sense of surprise.

Moore: But in any situation—whether it's Mystic River or any other—you would obviously have to do it in a subtle way as a performer, would you not? Or would that depend on the character, or the situation that you want to lead to at the end?

Linney: It depends on what story you're telling. Story first. That's the first priority.

Guillén: Here's a broad question for you then: in telling the stories, what varies between telling the story on stage and telling a story on film? Because you're adept at both.

Linney: They're completely different. The most important difference is just the sense of time. You have much more control in the theatre. It's much more intimate. There are things that will only happen in the theatre because of time. You can't push it. Only time will deepen a relationship. Only time will let language fly in a certain way. Only the ritual and the repetition will make something grow. It's like a slow cooking stew. Eat it at day two and it ain't going to be as good as at day seven. It's just not. There's nothing you can do. You can't force water to boil. You have to earn it. That really has to be earned, gently and consistently in a very focused way and then it will start to go. With film, you're never really going to get that. You can get a semblance of that and at times—if you connect with your actors and if you connect with the script—then you can go deeper than most films. But a lot of times you feel like you're sliding on ice.

Guillén: So you would prefer to remain a stage actress?

Linney: No. The answer used to be yes, by the way. The more film I've done—which is a big surprise to me….

Guillén: Not to me.

Linney: Well, it was to me—the more I enjoy it because of everything we've discussed; the challenge of it is huge. It's amazing to me when any good movie gets made. It's miraculous.

Guillén: Would you say your theatre training helped you develop the ability to come onto a film set and go deeper quicker? In contrast to an actor, let's say, who's not had the benefit of stage training?

Linney: I don't think so because I've seen actors who have only done film who are unbelievable.

Guillén: They just go right there?

Linney: Oh yeah. Look at someone like Jodie Foster. I know that Jodie Foster knows things in her bones about film that I will never know just because it's what she's been doing since she was small. Her whole professional life has been about film and, similarly, there are things that I know about theatre that other people will never know, just because I grew up in it and I've been around it my whole life. I'm fluent in the language of theatre. [Laughs.] But as the years go on, the more film I do, the more I enjoy how challenging it is and I'm hoping that I'm getting a little better at it. I still feel like I have so much more to learn. There are things I still struggle with that I know I need to work on and the only way you can work on it is by doing it.

Moore: You talk about struggling, and you talk about how you don't necessarily take all these characters home with you, but do you find yourself being more critical about your own performances on film vs. theatre?

Linney: Well, in the theatre I don't watch myself. When you're bad, you just feel bad, no matter where you are. It doesn't matter if you're on TV or the radio. When you feel bad, you just feel terrible. And then there are these wonderful moments where you realize, "Oh, I've outgrown a bad habit." That's really nice. Then there's another bad habit, but you've gotten rid of one. You've outgrown one and maybe grown into another one.

Guillén: Could you be specific about that? What was a specific bad acting habit you've grown out of?

Linney: Fears or blocks. There was a time when I was still a student in school when emotional access was not easy for me. I would force it and it was terrible and I knew it was terrible and I felt like a fraud. Something clicked at one point and now it's not an issue.

Guillén: From my perspective that's one of the things I love about your performances, or your choice of roles: you're fearless. You aren't afraid of how fallible some of these people are that you're portraying. It's not like you—as an actress—have to be loved for the characters you play.

Linney: No. That's one of the tenets of the theatre. Correct. I don't feel that's my responsibility. I feel my responsibility is to tell the best story that I can tell and to fulfill the desires of the writer, the director, and what I feel the character wants. The likeability thing is just a different way to go. I don't find it interesting. For me, I find it boring. There are some actors who have whole careers built on that and they're wonderful at it and I love to watch them do it. I find it refreshing and delicious and sparkly. I love it! But I wouldn't know how to do that. I wouldn't be any good at it either.

Moore: Wouldn't likeability compromise you as an actor?

Linney: Absolutely. It can. If that's what you're thinking about. I can remember that there was a movie I did early on and I was so shocked because the director came up to me at the end of the movie and said, "Y'know, she's not going to be liked. She's not likeable." I was like, "What do you mean? She wasn't likeable from day one and now we're at the end of the movie and you want her to be likeable?! Are you insane?" I was like, "Don't worry about it. It's okay. She doesn't have to be likeable."

Guillén: The only reason it even crosses my consciousness is because Mary Ann Singleton was nothing but likeable. She was like a beloved sister.

Linney: But she should have been!

Guillén: But by contrast, I didn't like you very much in Jindabyne.

Linney: Understandably. That's complex.

Guillén: In The Savages, I think you're so messed up but I love you. [Laughter.]

Linney: She's so fun because she's so narcissistic but she has great empathy. She flipflops back and forth. This topic came up in an interview with Tom Wilkinson who I've worked with several times. I was reading the paper and there was an article about him and he was talking about the exact same thing. He was saying, "With parts that are supposed to be likeable, I'll play as likeable. But if they're not supposed to be likeable, I'm not going to be likeable." Besides, it doesn't work if you go against the grain or the truth of what something is trying to be, if you try to manipulate it and change it, it just doesn't work.

Moore: Can I ask you the question that you've probably been asked a thousand times?

Linney: A thousand and one. Which one is it?

Moore: What might you be working on next?

Linney: Oh, that's not a bad one, that's easy! There are two things that have been completed: City of Your Final Destination—which is a Merchant Ivory film—and then I've just done this huge HBO series on John Adams. Next, I'm going to sit down for a bit and hopefully do a play in the Spring.

[Originally published on November 28, 2007]

SFFILM FESTIVAL 2019 / OPENING NIGHT: ARMISTAUD MAUPIN'S TALES OF THE CITY

I worked as a dishwasher / busboy / waiter at Fanny's Cabaret in 1978 when I was a young man growing up gay in San Francisco's Castro district. As we set up tables and sprinkled cinnamon and vanilla extract into the coffee brewing for our Sunday brunch patrons, our conversations were lively with disco lyrics, things Herb Caen had noticed that day (or what others had noticed for him), and the goings-on of the residents at 28 Barbary Lane who, delightedly, seemed to be growing up right alongside San Francisco's burgeoning gay subculture. In many ways Anna Madrigal and Mary Ann Singleton stood in for our experience of participating in the creation of a progressive San Francisco, so many of us having come from elsewhere. The first four volumes of Armistaud Maupin's Tales of the City nine-novel cycle were serialized in the San Francisco Chronicle in columnar installments, followed by the fifth at the San Francisco Examiner, while the rest of the series arrived fully novelized, eventually televised, and suitably iconized. Serializing his story allowed Maupin to publish quickly after writing, incorporating current events and trends, which added an everyday realism to the Barbary Lane narratives. To paraphrase Black Elk, 28 Barbary Lane might have actually been Macondray Lane in San Francisco, but 28 Barbary Lane was everywhere.

Nine novelizations and three televised adaptations later, Armistaud Maupin's Tales of the City returns to San Francisco in a limited Netflix original series premiering as the opening night entry for the 2019 edition of the SFFilm Festival, in anticipation of its June 7 broadcast date.

As synopsized in the program notes: "Mary Ann (Laura Linney) returns to present-day San Francisco and is reunited with her daughter Shawna (Ellen Page) and ex-husband Brian (Paul Gross), 20 years after leaving them behind to pursue her career. Fleeing the midlife crisis that her picture-perfect Connecticut life created, Mary Ann is quickly drawn back into the orbit of Anna Madrigal (Olympia Dukakis) and her chosen family, the residents of 28 Barbary Lane."

  

MICHAEL HAWLEY PREVIEWS THE 62ND EDITION OF THE SFFILM FESTIVAL (2019)

The SFFILM Festival, better known until just recently as the San Francisco International, celebrates its 62nd edition next week. What's different about this fest is that for the first time since 1976, I won't be in attendance due to a recent relocation out of state. That minor detail, however, won't stop me from talking about what excites me in this year's line-up, nor from sharing brief commentary on a handful of films I was able to preview.

The 2019 festival takes off on Wednesday, April 10 with the world premiere of Netflix's Armistead Maupin's Tales of the City, featuring on-stage appearances by beloved series' star Laura Linney and writer/creator Maupin. Closing out the fest on April 21 will be Official Secrets, starring Keira Knightley as UK whistleblower Katherine Gun. Expected guests for the evening include the film's Oscar®-winning director Gavin Hood (2005's Tsotsi) as well as Ms. Gun, the movie's subject. Rounding out 2019's trio of Big Nights will be the Centerpiece Film presentation of Sundance hit The Farewell, featuring Crazy Rich Asians breakout star Awkwafina.

As always, SFFILM Festival offers up an enticing array of Awards & Tributes. Most noteworthy to me is the April 12 shindig for John C. Reilly—not just because he's an outstanding actor but because his tribute includes a Castro Theatre screening of Jacques Audiard's revisionist western The Sisters Brothers, perhaps the most criminally underseen film of 2018. Laura Linney, in addition to appearing on opening night, will hang around SF for another day to partake in her own April 11 tribute, featuring her Oscar®-nominated performance in Tamara Jenkins' 2007 familial dramedy The Savages. Across town that same evening, iconoclastic French director Claire Denis will finally, after several thwarted attempts, receive an SFFILM Fest tribute. That program includes a sneak peek at High Life, her English-language sci-fi thriller starring Robert Pattinson and Juliet Binoche, which opens the following day at the Embarcadero Center Cinema.

Other acting tributes include Laura Dern on April 14, accompanied by her latest, Trial By Fire, as well as esteemed child actor and longtime festival supporter Claude Jarman, Jr. on April 20. The now 88-year-old Jarman will receive the fest's George Gund III Craft of Cinema Award, followed by a showing of Clarence Brown's 1949 adaptation of William Faulkner's Intruder in the Dust … in 35mm! Celluloid lovers also won't want to miss the Mel Novikoff Award presentation to BBC series Arena, wherein James Marsh's mesmerizing experimental docu-drama Wisconsin Death Trip from 1999 will also be projected in 35mm. Rounding out the awards roster is pioneering African American documentarian Madeline Anderson. She'll receive the festival's 2019 Persistence of Vision Award, accompanied by two of her early doc shorts.

Amongst this year's Live & Onstage presentations, I'd give top priority to hearing Boots Riley deliver the State of Cinema Address. The lefty rapper and musician recently took indie film by storm with his directorial debut Sorry to Bother You, which scored the Centerpiece slot at last year's festival. Other L&O offerings include all-women L.A. band Warpaint's live accompaniment to works by iconic experimental filmmaker Maya Deren (including 1944's seminal Meshes of the Afternoon) and a screening of Andrew Slater's new documentary Echo in the Canyon, about the early years (1965-67) of the Laurel Canyon music scene. Musician Jakob Dylan, who conducts the doc's on-screen interviews, will perform selections from the era live at the Castro Theatre following the screening. Fest-goers can also spend An Evening with Kahlil Joseph, who's perhaps best known for co-directing Beyoncé's Lemonade project.

Over the past decade, documentaries have come to occupy an increasingly larger slice of this festival's pie, with non-fiction works now comprising 47 percent of its total feature film count. That's a daunting number, but I'll try and touch on a representative sampling. The fest's Masters section is a good place to start, with new works by two acknowledged geniuses of the art form. Werner Herzog's Meeting Gorbachev will play the fest prior to its opening at Landmark's Opera Plaza Cinema on May 10. I had the chance to preview Stanley Nelson's magnificent Miles Davis: Birth of the Cool, which fits comfortably within a distinguished filmography that includes The Black Panthers: Vanguard of the Revolution and Jonestown: The Life and Death of Peoples Temple. As a Francophile I was especially intrigued with the section covering Davis' time in Paris—a searing romance with chanteuse Juliette Greco (interviewed on-screen) followed by the creation of his improvisatory score for Louis Malle's 1958 film Elevator to the Gallows. That collaborative project launched a whole new direction in Davis' music. Outside the Masters sidebar there are even more biographical documentaries, most with self-explanatory titles: Ask Dr. Ruth (opening at the Opera Plaza May 3), Halston, RAISE HELL: The Life & Times of Molly Ivins, Toni Morrison: The Pieces I Am and Show Me the Picture: The Story of Jim Marshall (the latter a portrait of San Francisco's notorious rock music photographer).

This year's festival is the first to take place in the era of legal recreational cannabis, and SFFILM is not letting 4/20/19 pass unnoticed. First, there's the previously mentioned 60's rock-doc Echo in the Canyon at the Castro—a venue where until the mid-80s patrons could smoke weed in the right-hand section unfettered. This festival's real 4/20 pot party, however, is likely to go down at Oakland's Grand Lake, where musician, filmmaker and former Yo! MTV Raps host Fab 5 Freddy will be on hand to present his new doc about the history of reefer in America, Grass is Greener. A third stoner doc option that Sunday is Hail Satan?, director Penny Lane's comic look at The Satanic Temple.

A total of 13 prizes were awarded to documentaries at this year's Sundance Film Festival and amazingly, SFFILM has programmed films representing ten of them. Topping the list with three prizes is Honeyland, a female Macedonian "bee whisperer" portrait which won a World Cinema Grand Jury Prize, a Special Jury Award for Impact for Change, and a Special Jury Award for Cinematography. The U.S. Grand Jury Prize was given to One Child Nation, which analyzes the consequences of China's infamous 35-year social experiment. The doc receiving the most publicity at Sundance was Knock Down the House, which won the U.S. Documentary Audience Award. Rachel Lears' film, which pops up on Netflix May 1, follows four female 2018 political candidates—most famously Alexandria Ocasio-Cortez—as they strive to topple entrenched incumbents. I'm very intrigued by Special Jury Award for Cinematography winner Midnight Family, which trails a family who run a frantic private ambulance service in Mexico City. At the SFFILM opening press conference it was revealed that travel visas for the Ochoa family to attend the festival were (of course) blocked by the assholes who decide such matters. The remaining Sundance prizewinners one can see are Always in Season (Special Jury Award for Moral Urgency), Jawline (Special Jury Award: Emerging Filmmaker), Midnight Traveler (Special Jury Award for No Borders) and American Factory (Directing Award: U.S. Documentary). The latter film curiously landed in SFFILM's Masters section, of all places. I'm not at all familiar with its co-directors Steven Bognar and Julie Reichart, and an IMDb search also yielded nothing from them I recognized.

Amidst the surfeit of documentaries I've yet to mention, here are several of personal interest. Based on Victor Kossakovsky's ¡Vivan las Antipodas! (SFFILM Festival 2012), I'd definitely check out his latest work Aquarela, which sounds like an incredible sensory experience. Echoing that film's aquatic theme is Walking on Water, a reportage on environmental artist Christo's latest project The Floating Piers. Chinese artist/activist Ai Weiwei is expected to attend the festival for screenings of Ai Weiwei: Yours Truly, a closer look at the prisoner letter-writing campaign that was part of his Alcatraz exhibition. The international refugee crisis is the subject of two more SFFILM docs. Unsettled: Seeking Refuge in America concerns LGBTQ refugees, and Central Airport THF takes a poetic look at Berlin's defunct Tempelhof Airport, which became a refugee camp in 2015. The latter is directed by renowned Brazilian filmmaker Karim Aïnouz (Madame Satã), whose last narrative feature Futuro Beach was co-set in Brazil and Germany. Central Airport THF garnered rave reviews when it premiered at the 2018 Berlin Film Festival, and was recently available to watch on Euro streaming platform MUBI. Speaking of Brazil, the fragile political situation in Aïnouz' homeland is the subject of Petra Costa's The Edge of Democracy. Finally, Kabul, City in the Wind and What We Left Unfinished uncover aspects of life in Afghanistan, with the second examining the country's film history via a trove of long-hidden works.

Moving on to the festival's narrative features, we'll begin with a look at the slim roster of French language films. I can easily recommend the two I previewed. Nathan Ambrosioni's Paper Flags features another unforgettable performance by Guillaume Gouix, here playing a short-fused, newly released convict out to establish a normal life with the help of his wary younger sister. Gouix first came to my attention in the sublime French zombie TV series, Les Revenant (The Returned), and more recently in distinguished supporting parts in Gaspard at the Wedding and Lucas Belvaux's This is Our Land. Hopefully, Paper Flags generates more lead roles for him in the future. I also quite enjoyed Olivier Masset-Depasse's Mothers' Instinct, a moody 1950's Belgian thriller with strong overtones of Hitchcock and Sirk. Addressing themes of jealousy and guilt through a female-centric lens, the film stars Veerie Baetens who many will remember from 2012's The Broken Circle Breakdown. For those who salivate over such things, Mother's Instinct also features to-die-for period art direction and costume design. As a Louis Garrel obsessive, it kills me to miss A Faithful Man, the impossibly handsome and charismatic actor's second feature as director. In a plot that sounds redolent of works by his father, Philippe Garrel, Louis plays a guy caught between the romantic attentions of two women, one older and one younger. Garrel co-wrote the film with legendary script maestro Jean-Claude Carrière, for which they won the screenwriting prize at last year's San Sebastian Film Festival. The fourth French language movie at SFFILM 2019 is David Oelhoffen's Close Enemies, which I'd recommend sight unseen for no other reason than it stars Matthias Schoenaerts.

There's a strong line-up of Latin American narrative features this year, including new works from three SFFILM alumni. Uruguayan director Federico Veiroj (A Useful Life, The Apostate) returns with Belmonte, an enigmatic character study of a still-handsome, middle-aged painter of garish male nudes. Javi Belmonte's peevishly sad-sack demeanor is of no help when dealing with personal crises. These include, but are not limited to, a pregnant ex-wife, an elderly father who may be going gay, and bored rich housewives who buy his paintings just to fuck him. This discomfiting sketch of an artist stuck in limbo is the perfect length at 75 minutes, and its sumptuous color palette has remained lodged in my memory. I was also taken with Benjamín Naishtat's Rojo, admiring it even more than his 2014 breakthrough debut History of Fear. In this deeply unsettling, formalist allegory set in the pre-days of Argentina's 1976 military coup, a small-town lawyer (screen-commanding Darío Grandinetti) gets involved in a real estate scam at the same time he's being pursued by a relentless police inspector (the great Alfredo Castro) over his involvement in a suicide/disappearance. The third filmmaker returning to the fest this year is Argentine director Ana Katz (Musical Chairs, A Stray Girlfriend) with her new film, Florianópolis Cream.

Two other Latin American features with strong critical buzz were unfortunately not available for preview. Lila Avilés' The Chambermaid won the Morelia Film Festival's top prize, as well as kudos from far-flung fests like Marrakech, Minsk and Palm Springs. Avilés debut feature is situated entirely within a Mexico City luxury hotel, wherein the titular maid imagines the lives of hotel guests based on their possessions and odd requests. Alejandro Landes' Monos won a World Cinema Dramatic Special Jury Award following its Sundance world premiere and is currently being featured in NYC's prestigious New Directors/New Films series. Set in the mountainous jungles of northern Colombia, the film has intriguingly been touted as a combo of Lord of the Flies and Apocalypse Now. It also boasts a music score by Mica Levi (Under the Skin, Jackie). A Colombian film I did have the opportunity to preview is Lapü, from the festival's Vanguard section. This entrancing docu-fiction hybrid languidly depicts the Wayuü indigenous tribal custom of digging up and then reburying the dead. Lapü should be of special interest to admirers of Ciro Guerra's recent film, Birds of Passage, which enacts the same Wayuü ritual.

The most notable Asian narrative feature at SFFILM Fest is undoubtedly Ryûsuke Hamaguchi's Asako I & II. The Japanese director took the festival world by storm a few years back with Happy Hour, a 317-minute paean to adult female friendship. That film's fervid reception resulted in a 2018 Cannes competition slot for his latest. Clocking in at a tidy two-hours, Asako relates one young woman's years-long obsession with two identical-looking men; a shy teen outcast who becomes a top fashion model, and a down-to-earth sake company marketing manager. Despite skillful direction, engaging script and fine performances, I found it much less profound than Happy Hour, and truth be told, a bit tedious in the final stretch. I was far more impressed with Qiu Sheng's Suburban Birds, a fascinating New Directors entry from China which alternates between two metaphysically linked narrative tracks. In the first, a team of structural engineers investigates why some buildings in the city of Wenjing are starting to tilt. The other lovingly conveys the quotidian (mis)adventures of a small group of pre-teen classmates. How these two threads relate (or not?!) should inspire spirited Q&As with director Qiu Sheng, who is expected to attend the festival. Bonus points are given for the film's use of Sonic Youth's "Little Trouble Girl" in a key scene.

Other Asian options at the festival include two films imminently scheduled to arrive in Bay Area cinemas. Singaporean director Eric Khoo's Ramen Shop hits the Opera Plaza on April 26. More often than not I find Khoo's films queasily sentimental and will probably give this one a pass. Opening at the Embarcadero Center Cinema on May 17 is Ritesh Batra's Photograph, which reunites the Indian director of 2013's wildly popular The Lunchbox with that film's star, Nawazuddin Siddiqui. Rounding out the fest's Asian selections are First Night Nerves, the latest from Hong Kong arthouse master Stanley Kwan (Rouge, Lan Yu), and Dark Wave sidebar entry Project Gutenberg. The latter is a Chinese action thriller with a superstar cast (Aaron Kwok, Chow Yun Fat) helmed by the writer of 2002's Internal Affairs (Felix Chong). It should prove extremely fun to watch on the Castro Theatre's enormous screen.

From elsewhere in the line-up I previewed two more worthwhile entries, both of which premiered in Cannes' Un Certain Regard sidebar. In My Room is German director Ulrich Köhler's first film since his woozily mysterious, African-set Sleeping Sickness, which SFFILM screened in 2012. Following a half-hour set-up whereby we're introduced to Armin, a borderline schlubby TV news cameraman, we see him awaken to an existential apocalypse in which people have disappeared but everything else in the world is basically unchanged. The film remains extremely compelling as he begins life anew on an abandoned farmstead. Interest wanes, however, when the arrival of a female co-survivor slowly transforms the narrative into a more traditional relationship drama. In The Harvesters, Etienne Kallos' absorbing study of strained masculinity in a religious Afrikaner farm community, a teenage boy's world shifts dramatically when his family adopts a troubled urban teen whose past includes gay street hustling. I was wowed by the film's widescreen photography of stark South African landscapes, as well as by the empathetic performances of its two adolescent lead actors.

Out of the remaining bounty of narrative features, I'll close with three I'd be damn certain not to miss were I able to attend the festival in person. Loro promises another fevered, collaborative take on Italian politics from director Paolo Sorrentino (Il Divo, The Great Beauty) and actor Toni Servillo. Their target this go-round is villainous, vainglorious media tycoon and former Prime Minister Silvio Berlusconi. Originally shown in Italy as two separate two-hour movies, this 150-minute "international" version has its detractors. Given the talent involved, however, it remains a personal must-see. I'm certain The Nightingale will also be a must-see for anyone who had the shit scared out of them watching 2014's The Babadook. Jennifer Kent's follow-up film is a female revenge opus set in 19th Tasmania. Lastly, I wouldn't dream of missing the festival's 50th anniversary, 4K restoration screening of John Schlesinger's Midnight Cowboy, featuring an appearance by photographer Michael Childers, the director's life partner and assistant on this ground-breaking, Best Picture Oscar® winner. Anyone who attended the Castro Theatre's weekend-long Schlesinger tribute in 2006, or has heard him talk on last year's Criterion Collection release of the film, knows that Childers has some wild tales to tell.

Cross-published at film-415.