Adrien Brody...sues Hannibal Pictures over contract dispute! Giallo DVD sales!

 

Academy Award-winning actor - Adrien Brody - has sued filmmakers in a federal court in Los Angeles on the grounds that a  film is being released into the foreign market without his permission.

In addition, Brody - who sky-rocketted to fame after a starring role in the Piano - has alleged that the producers have not fully paid for his acting services for the project simply titled "Giallo".

The handsome leading man  sought emergency relief from the court based on a contractual agreement that stipulated that the filmmakers were barred from distributing the feature until his renumeration was paid in full.

However, a request to block the release of a  DVD  was denied by the Judge presiding over the legal proceedings.

It appears that Mr. Brody may not have crossed all his "t's" or dotted all his "i's" because the Judge refused to take action until all the parties have been served with legal notice.

A party in a court proceeding has a right to be notified of any adverse action being taken so that they have the opportunity to appear and offer up a defense.

Brody claims he is still owed $640,000 for starring in the film.

In his briefs filed at the courthouse, Brody argued that the alleged breach of agreement may cause him to suffer damages in the sum of $2 million.

In a sworn declaration, the actor accused the film's producers of not disclosing the truth about financing and and may have  vastly overstated how much the film's Italian distribution rights were going for.

"We respectfully dispute his allegations," a lawyer -  A. Raymond Hamrick III - argued on behalf of the defendants (Hannibal Pictures & Giallo Productions Ltd.).

Hamrick has  sworn up-and-down that the filmmakers tried to work out a deal with the actor.

Contrary to Brody's claims, an insider has asserted that the popular star has actually been paid the princely sum of $1 million to date.

I met Mr. Brody on the red carpet at a screening in Dallas (Texas) last year and found the actor to be straightforward, honest, and affable.

Post:  04/10/09

http://ijulian.blogspot.com/2009/04/afi-dallasadrien-brody-lou-gossett-jr.html

News at 11!

http://www.thetattler.biz/

Dallas International Film Festival...Mayor Leppert & wife Laura honorary chairs!

Adrien Brody big hit @ Dallas Film Festival last spring!

Sick Puppies stars of Rock Prophecies

(Documentary on photographer Robert K. Knight)

The Dallas Film Society (DFS) zipped off a press release to me this week to announce that Mayor Tom Leppert and (wife) Laura Leppert have been named Honorary Chairs for the Dallas International Film Festival (2010).

Mayor Leppert and his wife have wholeheatedly backed the prestigious film festival since its inception in 2007 - which proved to be valuable to the inaugural edition  - and a professionally-run fest sure to gather steam in coming years (with much to contribute to the industry as well).

Leppert joined Governor Rick Perry, Peter Bogdanovich, Ross Perot, Jr. and others at last year's Texas Day celebration of film at upscale Victory Park which served as a culmination of the 2009 event (which moi also attended and reported on daily).

Except for Peter Bogdanovich, who turned out to be a suffering arrogant son-of-a-bit**, the jaunt out to the desert proved to be a very rewarding and fruitful one.

Post:  04/10/09

Adrien Brody, Janine Taylor & Lou Gossett, Jr. @ glittering red carpet AFI  Dallas gala!

http://ijulian.blogspot.com/2009/04/afi-dallasadrien-brody-lou-gossett-jr.html

Post:  04/13/09

The Hurt Locker

http://ijulian.blogspot.com/2009/03/afi-dallasjeremy-renner-appears-for.html

Post: 10/02/09

Rock Prophecies (& Sick Puppies)

http://ijulian.blogspot.com/2009/10/robert-k-knightrock-photographer-doc.html

Post::  04/18/09

Henry Selick interrview with Julian Ayrs (Coraline)
(Red Carpet)

http://ijulian.blogspot.com/2009/04/afi-dallas-henry-selick-interview.html

Post:  04/14/09

Peter Bogdanovich screening a bust (an arrogant son-of-a-bit**)

http://ijulian.blogspot.com/2009/04/afi-dallasbogdanovich-directors-cut-of.html

Post:  04/13/09

AFI headaches
(overbooked seats, John Wildman PR ego- tripper & loser staff, etc.)

http://ijulian.blogspot.com/2009/04/afi-dallasoverbooked-seats-mistreatment.html

Post:  04/07/09

Dazzling red carpet gala for Cove, Valentino, Burning Plain & Pearl

http://ijulian.blogspot.com/2009/04/afi-dallasthe-cove-burning-plain.html



Valentino a documentary on legendary fashion designer!

Post:  04/14/09

HCG Art Gallery after-part (Dragon) a glittering social event for AFI Dallas

http://ijulian.blogspot.com/2009/04/hcgspotlight-on-dragon-st-art-gallery.html

Post:  04/06/09

Rock Slyde a spoof on Detective genre!

http://ijulian.blogspot.com/2009/04/afi-dallasrock-slyde-spoof-on-film-noir.html



Mayor Leppert noted before signing off:

"It’s wonderful to be part of an event that puts forward the best of this great city to a host of international filmmakers and literally brings a world of film and the top film artists to this community.”

BECOME A MEMBER TODAY!

The Dallas Film Society is pleased to announce their new Membership program.

DFS members will receive an array of benefits and privileges created to maximize the experience with The Dallas Film Society and its many year-round programs and events.

Benefits include invitations to exclusive events, invitations to Premiere Screenings and other Dallas Film Society events.

Your support enables DFS to succeed in creating unique film experiences, from hosting emerging talent and great cinema masters and their work to producing educational discussions, panels, and networking events.

Individual Memberships start at only $40.

Bai Ling in Dim Sum Funeral

Jeremy Renner in The Hurt Locker

http://www.julianayrs.com

AFI Festival...calling for Film Submissions. Filmmaker requirements & due dates...

Probably one of the most prestigious Festivals to hit the circuit during the course of each year is the one hosted by the American Film Institute (AFI).

Actually, AFI organizes two fests each year.

One, which I covered a few weeks ago, was held in Dallas; the other, in our own thriving metropolis (Los Angeles).

AFI not only endeavours to unveil first-run big-budget feature films at each fest, but also, an eclectic mix of thought-provoking shorts, documentaries, and Foreign Language celluloid masterpieces.

In addition, organizers round out the screenings with stimulating seminars, insightful Q & A sessions, you name it.

And, the AFI's high-profile red carpet events, are not to be missed either!

By the way, my contacts at AFI just informed me that there is a call out now for filmmakers to submit their projects for consideration for the fall line-up (2009).

Submission Guidelines

Films that are 30 minutes or longer in length are considered feature films, while projects under 30 minutes are deemed "shorts".

Feature films (both narrative & documentary) that have previously screened for the public in Los Angeles or have been televised in the Los Angeles area are not eligible for consideration.

DVDs are accepted for preview screening.

However, preview video-cassettes and DVDs must be labeled clearly with the title, running time and contact information (including name, address and phone number).

More than one entry may be submitted. But, each entry must be accompanied by an official entry form and entry fee.

If a film is selected for inclusion in this year's fest, filmmakers will be asked to provide a head shot and filmography of the director; black & white and/or color stills from the film; press materials; and a video trailer (if available).

The entry fee is non-refundable.

AFI Conservatory Students

Students enrolled in the AFI film school can request a fee waiver by contacting AFI:

programming@afi.com.

(No waivers available at this time)

DVDs & Submitted Materials

DVDs and other submitted materials will not be returned.

In view of this, it may be wise not to submit film prints, master tapes or other originals.

Confirmation

Filmmakers seeking a confirmation that an entry has been received by the AFI FEST organizers, should include a self-addressed stamped postcard to facilitate the request.

Film Entries

AFI FEST asserts the right to use footage, stills and/or titles and information for promotional purposes.

In view of the aforementioned entry stipulation, all films must be free from any legal disputes and the filmmaker must have cleared all rights for music and exhibition with appropriate individuals.

Deadline

Filmmakers agree to deliver prints to AFI no later than October 16, 2009.

Notification

All filmmakers will be notified of acceptance by October 9, 2009.

http://www.julianayrs.com/

AFI Dallas - Henry Selick Interview

Movie Geek Feed captures my interview with Henry Selick, an animator, who was honored with the Texas Avery Award at AFI Dallas.

AFI Dallas...Bogdanovich director's cut of "Texasville" a bust! Career slide for arrogrant filmmaker eminent...

In tandem with an appearance at a Texas Day Film celebration sponsored by AFI Dallas - celebrated Director Peter Bogdanovich elected to screen a sloppy director's cut of Texasville - a film that bombed at the box office a couple of decades ago.

"Bog" obviously never heard of the expression "let sleeping dogs lie".

The overly-long - big yawn of-a-sprawling desert mess - was served up to an eager audience by way of a poor quality laser disc - which required a couple of tacky intermission breaks.

The much-anticipated event - ballyhooed by the press and film buffs alike - turned out to be an embarrassment to the aging Lothario - and resulted in a fall from grace.

The "jerry-rigged" (Bog's expression, not mine) presentation signalled to many that Bogdanovich's once-illustrious career was now on a downward spiral.

Occasionally, when a film turns out to be a stinker at the box office, a director is inclined to blame the studio for the unhappy end scenario that befell the project.

Typically, filmmakers point an accusing finger at the "suits" that backed (then later, sabotaged) the production.

"They didn't like me. So, they buried the film," is an oft-used excuse to explain away the truth.

Believe me, if a studio thought they could make big bucks on a film , they would tap into all the well-oiled machinery at their disposal, to promote, sell - and ultimately - shoot for a hefty profit.

Bogdanovich demonstrated - by virtue of his deceitful conduct at the screening - that he runs wild with the pack of snake-oil salesman he wrinkles up his snotty nose at.

At the screening, for instance, he had the audacity to allege that the reason Texasville was a failure (financially and critically) was due to the fact there was a change in administration at the studio.

For this reason - an agreement to run "The Last Picture Show" for a month prior to the release of the sequel "Texasville" (for the sake of continuity, he alleged) - was not honored.

Then, on the heels of this remark, he really put his foot in it.

"They released Texasville on Yon Kipper, so no one would trot down the theatre to catch it," he quipped.

His reasoning?

"Only Jews read. So, of course, fans of the book would miss it because they had to observe the Jewish Holy holiday."

Then, he foolishly stated for the record that he proceeded to delete all references to the well-received "Last Picture Show" in the sequel, to prevent confusion in the minds of an audience he previously claimed didn't exist because of studio shenanigans.

Hogwash!

Angry over the fact he got snubbed by the studio big-wigs, I expect that "Bog" took the action he did to get back at the studio for stabbing him in the front and back.

I witnessed the man's mean streak on the red carpet last week when he levelled it at me personally, so I have no qualms speculating about the obvious.

In a deceitful ploy to pull the wool over the eyes of filmgoers that afternoon, he then spouted off about comments he alleged friends like "Orson Welles" uttered up when "Texasville" was first released.

Unfortunately, when a has-been like "Bog" drops a name these days, it falls with a thud.

Did the director - prone to delusions - honestly expect film buffs to believe that "Orson" compared Texasville to a "gift at Christmas"?

If so, Santa should be strung up by the ba**s and tar 'n feathered!

Surely, he didn't expect any sane individual to accept without question, the misguided auteur's boastings that Orson applauded him for transforming what he first perceived as a "dirty script" into a gem of a film?

Bogdanovich also asserted to his rapt audience that Annie Potts confided that her role in the Texas - um - pot-boiler (!) was the best she was ever given a stab at.

Poor baby, the pickings must be slim!

His shocking lack of discretion astounded me, too.

"When we first shot "The Last Picture Show", Cybill and I were so in love," he gushed.

The way he said it, the talented actress came off like another notch in his belt, though.

Did he really think he'd be able ride off into the sunset with the leading lady (or even a ranch hand, for that matter) unless he was a trendy director with some clout and stature in the industry?

Let's face it, the man is obviously no great stud in the sack, by any stretch of the imagination.

As to Texasville - well - an impromptu remark at the end of the screening said it all, folks.

"The dog was quite good."

If you read between the lines, the message was crystal clear.

For the first time ever, it suddenly dawned on Bogdanovich that the rest of the boring saga was anything but!

Actually, the screening was a bit revealing for me in some respects, too.

I forgot what a talented actor Jeff Bridges truly is.

And, how much Cybill's irrating voice grates on the nerves.

As to Bogdanovich, well, he's overrated.

Hildegard Knef said it best:

“Success and failure are greatly overrated. Failure gives you a whole lot more to talk about."

Amen!

It was released on Yon Kipper so don't blame me

http://www.thetattler.biz

AFI Dallas...overbooked seats, mistreatment of Festival Volunteers, and John Wildman's rude & insulting staff!

AFI Dallas just celebrated its third illustrious year on the Festival circuit.

Already, the AFI chapter out of the Lone Star State, has proven to be a creative (and marketing) force to reckon with.

For example, when the festival wrapped last year, ticket sales were tallied at a whopping $100,000.00.

But, get this!

Before AFI Dallas even swung open its screening doors at the two venues playing host this year (NorthPark & Magnolia Theatres) the box office had already managed to rustle up the staggering sum of $100,000.00 plus in sales receipts.

Understandably, AFI Dallas is currently going through growing pains, especially in respect to the booking process.

For example, shortly after I left the red carpet one evening, two film buffs dashed up and angrily waved a couple of tickets in my face.

"Sir, this festival is selling seats that aren't any good," he hollered with a tinge of frustration in his voice.

Say what?

Apparently, the filmgoer and his girlfriend purchased two tickets for "Gigantic" at Victory Park, then proceeded to stand in line with all the other excited ticket-holders the night of the much-anticipated screening.

After about thirty minutes later, they were turned away without explanation (along with about thirty other disgruntled movie buffs in the same situation).

"It's not the money," he lamented.

"My girlfriend and I made the plans for the date earlier in the week and intended to make a romantic night of it with dinner and everything."

Then, he made an important observation.

"There was no notice on the ticket that said we might not get a seat. And, they didn't inform us that even if we stood in line, we might not get in."

Boy, was he pi**ed!

I noted for the record that I was in their corner all the way.

In retrospect, it appears that a pass-holder (an individual who buys a pass for access to all films during the course of the AFI Festival for a set fee), Festival big-wig, or a member of the Press was given priority in spite of the fact the young couple paid well-in-advance with cash in hand.

That stinks!

In addition, a handful of volunteers who were promised passes to a couple of films in exchange for their services throughout the day, found themselves SOL on occasion, too.

Frankly, in my opinion, those tickets should have been honored along with the rest.

If not, the least the Festival could do is promise cash in exchange for the face value of the ticket, to ensure volunteers are properly compensated for their generous contribution to the success of the Festival.

Don't you agree?

Notwithstanding those glaring irregularities which need a quick fix, a couple of John Wildman's staff in the publicity department were not only incompetent (and prone to tell lies), but rude and insulting to members of the press, on occasion, as well.

For instance, although I received an invitation to attend a noon-hour event sponsored by the YMCA for underprivileged kids, details about the red-carpet event were not forthcoming from Tanya Wright (who was in charge of organizing the press).

On the night prior to the outing for the young ones, I hadn't received specific details to facilitate coverage of the event, so I queried Miss Wright about the schedule for the next day in person at the Magnolia venue.

"I'm organizing that now," she excitedly chirped, "And, will send out the information tonight."

When the info failed to arrive by 9 a.m. in the morning, I zipped off an e-mail to Wright with a request for the info.

In a response e-mail, which arrived about an hour later, John Wildman's right-hand woman suddenly did an astonishing about-face.

"There isn't any event scheduled for the lunch hour," she insisted in her curt reply.

At this juncture, I dredged up the e-mail invite from the AFI mailbox, and inserted the information into a follow-up communication that essentially noted for the record that she was obviously mistaken.

Within minutes (and shortly after firing off an e-mail to John Wildman about the discrepancies) Ms. Wright e-mailed back.

"Okay. There is a function. You are welcome to attend. Show up on the red carpet at 11:45. See you there."

Duh!

I arrived at NorthPark just in the nick of time, as hundreds of kids bounced off bright yellow busses, and on to the red carpet for photo ops with popular actor Patrick Warburton.

When Ms. Wright spied me taking notes, a curious look crept across her face.

Then, she dashed over and made an odd comment in view of the aforementioned facts.

"Oh, you came!"

"Of course," I replied sternly, "I was invited."

After the fun-filled event wound down, and the kids were happily seated in the theatre munching on snacks, I proceeded to check my e-mail.

In one hasty communication, John Wildman tried to gloss over the obvious, and took a position in which he sought to exonerate himself and Miss Wright of any blame for the alleged misunderstanding.

In so many words, Wildman asserted that the info on the event was not forthcoming because he and Miss Wright were under the impression I would probably not be interested in attending an event crawling with hundreds of kids (!).

Then, he took a dishonest leap, and made a wild statement that since the Tattler wasn't the kind of publication that was interested in news items pertaining to school kids, that AFI Dallas elected not to follow through and provide the information promised.

Mr. Wildman obviously never reads the Tattler.

If he did, he'd know that I have penned stories on Kids First, for instance, an organization that sifts through films in search of ones that meet the right set of criteria for the youth market.

In addition, I have reported on workshops for children that are held from time to time at the David Geffen Playhouse in Westwood.

Likewise, I have written posts on children's books, the dangers of lead-poisoning in toys, face-painting and costume-making at the Grove mall, and so forth and so on.

I always endeavour to reach out to the community, no matter what the age group!

In a follow-up e-mail, I pointed out that I was disappointed that Wright would lie to me to cover up her shortcomings and save face.

That evening, Miss Wright (obviously stung by the remarks I made to John Wildman earlier in the day) continued with her lies and deception.

Although I informed her that I did not wish to discuss the matter further - after all, she was causing a scene on the red carpet in front of other journalists, the paparazzi, and Festival-goers - she became belligerent.

In a burst of rage, she retorted angrily:

"No wonder no one likes you!"

I was shocked by her unwarranted mean-spirited remark which was totally unprofessional.

In fact, her wild assertions were not true!

Almost daily, I have received complimentary remarks in response to a myriad of posts - and, likewise, regularly receive a raft of e-mail communications in which fans note how much they do, in fact, like me.

Needless to say, I didn't attend AFI Dallas to win a popularity contest.

A few minutes later, I happened to bump into John Wildman on the red carpet.

Holy mac!

He refused to believe that his self-indulgent assistant uttered the nasty comment.

"She didn't say that," he angrily asserted.

Fortunately, a journalist who was present when Miss Wright aimed the ugly slur at me, happened to stroll by at that precise moment.

So, I grabbed his arm and pulled him Wildman's way - at which point - he confirmed what had transpired earlier.

"I'll talk to her," he promised.

I guess he followed through, because on the heels of the incident, I began to also experience problems with Miss White's associate (Michael Devous).

Was he retaliating against me because of my run-in with Tanya Wright?

Although John Wildman assured me details for two big gala events would be forthcoming in an hour or so from the desk of Mr. Devous, no confirmation on time schedules and locations were sent out.

Finally, I drafted an e-mail to Mr. Devous in which I noted for the record, that for some inexplicable reason the information was not forthcoming.

Mr. Devous reacted like a flippant Queen.

In an communication fired off a few seconds later, Devous "pasted" a page from the dictionary which spelled out the precise meaning of the word "inexplicable".

Then, the catty little man had the gall to infer that the e-mail address on file for me (which I provided weeks ago) was probably the reason for the mix-up in question.

In sum, Devous tried to thrust the blame on me by alleging that I gave him an incorrect e-mail address, which accounted for the failure of information to arrive safely in my mail box.

What a load of hogwash!

The e-mail address he was referring to was - in fact - correct.

If the bombastic little sh** had a higher IQ, he would have surely noticed that the e-mail address he was referring to "forwarded to" my yahoo account.

In a nutshell, the two e-mail accounts were merged together, so there would be no need to check both accounts individually each day.

Indeed, every e-mail Mr. Devous sent out since we were first in touch weeks ago not only arrived without incident, but was promptly responded to.

How do I know?

I forwarded all the e-mails to myself so there would be copies on file.

Of course, I am not surprised by the bit**y conduct of Mr. Devous - especially after witnessing his personality on the loose in the AFI Lounge now and then during the course of the fest.

For example, on two specific occasions I was witness to, the PR flunky was drunk and disorderly in front of a roomful of celebrated festival guests, members of the press, and AFI staff.

Yup, the swirling dervish made a total a** of himself!

Time to clean house, Mr. Wildman!

http://www.julianayrs.com

AFI Dallas...Adrien Brody, Lou Gossett Jr., Janine Turner, Jeremy Renner lit up red carpet! Glittering Fest a smash hit...

Some say film festivals are all about the movies.

True, they are.

However, were it not for high-profile stars trotting down the red carpet, there wouldn't be much glitz or glamor.

Moreover, festival organizers would have to rely on promos focused on a particular demographic to get filmgoers in the door.

AFI Dallas was not wanting for celebs to tease the audiences!

Here is a sampling of a few of the charismatic show biz personalities who lit up the red carpet and sparked a meaningful dialogue about film and the state of the art today in Dallas this week.

Joaquim De Almeida - a co-star of Che (often seen portraying nasty pieces of work like Drug Lords from South America) is one of my favorite character actors who stars in the soon-to-be-released drama "A Burning Plain".

At the screening, gossip mongers were tattling that De Almeida and co-star Kim Bassinger, would be steaming up the silver screen with a smattering of sexy love scenes.

"Yes. We have some intimate moments together," the handsome thespian chuckled.

"In fact, the day before the shoot started, we talked extensively on the telephone about what our approach would be."

In the final analysis, both agreed they were professionals, and that they would just "do it".

"We started with a simple scene which consisted of just a kiss. Then, over the next week, Kim and I built up to the intense moments."

Lou Gossett Jr. appeared on the red carpet to tout his new project premiering at the AFI Dallas, wearing a T-Shirt emblazoned with the word "eracism" on the front in keeping with the plot line of the film.

When I asked him why he chose "The Least Among You", he noted the reason was twofold.

"First, because of my faith. Second, because of the subject matter."

The low-budget short was about the 1st African American to attend a Religious College.

Although Mr. Gossett's acting was excellent as usual, I found the project to be amateurish and poorly-written.

Before he moved on to another reporter, he quipped:

"Our children are our future, not oil."

Cheryl Ladd's daughter - a pretty petite young lady with a glow about her - noted that she talked with the director Paul Solet on the telephone for about four hours before jumping on board.

"Grace was described as a kind-of "Rosemary's Baby," she beamed.

Unfortunately, the talented young actress could not save the project which - by most accounts - bombed miserably at the AFI Dallas Fest.

Patton Oswalt - the perennial funny man - was a little more reserved when he chatted up the media to promote his film, "The Big Fan".

"It's similar to great films of the 70's like Marvin Gardens and Electra Glide in Blue," he noted to a crush of press types jockeying for pictures.

Janine Turner (Friday Nights) appeared on the red carpet on a couple of occasions during the AFI Fest; once, at a screening of Monroe's "Gentlemen Prefer Blonds"; then, later at the end of the week at Texas Film Day when Governor Perry also put in a much-ballyhooed appearance to boast about the State's contribution to the film industry.

Turner was gracious, elegantly dressed, and accessible to fans.

The pretty lady gave me a calling card with a striking photo etched on the front.

Sorry, dudes, I'm not sharing!

The producer - and most of the cast of "Pearl" - sauntered into the press room the night of the premiere for their biography on a Chickasaw Aviator inspired by known-flyer Wiley Post.

The director informed that the production was financed by the Chickasaw nation.

The head of the tribe was a bit taken aback by the high price tag, but paid up, nonetheless.

"The Chief thought it was important to produce this project to put the focus on the Chickasaw people."

I pointed out that in Miss Navajo (a film I took in last year at the Los Angeles Film Festival which featured a Q & A with the director) Native American Indians expressed their concerns that if a language and culture were not kept up in the modern day they would disappear in the next twenty years.

He agreed.

Jeremy Renner - a screen heart-throb to reckon with - was a tad serious when he ran the gauntlet to discuss "Hurt Locker".

"It was a challenging role," he confessed. "Film buffs will have to take in a screening to figure it out."
And, who could forget the big splash that Adrien Brody made on opening night when he strode down the carpet for the premiere of Brothers Bloom?

Judging by the frenzied attention he nabbed that night, Brody is no doubt a Hollywood megastar to contend with, in every sense of the word!

Jordan Ladd

http://www.thetattler.biz

AFI Dallas...The Cove, The Burning Plain, Valentino & Pearl are films to keep eye on! Festival a rousing success...

The Cove, an informative tale on wild-life preservation from a TV producer turned activist, is one of a handful of films I missed at AFI Dallas due to scheduling conflicts.

Many film buffs faced the same dilemma as they struggled over festival choices and ended up - like moi - tossing a coin!

All kidding aside, of the 180 or so AFI offerings this year, there were a few stand-outs worth catching at the local movie house or renting at the DVD outlet nearest you when they're released sometime in the near future.

Here is a run-down (and a synopsis) of a few of 'em.

The Burning Plain

In this intense drama, director Guillermo Arriago explores the past and present and the curious way both affect several people separated by time and space.

"It's all about a journey to redemption," according to the producers.

Starring Kim Basinger and Charlize Theron.

Valentino: The Last Emperor

An intimate peak into the scintillating world of legendary fashion designer Valentino.

The filmmaker insightfully pulls back the veil and artfully spotlights the icon and a celebrated career that spanned the decades - and in the process - impacted the rag trade immeasurably.

Tattooed Under Fire

Director Nancy Schiesari was passionate about her project when I spoke to her one day on-the-fly in the AFI lounge at Victory Park.

"Tattooed" is an in-depth look at military personnel and their penchant for body art.

"The tattoo is a language that soldiers use to bond and communicate with each other."

Ultimately, the life-changing filmmaking foray, amounts to a provocative, poignant, and highly personal look at the human and cultural cost of war, she alleges in the final analysis.

Pearl

The inspiring tale of a young Chickasaw woman with a passion for flying and mentor Wiley Post who helped the young dreamer accomplish her lofty goal to become an aviator.

Directed by King Hollis (The Accident)

Whatever it Takes

Director Christopher Wong focused his revealing lens on a remarkable man who runs a center for Science and Mathematics for underprivileged black youths in the Bronx.
(Documentary)

Push Button House

A delightful peak at an environmental wonder crafted by creative genius Adam Kalkin.

With a visionary eye towards the future, a packing crate is transformed into a sleek, modern pre-fabricated home.

Directed by Ryan Silbert & Robert Profusek

The Cove

Director Lois Psihoyos throws the spotlight on Richard O'Barry, the creator of the original "Flipper" TV Series.

In this riveting expose, the activist uncovers the ills that befall animals held in captivity against their will.

Zombie Girl: The Movie

A 12-year-old's journey into the topsy-turvy world of film production not only entertains, but ends up being instructive to young filmmakers in the throes of crafting their first project .

Directed by Aaron Marshall, Justin Johson, and Erik Mauck.

Hollywood Beats

In the wake of the success of Slumdog Millionaire, a dreamer's musings - which unfold in an uplifting manner in Bollywood

In a nutshell, it is a tale about a down-on-his-luck dancer who sees his fortunes change due to a chance encounter.

A celebration of the indomitable human spirit.

Director/Screenwriter: Mehul Shaw
Executive Producer: Kathryn Taylor
(Patron of the Arts)

As they say at MGM:

That's all for now, folks!

http://www.thetattler.biz

AFI Dallas...Mike Tyson! A champ & chump as seen through eyes of LSD-tripping Director James Tobak!

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"Tyson" is an explosive - mostly insightful - foray into the personal and professional life of the boxer as seen through the drug-induced eyes of director James Tobak (Exposed & Pick-up Artist).

Electricity ziz-zagged lthrough the air like a bolt of lightning whenever the larger-than-life Champion step into the ring.

In time, frenzied fans ended up riveted to the edge of their seats uncertain of the fighter's fate; after all, in view of Tyson's unpredictable conduct in the past, who knew what might next in the ring.

Although there were a number of knock-outs (thirteen of them in the 1st round) - on occasion - fights were brought to an abrupt halt due to Tyson's uncontrollable rage which often pushed him beyond the limits.

At one juncture, Toback highlights a title rematch with Evander Holyfield - and when he does - the experience is gut-wrenching as shocked fans witness the infamous ear-biting incident which shamed the former golden boy of yesteryear.

"I was in a rage. So mad, that I just had to hurt him," Tyson recalled in one intense reveal on the silver screen.

The fast-paced documentary proceeds to follow the troubled athlete from his days as a hoodlum on the mean streets at age fourteen to the current day as he ponders a return to the ring.

Yup, Tyson once held the world in the palm of his celebrated fist, but it all slipped away.

The phone would ring at four o'clock in the morning.

When Toback plucked it up - at first - there was an eerie pause.

"James?"

"Yeah, Mike. I'm here."

Then, the two pals would ramble on in a conversation that spanned topics from death, to murder and suicide, fame and money, and the state of the fight game.

From this venting, Tobak stumbled on the idea to craft a documentary on the life and times of the once-celebrated kid from the wrong side of the tracks who rose to the height of his game with dizzying success.

"When I heard him wheeze on the other end of the phone one night, I suddenly realized that Tyson had asthma."

Then, the underlying theme for the documentary evolved.

"That's the reason he went for a knock-out in the 1st round. Mike was afraid he'd run out of breath and that he'd better down his opponent as quickly as possible."

"My approach was psycho-analytical," Tobak noted to the rapt audience at the Magnolia Theatre the other night, where the much-anticipated film was being screened under the auspices of AFI Dallas.

For ten hours a day, over a five-day period, he interviewed Mike.

The reflections - Tysons's musings, his angst, what-have-you - were offered up by way of split screen images and in a montage that cleverly maneuvered a probing reveal.

In addition, old news clips and flashbacks were artfully juxtaposed, to spark the bio and move it along at an entertaining pace.

Early on, Tyson admitted that he owed his success to a mentor, who pushed him on unrelentingly.

"He'd always be saying - "You look good, Mike" - or "You're in great physical shape", things like that."

At first, Mike surmised his manager might be gay.

"I realized one day that he was just building my confidence. Making me believe in myself."

After following the trainer's advice explicitly in the ring, it did not escape Tyson's attention, that he won all the bouts in the wake of the man's precise hard-hitting boxing tips.

When he passed to spirit suddenly one day, Tyson was devastated.

"My whole world fell apart," he recalled sadly.

Shortly thereafter, fast-talking promoter - "Don King" - breezed into the arena.

Tyson didn't have any kind words for the high-profile fight-man who took advantage of Mike in more ways than one.

"That serpentine piece of trash stole from me," he hissed into camera.

The Robin Gibbons fiasco was also fleshed out, too, in spite of the fact,the territory has been well-mined.

In one funny scene, Mike & Robin are caught in a sit-down interview with Barbara Walters.

As Gibbons poured her heart out about Tyson's rages - and terrible mood swings - the camera panned to Tyson who - not once - offered up a word in edgewise.

No, he sat meek as a lamb.

At one point, Walters is captured glancing at Tyson with a look that seems to say:

"Are you going to take this sitting down, Mike?"

"I knew they wanted me to get upset and fly into a rage. It was a set-up. I wasn't going to fall for it," he lamented.

On the subject of sex and relationships, Mike noted for the record:

"I like to wound my prey. Then, dominate."

In fact, Tyson - in some respects - is kind of kinky.

Tobak giggled that the buffed boxer once slept totally naked with just his prize belt on.

Tyson is potent filmmaking in many respects - but overall - falls flat.

In the final analysis, outdated filmic techniques hinderTobak's ability to impact the medium, or strike gold with his subject.

During a Q & A that was terribly cerebral - and self-indulgent - audience members were inclined to shut down.

In fact, before Tobak had the opportunity to field questions from fans, they'd all slipped out of the theatre to seek more entertaining climbs elsewhere on the Festival grounds.

Maybe those LSD trips - which he admitted bummed him out so many years ago - have had a more lasting impact than he'll ever know.

It was evident to film buffs present, though, that Tobak's lost that magic touch!

AFI Dallas...Governor attends Texas Film day; Peter Bogdanovich reveals he's an arrogant son-of-a-bit**; Neiman Marcus gala closes out fest!

Urban Cowboy shot in Texas!

The Governor trotted down the red carpet glad-handing celebrated guests and members of the press, Director Peter Bogdanovich accepted a Dallas Festival Award for his contribution to the film industry in the Lone Star State, and film clips underscored the number of quality movies shot in Texas over the past couple of decades.

The AFI event was a dizzying high-energy affair that attracted locals and movie stars from far-and-wide, who touted the industry at the drop of a Texan ten- gallon hat.

Aaron Norris (Chuck's son) noted that he pushed hard to ensure that "Walker" was shot in Texas, in spite of the fact it may have been cheaper to lens elsewhere.

His pretty young daughter, recently wrapped up a filmmaking course at Pepperdine University on the Southern California Coast, just a hop-and-a-skip away from the ritzy climbs of Malibu.

We joked about the fact many a leisure hour was spent surfing ideal beach conditions.

"Dad took advantage of it when he came to visit me," she giggled.

Character actor Barry Corbin (No Country for Old Men) grumbled about the fact producers often shot in New Mexico when they were depicting locales that were supposed to be Texas

Of course, new tax incentives to be introduced in the legislature later this month, may change all that.

According to a Dallas Film Society official I spoke to yesterday, within the next thirty days, sliding-scale benefits will be introduced to lighten the financial burden for filmmakers here.

On the podium a few minutes later, the Governor confirmed that.

"We're shouting loud and hard to Hollywood. We're here!"

When I asked a couple of the locals if the Gov was well-liked, or doing a good job, they shrugged.

Then, they confessed they were die-hard Democrats and not behind the politician one-hundred percent, for obvious reasons.

I should have known by the finely-tailored dress suit - and bright red tie with floating patterns - that the man was a shill for the Republican party.


Betty Lyn Buckley (Tender Mercies) noted that she moved back to Texas (she's currently residing on a ranch outside of town fulfilling her dream to train & work with cutting horses) applauded the State's efforts to revive the film industry in Texas.

On Tuesday, she'll receive a Texas Medal Award for the Arts.

How was it to work with Robert Duvall?

She emphasized that he was the best "silent communicator" in the acting field today.

Peter Bogdanovich was a big disappointment.

Earlier in the day, he screened a Director's cut of "Texasville" , which was downright sloppy and unprofessional.

When I attempted to pin him down with a couple of questions regarding the issue, he became rude and insulting.

Was he in a state of denial?

At one point, a gust of wind blew a handful of notes out of my hand, and they fluttered to the ground at my feet unceremoniously.

I was inclined to continue on without interruption so I wouldn't hold Mr. Bogdanovich up.

The aging film director (who looked like a mummified version of himself) was so slow on the uptake, though, that he ended up revealing a mean-spirited side which took me by surprise.

With a smirk on his face, he quipped:

"You dropped your notes."

That was obvious to any fool on the carpet.

Was it necessary to rub it in???

When I bravely moved on in spite of the hiccup, bystanders noted that I demonstrated my innate ability to handle unexpected disasters in a professional classy way.

In spite of that, Bogdanovich chose to twist the knife in a beat or two later.

After he walked away, he half-turned and smirked, "You dropped your pen, too".

It was evident now that Bogdanovich was an unfeeling arrogant son-of-a-bit** without an ounce of compassion.

In the final analysis, the gust of wind that sent my notes flying asunder, was a Godsend!

Up until that point in time, I had been wrestling over how I would deal with Mr. Bogdanovich's shoddy presentation earlier in the day.

Although I there was sufficient cause to criticize his artistic judgment at this point in his career, I I was hopeful I could salvage an image I'd been quite respectful of, until he demonstrated his mean-spirited character on the red carpet last night.

No problemo, now!

A review of the screening of Texasville, and thoughts on his Q & A, will follow in a few days.

Shortly after the Governor stood on the podium and tooted the big Texas horn, the guests trundled off to Neiman Marcus for the closing night Gala.

At the entrance to the upscale store, two lines of well-dressed waiters stood at attention with trays of White Wine in expensive glass goblets and expensive imported beer.

Inside, the tony elite snapped up scrumptious finger food prepared to perfection by a top notch local catererer.

Many males were decked out in smart suits, with bola ties, and wide-brimmed cowboy hats.

The ladies were elegantly dressed-to-the-nines.

For example, Susan Flasdick was attired in a stunning Alice & Olivia cocktail dress with subtle decorative beading, which was a knock-out.

Meanwhile, the musical stylings of Deryl Dodd, revved up the high-spirited guests who hobnobbed with gay abandon amid a setting that was decidely rich in festive spirit.

When the potent wine started to give me a buzz, I begged off for the night.

At the door, Neiman Marcus bid the guests adieu, as they pressed gift bags into their finely-manicured bejweled hands.

Imagine my shock when I opened up the goodie-bag later and got wind of the mysterious contents inside: a bottle of Barbecue Sauce and two stickers touting the Texas Film scene.

Those cheap bastar**.

http://www.thetattler.biz

AFI Dallas...Awards to Rock Prophecies; Prom Night in Mississippi; Skin! Glittering Festival wraps down...

Films about a legendary rock star photographer (Robert Wright), the 1st integrated Prom Night in Mississippi, and a haunting tale about two children surviving in the wilds (St. Nick) nabbed top prizes at a glittering soiree last night at the AFI Dallas Film Festival.

As filmmakers sat in suspense at the edge of their seats at the AMC Theatre at NorthPark mall, I chatted up a handsome woman who sat next to me.

Turns out, Rossie Grose was there to accept a trophy they landed for their well-received film, "Prom Night in Mississippi".

We joked about the prepared "acceptance speech" the die-hard film buff was about to read on their behalf.

Would Ms. Grose thank all the little people in true Hollywood style?

"Yes," she nervously giggled.

Earlier in the evening, President & CEO of AFI Dallas was tight-lipped on the red carpet about the prestigious Environmental Award he'd be handing off to one lucky filmmaker.

"My wife and I know nothing about film. We're just like any regular person who enjoys movies and takes one in now and then if it piques our interest," he beamed in so many words.

"Rock Prophecies" won a Best Documentary Award.

The upbeat popular entry - it was the highest vote-getter across the board from audiences and jurors alike - featured the rock band Sick Puppies and took an in-depth foray in the world of Robert Wright, rock photographer extraordinaire.

Personally, I was thrilled when "Skin" was singled out for a prize, too.

On a couple of occasions I have had the opportunity to pick the director's head (Anthony Fabian) a bit on the red carpet.

Last night he gleefully quipped:

"The Lone Star state is Skin's lucky star."

The drama focuses on a true story about apartheid in South Africa and was blessed with bravado performances by Sam Neil and Alice Krige.

Gigantic (Director Matt Aselton) - a sell-out with film buffs throughout the festival - won the well-deserved honor of being pushed into the spotlight, too, when it snapped up the $25,000 TARGET Narrative Filmmaker Award.

"This film was hard to pin down. Matt is an amazing filmmaker," one Judge was inclined to enthuse.

Through a spokesperson the director labelled the experience as an "awesome" one.

"Everyone go get drunk for me."

"Against the Current" director Peter Callahan ( the film co-starred Mary Tyler Moore) was quite humble, thanked his supporters, and noted that he fell in love with the city.

St. Nick won a top honor when it received an award for the best film to be shot in-and-around Texas.

At the high-energy after-party at the AFI Festival Lounge, the director David Lowery noted that he would use part of the $9,000.00 prize money to pay off bills!

I expect he'll put the $11,000.00 post production winnings towards work on his next project which remains unknown at this point in time.

"I won," the producer for "Suddenly Last Winter" cried out when she spied me worming my way through the mad crush of party-goers at AFI headquarters in Victory Park.

A deserving prize, indeed!

Kazik Radwanski’s "Princess Margaret Blvd" won the award for Best Short with Honorable Mentions going to both Todd Luoto’s OIL CHANGE and Denis Villeneuve’s NEXT FLOOR.

“Hug” AND “Chicken Cowboy” also won in the student film categories.

“This year, we were fortunate to have so many exceptional films that challenged the audience artistically and conceptually. It was a very competitive year in that respect and while we were all the beneficiaries of that, by its nature the jury had the difficulty of having to choose one film to honor over the others," one AFI rep noted to the tony audience in attendance," a festival rep gushed.

The artistic Director added:

“In our third year, the city of Dallas and the international film community truly have begun to take note of the distinctive personality of this film festival – both through the evolution of our programming and what is becoming more accepted every year – the peerless presentation and hospitality that have been hallmarks of AFI DALLAS from the very beginning.”

Highlights of the Film fest this past week included a Centerpiece Screening of Guillermo Arriga’s THE BURNING PLAIN with Arriaga and Joaquim de Almeida in attendance; a screening of the cinema classic CHINATOWN with Robert Towne (which included a presentation of the AFI DALLAS Star Award to him prior to a special Q & A with film critic Richard Schickel); and a special screening of THE LAST PICTURE SHOW with Peter Bogdanovich in attendance.

Bogdanovich was scheduled to be honored with the AFI DALLAS Star Award the following day at the Texas Day celebration.

Also honored with the AFI DALLAS Star Award were Kathryn Bigelow (prior to a screening of her film THE HURT LOCKER) and Rita Hayworth (presented posthumously).

Meanwhile, Henry Selick was given the Texas Avery Award for his animation techniques which have greatly impacted the industry in recent years.

The festival also featured Talk Show panels at the Nasher Sculpture Center and Speakeasy panels at the AFI DALLAS Festival Lounge.

The festival closed with AFI DALLAS Closing Night Gala presentations of Louis Psihoyos’s exciting entry - THE COVE - and James Toback’s TYSON (Thursday, April 2) at AMC NorthPark. Both directors attended the screenings and remained after for Q & A sessions.

Other notable attendees at this year’s AFI DALLAS Film Festival included Alice Krige, Jordan Ladd, Patton Oswalt, Rob Siegel, Devon Aoki, Robin Wright Penn, Justin Kirk, Jeremy Renner, Jason Ritter, Jess Weixler, Patrick Warburton, Elaine Hendrix, Tiffany Shepis, Monique Parent, Carlos Cuaron, Matt Tyrnauer, Lou Gossett Jr., Doug Pray, Tim McCanlies and Janine Turner.

AFI DALLAS showcased 81 features and 96 shorts (a total of 177 films from 22 countries).

About AFI DALLAS International Film Festival

The AFI DALLAS International Film Festival celebrates films and their impact on society, honors filmmakers and recognizes their achievements and contributions in enhancing the creative community, provides educational programs to students to develop better understanding of the role of film in today's world, and promotes the City of Dallas and its commitment to the art of filmmaking.

AFI DALLAS is a presentation of the nonprofit Dallas Film Society.

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AFI Dallas...Patrick Warburton greets YMCA After School All Stars kids! Movie treat...

 

Patrick Warburton greeted a few hundred local kids in the Dallas area yesterday afternoon much to their delight.

AFI Dallas partnered with the Dallas YMCA After School All Stars to treat the youngsters to an afternoon movie at NorthPark Mall.

The age range of the excited guests appeared to between about 5 - 15 years of age.

Each child sported a torquoise T-shirt with AFI Dallas emblazoned on the front in bold-faced lettering.

A logo on the sleeve singled out the generous sponsor, TXU (Energy), who contributed big $$$ to support the upbeat event.

When each new group of kids appeared on the red carpet (a novel fun idea in-of-itself) they pointed to the logo on their short-sleeves and hollered out on queue:

"TXU"

At one point, a couple of outgoing boisterous teenage girls sang out "YMCA" (the popular Village People hit) as they formed the alphabet letters Y-M-C-A with a flourish of their hands and arms.

Warburton (Seinfeld, Rules of Engagement, Bee Movie) noted this was the 1st time he had ever been involved in a project like this, which he warmed up to at the drop-of-a-hat.

"I have four kids of my own. So, any time I can be of help, I'll be there."

When I asked if any of his own children were following in his footsteps acting, he said "no".

"Whatever they want to do for a career, I'll support," he quietly responded.

Warburton was on hand to attend a premiere of his latest movie - Rock Slyde - slated for later in the evening at AFI Dallas.

It was apparent from all the beaming faces in the crowd that the outing was appreciated and that a fun school excursion was had by all.

http://www.thetattler.biz

AFI Dallas...Britney Spears electrifies nightlife; celebrity brings out ugly side; Father of year is...

Britney breezes into dust bowl!

 

As the AFI shuttle bus turned the corner, we were suddenly swept up into a thong of trussed up teens heading off to the American Airlines Stadium to catch the Britney Spears concert.

In fact, Dallas fans felt so privileged to have the charismatic star in their midst, that all stops were pulled out in a bold-faced effort to sidle up and bask a little in the glow of her celebrated light.

A ticket - whether it be for a whopping $2000 in the front-row-seat - or tagged at a paltry $150 up in the boondocks - was definitely an entree into an exclusive social set many were pining for if only for one night.

Unfortunately, a few ugly personality traits reared their head, as the scenario unfolded before me.

Ah, fame and celebrity bring out the worst in people.

For example, one AFI photographer, had been quite congenial and buddy-buddy with his fellow paparazzi (even inclined to glad-hand all the AFI staff and guests when he made his round through the Festival lounges and red carpet events each day) up 'til last evening.

When he caught wind of a chi-chi party Ms. Spears may be attending, he surreptitiously slipped out a back door so he could crash it on the sly with the specific intention of getting a jump on exclusive publicity stills.

Tsk! Tsk!

In contrast, one local sportscaster landed the glorious honor of "Father of the year in" in my eyes, when he generously gave up his ticket to ensure his 14 year-old-daughter could party it up in the Fox Network suite (center row at the high-energy concert) with her best friend as when Britney strutted her stuff on the welcoming Dallas stage.

Moi?

Well, there wasn't any intense desire to follow the madding crowd.

After all, at a party hosted by CineVegas last year, I was able to mix-and-mingle with Ms. Spears when she quietly slipped in unnoticed by fans and the paparazzi.

The classy sophisticated party-goers in attendance barely batted-an-eye and left the - at times, harried pop chanteuse - alone.

Some people have impeccable manners, you know!

http://www.thetattler.biz

AFI Dallas...Drew Waters has star quality; Ella & Astronaut hits mark; Festival Scuttlebutt!

Occasionally, an individual stands out on the red carpet.

Call it the "it" factor, if you like.

For an actor, it is that indefinable "something" that sets them apart from any other performer.

And, Drew Waters - who is co-starring in a Dallas-shot feature (The Other Side of Paradise) - definitely has it in spades!

When I spied him strutting down the gauntlet last night, it was obvious to me - a former Theatrical Agent - that Mr. Waters was going to be catapulted into the stratosphere if only he got that lucky break.

"I nearly didn't get this part," he laughed.

"They thought I couldn't handle the role which is so unlike the characters I usually play."

Yes, he's clean cut and all American-looking - a dude who might conceivably play the hero, the Harvard Graduate, the All-Star Quarterback - or a myriad of other roles in that vein.

Since I don't intend to catch "The Other Side of Paradise" for a couple of reasons, I thought I'd copy-cat Robert Wright (the rock photographer from "Rock Prophecies" who took "Sick Puppies" under his wing and elevated them from relative obscurity to new levels of success in the music industry) and give this kid a mention with the hope that it will cast a spotlight on his career and stir up some interest.

I'll be watching from the sidelines and trust that my instinct is right on again!

Last night I also got to meet Alan Govenar who directed "Poetry of Exactitude".

It's a short film about Lucien Moucher, who has been crafting small-scale productions of carousels and fairground scenes, since 1946.

"It takes him one year to create one piece which is rendered with painstaking minute detail."

At a time when filmmakers are focusing on convoluted love stories, drug deals gone awry, glory films about the War in Iraq - you name it - it is darn refreshing to encounter an auteur who is documenting the work of gifted artists to ensure there is a chronicle of their efforts left behind.

There were some surprises over the weekend, too.

"Ella & the Astronaut", featured in Shorts Program I, blew me away.

It's a film about one girl's journey to her secret hiding spot where she and Astronaut Henry can travel to the stars. (Directed by Rodrigo Ojeda-Beck & Robert Machoian)

For me, it was delightful filmmaking, which hit the spot.

There were some go-getters hawking their wares on the carpet past week, too.

One that struck me as genuine and deserving of accollades was Benjamin Kegan who directed "Team Taliban".

Although I haven't seen this short, the buzz for it has been exceptional.

In fact, my peers this week, noted how impressed they were with the young man currently attending school in Washington State.

"Team Taliban" provides a provocative glimpse into the world of Adeel Adam, a devout Muslim-American wrestler, who struggles to find a balance between his faith and his wrestling career.

According to Kegan, his project explores the impact of the war on terror in American culture through the unique lens of professional wrestling.

http://www.teamtalibanfilm.com/
At some point, I hope to take in "Kassim: the Dream".

Director/Screenwriter Kief Davidson won me right-off-the-bat when he noted I reminded him of his Uncle!

Smart guy!

The intriguing tale is about a Junior Middleweight Champion of the world who was abducted when he was a child and inducted into a rebel army at the tender age of 6.

AFI Fest describes The Dream this way:
"Director Kief Davidson and Executive Producer Forest Whitaker gives us an intimate portrait of a captivating and charismatic young athlete who feels compelled to transform a legacy of sorrow into hope and inspiration."

Later in the week, "Hunger" - a film I was greatly impacted by at AFI LA last fall, will be screening locally.

I highly recommend the poignant story about a 1981 Hunger strike initiated by the Irish Republican Army leader Bobby Sands.

Post: 11/04/2008

http://ijulian.blogspot.com/2008/11/afi-festhunger-knock-out-drama-about.html

George Wawa, an AFI photographer, has been on the ball with a his team - too - capturing all the events on film so that various media outlets will have professional stills to match-up with their news coverage.
I ended up down at the Festival Lounge later at Victory Park once my assignments for the day were covered, kicked up my heels, and mingled with the tony Dallas elite for a couple of hours.

A couture Swimwear fashion show by Shawari - featuring a bevy of buffed studs and sexy scantilly-clad female models, revved up the crowd, by the way.

Tonight, I plan to attend the Red Carpet event for "The Burning Plain" which is being touted as a must-see film, starring Charlize Theron and Kim Bassinger.

Sorry folks, word from my inside sources have informed me the tickets are sold out.

I'll attend the gala afterwards and report in tomorrow with all the juicy tidbits!

http://www.thetattler.biz

AFI Dallas...Jeremy Renner appears for screening of "Hurt Locker"; Director Kathryn Bigelow honored with Texas Star Award; Tattler stand on Iraq!

The "Hurt Locker" is a drama about an elite bomb squad playing a game of life and death in Iraq - which was set as a centerpiece film amid a dizzying array of offerings at AFI Dallas 2009.

According to AFI, a centerpiece film is one that "inspires conversation, sparks imagination, and encourages contemplation."

For some, the Mark Boals material may fit that bill.

In a nutshell, the war flick takes an intense peak into the dangerous world of elite soldiers who disarm bombs in the heat of combat.

Jeremy Renner, one of the stars of the "Hurt", noted for the record that the material is highly complex.

"The lean, good-looking actor subsequently added:

"You have to see it for yourself to figure what it is about."

Curiously, when I asked Renner about the meaning of "Hurt Locker", he was inclined to hand me off to the creative team down the red carpet heading our way.

But, he hazarded a guess, nonetheless.

"I thought it might be a body box or a latrine."

When the question was raised down the line, I was bounced back to Renner.

"That's a question for Jeremy."

When I relayed his initial response, it was suggested that perhaps he meant it in the sports vernacular.

No straightforward answer was forthcoming.

"It's obviously a bad thing."

Was the answer too explosive?

Perhaps, there wasn't one.

A title of a film is usually chosen to reflect or shed light on the heartbeat or underlying theme of a project.

It may even be a catch phrase.

The dilemma struck me as one that an art connoisseur might encounter when viewing an abstract painting.

By not providing a title, or explanation, the artist opens the door for the "observer" to "read into it."

Hence, a more profound meaning may end up being credited than originally intended.

The vague responses were terribly revealing so I moved on to a new line of questioning.

When I asked Renner his marital status, he noted that he had a girlfriend.

"Any plans to marry?"

"That's pushing it," a gruff handler without any manners (not an AFI employee) barked out.

Since fan appeal may rest in "availability", my question was not out-of-place or irrelevant or un-called-for under the circumstances.

A query about his wardrobe made the rough-around-the-edges rep bristle, too.

since I put together a best-dressed list each year, the info I was seeking was within my realm.

Fashion questions were off-putting to Kathryn Bigelow.

Bigelow, the director of Point Break, K-19, and Near Dark, hesitated before divulging the name of her designer.

Was the chic dark suit something she threw together herself, I probed further?

After almost biting her tongue, she quietly responded.

"Dolce Gabbana."

Not too shoddy, Kathryn!

As she strode off and I started to jot down the name on my pad, she half-turned and - ever-the-director - informed me that I did not have to write that info down.

"Yes, I do." I answered politely.

This triggered a reaction from her male escort.

"Do you really write for the Tattler?"

I smiled slightly.

"I am the Tattler."

At this juncture, he strode back towards me and asked if I was with the Tattler published in England.

"There is a Tattler in England and one based in America."

Asking me if I "really wrote for the Tattler" was such a silly question to ask!

Did he honestly think that AFI would allow an individual pass themselves off as someone they weren't on the red carpet?

The truth of the matter is that AFI makes every good-faith effort to court legitimate members of the press to ensure there is a ample, widespread professional coverage for the filmmakers and their projects, and events at the Festival.

Likewise, AFI ensure those appearing on the carpet are key-players, and professionals worthy of press coverage based on set industry standards.

For the former reason, I am giving "Hurt Locker" publicity for their project and their actors and reporting on the Texas Star Award bestowed upon Kathryn Bigelow for her contribution to film.

Personally, I don't intend to take in the film.

Since I am a peacemaker, opposed to War and Imperalist occupations of Foreign Nations, films such as "Hurt Locker" only fuel the fire and exalt the horrors of battle and conflict, in my estimation.

In the final analysis, my readers have to decide for themselves if "Hurt" is a film they'll spring a few bucks (and a couple of leisure hours) on.

To each his own.

Jeremy Renner

www..julianayrs.com