I'll never forget my first and only trip to SUNDANCE. Particularly the morning I went and saw GODS AND MONSTERS. I was sitting in my seat next to a dear friend I had made there. When this fellow comes up... I shake his hand, and instantly he's handed me a note and then returns to his seat. I unfold the note to find out that I had just met Father Death. He had written me a nice letter introducing himself and saying how much he loved AICN and what a pleasure it was to meet me. Oh.. And that I should see SIX STRING SAMURAI if I remember correctly. THen about the time I finished the letter his father, I believe, came up and told me that his son was deaf and really really appreciated that I was running his reviews. And you know what folks. That's great. IT was the first time that I really met one of you. And I loved being able to give someone an outlet to be heard. So... after all these years I find myself only too happy to once again count Father Death among my eyes watching things in Sundance. Here is his wonderful report....
Harry -
Father Death back here. My second visit to Park City on Monday, January 24 was one of the most incredible experiences I've had in my life. Be forewarned -- this is the special kind of report, which may be unconventional and you may find it hard to believe at times. Trust me, I had a good time at Sundance Film Festival -- and it was a profound and moving experience for me as an attendee. I didn't expect this to affect my inner self as much as it did for me that day.
First off, I'm deaf. Really, it's true. I've been a big fan of Ain't It Cool News for what, three years? Though I can't comprehend the single line of spoken dialogue in the movie, I understand the visual language of film...you know. It's like I'm in the silent era of Charles Chaplin and W.G. Fields and Buster Keaton. I could understand the film with the idea of what the linear plot is about without even reading the synopsis. If the film is difficult to understand due to the complexity of the plot and character development -- namely, PRINCESS MONONOKE, which I have seen three times in the theater by the way -- I have to go back and see the film again after a bit of research. Reading the plot summary, interviews, articles -- anything I could find that is vital to the comprehension and appreciation of the film. I have seen quite a handful of movies that spoke to me personally, such as Brad Bird's THE IRON GIANT and Terrence Malick's flawed masterpiece THE THIN RED LINE. What matters the most is the pivotal message of the film without bordering on self-importance and self-indulgence, both of which which I detest because I find it an insult to my consciousness as a viewer. I turned my brain off to watch THE CONVENT which I liked very much -- and I have seen too many horror movies before so it seems I was somehow desensitized ever since I saw THE SHINING and ALIEN when I was a tyke. For some reasons unexplained I couldn't stand some movies like THE BLAIR WITCH PROJECT and ARMAGEDDON, both of which I consider the worst movies I've ever seen.
Okay, enough jabbering. Here's the low down on my experience attending Sundance Film Festival Y2K.
I drove solo all the way up to Park City from Provo, which is at least 35 miles south of Salt Lake City. It's my first time driving straight to Park City, which is a little tricky to locate because it's the kind of a desolated town sandwiched between the valleys. Despite the fact the little lonely city is very popular with the tourists and a perfect hangout for the skiers and snowboarders. Park City have an incredible history of its own as a mine town founded in 1884. Nightwatcher has more experience than me and he drove with me to see THE CONVENT last Saturday night, which was an easy task nonetheless. It's mildly amusing he made a blunder by driving the wrong way to SLC instead of taking the exit to head for home after we saw the movie. After all, departing from Park City in pitch black darkness at night is somewhat difficult. I enter the pathway to the city and drove past the Eccles theater on Keane Blvd. The parking lot of the theater was full to the brim for the morning showing of GIRLFIGHT, which I've been told is the cross between FIGHT CLUB and RAGING BULL -- not to mention the fact a female protagonist in the movie. I took the left turn on Park Ave. and drove past the hordes of people of various ages straight to Park City Library Center. I snapped the photos of strangers, including the weird-looking staff who look like they came from the outer space. I found this amusing because I was reminded of that TV commercial of The Gap with the bunch of orange vest freak poseurs who literally shriek "Conform!" I could swear the bald dude look like Michael Stipe.
I went into the big-ass white tent to buy an individual ticket for the movie COMPENSATION and I left to wander to buy the soda pop bottle and take pictures. When I came back, I stood in the waiting list line and wait for half an hour. After the tedium of waiting in line, I was shuffled in the building and climb upstairs and get into the screening room with the ticket torn and had my hand stamped with the ying-yang symbol by a nice little inspector woman. I asked one of the staff members with the big walkie-talkie whether there's the interpreter or not. She told me to hold on and introduced Roger, who is one of the interpreters for the deaf African American actress Michelle A. Banks. Michelle was in attendance with the director Zeinabu irene Davis and the actor John Earl Jelks. Roger and I conversed a bit to get to know each other a little better. I took the second front row seat as the screening is being filled with the horde of writers, publicists and ordinary moviegoers. Zeinabu introduced her movie with the interpreter translating word-by-word. I didn't take the notes, so I don't have a good memory of what she has to say. The movie was preceded by the 10-minute short film ICE FISHING, which was well-acted and beautifully photographed but left me in the cold.
COMPENSATION
It's an amazing and emotionally resonant experience to watch the film almost entirely produced by African Americans. For strange reasons, COMPENSATION remind me of the two-time Sundance Film Festival 1998 winner SMOKE SIGNALS. I'll quote the following right off of the press kit:
Inspired by a 1906 poem from early African American writer, Paul Laurence Dunbar, this unique drama explores aspects of Black culture in both turn of the century and present day Chicago in two parallel love stories, both about the relationship between a Deaf woman and a hearing man.
COMPENSATION is amazing because the film has the innovative intermingling of the past and the present -- Malindy Brown and Authur Jones in the early 20th century and Malaika Brown and Nico Jones in the late 20th century, both played exquisitely by Michelle A. Banks and John Earl Jelks. I'll try to keep the spoilers minimal -- the hearing man falls in love with a young Deaf woman on first sight and the relationship began to blossom but ends in emotional turmoil and despair due to the perplexity and difficulty of the hearing-deaf relationship. Though it may sound pretty depressing, COMPENSATION is an incredible emotional wallop. I literally cried during certain parts. It's the African American version of CHILDREN OF THE LESSER GOD, albeit different. The film have the pace so slow and plodding it left some in the audience restless, but you get accustomed to it. The beginning of the film was introduced with the title cards and genuine still photographs of Chicago lifestyle of the early 1900s, accompanied by the variety of African musical scores, most of which were so exotic I can't even discern. Still, as the story unfolds with the past and the present going back and forth, the audience was spellbounded despite the slow pace and English captioning intended to assist the deaf to understand the film. COMPENSATION was filmed in black and white and I found it to be well-written and directed and acted. Not to mention the fact the movie "captures the spirit of the silent film era". The film should be lauded for the refreshening aspect of originality. In truth, I admire the film despite some slightly stilted acting (it's hard to act real good, you know). I think COMPENSATION is a worthy contender for the Audience Award for Dramatic Competition, which I think will have a good chance at winning but I wouldn't bet on it.
After the movie concludes, the director talked about the film and answered some questions. From what I remember, it took several years in the making -- which may explain why the poster ads for LAST ACTION HERO and SON-IN-LAW were visible in the subway station scene. I did ask a question whether it's an experimental film and how much it took to finance. Unfortunately, I was flustered with embarrassment because the question has already been answered in a prudent matter. I don't know what I was thinking. It was the first time I had to ask the question in public, and hopefully I don't screw up again next time. The Q&A session went on a little too long with Michelle A. Bank's monologue whose furious expression of facial and body language in American sign language (ASL for short) was astonishing. After the session I conversed a bit with the director through the interpreter, but I didn't have a chance to talk to Michelle 'cause she was pretty busy as a prude. I asked Roger to take the picture of me with the cast and director and he obliged. That's me on the right. I had to mask my identity to ensure the anonymity -- I wouldn't want to captivate on fame. I don't like to smooch ass with the rich and famous, ya know.
For more information, check here at the web page:
I checked which film will be playing next. There's the secret screening at 2:30 p.m., but I didn't hear about what the particular film is. Maybe the surprise screening could be MY GENERATION, the two-hour documentary chronicling the events of Woodstock '69, '94 and '99. I missed the opportunity 'cause I know there's a long-ass line of people desperate to see the film. I own the WOODSTOCK laserdisc -- I love taking the nostalgia trip in the time machine.
I drove to the parking lot and was ripped off by the parking vending machine -- I paid 50 cents per half hour. Clocked in two hours, regrettable that I'm on the streak to poverty. I walked up to Main Street with determination like I'm climbing Mt. Everest. It was exhausting having to walk uphill all the way to Egyptian Theatre. I asked the staff member if there's the line for THE CUP and she pointed me the way. I stood in the line until I realize I made a mistake 'cause I do not have what the Salt Lake Tribune film critic Sean P. Means call the "Willy Wonka Golden Ticket". So I was deported to the long waiting list line and I'm number 160, down to 159 when a guy in front of me gave up. I knew it's impossible to get in due to the exorbitant number of patrons, but there might be a chance. So I initiated a little conversation with the fellow patron Biker Chick to pass time. I told her I liked THE CONVENT. She seemed boggled after I mention I saw the innocuous looking 11 year old girl in attendance. Biker Chick told me she saw SHADOW HOURS and it's very dark. Unfortunately, we were out of the game so I advised her to arrive earlier than usual. Biker Chick took the advice and bid farewell before I left for good. At least I should try my luck next time.
I wandered around on Main Street and ate Chinese food. I drove to Yarrow Hotel near the intersection of Kearns and Park Avenue. I asked some questions at the booth and staked the spot in the wait line for the showing of SOUND AND FURY, the documentary about the debate of cochlear implant in the perspective of the mainstream and the Deaf culture. I think SOUND AND FURY is as controversial as JUST MELVIN, but I haven't seen either so I cannot say for sure.
I saw Mike Mendez and his sidekick wandering in the lobby (again I don't know who -- so I'll just refer to him as the Will Ferrell dude). I struck the brief conversation with him, complimented on his movie which I call the cross between NIGHT OF THE DEMONS and FROM DUSK TILL DAWN with THE BRIDE OF CHUCKY spoof at the end. He was a little flattered, and said he would like to check out the review of THE CONVENT which he heard was wonderful. Since Mike and the Will Ferrell dude were really busy, I had to cut the dialogue to give them a break. I told Mike to stay cool and have fun, and so they disappear for a while.
I managed to snag the waiting list ticket #1 exactly one hour and a half prior. The fellow wait list patron Michelle (#5) and I had a nice chat. We saw Nick Nolte and AMERICAN PIE co-director Chris Weitz in the lobby. The ticket receptionist told me Billy Watson and Kevin Smith were there before me. I saw Tammy Faye Bakker, who has her own documentary film THE EYES OF TAMMY FAYE. I had a chance to snap the photo of Neve Campbell chatting with Nick Nolte. She gave me that smug expression to let me know I'm an asshole for being an intruder. Roger was in the hall and I asked him whether there will be a chance to interpret during the screening. He doesn't know, but Michelle Banks was with him to see SOUND AND FURY. She was behind at #25. I was lucky to exchange the wait list ticket for the individual ticket 'cause I was the first one who arrived early.
Mike and the Will Ferrell dude reappeared on the scene. I gestured to them to wait a moment and I asked Roger to take the picture of us. He obliged again. Left is Mike Mendez (in the black coat) and the Will Ferrell dude right. Here's the photo as you can see...
Thanks goes to Mike and the dude for posing with me. They're really nice -- you should have met them.
Finally the wait time is up and the line of patrons were shuffled in. To my surprise I was not allowed 'cause I don't have that damn Willy Wonka ticket -- I only hold an individual ticket. The same little polite inspector who was at the door of the screening of COMPENSATION expunged me from the line. I was a little pissed and asked the receptionist what the fuck is going on. The girl had to talk to the inspector to let me in. The inspector realized the mistake and let me in. She was embarrassed in the slightest for the screw-up. She apologized profusely. I told the inspector it's all right and gave a pat on her shoulder.
The screening room is being filled up. Michelle A. Banks and Roger and his wife were let in. I sat in the middle with them. Then I saw another interpreter and recognized him as a counselor at the local college. I was astonished. I should call him Winged Tiger in homage to L.A. cartoonist Phil Yeh's creation. He's Chinese-American and he's really cool and funny. I decided to sit in the front row for better viewing. Then begins the usual introduction by the director Josh Aronson and the producer Roger Weisberg.
The doc was preceded by the short film PICTURE DAY. It's the short filmed at an elementary school in Pickerington, Ohio and usually lasts 12 frames per kid -- numbering in the hundreds of boys and girls ranging from kindergarten to sixth grade. The children express in the rapid pace of still photography from exuberant to silly to curious to sad. I enjoyed the short immensely not because it's amusing but also because it offers the insight. I hope the short have the circulation at schools and film festivals -- strange how incredibly intriguing PICTURE DAY is to the audience who saw the short.
SOUND AND FURY
An astonishing documentary. I've never had a difficult time sitting through the documentary without the jarring emotions it evoked. The documentary follows the Artinian family on both sides -- Chris and Mari whose baby was found deaf and Chris' brother Peter and his wife Nina and their three children who are all deaf. Peter is a vigorous opponent of cochlear implant, and he fought with the relatives who decide to implant their deaf children. Peter's daughter asked to have a cochlear implant, which shattered Peter's confidence. I couldn't go on, because it's hard to remember what I observed and because it's an emotionally intense experience to sit through. It took a few years to make, but the effort paid off. SOUND AND FURY is very much in the vein of HOOP DREAMS -- the theme of struggle and acceptance and conquest. This is a brilliant and heart-rending documentary. It's a wonderful and ambitious film about conflict and family and life. The film has more drama, truth, realism and emotion than a thousand Hollywood movies put together. It's truly an emotional roller coaster. After the ending I was wretched. I never felt sad and angry until after I saw SOUND AND FURY. I was mentally and emotionally exhausted because my ass was numb from having endured watching the doc. I could go on, but I don't want to sound like a shill. You have to see it to believe it. The audience consisting mostly of hearing people with little or no knowledge of the Deaf culture was stunned and fascinated at the same time. I know it sounds crazy, but believe me it spoke personally to me. I think the audience have grasped the crystal-clear conception of the conflict of the mainstream and the Deaf culture. I bet SOUND AND FURY will win the Audience award for the documentary feature, though I could easily lose out of the game because -- despite the fact SOUND AND FURY is a tremendously fascinating, albeit controversial film -- it may not have struck the chord with the audience. Besides that, there's too much competition.
After the film ends, the audience stood in ovation as Peter Artinian and his mother Marianne came forward. Peter was on the verge of an emotional breakdown when he saw the enthusiasm of audience reception. The ovation lasted for a few minutes. I did not expect it to last that long and have not seen like this since SMOKE SIGNALS.
Peter and Marianne Artinian and director Josh Aronson and producer Roger Weisberg discussed the topic extensively and took a long Q&A session that lasted nearly half an hour, which is unexpected. Peter have an incredibly distinct human expression exhibited through ASL interpreted with near accuracy by Winged Tiger. Peter's expression of signs and gestures were as fast and furious as Michelle A. Banks. Peter and Michelle interacted for a while, which was rather fascinating. The majority of the audience stay to watch the audacious session that almost stretched the time limit (if there's ever one). After the conference -- so much talk I cannot recollect a damn thing as I write this -- I had the guts to congratulate Peter and his mother for their courteous effort to allow the crew to film throughout two years that the documentary ends up as a result. Josh Aronson and Roger Weisberg were too busy chatting with the audience members so I didn't have the opportunity to give my congratulations, though I did manage to shake hands with Josh before he left.
I think SOUND AND FURY should have a limited theatrical release, but that may not be possible due to marketability and finance. The doc was funded partially by Corporation for Public Broadcasting (PBS) but the air date remains undetermined. The doc should be acquired for theatrical distribution because it deserves the attention and because I felt the emotional impact of the doc shown on TV would be lesser and may not be justified. Remember, HOOP DREAMS was the 1994 Sundance Film Festival Audience Award winner that was made for 700k and profited at almost $8 million. SOUND AND FURY has a better chance of being shown on PBS or other channels like IFC sometime this year. To reflect the Sundance Institute founder Robert Redford's complaint, film documentary is a dying art form.
For more information on SOUND AND FURY, check here at the web site:
I took some more pictures. I would like to express my gratitude to Wing and Roger for their contribution to Sundance Film Festival and especially for the deaf. I commend their hard work and effort. Here's the pic of Winged Tiger and Roger and his wife.
By the way, there's the Oscar-nominated German film BEYOND SILENCE now available on video from Miramax Films. It's a very good movie and I highly recommend it.
I was exhausted and walked to the lobby. As I'm about to leave to go home, I saw Ben Affleck chatting with somebody and Ethan Hawke relax on the sofa chair, reading the issue of Daily Variety. Too bad I ran out of exposures. I'd hate to piss off the celebrities like I did to Neve Campbell. Maybe Ghostface should haunt her for good.
Chaos,
