Archive for January 2nd, 2009

It Was 40 Years Ago Today

January 2, 2009

Beatles Let It Be Recording Sessions Rehearsals Jan 2, 1969

Help out HUMPDAY

January 2, 2009

From Jennifer Roth, our illustrious Board President (and also a Sundance 2009 participant):

As everyone who hasn’t been living with Gilligan on his island knows, Lynn’s film HUMPDAY is in competition at the 2009 Sundance Film Festival. 

HUMPDAY is facing some additional unanticipated costs for Sundance and needs to raise about $5000. Many of you know that HUMPDAY had a big fundraiser at the NW Film Forum on Saturday night but because of the snow very few people were able to come. I was there and saw 3 cut scenes as well as the trailer, everything we screened is amazing and I can’t wait to see the film! If you were planning on stopping by and dropping a few dollars, perhaps you’d consider sending a check. Even if you weren’t planning on stopping by, perhaps you could send a check. To those of you who have already contributed, please forward this e-mail with reckless abandon.

I’m neither a connoisseur of Sundance Film Festival history or always reliable with my information, but personally I think it’s HUGE  that Seattle has 3* films at Sundance. It’s highly unusual for a regional film community to be so well represented at this festival (which is usually all about NY and LA). All of our Seattle efforts: creative, technical, volunteer are paying off and every member of the film community should share in this success. If we support one another, we all win.

Humpday was made in part with a NW Film Forum support and a donation to HUMPDAY is tax deductible. Checks made out to NWFF just need to have “Humpday” written in the memo line. The mailing address:

Humpday
c/o NW Film Forum
1515 12th Avenue
Seattle  WA  98122

*THE IMMACULATE CONCEPTION OF LITTLE DIZZLE and WORLD’S GREATEST DAD are also at Sundance (again, for those of you on the Island).

THE FEATURE

January 2, 2009

THE FEATURE :             2008        (184 MINUTES)            D:   MICHEL AUDER AND ANDREW NEEL                     PLAYS:    FRIDAY, JANUARY 2ND TO THURSDAY, JANUARY 8TH         AT:       7:15PM

If you were an artist, a pioneer in establishing video as in art form, and were told you were dying, what would you do?  What would you want your legacy to be?  This fictional biography of Michel Auder (directed by himself and Andrew Neel) uses that premise to take us through almost 3 hours of the man’s 40 year history, including the Zanzibar group, the Warhol era, etc.  Co-starring such luminaries as Larry Rivers, Cindy Sherman (his second wife, whose self-portraits influenced Madonnas SEX Book, and who is also in the film), as well as Nico, Warhol Superstar Viva (wife number one, and mother of his daughter), Jane Fonda, Bridget Berlin, Yoko Ono, Christo, Willem de Kooning, Eric Bogosian, and the co-director’s mother,  Alice Neel, (who Andrew directed in, well, ALICE NEEL, presented by NWFF earlier this year), it’s a virtual who’s who of the art world of the ‘60’s, ‘70s and beyond.

When Sony put out the Portapak video camera, Michel Auder saw a new way of making art.  To quote the NWFF press packet material, “Auder uses video to translate Warhols talent for making the banal glamorous and vice versa, into a diaristic practice.  He doesn’t  need a crew or a studio system to makes films-he uses everyday life to make his art. Despite Auders diligent documentation of the world around him, he has never been interested in representing reality in the sense of cinema verite.  He takes the quotidian as source material and reforms it, like a poet, into ‘video reality’, creating unexpected juxtapositions and meditations.”

And he’s truly done it ALL, quoting the press packet again, ” From the early days in Paris in the fashion industry, the artist  journeys to Morocco, New York, Hollywood, Rome, Vanuata…He is an old man, a draft dodger, a father, an obscure filmmaker, a dope fiend, a Yale professor, a kid getting laid, an art world celebrity, a Warhol scence-ster…The layers of time and image pile upon one another and present a kind of collective picture of the artist:  enamored of life, certain of death and unwilling to compromise between the two.”

I couldn’t have said it better myself.