Lessons From SXSW 2013: Take The Middle Road : The Record : NPR

At the second of her two Austin shows, Friday night at the Central Presbyterian Church, Maines looked ultra-modern in a pompadour haircut and all black clothes. What mattered more was the confidence she found within a new band led by Harper in a set that included covers of songs by Vedder, The Jayhawks, Dan Wilson and others, as well as a couple of catchy originals.

Although the closing guitar duel between Harper on lap steel and Maines’s father Lloyd on pedal steel was fun, the set’s crowning moment came when she dared to try a version of the late Jeff Buckley’s “Lover, You Should Have Come Over.” That sweeping ballad’s technical difficulty is enhanced by the challenge of living up to Buckley’s vocal, which hit otherworldly heights. Fully committing herself, Maines scaled the song’s tricky melody like a free mountain climber, hitting notes that seemed to defy any scale. Immersed in the music, unconcerned about whether she was living up to anyone’s definition of success, Maines presented us with the privilege of witnessing her own internal process of rediscovery.

[Austin at SXSW 2013: Trieste Kelly Dunn ‘Loves Her Gun’ | Slackerwood] It’s fun playing someone who isn’t “likable.”As an actress you’re often told things like [be] more sweet, smile more, flirt more, be warmer. Fuck that. That’s not the whole picture. That usually comes from network TV directors who need you to play into an idea of how they think women ought to be or what they think viewers want to see.It’s nice not having to do that sort of acting in independent films. At this moment in her life, I like that [Allie] is a fuck up and makes bad choices and isn’t reasonable. What’s the fun of being reasonable? Reasonable is not fun for an actor.
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[Austin at SXSW 2013: Trieste Kelly Dunn ‘Loves Her Gun’ | Slackerwood]

It’s fun playing someone who isn’t “likable.”

As an actress you’re often told things like [be] more sweet, smile more, flirt more, be warmer. Fuck that. That’s not the whole picture. That usually comes from network TV directors who need you to play into an idea of how they think women ought to be or what they think viewers want to see.

It’s nice not having to do that sort of acting in independent films. At this moment in her life, I like that [Allie] is a fuck up and makes bad choices and isn’t reasonable. What’s the fun of being reasonable? Reasonable is not fun for an actor.

Source: slackerwood.com

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  • MotherNatalie Maines

Natalie Maines, “Mother.”

I’d already signed up to volunteer the late shift Friday night during SXSW at my church, and this lady has been added to the lineup.  Yippee!

My sis pointed out today that I haven’t been posting much on Tumblr in recent days, and it won’t improve anytime soon.  I imagine I’ll be on Twitter during the fest because I can tweet from my phone.  Since Tumblr is slightly finicky on my Kindle, I likely won’t be checking in here much til the festival ends (except to link to stuff I write for Slackerwood).

Also, I’m moving to South Austin the weekend after the fest!

My March will be in-SAHN.

film-dot-com:

TRAILER: “Upstream Color” (dir. Shane Carruth)

“Such is the character of that morrow which mere lapse of time can never make to dawn. The light which puts out our eyes is darkness to us. Only that day dawns to which we are awake. There is more day to dawn. The sun is but a morning star.” - Henry David Thoreau // Walden

so i saw this last night, annnnd then i saw it again and then one more time after that. certain films are often (and lazily) described as the kind of thing that you need to see twice, but it truly is sadistically cruel that the end of this film doesn’t immediately loop around to the beginning… not to plug holes, but to heal tissue. Carruth’s much-anticipated follow-up to ”Primer” is, despite its reputation, one of the only love stories in recent memory that actually *does* make sense. a true headphone movie, if ever there was such a thing, it’s an analog romance about collective memory and fundamental togetherness, elliptically edited to the extreme, but done so with such organic forward motion that - at its best - it feels like cinema 2.0 by need rather then design. it eventually wormed its way into my heart something fierce, even though i’m not entirely sold on all of the details quite yet (the nearly wordless final movements make narrative sense but feel emotionally diffuse). i doubt i’ll have the opportunity to see the film again until it hits theaters in early April, but I can’t wait. 

This one is showing at SXSW in March.

SXSW Review: Gayby | Slackerwood

I was asked to review this movie a few days after I saw it at SXSW.  I usually take some notes (not extremely legible notes since I tend to write them in a dark theatre) during films I review, and this is the first time in a long while that I had no notes to help me with my review.

Luckily we had the email address for the director and he was able to help me out with the few questions I had.

Sorta related: on Sunday I was just wondering, oh, I wonder what that hot guy who played Tom Marvolo Riddle in Harry Potter is up to nowadays. I looked him up on IMDB and saw he is in Gayby! Which I had seen that Thursday! Luckily I could ask Lisecki to remind me which character he played (I was right in recalling he was one of Matt’s failed dates).