Now on to the wandering…

As a Christian, an actor, a lover of film and one who has seen more than my share of exceedingly BAD films made by well meaning people with a sincere desire to ‘spread the word’, I admit I have some qualms every time I take a seat to watch a film publicized as a ‘Christian Film’…whatever that is…or a film heavily marketed to the churchified.

Far too often, in the past, that meant that the audience was in for a heavy handed presentation with at best marginal tech work, amateurish acting and directing and with writing that cared much less about telling a story than it did about presenting an extended four spiritual laws tract in a painfully slow and obvious fashion. (There have been some grand exceptions that were heavily marketed to church groups such as Chariots of Fire, The Mission, The Passion of The Christ and a few others but they are few and far between.)

So it was that I purchased a ticket to Soul Surfer after reading many positive comments online. Frankly I didn’t trust all of the comments on Facebook and other sites because a lot of them were clearly from people with a strong Christian viewpoint. What’s not to trust? Christians, God bless ‘em, have long supported film and video projects that for lack of a better word, suck stink suck. Put your hand over your face bad sound, bad camera work, bad lighting, bad acting, bad directing and most of all, bad writing.

What got my attention and got me to part with my hard earned cash for Soul Surfer? The STORY. The producers and distributors have done a good job of making sure the public knows at least three things about this film: 1. It’s about a pretty blonde surfer who 2. loses an arm to a shark attack and 3. lived to deal with it. And they’ve done that in a way that hasn’t been cheesy or exploitative. What I knew of the story was so strong that I was willing to risk being disappointed once again. I also knew that the cast was filled with solid professionals whose past work I have enjoyed, even admired.

With that bit of background so you can see where this audience member was coming from when the theater lights dimmed, here’s what I thought of Soul Surfer.

Relax, the word ‘suck’ doesn’t appear below.

Soul Surfer benefits greatly from being a true story and really, a sports story. Sports stories are usually about triumph and redemption or triumph and tragedy. Quite apart from any aspect of faith or religion Bethany Hamilton’s personal story is compelling, dramatic. Doesn’t get much better for the story than to have a pretty, young, talented athlete on the cusp of stardom getting attacked by a shark, does it?

How could you not root for this girl? The true story elements of Bethany Hamilton’s prowess on a surfboard, the shark attack and her life afterward are pretty well known. This is strong stuff for a film story and in a way it was incumbent on the filmmakers not to screw it up. Not to worry, they did a LOT better than ‘not screw it up’.

That’s not to say the film is perfect. The filmmakers almost lost me early in the film when I thought they were going to go all ‘churchy’ on me, in a scene that introduces Carrie Underwood as Bethany’s church youth director. That was the one ‘on the nose’ moment when I winced a bit. The scene was thankfully brief. It sets up something for later in the film but it’s the one really weak scene in the film, in my opinion. But then a lot of the traditionally targeted audience will likely think there was way too little church stuff and way too much skin showing in all the surfing scenes.

The family’s faith was clear, to me at least, in more subtle ways throughout the film. For instance, Dad sitting and reading the Bible while Bethany sleeps resonated. No comment needed.

For the most part, I thought the filmmakers did what they should do: TRUST THE STORY. I did lose myself in the story and credit the solid direction by Sean McNamara and terrific acting all around, esp. the leads, AnnaSophia Robb, Dennis Quaid and Helen Hunt with strong support from Kevin Sorbo.

Quaid and Hunt really grounded the family dynamic in a way that was perfectly truthful and helps solidify Soul Surfer as a mainstream movie.

One example:

There was a wonderful scene in the hospital cafeteria. If you’ve seen Soul Surfer you might be surprised that I point out that scene, because it doesn’t appear to be a major scene in the film. But it’s a beautiful piece of writing, acting and filmmaking. What happens? Basically, the family has a near blowup in a public setting. What a great scene, showing a REAL family under pressure in a time of crisis. The tension, fear, uncertainty of the future were all there and it was all truthful. I have no idea if that scene ever really happened, but it was absolutely TRUTHFUL as it played out on screen. The Hamilton’s didn’t sit and quote Bible verses to each other or even join hands and pray, they acted like most people, even most Christians might act under similar circumstances. That kind of truth adds so much depth and texture to the film, it takes the audience deeper into the story. Kudos to director McNamara and his outstanding cast.

Soul Surfer thankfully rises well above the old ‘Christian movie’ paradigm. The tech credits are all first rate, the surfing scenes were very well executed, particularly considering the tech challenges of a one armed surfer. The actors are terrific and most importantly, the story never gets lost in the telling.

Non-believers can relax. You’re not going to get hit over the head with a Bible. But you will understand the source of strength for this remarkable family. Soul Surfer deserves an audience of people who just want to see a good film, believers and non-believers alike. That seems to be happening.

According to Box Office Mojo, studio estimates for this weekend (April 22-24, 2011) have Soul Surfer holding at No. 7, down from No. 5 last week. Box office is pushing $29 million on a reported budget of $18 million. The film is playing on 2240 screens, up 26 screens from last week.

If you’re not a member of TXMPA, join today. TXMPA is at the forefront of the success of the current Texas Film Incentive program which has helped generate $610 Million in new in-state spending.

Given the current budget shortfall that is in the news practically every day, the film incentive program will likely face a serious test in the upcomming legislative session. Hopefully, the powers that be will see the benefit of $610 Million dollars flowing through our economy and the fact that the program has accounted for 55,000 jobs for Texans over the past two years.

Here’s the missive from TXMPA:

CHASE – 8pm Mondays on NBC
THE GOOD GUYS – 7pm Fridays on FOX

While we mourn the untimely loss of FOX’s LONE STAR (shot in Dallas) and ABC’s MY GENERATION (shot in Austin) earlier this Fall, and also say a fond farewell to FRIDAY NIGHT LIGHTS (airing its final season now on DirecTV, and this spring on NBC), we’re proud to still have two Texas shows in primetime every week, and look forward to more on the horizon.

Currently, Lifetime is prepping a pilot for MEET JANE in Austin, and TNT is developing a remake of DALLAS. Meanwhile, CBS and CSI creator Anthony Zuiker are developing a new crime drama called DESPERADO set in San Antonio. Thanks to the incentives and our top flight crews, the word is out that Texas is one of the best places to shoot series television.

TV is great for Texas – the Dallas Morning News reports that even short-lived LONE STAR “pumped about $7 million into the local economy”. And it’s not just the big cities that benefit – read about how CHASE filmed at Trinidad ISD in Henderson County:

“This was a way to generate some good, positive things for Trinidad,” said TISD Superintendent David Atkeisson. “Obviously our focus is on books, but we also want to expose our students to experiences that might spur them on to future endeavors. The thing I was most impressed with was the professionalism and patience of the cast and crew working with our kids. It was a great experience.”

It’s Friday. I’m a little tired from a long week but I’m looking forward to next week. I’ll be working on an indie film called DADGUM, TEXAS, playing Deputy John Scooter Smoot. It’s a funny script and a funny couple of scenes. If I can snag some iphone shots next week, I’ll share.

The following is a list of POSSIBLE SAG signatory productions that are either already shooting or are considering production in Texas. Keep in mind that some productions begin the signatory process but don’t follow through, so before agreeing to participate in any film production, verify its signatory status with SAG. Check www.sag.org for online verification or to locate the appropriate phone contact number.

The start dates as listed below are not set in stone. For instance, the ULB (Ultra Low Budget) film, NATURAL SELECTION, has pushed back their start date to at least March 22, apparently due to the availability of their lead actress. Actual start dates of other productions may likely vary from the stated dates as well.

If you see something you’re interested in pursuing, be smart. The best method is to work through your agent. If you don’t have an agent or for some other reason don’t want to work through your present agent, be very careful about contacting production sources. Always be professional and to the point in any emails. Avoid phone calls to the production office, if the number is listed. Don’t get yourself put on someone’s ‘always ignore’ list.

This list is being published as a service to the Texas actors community. Use the information below wisely.

The list:

“Benavides Born” – 00257737
SDB, LLC – Low Budget
Location: San Diego/Benavides, TX
Start Date: March 15, 2010
Casting: Toni Cobb Brock/Sally Allen

“Beyond the Farthest Star” – 00233502
Pathlight Entertainment, LLC – Low Budget Modified
Location: Dallas/Ft Worth, TX
Start Date: March 15, 2010
Casting: Karen Armstrong

“Cash’n In” – 00256261
Lisa Norcia – Low Budget
Location: Dallas/Waco, TX
Start Date: To be determined

“Cherry Bomb” – 00246793
Strike Anywhere Productions, LLC – Ultra Low Budget
Location: Austin, TX
Start Date: To be determined
Casting: Garrett Hargrove at  contact at cherrybombfilm.com

“Cowgirl Chicks, The” – 00248526
Rodeo Films, LLC – Low Budget Modified
Location: Ft. Worth, TX
Start Date: March 2010
Casting: Judy Belshe-Toernblom, Los Angeles

“Friday Night Lights” – 00246956
NBC Studios, Inc.
Start Date: September 2009
Location: Austin, TX
Casting: Beth Sepko at  info at bethsepkocasting.com

“Limited Engagement” – 00252416
Rodeo Pictures, LLC – Low Budget
Start Date: Late April, 2010
Location: Tyler/Dallas, TX

“Mortal Vampire, The” – 00256260
E. W. Bradfute – Low Budget
Start Date: To be determined
Location: San Antonio, TX

“Natural Selection” – 00228417
Windar Productions, LLC – Ultra Low Budget
Location: Smithville, TX
Start Date: March 15, 2010
Casting: Karen Halford (TX), Meg Morman/Sunny Boling (L.A.)

“September Morning” – 00254521
Doki-Doki Productions, LLC – Low Budget Modified
Location: Texas and California, unspecified
Start Date: To be determined
Casting: Jacqueline Rush Rivera at  submit at chriseska.com

“Ten Days in County” – 00252746
Real Men Productions – Theatrical
Location: Houston, TX
Start Date: To be determined

“Theory” – 00258132
Aqua Foxx Productions, LLC – Internet/New Media
Location: Houston, TX
Start Date: March 23, 2010
Casting:  TheoryPilot at gmail.com

“True Grit” – 00257202
DW Studios Productions, LLC – Theatrical
Location: Austin, TX., Santa Fe, NM
Start date: March 15, 2010
Casting: Debbie DeLisi at  texascasting2010 at gmail.com

“Under the Western Sun”
Zobest Pictures
Start Date: April 13, 2010
Location: Austin/Smithville, TX

SAG Armadillo Day Poster

@ THE CROSSROADS OF NEW MEDIA

Saturday: March 13, 2010
Time: 11:00 AM – 1:00 PM
Venue: 219 West
219 West 4th Street
Austin, Texas

Join new media gurus Mike Prasad, Co-Founder and CEO of GirlGamer.com; Mark Friedlander, SAG National Director of New Media; and Will Marshall, SAG iActor online casting coordinator for a compelling look at the phenomenal growth in new media production and distribution.

FREE and open to the public.

Seating is limited: RSVP to Sheila Cooper at  sheila.cooper at sag.org or (800) 724-0767, option 7 or (972) 361-8185 by March 10.

“GETTING YOUR ACT TOGETHER”
Demo Reels, Pictures, and Resumes

JANUARY 24, 2010 – Time: 4:00 – 6:00 PM
St. Edward’s University, 3001 S. Congress Ave, Austin, TX 78704
Ragsdale Center, Mabee Ballroom on 3rd Floor

Join the Austin Actors Conservatory for a candid discussion of what works and what doesn’t and learn how to market yourself in today’s climate.

COST: Members of the AAC: Attend for FREE. Please bring your SAG/AFTRA card for admittance (as a reminder all members of AAC must be paid up and in good standing with their unions). FREE for St. Edward’s students (must show student ID for admission) * Fans of the AAC: $20.00 *All others: $25.00.

Please RSVP for this EVENT:  AustinActorsConservatory at gmail.com

Moderated by Tommy G. Kendrick

Our Panelists Include:

Pictures and Resumes:

DAMON WILLIAMS – Former Casting Director for Ricki G. Maslar Casting; Ulrich/Dawson/Kritzer Casting – in Los Angeles, Damon is a recent transplant from Los Angeles, currently casting: “Twisted Proverbs”, “The Everyday Sun Tzu”. Past projects include: “The God Project”, “Going Postal”, “Manfest”,”The Year That Trembled”, “Black Hole”, “My Best Friend’s Wife”, Speechless”, “XCU: Extreme Close-up”, “Always Greener”. Damon is also a SAG actor, AAC Committee Member and 2010 Script to Screen Chair.

Demo Reels and Other Marketing Tools:

PAMELA WEAVER – Actress, Filmmaker, Film Editor. Another transplant from Los Angeles, Pamela has been performing on stage and screen since the age of 6 years old, touring with the “Weaver Sisters” at USO shows, private clubs, aboard ship, army camps. She has performed in over 100 stage plays on both the east and west coasts, 15 films and 6 television shows. In 2006 she went behind the camera learning film editing, shot her first documentary which is currently in post and creates demo reels for actors. Her first paid gig as a film editor and DP was working for ESPN in 2007. Between acting gigs and chairing the Austin Actors Conservatory, she films and edits virtual auditions and demo reels for actors, internet advertising.

JONATHAN GRUBBS – Film editor, motion graphics designer and published writer, Jonathan has spent the last 5 years editing at a boutique post production facility in Los Angeles where he worked on trailers and television spots for major studio film releases. He now freelance edits and designs motion graphics for television commercials for markets across the nation. His current plans are to expand into visual effects, feature title design and feature editorial in the near future. Past clients have included Universal Pictures, Sony Pictures, Paramount Pictures, major pharmaceutical industry firms, a rock band, documentary and a local Austin independent comedy.

What the Professionals That Hire You Are Looking For – How to Get Their Attention!

MARK LANE — Producer, Capitol Motion Pictures — In 2000, Executive Producer Mark Lane produced the independent Film, The Cure for Boredom, starring Judd Nelson, Seymour Cassel and the late Joe Vitterelli. Fusing all his talent and abilities, Mark went on to form Capitol Motion Pictures, focusing on the production of quality feature films. His feature, the comedy “Checking Out” starring Peter Falk, Laura San Giacomo, David Paymer & Judge Reinhold, was released in September, 2006. Mark’s present position in the film industry culminates years of expertise both behind and in front of the camera. Mark started out as an actor in New York, eventually producing and acting in over twenty off-Broadway plays. Following the path of numerous talented New Yorkers, Mark headed west to Hollywood where he quickly gained recognition working as an actor on such network television shows and feature films such as Hill Street Blues, McGyver, Capitol, Miss Lonely Hearts, Chud 2, Friday the 13th, Fire in the Night, Mass Appeal, Sex & Bullets. Desiring to expand his creativity, Mark began working behind the camera on numerous projects for the three major networks: ABC, CBS, and NBC; as well as for several motion picture studios, including: Paramount Pictures, Universal, Warner Brothers and Lion’s Gate, to name a few. Quickly, Mark rose to Producer, heading up three feature shorts for HBO/Showtime: When Angels Cry, Galatea’s Wish, and Hope’s Creek. He also produced and directed the nominated documentary, Our Father the Bank Robber. Mark studied acting in New York City under the tutelage of Lee Strassberg, Warren Robertson, Uta Hagen & Herbert Berghoff and Alan Rich in Los Angeles. The completion of two films this year ”Bittersweet” won highest honors this years at World fest 2009 Houston starring James Brolin & Kip Pardue and “Shadows” starring William Hurt & Cary Elwes are slated for release this year. The Tribeca Film festival has requested Shadows to have our world premiere for their festival this April 2010.

GARY CHASON, Director, virtually grew up in the theater. He and his two sisters, from the moment they could walk and talk, put on shows for family and friends. He studied classical ballet at Houston Ballet’s academy as well as vocal music, singing in the chorus of the Houston Grand Opera’s production of Tales of Hoffman. He took up directing at the University of Texas and set his sights on becoming an avant garde, experimental writer/director. He created Houston Laboratory Theatre in 1970 and directed an innovative Romeo and Juliet that received excellent notices. He produced and directed one of the most controversial stage productions in Houston during the Seventies: The Beard, an erotic one-act staged at an art gallery in the Montrose District. He also directed two of his original plays at the Equinox Theater: Charlie’s Ear and Denizens. He has had a distinguished career in motion pictures as a Casting Director and Dialogue/Dialect Coach. His casting credits include: The Last Picture Show; Paper Moon; The Getaway; Pretty Baby; and Paris, Texas. He has worked closely with directors Robert Altman, Peter Bogdanovich, Sam Peckinpah, Michael Ritchie, Louis Malle, and Wim Wenders. As a Dialogue/Dialect Coach he has tutored Jeff Bridges, Cybill Shepherd, Cloris Leachman, Brooke Shields, Tatum O’Neal, C. Thomas Howell, and Ann-Margret. His first feature film as a Writer-Director, Charlie’s Ear, won the Critics’ Prize at Mannheim and all the top awards – Best Film, Actor, Director, and Cinematography – at the IMAGFIC festival in Madrid. He produced The Trust, an award-winning feature film starring Karen Black and Sam Bottoms, and has produced, directed, and/or written numerous shorts: Mama Icy’s House; From Nowheresville; Ink on Paper; Little Beauties; A Few Letters Off; More Than Two Dollars, and My Name Is Jeffrey and I’m a Serial Killer. In the field of Corporate Training Videos his clients include Service Corporation International, Shell Oil, The American Bar Association, The Texas Young Lawyers Association, Liveris Digital Productions, Hoefler Associates, and The Escape School. His first book, Acting for the Real World: Notes on Television and Motion Picture Acting, will be published soon by FSE Publishing and his screenplays, Succubus Crystal, My Princess, and Faces of Stone, won, respectively, gold, silver, and bronze awards at WorldFest Houston. As an actor, he has appeared as a supporting player in the feature films Brewster McCloud, Zombies of Sugar Hill, Burger Wars, and My Best Friend is a Vampire. His first starring role as “Dusty” in the indie feature Dear Pillow has earned rave reviews in Variety, The Orlando Weekly, Film Threat, Indie Slate Magazine, and Playback St. Louis. He produced and directed Everything or Nothing, an HD feature starring Natasha Melnick in ’04, which was finished in ‘06. It was written by Sue Rock. God Thinks You’re a Loser, an HD feature he wrote and directed, was completed in 2008.

Still from Web.Files interview with creators of BMB: Dirty Bomb Diaries

We’re at the beginning of a new age of ‘television’ and ‘film’ production and distribution. Some of the old models of content delivery are getting some competition and some are likely to fade altogether. For actors and all creatives this new model offers some great opportunities. No longer will it be absolutely necessary to live in one of the major markets in order to work in and hopefully, make a living in, ‘the business’. Take a look at this interview, check out some of the episodes of this and other web series on strike.tv or your favorite distribution channel.

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Alabama Moon Poster

But how many times have you gone to a film based on a book you love, only to be disappointed in the results? Too many, sad to say.

McCanlies, who directed from a script co-written by Key, had more than a few challenges with this project. Mix together a limited budget, a relatively short shooting schedule and a story that requires kid actors to carry the film and the ingredients for a less than stellar result are all at hand.

Not to worry. ALABAMA MOON the film more than lives up to the promise of the novel.

For those who aren’t familiar with ALABAMA MOON, it’s the coming of age story of an eleven year old named Moon who has been raised in the Alabama wilderness by his survivalist father, Pap. Pap, distrustful of all outside elements, particularly ‘the government’ has raised Moon in his own image – friendless, self-sufficient and able to live off the land. This is ‘home schooling’ in its rawest form. Moon can read and write, but he can also trap game, start a fire without matches and has a rudimentary knowledge of medicinal herbs. Moon has been raised to distrust anyone but Pap and to live on his own.

For years, Pap and Moon have inhabited a dense growth of Alabama forest that is owned by a paper company. When the paper company sells of a portion of the land to developers, their solitary world is threatened. Then the unexpected, and to Moon, the unbelievable happens.

Pap is injured in a fall, suffering a compound fracture to his leg. Moon does his best to doctor Pap, but he is a kid after all. With no medical treatment, the unexpected becomes the undeniable truth. Pap dies and Moon is left to fend for himself. In his final instructions to Moon, Pap tells him he has to get away from the encroaching development. Run from ‘the government’. Pap tells Moon to go west, preferably to Alaska where Moon can hook up with other people who are self-reliant and who ‘think like we do’.

Thus Moon is set off into a journey of discovery. A journey that quickly has him in trouble with the outside world. But a journey that brings him into contact with people his own age for the first time in his life.

ALABAMA MOON is something of a ‘throw-back’ film. The film is refreshingly free of helicopter searches, infrared scopes and and night vision goggles. This is a film that seems more in the mold of the classic Disney pictures that mined similar territory. And that’s a good thing.

McCanlies keeps the narrative moving at a brisk pace and elicits first class performances from a uniformly strong cast.

Jimmy Bennett, as Moon, has the acting chops to go well beyond the surface of this nicely written character and he delivers a first rate performance.

Casting of Clint Howard as Moon’s nemesis, Constable Sanders, was a stroke of good luck for the production. In the after-film Q&A, Howard told how he served as sort of an on-set ‘uncle’ figure to the child actors in the film. How lucky for them! Howard also discussed a conversation he had with Don Knotts not long before that legendary comedic actor passed away.

Howard described Constable Sanders as ‘Barney Fife on steroids”. Howard, a former child actor himself (duh!) , added just the right amount of off beat humor along with his character’s threatening impatience and lack of empathy for Moon without ever going too far over the top. Don Knotts would no doubt approve.

Rounding out the recognizable names in the cast, John Goodman brought just the right tone and, pardon the pun, weight to the character of Mr. Wellington, the new owner of the land where Moon and Pap have been living. At first, Mr. Wellington appears to be at the root of Moon’s problems, but instead turns out to be something of a guardian angel.

Supporting actors add mostly solid performances and all are more than ably supported by the outstanding cinematography of Jimmy Lindsey, a surprisingly rich score by Ludek Drizhal and sure handed editing by Mark Coffey.

The biggest disappointment of this production from a Texas-centric POV is that it was shot in Louisiana. ALABAMA MOON was filmed prior to the passage of the latest Texas film incentive legislation and the Louisiana incentives won the day. McCanlies has been quoted as saying he could have shot much of the film on his ranch in Bastrop. If only.

ALABAMA MOON, the production, is in some ways a good template for filmmakers who must contend with modest budgets.

Start with a good story. Add a solid screenplay that has at least a few roles that are so engaging that they can attract name talent for a limited number of days work.

If you somehow manage the first two, add a director who can do good work while working at a fast pace. If you’re really looking at this as a template, you might want to avoid a story with child actors. You’d have to be really lucky to pull together a group of young actors who will perform as well as those in ALABAMA MOON.

For all of you who wonder where all the good family films have gone, look no further than ALABAMA MOON. Hopefully you can look no further than your local multiplex.

In a move that makes one wonder about potential distribution of this terrific family film, the producers have set up an online petition where fans of the film can use to urge American distributors to pay attention to ALABAMA MOON. Link to the petition HERE.

Hopefully, the presence of Goodman and Howard along with the strong following for Watt Key’s novel will result in the distribution this film deserves.