'Beasts' racks up awards

'Beasts of the Southern Wild' star and director reflect on their long, crazy trip to the Oscars

 By Mike Scott, NOLA.com | The Times-Picayune 
They have a colorful turn of phrase, these "Beasts of the Southern Wild" folks -- an efficient, two-word reminder not just to enjoy life, but also to attack it, and to relish it while doing so. Those words, delivered more often than not in an eruption of unbridled joy: "Beast it!"

And so on Thursday morning (Jan. 10), after the nominations for the 85th annual Academy Awards were announced -- bringing their scrappy little Louisiana indie four nominations, for best picture, best director, best actress and best screenplay -- there was, as you would expect, much beasting going on.

Coming as it did on the heels of a solid year of film festivals, award banquets and acceptance speeches, Thursday's news kicked off a particularly sweet -- if slightly surreal -- chapter in what has been a long, rewarding journey for them.

For 9-year-old Houma native Quvenzhane Wallis, the spritely sentimental favorite who Thursday became the youngest best actress nominee in the history of the category, the celebrating took a little encouraging. After all, she was in Los Angeles at the time -- there for Thursday night's Critics' Choice Awards, where she would be named best young actor. With the Oscars announcement coming at 5 a.m. West Coast time, she was -- like most children, beasts or not -- still comfortably snoozing.

"I was asleep in bed, " she said Thursday, calling from Los Angeles just a few hours after hearing the good news. "Then my mom tapped me and told me that they had nominated me, and she was tapping me and I wasn't stirring at all, and I got up just in time to see 'Quvenzhane Wallis' going down the screen."

EnlargeEliot Kamenitz, The Times-PicayuneELIOT KAMENITZ / THE TIMES-PICAYUNE The movie stars and celebs at the Joy Theater at 1200 Canal St. on Monday, June 25, 2012, for the New Orleans Premiere of the film Beasts of the Southern Wild which is the winner of the Camera d'Or at Cannes as well as the Sundance 2012 Grand Jury Prize and Cinematography awards. Quvenzhane Wallis gives a hug to fellow actor Lowell Landas on the red carpet.Beasts of the Southern Wild New Orleans Premiere gallery (7 photos)

Enter "Beasts" helmer Benh Zeitlin, who, like any good director, demonstrated for his leading lady exactly what a proper reaction to being a first-time Oscar nominee should be. He showed her, in other words, exactly how to beast it.

Unlike Wallis, Zeitlin had arisen early and was watching the early-morning nomination announcement in his own hotel room with his film's producers -- Michael Gottwald, Dan Janvey and Josh Penn -- as well as Dan Romer, who co-wrote the film's score with Zeitlin.

"Well, we were in two separate rooms," Zeitlin said. "The Wallises hadn't woken up and come to our room yet. We were just getting crazier and crazier as each award was being announced. By the time the last one hit, we just ran out of our hotel room, busted down their door -- Quvenzhane was up at that point, jumping around -- (we were) carrying (her) around. I just can't describe it. The only comparable moment was probably when the Saints won the Super Bowl. I think that was the same feeling."

It wasn't long before things escalated to the only logical conclusion for any hotel-room celebration. "We were jumping all around and jumping on the bed," Wallis said.

In fact, they were jumping back and forth -- all of them -- between both beds in the room, with the 30-year-old Zeitlin taking the blame after the fact as the chief instigator. "I was the first person onto the bed," he said. "So I was actually behaving much more immaturely. We were all on the beds. ... It just seemed like the thing to do."

A few hours later, after a day full of interviews and pinching himself, Zeitlin had calmed down enough to reflect on the significance of the day's events.

"It felt historic," he said of his Oscar-nomination morning. "A movie that was born the way this one was, I don't know if anything's ever sort of cracked the ceiling that didn't have any famous people associated with it. These award season things are so dominated by huge corporations and these huge stars and this whole system -- and just hearing us crack those ballots, it just felt like a huge thing for independent film and for Louisiana. It really felt like I was in an alternate reality."

It was also a historic moment for the Louisiana film industry, which can boast of having earned dozens of Oscar nominations over the years but few from a film so intensely local. There have been even fewer for movies that, like "Beasts," stars local actors, tells a local story and was directed by a guy who -- though originally from back East -- has been living in New Orleans for six years and considers it home. 

'Beasts of the Southern Wild' featurette

That's not to say the local film industry doesn't still have work to do -- but it's not unrealistic to predict that it's just a matter of time before it does.

"I think it's still got a ways to go, but I believe in it so strongly, and to me, it just comes down to just being such a great place to live and such an inspiring place to live," he said. "Beyond that, I think our actors -- who are locals, who had never tried this before - are a testament to what a vibrant culture we have and how much talent there is out there in Louisiana that hasn't really had a chance to breathe and speak.

"A lot of what's existed so far has been these huge companies coming in who already have all the creatives in place, are bringing in performers from outside, making films in Louisiana," he continued. "But I hope this film can show that there is tremendous talent organic to the place and organic to the city. The more these films get a chance to get made, the more we'll see just great art coming out of Louisiana."

So what's next for Zeitlin? What piece of great art will he work on next? He's still playing coy, but he will say that it won't take him far from his adopted hometown of New Orleans and the creative cradle of "Beasts of the Southern Wild."

"I know I want to shoot it in Louisiana," he said. "A lot of the work for me develops as I'm scouting and meeting people. You can't really do it from afar, so it's just going to be a matter of coming home and starting to explore.

"I haven't even started writing it, because I've really been on the road since (the film's New Orleans premiere in July). I have not had more than a couple of days in any city or any time at all, so what I can say is: The day after I get released from this, from the Oscars, I'll be back home and traveling around the state. And that will be the beginning."

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Zeitgeist is the independent moviegoers' spot

Zeitgeist is the independents' independent film house. It is so off-the-beaten-track, you might never have seen it, certainly not unless you expressly set out to find it near the CBD and warehouse district, but on a street that's only part commercialized.

It took months for me to figure out where it was; what it was; and whether I was really interested. It seems as if that is essential to its MO. 

They only want you to come if you are really, purposefully, seeking it out.

And you certainly are not going to feel comfortable, sitting on hard-backed chairs, that is, unless you arrived early enough to sit on the couches in front. You must suffer for Art.


It has taken me until tonight to look up the meaning of the word zeitgeist: "spirit of the times," according to Wikipedia, source of all truth.

Almost every time I've been there, we were a small audience. Tonight, for "Hell on Wheels," a documentary about the beginnings of Austin's roller derby teams, there were probably 50 people, including quite a few Big Easy Roller Girls and the filmmakers. The only time I experienced the venue relatively full was during an avant-garde jazz concert during Mardi Gras.

Yet, Zeitgeist has been around 24 years and is celebrating its birthday with a benefit screening of a very obscure film, "Recoder il Film." I can't describe it, so must copy the Web page summary.

DECODER, an underground film from 1984 has developed to a somehow prophetic cult movie. With an unique engagement of exceptional players, who for the most part play themselves (FM Einheit of Einstürzende Neubauten, the true Christiane F. of the infamous Bahnhof Zoo, Genesis P-Orridge of Psychic TV and the American writer William S. Burroughs) and extraordinary music of the time, such as Soft Cell and Einstürzende Neubauten.

The film dramatizes the transcending innovation which punk brought to the fields of communication, like a perfect precursor for the cyberpunk genre….focuses on the sonic experiments of a disillusioned `noise-freak´ FM, played by FM Einheit (aka Mufti) of the `experimental, industrial´ music group Einstürzende Neubauten, who is experimenting with white-noise and infra-sound, recording the daily noises around him and mixing them in his home-studio. FM wants to know: “the connection between these dumb-faced and contented people, gorging themselves on one hamburger after another, and the monotonously happy muzak constantly oozing out of the speakers…” 

From his studio window FM watches the frantic movements of the streets. After having a dream in which FM sees his partner, Christiana(Christiane Felscherinow aka Christiane F.),walking in a post-apocalyptic landscape with a figure of an old man, dressed in shabby coat and trilby, and hearing the clipped tones of William S. Burroughs' voice from his own cut-up tape-recorder experiments, FM awakes and immediately begins to experiment in his studio with his recordings of fast-food restaurant (H.Burgers) Muzak, a form of audio valium. 

A second dream depicts FM entering a small shop; when the shopkeeper (William S. Burroughs) asks him what he wants FM replies “Nothing special”, and appearing uncertain of what he is doing or looking for, FM knocks over a box of electrical diodes. The shopkeeper, who has been carefully dismantling a cassette recorder, jumps up, strides over to FM and states: “You start from zero preconceptions – you want `nothing special´ – here it is.” 

The shopkeeper gives him the dismantled machine. While out walking and recording noises, FM enters an abandoned warehouse, inside he watches as a number of people drum repetitively on a various pieces of percussion. Small fires burn in a trashcans scattered throughout the buildings. As FM watches he is seen by the percussionists, who drag him into an inner chember. 

Here FM is seduced by the 
flashing lights of a Dream Machine, while Burroughs` voice asks “Is this machine recording?” Then the guru figure (credited as Hohepriester, and played by Genesis P-Orridge) questions FM`s presence in the building, asking if the tape player was being used to trigger a virus. FM explains his reason for recording, and Hohepriester tells FM “Information is guarded like a bank and we have to rob this bank." 

FM explains that he wants to utilize sound as a weapon. FM begins to use his tape experiments as a form of anti-muzak, replacing the artificially soothing muzak of H. Burger restaurants with his own tapes, which- instead of inspiring placid catatonic consumption – create nausea and violence among the restaurant´s patrons. The insurrection caused by FM´s anti-muzak and infra-sound tapes increases, leading to large-scale riots triggered off by punks holding tape-players blasting out FM´s tapes. In response to the growing defiance the Muzak Corporation coerce reluctant hit-man Jager (Bill Rice) to kill FM.   By donation.

View from Oretha Castle Haley Blvd.

Clearly, a must see. In addition, Zeigeist has an upcoming 4th annual Middle East Film Festival - I can't read the Arabic, but includes blockbusters like "Tehran Has No More Pomegranates," "To Shoot an Elephant," "Tea on the Axis of Evil," "Jerusalem Moment," and "Dancing Boys of Afghanistan." In addition to 55 films about Afghanistan, Bahrain, Egypt, Iran, Iraq, Israel, Lebanon, Palestine, Qatar, Syria, Turkey and the United Arab Emirates, there'll be 10 nights of food, music, dance, visual art and visiting artists.

Monday, Nov. 15, guitarists Rob Cambre and Donald Miller will join Bhob Rainey on saxophone for The Death Posture.

Wednesday, Nov. 17,"Poto Mitan: Haitian Women, Pillars of the Global Economy," will be presented by producer Mark Schuller and Associate Producer Gina Ulysse in conjunction with the American Anthropology Association Conference.

Friday, Nov 19, Saturday, Nov. 20, Regina Spektor, singer-songwriter,will premier her film, "Regina Spektor: Live in London."

Pretty impressive for an all-volunteer organization, don't you think? Very intellectual, very bohemian, very cutting-edge and cultural.

If you can’t come, but would like to make a donation to help Zeitgeist continue it’s mission…please feel encouraged to do so!

Film Festival 'Love Ranch' screening a real event.

I hadn't made time to attend any of the New Orleans Film Festival screenings, especially with all the splendid weather and musical events. But last night, I had a notion to hop over to the Prytania, which is so close, after all, and check out the film, Love Ranch, showing at 7 o'clock. I told Ralph I was going to see a movie about a brothel and he just shook his head. What's next?

The event was a real happening, as we used to say in the 1970s. The neighborhood theater was full - although I still managed to get a center seat arriving at 6:55 - and the director, Taylor Hackford, talked a bit before the show. I did not realize he is married to the star, Helen Mirren, nor that he had directed "Ray," the Oscar-nominated bio-flick about Ray Charles. You already know what I am about to tell you - Hackford and Helen are in love with New Orleans.

Times-Picayune
Tuesday, October 19, 2010
Mike Scott

There comes a time in every relationship when key questions must be answered. When compatibility issues must be addressed. When you've got to find out if there's a future in this whole crazy thing or not.

When that moment arrived in director Taylor Hackford's then-blossoming relationship with actress Helen Mirren, there was only one way for him to get the answers he needed.

He took his future wife -- and a future Oscar winner -- on a trip to New Orleans.

"You know, it was a big test: 'Is this the woman for me or not?' " Hackford said. "And we got there and we spent a little time and she turned to me and she says, 'I want to die in this town.'

"And I said, 'That's the woman for me!' "

Hackford -- a California kid with a fondness for good times and great music -- had been harboring a long-running love affair with the Big Easy ever since his college roommate introduced him to the city sophomore year. Any woman in his life would have to recognize that infatuation, understand it and, well, laissez les bon temps rouler, y'all.

So it's fitting in a way that Hackford ("Ray," "Dolores Claiborne," "An Officer and a Gentleman") will be at the New Orleans Film Festival tonight to show off his latest film -- one starring Mirren and boasting the romantic-sounding title "Love Ranch."

It might even be downright poetic if "Love Ranch" weren't, in fact, about a Las Vegas brothel, with Mirren playing a madam married to Joe Pesci. But let's not drain all of the romance out of this New Orleans fairy tale, shall we?

"Love Ranch" is loosely based on the real-life story of the Nevada couple that, in the 1970s, opened the first legal brothel in the United States. As the film starts, they seem to be on top of the world, but the story takes a dark, violent turn after the emergence of a love triangle.

It's a particularly nice fit for this year's film festival, which seems to be loaded even more than usual with locally linked projects. That's not because "Love Ranch" was shot here -- it wasn't; it was shot in Nevada, where it's set -- but because Hackford was among the first members of the Hollywood community to see the potential for New Orleans to become the thriving film-production hub it has become.

That enthusiasm predated even his decision to shoot "Ray" here in 2003 -- a film that would earn him an Oscar nomination for best director -- and back to his days teaching at the University of New Orleans with former NBC Entertainment President Brandon Tartikoff. It was in those days, he said -- during conversations between himself, Tartikoff and former UNO Chancellor Gregory O'Brien -- that some of the first conversations cropped up about the possibility of a state tax incentive aimed at luring filmmakers to Louisiana.

For Hackford, it was a no-brainer.

"I said, 'Listen, No. 1, (Hollywood is) sending $10 billion a year to Canada, and that's a crime. We should not be doing that. The Canadians are great, but why aren't we offering the same kinds of incentives here to states that need their economies boosted?'

"And, secondly, I know that artists love New Orleans -- I do, my wife does, everybody who goes there is charmed because it's a unique city, it's a city for artists. Its every nuance, every place you look, is a picture, a feeling -- and the music, food, everything else. And I knew that it would draw. So it's not just that there were locations there, but for filmmakers and artists and musicians who wanted to be inspired, it's an inspiring city."

Fast forward a couple of decades, and Louisiana has become the third-largest film-production hub in the United States, behind only New York and Los Angeles.

Above all, though, tonight's screening provides Hackford with a good excuse to visit the city that has inspired him for so many years. Once upon a time, Hackford and Mirren made frequent trips to town, staying in the Creole cottage they kept in the French Quarter. ("Some people take a vacation house in Hawaii," he said. "Helen and I had our place in the Quarter.") They wound up selling it a few years back, but they still own property here, which brings Hackford back a few times a year.

"I was down in the spring," he said. "I come in and I deal with business and I see friends. And my son lives there, so when I can, I try to get down. I may come down for Thanksgiving. That's always a great day, to try to get out to the track.

"I don't get there as often as I would like now, because I'm jumping all over the place, but my heart is in New Orleans. And, as my wife said, it's a place that's always, always going to be in our soul."

. . . . . . . .

Movie critic Mike Scott can be reached at mscott@timespicayune.com or 504.826.3444. Read him online at www.nola.com/movies or follow his Twitter feed at twitter.com/MikeScottTP.