Austin Cinematic Limits

P.J. Raval and Kelly Williams had barely unpacked from their trip to the Sundance Creative Producing Labs when IFP announced that Untitled Gay Retiree Documentary and Hellion were selected as part of its Project Forum for the 34th edition of Independent Film Week (September 16-20, 2012). Untitled Gay Retiree Documentary (directed by P.J. Raval, produced by Sara Giustini) was chosen in the Spotlight on Documentaries category which contains 49 other documentary features currently at an early financing stage to those nearing completion. Hellion (written and to be directed by Kat Candler, produced by Kelly Williams) will participate in the No Borders International Co-Production Market which includes 42 other narrative projects in development. Austin will be represented by a third film at IFP, Clay Liford‘s script-in-progress, Cutlet (written and to be directed by Clay Liford, produced by Angie Meyer and Brock Williams), which will participate in the Emerging Narrative section with 24 other feature scripts in development. The purpose of Independent Film Week is to provide opportunities for filmmakers to connect with financiers, executives, influencers and decision-makers who can help them complete their projects. A slate of 165 films were selected by IFP for this year’s Project Forum.


Austin Cinematic Limits

Flashback to the spring of 1998 — yours truly is living in Philadelphia and desperately looking for another city to call my home. I am not ashamed to admit that I plan on basing a significant part of this decision on the quality of programming at movie theaters in each city. Austin is the clear favorite in this category. I fondly remember falling in love with the Alamo Drafthouse during SXSW 1998 (beer! food! movies!), but it is my virginal foray into the Paramount Theatre that remains emblazoned upon my mind. Despite earning a masters degree in cinema studies, I never had access to a repertory cinema before. Sure, I studied the history of cinema but I watched all of the films on television. Now, I am finally experiencing those films in the way that they were intended to be seen! It might be hard to believe, but up until that fateful summer, I had never seen a film released prior to 1975 on the big screen. Flashforward 14 years — I find myself at the Hideout Cafe sitting across the table from the Paramount’s film programmer, Jesse Trussell, on the eve of the official release of the 2012 Summer Classic Film series schedule.  Trussell hands a photocopy of the schedule to me. I scan it quickly. My jaw drops.

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published: 12.19.2014
published: 12.18.2014
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