Showing posts with label AFF. Show all posts
Showing posts with label AFF. Show all posts

Tuesday, October 26, 2021

AND THERE ARE MANY OF US

Still in Austin. Saw four movies yesterday: With This Breath I Fly, a beautiful and unsettling documentary about two women in Afghanistan; Clean Slate, an uplifting documentary about two men in and our of recovery making a short film; The Worst Person in the World, which is one of my two favorites at the fest so far, a narrative about a woman's path to finding herself; and It Hatched, a comic horror film set mostly in Iceland. 

Four movies in one day. And it was amazing. Yet another facet of this diamond of creativity that is the Austin Film Festival. Just Groovy beyond belief, soul filling, mind blowing, life affirming stuff.

But I want to tell you a story about another event that happened here, a few nights back, which feels like two years ago or more. I signed up for a chance to tell a ghost story at A Night of Ghost Stories presented by Phantom Wines, a cool event at the Driskill where the first 20 or so people who signed up could pitch a ghost story to the room. Being a lifelong fan of all things spooky, I signed up immediately. This was a few weeks ago, I didn't get a response email, and thought maybe I didn't make the cut, but wanting to be sure, I followed up at the festival itself, and found out I made the cut. 

Which was both cool and scary because I had assumed I didn't get in, and hadn't really prepared. I figured I would pitch a version of American Spirits, a pilot for a limited series I'm working on about a small town slowly being taken over by a pair of ghosts who are total assholes, but who a good chunk of the town find charming and delightful. My back up plan was to tell an actual ghost story that happened to me long ago in NYC.

We got to the event, and before things go started, a real life paranormal investigator was introduced, who gave us all the haunted history of the Driskill Hotel, which is quite extensive and full of all sorts of spooks and spirits. He keeps mentioning how there is this one room that is particularly active, where all sorts of things happen, and where a woman killed herself. 

And then he says the room number. 

And it's ours. 

We freak out, and then, being the actor and ham that I am, I use it when I introduce my story, saying "Just so you all know, my wife and I are stying in Room #I-Can't-Say-at-the-Hotel's-Request." Everyone in the audience gasps. "And if I see a ghost there tonight, it won't be the first time". More gasps. And I launch into my tale, which is as follows:

When I was in my twenties, I lived in NYC with my brother in a garden level apartment on the Upper East Side, on 89th Street between 2nd and 3rd. One night, I couldn't sleep, because my brother can snore better than anyone in the business. I think he might have kept some folks up in Jersey that particular night. So there I was, laying in bed in my room, which was the lower level of a two floor apartment, which was located right behind an old church. 

Probably where the Boneyard was located at some point.

I felt this strange sense of calm overcome me, and I looked to the spiral staircase that led to my room. Coming down the stairs were two children: a young girl who looked to be about 9, and a boy behind her who looked to be about 6. They were both dressed in black, in clothes that were from an earlier time. Maybe Victorian, but certainly no later than turn of the last century. The girl was very serious, and the boy had this horribly sad energy, like someone who has been severely traumatized. He sort of hid behind the girl, who I just knew had to be his older sister. 

They stopped at the bottom of the stairs, and the girl looked me right in the eye and said: "We just want you to know, we are here."

I still was overcome by this strange stillness, and nodded my head. She continued.

"And there are many of us."

The boy peeked out from her side for a moment, then quickly ducked back even further behind her.

"We want to show you something".

And then I was given what I can only describe as a vision. It was like what happens in most versions of A Christmas Carol, when the various ghosts take Scrooge to various places. Suddenly, the girl, the boy, and I were in this massive, cavernous room, full of people frozen in time. Not literally frozen, like a film on pause. More like frozen in emotion. Some were joyous. Many were wracked with sorrow. A few were clearly furious. And all of them we so wrapped up in their various emotions, none of them could move.

And then, as quickly as it had begun, the vision was over and I was back in my bed, and the girl and boy were back at the foot of the stairs.

"We just wanted you to know that", the girl said. And with that, they turned and retreated up the stair, slowly vanishing as they climbed into the darkness.

And then I freaked out. I ran to my brother and woke him up, asking if he had seen or heard any of what had just transpired. 

He said he hadn't. 

I did not go back to sleep that night, even though it was just around 3 am.

I looked up ghostly visits the next day, and apparently, it is not uncommon when encountering a ghost to feel a sense of calm, even though one would find that counterintuitive. 

The next night, I was laying in bed, sound asleep, when I awoke. I had that feeling you sometimes get when you are certain there is someone in the room with you. I looked at the clock. It was again around 3 am. This time, I didn't feel calm. I felt frightened. I pulled my covers over my head, like I did when I was a kid and scared that The Boogie Man would get me. 

And then, I felt someone tapping my pillow, right next to my head. Insistently. Over and Over. Like someone trying to wake me up so they could play or talk or do whatever it is they wanted to do.

I kept my head under the covers and repeated, over and over for what seemed like a very long time, "Go away! Go Away! I don't want you here!"

At some point, the tapping stopped.

I never saw them again, and never had anyone tap my pillow. There was always a strange energy in the apartment, and a feeling that we were not alone. But nothing was ever quite as extreme as those two nights.

Still, there are nights when I wake up, and wonder where they are, what happened to all those frozen figures stuck in the past, and when I will once again feel someone slowly and insistently tapping on my pillow.

Here's a song. It's Ghost Story by The Avalanches.





Monday, October 25, 2021

THE SCREENWRITING LIFE

Monday morning, voice a little scraggy, eyes a little bleary, heart full of joy, brain full of conversations, pockets & desktop & backpack full of business cards from fellow screenwriters. The panels here at the Austin Film Festival are for the most part over, and now it's all about going over notes, sending follow up emails, and seeing movies. I slept for over six hours last night, which feels like a week of slumber. 

Last panel I went to yesterday was called "What Next?". Good title, better question. I've spent the past four or five days (time is even loopier here than it has been the past two years) meeting so many people, making so many connections, having so many new ideas. The panel consisted of Matt Dy, who used to run the competition for AFF and is now an agent Lit; Ashely Miller, who is hilarious and wrote Thor, X-Men First Class, and tons more; and Chuck Hayward, who is the nicest, coolest guy and wrote on WandaVision,  Dear White People, and now Ted Lasso. The way panels work is the first section is a moderated conversation about a given subject, then about fifteen minutes of audience questions, then the braver or more pushy rush the stage and ask more questions on a one-on-one basis. 

I was one of the pushy ones, and managed to talk with all three. I asked Ashely Miller about animating sequences in a hybrid script, which was helpful not only in the info he provided, but in how he responded in general to my idea. I talked with Matt Dy about query letters and what to put in them, and that led to me for sure writing a few of those this morning; and then I talked with Chuck Hayward about life, movies, and all sorts of things. I had seen him in an earlier panel, and we hit it off afterwards. Sometimes, you strike up a conversation with someone and it just clicks and you think "I really like just shooting the breeze with this guy". Both times I spoke with Chuck it was like that. Easy and fun. 

Lessons from that: Don't be afraid to approach people you want to talk with; and when you get over your fear and do approach them, just be yourself and realize everyone is a fellow human, not some deity to be fawned over. It makes for better chats and a happier experience for all parties.

Another cool/crazy/exciting thing happened to me here the other day. I went to a panel called The Screenwriting Life, which featured Meg LeFauve and Lorien McKenna. The title of the panel is also the title of their podcast. As we stood in line, LeFauve came out and asked if anyone wanted to be featured in their presentation, and the whole panel was going to be recorded for their podcast. There were about two hundred people in line, but I figured what the hell, so I raised my hand along with most everyone else, we signed some release forms and in we went. The panel began, and it came time to draw names out of a hat. First person called up was this guy who had interesting idea he wanted to kick around. It was really cool to watch Meg and Lorien discuss his work, as they are both so smart and insightful and kind. Then they pulled the second name. Lorien pulled out a sheet, looked at it, couldn't read it because of the bad hand writing. And I knew it would be mine, as I have shockingly terrible hand-writing. "I think this says Robert... something... McAllister?". And up I went. 

It was sort of an out-of-body experience. First, they had me give the basic plot of my script, The Belvedere Jungle. Then we dug in. It felt amazing, their ideas and questions perfect, and the response from the crowd felt like this warm wave of love. To use one of my favorite words, it was Groovy. After me,  young writer named Peyton, who is amazing and I am sure will sign with some manager soon, went up. And then it was over. In typical AFF fashion, Peyton and I are now AFF friends. We traded cards, chatted after the panel and several more times throughout the festival. And I've made many friends here like that. 

I think that is the greatest aspect of this festival. The connections you make. Not just in the business sense, which is great, but in the human sense. In the "I am a writer and I love movies and you do too? Wow! What are you working on, how's it going, what have you seen, where is the nearest coffee shop" kind of way. Speaking of that, I'm sitting in The Hideout on Congress between 6th and 7th in Austin right now, and I must order a latte for Lisa, and run off, and listen to the podcast, which just dropped. 

More stories of the AFF to come.

Here's not a song, but the episode of The Screenwriting Life I am on. 

https://anchor.fm/thescreenwritinglife/episodes/64--LIVE-From-The-Austin-Film-Festival-Story-Workshop-e198gfc/a-a54lnfh

Sunday, October 24, 2021

STAR EXPLODING IN SLOW MOTION

It's a little before 8 am here in Austin. I am sitting in an empty Driskill Bar, the main meeting place for the Austin Film Festival, having my first coffee, collecting my thoughts and recollections from the past few days, going to this blog to keep some sort of connection to the Not-at-the-Festival me. And to let out some of the newly minted ghosts that sell memories. 

Was standing in line for an oat latte with my fellow bleary eyed geniuses and lunatics, and the woman who runs the Festival got in line behind me. I thanked her for the Festival, and we got to chatting like people do here, and in one of those odd things that happen in life, found out from here how a friend of mine had recently committed suicide. I knew he was dead, that he had his last film in this year's festival, but I didn't know the cause. 

Now I do. 

I must have some defect in my brain, because I have never understood someone taking their own life. I know the world can be relentlessly cruel, that there is anger and sorrow and stupidity in abundant supply. I have spent plenty of time in confusion. But always, no matter what, I sense this great underlying beauty in the universe. An ocean of peace waiting to be waded into. 

I can't say much more without sounding like an insensitive asshole who doesn't understand depression, mental illness, or people who experience life the way I do. 

I just miss my friend and wish I could text him after seeing his film and tell him it was amazing.

So there's that.

I have other news of the festival to share, triumphs and surprises, new friends and fresh insights.

But for today, I will just say this. Life is... a tapestry that demands to be noticed, and touched, and reflected upon, and then noticed some more. It is that first cup of coffee in the morning. It is the little fights you get into with your significant other that seem so important at the time, then vanish with a smile at the most unexpected moment. It's a new piece of music you've downloaded but haven't listened to yet. It's a comedic short, a feature that didn't quite get it right, and also the discussion on the way out as you throw away your popcorn container. It is a symphony of birds and bats at dawn. 

And I love it so intensely. I love this world. I love it all. 

Here's a song. It's Star Exploding in Slow Motion by The Comet is Coming. I was told about it last night by a film maker named Kingsley I met here at the AFF. I am listening to it for the first time as I type this.



THE LOST WHELM

 Waking up and not sure what to do. Sometimes, oftentimes, I wake up feeling totally unprepared for anything at all. The world seems a mess,...