LINDSAY AT ACE EDIT FESTS NY AND LA 2012

By Lindsay Utz, 2012 Fellow

One of the greatest benefits of the Fellowship is a pass to both of the ACE Edit Fests: one in NY (June 8-9, 2012) and the other in LA (Aug 3-4, 2012). Each consisted of two days of panels with film and TV editors. I'd never been to either one, but I immensely enjoy any sort of conference where people talk about their creative process. In what can be such a solitary profession, it's so inspiring to hear other editors discuss the ins and outs and ups and downs of their work. Just as I was looking forward to attending Edit Fest NY, ACE invited me to be on a panel called The Documentary Edit: Nonfiction vs The Truth to talk about working on Bully and my other projects. Of course I said yes!

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The opening night panel at the Directors Guild Theater on W. 57th was called The Lean Forward Moment. Each editor picked a sequence from a feature film in which the editing inspired them. Lance Edmands (Tiny Furniture) showed the opening sequence from the 1973 film Don't Look Now, edited by Graeme Clifford. Wow! I had completely forgotten about how much I loved this film when I first saw it, and I saw it so long ago (before I became an editor) that I'm not sure I truly appreciated the editing. The cuts in this opening sequence are artfully jarring, frenetic in composite and unexpected, which leads to a feeling of fear and disorientation. If we, as editors, are in the business of producing feelings in our viewers, this is a great example of how it's done. 

After that, there was a Friday night cocktail party next door at Le Parker Meridien Hotel where we had a chance to mingle with conference participants and take in the stellar views from the rooftop patio—after all, no NYC conference would be complete without a swanky high altitude after-party!

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My panel was the first one on Saturday morning at 10 am. I wasn't expecting much of a turnout at that hour but the devoted editors and cinephiles of NYC didn't disappoint. On my panel were editors Lewis Erskine (Freedom Riders, Toots), David Tedeschi (George Harrison: Living in the Material World) and Arielle Amsalem (By the People: The Election of Barack Obama, The Education of Dee Dee Ricks). It was moderated by David Zieff (The Cove, The Awful Truth).

We discussed a range of questions: how did we get inspired to become editors; how do we approach a non-fiction edit with the sheer mass of material that is shown; how did the story evolve and how was the film treated before; during and after we knew what you were dealing with; how do we seek, discover and develop our story? Do we get guidelines from the director or have an internal sense of story or some combination? When the film advocates a particular point of view or desired response how does that affect our work with the director? For a good recap on what we said to all of these things, check out this site.

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It was a little nerve-wracking to get up in front of other editors and discuss what actually is essentially a private process. In a way I felt vulnerable talking about my experience. Documentary editing is a complicated and magical, but sometimes ethically tricky craft. Discussing it on stage is an equally complicated task. Somebody asked me afterward if maybe I was too honest. I thought that was a funny question because if you can't be honest in front of a roomful of editors, where can you be? 

Later in the day I really enjoyed hearing Christopher Tellefsen (Moneyball, Capote) discuss his work, especially the masterfully taut gallows execution scene from Capote, one of the best dramatic accounts of a true story I've ever seen. As a side note, In Cold Blood is one of my favorite books and is something I return to a lot when I struggle in the edit room; it informs a lot of the techniques nonfiction writers (and therefore documentary film editors) employ in books and film today. I actually reread it when I was working on Bully in order to get my brain thinking about alternative ways to structure a story. 

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Ellie Lee and Lindsay Utz at Edit Fest LAIn August I flew to Los Angeles to attend Edit Fest LA. That event had an entirely different feel both because of where it took place (on the historic Universal Studios lot) and because the programming was more centered around fiction, 3D and animation—appropriately so since that's what most LA editors are working on. Even though I'm primarily a documentary editor, I found much overlap in the challenges that fiction editors face in the edit room. One point in particular was made during the opening night panel in which fiction editors discussed how, because shooting digital is so cheap compared to rolling film, they're dealing with such a higher ratio of footage these days and that actors actually end up rehearsing their scenes now while the camera is rolling. It made me think about how it brings a sort of documentary element to fiction filmmaking.

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Lindsay and Kate Amend at Edit Fest LAThe highlight as always during my trip to LA was the people I met through the help of the fellowship and ACE: lunch with Leo Trombetta (Mad Men, Little Children), chatting with Carol Littleton (ET, The Rum Diary) over lunch and meeting superstar doc editor Kate Amend (The Long Way Home, Thin) for drinks at the closing party. They're all such wonderful editors who were full of fun anecdotes about their own work. I also finally got to meet Jenni McCormick, Executive Director of ACE, who was awesome about introducing me to people throughout the weekend. Jenni knows everyone! I look forward to staying in touch with all of them.

LINDSAY REMEMBERS IFFBOSTON 2012

By Lindsay Utz, 2012 Fellow

For the past year my fiance and I have been based in Providence, Rhode Island (he's teaching at a college nearby). The best part of being here has been getting to explore a part of the country that was totally new to us, including Boston -- a city I had only ever commuted through. So when the opportunity to go to the Independent Film Festival Boston came up we decided to make a trip out of it, packing our bags and heading north on the train. After all, is there a better way to get to know a city? Think about it: you spend days with locals, make friends with the ticket takers, drink at neighborhood bars, mark up your film schedule at the corner coffee shop and master the city's subway system. 

When I arrived Friday afternoon and first set eyes on the filmmaker's lounge I knew it was going to be a good weekend. The lounge had the most thoughtfully curated and well-stocked snack tables I have ever seen, from prosciutto, fruit and cheese to homemade pie! No joke -- the festival staff even baked muffins and cooked soup for the filmmakers! How cool is that?

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"Gregory Crewdson: Brief Encounters"The first film I saw on Friday was a documentary called Gregory Crewdson: Brief Encounters which follows the acclaimed photographer on his 10-year journey to create a series of surreal portraits of small-town America. Crewdson is known for his complicated, painstaking setups which often involve the equipment and crew you would associate with a major motion picture: grip trucks, steam machines, cranes and all. More than just a portrait of an artist, the film really captured the whole arc of the creative process through the eyes of the artist. To an outsider Crewdson may seem like a maniac, but to those of us who work in creative fields, especially editing, it's not hard to relate to his OCD and relentless pursuit of perfection. One of the most interesting moments in the film was when we started to see what goes into the post-production of his elaborate photographs. The IFFB audience was palpably disappointed to learn that in spite of his dogged quest for 'the perfect image,' in the end, he often uses a composite of multiple takes. Maybe it's disappointing because we hope he would pursue the post-production of his images with the same purity and evangelism he uses to shoot his images. Does it sully the finished product somehow to know that ultimately he had to 'manipulate' it in order to obtain his much sought after ideal?

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"Detropia"Later that evening, I went to see Detropia, edited by my dear friend Enat Sidi, who received the editing award at this year's Sundance for her work. (Enat worked closely with me as an advisor on Bully.) I had seen a rough cut of the film last year but I was pumped to see it finished -- and I was floored. It's truly a stunning example of documentary editing at its best. It is nothing less than a visual poem. It bestows on Detroit a sort of dignity, even nobility, as its inhabitants attempt to salvage meaning and grace out of the rubble of its blighted neighborhoods. Also Erin Casper, last year's KSFEF, was an associate editor on the film. Go Enat and Erin!

Another film that I really enjoyed watching, despite the nagging frustration that there wasn't enough breath between the interviews, was Joe Berlinger's Under African Skies, a doc about the controversy stirred when Paul Simon teamed up with local musicians in Johannesburg to make his iconic Graceland album. Simon was accused of being a cultural opportunist and exploiting African musicians. Alternatively, others argued he helped showcase the work of musicians subjugated under apartheid, who would otherwise never have been heard. The film's archival footage is AMAZING... but I wanted more of it! (For a taste of what I'm talking about, check out this incredible clip of the super rad Ladysmith Black Mambazo performing Diamonds on the Soles of Her Shoes live on SNL in 1986... and turn up the volume.)

Apart from the movie-watching, the other highlights of the weekend were the KSFEF mixer, held at a bar near the theater where I got to meet board members Lewis Wheeler and Ann Kim, as well as one of Karen's best friends Lucia Small. And the following day KSFEF sponsored a fantastic panel called "Editing the Documentary" which featured Jen Fineran, editor of Ai Weiwei: Never Sorry; Andy Robertson, editor of We Are Legion: The Story of the Hacktivists; Kevin Belli, editor of The List and was moderated by Bill Anderson, an editor who was also a dear friend of Karen's. I was really happy to get to meet all of these wonderful people and felt proud to be representing the KSFEF in a place where Karen had spent many years living and working.

Thanks to Adam Roffman and the rest of the magnificent, ALL-VOLUNTEER (!!!) staff of IFBB for putting on an awesome, down-to-earth festival with a great lineup and a rockin' opening night dance party!

LINDSAY LOOKS BACK AT SXSW 2012

By Lindsay Utz, 2012 Fellow

My favorite film at SXSW was Monsieur Lazhar, a Canadian drama that premiered at Toronto and subsequently picked up a nomination for Best Foreign Language Film at this year's Oscars. It will be coming out in US theaters in April and I highly recommend it. It's not only a powerful story of the immigrant experience, but also a haunting and beautiful mediation on childhood, love, loss and how we grieve. I felt pretty emotional after leaving the theater, and I carried that emotion with me into the awards ceremony later that evening, where Garret presented me with the KSFEF. He did a beautiful job talking about Karen, as a person and editor, and what she meant to those around her. When he finally called me up onstage I was pretty choked up and the speech I had worked on in my hotel in the hours prior to the awards ceremony was suddenly useless. I tried to just speak from the heart about what it meant to me to be chosen as this year's fellow. If you've ever been to the SXSW awards ceremony, you know that it's anything but a serious affair; but the theater got very quiet during the KSFEF part and I think people were genuinely moved to hear about Karen and the Fellowship. After the ceremony I had the honor of meeting some of Karen's friends who shared with me some wonderful memories of her.

 Julie Goldman, Jo Utz, Lindsay Utz, John Utz

 Julie Goldman, Jo Utz, Lindsay Utz, John Utz

Aside from the awards ceremony, the week was full of the usual parties, screenings, free drinks, and FOOD CARTS! I think it would be fair to say that I thoroughly ate my way around Austin: lots of tacos, of course (the surf & turf kind topped off with creamy slaw and crispy radishes), fried pickles, and the best late-night buffalo burger on the planet. Having spent a lot of time in Portland, OR, which is a food cart mecca, I was pretty impressed with both the ubiquity of the carts and the variety and quality of food offered. Another mouthwatering highlight was the best drink all week at Cheer Up Charlie's--a bar that serves Kombucha on tap (a drink that I'm told Karen loved). Why don't more places do that?! Austin is so cool. Their house cocktail was a mix of Kombucha, whiskey and ginger infused simple syrup. I'm going to try to make this at home. 

On Monday afternoon we held a KSFEF meet-up at Lovejoy's, an appropriately dark (just like an edit room) dive bar just off 6th Street. Lots of editors showed up, including Jen Lilly (Electrick Children), Penny Falk (Joan Rivers: A Piece of Work), Nat Sanders (The Do-Deca-Pentathlon), Jane Rizzo (ComplianceSee Girl Run), David Franklin, and Nathan Whiteside (Pilgrim Song). Julie Goldman (Producer, Sergio) was there as well. It was wonderful to get to talk to all of them.

Another cinematic highlight of the week was the late night horror anthology V/H/S (disclaimer: a good friend from film school, Tyler Gillett, was one of the 6 directors who worked on the film, so I was pretty proud to see him up on stage after the screening). I love going to the late night films at festivals because the crowd is rowdy and the films are fun. Not always masterpieces, but fun. 

The documentary The Impostor was a well-done thriller based on a real story. The film reminded me a lot of The Thin Blue Line with its stylized flashbacks and spellbinding score. I really loved one particular editing technique used to transition from interview to flashback, cutting mid-sentence from the main character recounting the story straight into him reenacting it. The old adage "truth is stranger than fiction" couldn't be a more appropriate way to describe this film. About 5 minutes into the screening I realized I had read a New Yorker article years ago about the film's subject, Frédéric Bourdin--it's a must read.

I had a blast in Austin and fortunately a lot of the films I missed there will be playing at IFFB next month. I will report back then!

Jen Lilly and Nat SanderS

Jen Lilly and Nat SanderS

Nathan Whiteside, Andrew Reed, Jane Rizzo

Nathan Whiteside, Andrew Reed, Jane Rizzo

SXSW Awards Ceremony

SXSW Awards Ceremony

SXSW Awards Ceremony

SXSW Awards Ceremony

LINDSAY REACTS TO BEING AWARDED THE 2012 FELLOWSHIP

By Lindsay Utz, 2012 Fellow

I’m simply thrilled to be this year's Karen Schmeer Fellow. Karen was a truly groundbreaking editor, and I’m humbled to be chosen for a Fellowship in her honor and memory. My work can only begin to live up to the exacting standards in craft, vision and creativity she left behind. I feel especially honored to be chosen for this award by my peers in the filmmaking world.

Though I never met Karen, I vividly recall a feeling of deep sadness when I learned of her death. Here was a young woman at the peak of her career, thriving quietly in a business dominated by big egos. She was, for me, a role model in the truest sense. I’m incredibly thankful to the KSFEF Committee for all the hard work and dedication that has gone into creating this opportunity for young editors – extending to them the same gifts Karen herself shared with others.

Editing is a solitary enterprise; an editor often labors silently in the shadows of the creative process, making thousands of tiny decisions every time she sits down in the edit suite. But nobody makes a film alone, and I think we are only as strong as the personal and professional networks of which we’re a part. I couldn’t be more thrilled to be a part of a community that recognizes that, and I look forward to the many new friends and colleagues I will make in the coming year.

ERIN AT EDITFEST LA

By Erin Casper, 2011 Fellow

About a week ago I attended the Los Angeles version of Edit Fest, hosted by American Cinema Editors. As with the New York Edit Fest, the weekend-long event consisted of panels, networking events and Avid demonstrations geared toward anyone interested in gaining a deeper understanding and appreciation of the editor’s craft. Or, as ACE President Randy Roberts phrased it at the beginning of Friday night’s opening panel: “When we started Edit Fest, we thought our audience would be students, but we’ve found that editors attend because they want to know what other editors do and how they do it.” This couldn’t be more true, especially in light of my own goals.

On Friday night’s panel, “Editors as Storytellers,” the feature editor panelists started off with an engaging discussion about their approach to editing, “Collaboration,” “subtext,” and “compressed schedule” were some of the ideas discussed in detail. The panelists dove deep into these ideas by showing examples of their work. One central approach that came up several times was to make sure to anchor the scene in the character’s point of view and cut for performance. I found myself relating to this because of the vérité doc work I’ve done. These tenets will be good to keep in mind the next time I’m watching dailies for the first time on a project. Farrel Levy (Dirty DancingPrimal Fear) also talked about saving a performance by subtracting dialogue and using reactions. This was useful to me as well, and reminded me of how I also occasionally work with stories and characters in a reductive manner. Martin Nicholson (Game of ThronesNorman Rockwell: An American Portrait) furthered the discussion by relating advice he gives his students, which is to borrow the basic questions actors ask themselves in every scene: What is the place? Where am I coming from? What do I want? and What are my goals?

On Saturday, the second and final day of Edit Fest, I went to the “Assistant Editor – The Soul of the Cutting Room” panel which focused on the relationship between assistant editors and editors, and included practical advice on networking and advancing in your career. Moderator Lori Coleman (Covert AffairsIn Plain Sight) humorously advised the audience on everything we needed to know while navigating the working world: Work hard, be nice, join the union, check your personality, educate yourself, and bring donuts.

Later in the day, there was a moving tribute to the late editor, Sally Menke (Pulp FictionInglourious Basterds), moderated by author Bobbie O’Steen (Author of The Invisible Cut and Cut to the Chase). Over the course of 90 minutes, Bobbie reminisced with three of Sally’s former assistants—Suzy Elmiger, Tatiana Riegal and Joan Sobel—on Sally’s life and work. They shared stories about Sally’s love of editing (Suzy: Sally liked to work from home and always had interesting people around); her work ethic and rituals (Tatiana: She’d take off all her rings at the start of her day), and her celebrated collaboration with director Quentin Tarantino (Bobby: He called her his co-writer.). The panel was especially meaningful since I grew up watching Sally’s films and was enormously influenced by her work (Scenes from Pulp Fiction were frequently quoted by my brothers and me throughout childhood). Listening to Suzy, Tatiana and Joan illustrate how Sally wove tension, humor and inventive cutting into some of my favorite films was like watching a magician carefully explain their secrets behind close-up magic.

I had a great weekend (it was my first visit to LA), and attending Edit Fest was a perfect way to uncover the LA working world through the panels, demonstrations and one-on-one connections I made with the panelists and attendees.

ERIN AT EDITFEST NY 2011

By Erin Casper, 2011 Fellow

Early last month, I headed to ACE Edit Fest NY for a packed weekend of panels, presentations, and networking with award-winning film and television editors.

The first night’s panel, “The Lean Forward Moment,” was a mix of four narrative and doc feature editors presenting their favorite sequences and sharing the lessons and inspired moments that impacted them as film lovers and editors. This gentle toeing of the water soon opened the floodgates for questions tweeted from the audience—editors with varying levels of experience, assistants, producers and industry movers and shakers—to the panel’s moderator, Norman Hollyn. From there we quickly got down to business, gaining insights on everything from best practices for job interviews--Anne McCabe’s approach (AdventurelandNurse Jackie) is to at least make the director or producer laugh, so as to be memorable—to sage advice from legendary doc editor Larry Silk (Wild Man BluesPumping Iron), who talked about the painful choices editors make in order to carve out the universe of a story.

The real pen-to-paper moment came the next day on the Pixar panel with editor Ken Schretzmann (CarsToy Story 3) as he gave us an inside look on his editing process. Not only does Ken spend years editing a film (he’s edited three in twelve years), but the editing also takes place throughout all stages of animation before the film is “shot” with virtual cameras. It was a lot to wrap my mind around, since I come from the opposite end of the spectrum, where the documentary director shoots hundreds of hours of footage before the story is penned. I especially admired the way that Ken didn’t seem too phased by the daunting amount of changes and notes pouring into the editing room from numerous other departments.

It turns out Ken’s process proved as mystifying to me as several other attendees I chatted with after the panel. Oddly enough, it was as if we found ourselves in the shoes of the non-editors we’d encountered in our own lives—the folks who assume an editor just cuts out all the bad parts. And here we were, fellow editors, marveling together at Ken’s work, having previously assumed all the animation done at Pixar requires no editing, or at least extraction of the bad parts.

Overall, it was a great weekend at Edit Fest. The biggest thing I take away from events like this—besides the chance to meet with editors who’ve crafted some of my favorite films in recent years—is an appreciation for hearing about the hidden struggle that other editors engage in to fully realize the film’s story. I look forward to learning more about these things from my West Coast counterparts at Edit Fest LA in August.

ERIN AT EDITFEST NY 2011

by Erin Casper, 2011 Fellow

Early last month, I headed to ACE Edit Fest NY for a packed weekend of panels, presentations, and networking with award-winning film and television editors.

The first night’s panel, “The Lean Forward Moment,” was a mix of four narrative and doc feature editors presenting their favorite sequences and sharing the lessons and inspired moments that impacted them as film lovers and editors. This gentle toeing of the water soon opened the floodgates for questions tweeted from the audience—editors with varying levels of experience, assistants, producers and industry movers and shakers—to the panel’s moderator, Norman Hollyn. From there we quickly got down to business, gaining insights on everything from best practices for job interviews--Anne McCabe’s approach (AdventurelandNurse Jackie) is to at least make the director or producer laugh, so as to be memorable—to sage advice from legendary doc editor Larry Silk (Wild Man BluesPumping Iron), who talked about the painful choices editors make in order to carve out the universe of a story.

The real pen-to-paper moment came the next day on the Pixar panel with editor Ken Schretzmann (CarsToy Story 3) as he gave us an inside look on his editing process. Not only does Ken spend years editing a film (he’s edited three in twelve years), but the editing also takes place throughout all stages of animation before the film is “shot” with virtual cameras. It was a lot to wrap my mind around, since I come from the opposite end of the spectrum, where the documentary director shoots hundreds of hours of footage before the story is penned. I especially admired the way that Ken didn’t seem too phased by the daunting amount of changes and notes pouring into the editing room from numerous other departments.

It turns out Ken’s process proved as mystifying to me as several other attendees I chatted with after the panel. Oddly enough, it was as if we found ourselves in the shoes of the non-editors we’d encountered in our own lives—the folks who assume an editor just cuts out all the bad parts. And here we were, fellow editors, marveling together at Ken’s work, having previously assumed all the animation done at Pixar requires no editing, or at least extraction of the bad parts.

Overall, it was a great weekend at Edit Fest. The biggest thing I take away from events like this—besides the chance to meet with editors who’ve crafted some of my favorite films in recent years—is an appreciation for hearing about the hidden struggle that other editors engage in to fully realize the film’s story. I look forward to learning more about these things from my West Coast counterparts at Edit Fest LA in August.

ERIN AT IFFBOSTON 2011

By Erin Casper, 2011 Fellow

On May 1st, my boyfriend Adam and I headed up to Sommerville, Massachusetts to spend the day at Independent Film Festival Boston. Thanks to Adam Roffman and the generous staff at IFFB, I was given a Chrome Pass to enjoy the festival, and we were more than happy to leave our hectic work schedules behind and spend the day at the cinema. The films we had time to see (there were so many more films playing later in the week, but were at the mercy of work!) were playing in the Sommerville Theater back-to-back and we wasted no time jumping in. All told, we took in three films with some time to grab snacks and mingle with local filmmakers in the lobby before retreating back into the theater. We saw Bobby Fischer Against the World (more on that in a minute), followed by Raising Renee, the story of famed artist Beverly McIver’s emotional journey to fulfill her promise to care for her mentally disabled older sister following the death of their mother. Then we saw the indie sci-fi drama Another Earth, just before a late dinner and trip back to New York.

As I’ve traveled for the Fellowship, one thing that’s happened is that several of Karen’s friends—and she made them everywhere she went—have taken the time to meet and get to know me. At IFFB, Lucia Small—Karen’s close friend and director on My Father, the Genius—generously spent the day with Adam and me and introduced us to many of the Boston colleagues she and Karen have in common. We also saw Bobby Fischer together—Karen’s last film—which was an intense and cathartic experience.

While Adam and I had a great day of watching films at IFFB—we’re already plotting our return next year—getting to know Lucia and her friends and colleagues made the trip truly special. Hearing great stories about Karen and getting acquainted with the Boston community showed me the deep impact Karen had on her friends.

Traveling home from IFFB, it started to sink in that the Fellowship has helped me not only feel connected to Karen in another realm outside of her work, but also facilitate new relationships of my own.

ERIN AT THE SXSW FILM FESTIVAL

By Erin Casper, 2011 Fellow

Back in March, two incredible things happened: I traveled to the world premiere of my first feature doc as editor, Our School, at the One World Film Festival in Prague, and shortly after that, I was recognized as the first recipient of the Karen Schmeer Film Editing Fellowship at the SXSW Film Festival Awards Ceremony. To make things even more exciting, these events took place back-to-back, with enough downtime to run back home to Brooklyn and swap out latitude appropriate clothing between flights. I love SXSW, and there are a number of people that made the week special - the festival’s producer Janet Pierson in particular for the very handy film badge. Thanks Janet!

Here are a few highlights from the week:

  • Hitting it off with endearingly awesome Leah Marino at a party shortly after my arrival. Leah’s a fellow editor, KSFEF board member, and dear friend of Karen’s. She was attending the ceremony to talk about the fellowship and introduce me as the first recipient. She also sweetly introduced me to her friends in the Austin film community and talked me down from my fear of public speaking when we planned for the awards ceremony the next night.
  • The realization (and subsequent relief) that everyone else making speeches at the awards ceremony was nervous and was keeping it short. Leah and I were allotted six minutes, but it was obvious that taking that long would drag down the pace of the ceremony. Our editor brains kicked into gear and we made last minute cuts in our speeches. Clearly, the job of an editor never ends.
  • Bellyflopping onto my bed after the ceremony. I did my best to reply to congratulatory messages on my phone with one hand while eating quickly-melting ice cream with the other. The onslaught of remaining jetlag and sugar overload took over, and the evening gently ground to a halt, mid-Facebook update (never to be completed).
  • Torchy’s Tacos. I was told that this was one of Karen’s favorite places to eat. I can see why. Dear New York: Please take note of this and get back to me when you get your act together taco-wise.
  • Enjoying a gluttony of film and music with my boyfriend, Adam: Cindy Meehl’s affecting portrait of Buck Brannaman in BuckConan O’Brien Can’t Stop; a surprise screening of the 1981 film Dragonslayer (Hosted by Harry Knowles with a surprise visit from Guillermo del Toro! My fellow nerds in attendance freaked), the 2011 Dragonslayer (which won the Documentary Grand Jury Prize); Outside Industry: The Story of SXSW (we had to leave early to go catch a showcase of narrative shorts); and the absurdly funny Natural Selection (which swept the narrative awards, including the Grand Jury Prize). I managed to squeeze in a little bit of the music festival in there, with the biggest highlight being Charles Bradley killing it at Stubb’s. Think James Brown incarnate.