Roll Out the Red Carpet

Atlanta's
Independent
Film Scene Is
Turning Heads

By Heather KW Brown

Thanks to the movies of 2005, we've learned how to "successfully" crash weddings, we've witnessed what happens to misbehaving kids inside a chocolate factory, and we've seen that despite their elite training, Navy Seals have a lot to learn when it comes to babysitting. Indeed, it's been a busy year for Hollywood. Funny thing is, at the end of the day, a sinuous line of tuxedo-clad birds unexpectedly marched over every single one of their Cineplex competitors and into the hearts of everyone who saw the film. (For those of you who haven't seen "March of the Penguins," run, don't waddle - trust me, it's worth the extra effort.)
    Does this mean that to find a compelling story, directors and film crews have to endure temperatures below zero in locations near the tip of the earth and minimize their stars to a beloved narrator? That, or a trip to the South, where popular belief is that we know how to tell a good story.
    From front porches to the silver screen, Southern stories ranging from down-home hilarious to downright depressing have entertained audiences for years. The only thing that's changed since then is the storyteller. Independent filmmakers living and working in the South - specifically Atlanta - not only have something to say, they have the vision to back it up. And much like the penguins, which the general public didn't warm to immediately, these filmmakers are steadily winning over audiences not only in Atlanta, but around the country, as well.

The New LA?
    Sitting in a packed theater at this year's Atlanta Film Festival, I was originally impressed by the sheer number of attendees, but by the time the lights faded back up, it was the caliber of films being shown, at least three of which I predict will resurface around Oscar season, that ultimately left me dumbfounded. Could it be that Atlanta has an independent film scene?
    As a movie lover and former film editor in Los Angeles, I was curious to find out what was happening, if anything, in my own back yard. After many discussions with local industry professionals, the answer was a resounding, yes. Of course, we all know that Atlanta is no Los Angeles or New York City, but then again, that's why we live here and not there. This is Atlanta, where we have pine trees instead of palm trees and celebrity athletes instead of celebrities. But don't be fooled; filmmaking is no longer a temporary gig when Hollywood needs a warm setting and friendly faces - it's a way of life.
    "Georgia is the center of the Southern region," said Greg Torre, director of the Georgia Film, Video and Music Office. "We're in a perfect position to become experts at telling Southern stories by Southerners as opposed to Southern stories told by people outside of our region."
In the past three years, the local industry has fluctuated, with 2002 being the best year economically, thanks to five feature films - "Dumb and Dumber II," "The Clearing," "Drumline," "The Fighting Temptations" and "Sweet Home Alabama" - temporarily calling Atlanta home. Combined with nine independent films and 22 television/episodic productions, those films left an estimated $267.2 million in the Peach State. Two features and six independent films took to our Southern streets in '03, followed by an additional two features and nine independent films in '04.
    "The behavior of the movie companies has changed over the past five years," Torre said. "It used to be, 'Do you have the locations we need?' Now, it's 'Do you have the financial breaks we need?' "
While Louisiana might have earned its title as "the other LA," thanks to the tax incentive signed by Gov. Sonny Perdue this past May, Georgia now has the opportunity to become "the new LA." It isn't such a stretch; we have the weather, the talent, the facilities, the resources, and we certainly have the traffic.
     The Georgia Entertainment Investment Act, which is a series of tax credits, saves the average production company approximately 12 to 15 percent, provided it does two projects or spends a minimum of $500,000 within a year. The incentive is "revenue neutral" meaning that Georgia tax payers don't pay a dime for the break that a filmmaker gets for bringing his or her film into the state; unlike in Louisiana, where it comes out of their taxes.
Knowing that Hollywood budgets are instant gratification for Atlanta's economic appetite, we would be kidding ourselves to think that this motion was passed purely for the sake of helping our independent filmmakers. Yet, as Indie films are typically self-financed labors of love, you won't hear complaints from filmmakers, who often rely on any sort of break they can get along the way. These films are made without knowing whether anyone outside of a film festival will ever see it. Then again, it could be the next "Blair Witch Project," which was made for a mere $40,000 and cashed in at $140 million domestically, or "My Big Fat Greek Wedding," which cost $5 million to make and didn't budge until it raked in $240 million domestically. And there's always the chance that a successful Indie filmmaker like Christopher Nolan, who wrote and directed "Memento," will go on to direct more commercial films such as "Batman Begins."
    
    Supporting Roles
    With that in mind, Indie filmmakers aren't left to fend for themselves. While the film office can be a valuable resource, many believe IMAGE Film and Video has helped mold Atlanta's film scene into what it is today and to a certain extent, what it could be in the future.
"No. 1, we're a resource when they're looking for a way to meet other artists or network in various screenings, salons and workshops," said Jon Aaron, current President/CEO of IMAGE (Independent Media Artists of Georgia, Etc.). "We give artists a way to have their materials shown, and we also set up contracts with some vendors. So if they are members, they get discounts for their production."
    Others in the industry might argue that the most important role the organization plays is putting together local film festivals such as the Atlanta Film Festival in June and the Out on Film Festival in November.
"We have a lot of festivals that try to exhibit what's going on around here and what the people have worked on," Aaron said. "I'd like to say we've gotten ourselves to a point where we've really made this a hotbed, if not for regular film production, then at least independent film production. There are a lot of people who are determined to make it happen here in Georgia. Look at us; we've been around for 30 years now."
Filmmakers also have the opportunity to screen their work in smaller venues, as well. Kris Krava, a filmmaker himself, is the driving force behind LivingLounge, a weekly event at the Apache Café where independent film and video projects are screened. "It's an opportunity for local directors to showcase their work; it's primarily been popular within the industry," Krava said, estimating that 40 to 50 people attend the screenings each week, with 120 being the largest showing.
The Georgia Film Office is fully aware of how important it is to support these filmmakers. "We provide the same level of help to independent filmmakers as to feature filmmakers," Torre said. "If these guys are successful, they will keep coming back with bigger projects. So, it behooves us to give them as much help as we can. We have a lot of Indie films made here, but I would like to see more of it happen and to be recognized for it."

    And The Oscar Goes To ...
    Apparently, Hollywood is paying attention. "The Accountant," a 30-minute film written and directed by Ray McKinnon and starring Walton Goggins and Eddie King (all of whom have Georgia roots) won Best Short Feature at the 2002 Academy Awards.
"[Ray and I] worked together as actors when we lived in Georgia, and then we moved to California about the same time. We reconnected after I did the 'Apostle,' " said Walton Goggins in a phone interview from Hollywood, where, in addition to cinematic roles, the 15-year acting veteran starts his fifth season as Detective Shane Vendrell on the TV series "The Shield."
"Ray started a company with his wife with the intention of making one movie, not a bunch, but one movie. I had the same aspirations [to get into independent filmmaking], but didn't exactly know how to go about it until then," Goggins said.
That company is Ginny Mule Pictures, and that one movie was "The Accountant." The story, which was filmed in Georgia, won Best Short Narrative at the Atlanta Film Festival in 2001 en route to taking home the golden statue the following spring. Up next is another project set and filmed in Georgia. This time, it's a full-length feature called "Randy and the Mob," which is being pitched as "The Sopranos" meets "King of the Hill." Expectations are high that the film will be released next summer.
"It's important to be proud of where you came from and having films made in your community just elevates that culture," Goggins added. "Atlanta definitely has the talent, the facilities, the crew, the editing houses - the infrastructure is in place; it's just a matter of people coming back and that's what they're doing now."
    And then there are those who have moved into our zip code for the very first time. Like everyone else I met in the film community, Joe Binford, owner of Chicken Filters Inc., an Atlanta-based motion picture production company, was passionate about filmmaking and enthusiastic about Atlanta.
"I love Atlanta. I love the South," he proclaimed, knocking on a theater chair and then adding, "Nothing will take me to live in Hollywood [again]."
    Originally from Texas, Binford moved to Los Angeles to pursue a career in the film industry. Much like the majority of Hollywood, it was hard work and being in the right place at the right time that led to his first big gig. Working as a second AD (assistant director) on a film in 1990, he noticed that the editor from Los Angeles arrived without an assistant. Binford immediately befriended him and showcased his editing background.
"I left my job of $700 a week with overtime pay and took the job as assistant editor. I worked for $200 a week flat, 20 hours a day, 7 days a week, sleeping on the floor ... and loving every minute of it," Binford recalled. "That editor called me a couple of years later for the remake of an old David Jansen television series. They were pretty sure Harrison Ford was going to get the lead, but they weren't quite sure who was going to play the marshal chasing after his character. They thought maybe Tommy Lee, and would I be interested in going to Chicago?"
Cut to 10 years later, after living and working in Los Angeles, he was ready for a change. He moved to Atlanta in 2000, and then was whisked away to New Zealand to work on Disney's "The Lion, the Witch and the Wardrobe."
"That [experience] changed my life, because I learned how to make animated movies from the director of 'Shrek' and 'Shrek 2,' and he proved to me that story matters more than anything," Binford said with conviction. "I came back and decided to invest in Atlanta and invest in my future to help Atlanta grow."
    Chicken Filters premiered its first motion picture trailer at the Rialto Center for the Performing Arts during this year's Atlanta Film Festival. Since then, it has been in active development on several scripts that the company will produce in the area.
"I think Atlanta is exploding at the seams. We build it and they will come, and they will stay here because the South is desirable, the people are friendly, and I think Hollywood wants story and we have story here," he said emphatically. "Good stories and opportunity have a way of finding money. Atlanta is starting to discover that, and it's my goal to prove that it really can be done."
    While industry professionals elsewhere migrate to the South, local filmmakers have kept their cameras continuously rolling, producing everything from edgy, twenty-something thrillers to children's films and documentaries.
    
    The Cast of Characters
    Numerous accounts indicate that Atlanta was a hub for Hollywood films back in the '80s and '90s until production companies found cheaper options outside of the country, abandoning the industry in many U.S. cities.
"The crew base fell off when the industry left Atlanta and a lot of people either got out of the business or moved to LA," said Amy McGary who opted to stay and started CineVita Productions, a filmmaking company, with her sister Kristen.
"I think what happened to the independent world here is that, because the Hollywood films weren't coming in anymore, people just started to venture out," Kristen added. "It gave them time to finally work on projects that they probably had under their bed for three or four years."
"Kristen and I started writing together in '97, but we always knew we were going to do independent film, so it wasn't as much a response as an opportunity for us," Amy said.
The McGary sisters wrote, directed and produced "The Adventures of Ociee Nash," a children's film released by 20th Century Fox this past August. Ironic, I suppose, when you consider that they tried to get their film into the summer film series at the Fabulous Fox Theatre, but were originally told it would cost nearly $15,000 to screen it. That was, until the Fox previewed the film and loved it. The sisters recalled arriving to an energetic, sold-out crowd. "That was what really put us on the map. Kristen and I looked out and there was a sea of people," Amy said proudly.
    On the technical, cutting-edge side of the filmmaking scene is LAB 601, a post-production company owned and operated by Dave and Pete Ballard. The brothers were approached in '03 by writer/director Jacob Gentry who wanted advice about producing his film "Last Goodbye" in high definition. The film generated buzz in Hollywood while the brothers and Gentry garnered national attention: "As Atlanta-based LAB 601 moves into its fifth year of operation, it continues to define itself not only as a leading digital post facility but as a groundbreaking one. ... The 20-something Gentry, who is a co-founder of Atlanta-based POPfilms and has been making film shorts since he was 14, was intent on taking the underground Atlanta film scene to the next level, using the city's impressive pool of filmmaking talent." (Excerpt from Avid's Web site, a company whose products are used by 85 percent of the industry.)
"I think whatever is going to put Atlanta on the map is going to be something that nobody's going to be able to predict," said Clay Walker, owner of Plan B Productions. "If you try to predict what we need to do and what we need to look like, it's going to come up short. Someone's going to hit on something wonderful and it will be by accident."
Recently highlighted in an article titled "What's Hot in Hot'Lanta" in Markee magazine, Walker divides his time between working on commercial/corporate spots and Indie films, not to mention his own films.
His documentary "Post No Bills," released in 1992, is an award-winning film on the legendary Los Angeles guerilla political poster artist Robbie Conal. The provocative film includes original material with gallery owners, city officials, LAPD Chief Daryl Gates, Tim Robbins, the Reagans, and even Oliver North. Walker recently produced, directed, shot and edited "The Cole Nobody Knows" about Freddy Cole, Atlanta-native and brother of legendary Nat King Cole. Both of his films were screened at the Westwood International Film Festival in California this fall.

    Reel Curiosity
    It was obvious after speaking with numerous people in Atlanta's tight-knit film community that the independent film scene is vibrant and better than ever. The X-factor seems to be how to get more people to see these films.
    According to George Lefont, owner of Lefont theaters throughout Atlanta, "There are two tiers of independent films: films that open to national buzz like 'March of the Penguins' and 'Broken Flowers' and then, the quality, critic selections, which includes foreign films. These films typically don't have the staying power in Atlanta, and people aren't as prone to being as adventurous [to see them]."
    "Hollywood has turned the independent film industry into being very marketable and profitable, so much so that the lines are blurred between Hollywood films and independents," Walker said. "If the person who goes to see only Hollywood films takes a chance on what they see, maybe one out of 10 times, that's where the transition occurs."
     It's true. Some of the best films I've seen all year were independents. People thought I was nuts to go watch a "silly movie" about penguins, yet when those same people eventually saw it, they couldn't stop talking about it. That's the thing with independent films - they keep you talking and thinking long after the credits roll. Perhaps it stands to reason that audiences are smarter, savvier and more discriminating, leaving us in search of a different kind of movie experience.
     Now, I'm not saying there isn't room in the world for a remake of the "Pink Panther" complete with Steve Martin and Kevin Kline, but every once in a while, it pays to be adventurous, to be curious, to take a chance on something different. When you can predict the jokes, they don't seem nearly as funny as they did the first time around (think "Bridget Jones Diary Pt. 2") and while television sitcoms often bring back fond memories of laughs gone by, making that 30-minute show into a two-hour film will, more often than not, fall short of having the same effect. That said, let Hollywood continue recycling old television shows - we've already been graced with remakes of "Charlie's Angels," "Starsky and Hutch," "Bewitched" and "The Dukes of Hazzard" - and leave originality in the hands of independent filmmakers.