I woke up today after less than 4 hours of sleep, which would be par for the course if you choose to cover all of Ebertfest on a daily basis. Yesterday ended the same day it started as Carol Iwata, Roger and Chaz Ebert’s personal assistant for God knows how long, invited some of us to Steak ‘n Shake. Sam Fragoso, Omer Mozaffar, myself and her two friends tagged along. I told her how great it was for her to have her 15 minutes of fame with her appearance in LIFE ITSELF. Humble, spunky and deferring as always, she didn’t think it was such a big deal. We Far Flung Correspondents who have come to know her over the years absolutely adore her for her effervescent laugh, feistiness and honesty. She also knows where all the bodies are buried.
After willing myself against my flesh’s wishes for slumber, I headed to the Festival’s “Meet ‘n Greet,” where pass holders and guests gather for breakfast and conversation. At my previous visits, this was one of the events we Far Flungers looked forward too, as Roger would spend time with each one of us. On previous occasions we would bring him gifts reflecting the lands where we travelled from. We all relished the time we had with him, which was quite often during the festival.
It was also a time for veterans of the festival to connect with newcomers. I made a point this year to seek them out, as well as those whom I had always wanted to meet on previous occasions but just couldn’t due to the sheer amount of interesting people one meets every time we visit. I was glad to finally have made the acquaintance of so many, especially Eric Isaacson, who has known Roger Ebert before the world wide web was born (both of them were Compuserv fans).
From here I rushed to the ongoing panel discussion of “Challenging Stigma Through the Arts,” which was the first of the festival. I probably caught up to its final 15 minutes as its panelists were at that point discussing how “trouble youths” are portrayed in the media and how social workers help greatly in meeting their needs. During the Q&A, most of the questions centred on how people could seek out help, the answers discussed prevention and rehabilitation and how to weigh both. Brie Larson, the star of SHORT TERM 12 a film to be shown later that day which focuses on social workers (but is so much more), gave one of the most intelligent and perceptive questions with regards to her experience with social workers in her time with the film. Another writer, Chike Coleman, commented memorably on how one of panelists helped him greatly in his time during school, confirming how valuable social work truly is.
The next panel was “Reimagining Filmmaking for the Digital Age” which basically discussed the ongoing issues of Digital and Film Media in the realms of technical quality, cost, storytelling and archiving. Film theorist, David Bordwell discussed at length a brief history of digital’s recent impact on production and distribution. Steve James, director of LIFE ITSELF discussed the impact of digital filmmaking on his career and noted several interactive examples of digital media presentations which are challenging the current norms of narrative documentary filmmaking. Haifaa Al-Mansour, director of WADJDA, discussed the effect of digital filmmaking is having in regions such as the Middle East which was not possible before with digital methods. Barry Allen, executive director of film preservation, discussed the looming dangers and costs of choosing to archive movies digitally. Jem Cohen, director of MUSEUM HOURS, discussed the cultural and financial decisions leading to choosing between digital or film. And Chaz Ebert, discussed her and Roger’s views comparing the technical quality and viewing effects of digital and traditional filmmaking.
We all then headed to the Virginia Theatre for the day’s highlight, which was the unveiling of Roger Ebert’s statue. Many in Roger’s circle were made known about the plans of this tribute, but none of us really knew the origins behind its inspirations. Donna Anderson, a native of Champaign-Urbana and longtime supporter of Ebertfest, explained how the idea hit her after seeing a similar statue of former Illinois governor Adlai Stevenson. A severe illness and subsequent heart transplant only stiffened her resolve to get it done and plans were seen through with the help of her husband Scott. She said that she was moved by Roger’s love of his hometown and for all he had done to put it and the University of Illinois on the map of the moviegoing world.
Chaz Ebert then addressed the crowd stunning us by revealing that her husband Roger did not want to have to the statue at all, stating his misgivings if it was to be made a sideshow. She said that in the end, he left the decision up to her, and that for a time she was in agreement. And in her poignant retelling, she revealed how to things led her to have a change of heart. The first was Donna’s commitment, passion and perhaps shared faith in knowing this tribute should push through. The second was artist Rick Harney’s unquestioning agreement to sculpt Roger’s likeness, due to his autistic son’s connection to Roger’s movie reviews.
Chaz then gave the go signal to Scott Anderson for the statue to be unveiled. And to be honest I did not expect to be moved as much I was by how beautiful it was. It was a labor of love by all those involved and it showed, right down to Roger’s wedding ring. Chaz told reporters that when Roger would for his radiation treatments, he would hand his ring to her saying that he wanted her to be the first one he sees when after waking up, handing the ring back to her.
The day’s series of film started with Jem Cohen’s contemplative and immersive MUSEUM HOURS a film that defies categorisation, which is most probably what its director wanted. He introduced it to the crowd emphasising its strangeness yet noting how its meaning is left entirely up to the audience by allowing them to swim in its imagery. The movie is set in Vienna first focusing on the relationship of a Museum’s security guard and a Canadian woman visiting her comatose cousin. And yet this description doesn’t even begin to describe the film as its progression swims through its lapidary shots, its music and sounds overlapping scenes, and meta-moments of dialogue and commentary which describe the very essence of the film. It captures Vienna, a glorious city known for its rich artistic heritage, in a sad and almost bleak light, but infusing it with life through the remnants of little human details throughout the city and human meanings we give its environments and imagery. For me, it is a movie of the little details of art and life and how taking the time to notice them can make time float away.
The next that was shown was Destin Daniel Cretton’s SHORT TERM 12, starring Brie Larson, who introduced the film. I had seen this earlier in the year and was shocked that it had not received as much attention as it should have, feeling that it was one of 2013′s very best. It tells the story of two social workers, the children in their care and the ordeals that all of them go through in such intelligent and endearing ways without ever insulting our intelligence, refusing to step over the line of predictability. It portrays youngsters so smartly that my friend and fellow FFC Omer Mozaffar, who is a professor with deep experience with social work and guidance counselling, told me afterwards that those kids on screen were a little too close for him, reminding him of the troubled lives he has seen and the way they struggle to communicate their torments. And yet the film does not strain to show only suffering. It is filled with the small joys that any teenagers go through. And it shows them not as a ragtag group of rebelliousness, but in many ways a family pulling together to get better. The film received a standing ovation when Brie Larson and fellow actor Kevin Stanfield came on stage for their Q&A with fellow rogerebert.com writer Nell Minow. It was well-deserved.
I then had a pizza with my buddy Omer, who is the wisest and goofiest of our lot. He hasn’t been writing that much of late but whenever he does it is worth taking pause for. Over the years he has become my confidant for a great many things and I can only hope that I inspire the same trust in him. I give him special mention here because I would like people to know what an absolutely insightful writer he is, and his loss from writing about film and looking into the depths of their possible inspirations, would be a great one indeed. Sorry buddy, but I had to do it.
I then caught up to the second half of the final film of the night, Jason Reitman’s YOUNG ADULT which I had seen before. You could say that it is another version of MONSTER for its star Charlize Theron, who plays a celebrity author of books aimed at “young adults” who returns to her hometown intent on recapturing the long lost glory of high school royalty. But as “sitcomy” as it sounds, its humour has a sober tone, showcasing how a shallow madness is sadly never recovered from. It was introduced by Patton Oswalt, one of the film’s stars, who then turned the Q&A into his own personal standup routine – one that was highly satisfying. The audience ate it all up. But when he did seriously answer questions he gave good insights into how he prepared for the role, revealing how he does great preparation for a role and detailing how his terrific work in drama links to his experiences from comedy.
As the evening died down, I could spot fans seeking Patton’s autographs as I headed out the door. Some of our circle headed for karaoke and some headed for Steak ‘n Shake. And as I headed back the Illini Union, I could only marvel what a full day it was, and that there were three more to go.