FILM FESTIVAL CATALOG
FILM FESTIVAL CATALOG
Copyright © 2010 Candice Tanu All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission. Designed, complied, and written by Candice Tanu in San Francisco, CA. For the course GR 612 Integrated Communications Course taught by Hunter Wimmer For the film festival “Facade” to celebrate the work of Steven Soderbergh. Printed in Fall 2010. candice.tanu@gmail.com AAU ID 02735959
FILM FESTIVAL CATALOG
TABLE OF
CONTENTS
FACADE: STEVEN SODERBERGH FILM FESTIVAL
01
BEHIND THE LENS THE DIRECTOR
04
THE CAST THE INTERVIEW
02 03
FESTIVAL FILMOGRAPHY
THE FESTIVAL THE VENUE ENTERTAINMENT
05
THE CITY WHAT TO DO WHERE TO EAT
FESTIVAL SCHEDULE
WHERE TO STAY
“I’VE SEEN IT. I HAVE TO BE CAREFUL NOT TO BECOME COMPLACENT. THAT’S WHY THE SUBJECT MATTERS AND THE STYLES KEEP CHANGING. I STILL FEEL LIKE I’M LEARNNG. I STILL FEEL THAT I HAVE BETTER WORK IN FRONT OF ME.” — STEVEN SODERBERGH
01
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BEHIND
THE LENS The film making on the fly attitude is also an everevolving concern for Soderbergh. Freedom in shooting, in style, in subject matter may be the strongest theme of Soderbergh’s work as a filmmaker. He prides himself on his quick shooting method on sex, lies (“for most of the emotionally charged shots, we never went beyond three to four takes”) and he criticizes him slow and “somnambulant” work on The Underneath. For his preferred working methods, Soderbergh always returns to both Schizopolis (as the “exhilirating” model of filmmaking of which he was most satisfied), and Lester (who championed a more open method of filmmaking, as Soderbergh says, “tossing things off, instead of being labored about what you do”). At the end of 2000, his ideas about freedom and filmmaking had crystallized into a technique that he loosely defines as “controlled anarchy.” “What you’re hoping for is a series of orchestrated accidents,” he explains. “It’s scarier in a way, because you’re not sure if something good is going to happen, but you just have to believe that the parachute will open.”
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BEHIND THE LENS
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THE
DIRECTOR Soderbergh was born in Atlanta, Georgia, the son of Mary Ann (née Bernard) and Peter Andrew Soderbergh, who was a university administrator and educator. He has Swedish ancestry (the family’s original surname in Swedish, Söderberg, was changed to Soderbergh when they immigrated to the United States). When he was a child, his family moved from Atlanta to Baton Rouge, Louisiana, where his father became Dean of Education at Louisiana State University (LSU). There he discovered filmmaking as a teenager, directing short Super 8 mm films with equipment borrowed from LSU students. His primary high school education was at Louisiana State University Laboratory School, a K-12 school that is directed by the University. While still taking classes there around the age of fifteen, Soderbergh enrolled in the university’s film animation class and began making short 16 mm films with secondhand equipment. Rather than attending LSU, Soderbergh tried his luck in Hollywood after graduating from high school; he worked as a game show scorer and cue card holder to make ends meet, and eventually found work as a freelance film editor. His big break came when he directed the Grammynominated concert video 9012Live for the rock band Yes in 1985.
THE DIRECTOR
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“ I AM A GREAT BELIEVER IN TIMING, A BIG BELIEVER IN ZEITGEIST, AND WE WERE THE RIGHT THING AT THE RIGHT TIME.” — STEVEN SODERBERGH
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THE
CAST The Clooney-Soderbergh partnership is rapidly proving to have a lot of mileage, having begun with Out of Sight (1998) and continuing with the supercool and classy Ocean’s Eleven (2001). Their production company, Section Eight Limited, has been responsible for a clutch of critically-acclaimed films, including Far From Heaven and Insomnia (both 2002) as well as their own vehicles. In the Spring of next year, they will start shooting Ocean’s Twelve. ‘Opposites Attract’ was the tagline for their first film but it could have been describing this duo. With an infectious jovial interaction, the amiable, wise-cracking Clooney and the serious, intellectual Soderbergh are the Morcambe and Wise of the film industry or, as Soderbergh puts it, “the Martin and Lewis of Hollywood right now.”
“ I like what he does, and he trusts me, I think. George and I are so alike. We have no patience for drama. We have no interest in people who are not sincere and don’t care about what they’re doing. That makes it easier to work together.” FACADE: STEVEN SODERBERGH FILM FESTIVAL
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THE
INTERVIEW You said you were thinking of casting Luke and Owen Wilson in the roles that eventually went to Casey Affleck and Scott Caan in Ocean’s Eleven. The press speculated about such others as Bruce Willis, Ralph Fiennes, Johnny Depp, Ewan McGregor and Cameron Diaz. What’s true and what’s fiction? There were a lot of people in the mix. I don’t think Cameron’s name came up because I wanted Julia from the getgo. We talked for a while to Bruce Willis. Just as on Traffic, you get who you’re supposed to get. We talked to Ralph Fiennes to play the heavy, but now I look at the movie and think: “I love Andy Garcia in this. He’s not afraid to play the role.” And yes, we talked to the Wilson brothers, but Scott and Casey Affleck kill me. I mean, those two guys were a TV series.
“I had this feeling about George and Brad because they have similar attitudes about themselves and about work.” The cast looks so comfortable together that you really would like to just hang out with them... The truth is that they’re having a good time, and they’re all people who are truly cool to hang out with. But before we
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0 ’-2 1 ” started, I said to everyone, “Show up ready to work. If you think you’re just going to walk through this, you’re mistaken. If anybody gets smug, we’re dead.” It must have been a bonus that Clooney and Pitt hit it off so well together... I had this feeling about George and Brad because they have similar attitudes about themselves and about work. They’re unpretentious, they’re self-deprecating and never want to appear as the cliché of the self-obsessed actor. They both like to laugh. They first met when we were doing the final sound mix for Erin Brockovich. We talked about what we were thinking and Brad said: “Sounds like fun, count me in.” Later, I went to Brad’s house and he said: “I don’t want to rewrite or anything, but I’m trying to figure out the dynamic between my character and George’s and I want to float this one idea - that Danny Ocean is the guy with the big plan in his head, the vision, but he’s terrible with details. I’m the guy who remembers everything.” He talked about wanting to overlap dialogue with George, to know what his character’s going to say before he’s finished saying it. I said: “Perfect. We can play off that dynamic constantly.” His ideas were good and smart. He also came up with the idea that he should be eating all the time - Brad is like that. He’s one of those people who can eat constantly and just look the same.
pay attention to what you’re actually doing. I don’t know anyone else in his position that’s taken the chances he has. There’s a funny scene in which the plot requires him to disguise himself as a doctor... That happened on the set when I said: “I don’t know any doctor on call at a casino who looks like you. We’ve got to do something.” Our hair person said: “I’ve got the wig Mike Myers uses when he rehearses Austin Powers.” There are a lot of people who would not put that thing on, but Brad couldn’t get enough of it. He put on the wig and glasses and just disappeared. He kept walking around the casino with them on. Is there anything that annoys you about your greatlooking, talented friend and colleague? When somebody said: “Why are you going into a production partnership with George?” I said: “He’s agreed to give me 25 per cent of his hairline over the next 18 months.” George actually has a descending hairline. He has to shave it back to keep it from growing into his eyes. Unfair? Tell me about it.
Another reason to resent him bitterly. What do you think of Pitt now having worked with him?
You said that Brad Pitt’s looks make him easy to underestimate. The same could be said about other members of your cast. Julia Roberts plays the Clooney character’s ex-wife with an unexpected edge, a weary sadness...
Like anybody who’s worked with him, I’ve become a huge fan. At some point, it’s got to be a burden being the coolest guy on the planet, but he wears it so well. I have enormous affection and respect for him. He’s a really good actor. When you look like that, it’s hard to get people to
Julia and I really talked about that aspect. I wanted to try something risky with her, something that might turn audiences off. I told her: “You haven’t gotten over what happened between you and Danny Ocean, and you’ve dealt with it by emotionally cauterising yourself. Until the very
THE INTERVIEW
0 ’-2 2 ” end of the movie, I want you to be justifiably angry and hurt.” She said: “I think I’m coming across as too hard,” but she found a place where she’s firing off those lines and not being a bitch about it. It’ll be interesting to see whether audiences sit with it.
The whole movie is inherently theatrical, and the last 10 minutes shift into a Forties studio movie mode. Julia does a long walk across the casino floor, I thought she was spectacular - and that whole sequence is one of my favourite things in the movie. It wasn’t there at first. I showed the
“ He’s agreed to give me 25 percent of his hairline over the next 18 months.” She was filming this when she very publicly broke up with her boyfriend Benjamin Bratt. Were you aware of what was going on? She was keeping very much to herself. She’s literally the only girl in the whole movie, surrounded by all these guys. When I sent her the script, she said: “Are you kidding? This is going to be a blast.” The guys being who they were, she fitted right in. She’d worked with Brad (on The Mexican) and also with Matt when he was, like, two (on Mystic Pizza). In fact, a lot of the shooting was me working over here, and 15 feet away, there would be this circle around Carl Reiner, the ringleader, with Julia, George and the rest of them, and I’d have to go: “All right, knock it off. Can we get back to work?” It seems like a very old fashioned Hollywood movie. Is that what you were going for?
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movie to Warners eight days after we wrapped. What made it hard to shoot made it easier to cut - that is, very linear. We were cutting as we went because we thought there was going to be a strike. We were watching it and I felt there was a beat missing. You mean an emotional beat where her character shifts from her allegiance from one man to another? Right. I knew it wasn’t a dialogue thing, it was a matter of watching her downshift and realize that the man she wants is still nearby, and she has to find him. So, we’d finished shooting and I told Julia: “I just need this one shot.” We did seven or eight takes, including one where the dolly grip fell and Julia stepped right over him without missing a beat. When we finished, he said: “That was so much fun,” because it was pure cinematic acting. It’s rare to see a character think very much anymore in movies.
0 ’-2 3 ” What about the movie you’re shooting now, which is said to be linked somehow with sex, lies, and videotape and stars Julia Roberts, David Duchovny and Catherine Keener? In the middle of making Ocean’s Eleven, I thought how I really wanted to make a small movie. All the actors seem very intrigued by the idea of driving to the set and showing up ready to be on camera. They’re going through their closets and picking out their wardrobe. The plan is to strip away the usual machinery of film-making, so it’s an 18-day shoot, costing about $2 million. We deliver the print in February and release it on March 8.
to ruin. Solaris is going to be as close a run at a serious film as I will ever have made. I’m realizing that what I seem to have a knack for is being a craftsman who’s able to make artful entertainment. Doing commercial pieces or genre material in such a way that it doesn’t insult or alienate the audience. But there’s a built-in trap there... I’ve seen it. I have to be careful not to become complacent. That’s why the subject matters and the styles keep changing. I still feel like I’m learning. I still feel that I have better work in front of me.
“ That’s why the subject matters and the styles keep changing. I still feel like I’m learning.” You have an Oscar gracing your mantelpiece, but how good do you think you are? It has to do with knowing your capabilities and not shying away from or being embarrassed by the things you do well. There are certain things I think I don’t do well. I’m not an artist in the sense of Kieslowski or Bergman. I’m not an artist like Tarkovsky, whose film Solaris I’m going
THE INTERVIEW
02
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FESTIVAL
FILMOGRAPHY
OCEAN’S ELEVEN DURATION TIME: 110 MINUTES Rated PG-13 for some language and sexual content.
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THE LIMEY DURATION TIME: 89 MINUTES Rated R for violence and language.
FILMOGRAPHY
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ERIN BROKOVICH DURATION TIME: 130 MINUTES Rated R for language.
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THE INFORMANT DURATION TIME: 108 MINUTES Rated R for language.
FILMOGRAPHY
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TRAFFIC DURATION TIME: 147 MINUTES Rated R for pervasive drug content, strong language, violence and some sexuality.
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SEX, LIES, AND VIDEOTAPE DURATION TIME: 89 MINUTES Rated R for violence and language.
FILMOGRAPHY
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OCEAN’S
ELEVEN
Ocean's Eleven is a 2001 comedycrime caper and remake of the 1960 Rat Pack caper film of the same name.
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OCEAN’S ELEVEN
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DIRECTED BY
Steven Soderbergh
PRODUCED BY
Jerry Weintraub
WRITTEN BY
George C. Johnson Jack G. Russell Harry Brown Charles Lederer Scott Corwon Ted Griffin
MUSIC BY
David Holmes
CINEMATOGRAPHY
Steven Soderbergh
EDITING BY
Stephen Mirrione
STUDIO
Village Roadshow Pictures
DISTRIBUTED BY
JW Productions Warner Bros.
RELEASE DATE(S)
United States & Canada December 7, 2001
RUNNING TIME
116 minutes
COUNTRY
United States
LANGUAGE
English
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CAST
GEORGE CLOONEY BRAD PITT MATT DAMON ANDY GARCÍA JULIA ROBERTS BERNIE MAC DON CHEADLE CASEY AFFLECK SCOTT CAAN ELLIOTT GOULD EDDIE JEMISON SHAOBO QIN CARL REINER
“I know more about casino security than any man alive, I invented it, and it cannot be beaten. They got cameras, they got locks, they got watchers, they got timers, they got vaults, they got enough armed personnel to occupy Paris!” OCEAN’S ELEVEN
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SYNOPSIS
Shortly after being released from North Jersey State Prison, Danny Ocean (George Clooney) breaks parole and travels to Los Angeles to meet up with his former partner in crime and close friend Rusty Ryan (Brad Pitt) to propose a scheme he has in mind. The two head to Las Vegas to pitch the plan to wealthy friend and former casino owner Reuben Tishkoff (Elliott Gould). The plan consists of robbing the Bellagio, The Mirage, and the MGM Grand casinos. Tishkoff’s familiarity with casino security makes him very reluctant to get involved, but when he begins to think of it as a good way to get back at his rival, Terry Benedict (Andy García), who owns the three casinos, Tishkoff agrees to finance the operation. Ocean and Ryan recruit eight former colleagues and criminal specialists. Several of the team members carry out reconnaissance at the Bellagio to learn as much as possible about the security, the routines and behaviors of the casino staff, and the building itself. Others create a precise replica of the vault with which to practice maneuvering through its formidable security systems. During this planning phase, the team discovers that Ocean’s ex-wife, Tess (Julia Roberts), is Benedict’s girlfriend. Ryan urges Ocean to give up on the plan, believing Ocean incapable of sound judgement while Tess is involved, but Ocean refuses. Ocean, however, knows Bruiser, and he allows Ocean to leave through a ventilation shaft, to meet with his team in the vault. The team activates a stolen pinch device to temporarily disrupt the casino’s electrical power, allowing them to breach the vault undetected. As Benedict attempts to restore order following the power outage, Ryan anonymously calls him on a cell phone that Ocean had earlier planted in Tess’s coat. Ryan tells him that the vaults are being raided, and that all the money will be destroyed if Benedict does not cooperate in loading half the money
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into a van waiting outside. Benedict observes video footage of the vault that confirms Ryan’s claims, and complies in moving the money, but orders his men to follow the van after it departs, and calls a S.W.A.T. team to secure the vault. The S.W.A.T. team’s arrival results in a shootout which causes the incineration of the half of the money left in the vault. After assuring Benedict that the casino is secure, the officers depart. Terry realizes that the vault video feed was faked. The men following the van discover that it is being driven remotely, and that, instead of money, it contains duffel bags full of flyers advertising prostitutes. A flashback reveals that Ocean had used the vault replica to create the fake video Benedict had seen; the rest of the team posed as S.W.A.T. officers, and took all of the money in the vault when responding to Benedict’s call for police assistance. Benedict then returns to the room where he left Ocean and finds him still there, leaving him with no way to connect Ocean to the theft. Ocean offers to assist Benedict in finding the money on the condition that he give up Tess, to which Benedict agrees. It is then revealed that his team had routed live footage of this conversation to Tess’s suite. Angry at being used by Benedict, she leaves him and returns to Ocean. Benedict tips off the police, who arrest Ocean for violating parole, and Ocean spends some months in prison. When he is released, he is met by Ryan and Tess, and the three drive off, closely followed by Benedict’s bodyguards.
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“ All right, you proved your point. You broke into my vault. Congratulations, you’re a dead man.”
OCEAN’S ELEVEN
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THE
LIMEY An extremely volatile and dangerous Englishman goes to Los Angeles to find the man he considers responsible for his daughter’s death.
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THE LIMEY
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DIRECTED BY
Steven Soderbergh
PRODUCED BY
Jerry Weintraub
WRITTEN BY
George C. Johnson Jack G. Russell Harry Brown Charles Lederer Scott Corwon Ted Griffin
MUSIC BY
David Holmes
CINEMATOGRAPHY
Steven Soderbergh
EDITING BY
Stephen Mirrione
STUDIO
Village Roadshow Pictures JW Productions
DISTRIBUTED BY
Warner Bros.
RELEASE DATE(S)
United States & Canada December 7, 2001
RUNNING TIME
116 minutes
COUNTRY
United States
LANGUAGE
English
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CAST
TERENCE STAMP LESLEY ANN WARREN LUIS GUZMÁN BARRY NEWMAN JOE DALLESANDRO NICKY KATT PETER FONDA AMELIA HEINLE MELISSA GEORGE WILLIAM LUCKING STEVE HEINZE NANCY LENEHAN BILL DUKE
“ It meant sod all in the end, ‘cause you gotta make a choice: when to do something, and when to let it go. When it matters, and when it don’t.” THE LIMEY
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SYNOPSIS
Wilson (Stamp), recently released from British prison for armed robbery, travels to Los Angeles to investigate the death of his beloved daughter Jenny (George). It was reported that she died in a car accident. While adjusting to the United States, he finds allies in Jenny’s acting school friends Eduardo (Guzman) and Elaine (Warren) and comes up with a suspect: Terry Valentine (Fonda), a record producer and Jenny’s boyfriend. Valentine is revealed to have connections with drug trafficking, with the assistance of his security consultant Avery (Newman). Valentine becomes aware of Wilson after he locates the warehouse of the drug importer with whom Avery had done business. Wilson is overpowered and beaten by the drug trafficker’s thugs, who proceed to insult his daughter’s name. After he is thrown out, Wilson retrieves a back-up pistol, goes back and kills all but one of the employees, shouting at the last to “Tell him I’m coming!” The employee relays this threat to Avery who reports it to Valentine. Wilson reminisces with Elaine and Eduardo about his past and prior relationship with his daughter, who he only remembers as a child. His criminal life put strain on his wife and child but they never left him. He ended up in prison after the gang of thieves he was associated with confessed to his involvement in their crimes. Wilson and Eduardo infiltrate a party at Valentine’s house, where Wilson searches for evidence. He finds and steals a picture of Jenny, noticing that Valentine’s new girlfriend looks like Jenny.
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Fearing danger, Avery moves Valentine and his girlfriend to an ocean-side safe house. At night Wilson attacks, leaving one guard tied up. Avery and Valentine’s guards shoot an intruder, who is revealed to be Stacy. Avery and the remaining guards engage in a shootout with Stacy’s partner, resulting in the partner, the guards’, and Avery’s deaths. Valentine flees to the beach with Wilson in pursuit. After breaking his ankle on the rocks, Valentine gives up. Wilson demands that he tell him the truth about Jenny. Valentine reveals that Jenny found out about his criminal business and threatened to call the police, he tried to restrain her and accidentally broke her neck. Avery staged her death as a car accident to clear Valentine of suspicion. Wilson is haunted, knowing that Jenny really loved Valentine and that she would not have turned him in. Wilson decides to return to London, saying goodbye to Elaine and Eduardo.
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“You tell him, you tell him I’m coming. Tell him I’m fucking coming!”
THE LIMEY
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THE
INFORMANT A 2009 American biographical comedy crime film as described in the 2000 nonfiction book The Informant, by journalist Kurt Eichenwald.
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THE INFORMANT
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DIRECTED BY
Steven Soderbergh
PRODUCED BY
Gregory Jacobs Jennifer Fox Michael Jaffe Howard Braunstein Kurt Eichenwald
WRITTEN BY
Scott Z. Burns Kurt Eichenwald (novel)
MUSIC BY
Marvin Hamlisch
CINEMATOGRAPHY
Steven Soderbergh
EDITING BY
Stephen Mirrione
STUDIO
Participant Media Groundswell Productions Section Eight
DISTRIBUTED BY
Warner Bros.
RELEASE DATE(S)
September 18, 2009
RUNNING TIME
108 minutes
COUNTRY
United States
LANGUAGE
English
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CAST
MATT DAMON SCOTT BAKULA JOEL MCHALE MELANIE LYNSKEY THOMAS F. WILSON TOM PAPA RICK OVERTON ALLAN HAVEY PATTON OSWALT SCOTT ADSIT EDDIE JEMISON CLANCY BROWN TONY HALE ANDREW DALY FRANK WELKER CANDY CLARK DICK SMOTHERS TOM SMOTHERS RICHARD HORVITZ BOB ZANY PAUL F. TOMPKINS
“ There should be a TV show about a guy who calls home one day and he’s there, he answers, he’s talking to himself, only he’s someone else. ” THE INFORMANT
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SYNOPSIS
Mark Whitacre, a rising star at Decatur, Illinois based Archer Daniels Midland (ADM) in the early 1990s, blows the whistle on the company’s price-fixing tactics at the urging of his wife Ginger. One night in November 1992, Whitacre confesses to FBI agent Brian Shepard that ADM executives — including Whitacre himself — had routinely met with competitors to fix the price of lysine, an additive used in the commercial livestock industry. Whitacre secretly gathers hundreds of hours of video and audio over several years to present to the FBI. He assists in gathering evidence by clandestinely taping the company’s activity in business meetings at various locations around the globe such as Tokyo, Paris, Mexico City, and Hong Kong, eventually collecting enough evidence of collaboration and conspiracy to warrant a raid. Whitacre’s good deed dovetails with his own major infractions and struggle with bipolar disorder. The film focuses on Whitacre’s meltdown resulting from the
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pressures of wearing a wire and organizing surveillance for the FBI for three years, instigated by Whitacre’s reaction, in increasingly manic overlays, to various trivial magazine articles he reads. In a stunning turn of events immediately following the covert portion of the case, headlines around the world report that Whitacre had embezzled $9 million from his own company at the same period of time he was secretly working for the FBI and taping his co-workers, while simultaneously hoping to be elected as CEO following the arrest and conviction of the remaining upper management members. After being confronted with evidence of his fraud, Whitacre’s claims in his defense begin to spiral out of control, including an accusation of assault and battery against Shepard. Because of this major infraction and Whitacre’s bizarre behavior, he was sentenced to a prison term three times longer than the white-collar criminals he helped to catch. Agent Herndon visits the prison as inmate Whitacre seeks a presidential pardon.
THE INFORMANT
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“ Who’d make up someone named Regina? It’s the capital of Saskatchewan.”
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ERIN
BROCKOVICH A 2000 drama film which dramatizes the story of Erin Brockovich’s legal fight against the US West Coast energy corporation Pacific Gas and Electric Company (PG&E).
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ERIN BROKOVICH
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DIRECTED BY
Steven Soderbergh
PRODUCED BY
Danny DeVito Stacey Sher Michael Shamberg Gail Lyon John Hardy
WRITTEN BY
Susannah Grant
MUSIC BY
Thomas Newman
CINEMATOGRAPHY
Ed Lachman
EDITING BY
Anne V. Coates
STUDIO
Jersey Films
DISTRIBUTED BY
Universal Studios Columbia Pictures
RELEASE DATE(S)
March 17, 2000
RUNNING TIME
130 minutes
COUNTRY
United States
LANGUAGE
English
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CAST
JULIA ROBERTS ALBERT FINNEY EDWARD L. MASRY AARON ECKHART MARG HELGENBERGER TRACEY WALTER PETER COYOTE CHERRY JONES CONCHATA FERRELL ERIN BROCKOVICH
“ Tell me something. Does PG&E pay you to cover their ass, or do you just do it out of the kindness of your heart?” ERIN BROKOVICH
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SYNOPSIS
Erin Brockovich (Julia Roberts) was an unemployed single mother of three children who, after losing a personal injury lawsuit against a doctor in a car accident she was in, asks her lawyer, Edward L. Masry (Albert Finney), if he can find her a job in compensation for the loss. Ed gives her work as a file clerk in his office, and she runs across some files on a pro bono case involving medical records in real-estate files and PG&E offering to purchase the home of Hinkley, California resident Donna Jensen. Erin begins digging into the particulars of the case, convinced that the facts simply do not add up, and persuades Ed to allow her further research. After investigation, she discovers a systematic cover-up of the industrial poisoning (hexavalent chromium) of the town of Hinkley’s water supply that threatens the health of an entire community. She finds that PG&E is responsible for the extensive illnesses that the residents of Hinkley have been diagnosed with and fights to bring the company to justice.
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Erin meets a mysterious man in a bar who claimed to Erin to have destroyed documents at PG&E, and discovers a 1966 document that ties a conversation of a corporate executive in the San Francisco PG&E headquarters to the Hinkley station that knew the water was contaminated but didn’t do anything about it and advised to keep it a secret from the Hinkley neighborhood. The evidence was examined by a judge without a jury and PG&E was ordered to pay a settlement amount of $333 million that was divided among the 634 plaintiffs.
ERIN BROKOVICH
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“ Ya know why everyone thinks that all lawyers are back stabbing, blood sucking scum bags? cause they are!”
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TRAFFIC A 2000 American crime drama film. It explores the intricacies of the illegal drug trade from a number of perspectives: a user, an enforcer, a politician and a trafficker, whose lives affect each other although they do not meet. The film is an adaptation of the British Channel 4 television series Traffik.
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TRAFFIC
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DIRECTED BY
Steven Soderbergh
PRODUCED BY
Laura Bickford Edward Zwick Marshall Herskovitz
SCREENPLAY BY
Stephen Gaghan
STORY BY
Simon Moore
MUSIC BY
Cliff Martinez
CINEMATOGRAPHY
Peter Andrews
EDITING BY
Stephen Mirrione
STUDIO
Bedford Falls Productions Compulsion Inc. Initial Entertainment Group (IEG) Splendid Medien AG USA Films
DISTRIBUTED BY
USA Films
RELEASE DATE(S)
December 27, 2000
RUNNING TIME
147 minutes
COUNTRY
United States
LANGUAGE
English
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MICHAEL DOUGLAS DON CHEADLE BENICIO DEL TORO LUIS GUZMÁN DENNIS QUAID CATHERINE ZETA-JONES TOMÁS MILIÁN JACOB VARGAS MIGUEL FERRER ERIKA CHRISTENSEN STEVEN BAUER CLIFTON COLLINS, JR. TOPHER GRACE
“ What’s Washington like? Well its like Calcutta, surrounded by beggars. The only difference is the beggars in Washington wear fifteen hundred dollar suits and they don’t say please or thank you.” TRAFFIC
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CAST
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SYNOPSIS
In Mexico, police officer Javier Rodriguez (Del Toro) and his partner, Manolo Sanchez (Vargas), stop a drug transport and arrest the couriers. Their arrest is interrupted by General Salazar (Milian), a high-ranking Mexican official, who decides to hire Rodriguez. Salazar instructs him to locate and apprehend Francisco Flores (Collins, Jr.), a notorious hitman for the Tijuana Cartel, headed by the Obregón brothers. Meanwhile, Robert Wakefield (Douglas), a conservative Ohio judge, is appointed to head the President’s Office of National Drug Control, taking on the title drug czar. Wakefield is warned by his predecessor (Brolin) and several influential politicians that the War on Drugs is unwinnable. His honors student daughter, Caroline (Christensen) has been using cocaine, and develops a drug addiction after her boyfriend Seth (Grace) introduces her to smoking it (free-basing). Caroline and Seth are arrested when a fellow student overdoses on drugs at a party and they unsuccessfully try to dump him anonymously at a nearby hospital. Robert finds out that his wife Barbara (Irving) has known about their daughter’s involvement with drugs for over six months. A third story is set in San Diego, where an undercover Drug Enforcement Administration (DEA) investigation led by Montel Gordon (Cheadle) and Ray Castro (Guzmán) leads to the arrest of Eduardo Ruiz (Ferrer), a high-stakes dealer posing as a fisherman. Ruiz, who is hospitalized as the result of a gunshot wound from the arrest, decides to risk the dangerous road to immunity by giving up his boss: drug lord Carlos Ayala (Bauer), the biggest distributor for the Obregón brothers in the United States. Under torture, Flores gives Salazar the names of several important members of the Obregón cartel, who are arrested in a large effort by police and army soldiers. Rodriguez
FACADE: STEVEN SODERBERGH FILM FESTIVAL
and Salazar’s efforts begin to cripple the Obregón brothers’ cocaine outfit, but Rodriguez soon discovers Salazar is a pawn for the Juárez Cartel, the rival of the Obregón brothers. That entire portion of the Mexican anti-drug campaign is a fraud, as Salazar is wiping out one cartel because he has aligned with another for profit. Wakefield realizes his daughter Caroline is a drug addict and is caught between his demanding new position and difficult family life. When he heads to Mexico, he is encouraged by the successful efforts of Salazar in hurting the Obregón brothers. When he returns to Ohio, Robert learns his efforts to see Caroline rehabilitated have failed. She ran away into the city of Cincinnati, where no one knows her location. Secretly, she is prostituted to a drug dealer, and robs her parents to procure money for drugs. Rodriguez’s partner, Sanchez, attempts to sell the information of Salazar’s true affiliation to the DEA, but is killed for his betrayal. Rodriguez, who can no longer stomach working for Salazar, decides to cut a deal with the least corrupt organization he has access to: the federal government of the United States and the FBI. In exchange for his testimony, Javier requests electricity in his neighborhood, so the kids can play baseball at night rather than be tempted by street gangs and crime. Salazar’s secrets are revealed to the public, and he is arrested and secretly tortured to death. Robert and Barbara Wakefield begin to go to Narcotics Anonymous meetings with their daughter to support her and others. Rodriguez explains to the media about the widespread corruption in the police force and army. In Mexico, Rodriguez watches as children play baseball at night in their new stadium.
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“ If there is a war on drugs, then many of our family members are the enemy. And I don’t know how you wage war on your own family.”
TRAFFIC
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SEX, LIES,
AND VIDEOTAPE A 1989 independent film. It tells the story of a troubled man who films women discussing their sexuality, and his impact on the relationship of a troubled married couple. Sex, Lies, and Videotape was influential in revolutionizing the independent film movement in the early 1990s.
FACADE: STEVEN SODERBERGH FILM FESTIVAL
SEX, LIES, AND VIDEOTAPE
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DIRECTED BY
Steven Soderbergh
PRODUCED BY
John Hardy Robert Newmyer
WRITTEN BY
Steven Soderbergh
MUSIC BY
Cliff Martinez
CINEMATOGRAPHY
Walt Lloyd
EDITING BY
Steven Soderbergh
DISTRIBUTED BY
Miramax Films
RELEASE DATE(S)
August 18, 1989
RUNNING TIME
100 minutes
COUNTRY
United States
LANGUAGE
English
FACADE: STEVEN SODERBERGH FILM FESTIVAL
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CAST
JAMES SPADER ANDIE MACDOWELL PETER GALLAGHER LAURA SAN GIACOMO STEVEN BRILL RON VAWTER ALEXANDRA ROOT EARL T. TAYLOR DAVID FOIL
“ I think that sex is overrated. I think that people place far too much importance on it, and I think that stuff about women wantin’ it just as bad as men is crap.” SEX, LIES, AND VIDEOTAPE
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SYNOPSIS
Ann (Andie MacDowell) lives in Baton Rouge. She is unhappily married to John (Peter Gallagher) and sexually repressed. She is seeing a counselor for her problems. Graham Dalton (James Spader) is an old college friend of John’s. He’s a seeming drifter who, after nine years, returns to live in Baton Rouge. Graham arrives to find Ann, who has no idea that John has invited Graham to stay with them until he finds an apartment. When John arrives home, Graham’s demeanor becomes remarkably more guarded, due in large part to John’s overt disapproval of Graham’s bohemian persona. They also discuss the fact that Graham’s college girlfriend, Elizabeth, is also living in Baton Rouge. John is sleeping with Ann’s sister, Cynthia (Laura San Giacomo), a free-spirited bartender. He rationalizes it by blaming Ann’s frigidity. He frequently leaves his law office mid-day to meet with Cynthia, instructing his secretary to reschedule clients who are already in the lobby waiting to see him. Ann makes an impromptu visit to Graham’s apartment, where she notices stacks of camcorder tapes around the television. When pressed, Graham explains that he interviews women about their sexual experiences and fantasies, on videotape. Ann, overcome with shock and confusion, flees his apartment. When Ann discovers Cynthia’s pearl earring in her bedroom, she is furious. She heads over to Graham’s apartment with the intent of making a videotape. Graham objects, telling her it is something she would not do in a normal frame of mind. She insists and Graham relents. Afterward, Ann demands a divorce from John. In the ensuing argument, John gleans that Ann has been to Graham’s, and that she made a video. He hits Graham
FACADE: STEVEN SODERBERGH FILM FESTIVAL
and locks him out of the house, then watches Ann’s tape. In it, Ann paints a very unflattering portrait of John as a lover, admitting to fantasizing about other men, most notably, Graham. Ann later turns the camera on Graham. Graham confesses that he is haunted by Elizabeth, and that his motivation in returning to Baton Rouge is a vague notion of reconnecting with her. He explains that he was a pathological liar, which destroyed an otherwise rewarding relationship with Elizabeth. He explains that he has since gone to great lengths to keep people at a distance and avoid relationships. Graham turns off the camera; it is implied that the two have sex. A chastened John joins Graham on the front patio and, with obvious pleasure, confesses to having sex with Elizabeth while she and Graham were a couple. Furious, Graham goes into a rage and destroys all of the tapes, as well as his camera. In the end, John is summoned to his boss’s office, where it’s implied that he is about to be fired due to his frequent cancellations of meetings with important clients to have sexual trysts with Cynthia. In the next scene, Ann and Cynthia reconcile at the bar Cynthia tends before Ann returns home and joins Graham on the front porch, as they appear to be a couple.
SEX, LIES, AND VIDEOTAPE
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“ And then I don’t want to have wasted all my time, so I want to believe in them.”
03
SCHEDULE
AUGUST
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FESTIVAL
05
THU.
FRI.
06
OPENING NIGHT OPENING GALA & RECEPTION OCEAN’S ELEVEN
FACADE: STEVEN SODERBERGH FILM FESTIVAL
9:30PM 7:00PM
THE LIMEY ERIN BROKOVICH
6:00PM
9:00PM
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08
07
SAT.
SUN.
CLOSING NIGHT THE INFORMANT
3:00PM
CLOSING NIGHT PARTY
9:30PM
SEX, LIES, AND VIDEOTAPE
5:00PM
TRAFFIC
1:00PM
YES BAND LIVE CONCERT
4:00PM
FESTIVAL SCHEDULE
04
FACADE: STEVEN SODERBERGH FILM FESTIVAL
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THE
FESTIVAL Founded in 2009, the Facade Film Festival is the newest, most innovative film festival in the Americas. The Facade Film Festival is an extraordinary showcase of cinematic discovery and innovation in the country’s most beautiful city. Highly anticipated by its loyal and passionate audiences, championed by civic and community leaders, admired and adored by filmmakers and closely watched by industry professionals, FFF is one of the most important events in the Louisiana’s events calendar. The Festival is deeply rooted in the strongest and finest traditions of appreciation of film both as an art form and as a meaningful agent for social change. It is a cultural treasure for Louisiana audiences, who embrace new ideas, compassionate humanity and world citizenship. Remarkably intimate for a festival of its size and scope, the Facade Film Festival combines a range of marquee premieres, international competitions, hard-hitting documentaries, digital media work and star-studded gala events.
“ Few festivals are more suited to their city than the Facade Film Festival. It’s clearly a festival programmed by those who love film for people who love film.” — ALEX ROMANELLI, EDITOR, VARIETY
THE FESTIVAL
10
INTERSTATE EXITS Exit# 155A Nicholson-Highland. 1.4 miles to LSU Exit# 156B Dairymple. 0.5 mile to LSU Exit# 157B Acadian Thruway. 1.8 miles to LSU Visitor Information Center 578-5030
10
W. McKinley St. W. Roosevelt St.
University Lake
FACADE: STEVEN SODERBERGH FILM FESTIVAL
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FESTIVAL
LOCATION&MAP FILM SHOWINGS: UNION THEATRE FROM I-10 ROUTE 1 Exit at Nicholson Dr./Highland Rd. (Exit 155A). Take Highland Rd. to Dalrymple Dr. (about 1.4 miles). ROUTE 2 Exit at Dalrymple Dr. (Exit 156B). From the off-ramp, both eastbound and westbound traffic will turn right onto Dalrymple Dr. Take Dalrymple Dr. to Highland Rd. (about 0.5 mile).
ROUTE 3 Exit at Acadian Thruway (Exit 157B). If exiting from the eastbound off-ramp, turn right onto Acadian Thruway. If exiting from the westbound off-ramp, turn left onto Acadian Thruway. Take Acadian Thruway (which turns into Stanford Avenue and then into LSU Avenue) to Highland Rd. Turn right onto Highland Rd. Take Highland Rd. to Dalrymple Dr. (about 1.8 miles).
CONCERT: TIGER STADIUM FROM EAST ON INTERSTATE 10: 1) Take I-10 to Highland Road (La. 42, exit 166). Turn left onto Highland Road and proceed 10.5 miles until reaching Nicholson Drive Extension. Drive 0.9 miles until reaching Nicholson Drive (La. 30). Turn right onto Nicholson Drive and proceed 0.2 miles until reaching Skip Bertman Drive. For basketball, volleyball and gymnastics, turn right and park next to Tiger Stadium or across South Stadium Drive from Tiger Stadium. 2) Take 1-10 to Acadian Thruway (La. 427, exit 157B). Turn left onto Acadian Thwy. and proceed 2.5 miles (note that Acadian becomes Stanford Ave.) until reaching South Stadium Drive (right lane-turn only). Take South Stadium Drive into and through campus (speed limit is 20 MPH on campus). For basketball, volleyball and gymnastics, turn right and park next to Tiger Stadium or across South Stadium Drive from Tiger Stadium.
FROM WEST ON INTERSTATE 10: 1) Take I-10 to the Nicholson Drive/Highland Road exit (Exit 155A). Keep right and turn right onto Terrace Street. Turn left onto Nicholson Drive and proceed 1.8 miles until reaching Skip Bertman Drive. For basketball, volleyball and gymnastics, turn left and park next to Tiger Stadium or across South Stadium Drive from Tiger Stadium. 2) Take 1-10 to Acadian Thruway (La. 427, exit 157B). Turn left onto Acadian Thwy. and proceed 2.5 miles (note that Acadian becomes Stanford Ave.) until reaching South Stadium Drive (right lane-turn only). Take South Stadium Drive into and through campus (speed limit is 20 MPH on campus). For basketball, volleyball and gymnastics, turn right and park next to Tiger Stadium or across South Stadium Drive from Tiger Stadium.
THE VENUE
A FACADE: STEVEN SODERBERGH FILM FESTIVAL
“IT’S NOT THAT I’M OFFENDED, IT JUST MAKES ME SAD. AND THERE’S A DIFFERENCE BETWEEN FAILURES AND THINGS THAT ARE BAD. I’D LIKE TO THINK THAT I’VE MADE MOVIES THAT WERE FAILURES, CREATIVELY AND OTHERWISE.” — STEVEN SODERBERGH
THE FESTIVAL
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YES
AUGUST
LIVE CONCERT
07
SUN. CONCERT
4:00 PM-6:00 PM
LSU TIGER STADIUM N Stadium Rd & Nicholson Dr Baton Rouge, LA 70802
BAND MEMBERS Chris Squire Steve Howe Alan White Benoît David Oliver Wakeman
Yes is an English progressive rock band formed in London in 1968, generally regarded as one of the archetypal bands and pioneers of the genre. Despite many lineup changes, occasional splits within the group, and the ever-changing trends in popular music, the band has continued for more than 40 years and still retains a large following. They have sold over 60 million albums
ENTERTAINMENT
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OPENING
NIGHT
PARTY 9:30 PM-1:00 AM
HILTON BATON ROUGE CAPITOL CENTER 201 Lafayette St, Baton Rouge, LA 70801 Kick off the Facade Film Festival with a world-class cinematic event, special guests and a festive celebration with live entertainment, dancing, fabulous food, delicious drinks and a complimentary gift bag. After the film, celebrate Opening Night in the historic Heidelberg and Capitol House Hotel. You must be 21+ to attend the party.
FACADE: STEVEN SODERBERGH FILM FESTIVAL
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CLOSING
NIGHT
PARTY 9:30 PM-12:00 AM
THE M BAR 350 Third Street Baton Rouge, LA 70801 (225) 381-7784 Get down with a movie-loving crowd at the Closing Night party at The M Bar. Dance the night away to hipster beats and spoil yourself with decadent bites and well-crafted cocktails. You must be 21+ to attend the party.
ENTERTAINMENT
05
FACADE: STEVEN SODERBERGH FILM FESTIVAL
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BATON ROUGE
LOUISIANA Baton Rouge is the capital and second-largest city in Louisiana, United States. It is located in the southeast portion of the state along the Mississippi River. It owes its historical importance to its site upon Istrouma Bluff, the first bluff upriver from the Mississippi River Delta, which protects the city’s residents from flooding, hurricanes, and other natural disasters. In addition to this natural barrier, the city has built a levee system stretching from the bluff southward to protect the riverfront and low-lying agricultural areas. Baton Rouge is a major industrial, petrochemical, medical, and research center of the American South. The Port of Baton Rouge is the ninth largest in the United States in terms of tonnage shipped. Baton Rouge is the middle ground of South Louisiana cultures, having a mix of Cajun and Creole Catholics and Baptists of the Florida Parishes and South Mississippi. Baton Rouge is a college city with Baton Rouge Community College, Louisiana State University, Our Lady of the Lake College, and Southern University whose students make up some 20% of the city population.
THE CITY
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LOUISIANA STATE
UNIVERSITY
The University was founded in 1853 in what is now known as Pineville, Louisiana, under the name Louisiana State Seminary of Learning & Military Academy. The current LSU main campus was dedicated in 1926, and consists of more than 250 buildings constructed in the style of Italian Renaissance architect Andrea Palladio, and occupies a 650-acre (2.6 km²) plateau on the banks of the Mississippi River. LSU is the flagship institution of the Louisiana State University System, and the largest institution of higher education in Louisiana in terms of student enrollment. LSU’s athletic department fields teams in 20 varsity sports (9 men’s, 11 women’s), and is a member of the NCAA (National Collegiate Athletic Association) and the SEC (Southeastern Conference). LSU Tigers football began in 1893, with national championship wins in the 1958, 2003, and 2007 seasons. The University is represented on the field by its mascot, Mike the Tiger. The current LSU campus is located on 2,000 acres (8.1 km²) just south of downtown Baton Rouge.Louisiana State University is ranked 124th in the national universities category and 60th among public universities by the 2011 U.S. News & World Report ranking of U.S. colleges. LSU is also ranked as the 88th best public university in the nation by Forbes magazine and is featured in the 2011 edition of Princeton Review’s Best 371 Colleges guide. Additionally, U.S. News & World Report ranked LSU as the 16th most popular university in the nation.
FACADE: STEVEN SODERBERGH FILM FESTIVAL
THE CITY
FACADE: STEVEN SODERBERGH FILM FESTIVAL
“ WHAT IS THE PROCESS BY WHICH A PERSON CHANGES THEIR MIND ABOUT A DEEPLY HELD BELIEF? WHAT’S THE THING THAT CLICKS OVER FOR THEM? I HAVE NO IDEA.” — STEVEN SODERBERGH
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WHAT
TO DO
FACADE: STEVEN SODERBERGH FILM FESTIVAL
Come and experience the wonder of Baton Rouge, Louisiana’s capital city: rich in Louisiana culture, entertainment and heritage. Located about 80 miles west of New Orleans and known affectionately as the Red Stick. Baton Rouge Louisiana is home to the renowned action of LSU and LSU athletics, legendary Louisiana Cajun cuisine, a booming film and television industry, fascinating plantation tours, Mardi Gras thrills, family-friendly festivals and a variety of attractions, events and festivals the whole family can enjoy.
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MUSEUMS AND CULTURAL ATTRACTIONS 1 ANDONIE MUSEUM 3828 West Lakeshore Drive www.andoniemuseum.org Permanent collection of LSU athletics memorabilia 2 MUSEUM OF NATURAL SCIENCE 119 Foster Hall • Dalrymple Drive www.lsu.edu/lsumns Permanent collection of nearly 3 million specimens of mammals, birds, fish, and reptiles 3 UNION ART GALLERY 2nd Floor, LSU Student Union Highland Road at Raphael Semmes Road www.lsu.edu/union 4 TEXTILE AND COSTUME MUSEUM 140 Human Ecology Building Tower Drive at South Campus Drive www.textilemuseum.huec.lsu.edu Visiting collections of historical and modern textiles
7 THE QUAD The Quadrangle, nicknamed “the Quad,” is the heart of campus. Completed by the campus’s 1926 dedication, the Quad is the historic core of campus that holds the first group of campus structures built. The Quad is lush with oaks, azaleas, crepe myrtles, and magnolia trees. 8 GREEK THEATRE Dalrymple Drive Built in 1926 to hold the entire campus population, the Greek Theatre was once the location of major University assemblies. Today it is the starting place for the Golden Band from Tigerland’s procession into Tiger Stadium. 9 INDIAN MOUNDS Fieldhouse Drive at Dalrymple Drive The Indian Mounds are approximately 5,000 years old, making them older than the Egyptian Pyramids.
5 SWINE PALACE Tower Drive at Highland Road www.swinepalace.org Classic and contemporary theatre performances held year-round 6 MEMORIAL TOWER Tower Drive LSU’s 175-foot tower is a memorial to Louisianans who died in World War I. Memorial Tower’s bells chime every quarter hour and can play special tunes like the LSU alma mater. University tours depart from the tower at 10:00 a.m. each weekday, excluding holidays.
WHAT TO DO
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WHERE
TO EAT
Baton Rouge is the largest city close to the heart of Authentic Cajun country in Southwest Louisiana, so you expect big props to this fine Cajun cuisine. You will not be disappointed. The city of Baton Rouge is steeped in Cajun culture and history. Cajun heritage in the capital of Louisiana stems from the influence of French Acadians that have populated the area for centuries. Cajuns are primarily bayou (“swamp”) dwellers of primarily French and Indian descent, but the back-story is more of a gumbo. In 1765, Cajuns, a corruption of the term “Acadians”, were forced to migrate from that region in Canada. They settled in Louisiana, but to this day they maintain a derivative of the French language. They were typically farmers, fur trappers, hunters, and fishermen. They came to know the swamps like the back of their hand. Consequently, these are the folk you want as your Alligator Tour Guide and playing Zydeco Music. Outside Louisiana the distinctions between authentic Cajun and Louisiana Creole cooking have been blurred. However, Creole dishes tend to be more sophisticated continental cuisine using local produce and seafood. Cajun dishes are rural, more seasoned, sometimes spicy, and tends to be heartier. Many well-known Cajun dishes originally were centered on wild game, rice and other local ingredients.
FACADE: STEVEN SODERBERGH FILM FESTIVAL
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RESTAURANTS AND BARS 1 A TASTE OF ASIA 3851 Sherwood Forest Boulevard Baton Rouge, LA 70816 Phone: 225-291-2222 2 BAR 102 102 France Street Inside the Belle Atrium Baton Rouge, LA 70802 Phone: 225-242-2610 3 BACK YARD BURGERS 10340 North Mall Drive Baton Rouge, LA 70809 Phone: 225-706-0099 4 ACME OYSTER HOUSE
7 HAMMERHEAD BAR Inside Parrain’s Restaurant 3225 Perkins Road Baton Rouge, LA 70808 Phone: 225-381-9922 8 CHURCHILL’S BAR 7949 Jefferson Highway Baton Rouge, LA 70809 Phone: 225-927-4211 Fax: 225-927-4533. 9 CAFE LAFOURCHE ON THE BAYOU 817 Veterans Boulevard Donaldsonville, LA 70346 Phone: 225-473-7451
3535 Perkins Road Baton Rouge, LA 70808 Phone: 225-906-2372 Fax: 225-906-2376 5 BOUTIN’S CAJUN RESTAURANT 8322 Bluebonnet Boulevard Baton Rouge, LA 70810 Phone: 225-819-9862 boutins.com 6 BRUNETS CAJUN RESTAURANT 135 South Flannery Road Baton Rouge, LA 70815 Phone: 225-272-6226 Fax: 225-272-0353 brunetscajunrestaurant.com
WHERE TO EAT
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WHERE
TO STAY
Baton Rouge accommodations include a wide variety of bed and breakfast inns and extended and full service Baton Rouge hotels. There are many new, interesting and fun things to do in the City of Baton Rouge. Relax and enjoy the many faces and moods of Baton Rouge and Louisiana. Quality hotels in the New Orleans area within walking distance of the French Quarter; Garden District hotels a streetcar ride away; Metairie hotels with shuttles. These New Orleans hotels offer online real-time hotel reservations internet specials, and the lowest rates available! Reserve your hotel in New Orleans
FACADE: STEVEN SODERBERGH FILM FESTIVAL
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LODGING 1 DRURY INN & SUITES 7939 Essen Park Baton Rouge, LA 70809 druryhotels.com 2 HOMEWOOD SUITES BY HILTON 5860 Corporate Boulevard Baton Rouge, LA 70808 homewoodsuites.hilton.com
7 EMBASSY SUITES HOTEL 4914 Constitution Avenue Baton Rouge, LA 70808 www.embassysuites.hilton.com 8 BEST WESTERN CHEATEAU 710 N Lobdell Boulevard Baton Rouge, LA 70806 bestwestern.louisiana.com
3 HILTON BATON ROUGE CAPITOL CENTER 201 Lafayette Street Baton Rouge, LA 70801 www.hilton.com 4 STAYBRIDGE SUITES-UNIV AT SOUTHGATE 4001 Nicholson Drive Baton Rouge, LA 70808 5 RESIDENCE INN BATON ROUGE SIEGEN LANE 10333 North Mall Dr. Baton Rouge, LA 70809 www.marriott.com 6 COURTYARD BY MARRIOTT 2421 S Acadian Thruway Baton Rouge, LA 70808 www.marriott.com
WHERE TO STAY