Dire ing Au in A Look Into Local Filmmaking

It is no secret that in the past 20 years Austin has become an epicenter of indie lmmaking. Austin is a city that is known for its independent spirit, and this spirit is evident in the city’s lmmaking community. Austin lmmakers are not afraid to take risks, and they are always looking for new ways to tell stories. As a result, Austin has become a major center for independent lmmaking, and the city continues to produce lms that are both critically acclaimed and commercially successful.

According to Charles Ramirez-Berg, a UT Austin professor of media studies and an author, the creation of the Austin lm scene can largely be attributed to two people. “Richard Linklater and Robert Rodriguez really pioneered lm in Austin,” said Ramirez-Berg “And they both did things no one had done before.”

Although both these directors are now major lmmakers, they started their careers by working on inde- pendent projects. Since then, many young people in the lm industry have relocated from New York or Los Angeles to Austin. Anna Margaret Hollyman, an actress, producer, and director, is originally from New York but relocated to Austin for her career. “I started o acting, but I think part of working in Austin is that it’s a more communal [ lmmaking] process,” said Holylyman “So, I began getting involved in directing and lming and then in 2018 I made my rst short lm Maude.”

Another factor that brings many lmmakers to Texas is the Austin Film Society, a non-pro t founded by Richard Linklater. Christian Nelson is an

Austin-based director, producer, and editor who is also the production services manager of AFS. “I think there’s a lot of people here with a shared struggle and a shared compassion,” said Nelson “And that’s what attracts so many people to Austin.”

Austin’s independent lmmaking style, which is o en a re ection of the lack of resources, can draw in individuals in the industry, according to Nelson. Financially, Austin is also a more a ordable option, which in turn promotes independent lmmaking.“ e whole idea of you know, get it, get it done yourself. Independent lmmaking, non union lmmaking, you know, that’s a big thing with Austin. And then outside of that, Austin is cheaper than California and New York,” said Nelson “So I think that’s what’s brought a lot of other lmmakers, that’s been the draw, you know, come here to Austin to save on those certain things.”

Austin allows for lmmakers to have more nancial freedom than other lm epicenters “I think it’s also a money thing” said Hollyman, “If I had my work and my portfolio and I get to choose my work as I the budget for media programs by nearly half of its 2015 value. “ e Texas Government has caused a lot of issues and put in place restrictions for productions here,” said Hollyman “And, that’s really the main thing setting us back from being like LA or New York.” do here, in LA I wouldn’t be able to a ord rent.” e State of Texas has also imposed many laws and regulations against large-scale lm productions. According to e Daily Texan, UT Austin’s Newspaper, the state government has decreased is pushback from the state government can bring lmmaking groups closer together. Chelsea Hernandez, a documentary lmmaker from Austin, believes it’s important for Texas mediamakers to stick together. “I started a group called bad hombres, and it’s a private Facebook group for Latinx people in the media who are based in Texas,” said Hernandez “Maybe they live in Los Angeles now, but they’re from Texas, and it’s a way to understand what people are working on.”

Artist social groups and communities like these are not rare in Austin, and tend to de ne this city’s lm scene. According to Ramirez-Berg,“What makes Austin unique in the lm industry is the sense of community that you don’t get in New York or LA. ere it’s just very competitive and everyone is trying to get a contract, whereas here it’s cooperative.”

According to Hernandez, the Austin Film Society plays a large part in this cooperative culture. e organization has worked on many events and outreach to promote lm in Austin.

“I would say the Austin Film Society has been a really successful part of the Austin lm community.” said Hernandez “ ey put on easy gatherings like places where they have workshops and have events.” ere are so many stories to be told here, there’s so much talent” said Hernandez “But sometimes we don’t get that recognition in the press as much as we’d like.”

Even with the lmmaking communities and resources available in Austin, the lm industry is still centered in Hollywood and New York, Hernandez believes,“I think sometimes we get forgotten about [in the industry] since we don’t have those major industries here.

Austin has many lm and creative organizations that help with recognition and are actively trying to ex- pand the industry, Nelson claims, “Organizations like Austin Film Society, you know, Austin School of Film for youth Just di erent kinds of creative organizations that help get people like me who are interested in it, but don’t have the resources, connect to the people who do or people who could help.” popcorn mag page 20

Austin Film Society also re ects Austin’s lmmaking style, as it is a cornerstone for the city’s creative culture, “Here at AFS with Richard Linklater starting o the Film Society and that whole idea of getting some funds together, but using it to make a movie yourself, getting your friends in there, utilizing the space that’s all around you,” said Nelson “ at’s de nitely been the mentality of a lot of lmmakers here in Texas.” ese strong independent lm communities and organizations o en help empower smaller lmmakers and raise recognition by hosting large scale events. Austin is home to a number of lm festivals and other gatherings that support independent lmmakers, including the Austin Film Festival, the Texas Film Festival, and South by Southwest (SXSW). ese organizations provide lmmakers with opportunities to network, learn from each other, and showcase their work.

Austin’s lmmaking culture is a vibrant and diverse one, with a wide range of lmmakers and lms representing the city’s unique character. From independent lms to major studio productions, Austin has something to o er everyone. e city’s supportive lmmaking community, its beau tiful natural scenery, and it’s a ordable cost of living make it an attrac tive destination

FANTASTIC MR. FOX

Fantastic Mr. Fox was Anderson’s first stop-motion film and is based on the story by British author Roald Dahl. Both the film and book are childhood staples for much of the younger genarations.

The Grand Budapest Hotel

Often regarded as his best film, The Grand Budapest Hotel shows Anderson’s directorial precision and acute timing. It has garnered many awards, most notable of which are its four Academy Awards and five BAFTAs.

The Royal Tenenbaums

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Isle Of Dogs

Isle of Dogs is Anderson’s second experiment in the world of stop-motion and can be hard to describe without using the word weird. It features a dystopian world where a band of mutts plot to overthrow a Japanese dictatorship.

The French Dispatch

Anderson’s most recent film, The French Dispatch is a collection of separate narratives told in the form of newspaper feature stories. It features a stacked cast, but didn’t resonate with many audiences.