Scene Magazine - December 2009

DECEMBER 2009

STEVEN SEAGAL LAWMAN

TOM HANKS

HONORS WWII VETERANS

PARANORMAL RESPONSE

LENNY KRAVITZ

SIMPLIFY THE SEASON HOLIDAY GIFT IDEAS

CASTS A SPELL

VOODOO2009

EMINEM • KISS • JANE’S ADDICTION WOLFMOTHER • FLAMING LIPS

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VOL. 1, ISSUE 2 | December 2009 EDITOR-IN-CHIEF Kevin Barraco

EDITOR’S LETTER

Still fresh is the face of Scene Magazine, and we’re overwhelmed with the tremendous support from the Louisiana entertainment industry and the community at large. I want to give sincere thanks to Beth Ann Brannon and Jason Hull at the W Hotels New Orleans for hosting such

an incredible launch party for us. It was in every detail a success, and unquestionably the place to be Scene that night in New Orleans.

Film, Music and Fashion is our game and we deliver all three in this December issue. From the stages of the Voodoo Music Experience in New Orleans to the red carpet of Werner Herzog’s film Bad Lieutenant, we have insider interviews and photos. You’ll also be exposed to some great fashion designers from Louisiana who are making big names for themselves.

Digging deeper into the treasure chest of film industry gold, Louisiana continues to pirate productions from other filming destinations. high profile projects bring

high profile celebrities into the state. Jay Z was recently spotted shopping at Whole Foods in Baton Rouge and New Orleans’ newest homeowner Sandra Bullock hosted a benefit screening of The Blind Side. From the words of guest writer Greg Milneck, “entertainment is what we do best.”

From all of us at Scene, have a happy holiday season and don’t forget to send us your thoughts and feedback.

You are now on the Scene!

CREATIVE DIRECTOR Erin Theriot ASSOCIATE EDITOR Emily Morrow COPY EDITOR Arthur Vandelay FASHION EDITOR Saree Schaefer CONTRIBUTING DESIGNERS Shelly Melton, Gabrielle LeBlanc PHOTO EDITOR Christine Cox VICE PRESIDENT OF SALES Emily Morrow SALES ASSOCIATE Lacey Minchew CONTRIBUTING PHOTOGRAPHERS

KEVIN BARRACO EDITOR-IN-CHIEF editor@scenelouisiana.com

CONTRIBUTORS ASHLEY MERLIN is passionate about photography. Born and raised in New Orleans, Louisiana, she graduated form Lehigh University with a B.A. in Journalism.

In 2002, Miss Merlin opened a studio in New Orleans. She is a member of the American Society of Media Photographers and Professional Photographers of America.

LISA M. DALIET

is a New Orleans girl, freelance writer and communications consultant. For nine years, she worked in the local film and television industries in a variety of positions including location coordinator, assistant location manager and APOC. Today she writers for a variety of publications, assists businesses and organizations with social media marketing and Web site content management, is a board member and communications consultant for the nonprofit Save Our Schools NOLA, and is on the planning and advisory board for the new nonprofit Gulf Coast Green Living.

SAREE SCHAEFER is Fashion Editor for Scene and Buyer/Owner for Ted & Daisy’s in Baton Rouge. Look to Saree for style and everyone will be looking at you.

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CHIEF OPERATIONS OFFICER Lana Hunt

Ashley Merlin, Scott Myers, Mark St.James

PUBLIC RELATIONS & MARKETING Julie Nathanson, Rogers & Cowan CONTRIBUTING WRITERS Diane Wheeler-Nicholson, Dave Weber, Greg Milneck, Chris Jay, Janet Fabre Smith, Emily Paige, Lisa M. Daliet, Jennifer Sherdon, W.H. Bourne Scene Magazine Offices 824 Elmwood Park Blvd., Suite 220 New Orleans, LA 70123 4528 Bennington Ave., Suite 300 Baton Rouge, LA 70808 877-517-2363 info@scenelouisiana.com www.scenelouisiana.com Published By Louisiana Entertainment Publishers LLC Display Advertising: Call Louisiana Entertainment Publishers for a current rate card.

All submitted materials become the property of Louisiana Entertainment Publishers LLC. For subscriptions call 877-517-2363 for more information and rates.

Copyright @ 2009 Louisiana Entertainment Publishers.

All rights reserved. No part of this publication may be used for solicitation or copied by any means, electronic or mechanical, including photocopying or recording by any information storage or retrieval system, without the express written permission of the publisher.

CONTENTS ON THE COVER

Lenny Kravitz Lenny Kravitz rocks the Voodoo stage at New Orleans City Park to close the three day music experience.

Cover photo by Ashley Merlin

ON THE SCENE

7

Scene Magazine debuts its premiere issue with the W Hotels New Orleans

BEHIND THE SCENES

10

Hear from cast and crew and take a look Behind the Scenes

PRODUCER’S CORNER

18

Werner Herzog chats with Scene Magazine at AFI’s screening of Bad Lieutenant: Port of New Orleans

LAST LOOKS

22

Inauguration of Raleigh Studios Baton Rouge New Orleans Film Festival’s 20 Year Anniversary

MUSIC / SOUND SPEED

36

Voodoo Music Experience 2009

FASHION / THE RED CARPET White on Red Saree’s Style Tufts It Out New Orleans Fashion Week

TRENDS

48

56

Holiday Shopping Tips Sustainable Directions

SCENE EXTRAS

28

News, Resources, and Celebrities on the Scene

COLUMNS State of the Artist 60 The Bridge to Success by Dave Weber In the Mix 16 Entertainment is What We Do Best by Greg Milneck Good Seats 58 Stepping Out on the Red by Chris Jay Coast to Coast 54 Lights, Camera, Snow! by Emily Paige Crew Up 27 Never a Dull Moment at NOVAC by Janet Fabre Smith

FRAMES PER SECOND

by James Sheppard

THE UNSCENE Spoiling the Well

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72

71

ON THE SCENE SCENE MAGAZINE

LAUNCH PARTY

On October 29, Scene Magazine released its premiere issue at an exclusive VIP party hosted by the W Hotels New Orleans.

Hundreds of invited guests attended the stylish event celebrating Louisiana’s newest entertainment magazine. Attendees mingled in to the night to celebrate the release of Louisiana’s only magazine dedicated to keeping you on the Scene with the latest film, music and fashion. It was the place to be Scene as industry professionals and local business leaders helped launch the success of Scene Magazine. S photos by Ashley Merlin and Scott Myers

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ON THE SCENE

8 | December 2009

ON THE SCENE

www.scenelouisiana.com | 9

FILM | behind the scenes

filming downtown Shreveport

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BATTLE: LOS ANGELES on location: Shreveport | Baton Rouge, LA

Recently wrapped, Columbia Pictures’ Battle: Los Angeles took over streets and highways in Shreveport and also filmed in Baton Rouge. About a Marine platoon facing off against an alien invasion in post-apocalyptic Los Angeles, the sci-fi actioner stars Aaron Eckhart, Michelle Rodriguez, Bridget Moynahan and Michael Pena.

With a few tall palm trees placed in frame, an elevated highway system in Shreveport doubled for Los Angeles during some major action sequences in the movie. In Baton Rouge, the production is utilizing the stages of Raleigh Studios at the Celtic Media Centre and shot at the Baton Rouge airport, which played for the Santa Monica airport.

Baton Rouge Mayor Melvin “Kip” Holden stated that the production is expected to have poured $25 million directly into the Baton Rouge economy. “This is a tremendous boost to our local film industry and our city,” said Mayor Holden. “I have been working closely with the Baton Rouge Film Commission to secure this deal and am proud that our city hosted such an exciting blockbuster production.”

Battle: Los Angeles was one of the first major studio films to benefit from Louisiana’s recently passed legislation providing a 30% tax credit on in-state spending, plus an additional 5% tax credit on local labor expenditures, according to Chris Stelly, Director of Film and Television for Louisiana’s Office of Entertainment Industry Development. The production also utilized the Baton Rouge Preferred Entertainment Industry Vendor Discount Program, which offers film crews a discount of at least 15% at participating local businesses.

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FILM | behind the scenes

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MONSTERWOLF on location: Lafayette, LA

Recently wrapped, Monsterwolf is a feature film produced by Bullet Films to be distributed domestically on the SyFy network and internationally on a variety of channels across the globe, such as NBC Europe. The movie stars Robert Picardo, Leonor Varela, Jason London, Steve Reevis, & Griff Furst. It features a creature of ancient legend that manifests to protect the ecological balance of the land and killing anyone that threatens it.

Bullet Films has produced six films in Louisiana to date and is currently developing and scheduling the next six films all slated to be shot over the next 18 months in the Acadiana region. Bullet Films has made a commitment to the state of Louisiana and the Acadiana region due to not only the favorable incentive program, but also the local support they have received.

“The people of Louisiana and the parish of Acadiana have truly embraced the film industry,” said Executive Producer, Daniel Lewis, “and have helped us achieve our accomplishments to date.

The infrastructure and crew base in our area is being developed at a rapid pace...I couldn’t imagine shooting a film anyplace else.”

House of Bones, another Bullet Films production, is a psychological thriller being released on the SyFy network on Saturday, January 16, 2010.

Active Entertainment has a long-standing relationship with the SyFy network for domestic TV distribution. The executives at the SyFy network have played a major role in the growth and success of Bullet Films. SyFy televises 24 “original” features a year and have ordered two original features for 2010 and are in talks with Bullet execs about the possibility of adding to that number.

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behind the scenes

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| FILM

PREGNANCY PACT on location: St. Tammany Parish, LA

Lifetime Television recently filmed Pregnancy Pact in St. Tammany Parish and around the Greater New Orleans area.

The film stars Thora Birch, Nacy Travis and Camryn Manheim about the true story of teenagers at Gloucester High School in Massachusetts who agreed to get pregnant at the same time.

“St. Tammany was very fortunate to also have Alabama Moon’s production office located in Covington,” said Loren Legendre, film commission coordinator. “St. Tammany Parish usually gets bits and pieces of films shooting in and around New Orleans, but recently we’ve hosted more than usual, including Millennium Films’ The Mechanic.

Lifetime Television has strong connections to Louisiana, also filming The Business of Falling in Love in New Orleans this fall.

filming downtown Covington

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FILM | behind the scenes

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SEAGAL: LAWMAN on location: Jefferson Parish, LA

International film star and legendary martial arts expert, Steven Seagal, documents his extraordinary law enforcement life spent with the Jefferson Parish Police Department in this new A&E real life series premiering this month.

Along with Sylvester Stallone and Arnold Schwarzenegger, Seagal is considered one of the film industry’s greatest action legends. But it turns out that he isn’t just an action hero in the movies. For almost 20 years, Seagal has been a fully commissioned deputy with the Jefferson Parish Sheriff ’s Office in Louisiana.

In addition to going out on patrol, Seagal is an expert marksman who has worked with their SWAT team and has instructed Jefferson Parish officers in firearms and hand-to-hand combat.

“I’ve been working as an officer in Jefferson Parish for two decades under most people’s radar,” said Seagal. “I’ve decided to work with A&E on this series now because I believe it’s important to show the nation all the positive work being accomplished here in the New Orleans area – to see the passion, commitment and fine police work that comes from the Jefferson Parish Sheriff ’s Office in this post-Katrina environment.”

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Until now, Seagal has never sought attention for his work with the Jefferson Parish Sheriff ’s Office. However, over a span of almost two decades, he has regularly gone out on patrol and worked major cases.

IN THE MIX

by Janet Fabre Smith

“Louie,” a 3-D crawfish created by Digital FX

ENTERTAINING IS WHAT WE DO BEST

by Greg Milneck

P

eople ask all the time why Louisiana has become such a hotbed for film and video production. Most expect the response will be talk of tax incentives and exotic locations.

Those things are certainly powerful. But the truth is that film production in Louisiana is a natural evolution. Creativity, entertainment, art, music, food and culture: these things are in our blood. Whether producing a work of art on a canvas, dinner plate, trumpet or theatrical screen, Louisianans are uniquely creative.

Louisiana has always been home to some of the most creative musicians, artists and writers. Locals have always been known as a people who love a good show. And the state has always been a location of note for filmmakers. State and local government support of the industry has unquestionably made essential contributions to the recent increases in filming activity. Variety Magazine recently ranked Louisiana the fifth best location for filmmaking in North America, based largely on the its powerful tax credits.

Other states have similar tax incentives and they are making progress. But none have eclipsed Louisiana’s progress. Perhaps the real difference separating Louisiana lies with the creative spirit found within the people living here. No matter the tax incentives, no matter the locations, it’s the people that matter.

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This column could easily turn into some stereotypical representation of us crazy, crawfish eating Cajuns with a flair for entertainment. I could include any number of tired descriptions for Louisiana, most ending or beginning with: “It’s not just the food that’s spicy down on the bayou.” But, a crew from Louisiana isn’t just a crew. Writers, directors, camera operators and actors from Louisiana aren’t just hired technicians. There really is something special that locals bring to the table. Something you can’t find anywhere else.

Entertaining is what we do best. Why would we be anything other than one of the premier filmmaking locations in the world?

Think about it. We don’t just go watch a football game: we make it a party of almost unthinkable proportions. We don’t just want our politicians to govern: we want them to entertain as well. Our mothers and chefs transform plain ingredients into works of art.

We make music out of washboards. We take everyday things and make them into art, turning the ordinary into entertainment.

Louisiana is recognized as a destination for filming. But we’re still better known for our creativity and art. Combine who we are with competitive financial incentives and you get the perfect recipe for filmmaking.

So why Louisiana? Because it’s what we do. S

FILM | producer’s corner

BAD LIEUTENANT: PORT OF CALL NEW ORLEANS DAZZLES AT THE 2009 AFI FILM FESTIVAL

by W. H. Bourne photos by Odin Lindblom

A

ctors Eva Mendes, Jennifer Coolidge and Fairuza Balk stopped traffic on Hollywood Boulevard as they walked the red carpet in front of the historic Grauman’s Chinese Theatre for their new film Bad Lieutenant: Port of Call New Orleans. Acclaimed director Werner Herzog accompanied by cast, crew and producers of the film turned out for the packed festival screening. Noticeably absent was actor Nicolas Cage.

18 | December 2009

Before introducing his “passion project,” the evening took a somber note as Herzog stepped up to the microphone informing the audience that Nicolas Cage’s father had passed away. “The crew and actors would like to express our heartfelt condolences,” Herzog remarked.

In the film, Cage is brilliant as rogue detective Terence McDonagh, a New Orleans police officer struggling with a drug problem after sustaining an injury during Hurricane Katrina.

producer’s corner |

FILM

“NEW ORLEANS IS A VERY POTENT CITY IN MY LIFE, I HAVE A VERY CLOSE CONNECTION WITH THIS CITY. IN MANY WAYS, I WAS REBORN THERE, BECAME A PHILOSOPHER THERE. IT’S THE CITY THAT WOKE ME UP TO THE POSSIBILITY OF OTHER ANCIENT ENERGIES” – NICOLAS CAGE

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FILM | producer’s corner BAD LIEUTENANT: PORT OF CALL NEW ORLEANS

Eva Mendes shines as his complicated love interest, a prostitute named Frankie. Together they spiral downward in what would be unbearable sadness but for Herzog’s interjection of bizarre humor manifested in Terence’s drug induced hallucinations.

Herzog, Mendes, Coolidge and Cage appeared at the Four Seasons Hotel in Beverly Hills to discuss the film. “Originally, the screenplay was written with New York as a backdrop,” says Herzog. “The rationale of the producers set in to move it to New Orleans, since shooting there would mean a substantial tax benefit. It was a move I immediately welcomed. In New Orleans it was not only the levees that breached, but it was civility itself: there was a highly visible breakdown of good 20 | December 2009

citizenship and order. This collapse of morality was matched by the neglect of the government in Washington, and it is hard to figure out whether this was just a form of stupidity or outright cynicism. I am deeply grateful that the police department in New Orleans had the magnanimity and caliber to support the shooting of the film without any reservation. They know, as we all do, that the overwhelming majority of their force performed in a way that deserves nothing but admiration.”

“New Orleans is a very potent city in my life,” says Cage. “I have a very close connection with this city. In many ways, I was reborn there, became a philosopher there. It’s the city that woke me up to the possibility of other ancient energies… I’ve made four pictures there

producer’s corner | and this is my fifth. I was afraid to come back and do another movie, but I felt that I had to go through a catharsis and face my fears. It’s a combination of potent energies: African, Spanish, French, English.

There’s a lot of magic there. It’s a city like nowhere else in the world.”

“I have been blessed to be eclectic and I am thankful for that,” says Cage, as he reflected on his wide ranging repertoire that includes cult favorites such as Wild at Heart and Leaving Las Vegas and Hollywood blockbusters such as National Treasure and Ghost Rider. “I realized the responsibility of film and I feel I have a responsibility to make these popcorn movies, these family movies, to provide something quite beautiful and something quite necessary which is a family bonding experience. So God bless the popcorn movies! Especially movies where you can take the kids because I remember looking forward to seeing those movies with my parents, and if I can give that back then I’m gonna do it. And I still have interest in the midnight audience: I want to make movies for my roots, movies like Bad Lieutenant.”

“Working with Werner Herzog, who’s always been on my hit list, and getting to work with Nicolas Cage for a second time is my joy,” says Mendes. “One day I want to play the ‘bad lieutenant’ myself. I want to play characters with layers.” Mendes gushed about Cage’s “fearless work,” citing him as an inspiration. “I still feel like a student, and I still go to acting class and study with Ivana Chubbock, my acting coach. So for me, the opportunity to work on a film …where Nic’s just soaring and fearless is like being in school.”

FILM

“Eva’s evolved,” says Cage. “She was excellent in Ghost Rider but there is a new kind of more liquid, soft Eva Mendes that’s like very fluid and spontaneous. I hope we’ll work together again.”

“Like Nic, I have a house in New Orleans and heard that this movie was happening, so I auditioned down there. I don’t know if it helped me that I was already there. Maybe the competition isn’t as fierce down there,” Coolidge jokes. “But really do you know what the odds are in getting a role like this? They’re one in a million.”

Other New Orleans actors managed to find their way into the film, including rising star Lance E. Nichols, best know for his performance as a preacher in The Curious Case of Benjamin Button. On Nichol’s performance, Cage remarked, “He was pretty amazing to watch. We had some incredible scenes together.”

Herzog is quick to emphasize that the strength of this film is the chemistry of the ensemble cast. The audience at Grauman’s on Wednesday night reinforced this with thunderous applause. But for locals, one can’t help but think that perhaps the most memorable character in Bad Lieutenant: Port of Call New Orleans is post-Katrina New Orleans.

“In New Orleans, there is a strong sense of recovery,” says Herzog.

“I do remember when filming outdoors people would come by and say, ‘Are you making a film?’ and ‘Thank you for coming.’ Now music is coming back and films are coming here. There was a void that needed to be filled and that void is culture, vibrant culture which will ultimately be the guiding light to New Orleans’ recovery.” S

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FILM | last looks INAUGURATION OF RALEIGH STUDIOS - BATON ROUGE AT THE

CELTIC MEDIA CENTRE

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ver 250 distinguished guests from the entertainment industry were on the Scene along with key state and local officials for the ribbon cutting and inauguration of Raleigh Studios at the Celtic Media Centre in Baton Rouge. The date marked the completion of Phase I of Celtic’s construction and the kickoff of principal photography for Columbia’s Battle: Los Angeles, the first major studio feature to base out of Baton Rouge since Hurricane Katrina. With Celtic’s two largest stages now open for business and a third opening in December, Raleigh Studios Baton Rouge is already attracting some of the world’s biggest productions and most celebrated names in show business. S

Clockwise from left to right: Amy Mitchell-Smith and Michael O’Connor, Baton Rouge Mayor Melvin “Kip” Holden with David Kors, Joe Traigle, LeAnne Weill, Louis Herthum, Courtney Guillory, Patrick Mulhean, Kevin Calmes, Mark McNair

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FILM | last looks

NEW ORLEANS FILM FESTIVAL

by Lisa M. Daliet

CELEBRATES 20 YEARS

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ew Orleans is a city that loves the arts. And every fall as October rolls in, the New Orleans Film Society (NOFS) hosts a red carpet event honoring the art of filmmaking.

In 1989, a small group of moviegoers with a passion for the aesthetics of film and the theatrical experience founded the New Orleans Film Festival (NOFF). What was then a weekend event with only a few movies has grown into a weeklong industry event of film screenings, panels and workshops, parties and award ceremonies attended by a spectrum of movie buffs and Hollywood names.

Last month, the NOFF celebrated twenty years with a festival that will be remembered as one of its best. Highlights included screenings of films curated by artistic director and founding member John Desplas.

These included films such as Werner Herzog’s dark comedic reimagining of Abel Ferarra’s 1992 cult classic Bad Lieutenant. Shot on location, Bad Lieutenant: Port of Call New Orleans drew a crowd too big for Canal Place Cinema to contain. Richard Linklater’s period drama Me and Orson Welles kicked off the festival and Francis Ford Coppola’s brooding Tetro was there with the oh-so-compelling and often controversial Vincent Gallo. Other memorable moments included the much talked about drama Precious: Based on the Novel Push by Sapphire, the dolphin documentary The Cove, a panel discussion with Linklater, a Burlesque Cinema Party featuring the documentary No Strings Attached and a sultry performance by Fleur de Tease. All of this, plus the experience that really sets the New Orleans Film Festival apart: “I Love Louisiana Day.” Cultivating Louisiana filmmakers and providing a platform for them has always been a priority for NOFF. For the second year, “I Love Louisiana Day” showcased screenings and panels devoted to the local industry.

“We see this as something very special about the festival,” says NOFS board member Karen Louise Crain, who captained the Louisiana filmmaker’s jury. The jury was a panel comprised of film professionals, scholars, students and movie buffs in charge of selecting films. “We want to be a hub for Louisiana filmmakers. We want to be, and see ourselves as, the granddaddy of the festival circuit.”

Each year, NOFF recieves over 500 film submissions, with nearly eighty in the Louisiana category alone. Jurors seek films with strong Louisiana connections such as this year’s Sun Dogs, a tale of disillusionment directed by self-described misadventurer Jason Affolder. The film was conceived while he worked as a New Orleans public school teacher and shot while working as a firefighter.

“Although New Orleans and Katrina are never mentioned by name, they completely stain the fabric of the movie,” says Affolder, an Indiana native.

“Almost every location could only be found around New Orleans. And although the characters never verbally bemoan the destruction of the city, the malaise these people are infected with is inspired by what I felt or saw.”

NOFF cultivates relationships with local filmmakers and encourages their submissions each year. Filmmaker Zack Godshall, who won the 2007 Louisiana Filmmaker Award for Low and Behold, submitted God’s Architects this year and won the award again. God’s Architects tells the stories of five visionary builders and the monuments they create with neither blueprints nor funding.

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Top: A Conversation with Richard Linklater with Henry Griffin as Moderator.

Bottom: Board President, Wayne Troyer; Artistic Director, John Desplas; and Director, Richard Linklater.

Originally from Algiers, LA, Los Angeles-based writer, director and actor Todd Berger spoke on the Louisiana filmmaker’s panel. His edgy narrative The Scenesters was shot handheld on HD, using techniques to simulate ‘found’ crime scene, surveillance and courtroom video to weave a dark comedy about a hunt for a serial killer and the people who work crime scenes: the cops, the reporter, and the cleaner who wipes the blood off the wall.

“It’s very important to come home, go to the theater I used to go to as a kid, invite friends and family and say, ‘Look. Here’s what I’ve been doing,’” says Berger. “NOFF incorporates all the art of the city into the festival, they embrace local filmmakers… it’s this cohesive gumbo. I can’t wait to come back next year.”

last looks | Besides growing attendance and a refined focus on local talent, NOFF’s presence increased this year with the incorporation of additional venues spread widely across the city. Beyond mainstays Canal Place Cinema (which closed at the end of October for a $4 million renovation), the Prytania Theatre and Contemporary Arts Center, screenings were held at New Orleans Museum of Art, The Porch, One Eyed Jacks and Snug Harbor.

“I think in the early days of the society, it was really about having that pristine movie going experience,” says Crain, who began as a volunteer in 2002, became a juror, then joined the board in 2004. “There’s a more democratic process now with movies and where we watch them. Just like we want our art not just in museums but in our cafes and coffee shops, we’re moving more toward being about community, not just about the technical aspects.”

“NOFF is a staple of the city’s film and entertainment industries,” boasts NOFS president Wayne Troyer. “[This is] thanks to a small hard working staff, publicity gurus, a growing local film industry and a board immersed in it.”

“We’ve recruited more filmmakers onto the board,” says Crain. “[We got] Linklater because he’s a buddy of Henry Griffin, a University of New Orleans film professor, actor and writer who came on board this year.” Filmmaker Rebecca Snedeker, who collaborates with The Porch to bring monthly film screenings to the 7th ward, is another recent addition.

NOFF planstobuilduponit spanel sand workshops forthe2010festivities.

“For the general public to get to interact with creative people is part of the draw,” says Crain. “An opportunity to go over to Larry Blake’s studio were Steven Soderbergh mixed sound on all of his movies and have some kind of a demo is a cool thing for a young filmmaker. Or being on a panel with Richard Linklater, able to talk about things [like cameras, casting and budget]. That’s where the real information is for filmmakers.”

“We had a great festival this year and that always bodes well for an-

FILM

A crowd gathers outside the Prytania Theatre for the New Orleans Film Festival midnight screening of Troll 2.

other great fest next year. The backbone of the festival is really the membership and volunteer jury pool that work long hours during the festival and spends 40 summer hours screening films to vote on for the festival.

I would encourage people to get involved because the best way to predict what the 2010 festival is going to be like is to start watching movies with us on a jury next spring because that’s when you really figure it out.”

Membership to NOFS is $50 per year. Visit www.neworleansfilmfest.com for more info. S

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FILM | review

PARANORMAL

RESPONSE

by Arthur Vandelay

B

acked by a $342 million dollar series track record and made for only $11 million, Saw VI waited in the wings of theaters across the country to once again claim the crooked crown as Halloween’s box office king. While quality has waned since the trendsetting original, there is still something to be said for a Saw sequel on opening night. A packed house of teenagers, twenty-somethings, and lifelong horror fans all waiting for another assault on their senses. Saw VI’s opening night was strategically placed to capitalize on its reputation, one week before Halloween. But on that Friday, October 23, Saw VI was derailed by Paranormal Activity, the little demonic train ride of terror that could.

Made for the price of a used Honda Civic, Oren Peli shot Paranormal Activity in just seven days. The story of the $11,000 film’s journey from the festival circuit to box office phenomenon is now well documented. Peli’s casting agency was Craigslist.

His camera operator was actor Micah Sloat. His primary location was his own house in suburban San Diego. The journey took several years, including stops at various festivals, a myriad of alternate endings, and word-of-mouth, courtesy of a creepy viewing experience had by none other than Steven Spielberg.

Paramount acquired the film for a reported $300,000. An effective and cheap viral marketing campaign fueled the film’s slow burn towards a wide release. One source places Paramount’s total cost 26 | December 2009

for prints and advertising at only $10 million. Paranormal Activity’s weekend box office triumph over Saw VI may be impressive, but it was ultimately a bump in the road in the film’s fourth week of release on its way to becoming a $100 million dollar blockbuster, and one of the most profitable films in modern Paramount history.

Oren Peli’s recipe for success was eerily simple. Avoiding many of the errors befalling first-time directors, he created a film around his budgetary constraints. Rather than trying to create a multimilliondollar film on an $11,000 budget, he set out to make the best $11,000 film possible. Instead of betting the success of the entire film on one painstakingly constructed, time-consuming shot, he wrote his story around characters sleeping in front of a static prosumer camcorder.

Paranormal Activity is also a testament to a few other rules of thumb for truly independent filmmakers. With only four actors seen on screen in the theatrical release, the character count is low, keeping labor costs down. A majority of the film’s scenes are interiors filmed at a single location, keeping location fees to a minimum and allowing night scenes to be shot during the day. Paranormal Activity also notably accomplishes all of its scares with no expensive special make-up effects or extensive post-production work, both indispensable aspects of cash cow horror franchises like Saw. But for aspiring filmmakers and franchise-hungry studio executives alike, Paranormal Activity’s greatest lessons are these: characters and story count. S

| CREW UP

NEVER A DULL MOMENT AT

by Janet Fabre Smith

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f NOVAC were a child, it would probably be diagnosed as hyperactive: always on fire, and always in front of all things film, video or digital media in New Orleans. From sponsoring new projects to creating new classes, there is never a dull moment at the New Orleans Video Access Center. Here is a glimpse of what’s happening in December:

NOVAC

Above: NOVAC instructor Ethan Anderson explains video compression to Damien LaManna, New Orleans film commissioner Jennifer Day, and students in NOVAC’s Creating Video for the Web Workshop.

Below: NOVAC Instructor Jonathan Jahnke and NOVAC’s New Outreach Director, Danielle Nelson take a minute to model the cool NOVAC American Apparel T-shirts.

FREE CLASSES FROM NOVAC The Louisiana Film Crew Training Program CAMERA ASSISTANT WORKSHOP: DECEMBER 1-21

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The Camera Assistant training track will prepare participants for entrylevel work in the camera department while providing hands-on instruction about how the camera department functions as a whole. Participants will learn the roles of the Camera Assistant, Camera Loader, 1st A.C., 2nd A.C., Camera Operator and Director of Photography. Locals working in the camera department will serve as guest speakers and guest instructors, an invaluable networking opportunity for those looking to break in to the business. Chicago native David Morenz, who has worked on a number of films in New Orleans, is the primary instructor. The workshop will be held at Panavision New Orleans, where students will have access to Panavision’s camera equipment.

in a useable promotional piece for the local non-profit, such as the one created for Innocence Project/New Orleans during the first program.

VIDEOGRAPHY WORKSHOP: SLATED FOR EARLY DECEMBER

RAWSKILLS SPORTS VIDEOGRAPHY: COMING SOON

NOVAC’s second run of this comprehensive thirteen-day training program is here. Participants will have three days of intensive Final Cut Pro training, using the Apple FCP 7 101 curriculum. The next three days are devoted to learning camera, sound, lighting, and interview techniques in preparation for a two-day shoot that will focus on a local non-profit. The material filmed during the two-day shoot will then be edited, resulting

This five-day workshop prepares participants to film high school and amateur sporting events across the state and upload it to the RawSkills network, where recruiters, coaches, and athletes’ family members have access to the material. Training focuses on the best techniques for capturing the action in different venues (football fields, basket courts, baseball stadiums) as well as how to conduct post-game interviews. S www.scenelouisiana.com | 27

scene CELEBRITIES HONOR THE NATIONAL WORLD WAR II MUSEUM

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t the National World War II Museum, history, education, technology and entertainment come together to tell the heroic journey of America’s fight in WWII. The National World War II Museum opened three new venues in November with a combination of power, pomp and poignancy. Hollywood celebrities including Tom Hanks, Patricia Clarkson and Mickey Rooney, a flyover squadron of military jets and a crowd of 4,000 invitees saluted 350 WWII veterans assembled on the Museum’s parade grounds.

The new attractions are the Solomon Victory Theater, Stage Door Canteen entertainment venue and The American Sector, a new restaurant from Chef John Besh. Together, they are the most significant cultural additions to New Orleans in recent memory, representing the next phase of the Museum’s ongoing $300 million expansion.

The centerpiece of the 70,000-square-foot expansion, the Solomon Victory Theater, will screen the 4-D cinematic production Beyond All Boundaries – a 35-minute immersive journey from Pearl Harbor to VJ Day featuring breathtaking effects, rare archival footage and images, CGI animation and multi-layered projection. Seats rumble as Tiger tanks storm across the deserts of North Africa and snow gently falls in the forests of the Ardennes on the eve of the Battle of the Bulge. Executive Producer Tom Hanks, Creative Director Phil Hettema, celebrated historians Donald L. Miller and Hugh Ambrose, and the Museum’s research team came together to create an experience that is emotional, visceral, engaging and, most importantly, historically accurate.

“This isn’t another World War II film,” says National World War II Museum President and CEO Dr. Gordon H. “Nick” Mueller, who first conceived the concept for the attraction. “This is a cinematic experience unavailable anywhere else in the world. The narrative uses the combatants’, journalists’ and Home Front workers’ own words to tell the story of the war. It’s an unprecedented journey that took America Beyond All Boundaries of warfare and sacrifice.”

Besides Hanks, Beyond All Boundaries features the voice talents of Kevin Bacon, Corbin Bleu, Patricia Clarkson, Kevin Connolly, James Cromwell, Blythe Danner, Viola Davis, Jessie Eisenberg, John Goodman, Neil Patrick Harris, Kevin Jonas, Justin Long, Tobey Maguire, Joseph Mazzello, Daran Norris, Wendell Pierce, Chris Pine, Brad Pitt, Bill Sadler, Jon Seda, Gary Sinise and Elijah Wood. S

Top: Tom Hanks and Patricia Clarkson. Bottom: Tom Hanks reaches back to talk with Mickey Rooney. Right page top: John Besh serves at the American Sector, Bottom LtoR: Ron Livingston, James Cromwell, Hanks, William Sadler 28 | December 2009

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PRODUCTION UPDATES SECRETARIAT CONTINUES PRODUCTION IN LAFAYETTE From Walt Disney Pictures and Mayhem Pictures, Randall Wallace directs the feature film Secretariat, starring Diane Lane, John Malkovich, Kevin Connolly, Dylan Walsh, and Nelsan Ellis. The film chronicles the life story of Penny Chenery, owner of the titular racehorse that won the Triple Crown in 1973. www.scenelouisiana.com | 29

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DREAMS COME TRUE WITH THE RELEASE OF THE PRINCESS AND THE FROG

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he New Orleans Museum of Art (NOMA) will present “Dreams Come True: Art of the Classic Fairy Tales” from the Walt Disney Studio, a major exhibition featuring more than 600 original artworks that shaped legendary animated features including Snow White and the Seven Dwarfs, Cinderella, Sleeping Beauty, The Little Mermaid and Beauty and the Beast. The exhibit will also include artwork from the upcoming Walt Disney Animation Studios musical, The Princess and the Frog, an animated comedy from the creators of The Little Mermaid and Aladdin. The film is set in New Orleans and due for release at Christmas 2009.

“We are delighted to present this magical exhibition in New Orleans,” said NOMA director E. John Bullard. “Children will love seeing their favorite Disney characters in a museum setting and adults will be taken by the technical skill and emotional depth reflected in these works. It was Disney animators who really led the way in the 20th century toward establishing animation as a serious art form.”

Visitors to the exhibition will encounter themed rooms showcasing artwork related to specific animated features. Arranged chronologically by year of release, the rooms will feature, in order: Silly Symphonies, Snow White and the Seven Dwarfs, Cinderella, Sleeping Beauty, The Little Mermaid, Beauty and the Beast and The Princess and the Frog. Film clips will accompany the artwork to demonstrate how individual sketches and paintings lead to a finished celluloid masterpiece. An adjacent education area will highlight Disney’s long association with music and will also serve as a mini-library for animation research and storytelling programs.

The Princess and the Frog is about free-spirited, jazz-loving Prince Naveen of Maldonia, whose deal with a shady voodoo doctor goes bad and the once-suave prince is turned into a frog. In a desperate attempt to be human again, the prince asks a favor in exchange for a fateful kiss on the lips from a beautiful girl, Tiana.

But the kiss takes an unexpected turn and leads them both on an adventure through the mystical bayous of Louisiana to the banks of the almighty Mississippi and back in time for Mardi Gras. An unforgettable tale filled with music, humor and heart where two frogs, along with the help of a 200-year-old voodoo priestess, discover that what they want isn’t as important as what they need.

The Princess and the Frog will feature Disney’s first African-American princess, Tiana, who lives in New Orleans during the Jazz Age. Other characters include Louis, a trumpet-playing alligator, and Ray,

a love-sick Cajun firefly. The Princess and the Frog marks a return to hand-drawn animation from the revered team of John Musker and Ron Clements, with music by Oscar-winning composer Randy Newman (Monsters, Inc., Cars, Toy Story). S

PRODUCTION UPDATES THE MECHANIC CONTINUES PRODUCTION IN NEW ORLEANS Directed by Simon West for Millennium Films, Jason Statham stars in this spy thriller set in the world of post-9/11 intrigue. The Mechanic is a remake of the Charles Bronson film of the same name.

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extras |SCENE a scene from The Princess and the Frog

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LtoR: Columbus Short, Laurence Fishburne, Matt Dillon

A CONVERSATION WITH COLUMBUS SHORT

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olumbus Short is a multitalented young actor, dancer and musician who has already starred in several hit films in his career. He currently has a lead in the new film Armored, playing opposite Matt Dillon and Laurence Fishburne. Armored is an action thriller about a newly hired guard for an armored truck company who is coerced by his veteran coworkers into stealing a truck containing $42 million. But a wrinkle in their supposedly foolproof plan divides the group, leading to a potentially deadly resolution.

While passing through New Orleans, Scene Magazine sat down to chat with Columbus and talk about his career. No stranger to Louisiana, Columbus worked on the drama Cadillac Records, which partially shot just outside of Baton Rouge, LA and at Angola State Penitentiary.

“My role in Cadillac Records was the most challenging role I have played in my career. Developing that character and working with the caliber of actors in the film: Jeffrey Wright, Adrien Brody…it was fantastic.”

Two months before graduating high school, Columbus was presented with an opportunity to travel with the famed dance troupe Stomp!

He didn’t think twice about graduating early and joined the touring stage show. After two years and two worldwide tours, Columbus decided to pursue his passion for acting. His big break came when he landed the lead role of “DJ” in Screen Gems’ hit feature Stomp the Yard.

When asked what he loved most about New Orleans, his answer mirrored that of most young men: food, booze, and women. “Any time I come into Louisiana for work, we also find time to hang out.”

Columbus has also starred in This Christmas and the horror flick Quarantine. Following Armored, he can next be seen in the ensemble comedy Death at a Funeral, co-starring alongside Chris Rock, Martin Lawrence, Tracy Morgan, Danny Glover, Loretta Devine and Zoë Saldaña.

“As an actor, your goal is to make a good film. When choosing roles, I look at every detail from other cast [members] to director of photography. From the script to the time it’s on the cutting room floor and then out to the theater, so much happens. So you have to put the pieces together and look at all options to make a healthy choice.” S

PRODUCTION UPDATES TREME NOW FILMING IN THE BIG EASY HBO’s Treme is David Simon’s follow-up to the critically lauded The Wire. After shooting the show’s pilot episode in the spring of 2009, the show returns to begin filming its first season this fall. The dramatic series will chronicle the rebuilding of New Orleans in the wake of Hurricane Katrina through the eyes of local musicians.

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PRODUCTION UPDATES

SUPER NOW FILMING IN SHREVEPORT A comedy written and directed by James Gunn. After his wife falls under the influence of a drug dealer, an everyday guy transforms himself into Crimson Bolt, a superhero with the best intentions and no heroic skills. The film stars Ellen Page, Rainn Wilson and Liv Tyler.

THE MORTICIAN CONTINUES PRODUCTION IN NEW ORLEANS An independent thriller starring Edward Furlong, Method Man and Tom Hardy.

THE HUNGRY RABBIT JUMPS STARTS PRODUCTION IN NEW ORLEANS Roger Donaldson directs Nicolas Cage and January Jones. After his wife is assaulted, a husband enlists the services of a vigilante group to help him settle the score.

GREEN LANTERN IN EARLY PRE-PRODUCTION IN NEW ORLEANS After leaving Australia, this comic book tentpole has set up shop in New Orleans. Starring Ryan Reynolds as a man granted a mystical green ring that bestows him with otherworldly powers, as part of an intergalactic squadron tasked with keeping peace in the universe.

EARTHBOUND IN PRE-PRODUCTION IN NEW ORLEANS Nicole Kassell is set to direct Kate Hudson in a comedy about a woman who finds out she’s dying of cancer. But when she meets her match, the threat of falling in love is scarier than death.

RED IN PRE-PRODUCTION IN NEW ORLEANS Robert Schwentke directs Bruce Willis, Morgan Freeman and Helen Mirren in a film about a former black-ops agent who returned to action to take on a high-tech killer.

UNTITLED PATRICIA CLARKSON/JOHN CENA PROJECT BEGINS FILMING IN NEW ORLEANS John Cena, the star of 12 Rounds, returns to New Orleans to shoot the second of five films from the newly formed WWE Studios.

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NEW DIGITAL MEDIA STUDIO IN LAFAYETTE

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ixel Magic recently announced a new digital media studio at LITE in Lafayette, that could create 40 direct new jobs in three years. Pixel Magic provides digital visual effects for motion pictures and television. Its capabilities include a full range of visual effects services in 2-D and 3-D, including digital compositing, set extensions, wire and rig removals, digital opticals and crowd duplication. Pixel Magic has done work for Miramax, Warner Bros, 20th Century Fox, and DreamWorks on major films such as Marley & Me, Get Smart, 300, Mr. and Mrs. Smith, and The Last Samurai. Louisiana Economic Development’s Office of Entertainment Development, working with regional and local partners, encouraged Pixel Magic to expand in Louisiana in conjunction with its work on Disney’s film Secretariat, currently filming in Acadiana.

“Pixel Magic is a great example of the kind of companies we hoped to position Louisiana to secure when we strengthened Louisi-

ana’s film production and digital interactive media tax credits during the last legislative session,” said Gov. Bobby Jindal. “Pixel Magic’s decision to locate in Louisiana will send a signal to Hollywood and to other leading digital media companies that Louisiana is a major player in the digital media industry. This win will help accelerate the development of Lafayette as a hub for digital media and film production, and of course it will help create more good jobs for our children so that they can pursue their dreams right here in Louisiana.”

“After reviewing opportunities in Canada, Louisiana, New Mexico and other states, we chose Louisiana because of its variety of locations and diverse environments, the growth of film production in the state, and its industry specific tax incentives,” said Pixel Magic General Manager Ray Scalice.

Pixel Magic is expected to bid on other major film and television projects set to shoot in Louisiana. S

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MUSIC | sound speed

by Kevin Barraco

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Lenny Kravitz

n October 30, the Voodoo Music Experience kicked off a weekend celebration of live music in New Orleans. The line-up of this year’s Voodoo Experience encompassed more than one hundred acts, including headlining performances from Eminem in his only scheduled concert of 2009 and first full performance in over four years; KISS, one of the most influential and successful rock and roll bands of all time; the reunited Jane’s Addiction, with all of the original members, assembled for their last scheduled U.S. date in 2009; Widespread Panic, who performed per their annual Halloween tradition; and Lenny Kravitz, who closed out the weekend’s musical melting pot.

Over Halloween weekend, New Orleans City Park morphed into a ghoulish arena of music lovers in costumes dwelling under the ominous oak tresses to witness all that Voodoo had to offer. Although the first day of the festival brought inclement weather, leaving some of the grounds muddy and wet, thousands of fans attended for one of the most successful years in the history of the Voodoo Music Experience.

Robert Randolph

Jane’s Addiction

The Voodoo Experience continued its objective of merging technology and art to redefine the live festival experience.

Festivalgoers and technology enthusiasts enjoyed a groundbreaking experience as Voodoo released the first Augmented Reality App created for a music festival.

Designed and developed by Rehage Entertainment and New Orleans-based Zehnder Communication, the Augmented Reality App enhanced the festival experience with real time event updates and location-based information via GPS. Unlike anything before, the Augmented Reality App gave users pinpoint information about the schedule, bands, the art installations, food and beverage booths, vendors, and festival services.

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photos by Mark St. James

photos by Mark St. James

MUSIC

Kiss

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MUSIC | sound speed

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photos by Ashley Merlin and Mark St. James

MUSIC

Perry Farrell of Jane’s Addiction

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photo by Mark St. James

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MUSIC | sound speed

Lenny Kravitz

Dave Navarro of Jane’s Addiction

The risk of relying on the staying power of rock dinosaurs and including more mainstream acts than any previous year paid off big. Before enormous crowds, each night’s biggest acts validated their reputations with fresh, energetic, and top-notch performances. Festival headliner KISS presented an updated and technically complex version of the biggest show in the world, executed to perfection. From start to finish, with every pyrotechnic gimmick imaginable firing off in rapid succession, KISS performed at the top of their game, masters of the art of overkill. Amidst a nonstop array of video feeds, fireworks, explosions, fire, and rock psychedelic, the band delivered its oft-imitated brand of rock to the delight of old and new fans alike.

KISS’s lead-in was Jane’s Addiction, returning with their full original lineup to perform in New Orleans for the first time since 1991. Without revealing new material, they seemed happy to amuse the thousands gathered by confidently plowing through, and occasionally toying with, many of their most popular songs.

Lenny Kravitz brought a contrasting, down to earth performance devoid of gimmickry but full of funk.

Bringing the festival to a memorable close, Kravitz featured local musicians Trombone Shorty, Michael Hunter on trumpet, and weaved a mellow theme, repeatedly referring to New Orleans as his home.

Andrew Stockdale of Wolfmother

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Kiss

On the heels of his highly successful four month, fifty-four city European tour, Lenny Kravitz returned stateside to celebrate the 20th Anniversary of his iconic debut album Let Love Rule with a closing performance on Sunday, November 1, at the Voodoo Music Experience in New Orleans. With a sound that is as much a melting pot as the city itself, Kravitz melded with the weekend-long festivities, which showcase the bohemian culture, arts and cuisine of New Orleans, his part-time home. With close to forty million records sold worldwide, Kravitz’s appearance at Voodoo Experience included material from throughout his over twenty year career. photos by Mark St. James

MUSIC

Paul Meany of MuteMath

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photo by Ashley Merlin

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MUSIC | sound speed

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photos by Ashley Merlin and Mark St. James

MUSIC

Big Sam’s Funky Nation

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photo by Ashley Merlin

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MUSIC | sound speed

Troy Andrews with Lenny Kravitz

photos by Ashley Merlin and Mark St. James

The Vettes

Rachel Vette

neighborhood. This weekend is a homecoming for me: I haven’t played in the city for months and we are working on a new record.” Troy will also be a guest on the new HBO series Treme, now filming in New Orleans. As for artists he would like to work with, Lil Wayne is on the top if his list.

The Vettes, another local favorite, rocked the Voodoo stage for the second year in a row.

Recently, this retro-rock band from River Ridge, LA has carried a strong fan base, garnishing local radio time and becoming one of the top-requested artist to be played on B97-FM. Band members and siblings, Todd, Brian, Chad, Mitch and front girl Rachel Vette deliver the lyrics and attitude that have carried their music into soundtracks of films and on television networks like MTV. “It’s always an honor to be playing with such caliber bands as Lenny Kravitz and Jane’s Addiction,” said Rachel. “We are working on some new material and putting that together now for a release next year.” “Walk Like Models,” “Invincible,” and “Give Em What They Want” are a few of the tracks putting them on the Scene. S

Troy “Trombone Shorty” Andrews

Local musical artists asked to play Voodoo get to experience the ultimate opportunity to perform amongst their favorite musicians. Big Sam’s Funky Nation, a New Orleans favorite, jammed for hundreds of fans and played on stage with George Clinton and Parliament-Funkadelic.

Big Sam started playing music at a young age and first played with the Dirty Dozen Brass Band. Now as Big Sam’s Funcky Nation, he is winning over crowds and recently toured with Alan Toussaint and Elvis Costello.

Much like Big Sam, another local artist garnering national acclaim is Troy Andrews, better known as Trombone Shorty. Coming off a long series of touring performances, Troy worked the stage of Voodoo again this year to celebrate his time at home. Representing New Orleans the best way he can, Troy joined his friend Lenny Kravitz on stage for the closing act of the Voodoo Music Experience.

Scene Magazine caught up with Troy backstage. Carrying his trombone by his side, he’s aware of his achievements and doesn’t take anything for granted. “I am one of the last successful musicians to come out of the Treme

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Rachel Vette of The Vettes

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photo by Ashley Merlin

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Tufts IT OUT FASHION | designer spotlight

by Saree Schaefer

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t has been a long journey for Erin Tufts, co-owner and designer of the fashion line Niré. At just 25 years old, Tufts possesses wisdom well beyond her years and already has the makings of a true fashion designer. Erin’s grandmother was a seamstress out of necessity, making clothes for her children in tough economic times. She passed along her skills to Erin, who has taken it far beyond a hobby, with her first collection being Barbie couture. “My mom still has all the clothes I made for Barbie,” laughs Tufts. Now she uses her sewing talent and expertise to create exclusive designs for women.

Erin has traveled across the globe soaking up inspiration from everything that is around her. “I look at other cultures and what people are wearing on the streets and then turn it into something unique,” Erin explains. This is precisely what she did last year when she produced the MacroFashion Showcase in New Orleans, themed “Global Fashion Influence.” The show was also used as a platform to raise money for The Hun-

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ger Project, an organization whose focus is to end world hunger.

With several fashion shows under her belt, Tufts is fully committed to branding the Nire’ collection and pursing her dreams in fashion design. In May of 2009 Erin graduated from Louisiana State University with a B.A. in Textiles, Apparel and Merchandising. Shortly after graduation she packed up her car and made the journey to New York City from Covington, LA. Now in New York, Tufts spends her days walking through the garment district trying to find the best fabric for her creations. “It’s sometimes so overwhelming to sort through and choose the right fabric and I have crossed a lot of obstacles, but in the end it will all be worth it.” Choosing fabric is not her only obstacle, though. Once at her workspace, Tufts will spend up to ten hours a day working on her garments.

Tufts’ hard work is paying off: her Nire’ collection is certainly one of a kind. The spring 2010 collection is slightly different than some of Tufts’ previous designs. The focus is stylish and functional, with pieces that move freely from day to night. “We use to do a lot more hard core rocker chick, but this collection is softer with lots of pinks and flattering silhouettes.” Think secret garden-mystery with a touch of edge. These looks are perfect for the young professional. Since her move to New York, Tufts has also begun working with leather, a skill she hopes will eventually allow her to move into handbags.

In just a few short weeks we will welcome Tufts home to New Orleans Fashion Week and the Covington native could not be more proud. “I’m so excited to show at NOLA Fashion Week.

New Orleans is a fashionable place and this will shed some light on a city that is not really known for fashion,” says Tufts.

Louisiana is indeed a hotbed for talented musicians and artists, and attention needs to be paid to the upcoming, local designers.

Although Tufts has grown exponentially as a designer and a person, she has not forgotten her roots. Her passion lies in New York, but her heart lies in Louisiana. “I miss my family’s home cooking and seafood, I cannot wait to have a bowl of gumbo. We really do have the best food in Louisiana,” Tufts says with great conviction.

For more information on Erin Tufts sans the Niré collection, visit: www.nirecollection.com and www.nirecollection.blogspot.com. S

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FASHION | saree’s style

Wearing

Green

by Saree Schaefer

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olors change with the seasons and fabrics are forever in flux, but green is here for good. Eco-friendly, organic, fair trade and sustainable are just a few of the buzz words floating around the fashion industry to describe the latest in going green with your wardrobe. Designers with highly prominent fashion labels such as Phillip Lim, Marc Jacobs and Versace have added styles using earth-friendly, recyclable materials to their collections. This trend has paved the way for other designers to debut their collections promoting a lifestyle they support, such as Edun, a line created by Ali Hewson, the wife of activist and U2 front man Bono.

With the availability of organic and fair-trade products such as blue jeans, shoes, bags, swimwear and lingerie, consumer choices seem endless. According to Sandra Marquardt of the Organic Trade Association, U.S. sales of organic fiber, linen and other clothing totaled $472 million in 2008, up 65 percent from 2007 sales. The Organic Cotton Market Report also supports this trend with the 2007-2008 report showing global retail sales of organic cotton apparel and home textile products reaching an estimated $3.2 billion in 2008. The numbers clearly support the economic realities of this phenomenon, but they do not tell of the many personal reasons driving the trend toward green.

Before it was cool to speak green, I already classified myself as somewhat recycle-bin chic. In the early 90s, my babysitting money was spent on a “Reduce-Reuse-Recycle” sticker for my Trapper Keeper and hemp products at The Body Shop. Times have changed 48 | December 2009

since then: organic T-shirts are easier for me to find and I’ve traded the scent of musk for Michael Kors. As a slave to fashion, I’ve participated in more trends than I would like to admit, some far too environmentally irresponsible for me to be comfortable with now.

Today, I try to reconcile my love of style with the desire to preserve this earth for future generations and work toward the common good. My awareness of this issue has grown out of a realization that the little things done each day can add up in the long run to a big contribution.

One day, throwing on my organic tee and vegan leather jacket, I race out of my house, cell phone in hand, running late as usual.

In my ecofriendly-ish car, I start the ignition and, just before I back out of the driveway, I remember that the cell phone charger is still plugged into the wall. An image of the eco-responsible ten-year-old I saw on a PSA runs through my mind. I dash into the house to unplug my contribution to our nation’s energy crisis. Exiting my house for the second time, I realize I’ve left my car running, and that I just can’t seem to get this right!

Back inside the car, the eyes of a nameless but happy child emerge in memory as I travel towards my destination. The child received his very own pair of shoes simply because I purchased a pair of TOMS, shoes crafted from recycled materials.

I feel another wave of social and moral responsibility because I know I really have not been “living above the influence.” And yes, that’s another shameless reference to a popular PSA. S

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White onRed I

FASHION | red carpet

by Jennifer Sherdon

Photo by Jason Cohen

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t is unequivocally the most important dress a woman will ever buy. She will look more beautiful in it than in anything else she will ever wear. It will be the most talked about, most photographed and most remembered dress of her life. It is her wedding gown. And no one understands the importance of every detail from notion to final creation like Suzanne Perron, New Orleans’ own haute couture wedding gown designer.

Born in Baton Rouge, with roots firmly planted in the south, Perron attended Louisiana State University and received a B.A. in fashion design before attending an accelerated fashion program at the Fashion Institute of Technology (FIT) in New York. At the final student fashion show, iconic couture designer Carolina Herrera handpicked one of Perron’s designs, stating the she wanted whomever draped it to work in her fashion house.

“I’m just a Louisiana former 4-H’er,” said Perron. “I couldn’t believe I had the opportunity to work with such amazing designers and their clients.” Herrera’s clients weren’t just New York socialites either. Perron had the opportunity to drape and fit for Caroline Kennedy, Sarah, Dutchess of York, Princess Margaret, Countess of Snowdon, Marla Maples and more. “Carolina’s designs embody ‘Old New Orleans’ to me. They are classic, true couture, sophisticated. I love the structure and engineering that go in to her designs: it’s the structured draping that I’m truly talented in and excel at.”

After Carolina Herrera, Perron worked for three years with Anna Sui, which was a “completely different” experience. Sui’s design aesthetic is “rock and roll, vintage, grunge and party girl all rolled in to one. Working for her was like a creative explosion,” said Perron. “For a designer in her mid-20’s, I loved every minute of it.” Perron said she learned so much about the creative process from Sui. “Being able to watch her inspiration board grow over time and end up with four distinct runway sections was incredible. I really hope someone has documented those over the years. Even the process is a work of art,” she said.

To stay true to her couture roots and talents, Perron freelanced for Chado Ralph Rucci while working for Sui. Chado was “the” height of couture, according to Perron. “Ralph is the first American designer in 50 years to be invited to show in Paris,” she said. This type of “super” couture was what Perron thrived on and her extraordinary talent in this area eventually caught the eye of America’s sweetheart of wedding dress design, Vera Wang.

Perron answered an ad for Wang’s fashion house and received a call back the same day. “I was valued for taking a sketch and making it into a reality. It’s my gift,” Perron said. Less than two weeks after she answered the ad, Perron was working full time for Vera Wang’s couture and bridal collections. “I was over the moon,” she said. “It’s extremely rare for a designer to be accepted that quickly. I think that’s why Vera is so successful:

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she recognizes someone for their gifts and respects them for it. We worked extremely well together because of that.”

Some of the fittings Perron did for Wang’s designs included gowns for Holly Hunter, Katie Couric, Anne Hathaway and Mariska Hargitay. “Working for Vera, I got to see a lot of my work on red carpets and constantly in the press,” she said. “I’ve been to Katie Couric’s apartment, my work has appeared on the cover of Vogue, I’ve flown to Los Angeles with Vera Wang and had dinner with her, celebrities have come to my room for fittings. I’ve had a lot of ‘Oh my God’ moments.” Perron remembers doing an emergency alteration on a gown she had fitted for Wang’s bridal runway show. “The gown was a mermaid shape with lots of layers. To alter it, we had to take it in a lot at the waist and nothing in the hip area, but no one would tell us who it was for,” Perron said.

Later that weekend Jennifer Lopez was married in a Vera Wang gown. “It was the gown we worked on,” Perron said.

After four years of working for Vera Wang, home started tugging heavily at Perron’s heart. “I was homesick. I needed a way to move home and have a job.” The job market for designers is not exactly the same in Louisiana as it is in New York, and Perron quickly discovered that to do the job she loved, she’d have to create it. “I was ready to move home, then Katrina happened, and that motivated me even more,” she said.

“I had nothing to lose by opening a business in post-Katrina New Orleans. I had great support from my LSU community and the local press. My business built really quickly.”

In her studio on Magazine Street, Perron creates one of a kind bridal, debutante and Mardi Gras gowns. “I’m heavily inspired by my clients,” she said. “They are a part of the process from the original idea and sketch to fabric selection to final creation.” Because Perron isn’t driven by fame, her favorite moments come when the bride gets to walk down the aisle. “Every bride is a celebrity on that day. After a runway show the designer takes a bow. On her wedding day, it’s the bride that gets to take the bow. I love that,” she said.

In addition to creating gowns from scratch, Perron also redesigns vintage gowns. She most recently re-designed a 1914 wedding gown for Sarah Blakely, the inventor of Spanx, which was featured on the cover of Atlanta Weddings magazine.

The former LSU Golden Girl loves working with local talent and takes LSU interns under her wing to work in her studio. “Two of my full time employees are LSU graduates,” she said. “I love to keep things local and create an environment here so designers don’t have to leave the state to work.”

New Orleans’ own uber-couture designer was recently married in a simple outdoor wedding. Who was she wearing? None other than Suzanne Perron. S www.scenelouisiana.com | 51

FASHION | red carpet

NEW ORLEANS FASHION WEEK D

esigner and event planner Conrad Lamour created New Orleans Fashion Week in an effort to create an emerging platform designed to unveil, develop and fuse the Louisiana fashion industry. New Orleans Fashion Week’s goal is to help facilitate the growth of the fashion industry in New Orleans by connecting the unique city with fashion resources in New York, Boston, Los Angeles, Providence and Europe.

New Orleans is a city with many similarities to New York. Its storied cultural history uniquely informs local artisans, including an emerging community of local designers. The fashion industry is changing, and New York is no longer the only fashion center in the United States.

More than just a series of fashion shows, New Orleans Fashion Week is a collaboration of several fashion-based business showcases culminating with a fashion show. While the business of fashion is usually invisible to the general public, it is essential. Without the business of fashion, shows would be merely an exercise in entertainment.

“New Orleans Fashion Week, LLC is a company dedicated to fashion and the emerging industry in New Orleans and Louisiana,” said Conrad. “Our goal is to introduce just the right mixture of outside fashion influences to supplement what is lacking in the industry, but still keep it ‘New Orleans Fashion Week.’”

52 | December 2009

www.scenelouisiana.com | 53

Camera.

COAST TO COAST

LIGHTS.

by Emily Paige

O

n a popular street corner in Beverly Hills, I lift a Starbucks cup in the air towards my friend Billy and tap my cinnamon spice mocha against his gingerbread latte. It’s holiday time in Los Angeles and I’m a sucker for the season. The lights, the carols, the cocoa, the cards. It’s cheesy, I know. But when it comes to the Big Man and his little reindeer, I’m head over red and green heels.

Rewinding back a couple of weeks, Billy made mention of a famous holiday event called “Deck the Hills” over lunch at The Ivy. At the intersection of Rodeo Drive and Wilshire Boulevard stands the Beverly Wilshire Hotel. In front of it, the mayor, some musical talent and a celebrity guest all stand up and light an 800-pound crystal snowflake for UNICEF to kick-off the holiday season. Well, I just about fell off my chair. For a self-proclaimed holiday junkie like me, a ceremony of this kind is pinnacle. I instantly pencil it in.

Sipping our holiday caffeine at Starbucks, we’re an hour away from the big event and I’m as giddy as a schoolgirl. Along with a giant crystal snowflake and a sighting of Santa, tonight Billy has promised me snow.

“I’ll believe it when I see it,” I say to him and point to the bottom of my jeans, which have turned a darker shade of blue from the ankle down. Before our little pit stop for coffee, Billy and I went ice-skating at a rink in Santa Monica. A thin layer of water had coated the ice in protest of the 70-degree weather. My wet jeans are a clear sign that snow in L.A. is as likely as Amy Winehouse sticking to rehab. But Billy insists.

Growing up in New Orleans, cold weather in December was a random occurrence at best. Snow was practically legend. As you can imagine, my hopes for a winter wonderland during childhood never really panned out. On the particularly warm years, my mother would do her best to preserve the holiday spirit by turning the thermostat in our house down to 60. We’d pile on slippers and scarves, light a fire, and sip hot chocolate until Aaron Neville’s Christmas album took two spins around the CD 54 | December 2009

SNOW.

player. It wasn’t quite snow but it was a special experience that made December in New Orleans feel more like Christmas. Compensating for my life’s excess of warm weather holidays, whatever kind of snow Billy has planned for us to see, I am up for it.

Heading towards Rodeo Drive, Billy and I cut through the Beverly Wilshire Hotel, hoping to check out all the holiday decorations before the show. As we approach the rear entrance, a group of Christmas carolers harmonize a version of “Jingle Bells” for a growing crowd. Billy and I slow our pace to take in the performance and as we get close, one of them slips on a pair of sunglasses and starts an impromptu rap version of the classic tune. Not missing a note, the other three carolers blend in the original chorus with the rapper’s new beat. The move is an instant hit with the crowd. In the city of dreams, there’s no shortage of talent: even the simplest performances are a show.

Inside the main lobby, the Beverly Wilshire hotel feels alive. Street-goers from the festivities outside waft in and out, scoping the scene for eggnog, while schmoozing patrons spill into the lobby from the hotel bar. Employees and servers whiz by, dodging children searching for Santa and his gifts.

In the middle of the lobby, bathed in light, a holiday display of translucent cubes stacked upon one another sweeps upwards in a spiral, forming a glorious Christmas tree. Spaced out atop chosen cubes, short-stemmed roses in bright red colors bud from circular vases and practically glow. From above it all, a hidden projector beams light fragments into a crystal chandelier, sprinkling little white dots all over the tree to create the illusion of snow. We stand there with a crowd of admirers and stare. The display looks like it’s plucked straight from a movie. I ask Billy if he thinks Narnia is missing a tree.

I’m inclined to stay here all night and gawk at the display, but when Billy tugs at my sleeve and points to his watch, I’m reminded that an 800 pound snowflake is about to light up.

We exit the hotel onto Rodeo Drive. Stretching out before us is

COAST TO COAST fashion’s most famous street, wall to wall with holiday cheer. Kids run around with face paint and candy canes while grandparents stand arm in arm, gossiping over the day’s latest news. Young couples hold hands and stroll about while groups of friends stand in circles, bobbing their heads to a live band. Almost everyone wears hats and scarves because, now that the sun has set, it’s a whopping sixtythree degrees. Naturally, we Angelinos feel the need to bundle up.

Looking to the right, I see a line of kids leading up the famous marble steps of Via Rodeo and spot Santa seated in his big gold chair taking on wishes one at a time. Behind the kids, eager adults primp their dogs for a close-up with Santa. Only in L.A. do people want their pets photographed with Santa!

Wading into the crowd, I notice a small group of people gathering around a table and tug at Billy’s sleeve to follow me over.

Sitting on the table are gingerbread Ferraris, Mercedes, and a Rolls Royce, among other luxury vehicles. People are buying them like crazy. Behind the table, a large man in a white chef ’s uniform explains to the group that his pastry academy is selling the cars to raise money for St. Jude’s hospital. I promptly buy a Bentley.

“Christmas in Beverly Hills,” I announce as I hold up my new purchase. Billy takes a picture. I break off the trunk and split it with him, storing the rest in my purse for later.

While savoring our treat, a young woman in a yellow jacket walks up and hands us a pair of plastic 3-D glasses. “They’re for the show,” she says, and continues through the crowd.

Just then, the band finishes their set and the Mayor of Beverly Hills walks out onto the stage. Behind her, suspended in the U-shaped façade of the Beverly Wilshire Hotel, the UNICEF snowflake patiently awaits its big moment. In a short speech, the Mayor thanks the crowd for being there, and then makes room for the night’s celebrity guest, Rebecca Mader of ABC’s Lost.

Suddenly the crowd starts counting numbers backwards from ten. “ Nine, eight, seven...” Billy nudges me: “You ready?” I nod emphatically. “Five, four, three, two…one.” Rebecca pushes the button and the biggest crystal snowflake ever made lights up the night sky. Two Baccarat crystal chandeliers affixed to light posts down the center of Rodeo illuminate with the snowflake and suddenly Beverly Hills is bathed in light. Frank Sinatra’s White Christmas bursts out of loud speakers and fireworks erupt from the roof of the Beverly Wilshire.

“Put on your glasses!” Billy yells over the music and when I do, I see huge white snowflakes beaming across the hotel’s façade like fireflies. Snow! What an effect! Some crowd members sing along with the music while others hoot, holler and cheer.

We stand and watch red and green fireworks synchronize with the music, bursting thick bans of light into the sky. Watching the show with my 3-D glasses feels like I’m watching a movie and I have to remove them a few times to remind myself it’s real life.

Thirty minutes later, Billy and I pile into his car. “It was like New York’s tree- lighting ceremony in Rockefeller Plaza,” I say, “but on steroids.” Billy laughs and heads East along Wilshire Blvd, away from our two homes. When I ask him where we’re going, he tells me it’s a surprise.

The Grove is a charming outdoor mall shaped like a courtyard, with cobblestone streets, fountains and functioning trolley system built just for shoppers. It’s a wonderful place to shop, but when Billy pulls into the garage, I’m perplexed to learn that this is our stop.

We head to the center of the Grove and stand next to a large

fountain performing a water show much like that of the Bellagio in Vegas. Billy checks his watch. “It should be any minute,” he says.

Before I can ask him why we’re here, it starts to snow. “Oh my god! What is this?” I squeal, trying to control my enthusiasm. Billy points to the roof of a building next to us where a little black gadget is pumping buckets of snow. “They are spread out all over these roofs,” Billy says, referring to the buildings that surround us. “Twice a night they cover this place in snow.”

Hollywood has really outdone itself with this one. And I love it.

Snow was everywhere: it feels like the Grove is a life-size snow globe and someone just shook it up. I open my arms out wide, lift my head back and watch thousands of big, white flakes cloud the sky. Sixtyfive degrees and snowing in L.A. My mother would love it. I reach into my bag and pull out the remaining portion of my gingerbread Bentley. I offer it to Billy. “Hubcap?” He pinches off a gumdrop.

Surrounded by fake snow, next to a performing fountain in Hollywood, I continue munching on a hundred thousand dollar car. It’s beginning to look a lot like Christmas: L.A. style. S www.scenelouisiana.com | 55

TRENDS

SUSTAINABLE DIRECTIONS

by Diane Wheeler-Nicholson

W

ith the recent improvements to Louisiana’s film tax credits, a benchmark of dependability has been achieved.

Louisiana has cleared an important hurdle, sending the message that the industry will be here for a while longer yet.

Since 2002, both the public and private sectors of the entertainment industry have been answering challenges well by focusing on the opportunities at hand, the work to be done, and laying down the roots for smart growth. Real strides continue to be achieved in our industry infrastructure, crew base, available services and supplies, resulting in economic development for the entire state that supports our treasury’s commitment to the incentive programs in play.

It’s a very competitive market. Other states are vying for the same business and will continue to do so. Perhaps an amount of “leveling-out” will occur over time but we cannot know for sure. The majority of the states, not to mention foreign territories and countries, are all competing with bigger and better tax incentive packages. Perhaps we will see a handful of the strongest survive while the rest put their focus towards other commerce. Until that happens, it seems prudent to anticipate change and stay at the top of our game.

A key area of change is the industry trend towards environmentally sustainable practices. Organizations like The Environmental Media Association have been in place for twenty years. Some studios began implementing changes more than a decade ago. But the greatest strides towards the “greening of the screen” have occurred in the last few years.

In April 2008, the Motion Picture Association of America (MPAA) published a “Best Practices” guideline for sustainable production.

“A new norm is emerging in which eco-friendly practices are best business practices,” said the MPAA’s then-CEO Dan Glickman. “Hollywood continues to evolve as an industry that takes environmental responsibility [seriously], individually and collectively, on the big and small screen, and behind the scenes. Every major studio is getting in on the act.”

Last year, the six major studios - Warner Brothers, NBC/Universal, Twentieth Century Fox, Paramount, Sony and the Walt Disney Company - formed the Green Production Alliance. Each studio set corporate goals for sustainability by establishing environmental practices for business. In the US and abroad, studies are being conducted to measure the benefits and effects of green production methods on both the environment and the bottom line.

The early changes by movie studios and television networks have been made close to home, primarily on lot. Now, mandates are in development to be implemented while filming far away on location. Producers are already being asked to implement a variety of sustainable practices on set.

Changes will undoubtedly appear on local productions soon.

It may be as simple as the appearance of recycling bins on set or double-sided copies for office communication. It may come in the larger form of mandates for the use of non-toxic materi-

56 | December 2009

als, stricter construction guidelines, or renewable waste management protocol. Even the ubiquitous plastic water bottle may be soon replaced by a refillable, BPA-free, stainless steel water bottle.

Louisiana is third only to California and New York in total film production. The challenge before these established competitors is justifying the cost of retrofitting decades old structures with green technology, replacing working equipment with expensive new equipment. Louisiana’s advantage in the wake of the “green wave” is that it is building its infrastructure from the ground up. We are looking at a fresh occasion to lead by creating solutions to help studios and producers meet their new objectives.

Louisiana has another opportunity to emerge as a national leader by adopting environmentally-friendly business practices in the film industry ahead of the curve. To embrace the opportunity would be a win for all of us, not to mention the environment.

Find out more at www.pgagreen.org and www.greenmediasolutions.net. S

LOUISIANA COMPANIES REACHING FOR GREEN SECOND LINE STAGES A state-of-the-art soundstage facility. The first US Green Building Council LEED Silver compliant complex in the country. Opening in January 2010.

www.SecondLineStages.com

HOLLYWOOD TRUCKS The largest production fleet in the southern region. Greening by acquiring vehicles capable of running on alternate fuels, including bio-diesel generators and FlexFuel passenger vans.

Currently finalizing a partnership with Pure Power Distribution to provide solar-powered generators. Partners with the Hertz Corporation to offer their “Green Collection” to film & television productions.

www.HollywoodTrucksLLC.com

LIMOUSINE LIVERY Based in Lower Garden District of New Orleans. The greenest passenger transportation fleet in the South.

Member of the EPA’s Climate Leader program.

www.LimoLivery.com

STRIKE-IT-GREEN A prop, set and wardrobe warehouse.

Recycles and rents to film, television, theatre and community projects. Specializes in striking sets to recycle.

www.StrikeItGreenProps.com

ECO GREEN CLEAN An environmentally-friendly location and event prep, management, set-up and cleaning company. A waste management and recyling company with film and television production experience.

www.EcoGreenClean.org

TRENDS

www.scenelouisiana.com | 57

GOOD SEATS

STEPPING OUT ON THE RED

by Chris Jay

On October 16, Shreveport’s Robinson Film Center (RFC) hosted an extravagant gala celebration entitled “Stepping Out on the Red”. The event featured live music by ten-piece classic soul band Memphis Train Revue from Austin, TX along with an ornate spread of food and drink featuring seven themed open bars, gourmet hors d’oeuvres, desserts, and more.

“Stepping Out on the Red” is the largest annual fundraiser for the 501(c) (3) not-for-profit arts organization of the same name. Since 2006, the organization, formerly known as the Red River Film Society, Inc., has operated a media literacy and film education program for students while organizing and hosting independent, foreign and classic cinema screenings throughout the community.

With the opening of a $4.2 million theater and multi-purpose space, a permanent home was established for events ranging from daily film screenings to film festivals, filmmaking workshops, after-school programs and more. The theater, a two-screen art house cinema and educational facility, opened at 617 Texas Street in downtown Shreveport in May of 2008.

At this year’s “Stepping Out on the Red” gala, it was announced that the RFC had acquired the building located next door to the new theater and would begin raising the funds necessary to establish a digital media education center. This facility would permanently house the daily educational programs that are currently being held in community centers, libraries, and after-school programs. The State of Louisiana has awarded $500,000 towards the Phase One ground floor renovation of the building, which requires a total investment of $1 million to complete. The RFC has launched a fundraising campaign to raise the remaining $500,000 from private and corporate donations and anticipates completion of the new media education center by 2011.

In celebration of this new venture, over 275 guests danced, dined and drank long into the night. A $10,000 “reverse raffle” drawing was held, with one guest taking home $10,000 cash. In one theater, guests took advantage of the flexibility of the RFC’s projection technology by playing Nintendo Wii and Playstation 3 via wireless internet, while the other theater showcased a selection of short films created by students enrolled in the RFC’s 58 | December 2009

media literacy programs.

A vintage movie poster exhibition entitled “A Century of Louisiana Cinema” also debuted at Stepping Out on the Red’s premier event. Titles included films such as Louisiana’s 1959 exploitation classic Louisiana Hussy, the original 1949 version of All the King’s Men, and more recent examples of Louisiana cinema, such as Oliver Stone’s W., The Guardian, and Mad Money.

The exhibition posters joined nearly 200 other vintage movie posters, all original, beautifully framed and matted editions of dozens of one-sheet posters for films produced in Louisiana. The RFC’s collection provides a charming insight into the long history of film production in Louisiana. The posters, most of which are signed by the filmmakers and rare, are available for naming sponsorship.

All proceeds raised at “Stepping Out on the Red” will benefit the cultural and educational programs of the RFC, including the effort to renovate the new building, which will soon house editing suites, classrooms, workforce development spaces and more. At the evening’s conclusion, it was apparent that many guests had been entertained and a lot of vital funds were raised benefiting a great cause.

This Month at the Robinson Film Center Legendary filmmaker Francis Ford Coppola will participate in an event at the RFC on Saturday, December 5 at 3pm. Following a screening of his 1974 masterpiece The Conversation starring Gene Hackman, Coppola will participate in a virtual question-and-answer session with the audience, appearing live via remote on screen thanks to technology provided by Emerging Pictures. Tickets are now on-sale to members of the Supporting Cast, the Center’s annual membership program, and may be purchased by calling 318.459.4116.

Sponsorships This year’s sponsors for Stepping Out on the Red’s annual event included Williams Creative Group, The Times, Paragon Press, Louisiana Timber Partners, Sid Potts, Inc. and the Worth Collection.

Those interested in naming sponsorships or learning more about the movie poster exhibit may contact Will Bryant at 318.459.4119.

S

GOOD SEATS

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STATE OF THE ARTIST

THE BRIDGE TO SUCCESS

by Dave Weber

On Sugarland Parkway, the red-bricked complex housing the educationally groundbreaking Satellite Center stands out in the distance. Surrounded by old sugarcane and grassy fields, the state of the art facility lies at the foot of the Luling Bridge. Guests check in at a large rotunda, an open, multi-purpose area with paths extending to the left and right, each leading to programs of study offered to local high school students. In both purpose and personnel, the Satellite Center stands apart by design.

The right side of the complex is devoted entirely to the Digital Media, Web and Interactive Design, and Advanced TV Broadcasting programs. The wing includes a fully functional studio where students, referred to as “Team Members,” create On the Prowl, a 30-minute weekly coach’s show produced during the fall. The teacher or “Facilitator” of the Advanced TV Broadcasting program is Albert Dupont.

“Team Members perform all of the positions on the show, including directing, producing, audio, camera operator and hosting,” says Dupont.

60 | December 2009

Students also use the facility’s field production equipment, including professional high definition cameras, to shoot the Hahnville High and Destrehan High football games on Friday nights.

“The most exciting thing of all was being a part of streaming the first high school football game in the state of Louisiana on the Internet,” remembers Jamie Dupard, a former Satellite Center student and graduate of Destrehan High School. “It was Hahnville vs. Destrehan, 2007.”

Though it is a part of St. Charles Parish Public Schools, the programs housed within the Satellite Center were not shoehorned into any of the rural school system’s existing buildings. The construction of a new facility was made possible in 2001 when voters approved a $28 million dollar bond issue. A strategic location was chosen to make the new complex accessible to upperclassmen at Destrehan High School and Hahnville High School.

“In the spring semester we begin working on other projects such as short films, music videos, documentaries and news produc-

STATE OF THE ARTIST

tion,” Dupont says. Students also produce videos and PSAs for the parish school system, as well as non-profits and community groups such as the St. Charles Parish Animal Shelter and Crime Stoppers.

“We’re in class for basically two and a half hours every day for the entire school year,” says Dupont. “That gives us the time to cover all aspects of video production pretty in-depth.”

The studio and control room are so impressive that several local TV stations have toured the facility, eyeing its capacity to serve as their own satellite news center: a place from which to broadcast their station’s signal in the event of a major disaster.

“Some of them said that the equipment and resources we have here are on par with, and sometimes better than, the facilities they have back at their stations,” says Rochelle Cancienne-Touchard, director of public information for the St. Charles Parish Public School System.

Students are also given access to post-production equipment, including several editing stations. “We give each of our Team Members the opportunity to lease a laptop that has Avid Media Composer and other software we use here, and it only costs them a dollar a year,” says Dupont.

For the first time in Louisiana, high school students have begun passing the Avid Certified User (ACU) exam, a certification normally reserved for in-

dustry professionals. Recently, a dozen of Dupont’s students passed the exam, now recognized as an Industry-Based Certification by the State of Louisiana.

“I know of only two other high schools in the United States offering ACU certification to their students,” says Dupont. With the advanced, hands-on training they receive at the Satellite Center, some of his students have been accepted as interns by local television stations right out of high school. “I think that gives them a big leg-up on their fellow college students.”

“Our graduates who have studied Advanced TV Broadcasting at the Satellite Center can go to a television station as a freshman in college with a resume reel already in hand,” agrees CancienneTouchard. “They’ll have opportunities like internships that their peers likely won’t have until they are juniors or seniors [in college].”

“The Satellite Center has opened so many doors for me,” says former Advanced TV Broadcasting student Richard Smith. As one of Dupont’s Avid Certified Users, he recently completed an internship at a local TV station, where he made valuable contacts in the television and film industry. “Now I’m on my way,” he says. “This wouldn’t have been possible without Mr. Dupont and the Satellite Center. Anyone who can attend sessions there would be very fortunate.”

In the Digital Media area, students learn web design, digital graphics, computer animation and print media. During the fall months, they learn how to create logos, providing design and other services to non-profit groups in St. Charles Parish. Each spring, the Digital Media program hosts the Satellite Center Video & Animation Festival. Initially, it included only Destrehan and Hahnville students, but the program has recently started inviting other area schools. Last year, Brother Martin, the New Orleans Center for the Creative Arts (NOCCA) and Riverdale were added. Next spring, the festival aims to have as many as ten schools participating, serving as both a showcase for students’ work and a way to recognize their efforts.

On the left side of the complex, a host of other programs are housed.

Culinary Arts, Engineering Design, Health Exploration, Patient Care, Process Technology and HRT Administration are just some of the other programs offered at the Satellite Center. These programs are taught by experienced nurses, chefs, and engineers, using equipment on par with the rest of the facility.

The Culinary Arts program, for instance, has a gleaming, professional kitchen reminiscent of those seen on popular television cooking competition shows. In fact, the Advanced TV Broadcasting group worked with the Culinary Arts team last year to shoot their own Iron Chef-like competition, complete with local chefs serving as judges.

“What we were trying to do with the Satellite Center was focus on career paths that are projected to expand the most over the next ten years,” says Cancienne-Touchard. “We went out for a $28 Million bond issue, and the community was for it from the get-go, and that’s what makes this work,” she says. “Community leaders, educators, representatives from Fortune 500 companies that are located here [all] collaborated to make sure that this facility would provide the curriculum that will truly prepare our young people to enter the work force.”

The Satellite Center prepares students to continue their pursuit of a career in Louisiana’s thriving entertainment industry. In nearby New Orleans, more than twenty major film and television projects are shot each year, along with hundreds of smaller commercial, television and new media projects. The successes in film and television are sure to be followed by similar growth in related sectors of the entertainment economy, such as digital media and sound recording.

The Satellite Center’s close proximity to the Luling Bridge is a fitting metaphor for its students. Formally known as the Hale Boggs Memorial Bridge, the Luling Bridge was the first major cable-stayed bridge in the United States, and the first of its kind to carry an interstate highway. For a state with a booming entertainment industry, the Satellite Center is one of the first bridges of its kind. S www.scenelouisiana.com | 61

CREATING THE SCENE

S

MARCUS BROWN

Actor and Entertainment Industry Liaison for Lafayette, Louisiana

“As a professional actor, a department Chair at a college, a director and producer at a video game company, a consultant for public and private entities, and the owner of Believe Entertainment, I continuously strive to enhance my comprehension of the business, its trends, and opportunities. At Believe Entertainment we are currently developing content and managing entities that maximize local resources and contribute to Louisiana’s status as a prime destination for the entertainment industry. For the past two years, myself, John Petersen (Business Manager) and Jenni Hensgens (Resource Manager) have successfully managed the Lafayette Entertainment Initiative (LEI) for the Lafayette Consolidated Government in partnership with the Lafayette Convention & Visitor’s Center (LCVC) and the Lafayette Economic Development Authority (LEDA).

On a day-to-day basis, we interface with the public and private sectors to cultivate, retain, and expand entertainment production activity with a keen focus on developing resources and infrastructure that enhance these efforts.”

62 | December 2009

While working on his Master’s in Actor Training at LSU, Marcus Brown decided to get an idea of the industry he was about to enter by auditioning as an extra for Dead Man Walking, starring Tim Robbins. After being cast, he sat on set for one day and watched the pros work. It was his first and last role as an extra. Marcus has since acted in over thirty-five films and founded Believe Entertainment.

“I am grateful to be able to do what I love with people I enjoy and in my home region.”

Q A

If you were not doing this, what other job would you like to do?

“I always wanted to be an astronaut (note my Facebook profile) but I’ll settle for playing one.”

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| 62

CREATING THE SCENE

S

JAY WEIGEL

Composer Executive/Artistic Director of the Contemporary Arts Center New Orleans

“Writing music to tell a dramatic story is a very difficult, yet satisfying, process. It is a collaborative experience, therefore one where feedback is immediate. As the Executive/Artistic Director at the Contemporary Arts Center my job has many responsibilities, including fundraising and curating. As a composer, I spend my time writing, recording, copying parts and handling the business of music. Writing music is an addiction. Right now we have a very unique opportunity in our state. Our state offers tax incentives and/or credits for people working in both film and audio. The sound recording credits are newer, therefore a little less utilized. But, we are seeing an increase in interest from composers and record companies in taking advantage of these credits. Also, as a composer living in Louisiana, filmmakers are able to include all of the cost of my services when applying for their tax credit.

Finally, there is a great deal of interest in investing and working in New Orleans from the entertainment sector.”

64 | December 2009

Jay Weigel’s twenty-five year career composing for film, TV and records, started in 1983 when he returned to New Orleans from graduate school. Determined to find a career in the industry, he was quickly hired by Don Marshall to run the music program at the Contemporary Arts Center, and, soon after, started a music business with Mark Bingham, now co-owner of Piety Street Recording Studio.

“I really don’t feel right if I go a couple of days without writing music.”

Q A

If you were not doing this, what other job would you like to do?

I would like to have been a scientist. I love the idea of having a laboratory and work on inventing things. If that did not work out, then I guess a professional golfer.

CREATING THE SCENE

S

ALISSA M. KANTROW Producer Louisiana Production Consultants, Moonbot Studios

“Oddly enough, while interning on City Slickers, I met my future business partner, Lampton Enochs, who was the location manager on the film. We crossed paths again in 2003 on the film A Love Song for Bobby Long. I love this industry and all that it affords creatively.

The people are amazing, resourceful and inspiring! My son has asked over and over again, “Mommy, when are you going to make a movie for me?” That’s what drives me. To tell great stories and to tell them well is my goal. Essentially, my job is to entice projects to Louisiana, find projects for development, and work on day-today operations for Moonbot Studios and Louisiana Production Consultants. As a producer on The Fantastic Flying Books of Mr. Morris Lessmore, a short digital media piece that Moonbot Studios is producing, I’m responsible for making sure that the project is made to the satisfaction of the directors and within the budgetary constraints we have, which may include storyline, hiring, technical components, financing, etc. I’m so proud of what we have been able to accomplish here in Louisiana. I’ve been a part of the entertainment industry since 1995 (pre-incentives), and the exponential growth is astounding! The support throughout the state is extraordinary, within each community, as so many of us rallied together to increase the incentive programs during this past legislative session.”

66 | December 2009

Alissa started her career in Santa Fe, NM interning on projects while attending the College of Santa Fe, which had just opened Greer Garson Studios. After working on features, including Young Guns 2, City Slickers, and Wyatt Earp, she returned home to New Orleans.

“The opportunities for redefining and reshaping our region are immense.”

Q A

If you were not doing this, what other job would you like to do?

I joke about this frequently when stress levels are high, but in all seriousness, I’d love to work at the help desk at Barnes and Noble or the local library. I love to read. I suppose I should be careful about what I wish for, or wish for that job upon “retirement.”

ON THE SCENE

68 | December 2009

ON THE SCENE

70 | December 2009

FRAMES PER SECOND

www.scenelouisiana.com | 71

THE UNSCENE Spoiling the Well The Evil Fool comes knocking. His oafish mouth spouts tales of tax credits. Of ribbon cuttings and opportunity. Of turning a weather-torn warehouse into a castle coveted by Hollywood.

Loudly he speaks. And his ill-formed cess are repeated in headlines, the suspecting echo chamber. Industry brows. Experience has made them take a lifetime in entertainment to

dreams of film studio sucimprudent media his uninsiders raise their eyethe wiser. But it doesn’t recognize this simple fact:

Saying something loud doesn’t make it so.

Entertainment is Louisiana’s new frontier. Like pioneers, onlookers project their hopes and fears onto the unknown before them.

For the lifelong Louisianan, the industry is a new reason to be proud of home. For the college student, it’s a reason to stay in-state. For the financier, entertainment may seem faddish. Far too unstable to yield a real return on investment. Far too untrustworthy to merit risk.

But entertainment is far from being fly-by-night. Attracting nothing but flies and the FBI, crumbling local companies hardly represent an industry that has been profitable for more than a century. Responsible companies such as General Electric, Sony, TimeWarner, and Viacom are the real standard-bearers. And their best business practices can be found amongst reputable local entertainment professionals.

Venture capitalists, bankers and other financiers take note: the best defense against snake oil sales pitches and vacuous buffoonery is the truth.

The more questions you ask, the more research you perform, the safer your investment will be. If it’s too good to be true, then it probably is.

Spoiling the well is a way of life for short-sided opportunists, and so you must be diligent. You are up against professionals of a different kind.

And investors remember: if you ever feel surrounded by smoke and mirrors, never hesitate to call your good friends at Scene Magazine to clear the air.

- The UnScene Writer

72 | December 2009