Come on in and see what's happening at Little A-Merrick-A! >> Beautiful. >>Hi, welcome to Director's Cut. I'm Pete Schwaba. And over the next hour, we'll talk about a man who goes back to college at the ripe young age of 87. Wisconsin supper clubs, an America that's small enough to fit right here in the state of Wisconsin, an homage to silent films, and we'll even throw in some bits of BACO. That's right, Wisconsin. It's time once again for the annual Wisconsin Film Festival edition of Director's Cut. Today we'll talk to talented filmmakers and see clips from entries of this year's Festival, which takes place April 9-16 right here in Madison. Our first guest today is the Wisconsin Film Festival's Director of Programming, Jim Healy. Jim, welcome back to Director's Cut! >> Thanks, Pete! >> I always look forward to talking to you every year because you're such a film enthusiast. So, I guess, start off by telling us what's new and exciting this year, if anything. >> Sure, we're really excited about the "Wisconsin's Own" selections, and I know that you'll be talking a lot about them on this program. A really great crop of films that can stand up with, alongside, our international selection of movies from around the world. They're really high-quality movies made in Wisconsin or by natives of the state. Really exceptional movies that are getting attention also at other festivals, both nationwide and internationally, not just here. You're going to be hearing a lot about the filmmakers that have made these movies that we're screening this year. And also, we're very excited about our "Orson Welles" section of the Festival this year. Cause it's Well's Centennial, so we have four different program celebrating his 100th Anniversary. >> That's exciting. But also, I always feel like Wisconsin has a great film community and very underrated, too. Like there's some excellent filmmakers in the state so it's good they're being recognized. >> Absolutely. It starts with Orson Welles, and then goes on. >> What would you say is the hardest part about running the entire Festival for you, as program director? >> Well, I think the actual scheduling of the films. You're always worried about taking attention away from one program to give to another. So, you try and find a balance, get the repeat screenings of films, and hope that everyone gets a chance to see as much as possible. The biggest disappointment is that no one can see everything that's in the Festival. Not even myself. >> Right, I was frustrated last year, too. I had so many I wanted to see, and I only saw a few. >> That's always something, but you want to make it so that people can see as much as they can, and as much quality as they can. >> Right. What are some of the most anticipated films, I guess? I mean, I know that you like all of them. >> Yeah, of course. >> You chose them. But, what are some of the films that people are... Is there a buzz about a particular film or films? >> Well, there's quite a few. In fact, some of the "Wisconsin's Own" films have proven quite popular since our tickets went on sale last weekend. In fact, one of the filmmakers who will be featured on this show is in a program of shorts. Holly's film about "Wisconsin Supper Clubs" it was the first of both of our screenings to become rush-only, which means you have to show up the day of the screening to get your tickets. We have no more advanced tickets for those shows. >> Excellent! Great! >> So, there's a lot of buzz about that program in particular. We have a number of great international films that are in the Festival this year that people are interested in. "In Order fo Disappearance" which is a Norwegian comic thriller, and also the first area screenings of "Timbuktu," which was nominated for the Best Foreign Film Oscar. >> Very cool! Well, let's take look at our first sampling of just a few of the films that will be at this year's Festival. "The Shark's Fin in Meru-Central." This is anti-Everest. This is the test of the master climber. Meru has defeated so many good climbers, and will probably defeat you, and will maybe defeat everybody, for all time. That, to a certain kind of mind set is an irresistible appeal. >> As an alpinist, Meru is the culmination of all I've done and all I've wanted to do is this peak and this climb. >> The more nonchalant Conrad is about suggesting a trip, the more worried you ought to be. Climbing with your mentors is a dangerous thing sometimes because you give them all your trust. I gave them everything. >> I am not fooled by them when they're like, "Oh, I'll be safe. I'll be safe." I know that stuff can happen. That's what I always say, "Yeah, yeah. But stuff can happen." >> I've got two kids sleeping upstairs, my wife's there, another boy is off at college. I'm responsible for them. >> Am I taking too many chances? Can I control the risk? Of course you can't control the risk! Well, why am I doing this? Because I have to do it, or I'd go crazy.
chanting
>> We're back with Jim Healy, Director of Programming for the Wisconsin Film Festival. So, Jim, I'm going to put you on the spot here. Great films! I mean those all look-- again, you just can't see all of them like you said so I'm going to put you on the spot, though, and say, if you had to see only one this year. You've only got one ticket. That's all you have in your budget, whatever, what film would you see? >> That's tough, you know. Because we're here in Studio today with several of the directors of films. So, I'm not going to single out any of their films. You know, maybe I'll be diplomatic and say see "Chimes at Midnight." It's Orson Welles's film from 1966. >> It's the a safe bet. >> Nobody could be offended if you go with Orson Welles. >> It's an established classic, right? >> That's good. Okay. >> It's a supreme masterpiece you can't really go wrong with. >> What theater is that at? >> That will be playing at the Capitol Theater in the Overture Center, so it's a magnificent setting to see this magnificent movie. >> The Sundance Theaters are nice, too. >> They're very nice! >> Yeah, we're happy with all of our venues. >> Yeah. So you, okay, so you've seen thousands of independent films. >> Sure. >> Do you ever just say, "I'm going to hang it up. Forget it. I can't watch another movie," or does it just make you want to see more? >> Never! No, in fact, just the opposite. It makes you want to see more. I mean, the more you see, and you need to see the bad along with the good, too. It's what makes you appreciate what works, and it's what develops your taste. >> I'll put you on the spot again. >> Okay. >> You ever let a bad film into the Festival? You go, "Oh, we've got a slot to fill. This is a bad one. Sheesh! All right. We gotta..." >> I would never say a bad film. No. I would say there are movies that, you know, I would not put in my personal canon, but I recognize that there is an audience for them. And movies that will find an audience and that people will respond to, and find something. That's just a matter, maybe,a a matter of personal taste. But that goes with it every year, especially when you're programming 150, 160 movies. >> Well, thank you for not saying my film-- I appreciate that. Okay, we're going to talk to you again a little later in the show. But up next, we're going to see a clip from a Golden Badger Award-winner. Here's a clip from her film "Right Now" >> Why were you born? >> I don't know why I was born! >> Try to teach young people what it means to be productive and to set goals that are within their reach. >> In life, whatever you do, you don't know how far that will reach out to touch other people. >> I just want you to know what I do with the "Myriad" every time I have a student talking about how, "I'm 24, and I'm so old to be in school." I pull this out. I'm saying, "Now, listen, that's it.
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>> That's it! Don't tell me you too old to be in school!"
both laughing
>> That's right. >> Don't tell me that! >> Ain't that the truth! >> You have been inspiring a lot of my students!
inaudible welcome
>> Come on in, shut the door. >> Okay. >> I say! >> Why you so happy today? >> I'm always happy!
both laughing
>> You're right. >> If a private goes--
Clarence shouting
Look, Brooks, I'm telling you, I--
Brooks laughing
>> Cut that crap out! What I want to show you is this wonderful article. >> All right. Oh, yeah, that's nice in there. >> Different groups of people, see? >> Yeah. >> Oh, lookie here!
laughing heartily
>> Look here! Oh, there's the boy. >> What you doing here, Clarence? >> Well, look! Don't you see? What does it look like!?! I'm in the Library. >> Yeah, Library. >> I'm very proud of you, Clarence! >> Huh? >> I'm very proud of you. >> Who? >> I am. >> Are you sure enough? >> That was a clip from "Clarence." Joining us now is the film's director, Kristen Catalano. Thanks for being here, Kristen. >> Thanks for having me. >> So, tell us about your film. Give us a little-- I mean, we saw a clip there. It looks great. But tell us a little more about what Clarence is. >> Well, Clarence is an 85-year-old man who goes back to college after 50 years of being away. >> I said 87. I actually added years to his life. I apologize. >> He is in school until he is 87 so... it's okay. >> And he decided to go back very late in life? >> To fulfill his biggest regret which was-- >> Was it just college or did he have to... What's it like when you're going to the process it at 85? Did he have to get all of his credits transferred from the mid-Teens? >> He had to go get his transcripts, and obviously they weren't on the computer. So, they did a lot of digging and actually found them. >> Wow, no kidding? >> They dug them up, and he had to go-- He started off the MATC, so he had to get his transcripts there. And then went over to UW-Milwaukee, and got the rest of his transcripts. They tallied them up and told him that he had two years left and "Good luck!" >> Two years left, that's it? So, I'm just curious, what do you pick as a major when you're that age? What did he want to focus on? >> Well, he was lucky. So, he didn't have to pick a major. He could take whatever classes that he wanted. Because at that time-- I think it was like pre-1976, you didn't have to declare a major. So, he took a lot of Africology courses, psychology and sociology, and a guitar course. >> Wow, that's nice.... spread it around a little bit. My goal in life is to be grand fathered into something. I've never been able to do that, no matter what the subject matter. What's the biggest challenge working with--like, Clarence is obviously old guy, but then his friend there was pretty old, too. I would imagine you were around a lot of elderly people. As a filmmaker, what are those challenges like working with them? >> There wasn't-- I mean he just he took a little longer to walk around. Just taking a little more time to do things, but there wasn't really any challenges beyond that for me as a filmmaker. I just followed him around, and he did his thing. >> Was anything scripted with him or is it just kind of like let the camera go? He seems like a pretty entertaining guy, you know. >> He is! And he would talk to me as if I should answer him, a lot. So, I was like, "Clarence, I can't. You can't have a conversation with me." >> Like, when you're off camera, he would ask you stuff? >> No. When I had the camera, he'd be like, "What do you think about my assignment?" He'd try to talk to me about it. >> Try to get him to do his homework for him and stuff like that? >> No, never. >> So, that's great. So, what-- how big of a crew do you have when you do a film like this? Like you said you had to follow him around. Are you lugging a crew? A big crew? Small crew? >> No, it was just me. >> Really? >> Yeah, it's a one-woman show. Yeah. >> Where do you go when you have a documentary like this? I'm always curious where people find their budget. Do you do run up credit cards? Do you go to family members and say, "Hey, I need ten grand?" How do you do that? >> It was credit cards and just a slow process. >> Yeah, I mean I just had-- I spent money on a camera, and a computer, and editing software. Then, I just went from there. Some microphones... >> Now, did you edit the film yourself? >> I did. >> Wow, no kidding. Could have worked in your budget into Clarence's tuition somehow? Some little shell game there, or something. Did he-- when he went back to school, I mean, what was it like being in the classroom with this camera? You know, you're following him around. There's some scenes in your film where you're in the classroom with Clarence. Did people learn to just kind of accept that you're there? Talk about that was like. >> It was awkward at first, and I had to give an announcement of the class to make sure everybody was okay with being on camera. But after that, I definitely just blended in. I was kind of off to the side, in a corner. And, I was there for almost every class so I had a lot of hours of footage. So, after a while, I think people just didn't even notice I was there. >> Did you learn anything while you were standing there? >> I did. When they would take their tests, I kind wanted to take 'em too. >> Nice! Well, thanks for being here. The film looks great. Good luck, and congratulations on the Golden Badger Award! >> Thank you. >> You're welcome. Next, another Golden Badger winner. Here's a clip from the short film "The Searcher."
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>> That was a clip from "The Searcher." Here's the film's director, Joe Schaefer. Joe, welcome to Director's Cut. >> Thank you very much. >> So, I think it's safe to say you're youngest, probably, participant in this year's Film Festival. >> I think so. >> Still in high school, right? >> Yeah, yeah. >> That's exciting. >> Yeah, it is. >> So, well, welcome. So, this is an homage to silent films. You're a big silent film fan. You told me on the phone the other day your Dad is a big silent film fan. >> Yeah, yeah, definitely. You know, I can't say I have a great in-depth knowledge of that stuff. I was raised with Chaplin and Buster Keaton, and stuff. The silent part actually came more out of necessity because I was working with, you know, a hundred dollars. Recording location sound is pretty much impossible to do Well,if you're someone my age, and, you know, you don't have a technician. Or, so, I do love old screwball comedies. That's a lot of where the sensibility came from. You know, those old Howard Hawks movies and Preston Sturges. >> Sure, yeah. >> So, yeah. >> Wow, that's great. So, I was going to ask you who your influences are. To make a silent film, that's a pretty big undertaking, especially with who you'd be compared to. Talk about developing a narrative without using dialogue. What's the challenge in that? >> Yeah, well, you have to look for alternate methods of characterization, you know, because you can't rely on certain exposition like, "Oh, you're my brother," or whatever. So, we worked a lot on physicality. That's something that I think the actors did really well. And I think the movie would've been a lot worse had they not had that ability. We talked about not going too far, but they had to exaggerate their movements. And I really loved how I think they found humanity and the actions, while still projecting things. >> Yeah, that's interesting. I mean, as a writer myself, we always--I have worked with partners, too, and they say, "You should be able to tell what's going on in a film without dialogue." The dialogue is kind of the icing on the cake. And that overly-expositiony stuff like, "Oh, here comes my brother right now" to establish. So, you mentioned--Oh, I wanted to ask you about the Western symbolism, kind of... Talk about that, and how that relates to his pining for the girl. >> Yeah, totally. Well, it seems to me like a classroom and the Wild West are the most, you know, opposing things that exist. And, I really-- I think that it's just so grand in the start, such an epic sensibility, so I think it really kind of demonstrated the dichotomy between his life and his fantasy life. >> Wow, okay, that's interesting. And the teacher looked like she could be running a saloon in the Old West. Her name is like, "Ma" or something, and she has a shotgun behind the bar. You mentioned yesterday, when we spoke, that you want to go to film school. How's that process going? What's it like? >> Yeah, well, I'll find out in about two days, actually, where I go so that is suitably terrifying. >> Can you tell us where you applied? I mean there's so many good film schools. >> Yeah, totally. I did get into Emerson in Boston, which is exciting, yeah, exciting, yeah, and then, you know, Harvard and Yale, the Film Schools like USC and NYU. So, we'll hear about those in a few days. >> Well, that's fantastic. Good for you! What would you say-- I have to ask you, too, because you said-- I said, I was wondering if it was you in the film. Is the film autobiographical at all? >> Oh, certainly! Yeah, I probably came up with it in that exact the situation, you know, sitting, getting yelled at by a teacher, something... >> You don't look like the kind of kid that gets yelled at by a teacher. >> Being yelled at, next to... >> And do you have a girl that lives next-door to you that you kind of had a crush on, or something? >> Yeah, more or less. >> So, would you ever do another silent film again? >> I'm actually working on another one now. Yeah, it's just I'm really-- I want to tell the best story I can with the budget I have. And, right now, I've made like eight short films that had talking, and it just... It was always limited because there was always the buzzing and clicking and popping, you know. So, until I have the means to record good audio, I'm just interested in telling kind of leaner, more stripped-down stories. >> Well, good for you. That's fantastic. And, it's a challenge, and if you can do it, if you can pull it off on a silent level-- I mean, writing dialogue is not easy, either-- but, you know, if you get good at that, probably make writing easier. >> Yeah, it seems like a good exercise for someone who is still learning the language of film, as I am. >> It's a good film. I just want to make sure you're not lazy, and that's why you're not writing dialogue. Just get a camera and follow them around. Well, good luck, and thanks for being here. Good luck at the Festival! >> Thanks for having me. >> We'll talk more with filmmakers in just a moment, but first, here's a look at three more brilliant films featured at this year's Festival.
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>> Jim, Jim, I want to move to the house with you. I know you have all those women there. I was hoping... >> I don't think that would work out. >> No, I think it'd be good. It'd be a good chance for me to meet some women, like, something like that. >> Yeah, that's not what the house is really for, though, and you don't really have a problem, so... >> My problem is that I'd like to meet somebody... >> Right, it's not that kind of house. >> Okay, but, see, I was wondering, 'cuz there's a girl at the library that-- >> You should go to the library, then. >> Right, but I need some practice, or something. >> You don't get to practice at the house. >> But, how can I-- >> I hear you, Dwayne. Like, Dwayne, I hear you. >> Welcome to Big Sky Thunder. Gorgeous weather today. Fast times during practice. Now, the outlier, Nick Stockton, track favorite here, finds himself trailing in the season point championship after missing the last three races following his crash at Bemidji Speedway last month. Stockton lucky to be on the track after suffering a hairline fracture in his left foot. As the memory of that accident fades...
birds squawking
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>> The pace truck has left the track. Mitchell leads the pack down the back stretch. Everybody on your feet, There into turn three. The green flag is out. All the gas in the-- and we're racing...
revved up engines
...head down the back stretch. Dick Stockton-- a little tentative in his moves, but the hometown boy slowly moving toward the top five. >> Fifty to go, this time by.
Announcer calls out numbers
>> Back of the pack, making a move to the top ten. >> --heading into turn two! Coming out with a quarter pass--! >> --one by one as we get down to the nitty gritty. Just 35 to go. >> Down the back stretch. Final lap! Mitchell seems to have lost power. Stockton to the inside! >> It looks like the kid is back! Here's you winner!...Dick Stockton-- the kid is definitely back! >> The Wisconsin Film Festival takes place in Madison from April 9-16. With over 150 films to choose from, it is a movie heaven. The Festival attracts more than 30,000 moviegoers that watch films on several screens around Madison. Go to the 2015 Wisconsin Film Festival web site and start picking your movies right now-- or, after the show. We've got more directors, and more movies coming your way. Here's a clip from a short documentary titled "Little America," another Golden Badger winner. >> So, they had to have town meetings, and everything. There was a lady on the Cemetery Board, apparently, that was worried about the noise. Police stood up and said, "If anybody from that cemetery complains, we're going to listen."
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That's the story, and it's a true story.
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>> Our biggest challenges are letting people know we're here. As a small business, it's so expensive to advertise and market it. You know, some of it goes out of fashion, you know, as far as the certain rides, certain things sort of ebb and flow with that. And, now, as far as small kiddylands go, the amount of money it would take versus the return on your investment, quite frankly, in this day and age, doesn't make a lot of sense. >> That was a clip from "Little America." Joining me now is the director, Kurt Ritter. Kurt, welcome to Director's Cut. >> Thank you. >> It's a Golden Badger winner, right? >> I know. I'm really excited. >> Okay. So, I'm always amazed when I see something that I feel like I should've heard about. Where is this? >> So, it's just outside of Madison, about 20 minutes, to the East. I often drive between Milwaukee, where I live, and Madison. So, you always see the road sign. >> Okay. I don't know if you've ever heard of that place in California where you get the chicken dinners at Knott's Berry Farm, and end up being this huge amusement park. Is there any potential here for that? >> It might be a few years away from that. >> You know, he keeps adding. So, they go to auctions when kiddylands around the country close down, and they buy up the old rides and then bring them back here. Which I kind of thought was interesting, thematically, since it's literally right next to a graveyard. >> All right. >> So, they bring them around and they're working on a water slide next. That's the next big step. >> Okay, that's cool. So, my next question was tell us how you found this story, but I guess that's it. Just from driving, you saw it, and you thought, "This would be a great documentary." >> Yeah, I find when I'm trying to come up with ideas for film projects that just driving really kind of unclogs my brain. And our state has so many weird little nooks and crannies, and often I find inspiration just by driving the highways, and driving around Wisconsin. >> It's good. You could do a documentary on wayside's next, maybe, if you do enough driving, I guess. You mention that you're in marketing. That's kind of your day job, and you do fair amount of film making there, too, but, you know, in that world-- in the documentary world-- I would think you could make a documentary and kind of take your time. It's not like that in marketing? Talk about the contrast there. >> What marketing does is a really good job of forcing you to do, as a creative, is you get into the mind set of, I have to do it to finish it by this deadline because clients are demanding, right. So, I kinda' take some of that discipline over to my creative side. We shot "Little America" in a weekend, in three days. Wrapped it up within a month. Just got it out the door. It forces me process-wise to be just a little more rigid. >> Yeah, what-- is a hard working with-- like you approach a guy like this, it he clamoring, like does he want to be on camera? Or, you have to do some kind of coddling there? >> Darryl took a little bit of convincing. He's a very-- He's not a shy guy. He plays in a really great rock 'n' roll band in Marshall. Hairy Glam' Rock band. >> Oh, nice! With the fan right in front so it blows in his face? >> So, it took him a little bit of convincing, but really, it's just all about trust. You got get in there, and show that you're not there to exploit them, or do anything nefarious. You just gotta become friends with your subjects. >> What's it like as a filmmaker? Do you-- like, you'll be at the Festival, I assume. So, do you try to do as many documentaries as you can or are you more interested in the narrative stuff since you do documentaries. >> I'm actually more interested in narrative, which is what I'm trying to do next. Documentaries just keep kind of falling. You know, I find subjects that I think would be interesting, and so I make these short documentaries, but I'm really interested in what's going on in the narrative world in Wisconsin. I'll be looking for directors who are working in that vein. >> Okay, well, that's interesting. So, how long is your film? >> Seven minutes long. >> So, how long does it take to edit a seven-minute film? >> Well, we probably shot, we probably have about six hours worth of footage so it's just really kind of condensing. You start with your big bunch. It's kind of like Michelangelo used to say, "There's a statue in there somewhere." Right? There's the big block of marble and you just kind of gotta chug away at it. So, you know, like I said, it took about a month, a month and a half, to edit this down. Me and a friend kind of edited it together. >> Six hours over a weekend, that's not too bad. Do you get free passes now, any time you go there? >> I think so...we haven't finalized anything yet. >> It's like free advertising for this guy, right? >> Yeah, I hope everyone at home goes and checks out Little Amerricka this summer. It's a really great place to take your kids. >> Start serving chicken or something there. serving chicken It could be the next >> Yeah, who knows? >> That's great. Well, I'm excited to see the entire film, and good luck with it, and congratulations on the award. Thanks for being here. >> Thanks very much. >> You're welcome. Next, we'll talk to a director and producer of the film that's-- well, you just have to see it to believe it. >> No way! >> Come on! >> What a
bleep
>> Just put your hands on the car. >> I'm going to spank it.
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>> Just get it on tape. >> Dude, you guys are nuts. >> It almost just amplified most situations. When you have a camera there, and people pretty much know what it's for, it's time to step up your game. >> Put both hands on the car, and bend over. >> No way! >> Just with your underwear. >> No way! >> You guys didn't care at all. >> Hit the spigot! >> It's just crazy! All this rocket-style ###. [metal clanging >> They were basically kids when I met 'em. A bunch of individuals that make up BACO, but they're all characters in their own way. >> We don't conform to anything. We do things the way we do, and here it is. >> I remember just being like ### that. I want to ride with these guys. >>
Four mysterious letters
B-A-C-O. >> I have no idea what BACO stands for. >> God, I feel ashamed. >> What does it stand for? >> You guys are like a secret society. >> It was a funny time in BMX. >> The videos, they were good because they weren't so serious, but at the same time, we were very serious about making them random. ###
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>> Just film, and whatever you get. >> Did you get that! >> They made a video out of it.
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>> Holy ###! >> I had no idea people had fun outside of riding BMX. I thought Kevin Jones went home at night, listened to Rush, and fell asleep by 10 PM. >> I could fully see how BACO and Chad changed people's perceptions of flatland. Made it finally have fun. Made it finally, again, have personality. >> Dave Freimuth did the hardest trick, still to-this day! >> Bring back the old front brakes. >> Let's move on to another one right now. >> Here are Mark and Chad.
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>> It set it off around the world, in our videos. Like, what the hell are they going to do next? >> If BACO's going to put a ### rainbow flag in with the video, everyone's gonna run it. >> We would have never done that. >> Definitely started this thing of, "Are these guys gay?" >> There's no way to say that there was any other theme to it. >> Kooks. >> Just plague the whole world. >> Mark liked to push buttons, and then see how people reacted. >> He could definitely make a party go up in smoke. >> They're ### up in real life. >> Tricks I saw, I didn't even know existed. "You didn't know it, now you do." >> Joining me now from "Push it to 11- Bits of BACO" are Chris Rye and Dave Freimuth. Welcome, guys. Chris Rye and Dave Freimuth >> Thanks for having us. >> Yeah, you're welcome. This looks great. Tell us about-- you're the filmmaker-- tell us about the film. Tell us a little bit more about it. >> It's basically about these guys that grew up in Green Bay and the Appleton area, and this is common in the early 90s when sort of the sport of BMX Freestyle was kinda' getting going. These guys rode bikes and did tricks and had access to a VHS camera, in the beginning, you know, which not a lot of people had back then. I think one of our friend's parents had a camera. You know, like a shoulder-mount one. >> That's so funny. >> We would tape over a lot of vacation tapes to film bike tricks. >> I'm sure your folks were happy about that. That's so funny! Now, you can just film stuff on your phone. But if you have a camera, you're a big shot. I have to ask you, I worked on a sports comedy show called "Sports Soup" and I had to watch a lot of these clips and the injuries that take place in this sport-- or like skateboarding-- some of these extreme sports are horrifying. To this day, I can't watch this stuff.
How do you
A. Practice this stuff, cause it seems like the first time you try it, you break your neck and then you're done. And then, B. Did you guys have any injuries? >> Oh, that was just a constant, I guess. And to be honest, the crash clips were still clips, you know, as far as gathering footage. At some point, our goal was to make bike videos and being hurt or getting injured was always part of the process. >> I'm kind of really excited about where I'm at now. If it wasn't for injuries, you could do it indefinitely, so, at some point, you just have to call it quits. >> And you guys both still ride like that? >> I ride with a destination in mind. I don't ride to do anything fancy anymore. >> You going now with a Schwinn Varsity speed, as opposed to? >> Yeah, beach cruiser style. >> Talk about the challenges in making a film like this. Obviously, a lot of the footage is from when you were kids, but did you have to blend it? Was there a balance? >> There's a lot of challenges because a lot of the footage is archival footage. And we're talking Hi-8 tapes and 8mm tapes that are 20 years old. Amazingly, we were able to gather them all together, and had about 200 hours of footage of just, you know, standard-definition footage of antics, just messing around, funny stuff, bikes tricks-- just a missmash of stuff on all these tapes. It was challenging digging through all that stuff to find the interesting bits to tell a story out of. That was one thing that took a lot of time with this one. >> Talk about the music. You've got great music, tonally. It just makes the film really fun. Talk a little bit about the score, music-- how you found the music. >> The videos that were BACO, which was a series of videos, we always used interesting music that we all loved. We would get together and pick out our favorite songs and stuff like that. And BACO is just known for good music selections, I guess, like good style and choices of songs. So, I guess it just sort of trickled down to the film, you know. We just tried to pick songs that fit that same mold. >> I think that we all had our own musical interests, and that made a real eclectic mix. It just worked and we just all agreed. Chris was real good about, as far as everyone had a little input, and he was always open to ideas so it really had a group vibe to it the whole time. >> And you guys, obviously, there was some shock value you went for when you were younger. Like, I love the shot where you're in drag. People were like,"Are they gay?" But, were you just into doing anything outrageous? Just to amuse yourselves maybe? >> That's 20 years ago. I couldn't even begin to tell you why we did half the stuff we did. Sometimes we regret that we taped it all, but I mean, it's fun to watch now, but I don't think that everyone would love to see everything stupid they did, relived. >> I think some of it back then was seeing what people would say-- do the most ridiculous thing. I mean your not hurting anyone really, except maybe yourself. And just to see reactions, you know. Just mess with the public and see what people do. >> Yeah, when I first heard about the film, I thought, "Oh, this is about Dogtown and Z-Boys, or something and these guys are from California." It's kind of funny that you guys are from right here in Northeastern Wisconsin, no less, so it's exciting. I'm excited to see the film. I appreciate you guys being here. Thanks for joining me today. >> Thanks for having us. >> No problem. Next, a documentary on a Wisconsin institution. Check it out.
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How do you
>> Wisconsin is an amazing state. And I think one of the things that makes Wisconsin a very distinctive place is its distinctive geography. One part of the state is quite different from another part. You have the wooded Northern Wisconsin. You have the Kettle Moraine on the East side of the state. You have the sand flats in the middle of the state. The Driftless Area in the West. All of that affects the way that people live. You layer on top of that the various ethnic groups that have lived in Wisconsin. At the end of the 19th Century, Wisconsin is the most ethnically diverse place in the country. >> Each one of those ethnic groups came, settled in their own enclave, brought their own cultures and traditions. Those traditions have slowly melded together into what we consider to be Wisconsin culture today. So, the beer, brats, and cheese stereotype of Wisconsin life is based on this melding of all of these different cultural traditions. >> The supper club is one of those. The supper club is a very distinctive Wisconsin building. People who grow up in Wisconsin think that supper clubs are everywhere, and they realize now that once you pass the borders, you are no longer in supper club land. It's a very distinctive Wisconsin thing that says a lot about the Wisconsin experience. >> While the supper club is kind of a Midwestern phenomenon, in Wisconsin it just seems to have taken hold and survived quite well. If you Google "supper club" and you compare it state by state, you'll just see that there's hundreds more in Wisconsin, with "supper club" in their name, and that doesn't even account for the ones with just "club" in their name. It's just kind of a crazy phenomenon. >> That was a scene from "Old
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the Story of the Wisconsin Supper Club." Joining me is the film's director, Holly De Ruyter. Welcome, Holly. >> Thanks for having me. >> This movie had to be made, didn't it? >> It did! >> There had to be a movie about a Wisconsin supper club. I was so excited when I heard this film existed. Tell us why you felt that you needed to make a movie about supper clubs. >> It started when I left the state to go to college, and I went to school in Chicago. I thought, still in the Midwest, moving to the big city; not much is going to change. >> Right. >> And then I moved there, and no one went for fish frys on Friday night. Chicago has a lot of restaurants, but no supper clubs. >> But they don't have the courtesy to have a supper club for Wisconsinites to visit? >> No, no. >> That's true. I remember we talked on the phone yesterday, and I said that I had the same experience. I lived in Chicago for a long time, and went back there, and said, "Let's get a fish fry tonight." The closest one we could find was out in Palatine, 40 miles out of the city, and in VA Hall, that they do once a month. I'm like, "This is unacceptable on every level." How does the "Old Fashioned" play into the supper club? It's kind of the drink of the supper club isn't it? >> Yeah, it's kind of this drink of the state almost, just because the tradition of it being here. >> That's saying something!
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I cut you off there, but, tell me, why are supper clubs so popular in Wisconsin. Why do you think there aren't as many in other states, even in Midwestern states? >> Yeah, that's exactly the questions that I was asking myself when I was making this film. We go into the history and the cultural history of this state, and just some of the traditions that play into building these. You know, the sense of community when we go to a supper club. Why we drink brandy. Why are our pallets more keen to sweet beverages. We go into all that in the film. >> Wow, that's funny! I love the contrast. We went from the alt-rock of the last film to the polka music. Is there polka music throughout the film? >> That's, unfortunately, the only polka clip in there. The rest of it's more like classic, you know, supper club Big Band music. >> I think like Rat Pack-y. >> Exactly, that's the rest of the film. That was just to get you into the mood of what Wisconsin is, in general. Then, we just kind of dive into the Wisconsin supper club world. >> That's great! So, how do you make a documentary? I assume you don't want just people in Wisconsin to see this. How do you make a film about supper clubs more appealing to people around the country. Is that a challenge? >> Oh, it's a huge challenge. When we started making this film, we had to ask ourselves, "Who is our audience?" We wanted it to be outside of Wisconsin people. So, there's a lot of history in here. So, history buffs and foodies, really big topics right now. People are really interested in other cultures throughout the country, and the different food and traditions that go with that. >> It seems like such a novelty, like, I was joking about Chicago, but if you put one of those Bavarian-type buildings right at Wabash or La Salle and Ontario, seems like it would be kind of a hit, you know. They are fun! Where did you find that you had the best luck filming? Were people open to--I would assume if you own a supper club, you're dying to get some type of exposure, and, you know, talk bout it. >> Oh, yes. Many of the supper clubs are happy to-- there just welcoming people, in general, but they're happy to get the free press and everything. Because a lot of them are struggling right now, just because of a lot of them are in smaller communities, and a lot of the chain restaurants are going into the smaller communities. So, they're kind of dealing with that, and we're a fast-paced society so we want a fast food experience. That's what we're used to, too. A lot of people, especially younger people, don't understand what it's... this slow dining. It's kind of like part of the 'Slow Food' movement, I would say. Where you kind of need to be open to spending a night somewhere. >> But you can't get an Old Fashioned at Chipotle, right? >> No, you can't. >> So, what do you do? You made this film about supper clubs, and you talked about trying to get it out there. Where do you go from here? What movie do you, or what project do you tackle after "Supper Clubs"? >> Oh, boy. This was a really big project. So, I get some really good ideas that are...I'm brainstorming right now for good shorts. >> Okay, "short" pants? That could be a good documentary. >> Just a documentary short. Just, again, focusing on some Wisconsin cultural things within the state. >> Great. You should do like a tour of supper clubs and show the film. >> Oh, yeah. We're doing some marketing ideas, as far as taking it to... on the road, and like that, so... but first, the Film Festival circuit. >> Well, have fun at the Festival. Looks great, and I'm excited to see the entire movie rather than just a clip. Good luck with it. >> Thank you. >> Yeah. Thanks to all of the filmmakers who have joined us for this preview. Here is our final grouping of
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an 83-year-old artist embarks on his first solo exhibition; a teenage aspiring saint sacrifices everything in her devotion to God; and powerful documentary on a massive radio tower built near Chernobyl. >> This is incredible. We're really getting in the zone right now. I gotta' tell you. >> Peter, you've done so much good work! >> You should calm down. >> Okay. >> Pretty pretty please, come here. I do portraits here. Let me do one free. >> These two guys have no interest in me. >> What else do you got in here? >> Go look! >> Peter told us he had a lot more art at his house. >> Lived in the same home since 1941. >> What a mess here, huh? >> Everything I have was here. >> Walls all collapsed. Ceilings all collapsed. He'd patch things up with pieces of plywood like a fort that an eight-year old kid would build out in a field somewhere. >> The more I look at it, the more interesting it gets. >> If anything happens in this house, then all your work is ruined. That would be devastation for you, Peter. Right, Peter?! >> Peter seemed like a worthy project. We could use our skills to help put together an exhibit. >> In the case of Peter Anton, it was like, "A living artist!" you know. I think Peter is the real deal. >> This is a big moment for you. >> I'm deliriously happy. >> It's going to be unique. >> We have a crate that is heavy with art supplies. >> Beautiful. Could also use a better walker. The walker needs a walker. >> He's become very dependent on you. >> You are my best friend. >> There will be bigger results than you'll have ever thought there could be. >> This man has a horrible reputation in our town. You should have checked into his background.
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>> So, I head to the Newsroom, and say, "Can you pull me anything out on this person?" >> "Youth Center Operator Held in Raid." >> We freaked out. >> The first reaction was, "This show must come down." >> Well, if the artist is dead, we don't have to worry, but if the artist is alive, let's stay away from that. >> We have devoted years to this. >> I am not just a project. >> Those articles brought more attention to my home. >> It's unsafe.
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>> Where am I going to live now? >> I think it's time for Peter to pull himself out of Peter. >> You don't want to bring what you're running away from here. >> The artist who suffers is common. It's called fortitude.
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>> So, Jim, it looks like, as usual, great line up this year. What excites you the most? >> Well, just the idea of getting out there and getting the films out there seen by everybody. There are two moments for me every year that are... that always give me great relief and, I say, exaltation. One is the completing of the schedule. We have it kind of all mapped out on a wall. Getting all the films in place. And then, right when the Festival is ending, when we know everybody's seen as many of the films as possible, and getting feedback from everybody. That's always a relief. >> Do they give you some constructive criticism? >> Absolutely. >> More Seagal? More Van Damme? More martial artists wearing tight pants? >> What about Jeff Speakman? >> Speakman, too. Speakman's right there. >> Okay. >> Okay, we got a couple of seconds here. Give us a quick plug. If people are watching the show right now and want to get tickets, give us the web site. >> WiFilmFest.org And if you see a film that's marked "Rush only", know that that means that advance tickets are sold out, but we do encourage you to go to the Theater, and try. We rarely have empty seats. >> Great. Thanks a lot, Jim. As always, great having you. >> Thank you. >> Good luck and thanks so much for being here today. Thank you to all the filmmakers that joined me today. And thank you for watching Director's Cut. For more information on the Wisconsin Film Festival go to wpt.org and click on Director's Cut. Also, don't forget that the new season of Director's Cut, our eighth, premieres May 1 at 10pm. So, we hope to see you then. I'm Pete Schwaba and I'll see you at the Wisconsin Film Festival.
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