Academy Award nominated Screenwriter Josh Olson's Day 1 Coverage of SXSW: The WHITE STRIPES documentary!

Hey folks, Harry here... I was introduced to Josh Olson by our mutual friend, Harlan Ellison when Harlan came to SXSW to promote and support DREAMS WITH SHARP TEETH... and Josh came along to attend. As we devoured ribs and told tall tales all night long, we kinda hit it off. When Josh asked if I'd welcome his insight into this year's SXSW... I told him to get to writing and that I'd look forward to reading and passing on his takes to you good folks. He had a short day to start with, but I expect to see a bit more in the coming days - he hit it pretty hard today it seems. Here ya go...

Hey. Josh Olson here. I’m a screenwriter, living and working in Hollywood. I’m probably best known for my screenplay for A History Of Violence, a film I’m tremendously proud of, directed by the brilliant David Cronenberg. I’ve also written a Batman animé, written and directed a low budget horror film, and have written with the legendary Harlan Ellison, among other things. I’ve shown up here before - Harry was kind enough to let me correct some misinformation about my Oz project a few months back. In spite of an Oscar and BAFTA and WGA nomination for History, though, I may have eclipsed myself with a Village Voice piece I farted out in half an hour last year, I Will Not Read Your Fucking Script. The damn thing got a couple million hits, and if I dropped dead tomorrow, it would probably get top billing in my obituary. Delightful. One of the frustrating things about what I do is that while I get sent to film festivals, I usually don’t get to see any films. The only time I ever went to a festival where I didn’t have a movie showing was Sundance, many years ago. I went with a producer friend who was picking up the tab, and it was a last minute thing, and we ended up seeing mauybe five movies, all of them terrible. We had tickets for Gaspar Noe’s Irreversible, but my friend really really really wanted to go to the ICM party at some bar, and it was one of those things where it would have been rude not to go with him. At about ten past eight that night, on our way to the party, we walked past the theater where Irreversible was screening. People were staggering out into the street, pale, shaken, frightened. It was heartbreaking. The one great movie we had tickets for, and we went to a party that was a perfect replica of the kinds of parties I avoid in LA. This has been bugging me a lot lately, as I’ve renewed my commitment to spending more time studying film, so when SXSW got in touch and asked if I’d like to come down to Austin and talk on a screenwriting panel, I jumped at the chance. One of the perks is they’re giving me a gold badge, which ensures you get to see as many movies as you want to. So I’ve come down here for the duration, and I’m going to spend a week stuffing my eyeballs with movies. And what the hell, I thought I’d write about them, too. I won’t be doing typical reviews, though. I don’t intend to pan anyone. If I don’t like a movie, I’m going to keep it to myself, and not write about it. It’s hard enough getting an indie film made without some Hollywood asshole like me taking a dump on your work. But if I find something I like, I know that every little bit helps. I’ve been that guy - about eight years ago I wrote and directed a goofy little horror comedy called Infested. The film was in the can, and we were taking it around to distributors, and it was murder just getting them to watch it, let alone buy it. And then the great Drive-In movie critic Joe Bob Briggs saw the film and gave us a flat-out rave. Less than 24 hours later, my producer got a call from a guy at Sony, wanting to see the film. Hilariously, he didn’t even know he’d been sitting on a DVD of the thing for two months. He watched it that day, and the next day we had a sale. Damn thing’s still in print, too. You can buy it at Amazon. (And you can read Joe Bob’s review here, if you’re interested. Joe Bob remains one of my heroes: http://www.joebobbriggs.com/drivein/2002/infested.html) Selling Infested kept me going long enough to break into the studio game, and I would absolutely not be where I am today if it weren’t for that. I know how much a good review of a little indie film can mean to a filmmaker. So, that’s my mandate. I’m seeing as many flicks as I can, and I’ll tell you about the ones I like. And if you’re here Sunday, and want to catch what promises to be a pretty fun and interesting panel, come down to the Austin Convention Center at 11:00 AM. The panel’s being moderated by novelist Sarah Bird, and will feature screenwriters Alex Tse, Stephen Harrigan, Anton Diether, and me. We’ll be talking about adaptations. Anyway. Enough preliminary banter. The festival kicked off yesterday, and wasn’t a full day, so I only have one movie to tell you about, but it’s a doozy - The White Stripes movie, Under Great White Northern Lights. Director Emmett Malloy followed the Stripes around on a unique tour of Canada. Touring behind Icky Thump, Jack and Meg White vowed to hit every province in Canada, and played some very offbeat and out of the way locations, including bowling alleys, and buses. Yes. They play a show on a bus. They also played a one-note show that opens the film. One note. It’s kinda hilarious. It’s a terrific film that reminded me a lot of what Phil Joanaou tried to do with U2 with Rattle And Hum. As much as I enjoy that film, I have to say, Under Great White Northern Lights beats it all hollow. The concert footage is riveting - not surprising - and the moments with Jack and Meg in between shows is engrossing as hell. You really get a strong sense of what makes this amazing band tick. There’s a scene with Jack talking about the band’s work ethic that ought to be required viewing for anyone attempting to create anything, whether it’s rock and roll or cupcakes. His belief - one I share - is that it’s the limitations that make creativity happen. When you have all the money and resources and time in the world, nothing happens. It’s when you have something to push against that the good stuff comes out. The things some people see as the band’s limitations are the things that make them great. He seems a bit too caught up in what some critics say about the band, though. You can see that he’s an incredibly considered, serious and passionate artist. He talks about the conceit of the band - their look, their sound - and how some critics have called them affected. He shouldn’t worry. Every great rock and roll band has had some sort of affect. It’s the commitment to that artifice where the sincerity comes through. I once read a critic talk about the difference between Bruce Springsteen and James Taylor, and he nailed it when he said that both men are putting on a performance, but Bruce’s is the more honest of the two because he’s open about it, and commits to it, and invites you to be part of it, whereas Taylor’s whole “I’m just a sincere guy on stage singing about my heart” routine is just as much a schtick, it’s just not upfront about it. I couldn’t help think about that as I watched the movie, because the Stripes on stage are nothing but the real thing. The performance footage is electrifying. You’re watching a band that means it. Their performance of Dolly Parton’s Jolene is the high point of the movie, at least for me. Incredibly powerful and chilling, Jack and Meg wring all the emotion out of the song, and bring it home in a way that felt entirely fresh and new. Some people like to bag on Meg White, but not me. I’ve always thought that she has one of the most distinct “voices” in rock music. Not as a singer, of course, since she doesn’t sing (although she does do one song in the film, and it’s terrific), but as a drummer. Her sound is all hers, and when she plays keyboards, you can still hear it, amazingly. It’s easy to focus on Jack White when you look at the Stripes, because he’s such a dynamo, and she’s so quiet (She really is. She barely talks at all in the film, and when she does, it’s subtitled because she’s so quiet.) But I really came away from the film even more impressed with her. The film closes with a powerful, emotional scene that I won’t describe at all, except to say that it provides a perfect conclusion to this rarest of things, a great rock concert movie. Even if you’re not a big White Stripes fan, it’s worth checking out if you want to see what a great rock and roll band looks like. There are still a few left... And with that, I’m off. I’m going to try to do this every morning before I take off for the day’s screenings. My schedule’s pretty set, but if you hear of anything great, or have a good recommendation, send it along. And if I don’t review a movie, it doesn’t mean I didn’t like it. I may simply not have seen it. See you tomorrow.