When the Malibu Film Festival rolls out the red carpet on Feb. 23, there is going to be some real star power in town. But in this city, which moguls like Steven Spielberg and James Cameron call home, the limelight will be on several Malibu filmmakers toting a reel of their first film, wearing adjectives like new, up-and-coming, independent and talented.
Tom Rice and his feature “The Rising Place,” which has already collected prestigious awards including Best Picture in the Atlantic City fete, and the fifty-thousand-dollar-honor of Best New Director at the Heartland film festival in Indianapolis, is stirring up a buzz before the Malibu fest even begins. But before any of the festivals and the accolades, Rice had to get the ball rolling.
For his first feature film the 25-year-old auteur left New York and his job behind-the-scenes on Broadway to go back home to Jackson, Mississippi. Rice had already purchased the rights to a novella that contained some of the characters he had written into his script about interracial love during the second world war, so he started banging on every door in the town to gather his modest budget (somewhere around $850, 000). “It was crazy, I really didn’t know how to do it,” said Rice. “I met with lawyers and we just started selling shares.”
They got closer and closer to lifting “The Rising Place” off the ground. Then it was all about momentum. Independent film actresses and talented character actresses started calling. “It really was just like a snowball effect, you know,” recalled Rice. “I got Laurel [Holloman] (“Committed”), I got Beth [Grant] (“Speed”), then we were just going.”
Then the ball really got rolling: Billy Campbell, from TV’s “Once and Again,” Frances Fisher, “Titanic,” and Tess Harper, “Crimes of The Heart,” came on board. Four time Oscar winner Mark Berger did the sound design, Conrad Pope composed the score and Grammy award winner Jennifer Holliday added a few tracks.
And what they all created in the process is what some say is a remarkable film. “You would never know it isn’t a $15 million movie,” said actress Beth Grant. “It really is so wonderful, and so is Tom.”
Next up for Rice is a pair of features he wants to produce with his new company, Flatland Pictures, but meanwhile, the ball is still rolling for “Rising Place.”
“We’re not even finished yet,” said Rice. “We still have a few things to do with the credits and all. ‘The Rising Place’ is a good movie. Something with a message of redemption, something people want to see nowadays.”
Katrina Bronson, who will be presented with the festival’s Emerging Director Award, wanted to tell a story about children, about the power of children; she wanted to tell a story about family, about the beauty of families.
With the short film “Righteous Indignation,” Bronson, daughter of actor Charles Bronson, tells a poignant story of “a hardened man transformed by the vulnerability of a little girl, ” according to press releases.
But the actress/writer/director/producer knew she was going to need a bit of luck to get there. She was starting off with a blessing. Academy Award-Winner Quentin Tarantino, of the maniacal film “Pulp Fiction,” mentored her through the process. He would go through her shot lists with her — the shots she needed, the schedule she should work on. “It was great,” said Bronson. “He even lent me his camera, the camera he shot ‘Jackie Brown’ with. And he gave me advice.”
Bronson came to Tarantino three days before she was scheduled to start shooting with a problem. “I had a problem with the lead actor. [Quentin] told me to fire him: ‘Just fire him, right now, call, you don’t have time to deal with that. You need people who want to be there.’ You know that crazy voice of his.”
Bronson knew she had to fire the actor and eventually did, but she was left with a problem — no lead actor.
Tarantino told Bronson that he could get the script to a buddy of his, Michael Madsen. The scruffy leading man, maybe best known for his role in Tarantino’s “Reservoir Dogs,” was perfect for the role, but Tarantino thought he might be in Canada.
But luck came to the rescue again for Bronson. Madsen called and said he liked the script and he would commit to the role. Then, Brian Austin Green, from the TV show “Beverly Hills, 90210,” called. He had gotten a copy of the script through a mutual friend of Bronson’s, and said there was a role he was interested in.
It all came together for Bronson in a happy ending, with “Righteous Indignation” soon to be screened at the festival.
Not everything ends so happily, though, as Malibuite Bara Byrnes knows. “A Bittersweet Tale of a Hollywood Failure” is Byrne’s own story of acting, drugs, drinking and fame, which she said she is telling to exorcise her own past and to warn others in the future.
The short documentary film, a collage of Byrne’s starring roles woven through a one-woman show she performed on her birthday in 1996, takes us into the gruesome worlds of Hollywood and addiction. Writer/director/producer Byrnes narrates to tell us those details of her life not readily apparent on screen. At one point she tells us that the stack of cash she is holding in her hand, designated as blood money in the movie, is not real, but that her breasts, maybe the focus of the shot, are indeed the real thing.
She also tells sincere and sometimes raw stories. Stories about herself — her relationships with Sinatra and the like — but also stories Byrnes hopes have lasting and profound themes. “Hollywood really is this place where fame does awful things to you, where you are ‘Who’s Arm You’re On,’ ” said Byrnes.
Acting and drugs are “a lot alike,” said Byrnes. “You are just so in the moment,” so much so “that you can really lose control.”
Byrnes said she has told her story to communicate with every 18-year-old girl intoxicated with the dream of Hollywood, to watch out, it’s not all glitter and gold at the end of the Hollywood rainbow.
Will Oxx’s and Dave Barlia’s “Above a Frozen Sea” is a vivid documentary of a different sort of intoxication — the rush and thrill of cliff jumping. The filmmakers have found a way to push the rush of extreme sports into the evocative realm of visual art, and their short film is all adrenaline and all fast-pulse.
Oxx and Barlia, both professional aerial cinematographers, venture north, above the Arctic rim (where the sea is literally frozen) to find a stunning backdrop for their leaps of love. And it is intense, immediate filmmaking with these guys at the helm. They pack the camera, and so the viewing audience, on their helmet as they hike up a 10,000 foot cliff — and jump off.
“What we’re trying to do is take you on the trip,” said Oxx. “You see what we see, the camera is our eyes, and when we look down off the cliff, you feel it too, your stomach moves. It’s so exciting.”
Citing the similarities between cliff jumping and filmmaking — preparation, practice and endurance — Oxx knew that “Above a Frozen Sea” would be a long but worthwhile trek.
The film was shot, cut and sound edited entirely by the two former Mountain Dew commercial videographers. And the hugely popular recording artist Moby was so impressed with Oxx and Barila he lent them his music for the soundtrack.
In the end it was all worth it. “I am totally fulfilled, I have reached my ultimate goal [with this film],” said Oxx. “A lot of festivals are saying that ‘Above a Frozen Sea’ is a great movie, but really, we were just having fun. It’s all about fun.”