I recently interviewed SXSW Film Fest producer Matt Dentler about this year’s fest (which looks completely amazing, BTW). Matt’s a cool guy–you should also check out our conversation from last year, which contains a mini-bio at the beginning.
Interviewed: Second Skin Producer Victor Piñeiro
There are a lot of interesting movies premiering at SXSW this year, including Second Skin, a documentary look at the lives of seven MMORPG (Massively Multiplayer Online Role Playing Games) players. The trailer looks pretty great–though, admittedly, I’ve logged a lot of hours playing console games like Final Fantasy, so maybe it won’t be so interesting to someone who doesn’t care about video games.
In any event, I recently interviewed the film’s producer, Victor Piñeiro, for Austinist, and he’s a super cool guy. If all goes well, I’ll have a bunch more SXSW filmmaker interviews in the coming weeks.
UPDATE: The Second Skin guys arrived in Austin this week to do some promotion, and they’re posting video blogs of their SXSW experience on their youtube page.
Reviewed: 4 Months 3 Weeks and 2 Days, The Signal
I’m going to be on a plane for a good chunk of the day tomorrow, so I won’t be able to post a proper link right away–but I wanted to write a quick note about two good movies opening in Austin tomorrow.
The first is the horror/comedy The Signal, which I heard a lot of buzz about at SXSW last year. I recently caught it at the Fangoria Weekend, and it’s pretty great. Not perfect, but certainly a welcome change for the genre. If you’re a horror fan, you’ll dig it.
The second is the Romanian drama 4 Months, 3 Weeks, 2 Days; an absolutely devastating look at the harsh realities of life in communist Bucharest. The film follows two women as one tries to help the other obtain an illegal, late-term abortion–but it’s not primarily about abortion, I don’t think. In any event, it’s a tough watch, but it’s very, very good.
UPDATE: Here are the reviews.
Marfa Film Festival
The first annual Marfa Film Festival looks like a great excuse for a road trip. They haven’t announced the lineup yet–but does it really matter? A weekend of “wide-open plain, distant mountains… incomparably starry sky” and outdoor screenings? I’m sold.
Two Academy Award Best Picture nominees were recently shot in and around Marfa (No Country for Old Men and There Will Be Blood), and the town of 2,000 has recently become something of a hip tourist destination. I can see why.
Never Trust a Movie’s Marketing
I’m not sure what’s worse–publishing fake quotes from a critic who doesn’t exist, or completely distorting actual quotes from a brilliant, real-life critic.
While I was putting together a list of new DVD releases today, I came across the website for Chaos, a recent horror flick that Roger Ebert gave zero stars, and a thorough tongue-lashing. And yet, right there on the homepage, there’s a quote attributed to Ebert that reads “Affected me strongly… the movie works.”
On the one hand, I get it. The filmmakers feel that Ebert admitted (briefly) that their film was good, and they want to attach his name to their marketing effort, even if it means pulling his words completely out of context. He is, after all, probably the most well-known, well-respected film critic in North America. But personally, if an indie film like this were MY baby, I’m not sure I’d feel comfortable bending the truth quite that much. Especially for a film that is most certainly never going to reach (and was probably never intended to reach) a popular audience. Why bother sinking to those sleazy, dishonest depths? Does a horror audience really care what Ebert thinks?
In any event, it’s got me wondering how critics can combat this trend. And the only strategy I can come up with is to write pre-ellipsized reviews with any potentially positive words cut out. “Awful… revolting… a waste of time.”
Semi-Pro Sneak Screening
The Alamo Drafthouse is the kind of place where you might walk out of a Saturday matinée of Spiderwick Chronicles and step right into the middle of an impromptu basketball game being played in the lobby.
In this photo, Alamo co-owner Tim League tosses a granny shot at the temporary net, which was set up for last night’s sneak screening of Semi-Pro. In order to get into the screening, all attendees were required to wear “Flint Tropics” basketball uniforms–which actually ended up being really hilarious.
Austinist writer and all-around badass Tom Thornton had a quick chat with star Will Ferrell, who was in town for the screening (and who was incredibly impressed that we all actually wore uniforms). The interview will run this week on Austinist, along with some photos.
UPDATE: Here is Tom’s quick interview with Ferrell, and here are a whole bunch of great photos from the event, including a “Team Photo” of Will with the entire audience (I’m kinda right behind him, wearing glasses).
Smart Vertical Centering Using CSS and Javascript
I’ve been up for a while now wrestling with a seemingly simple problem–how do you vertically center a fixed-size DIV without allowing it to crawl off the top of the page? And it turns out that the solution was much simpler than I expected, so I initially looked right past it. It includes some JavaScript though, so it’s not right for everyone.
Here’s the setup: I have a fixed-size div containing a flash movie. I want this flash movie to appear perfectly centered most of the time (easily done using some simple CSS), but I also want it to respect the top of the page, so if a client’s window is shrunk below the height of the movie, the top doesn’t appear “cut off”.
The first step was to do the centering. Let’s say my div, called “content_container”, is 900px by 675px. This CSS will center it both horizontally and vertically:
#content_container {
position:absolute;
width:900px;
left:50%;
top:50%;
margin:-337px 0 0 -450px;
}
Works! Unless, of course, the browser window is less than 675px high, in which case the div (while technically still centered) shifts off the top of the page. This is the issue.
My first instinct was to use Javascript to grab the coordinates of the div and make sure the top was at least zero. If it wasn’t, I’d set it to zero. And while that worked well for keeping the top from sliding off the page, it introduced a logic issue: once I set the top to zero, a test for “less than or equal to zero” is useless, and the div is stuck in one position. In other words, even if the user resizes their browser to an acceptable size, once the script fires the div will be stuck at the top.
After tinkering with it for like an hour, I realized that I’ve been taking the wrong approach. I don’t need to know the div’s position at all. All I need to know is whether or not the window is at least 675px high. If it’s not, I set the top to 337px (which, counting the negative margin, puts it at zero). If it is, I reset the top to 50%, and we have our centering back.
So first, I figure out the height of the window (adapted from this handy bit of code, which is pretty browser-friendly all the way back to IE4):
function getWinHeight() {
var myHeight = 0;
if( typeof( window.innerWidth ) == ‘number’ ) {
myHeight = window.innerHeight;
} else if( document.documentElement && ( document.documentElement.clientWidth || document.documentElement.clientHeight ) ) {
myHeight = document.documentElement.clientHeight;
} else if( document.body && ( document.body.clientWidth || document.body.clientHeight ) ) {
myHeight = document.body.clientHeight;
}
return (myHeight);
}
Now I check this height against our div’s height, which is 675px. If it’s less than that, I reset the top to zero. Otherwise, I make sure the top is 50%:
function fixPos() {
var thisTime = getWinHeight();
myDiv=document.getElementById(‘content_container’);
if (thisTime < 675) {
myDiv.style.top = "337px";
} else {
myDiv.style.top = "50%";
}
}
I call this fixPos() function from both the onLoad and onResize events. And while using the onResize event can make things a bit twitchy (especially in Firefox), it totally works. Of course, folks with JavaScript turned off will have to settle for the non-corrected position.
If anybody has another, cleaner way to vertically center a fixed-size div, gimme an email. I’d be totally interested to see it.
Netflix plugin breaks my validation
So just as I was buying champagne for my validation party, Albert Banks’s Netflix plugin for WordPress broke my website. Well, not really–it just introduced a small, annoying error that I’ll have to fix somehow: any “&” symbols that are rendered through the plugin (for example, the one in Romance & Cigarettes, which I have at home right now) don’t get converted to the correct character entity.
XHTML 1.0 assumes that every instance of the “&” symbol is the beginning of a charcter entity, and it gets cranky when it’s not followed by a valid reference and a semicolon (like this: &) . Even in alt tags and URL strings.
Not a big deal, really. And it’s something I might not have even noticed if I hadn’t had that particular movie at home right now. Some quick PHP changes should fix ‘er up.
Dischord to Offer Digital Sales
Dischord records announced yesterday that they’ll be launching a new digital sales initiative sometime this spring. Though you can already buy most of the Dischord catalog through e-music, itunes and amazon, the label is apparently crafting a web-based version of their completely awesome direct-to-consumer mail order business (if you look on the back of any Dischord CD, it’ll say something like, “This CD available $10 postage paid from Dischord Records”).
Says the Dischord newsletter: “Our goal is to offer a hybrid of the direct sale and subscription based services. We will offer customers the option to purchase entire album files for a set price or purchase credits [that] can be used to download a variety of individual songs.”
Awesome. And I assume the prices will be slightly lower than the average download, because that’s how Dischord rolls.
Finally, a label that understands the power of the internet as a distribution method. Why can’t the multi-billion dollar majors figure this stuff out? Grab that long tail, Dischord! Grab it!
Drive Like Jehu Reunion Is Not Real
DO NOT do this to me, internet. I was sixty seconds away from booking a flight to Philadelphia. I’m still excited to hear Rick’s new band Obits though–I just downloaded a bootleg of their first show here, but haven’t checked it out yet. Oh, and Speedo’s new band The Night Marchers will apparently be playing SXSW 08.