My first interview was for the film festival's daily newspaper. It was only about 10 minutes long, but he asked some good questions. The most challenging one, by far, was "How is this film better than the original." Since that moment, I have come up with so many clever responses. Unfortunately, at the time I said drivel. Hopefully, they won't print it.
Next up, I was able to experience my first live translation. The journalist from Tiempo Argnetino (the Argentine Times) didn't speak English too good, so I was assisted by a young woman named Emily. She spoke like an android who was programmed by an android who never heard a human speak before. But she was good and very fast. This interview was longer, and was for the print edition on Thursday. I'll definitely link it when it is published. Despite the fact that you won't be able to understand it, I'll be sure to grab a copy for you, mom.
Next up, a fancy lunch with Alex and Pablo. Although I wanted to eat sweetbreads, they convinced me to get a steak, a cut of meat they call "Vacio." Pablo explained to me that in Argentina they have different cuts of beef than the rest of the world. They look at the cow in a completely different way, he explained.
Accompanying the meal was a local sauvignon blanc, from the Rutini vineyard. It was aged in French oak, and definitely tasted like it. It was fine but nothing that blew me away.
I walked with angel Lola (who has been very scarce but appearing every once in a while) to the cinema that was premiering SLACKER 2011. On the way, we had an hour to kill, so I drank a fernet. Fernet seems to be a favorite drink here (or, more specifically, in the province of Cordoba), but they always drink it with Coca Cola. It was difficult for me to explain to the bartender that I wanted it neat. Maybe I should have tried it their way...
Of course, I figured no one would come. But by the time 8:00pm rolled around, about 150 foolish people showed up to see this very strange film about a town most of them have barely heard of. With the help of Emily the interpreter, I introduced the film as best I could. I explained the project a bit, but basically just told them "Good luck." ¡Buena suerte!
I was very interested to see their reactions, and to see the subtitles, so I sat through the film. As I watched, I regretted that I didn't sit through more screenings of the film in Austin; it is very rewarding to hear people respond to the film. This screening was a bit tougher than Austin, although it was still received quite well.
I never really thought of it before, but I realized at the screening just how much of the film is based on playing with the English language. The mechanics scene, for instance, done by Sam Douglas, is undoubtedly one of the funniest segments of the film. But the nonstop nonsense spouted by the two green car nuts didn't translate easily into Spanish. I was surprised at how infrequently they laughed, and at the things they laughed at.
By far, the biggest laughs came from the drive/Trophy's scene, directed by Carlyn Hudson. I guess it just goes to show that vomiting in someone's mouth is funny in every language!
The q&a went wonderfully, as the attentive audience asked some of the basic questions (How did this happen? How were the director's chosen?) but also some interesting new ones (How did the original actors/crew chose to be involved in the remake? What would you have done differently if you were in total control? - That question I didn't give a straight answer to, of course). Someone also asked us to do it again in another twenty years, but in 3D. Surprisingly, I gave a thoughtful response to that.
After the film, a handful of people came up and did the usual "We loved the film. I'm a filmmaker and here's my postcard," thing. Someone came right up to me and said how much they enjoyed the 9/11 conspiracy theorist (directed by John Bryant and played to the top by Chris Trew). When I watched that scene with the crowd, it seemed like they totally didn't get it. But apparently I don't know how to read South American audiences too well.
I had to rush out to go to another cinema, to introduce a screening of the original SLACKER. That theatre was PACKED. An audience member explained to me that he was searching for this film for 15 years, but that it wasn't available on video and he couldn't find it online (ever heard of the pirate bay, buddy?). I was happy he was finally getting to see it. With the assistance of Emily the interpreter, I started the speech with this line: "Tonight, you witness a revolution!" I introduced it with an historical tone, explaining the history of American independent cinema and how this film intervened. They seemed very interested, engaged even. Oh, and at this theatre, there is a beautiful mural of film directors, including a frightening depiction of Woody Allen. Love it!
With the interpreter and a different angel (my new nighttime angel, Florencia), I ate at another fancy restaurant. I ordered Pappardelle with sea creatures (Pappardelle con frutos del mar) and it was amazing. I also had some more local wine, this time a Torrontes from the Etchart Privado label. They claim to have been producing wines since 1850. It was an excellent wine, a great example of the Torrontes grape (probably the second most famous varietal from Argentina). It was a great meal!
I have been discovering that in Argentina almost no one serves wine by the glass. The options are either by the bottle or the mini bottle (375ml). This is frustrating for me because I would prefer to try a wider variety, but there are probably good, environmental/economical reasons for this.
Before I went to sleep, I got some great news. They are adding a third screening of the film on Thursday. This is because they decided to put the film/my interview on the cover of the newspaper for Thursday, and they needed an additional screening. So we all win! The covers for the newspapers are like this:
Alex Cox on Tuesday
Joe Dante on Wednesday
SLACKER 2011 on Thursday.
What a world.
I am verklempt!
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