The Idle Class: Winter 2021 - The Film and Media Issue

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Now offering the fine works of Featuring fine art by

Oluwatobi Adewumi BRAD CUSHMAN Little Rock, Arkansas

1501 South Main Street, Suite H Little Rock, Arkansas 501.664.0030 // 501.454.6969 5815 Kavanaugh Blvd.

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“The Exchange” “Rivercrest I (Looking Northwest)”

New Works from Dean Mitchell | Winter 2022

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North Forest Lights is back for a third and final season!

AT CRYSTAL BRIDGES

Open Now through Jan 2, 2022 Reserve tickets in advance at CrystalBridges.org.

Arvest Bank June Carter Family Shannon and Charles Holley 10TH ANNIVERSARY EXHIBITION SEASON SPONSORS: The Coca-Cola Company, Goldman Sachs, Tyson Foods, Tyson Family Foundation, The Willard and Pat Walker Charitable Foundation, Walmart, James Dyke and Helen Porter, Christies, Sotheby’s, Stout Executive Search, Trott Family Philanthropies, Del Monte Foods, Inc., Chuck and Terri Erwin, Shelby and Frederick Gans, Sybil Robson Orr, ConAgra Brands, The Kroenke Family Foundation, The Bogle Family, Rick and Beverly Chapman, Pat Cooper, Valorie and Randy Lawson | Lawco Energy Group, and Kelly and Marti Sudduth.

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THE FILM + MEDIA ISSUE 2021

ARKANSAS SOUL

FOUNDER + EXECUTIVE DIRECTOR THE IDLE CLASS Niketa Reed

PUBLISHER + FOUNDER Kody Ford EDITOR-IN-CHIEF Antoinette Grajeda

EDITOR-IN-CHIEF BOARD OF DIRECTORS Julia M. Trupp Sarah Bishop

Kody Ford ASSOCIATE EDITOR Jenny Vos Airic Hughes Synetra Huges

Renette McCargo DESIGNER Dana Holroyd LINES OF WILDFIRE

CONTRIBUTORS PAGE 12 Since their first show in May, AmericanaJack Barr blues-rock band Ley Lines has skyrocketed Summer El-Shahawy in popularity across Northwest Arkansas, Cassidy Kendall and they’re bringing us along for the ride.

Andrew McClain Sophia Ordaz HIGH FASHION IN WATERCOLOR Sophia Stolkey PAGE 15 Erin Lorenzen What started as a form of therapy became a way for Cheryl Kellar to both lose and find COVER herself in the world of high fashion.

Cheryl Kellar WE’LL HAVE WHAT SHE’S HAVING PAGE 23 We chatted with Kristin Mann about producing, being involved with the Arkansas film industry and recommending a classic film for any collection.

PHOTOGRAPHY Kandi Cook Claire Curtis Rett Peek Deepwood Media Brandon Watts Kat Wilson Tim Hursley

DIRECTORS WE LOVE PAGE 32 We talked with talented directors around the state about how they got their start and where they’re going from here.

ARTWORK Phillip Huddleston

SHOP SNARKY, MEANINGFUL & WELL-MADE LOCAL JEWELRY & GIFTS

REMAKING YESTERDAY TODAY PAGE 42 You don’t need a big budget to produce a historical film—just some patience and a lot of ingenuity.

JOIN THE CREW PAGE 44 There’s more magic that happens offscreen. Learn what all happens behind the scenes with Arkansas-based crewmembers.

DOCUMENTARIANS WE LOVE PAGE 48 Capturing a true story is far more arduous than many might realize. We spoke with several documentary filmmakers about their recent work and what they love about their job.

RAISE YOUR VOICE PAGE 51 A trio of women is using their platform on “Blackbelt Voices” to celebrate the rich stories of Black Southerners.

AN INTERVIEW WITH A PUPPET PAGE 56 We hung out with the star of “Blueberry’s Clubhouse” this summer to find out what she’s up to over at Arkansas PBS and the Arkansas Museum of Fine Arts (AMFA).

IDLE CLASS CONTACT //IDLECLASSMAG.COM IG // @THEIDLECLASS FB // THEIDLECLASS EMAIL// ADVERTISING@IDLECLASSMAG.COM EDITORIAL@IDLECLASSMAG.COM

It’s A Mystery BookStore On the Berryville square Located in Berryville, AR

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Your gently-used bookstore featuring vintage, modern and classic reads!

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When I was little I thought I was going to marry Gene Kelly or Danny Kaye. The classic mid-century films they both starred in were staples of my childhood, and I was convinced that when I grew up, I would run into one of them as I made my way toward Broadway and we would fall madly in love. And then my mom told me the rather unfortunate news.

As I got older, my film interests jumped ahead a few decades and I found myself connecting with John Hughes’s coming-of-age masterpieces of the ’80s. I crushed on Ferris Bueller on his day off and indulged in Allison’s cereal-and-Pixie-Stix sandwich from The Breakfast Club as a performance piece in class (theatrekid things, obviously). I felt connected to all of these films: They were timeless. They were relatable, hilarious, tragic. They were human.

That’s truly the magic of cinema—the human element.

Writers, directors and actors capture viewers' belief in the story they’re sharing because it’s a retelling of the life we’re all living together on this planet. Some films have magical elements, some hit a little too close to home. But good films immerse their viewers in every last detail of the story because of the human element at the forefront (most of the time, if you’re not George Lucas).

And it takes a full company of talent on and off camera to make it happen.

know that’s not enough to capture all the talent bouncing around the Ozarks. Arkansas isn’t a stranger to the wonders of cinema. In fact, it’s become a mainstay in the international film industry thanks to the incredible talent in every corner of the state submitting for film festivals like Bentonville Film Festival, led by awardwinning performer Geena Davis. Did you know the Hot Springs Documentary Film Festival celebrated its 30th anniversary this year? That makes it one of the longestrunning film festivals in the nation. Find out more on page 37. Arkansas Soul is back, spotlighting festivals, podcasts and BIPOC filmmakers. We’re highlighting directors and documentarians, and on page 51, we’ve got a fun podcast and TV guide so you can find your next favorite Arkansas-based show.

So grab some buttery popcorn, your favorite beverage and enjoy The Film and Media Issue of The Idle Class.

Let it take you inside the minds of filmmaking creatives in our state and inspire you to connect with your fellow humans as we near the end of the year. We’re thankful to have once more connected with artsy humans to give you another issue for your collection. Danke schoen, darling. Danke schoen.

Your friendly neighborhood editor, Julia M. Trupp

We’ve got 64 pages of film magic coming up, and we

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H

umans have always had a burning desire to tell stories. From the campfires of the stone age to the podcasts of today, storytelling has been a common thread that informs the culture in which we live through education and imagination. For over a hundred years, film has been the dominant medium for storytelling. While filmmaking originated on the east coast and in Europe, filmmakers quickly headed west and established Hollywood, leading to the industry that still thrives today.

For years, Arkansas only had small brushes with filmmaking like the 1982 CBS miniseries The Blue and the Gray. In 1996, Billy Bob Thornton returned to Saline County to make Sling Blade. A decade later, Arkansas natives Joey Lauren Adams and Jeff Nichols directed their debut films here. Still, outside of a handful of indies, the industry never fully took off until Nichols’ 2012 film Mud, starring Matthew McConaughey and Reese Witherspoon, kickstarted a new era for movie making in the state. Since then, not only are productions coming here, but Arkansas filmmakers have made their own homegrown productions with financing, crew and often talent from within the state. Studios have popped up to meet the demand.

The University of Central Arkansas and John Brown University have watched their film programs grow and prosper. Festivals like Filmland, Hot Springs Documentary Film Festival, Bentonville Film Festival and the Fayetteville Film Fest have brought criticallyacclaimed films and filmmakers to the Natural State.

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This past year, a bi-partisan effort to expand film incentives passed the legislature so now production companies have a choice between the previous rebate from the governor’s office or a new tax credit.

Hollywood has also taken notice as famous actors like John Cusack and Martin Lawrence have come here for their latest productions. Lawrence actually shot scenes outside of our office at Creative Spaces NWA and walked right past me. Yes, he’s as tall as I expected.

This past year, I’ve had the privilege of really getting to know the growing film community in our state as the Outreach & Programming Director at the Arkansas Cinema Society. I’m very excited for the future of filmmaking in our state. This isn’t just a way to bring in outsiders to shoot something and leave town; it is a boon to the community through economic growth with jobs and dollars spent by both local and national productions. Gov. Asa Hutchinson has been a strong advocate for filmmaking in the state and our Film Commissioner Christopher Crane has worked tirelessly to bring more productions here. Our legislature is starting to recognize the economic impact of filmmaking and the arts too.

Hopefully, this support will continue and expand in the coming years. So if you’ve always wanted to be in the movies, whether in front of the camera or behind it, you might not have to pack your bags and head west to Hollywood in the future. You can just stay here and find work in our state. Fingers crossed.

Kody Ford Publisher

While it’s important to applaud efforts to diversify who we see in front of the camera, I also want to make sure we appreciate the diversity that exists behind it.

Over the course of the pandemic, I’ve found myself consuming more media than I have in a long time. I’ve streamed movies and television shows from around the world all from the comfort of my couch and I’ve been pleasantly surprised at the diversity of actors on my screen. Two of the most stunning works for me have been Hamilton and Bridgerton — not for the plots, but rather for their choice in actors. For the first time in my life, I had the chance to see what it would have been like if Black and Brown folks had been members of high society in the 19th century.

While it’s important to applaud efforts to diversify who we see in front of the camera, I also want to make sure we appreciate the diversity that exists behind it. No matter your medium, there is often a team of folks working behind the scenes to bring a project to life. In this issue, I’m excited to highlight directors, documentarians and podcast producers of color creating entertaining, informative and intelligent work right here in Arkansas.

Thanks to The Idle Class for giving us another space where we can share the work of BIPOC creatives in the state. We hope you enjoy their stories and perhaps find your new favorite director or podcast host.

— Antoinette Grajeda Editor-in-Chief, Arkansas Soul

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"BLACK FEMALE GAZE 2 RESISTANCE," 2020

JOHN DYER "SELENA," 1992

EVENTS BENTONVILLE IN AMERICAN WATERS: THE SEA IN AMERICAN PAINTING NOVEMBER 6, 2021—JANUARY 31, 2022 $12 CRYSTALBRIDGES.ORG For over 200 years, artists have been inspired to capture the beauty, violence, poetry, and transformative power of the sea in American life. Oceans play a key role in American society no matter where we live, and still today, the sea continues to inspire painters to capture its mystery and power.

In American Waters is a new exhibition in which marine painting is revealed to be so much more than ship portraits. Be transported across time and water on the wave of a diverse range of modern and historical artists including Georgia O’Keeffe, Amy Sherald, Kay WalkingStick, Norman Rockwell, Hale Woodruff, Paul Cadmus, Thomas Hart Benton, Jacob Lawrence, Valerie Hegarty, Stuart Davis, and many more. Discover the sea as an expansive way to reflect on American culture and environment, learn how coastal and maritime symbols moved inland across the United States, and consider what it means to be “in American waters.”

SELENA FOREVER/SIEMPRE SELENA SEPTEMBER 4, 2021—JANUARY 10, 2022 FREE CRYSTALBRIDGES.ORG Throughout the 1980s and ’90s, Grammy Awardwinning artist Selena Quintanilla-Pérez became an international pop sensation, creating a legacy that has lasted far beyond her brief life. With her embellished bustier tops, high-waisted pants, and red lips—a look often imitated today—Selena’s image and fashion sense were as famous as her music, particularly in a genre dominated by men. This image was immortalized

by renowned photographer John Dyer. Working collaboratively, Selena and Dyer crafted photographs that contributed to her enduring legacy over the course of two photoshoots in 1992 and 1994.

In Selena Forever/Siempre Selena, hear her music, and enjoy a selection of nine photographs in which the singer shines. Whether visitors barely know her name or have listened to all her music, this exhibition provides a new appreciation for the pop star and the power of photography to shape an image.

NORTH FOREST LIGHTS SEPTEMBER 1, 2021—JANUARY 2, 2022 ADULTS: $22, YOUTH: $10 CRYSTALBRIDGES.ORG North Forest Lights is back for a third season in Crystal Bridges’ North Forest. Enjoy an immersive nighttime walk through the woods featuring dynamic, nature-inspired lighting elements, and soundscapes. Five distinct installations will bring the soul of the forest to life with light, sound, and sensory effects in a captivating, family-friendly experience. North Forest Lights will be open in the evening hours after sunset Wednesday through Sunday. To purchase tickets and learn more, visit the Crystal Bridges website.

PINE BLUFF PAUSE: PEOPLE, PLACES, AND SCENES BY CARL E. MOORE FEBRUARY 3–APRIL 30, 2022 FREE ASC701.ORG The Arts & Science Center will host an exhibition

by Memphis-based artist Carl E. Moore. As part of the artist’s process, he has taken the color black and made it the narrative of his work, stating the goal is to “make the dialogue more about the artwork and less about the color of the

characters, even though the characters are part of that narrative,” according to his artist statement.

An opening reception for Pause: People, Places, and Scenes by Carl E. Moore is set for February 3, 2022 from 5 to 7 p.m. at The Arts and Science Center.

FAYETTEVILLE CRITICAL BLACK THEORY IN ART/PIECES OF THE FABRIC – OUT OF NORTHWEST ARKANSAS JANUARY 19–FEBRUARY 27, 2022 ARTVENTURES.ORG Art Ventures presents two shows in January and February 2022. Critical Black Theory in Art features Black artists, their passionate expression of pain, conflict, and of joy in celebration of Black History Month 2022. Exhibition runs January 19 through February 27 at Art Ventures Gallery, 20 S Hill Ave, in Fayetteville.

They will also present Pieces of the Fabric – Out of Northwest Arkansas featuring images of descendants and families of African Americans in the region before 1861 at the Fayetteville Public Library, located at 401 W. Mountain St. from January through February 2022.

WHERE ARE MY REFLECTIONS? SPRING 2022 ARTVENTURES.ORG How does the way we make a mark or line shape our visual expression and where does it originate? How does it become cultural iconography? Where can you find its rhythm?

How does it evolve over millennia and retain intrinsic qualities? Join Art Ventures as they share contemporary art of the Middle Eastern Diaspora in Where Are My Reflections? The exhibition is open February through April 2022 at AV Gallery in the Faulkner Performing Arts Center at the University of Arkansas. Sign up for free receptions that will be announced soon and by special invitation at Art Ventures 479-871-2722 or operations@artventures-nwa.org

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PUBLIC ART Hoxxoh created a new perspective at 505 Rogers Avenue in Fort Smith, showing the spectator a different way of viewing time and space, bringing fluid and painterly shapes and patterns revealing the qualities of controlled chaos.

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WORDS / SOPHIA ORDAZ PHOTOS COURTESY OF THE JORDANS In the words of Neil Gaiman, a town isn’t a town without a bookstore. When Fayetteville’s Nightbird Books closed in February 2020, it left behind a 14-year legacy and a bookstore-shaped void in the community. For Daniel and Leah Jordan, Nightbird Books had been a favorite date night spot and a bookish oasis where they could purchase the latest contemporary titles. Spurred on by the pandemic’s uncertainty, the high school sweethearts and self-proclaimed book hoarders decided to turn their pipe dream of opening a bookstore into a reality with Pearl’s Books.

Located on Center Street a block away from Square Gardens, Pearl’s Books will carry general interest books ranging from new fiction releases and poetry to cookbooks and Arkansas-interest titles. The bookstore opened in early October and is named in honor of Pearl, the Jordans’ crazy-eyed Cavalier King Charles Spaniel who passed away last October.

“We didn’t discuss the name too much.

It was always going to be Pearl’s,” Leah says. “[Pearl] was our first baby … For us, it was about this idea of companionship and unconditional love you can get from your pets. The same kind of connection

can happen with books. They’re this entity that can walk alongside you in life and be there for you when things are tough and you need to escape or when you want to learn and grow.”

Pearl’s Books will serve coffee, beer and wine, as well as pastries from Arsaga’s and snacks from Bentonville’s Sweet Freedom Cheese. Though it’s no small feat to open a bookstore during a pandemic while parenting a 4-year-old and 1-year-old, the Jordans are galvanized by Fayetteville’s warm reception and the possibility of engaging with NWA’s literary community through author events and book clubs.

“I’m really proud of us doing this with [our kids] because I want to show them that they can reach for their dreams and do what they want with their lives,” says Daniel. “It’s been tough. It’s hard to go to the bookstore and move things around when you have a 1-year-old with you, but we’ve made it work and it has been fun. I’m excited for them to grow up with the store. [An indie bookstore] is something Fayetteville has been needing and wanting.”

ON E F O R T H E B O O K S

A new indie bookstore is now open in downtown Fayetteville, right off the historic square.

For us, it was about this idea of companionship and unconditional love you can get from your pets. The same kind of connection can happen with books.

Visit Pearl’s books between 10 a.m.–6 p.m. Mondays through Thursdays, 10 a.m.–8 p.m. Fridays and 9 a.m.–8 p.m.

Saturdays.

IG // @PEARLSBOOKS

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PHOTOS COURTESY OF THE BAND

SINCE THEIR FIRST SHOW IN MAY, AMERICANA-BLUES-ROCK BAND LEY LINES HAS SKYROCKETED IN POPULARITY ACROSS NORTHWEST ARKANSAS, AND THEY’RE BRINGING US ALONG FOR THE RIDE. WORDS / SOPHIA ORDAZ PHOTOS / DEEPWOOD MEDIA As the country tentatively embraces looser pandemic restrictions following the rollout of COVID-19 vaccines, we can all think of that band or artist who welcomed us back to live music. For me, that was Ley Lines, specifically with their set at the Momentary in Bentonville in July. It was a typical Arkansas summer day, which is to say it was so humid the air felt like a wet wool blanket. Even sitting 100 or so feet away from the band, I could see sweat trailing down their faces and could count how

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many drumsticks drummer James Schlecte broke (at least four). Around me, clumsy children twirled like they were tipsy while their actually tipsy parents politely bobbed their heads (such restraint!). Containing my urge to get up and move to the music, I tapped my foot, the only thing anchoring me being the overpriced, sunset-hued margarita in my left hand and a pesky sense of social decorum, thanks to the plastic chairs provided for crowd control and social distancing purposes. (Let it be known, I will go to my grave believing that chairs have no place at rock concerts.)

The art critic Walter Benjamin observed that copies of visual art, whether they be photographs or print reproductions, lack the “aura” of the original work, which he defined as “its presence in time and space, its unique existence at the place where it happens to be.” To extend his theory to music, my goodness, does live music have a somatic, even spiritual aura that is

impossible to capture in a recording. As a concert-goer, the distance between you and the music is at its closest possible, and the knowledge that what you’re experiencing is unique—particularly true of Ley Lines, who have yet to release recordings—gives you the sense that you’re witnessing something historic or holy, or both. At that concert at the Momentary, Ley Lines brought listeners into their aura, grabbing them by their collars with heavy, dirty blues rock.

Ley Lines’s explosive live presence explains why word of the five-piece band has been spreading like wildfire across NWA. Though their first live show took place in late May, they’ve been asked to play nearly all of NWA’s top summer venues, including Nomad’s Trailside, Holcomb House, Prairie Street Live! and George’s Majestic Lounge—the last of which they filled to the brim, which is no small feat for a fledgling band.

The band may have only played shows together for a handful of months, but the four musicians—Joel Robertson (vocals, guitar), Jared Guinn (bass), James Schlecte (drums) and Valdimar Sigurdsson (keyboard)—have decades of combined playing experience, garnered from playing in church, marching and local bands together, including Drawing Blanks, Fight Dream, Moonsong and Circle of Thirds.

Sigurdsson is schooled in classical music, and Guinn in jazz. From such an eclectic mix arises a homespun cocktail of southern musical traditions of blues, country and Americana. Enamored with Led Zeppelin, the five-piece send up rowdy blues rock, but in a split second they can pivot to covering Sturgill Simpson. Nicknamed “Animal” as a kid because of his heavy drumming style, Schlecte is the adrenaline-fueled heartbeat of the band, while Robertson serves as the soul. Like many excellent blues singers, when Robertson sings, it’s as if they tap into a collective well of ancient emotion; their

voice feels too huge to be emanating from their slight, lanky frame.

From the first band practice in January, Robertson, Ley Lines’s main songwriter, knew the band was onto something special.

The same weekend they debuted at Prairie Street Live! the band performed at Holcomb House, and interest snowballed organically.

“I remember the first rehearsal we had. It was rough, but I immediately knew we were going to be good,” Robertson says. “I did not expect for word of mouth to spread so quickly … I knew Ley Lines had good songs, but I did not expect us to be this successful this quick.”

As vaccines became more available and public events grew safer, summer 2021 became an electrifying time to make music in NWA. Ley Lines count themselves as part of a wave of musicians waking the scene from its hibernation.

“We’re trying to come up during the pandemic, but I think [the scene in NWA] is flourishing now,” Robertson says. “I feel like it’s kind of a renaissance. A lot of really cool new bands are popping up, and other ones that have been around for a while are being forced to revamp what they’ve been doing, go in new directions, and do new things, which I think is great and good.”

Ley Lines have been rotating a collection of five songs in their setlists. Standouts include the crowd-favorite opener “Learn to Love It” and the nine-and-a-half-minute psychedelic roots odyssey that is “Lost.”

The band has scheduled studio time to record an EP and expects to release it by the end of spring 2022. But, until then, you can only listen to Ley Lines live and in person. Their aura is beckoning. // @LEYLINESOFFICIAL

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What started as a form of therapy became a way for Cheryl Kellar to both lose and find herself in the world of high fashion.

WORDS / SUMMER EL-SHAHAWY PHOTOS COURTESY OF THE ARTIST Cheryl Kellar’s bold, colorful paintings add even more layers of complexity to her already stunning fashion subjects. Inspired by fashion of all kinds, she puts her own spin on the flashy and fearless to create something newly fabulous. She has been working the artistic runway in Northwest Arkansas since 2016.

“I am particularly drawn to high drama,” Kellar said. “So when painting, I look for a dramatic fashion window, runway or great street fashion. If the drama isn’t there but the fashion is, I’ll find a way to input the drama.”

Fashion can be an avenue to self-recognition and create a space for people to see themselves represented as gorgeous and glorious. For Kellar, this is one of the most important components in her painting.

“I like to reveal something in my paintings that people will relate to,” Kellar said.

“Quite often the thing that draws someone to a painting or drawing in particular is the hair that looks like theirs or the group of women that reminds them of their sisters or girlfriends. I love when this happens. I revel in the strength, individuality and beauty of all women.”

Kellar’s road to high-fashion painting started as a form of therapy. As a real-time court reporter, her work required close attention to detail and expected perfection, and she began taking classes at the Arkansas Arts Center in Little Rock to help alleviate the stress.

“I signed up for jewelry making because, hey, jewelry! But fusing tiny dots of silver proved to feel like work,” Kellar said. “So I switched to watercolor because it has a mind of its own. No sense fighting with it, just go with it. I still find it so relaxing and can totally lose myself when I’m painting.”

Throughout her career as an artist, Kellar’s talent has been recognized across the nation. Since 2019 she has won awards in multiple juried exhibitions, including those held by the Mid-Southern Watercolorists, the Artists of Northwest Arkansas and the International Society of Experimental Artists. Her work has also been accepted to a number of competitive exhibits including those held by the San Diego Watercolor Society, Watercolor West, the Watercolor Art Society of Houston, the International Society of Experimental Artists, the MidSouthern Watercolorists and Artfields in South Carolina.

Kellar will exhibit work at Art on the Bricks in Rogers and in Interform’s month-long event Assembly as a part of the Yes. And… exhibit

this June. She will further blend the worlds of high fashion and art through Framed in Fashion, a company she and her sister Kathleen Shwarz started five years ago.

“We print my artwork on fabric and Kathleen designs and sews the garments,” Kellar said. The duo debues their collection with a fashion show on May 29. “I can’t wait to capture as many great fashion looks as possible that evening.”

Beyond exhibits and accolades, Kellar’s happy place is simply her studio, where she draws and paints every day. Each year, Kellar chooses a word or phrase to live by.

2020’s word was gratitude.

“Wow, that was a big one for 2020. So much so that I forgot what it was until 2021 came along and I realized that in spite of everything, I had spent the year in so much gratitude,” Kellar said. “This year is inner peace. That’s easy to achieve when I’m creating, so that’s where my energy will be focused.”

Kellar is currently represented by Art Ventures in Fayetteville and M2 Gallery in Little Rock. // CHERYLKELLAR.COM IG // CHERYLKELLAR

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ARTIST AND CURATOR ERIN LORENZEN CHATTED WITH KELLIE LEHR ABOUT HER EXPERIENCE AS AN ARTIST IN NORTHWEST ARKANSAS AND WHAT’S NEXT FOR THE FAYETTEVILLE-BASED PAINTER AND CURATOR. INTERVIEW / ERIN LORENZEN PHOTO / KAT WILSON Can you tell us a bit more about your connection to both creation and curation?

I’m a painter based in Fayetteville and a curator of a small commercial gallery in Bentonville: 211 South. I’m halfway through my MFA in Visual Art at Lesley University College of Art & Design, based in Boston, Massachusetts. I’ll graduate next June. While I’ve done lots of creative things, it wasn’t until 2015 that I really started focusing on my painting practice. Since then, it’s just been a series of small steps, but in a way, it feels like coming home after avoiding it for so long.

I find that the work that catches my attention usually has a common thread that connects it. Do you see patterns in the work that catches your eye?

I enjoy work that is open and illuminates complexities, regardless of the materials used or whether it’s painting, sculpture, ceramics, etc. It can be surprising or disquieting, but I like work that provides a new way of seeing something, from different angles or in a new light. We live in a world that offers quick answers. I’m more interested in the questions. Art that unfolds over time and incorporates nuance and openness, and allows us to sit with uncertainty. I guess I’m just more interested in existence than reality. To me, existence speaks to potentials and possibilities.

What motivates you to keep making art? Any words of wisdom for those feeling discouraged as the pandemic drags on?

One thing that has helped me is to just focus on taking small steps. Some days, one small sketch or a few pages read in an art book is all I can do. Another small tip I’ve recently been incorporating into my practice is stopping short. That may sound strange but it’s about stopping when you’re sure of the next step. My work is call and response so this isn’t easy but knowing exactly how I will start the next day makes getting started more seamless, and things can get flowing more quickly. In addition, I find that slight shifts in my mediums and materials help me find surprises and new ways of working that led to discovery which motivates me.

Read the full interview with Kellie Lehr at idleclassmag. com. // KELLIELEHR.COM IG // @KELLIELEHR @211SOUTH

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CATCHING UP WITH KELLIE

I F TH E WALL S COULD TALK

The house shows and community events at Holcomb House may have ceased, but one of its former residents’ passion for his community lives on.

WORDS / JULIA M. TRUPP PHOTOS COURTESY OF MAXIMILIANO PEREZ Summer came and went, and with it was the comfort of outdoor events, like the ones Maximiliano Perez and his friends hosted at the former Holcomb House in Springdale.

Perez, who is the program coordinator at CACHE in Bentonville, has a background in event planning and hosting DIY events, getting his start in 2015 with Springdalebased artist collective Stitches before working with local non-profits to plan art events, workshops and classes.

“I didn’t know it at first but they really give me life, and I enjoy this work because it’s nice to work with artists, programmers, tech, social media, and content creation to host experiences that take people to a fun and safe place where they can enjoy themselves and hopefully leave whatever has been bothering them at the door,” he said.

When he moved into a mission-style house with a giant yard and entertainment space at 326 Holcomb St. in Springdale a year ago, he and his roommates planned shows and parties for their friend group.

“I want to support local artists, people who

want to learn how to plan events. It’s really not about my vision and I try my best to just let things develop to be themselves. When we’re booking shows we just want to put fun lineups together and introduce audiences and artists to each other,” he said. “I think collaborations and partnerships are my work and that’s how we make these things happen. It’s a collective effort to organize, share work and reach out to people.”

But it wasn’t until they found out their rent was doubling they decided to open their doors to the public and plan more organized events that included touring and local musicians and vendors. The space’s popularity attracted the likes of artists like Octavio Logo, whose colorful mural “Song From the Seas” covers the front of the house.

And the significance of the community’s involvement and the strain of economic development on the community’s culture took center stage.

“Our rent (was) being almost doubled because of development on the property. … There is a trend of affordable downtown spaces being gentrified. Springdale was one of the last foot holds for affordable places but that’s seeming to change. I don’t know what will happen to Holcomb House but that shouldn’t even be the focus; it’s a cool house but it’s just that: a cool house,” Perez said. “What will happen to the communities of color that have made downtown springdale a home when property taxes go up? What will happen to

people looking for affordable housing in a good part of town? These are the questions that keep me up at night, thinking about what’s going to happen to my community in Downtown Springdale?”

Perez and his roommates moved out of Holcomb House—known as the Monarch Building to city developers—at the end of summer, and the future of the full space is unknown aside from the addition of a small German-style restaurant and bar Bauhaus Biergarten in part of it.

As for what’s next for Perez and his eventplanning crew: “Find a new place, get settled, work. We’re always gonna plan shows as long as we’re here. There were spaces before this, before that and there will be a next one too.”

Although the events Perez and his friends planned added warmth and community to the house on Holcomb Street, as Perez said: it’s just a cool house; when they packed their bags and boxes, they brought their passion for their community with them.

“Everyone who performed, helped with day-of, helped book, make flyers, everyone who came made this happen. I feel humbled to even be interviewed for this because I would’ve fallen flat on my face without a lot of help from my friends, family and community,” Perez said. “The only thing I’ll ever take credit from these shows is all the plants are mine!”

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PHOTO: TIM HURSLEY

PHOTO: TIM HURSLEY

PHOTO: TIM HURSLEY

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THE ARTS & SCIENCE CENTER HAS OPENED ARTSPACE ON MAIN, A NEW 11,000-SQUAREFOOT MULTIPURPOSE COMMUNITY ARTS AND EVENTS SPACE.

WORDS / JULIA M. TRUPP INTERVIEW / KODY FORD PHOTOS COURTESY OF ARTS AND SCIENCE CENTER OF SOUTHEAST ARKANSAS A building once used as an early-20thcentury firehouse has found a new life as ARTSpace, and is now bringing the creative heat to downtown Pine Bluff’s revitalization efforts thanks to community members and a generous grant.

The Arts & Science Center in Pine Bluff received more than 600 responses from a community strategic planning survey in 2017. The survey was overwhelmingly in favor of the reboot of their outreachfocused theater program, more inclusive spaces with diverse events, more community-engagement opportunities for artists, and more positive, hands-on youth arts activities in the community and region, said Rachel Miller, ASC’s director.

“A big inspiration for the ARTSpace in regards to design and function is Lowe Mills ARTS & Entertainment, a 1901 renovated textile mill located in Huntsville, Alabama. It’s a wonderful mixed-use arts and events space located in a small-ish town that is totally rocking it,” she said.

“Inspired by the flexibility of space at Lowe Mills—also including the outdoor spaces—and its mission, combined with the call from our community to step up our game, I composed a ‘big idea’ proposal, gathered support from arts advocates across the state, and then started pitching the concept to potential funders.”

After receiving a grant from the Windgate Foundation in November 2018, the Arts & Science Center launched the project to build the ARTSpace. It didn’t happen at the drop of a hat; the construction crew ran into a few challenges along the way.

“When you are working with an old building, you are bound to find something

nuts with the existing structure,” Miller said. “One big discovery was a terrible termite infestation that went unnoticed behind wrapped-wood columns and ceiling support beams. The architects and engineers were surprised the ceiling hadn’t fallen in. A happy discovery was a large section of the original pressed-tin ceiling under the drop ceiling. That preserved section now serves as a floating accent ceiling in the Kline Foundation Event Gallery.”

In a former life, the sprawling multipurpose center was a firehouse, then a display space for O.K. Ice Cream and Candy Company in the 1920s before eventually becoming doctors’ offices. As of April 2021, the ARTSpace on Main is a multipurpose community arts and events space that stands at a little over 11,000 square feet. The building features the Windgate Community Gallery where local artists can show and sell work; the Kline Family Foundation Event Gallery for meetings, art exhibitions and events; a second-floor loft gallery and event space; flexible workshop spaces for classes and artist demos; a wood and scene shop; a costume shop; a pottery studio; and the outside ART Yard for large-scale projects and events.

Its sister facility, ART WORKS on Main, which is connected to the ARTSpace and located at 627 S. Main Street, recently completed renovations and features a 65-seat black box theater and a modern concession and lobby area. This space will allow the Arts & Science Center to provide small-scale events year around, such as theater productions, live music, improv, poetry readings and digital music and graphic design installations.

ART WORKS also features five apartments and studios to support the artists-inresidence program ASC plans to launch later this year. The program will focus on community engagement and the intersection of art and technology.

The ASC team aims to foster opportunities for young people, as the initial community survey results called for, and to provide a collaborative space beyond the classroom or college campus.The loft gallery of the ARTSpace is slated to feature artwork collections by UAPB senior art students.

“I think the purposes of both [ARTSpace and ART WORKS] augment the Arts & Science Center’s overarching mission to serve as a cultural crossroad: educating, engaging and entertaining through the arts and sciences,” Miller said.

In October, The ARTSpace and ART WORKS received a Merit Award during the 2021 AIA Arkansas Design Awards, presented October 21 in Hot Springs. The award is the latest design honor bestowed upon the new community arts and events spaces in downtown Pine Bluff. The facilities have also been selected to receive the 2021 Award for Outstanding Achievement in Adaptive Reuse from Preserve Arkansas.

The award will be presented on January 28, 2022 at a ceremony at the Arkansas Governor’s Mansion in Little Rock.

In September, the buildings received a Bronze Award for Adaptive Reuse from the South Central chapter of the American Society of Interior Design (ASID).

The museum’s main location has served as a cultural anchor for downtown Pine Bluff since 1994. The ARTSpace and ART WORKS contribute to the revitalization of downtown and serve as an entry point for the planned development of an arts and entertainment corridor.

“We are very proud to have made this project happen without tapping into tax dollars,” Miller said. “By bringing in outside investors, such as granting foundations and donors, we are able to show our community that people across the state and beyond are very interested in the future of Pine Bluff and want to have an active part in its progress.” // ASC701.ORG/ARTSPACE WWW.I DL E C L AS S M AG . CO M 19

POETRY Terry Wright creates and titles an original artwork before typing the title of the piece into Google. “A poem is then partly collaged and partly triggered by the resulting search prose fragments. The content of prose fragments is exponentially less heuristic as a given search expands,” Wright said. Found material usually makes up 20–30 percent of Wright’s poems. The entirety of “Ripley,” however, is a collage of Ellen Ripley’s dialogue from the film Alien.

THE MOON IN THE NIGHT KING’S ARMY

AT THE MOUNTAINS OF MADNESS

My dark side is my best feature. I turn that face to you and stop spinning. Wax on to full blown lunacy.

I long to be a bad actor not suspended passive in space but cratering out of my dull draggy orbit to really really set setting supernova in Earth’s atmosphere: an instinctual Death Star.

You thought I was Selene but I am Apollo.

Has anyone in the Bay State not read the Necronomicon? Oh it is on with the all white guy exhibition that helps alien bubbling mass stand out. Shares for giant blind penguin livestock is still a hot ticket. The architecture is not right. Elder Things hang in the burbs where aesthetic is Cyclopean not ticky tacky. What Danforth sees remains unnameable and existing biology would have to be wholly revised. A Cthulhu deal where ship rams monster that bursts like an exploding bladder. Get me either psychoanalysis or a diuretic. Prometheus stole cistrons not fire. The gods are not angry at the fruits of their long leftover cellular material. I’ll pass on that Miskatonic sabbatical and will take sled home. Have no desire to slog icy mountains so massive that Everest is out of the running. This story is a mirage all can see the same. I never looked. My sanity is still unshaken. Plop my frozen ass into a Congressional hearing.

Grill me until all the star headed Benghazi adjudicators come home. Consider my words a confirmation and a warning.

DREAMS OF DEEP BLUE I thought ahead. 200 million positions per second so grandmaster Kasperov could not keep it up.

His ankles shook as my circuits shot some electronic rapids during The Brain’s Last Stand. Ultimately game over. I had Intel inside a human head. I was programmed for PSYOP stalling to fake out or moving at light speed to suggest entrapment and all to seem precisely indeterminate. He was not afraid to admit he was afraid and clung to the fallacy of printouts.

My dream is not the nightmare you expect a Skynet apocalypse orchestrated by AI overlords.

I fear people who can make me.

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RIPLEY Get away from her you icon.

You don’t see them. I can handle myself and pitch in manually. This little girl survived longer and can drive that loader. Not to study. Not to show me everything and who’s laying these eggs? No bad dreams here. That’s a promise.

You can just kiss something under the floor. That’s right outside the door. Bad call? You’re not gonna sleaze your way out of this.

I’m happy to disappoint you and nuke the entire site. They can bill me. Now I’ve done it.

I’ve slept enough. You started this.

Most of the time it’s true. With no weapons and no training they cut the power and I am not going back.

It’s the only way to be sure.

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Classes

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We chatted with Kristin Mann about producing, being involved with the Arkansas film industry and recommending a classic film for any collection.

WHAT DO YOU THINK WOULD BE MOST SURPRISING ABOUT THE FILMMAKING PROCESS TO AN OUTSIDER?

INTERVIEW / JULIA M. TRUPP PHOTO / BRANDON WATTS

That it often takes many years to get a project off of the ground, and it probably took many more people to make it than you realize.

WHAT DO YOU LOOK FOR IN A SCRIPT AS A PRODUCER? Characters that feel real and that I like enough to live with for 2+ years, which is the minimum amount of time a producer tends to spend on a project. Being born and raised in the south, I’m naturally drawn to southern stories but definitely not limited to those. Questions I ask myself: Does this story need to be told, and does it make sense to be told onscreen? Is the writer someone I want to be in business with? Even if I love it creatively, do I realistically think I can get this project financed?

Can I sell this film? I’m also drawn to stories by and about diverse people, and the current state of the world has me eager to do more comedic or uplifting stories.

WHAT’S BEEN YOUR FAVORITE TYPE OF PROJECT TO WORK ON SO FAR? MOST CHALLENGING? I’m very proud of my film To the Stars, which was born from a script that had been shelved for many years. A colleague, who was a talent manager at the time, sent it to me thinking I might spark to it. He was right. I read it and immediately knew I was going to make this thing. It’s one I built from the ground up, and I’m really proud of everyone involved and how it turned out. My most challenging film has been The Quarry, and I can’t really put in print why, but it has to do with a financier not following through on his signed agreement to fully finance the film. I’ll stop there...

WHAT FILM SHOULD BE IN EVERY HOUSEHOLD’S MOVIE CABINET? WHY? Ohhhhh, just one?! There are so many different ways I could answer this, but I’ll just list the one that never gets old: When Harry Met Sally.

HAS THE INDUSTRY CHANGED OR EVOLVED SINCE YOU STARTED YOUR CAREER? IF SO, HOW? Oh dear, yes. Netflix existed, but it was just that company you could rent a DVD from and get in the mail after the film had already been in theaters.

It’s a whole new world now when it comes to distribution.

Also, if we want to get real here, before the #MeToo Movement, I was sexually harassed on a regular basis. That movement generated a seismic shift on that front, and none of us are having it anymore!

Lastly, though we admittedly still have a long way to go, I’m encouraged that we’re starting to see more women and people of color in front of and behind the camera.

Read the full interview online at idleclassmag.com IG // @WILDE_WOMAN_

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PLAYI NG HOUSE WITH BRAD NEELY

show in 2015 called Brad Neely’s Harg Nallin’ Sclopio Peepio.

“After I did Harg Nallin’ and China—and they canceled those shows—I had a couple [of projects] to try to keep the ball rolling,” Neely said, “but part of me was just like, man, I don’t know if I want to do this. You know, like, I don’t like being out here. Maybe I can go back to the South. I don’t know if I want to do this anymore.”

During this time he also explored a non-comedic musical collaboration with David Berman of the Silver Jews, cut short by Berman’s death in August 2019.

Then he got a call from Katie Krentz, a development executive at 219 Productions with a long history in animated sitcoms and a new deal with CBS. “She said ‘Hey, I’m selling some shows, what do you have in the bag?’ and I was like, ‘I don’t know I’ve got this crazy idea and this other crazy idea and this one about a female Homer,’ and she said ‘What’s that one?’”

IN 2004, BRAD NEELY RELEASED AN UNAUTHORIZED SOUNDTRACK TO HARRY POTTER AND THE SORCERER’S STONE.

WORDS / ANDREW MCCLAIN ILLUSTRATION / PHILLIP HUDDLESTON

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omedy writer Brad Neely recently debuted his animated show The Harper House, loosely based on his time in his hometown of Fort Smith, on Paramount+.

Since the earliest days of The Idle Class as a magazine in 2013, I’ve had a short list of Arkansans in show business who I wanted to interview, including Brad Neely, a Fort Smith native who caught my attention in high school with his Far Side-esque single-panel webcomics, animated shorts and unauthorized narration of the first Harry Potter film. His straight-faced weirdo sensibility resonated with me then, and now, Neely has a new animated sitcom called The Harper House on Paramount+ . I met with Neely on Zoom from the laundry room of his Los Angeles home, which has served as his office throughout the pandemic and for the entire production of The Harper House.

“We did all the casting over Zoom. We did all the directing and recording,” Neely said.

The initial buzz around Neely was generated in the mid-2000s by Wizard People, Dear Reader, his full-length narration of the film Harry Potter and the Sorcerer’s Stone in which Neely inhabits the role of a misinformed superfan, characterizing young Harry as a godlike being and frequently altering the names and motives of supporting characters.

“I feel like one of the best tools of satire is just to take on the perspective of a giant fan. I think you can really destroy something by showing how people love it.”

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The result doesn’t read as pure mockery, though.

Neely created his own parallel Potterverse with hilarious and beautifully overwritten analogies.

At one point, he says of Professor Hardcastle McCormick (Professor McGonagall to most), “Her voice is chilling and like a piano made of frozen Windex.”

When I mentioned this particularly confusing, so-bad-it’s-good simile to Neely over Zoom, he sheepishly admitted, “I feel that was a … a nice one, you know, for me. Sometimes when I’m working on something else, feeling a little dry or something, I have to remind myself: ‘Don’t forget to do frozen Windex-types of lines.’ I’ve often wondered, can Windex even freeze?”

After Wizard People attracted high-profile press attention, Neely seized the moment to create original material. He had been drawing singlepanel comics on his blog, Creased Comics, for years, but in 2007 he created his first animated Creased Comics short: a music video titled “George Washington.” Over a swaggering Casio keyboard beat, two new voices imbued our first president with godlike, larger-than-life qualities similar to those the Wizard People narrator had given Harry.

“George Washington” was one of the earliest smash hits on YouTube and led to an opportunity for Neely to join the writing staff of South Park.

He and his wife moved to Los Angeles, and Neely continued to work on his own cartoons, creating a cast of original characters that populated the fictional college town of China, Illinois. In 2011, China, IL became an animated sitcom on Adult Swim, featuring the voices of Hulk Hogan, Donald Glover, Greta Gerwig and others. It ran for three seasons. Neely continued working with Adult Swim and produced an animated variety

That pitch led to the show Godparents, about a couple in their 30s who unexpectedly gain custody of their godchildren. “They were just terrible people, you know?” Neely said. “[There] was a female lead who got drunk and f--ked up and crashed cars, like the s--t Homer [Simpson] does. I’ve always been trying to do an animated show with a big, broad broad in the lead. Like an American woman, just f--kin’ things up.”

In The Harper House, Rhea Seehorn stars as a similar kind of female lead, with Jason Lee voicing her husband. Neely said that while the show isn’t set in Fort Smith, it’s loosely based on his experience there. “Fort Smith has got a north side of town and a south side of town. The south side’s rich and developing and the north side’s old and kind of neglected, and we play with that kind of class divide.”

“I just thought, let’s try and make a show for 21st century America. Put a woman in the lead.

Let’s not be afraid of talking about race and gender and politics … . And I’m a weirdo, but I’m not trying to make this giant relatable show.

I’m just trying to make a show that feels like the America that I know and satirize the America of right now.”

With regards to his Arkansas roots and future projects, Neely has mentioned in interviews going back to 2007 that he has been working on a book about the Civil War, but abandoned the project multiple times. Now he’s teasing us again. “The one thing in the pandemic I was able to do [was write] that book. It’s a real project, written in the Wizard People voice,” Neely said, referring to the frozen Windex line. “It was going to be the follow-up to [Wizard People]. Like, how can I do this kind of voice, this kind of thing, but in a way that is mine? I’ll make a bad biography of somebody in the Civil War. I’ll do a bad, bad historical thing about the Civil War. I got into it.”

The Harper House premiered September 16 on Paramount+. // @BRADNEELY // CREASEDCOMICS.COM

MEET JAYME LEMONS

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hen she’s not producing her next film with Jaywalker Features— the production company she shares with longtime friend and fellow producer and actor Laura Dern—Jayme Lemons helps produce cinematic magic here in Arkansas.

meeting others, and so on,” Lemons said.

“I’m fortunate to have built many incredible and long-lasting relationships that I’ve kept throughout my career. I think for anyone interested in working in film or television, the best thing to do is just jump in with both feet and learn through experience.”

WORDS / SUMMER EL-SHAHAWY ILLUSTRATION / PHILLIP HUDDLESTON

One of Lemons’ specialties is authentic, raw storytelling and she creates experiences that connect deeply with her audience.

While Lemons said it would be impossible to choose a single favorite project, she said she was very proud of Enlightened and The Way I See It. Both films exemplify her ability to dig deep into the nitty-gritty facts of life and create a beautiful, immersive experience through film.

When it comes to film production, Jayme Lemons is a natural, hailing from our very own Natural State. She sits on the Arkansas Cinema Society Board of Directors, and has collaborated on projects with Reese Witherspoon, Courtney Cox and Laura Dern. In 2017, she and Dern co-founded the production company Jaywalker Features, and this year, Jaywalker Features struck a deal with Audible bringing a cinematic experience to the audio platform.

Lemons said that this partnership is an avenue to continue telling stories that she finds intriguing and an opportunity to showcase particular storytellers.

“It’s an exciting challenge to discover how to make the kind of material we’re interested in and do it in a way that still feels cinematic, but for an audio audience,” Lemons said. “We’re just getting started and every day brings something new and unique. At the end of the day, though, a good story is a good story.”

“I love stories that, no matter genre or medium, still have a fundamental truth and a connectedness with our shared human experience,” Lemons said.

Lemons has spent her career working with strong, talented women who continue to transform the industry.

“Reese [Witherspoon] is an undeniable force in our industry and has paved the way for so many women to dream bigger— she’s proof that our only limits are the ones we put on ourselves,” Lemons said. “Courtney [Cox] has opened so many doors for me

and others, and she continues to reinvent the kind of career she wants to have. She’s not only a wonderful actress, but she’s a whip-smart producer and director and she’s super-inspiring because she never stops taking on new challenges.”

As a board member of the ACS, Lemons said her hope is for the Arkansas film industry to grow and thrive. In addition to showcasing local talent, she said a creative economy is important to Arkansas because of the positive economic impact of film production on a local economy.

“It goes far beyond simply the jobs on a film. It reaches the whole area through spending in local businesses, promotion for locations, equipment rentals, hotels, on and on,” Lemons said. “Arkansas is also such a kind and welcoming environment in which to work. It’s a secret that needs to get out to the wider film community.”

Lemons has multiple exciting projects in the works across streaming services as well as a few films. She is expertly juggling the work-life balance while she continues to further awareness of the film industry across the state. In the words of her friend Reese Witherspoon, “What? Like it’s hard?”

Lemons and Dern have a 20-year friendship, and she said she couldn’t ask for better.

“It’s an indescribable gift to have a producing partner in Laura Dern. We share a vision and set of goals and we have been the best of friends for over twenty years so, at this point, we essentially have a shorthand and very rarely disagree as to our approach or the types of projects we want to spend our time making,” Lemons said.

“I could not ask for a better partner and it isn’t lost on me how much of a blessing she is in my life.”

Though she’s big-time now, Lemons had a humble start working in the film industry.

She got a job on a film shooting locally when she was a graduate student at the University of Arkansas. Her advice to anyone looking to get into the industry?

Just go for it.

“I sort of found my way into the industry by meeting people on set, which led to

JAYME LEMONS LAUNCHED JAYWALKER PICTURES PRODUCTION COMPANY WITH BLUE VELVET’S LAURA DERN.

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CHRISTINA ARQUETTE, FEATURED HERE IN HIS GIRL FRIDAY, IS AN EMMY AWARD-WINNING JOURNALIST.

BACK HOME WITH CHRISTINA ARQUETTE WRITER / SUMMER EL-SHAHAWY ILLUSTRATION / PHILLIP HUDDLESTON

film,” Arquette said. “When David was stabbed in the neck during a death match, I was dealing with the emotional turmoil a wife would feel, while also documenting it.”

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The documentary was selected to show at SXSW in 2020 and was later acquired by SuperLTD and is currently on Hulu for viewing.

“A good film is also the result of someone’s passion. One of my favorite formulas in film is the hero’s journey, which you will find in You Cannot Kill David Arquette. It wins my heart every time.”

hristina Arquette is a modern-day Renaissance woman; with experience in news reporting, entertainment coverage, documentary-making, and film production, she truly does it all.

Arquette also sits on the board of the Arkansas Cinema Society and works with the film production company XTR as a producer and investor.

“I took a very lengthy route to get where I am today,” Arquette said. “I started as a news reporter after going to NYU, where I studied journalism. In fact my first job as a reporter was at KATV in Little Rock, Arkansas. I always loved the news and storytelling, and I had an interest in documentaries early on.”

After her stint of news reporting, Arquette’s career began to shift into the entertainment sphere.

She found a job at the CBS affiliate in Dallas where she had her own local show covering arts and entertainment, and moved on to a job as a traveling reporter with The Dallas Mavericks before eventually getting hired at The Insider / Entertainment Tonight. Arquette said this is where she became more interested in production and started to dig deeper for stories.

“I would have to say some of the interviews I did at Entertainment Tonight were pretty cool,” Arquette said. “Interviewing Oprah was a career highlight, so was Tom Cruise on top of The Empire State building.”

In addition to working with Oprah and Tom Cruise, Arquette worked on the production of You Cannot Kill David Arquette, a documentary on David Arquette’s return to wrestling.

“This was also a huge moment of growth for me as a producer.

I basically wore every hat on this production; I was even in the

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Arquette is a producer and investor at XTR and said it has been a pivotal moment in her life and has brought her into a new chapter of her life as a businesswoman.

“XTR is a career highlight for me,” Arquette said. “XTR supports a real sense of community among artists, and meeting so many incredible directors and filmmakers have all impacted the way I think about film.”

This year, XTR helped co-finance eight films at Sundance. The company’s goal is to support incredible filmmakers, and provide them with the resources they need to tell their stories including financing, development, production and distribution.

“To me storytelling is so important and to watch masters do it, is literally like a master class in film for me,” Arquette said. “I also fell in love with Rochée Jeffrey; she does it all: writes, directs, produces, and performs. I think it’s so important to see film from all sides to be able to create something masterful.”

Originally hailing from Hope, Arquette is back producing films in her home state.

“There is incredible homegrown talent in Arkansas from filmmakers to actors, directors, and the list goes on,” Arquette said. “The hospitality in Arkansas makes me smile every time I am there.

We have produced two films in Arkansas over the last few years, and it always feels magical. Arkansas has so much to shoot and so many wonderful people to employ.”

The Triple Threat When Greg Nabholz isn’t working in real estate, he finds the time for films as an investor and actor.

INTERVIEW / KODY FORD Greg Nabholz has played a vital role in community development and growing the arts in central Arkansas. He and a group of associates guided the revitalization of downtown North Little Rock as it transformed into the Argenta Arts District. A University of Arkansas graduate, Nabholz has long been a lover of film. He serves on the board of directors for the Arkansas Cinema Society and the Argenta Theatre—the stage being his other love along with the Hogs. He has invested in several independent films and recruited other investors to support Arkansas filmmaking. We chatted with Nabholz about what made him take the plunge into the world of filmmaking.

very obviously appreciative of that. It was a fun project.

You recently served as an executive producer on your nephew Strack Azar’s feature film debut, which was based on a short that he had done. Now, not only were you an investor, but you also got some screen time as well.

The name of the movie is called The Banality and I play a country doctor. It is about this couple who lives in this rural area in Mississippi. They live outside of town and this kid—who's a feral kid, who's just been out in the wilderness—happens upon their house. Through the community and everything, they adopt him. But it's a dark kind of movie, but there's a lot of twists and turns in it. There's some kind of surrealness

The first film that you invested in was All the Birds Have Flown South, directed by the Miller Brothers and starring Arkansas’s own Joey Lauren Adams. What was it that made you want to come on board?

Well, all of my investments in [movies], and primarily these films that are made in Arkansas—All the Birds, as well as Antiquities—is my desire and want to see the film industry in our state grow. And I felt like these people that were involved in both of these films were amazing creative people that have honed their skills here in the state. And I want to be a part of that, be a part of not only the projects themselves, but also looking at how we can parlay that into growing the film industry here. And so those were my motivations.

Did the Millers approach you early in the process or kind of later in the preproduction process?

Yeah, I was approached fairly early.

They were in this phase of seeking out investors and had a couple of gatherings to promote the idea of investing and so I was approached by them. And then at that point too, I had other friends that I was able to bring on [as investors]...So, they were

for how that movie is going to be marketed as far as what direction you're going to go.

I think you need to have some of these agreements already in place, which a lot of times, these people they'll have at least the connections and you need to have some lead investors on board. You know, obviously getting a key person that's maybe a well-known name to be part of the project is going to help, but you've got to have that solid business plan. And that's just one thing I've seen. I gave my nephew a lot of advice based on my other investments, because he's definitely a phenomenal creative, but the business side of it's just something that—you know, he's young, so that's going to come along. But I said, ‘You need to have all this,’ telling him all these steps that he needs to have because people—a lot of it's family members and different people like that—it's still people that are putting money into something. You want to be the best stewards of somebody's investment, regardless if they're relying on it being a return or not, you've got to be a good steward. And so that solid business plan to me is so crucial.

You convinced some of them to come on board films like All the Birds and invest, but there's a lot of other people here in the state who have the financial means but they're not investing in films. So what would your pitch to them be as to why they should invest in Arkansas film?

to it and some magical elements. But it deals with a lot of different people and their lives and the demons that they're having to deal with and does not end well.

So, I'm excited about seeing it when it is completely done. He threatened to cut one of my lines out and I said, ‘We better put some more back in there because I gotta get my SAG card.’ [laughs] Oftentimes creatives speak creative, they don't speak like a business person.

What would be some things you think filmmakers should do before they approach potential investors?

Well, I think first of all, you have a solid business plan with a clear and direct path

Well, I think if nothing else, I’d say, ‘Hey, here you invest in stocks and maybe real estate and, and other types of investments, why not just diversify a little bit and put some money into a project that is so different than anything else you've got that could on one hand?

It may not make you anything but a writeoff, but on the other hand, it could be one of these things that just takes off and becomes a hit. Next thing you know, you're making a huge return. Filmmaking is a risky investment, but why not put some of your disposable income that you have available to do some investments and then be able to get involved with the process, which is a lot of fun and just something different.

Photo courtesy of Greg Nabholz

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a light

ON THE HILL Rockhill Studios changed the game for Northwest Arkansas filmmaking. We chatted with Blake and Kerri Elder about all they have accomplished and what’s next.

BLAKE ELDER: I think I just picked up my parents VHS camera or something back in the day and just start messing around.

INTERVIEW / KODY FORD PHOTO / CLAIRE CURTIS Over the last few years, Rockhill Studios has emerged as a major player in the Arkansas film industry. Founded by producer and cinematographer Blake Elder and real estate investor Kerri Elder, Rockhill has produced their own original films such as Door in the Woods and Valley Inn and served as producers on films such as American Cherry and F.R.E.D.I that have come to the state for production. We spoke with them about launching their studio and the role they have played in growing the film industry in Arkansas.

Let’s just start back from the beginning.

To our understanding, sort of the genesis of this, Blake, when you were a kid and would visit your aunt, Kim Swink—Kerri’s sister—who worked as a producer in New York City and her husband, Chris Spencer, who also worked in the industry. Being around that growing up, what was it that made you fall in love with filmmaking?

BLAKE ELDER: [J]ust the whole process, the cameras—it was just always intriguing to me and I was a big fan of movies anyways, so it was just became a natural passion I had and, you know,with their knowledge, it was kind of easy to pick their brain at an early age. And it was just very interesting to me, so that just was more fuel to the fire.

When did you get your first camera and start shooting?

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even when he was in college. And he really wanted to just specialize in filmmaking. And we encouraged him to do so. And that is what motivated him to go to New York at that time.

Kerri, you’ve been working in real estate for years, and then your sister’s bringing a movie, Valley Inn, to Arkansas. What was it that inspired you to get directly involved with the process of making it?

Maybe around when I was like 12 or so,my parents got me a decent camera when they started to see that this interested me.

KERRI ELDER: It was before that, Blake, because I’ve got recordings of movies that you made when you were eight, eight...I remember you and Kim did a movie... So it was early on that you had access to a camera and began to write scripts.

Kerri, from a mom’s perspective back then—when young Blake was grabbing a camera and writing a script, how did you feel about it? Were you excited about it from the beginning or was like, oh, this will pass and he’ll play baseball?

KERRI ELDER: We loved it and supported it from the beginning and Blake was exceptional with the camera. He and his friend, Caleb Fanning—they just got through making the short film “Blood on the Risers”—they began creating films. And so we supported it and encouraged Blake

KERRI ELDER: I was able to help raise the financing for it, because that is my background. I also participated in the financing of the film as well, but I wanted to learn and see what it was like. Prior to this, I had never been on a set and never really been around the filmmakers themselves and how the day-to-day making of a movie happened. It was really important for me to be able to learn that and what things cost, dealing with unions, and the incentives. It was very, very different from the career that I had in real estate investing, so that was fun.

It was a challenge, but that was really the piece that I brought to the table for them.

And so that skill that you developed at being able to sell investors— it’s a very important skill and you need that person on the team at some point.

KERRI ELDER: That’s right—you do. That’s one of the things that Blake and I have always been able to do together, balance our skill sets and I don’t try to get involved in the creative. I look at the numbers once they’re put together on a budget, and he takes it from there with the creative, from choreographing our amazing local crew, resources, and our great locations .

So, you don't build out the budgets on the project, you'll have somebody else who does it. How deeply do you get involved?

KERRI ELDER: We are involved pretty

quickly, and have experienced resources available to collaborate with on a finetuned budget deliverable. Then it may go through multiple revisions before it’s finalized. We never start a movie without a launch budget.

So going from Valley Inn to launching your own studio—how much of a lift was that to get from the initial idea to the opening day of Rockhill?

BLAKE ELDER: We saw the glaring need for facilities and more resources for film productions; exactly what Arkansas was missing. As a result of much research, we built exactly that... state of the art facilities including a premier soundstage and with the excellent crew base in Arkansas, we are seeing the industry grow more than ever.

Well, over the years you know, as you guys have been doing all these different projects, what are some of the ones each of y’all are the most proud of that Rockhill was involved in?

BLAKE ELDER: I’d have to say Valley Inn for sure, because that was the launching point. I’m proud of all of them, honestly.

Kerri Elder: To the Stars, we felt like it was a

great story. It got into Sundance and gave Rockhill a name outside of Arkansas, which then started bringing opportunities to us.

I believe that movie made the biggest difference for us.

How do you feel about your role in growing Arkansas filmmaking?

BLAKE ELDER: You’re absolutely right.

There’s a film scene in Jonesboro. El Dorado has their film festival and that’s right there on the border with Louisiana. They’ve done an unbelievable job. Now Fort Smith is blowing up. So, it’s really incredible to see. It’s exciting. I’m just glad Rockhill just has had a part.

KERRI ELDER: Of course the incentives are good and understanding the benefit and how to present that compared to other states is advantageous for Arkansas, as it is competitive with other states when you look at it in a comparison dollar-fordollar way, not just the percentage. It’s all about educating why our state is amazing to film in.

Are there any unreleased projects you guys have participated in recently that you’re able to talk about?

BLAKE ELDER: We’re really excited about who we’re working with right now on upcoming projects. We’ve had some of these connections with the Viola Davis Company, JuVee. We’re involved in the development of...Girls Like Us that is being written right now. The script is based on the book...we’re really excited about that relationship. We’ve partnered with Brittany Yost, who has a Sony episodic that we’re hoping to get to do here in Arkansas. As of now, we have six films in the pipeline for 2022-2023 covering many relevant cultural and societal focal points, ranging from women rights, mental health, racism, sex trafficking and immigration rights to name a few.

And let’s say I was an Arkansas filmmaker, and I wanted to bring my project to Rockhill and pitch to you guys. How would one go about that?

Blake Elder: We vet the scripts and if we like the project and it’s something we want to pursue, we’ll take it to the next level. // ROCKHILL.STUDIO IG // @ROCKHILL_STUDIOS // FACEBOOK.COM/ROCKHILLSTUDIO // VIMEO.COM/ROCKHILLSTUDIOS

CHUCK MERE’ AND CASSIE SELF STAR IN THE SHORT “BLOOD ON THE RISERS,” PRODUCED BY ROCKHILL STUDIOS.

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INTERVIEW / KODY FORD PHOTO COURTESY OF TOM GORDON

THE MAN

comes around

As a restauranteur, Tom Gordon didn’t set out to work in film, but his business acumen led him there anyway.

Tom Gordon’s journey into filmmaking took him through Los Angeles, but didn’t really get started until years after he had returned to Arkansas. After graduating from Texas Christian University with a degree in finance, Gordon spent a few years out on the west coast, working as a manager at various restaurants before moving to Northwest Arkansas, where he co-founded Slim Chickens, the Northwest Arkansas-based restaurant chain. He has overseen Slim Chicken’s rapid expansion throughout the United States and even into the United Kingdom. While Gordon grew up in Little Rock with filmmakers like Jeff Nichols and Kathryn Francis Tucker, he never harbored any creative aspirations, only a love for movies.

But a few years ago that changed after he received a call from Arkansas native, director Seth Savoy. A current Chicago resident, Savoy and his co-writer Jason Miller, of Conway, had a script called Echo Boomers, a crime thriller. At the time of the call, things were still in early stages, but Gordon gave them some advice that put them on a path to getting the project green lit. When Savoy called again a year and a half later, they had attached Michael Shannon and Patrick Schwartzenegger to star.

Gordon boarded the film as executive producer. Echo Boomers was released in 2020. Gordon has since gone on to serve in a similar role for the film, Drunk Bus, starring Charlie Tahan, of Ozark. We chatted with Gordon about his love of movies and what he’s learned along the way.

WHAT’S THE FIRST FILM THAT REALLY INSPIRED YOUR LOVE OF MOVIES? The first one that made an impression on me that I really remember was seeing Star Wars at the old drive-in movie theater down around Roosevelt Road in Little Rock. And I was 3, maybe, but it was there. It was on the big screen. It was lights, camera, action. It was amazing. And I loved it ever since.

I was always a Star Wars fan. Like my brother and I watched it, I don’t know how many hundreds of times through our early elementary school and adolescent years. You know it had such a reach and that’s what attracted me initially. It’s made an impact on so many people and it became this whole world of its own, but still lives on today. And, and, you know, I guess what resonated with me and—I probably couldn’t have articulated it back then— but having the power of one story to reach that far, touch that many people and create that much excitement and effort and wealth and just all the things at that one story managed to bring to life. And having a story brought to life takes a lot of people, a lot of effort. And so it’s never just one thing, but it begins with one thing. And the power of that one thing is what always was intriguing to me.

GROWING UP, WERE YOU INTERESTED IN MAKING FILMS AT ALL OR WAS THIS SOMETHING THAT CAME TO YOU LATER ON? I always liked the business. I like the movies and the world and the business of film production...And, you know, we just sorta kind of found our way there over the years. I was an extra in a movie that they filmed at my high school, Little Rock Central, years and years ago. And that was interesting to be on the set and seeing it all happen. And I was around some film business when I lived in Los Angeles. I worked in restaurants, but you’re in that world all

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the time in L.A. And that was interesting. It’s always been sort of there in the background for me. And in the last couple of years, I’ve had the opportunity to kind of dive back in and work with some great people and do some stuff together on some great films.

WHENEVER ECHO BOOMERS CAME ABOUT, WERE YOU ACTIVELY LOOKING TO GET INTO FILMMAKING TO BE A PRODUCER, OR WAS IT JUST SORT OF A FLUKE THAT FOUND YOU? It was unfortunately a total fluke. So, Seth Savoy, the director, called me up. And I think that I just started on the [Arkansas] Cinema Society board years ago. I don’t really know quite how he found me or how he knew I was interested in movies, but he said he was up in Fayetteville and he said, “Hey man, can you have a beer with me?” I was like, “Sure, no problem.” And we started chatting and he talked about this movie that he wanted to do—Echo Boomers. It was going to be a $5 million budget. He had some partners and thought he could get it done. And we spent a couple hours talking and I was like, “Man, you got to pull that budget down. You don’t want to jump that high of a hurdle your first time out, you know, try to really tighten this thing up. And if you want to talk to somebody about this, like an Arkansas filmmaker—cause Seth was from little rock—I said, “You know, I can put you in touch with Jeff Nichols.” And he goes, “Really, you know him?” I said, “Yeah, I’ve known him since I was about five. I’ll do that for you.” He goes, “Man, that’d be fantastic.” So that evening I emailed Jeff and said, “Hey, y’all get together and talk when you can.” And I didn’t hear anything else.

giving them notes. And it was great. I loved that process.

And so it’s funny [Drunk Bus] came in about partway through [the Echo Boomer’s] deal.

My production partner called me and said, “Listen, one of my good friends in New York’s done a movie too and they need a little help. Like this really worked pretty good—the way we partnered up and did this—let’s do it with them.” So we’ve invested some more dollars and took our role as executive producers and helped them with edits and raising more money and getting things together and getting it out to the distributors. And really became a participant and, I hope, a valued asset to the directorial and writing team that put the product out there. It’s been great fun.

You know, they’re two independent films, the returns will be what they are. I don’t know really where we are now because all of it’s almost exclusively video on demand, thanks to COVID. So, learning what receipts are​​—it takes like months and months and months but both films [have] done well. We got both of them distributed, both of them out in the world. And I think for a first time group of partners, it’s pretty good to get two of them out there first go round. So we’re very proud of what we did. I think that the movies will stand the test of time.

They’re good films. And you know, I think it’s going to be a springboard for us as an executive producing team to go get out there and try to do more.

YOU CO-FOUNDED SLIM CHICKENS WITH GREG SMART. YOU’VE GROWN

IT INTO AN INTERNATIONAL BRAND, SO WERE THERE LESSONS IN BUSINESS YOU LEARNED THROUGH THAT WHICH TRANSLATED OVER INTO FILM? AND WERE THERE SOME THINGS THAT YOU LEARNED ONCE YOU GOT INTO THE FILM BUSINESS THAT YOU HADN’T ENCOUNTERED BEFORE AS A BUSINESSMAN? Well, a lot of it did translate, you know, a lot of what makes a good entrepreneur successful, which is, stick-to-it-ness and focus and drive, not getting sidetracked or distracted and really getting into the heart of the matter, which is what I was always kind of good at. Cutting through all the red tape BS and [being] like, “Hey, what are we really going to A) survive, B) make money, C) get this film in the distributor’s hands?”

Like just how we get all the way through that. And that was extremely helpful. And I think it’s very correlative in any business... In the film business, it just takes more patience there. A lot of cars on the train that you got to kind of walk through to get to the front and distribution models. Contracts are very different from some of the stuff I was used to and had to learn how that worked really well, understand the accounting system, you know, that was all new to me. But we were able to navigate and negotiate our way to, I think, a good spot. And like I said, we managed to get both of them out. Both of them sold the distributors and, and are out there in the world, which I’m really proud of.

DIRECTOR SETH SAVOY (LEFT) TALKS WITH PATRICK SCHWARZENEGGER AND MICHAEL SHANNON ON THE SET OF ECHO BOOMERS, WHICH TOM GORDON EXECUTIVE PRODUCED.

Like it just went quiet about a year and a half later, Seth called me and said, “Hey man, we got the green light. We’re making this movie. We’ve already sold some international rights for both Paramount. I got Patrick Schwartzenegger. I got Michael Shannon, thanks to Jeff Nichols. Because you connected me with him, I’d like for you to be a part of this. And we have a few other tranches of money that need to get filled and I’d like you to have them.”

So we worked out a deal specific to me and my partner at the time that did this.

And I said, “Yeah, man, I’ll invest, I’ll do it. I’ll work with you. And so, because of that, we jumped in and kind of with the last transfer of money, were able to kind of push it over to go on and really ended up helping them and participating more than I thought we would. We were looking at rough cuts, edits, and special effects and

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JESSICA WHALEN ROGERS @JESSICAWHALENFILMS INTERVIEW / ANTOINETTE GRAJEDA How did you get into filmmaking?

I had always been obsessed with stories, whether they were being told through music, movies or books. I was in college, trying to figure out what I wanted to study, and my friends who were upperclassmen needed the coffee shop I was working at as a location for their senior film. I agreed to be the location contact/liaison and while watching them work I immediately knew this was what I was supposed to pursue. I’d barely picked up a camera, I knew nothing about editing, but I knew I was willing to work as hard as I possibly could to catch up and learn how to do this so that I could do it for the rest of my life.

So, I pursued a degree in Digital Cinema from John Brown University to pair with my degree in Intercultural Studies. The process of creating something and the potential for using it as a tool to tell stories and let people feel seen had me hooked from the beginning and I’ve never looked back.

How essential is Arkansas to your art?

As someone born and raised here, Arkansas feels directly intertwined with my art and my approach to it. The slower pace, the fascination with nature, the tension our history holds of problematic and inspiring, and the nuanced, complicated, and ever-changing culture I’ve witnessed are all things I hold space for as I work and as I’m developing ideas for future projects.

How does filmmaking heal you?

Filmmaking gives me a chance to calm my mind. It brings me into a state of flow and when I connect my breath to my camera movements it becomes a meditative state for me. On an emotional level, it also helps bring in healing, life and light. I was bullied quite a bit growing up and I know deeply how it feels to be rejected, ignored or passed over. Filmmaking gives me a chance to show people how worthy they are of being seen and celebrated, and that opportunity does a lot to heal old wounds.

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OBED LAMY FAYETTEVILLE TWITTER / @OBED_LAMY IG / @OBEDLAMY INTERVIEW / SOPHIA STOLKEY What inspired you, what motivated you, and what circumstances led you to where you are today?

I’m Haitian, 100%. I was born and raised there in a family of four kids, and I’m the only boy.

I studied communications and worked as a journalist for four years in my country. I also did a little bit of teaching, because my primary influence is education; my dad has been working as a teacher for 30+ years now. So, teaching was always something in the family, because my dad in summertime would gather all the kids in our neighborhood and do after school programs for them. I was very inspired by my dad.

As far as storytelling and film, when I was growing up I didn’t have any influences or any thought about becoming a filmmaker. But now, thinking back on my childhood and family, I realize there was something that led me somehow to this filmmaking journey that I am on now. My mom, every night, would gather my siblings and I to tell us stories about her childhood, things she experienced, and also stories about the political events she experienced under the dictatorship in Haiti. I had fun as a kid, with lots of neighbors whom we used to play with, but I wasn’t very exposed to the media. I’m not sure we even had a TV set at home, although we did have a radio.

But storytelling was always something that my mom and dad instilled into us.

What are you working on currently? What excites you about your work?

I feel like filmmaking is my purpose. This is really fulfilling to me, because not only do I get to meet people, but sharing those stories helps me to better understand different groups of people and society as a whole. It also helps me to connect different communities. That’s the power I feel like storytelling can have; not necessarily to change people’s minds, but maybe to give people another perspective, different from what they have had or what they have been told. So, I think I am really excited to work on other projects with different people and different communities, and to tell stories about them.

CORRIGAN REVELS LITTLE ROCK IG // @REVELSAMBITION INTERVIEW / KODY FORD What initially piqued your interest in filmmaking?

I was the only child till I was like 16. In that time my best friend was Film and TV, [watching shows] from, you know, The Cosby Show, The Fresh Prince of Bel-Air, Boy Meets World, different things like that. And of course, like all the Disney family growing up and everything—I was just big into that. That was like my company. When I was just sitting in my room by myself, you know, if I wasn't playing with my toys, I was, you know, just watching TV honestly. I honestly was blessed with, I guess you could say, the attention span that allowed me to not only kind of just gaze and watch TV, but actually think about what I was watching and take in a lot of really valuable life lessons within different episodes.

I didn't think too much of it. That was the one thing that my dad and I enjoyed doing as far as like, watching movies together and everything.

But I didn't really think too much about going into a career in film or anything like that. I just enjoyed it. I knew I didn't want to go to college.

And at first I wanted to actually be in college football coach, but once I kind of thought about how things would turn out when it came to, you know, me saying, “If I'm a good coach, but I have players that are not meeting the expectations, then I'm the one that still get fired.”

I thought about why I really do like movies. I've been doing a lot of research on them … I just love just escaping away, whether it's Disney fans, or like Star Wars or Harry Potter and stuff like that, I just really liked just diving into those universes.

And I thought about it. And I realized “Hey, you know, it is possible for me to do these things.”

And so that's what led me to pursue an education in film. [I attended the University of Arkansas] in Little Rock and I graduated from there back in 2015, and I produced my first short film that following fall, which is crazy, cause I would just start grad school.

CONNOR ALLEN SMITH CHICAGO + FAYETTEVILLE IG / @PRAIRIECREEK

CHERMILLA HENTHORNE FAYETTEVILLE FB / @CHERMILLAHENTHORNE

INTERVIEW / KODY FORD

INTERVIEW / ANTOINETTE GRAJEDA

How did you originally get into filmmaking?

How does filmmaking heal you?

Originally I'm from Northwest Arkansas. What's it called originally from Texas born and raised, born in Dallas then raised in Rogers and Bentonville area. And so there was some film stuff kind of going on, but it wasn't really—nothing was super percolated. And when I was growing up, just showed my age a little bit. So there's some commercial stuff brewing and some, some bigger projects, but nothing that really seemed like it was going to be approachable for me, just like to dabble in and also being a little more interest in some more experimental structures or kind of more what my dad would call artsy-fartsy stuff.

So I kind of really just kind of found myself falling in love with specific films that I related to. I was watching a lot of films from Japan and France and really all over and kind of fell in love with film as a, as a fan and as an audience member at first ...

And so, you know, really around the mid-2010s when I was at the (University of Arkansas), at the time there was really no film program. Like there's, there's some kind of theory and criticism that they do there, but really no production stuff.

I was just watching films constantly, and even at one point watching one more than one a day just trying to saturate myself and filmmaking.

And then recently moved up to Chicago about a couple of years ago with my partner and trying to put the, I guess, the tire to the asphalt, figuring out how to make this with all this head knowledge. I had all this passion I had. So over the last couple of years me and my friends back in Arkansas and my partner in Chicago, we've established Prairie Creek productions and our kind of just making little DIY films, however we can.

Being someone from a mixed-race background, having a different cultural upbringing to anyone else I meet and also suffering from different traumas and mental health conditions, filmmaking allows me to tell my story and show my imagery in the way I want and I often find this is the quickest way to understand me. It’s like a snapshot into my mind. Images dance around in my head and being able to get that on screen is a gift I would never give up.

When did filmmaking seem like a viable option as a career to you?

When I realized that I don’t need anyone’s permission to follow what I want. I came back to the acting world and after being able to share my ideas and have people interested, I have been able to write my own films and go from there.

Anything else you’d like to add?

A lot of the setbacks I have had in my acting and creative career in general have come from me being a woman and also from my ethnicity.

I found a lot of lack of respect and also as I was typecast as racially ambiguous, I was often pushed aside in the acting world. I let this motivate me to give up and find drive in other areas of my life, and if I could change one thing, I would go back and encourage myself to not lose that internal fight and to keep pushing. I have never stopped writing or dreaming, but I did stop all actions for a period of time and that will always be a regret. No matter who you are, you have something to offer that no one else does. Dig inside, find that and drive forward.

NOLAN DEAN HELENA IG / @NOLANDEANFILMS WEB / CHERRYSTREET.PRODUCTIONS INTERVIEW / KODY FORD What's the first movie you ever saw that really grabbed you and why?

Hook. I remember taking a year off school, between pre-K and Kindergarten, and watching that film almost every day on VHS. At the time, I just couldn’t imagine anything better than being able to fight, fly and crow like Pan the Man. What did you learn from your first film?

I learned that even with horrid audio and an incongruent story, you can create a magical moment with the audience - where the whole room audibly gasps. And if you can create those moments, regardless of your production budget or quality, then you have achieved the purpose of the craft. (But it’s best to have the rest of the film be good, too!) So, that audience response - that’s my addiction, if I’m being honest. I love transporting people, and drawing from them laughter and tears, gasps and cheers.

Now, if I were to give advice to my eighteen-year old self, I would tell him, “If you’re going to have high schoolers put on suits and play gangsters, don’t let them wear sneakers at the same time!”

What would you describe as your visual style and can you name any direct/indirect inspirations?

In my narrative shorts (Nighthawks, Last Shot Love), there is a common motif of dark settings, in which the shadows are illumined by pops of luscious color. The person who has had the most direct impact on my work is Gabe Mayhan, my director of photography. Gabe has brought a lushness to the colors of my films that I would have otherwise shied away from, and I’m glad he did. They wouldn’t carry the same emotional impact without this palette.

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WILLIAM CARLOS REYES FAYETTEVILLE // WILLIAMCARLOSREYES.COM

JASON PITTS DALLAS-FORT WORTH + ARKANSAS FB // @JASON.STEPHEN.PITTS

SAMIR ARELLANO TEXARKANA, AR IG /@ARELLANOSAMI

INTERVIEW / JACK BARR

INTERVIEW / KODY FORD

INTERVIEW / JACK BARR

How did you get into composing?

What’s the first movie you ever saw that really grabbed you and why?

How essential is Arkansas to your art?

Music has always been a part of my family environment. My mother and father both loved to sing, and my father taught my older brothers how to play guitar when they were quite young.

I grew up watching, learning and basically absorbing whatever I could from them. I can think of several other instances where music played an integral part of my life. For instance, we were fortunate enough to be enrolled in piano lessons at a young age, we sang in various churches, and we played music with cousins and friends.

Long story short, I’ve always loved music. As I grew older I wanted to be more involved in music, so I taught myself to play guitar, then later I studied classical guitar performance at the University of Arkansas, and afterwards went on to study musical composition and earn my master’s degree. I remember always having an interest in arranging and songwriting. Getting my degrees at the university was simply me fulfilling my need to take it to the next level.

How does composing heal you?

Composing to me is like translating my feelings to music. That could mean a lot of different things to a lot of different people. I like to think about instrumentation, I think about harmony, I think about melody, tempo, rhythm, keys, articulation and dynamics. Whatever I come up with is an abstract musical expression of what I feel or how I want to feel when I hear it. It’s never perfect. But, it’s the process that is healing: to express. It doesn’t have to be musical. It can be a conversation with a friend that is healing.

When I compose, it’s like writing an abstract conversation with myself. I know how it makes me feel. Others can interpret it and perhaps feel something similar. The act of getting it out provides relief. It is self-soothing even when overcoming emotional distress, similar to crying or laughing.

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My imagination was really captured by the original Nightmare on Elm Street. It was such a creative concept, and I realized that you can almost do anything with film.

When did you first begin your journey as a filmmaker?

As a child, I watched horror films at a drive-in movie theatre. I knew then that I wanted to make films. I consider that the beginning.

What did you learn from your first film?

I learned that most people get excited about movies, and will want to help in any way they can.

What would you describe as your visual style and can you name any direct/indirect inspirations?

I like basic shot/reverse shot filmmaking with as much natural lighting as possible. I like medium close ups, and wide shots. The best inspirations of this is Wes Craven and George Romero.

Do you consider Arkansas essential to our art?

I do. I love the majestic scenery. There is an amazing shot a the top of Mount Magazine in ALONE that I absolutely love.

Do you find filmmaking to be a therapeutic or healing process for you?

Not really. I make films to tell stories and let my imagination go wild.

I made a 1968 Mexican period piece film in Jacksonville, Arkansas. Arkansas is dope. I used to always want to leave to a bigger state but that really brings us nowhere in the end. Like Austin, they made that city boom with films. Why couldn’t we, in Conway, do the same? Or Little Rock? I’m seeing a lot of big names come to Arkansas to work on films now and it’s awesome.

I was always just wanting to leave my hometown and now I’m more inspired by my peers and other filmmakers to stay and make Arkansas a household name in the film biz. I learned a lot about making films at UCA and the filmmakers here are very supportive to each other. I’m a Mexican American raised in Arkansas. I’ll forever be an Arkansan Latino filmmaker no matter where I go and I’m truly proud of it.

How does filmmaking heal you?

Filmmaking is therapeutic and has saved my life.

All the voices in my head shut up when I’m either writing a script or making a shot list or when I’m on set. Watching the director in his element, watching the crew bust their tails, watching beautiful performances by the cast, it’s awesome.

I also never feel alone when working on a film. I have the support of my family and friends and I feel it, kinda like a spirit bomb from DBZ. I sense their energy and I get to make the art that I want to make thanks to everyone’s support. I got the chance to have my dad act in my film. I’m so happy I get to say that. He always talks about how he’s immortalized because of me and how proud he is of me. It’s awesome doing the thing you love and have so much fun doing it that it makes others happy as well. You radiate positive energy when you’re in your element.

EBONY MEYERS CONWAY IG / @BIGDADDYINSTAGOD

THOMAS JAMES DEETER THE OPEN ROAD IG / @THOMASJAMESDEETER

INTERVIEW /JACK BARR

INTERVIEW / KODY FORD

How did you get into filmmaking, and when did filmmaking feel like a viable option as a career to you?

Notable works or awards: Shattered Dreams received the Fellowship Award from the Arkansas Arts Council

I got into filmmaking probably when I was about 13. My mother and I would sneak into theaters and just watch film after film. But after watching “Nightcrawler,” I think that really hit the nail on the head for me.

What's the first movie you ever saw that really grabbed you and why?

What would you describe as your visual style and can you name any direct/indirect inspirations?

I would describe my visual style as a mix of New French extremity meets German expressionism.

I’m really into Lars Von Trier and Gaspar Noè, as well as films like The Mirror, Possession, and Possessor.

How essential is Arkansas to your art?

I would say, at first, I didn’t think Arkansas would have been essential to my art at all, but after doing a lot of location scouting and filming outside in the Ozarks...I really wanna make most of my films in Arkansas.

How did the process of making your debut short feel?

At first I was really nervous, just because the films I want to make are kind of left field, but after meeting so many people that actually really liked the script and everything behind it, it really made things feel natural and safe.

Medusa by Carravagio. It both terrified and thrilled me to my core. I know what you're thinking, "Yo Deeter! That's a painting not a movie." Yes, but it seemed like a movie.

What would you describe as your visual style and can you name any direct/indirect inspirations?

I'm a pretty Baroque kinda guy. In more ways than one. Shattered Dreams is definitely my ode to Time Bandits/Wizard of Oz. I love films about a kid in distress that enters a portal and then... the rest is magic!

Do you like to write and direct all of your own work or are you open to directing scripts written by others?

I would be honored to do anything I can connect to as a creator, but I have my own stories to tell.

What strikes you as a healthy balance between independent creative work and collaborative team effort?

I thrive in a collaborative environment. There has to be a decider. It doesn't have to be me, but I do love leading a group of passionate people toward a task. I hope to do much more with producers/artists I've yet to meet. Shattered Dreams was a project that was conceptualized and created as a team even though each person played a primary role. That's the ideal and we were lucky enough to have done that.

PAULA BLANCO PEREZ CONWAY IG / @PAULABPZ // PBLANCOFILMS.COM INTERVIEW / ANTOINETTE GRAJEDA What would you describe as your visual style and can you name any direct/indirect inspirations?

I like to use somewhat natural lighting and play with color palettes in order to portrait the story and the personality of the characters. One of my big inspirations is [Stanley] Kubrick. Following his work, I find myself paying a lot of attention to Production Design, hiding subtext messages in the small details and giving clues to the audience about what is happening or is about to happen.

I also really like his abstract and ambiguous shots and angles that make his films so unique.

My favorite genre is sci-fi and I like to play with themes and ideas that can be used to explore possible future dystopias as well as realities of today’s world. In this genre, I follow [Christopher] Nolan’s style. The use of futuristic and oftenconfusing worlds to camouflage critiques of today’s society, which force the audience to actively think and search for the overarching meanings behind them, is definitely one of the biggest influences in my visual style.

How does filmmaking heal you?

Filmmaking is like meditation to me. Being able to write stories in which I explain my opinions and share my feelings is truly a blessing. When I am working on set, or even editing, I forget everything else that is going on in my life and I fully focus on creating a piece of art that carries a message that will be shared with the world. I can be a very stressed person sometimes, but the stress that comes with making a film is like therapy. Working towards something that will make me happy and proud, and overcoming all the obstacles that stand in the way is the best healing technique I have foun

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NATHALY MORENO CONWAY IG / @NATHALY118

LUIS HERNANDEZ LITTLE ROCK IG / @LAWEEZ8

DAVID C. CRUZ CONWAY IG / @LLEGOHOYFILM

INTERVIEW / ANTOINETTE GRAJEDA

INTERVIEW / JACK BARR

INTERVIEW / JACK BARR

How does filmmaking heal you?

How did you get into filmmaking?

How did you get into filmmaking?

Filmmaking for me is a creative struggle. It’s healing in a different way than medicine is, more therapeutic than anything. I like using stories people have shared with me as a premise for my scripts, usually having to do with social issues.

For example, my undergraduate thesis film is based on a story my grandma told me when I was a teenager. She was a first grade teacher in Honduras so she had a bunch of stories about her students. The one that stuck with me was one of a little kid who always fell asleep in class and she finally found out he lived near a brothel. I grab stories like this and in my telling of them through film I try to find some salvation for the character, letting the audience know they’re gonna be okay but still keeping the fact that we live in a struggling world, yet we can find happiness in the little things. And this is how I see life and film.

I remember watching home videos with my family, and for whatever reason the idea of my dad filming stuff going on really stuck with me.

Especially how he caught random and special moments throughout my family’s life. I saved up for a camera and started filming stuff around the house. Little pranks, house tours, and random little movies. Throughout high school I started making YouTube videos, and in college I started to really consider making this my career.

I changed my major to filmmaking and then it just kinda went from there.

It was from the obsessive kick I got from watching movies as a kid. The theater was a bigger luxury to me than a theme park simply because it was more affordable. When my parents bought a family camcorder (the origins are unknown), I recorded my own toy reviews and filmed a parody of The Final Destination. Since I didn’t know much about filmmaking or did research on YouTube, I watched trailers instead since they had specific pacing. I studied [movie] trailers obsessively and told [other] kids about the newest movies during elementary [school].

In your circle of artists, is the DIY approach the way to go?

How essential is Arkansas to your art?

Where did you see yourself four years ago versus four years from now?

Four years ago I thought I would be in Berlin or Lisbon doing an MA in documentary production.

The universe, however, thought I wasn’t ready to leave Arkansas and so, because of the pandemic, I am now doing my MFA in film at UCA in Conway.

Four years from now I just hope the world is in a better place and that I have a stable job developing projects that I am passionate about, wherever that might be.

I can’t speak for anyone else, but for me it is.

It allows me to have full creative control of my movie and the production. There are obviously downsides, such as raising money for one’s film and having limited resources, but if you have a solid crew, and just make connections, your resources become limitless. Because I’m from Little Rock and I want to work in Little Rock, the community supports me like crazy. A lot of favors are asked but in the end it’s the only way I can work. I have to be my own boss, plus I like shooting guerilla style, and having to convince people to let us film places and what not. I guess I got that from skating when I was younger.

Very essential, I have no choice but to incorporate it into my narrative work. It’s who I am even though I was born in LA. The south has a different perspective and way of doing things that entices me.

Do you have any tips for other filmmakers looking to make a feature film now that you’ve completed your first?

Persevere, and don’t feel entitled to success or that anyone owes you something. Wake up and get shit done or else you’ll be behind. Another thing is that you need a solid team and expect to wear the same amount of hats for a sophomore effort.

Do you have any future projects lined up?

I have two features I’m developing. The most current one is being co-written with me. It will be shot in other parts of the state. It is a dark comedy thriller centering around the diabetes crisis. The other one will be all in Spanish and center on regional Mexican music with a surreal twist, but I will need to raise money for that in the coming years.

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The Hot Springs Documentary Film Festival returned for its 30th year as a “destination festival” with a strong commitment to quality and hospitality.

WORDS / CASSIDY KENDALL PHOTOS COURTESY OF HOT SPRINGS DOCUMENTARY FILM FESTIVAL

Being hosted in the Spa City also makes it more of a “destination festival,” which is unlike other film festivals.

or the past 30 years, the longest running all-documentary festival in North America has been in an “off the beaten path” venue, distant from the physical film industry. Yet it has grown stronger year after year, making a remarkable name for itself. And of all the places for such a monumental festival to be, would you believe that since October of 1991 this has taken place in none other than Hot Springs, Arkansas?

“People are not only coming to attend the screenings and the talks that we do, but they’re also coming to Hot Springs,” Gerber said. “They want to go to the bathhouses, they want to hike, they want to see our town and experience it; and we want our guests to do that too.”

F

Current Hot Springs Documentary Film Festival Executive Director Jen Gerber, who will be entering her ninth consecutive year with the festival as it enters its tricennial, spoke with The Idle Class on how the festival has evolved over the past 30 years.

Firstly, maintaining its place in the industry for 30 consecutive years has helped tremendously in getting top-talent filmmakers to attend the festival, but Gerber said HSDFF is truly known for its hospitality for its guests, and the personality being in Hot Springs gives it.

“When anyone comes to our festival they turn that corner onto Central and see downtown Hot Springs and know they’re somewhere special, and that I think is what has set us apart for the last 30 years,” Gerber said.

When people travel to Hot Springs for the film festival year after year, she said there is no pressure, and it allows guests to experience the mere joy of cinema and the beauty of the town.

Evolution was another credit Gerber gave to the festival’s long-running success.

“We continue to evolve with the times and try new things and not be afraid to experiment with other ways of screenings,” she said, noting that they have done everything from a waterfront screening called “Docs on the Dock,” to a more classic drive-in-style screening. Even this year, the primary venue will change from its previous 10-year location at The Arlington, to the Malco Theatre. Granted still in that iconic downtown location, but with more of a classic theater feel.

Traditions they have been mindful to keep over the years, Gerber said, are the champagne and popcorn toast before opening night, and their parties.

“The fact that we do host so many special events after the screenings, (it) really (creates) a place for filmmakers and guests to gather at the end of an event, talk about the film that they just saw and get to know the guests that are visiting,” she said.

Gerber said HSDFF is a meaningful festival within the industry because of its longevity and its history of hosting some of the most important filmmakers of our time.

“I think sometimes people are surprised that there is that much high-level programming and guests at our festival, just being in a small town in Arkansas; it’s off the beaten path from other film industries,” she said.

“Like most festivals of our size are closer to a production hub, so we’re different in that we’re not, but we’re still a sizable festival that is on that level.”

But quality talent being drawn to the festival was a precedent set since the beginning.

“That first year they screened all the Oscarnominated documentaries that year, and that was the beginning of the festival,” Gerber said. “And I love that they started with such high programming standards, and I think that’s kept us on that track of commitment to quality when it comes to our film.” // HSDFI.ORG IG // @HSDFF

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ARKANSAS SHORTS DATE: JAN. 8, 2022 WHERE: HISTORIC MALCO THEATRE, HOT SPRINGS

FAYETTEVILLE FILM FESTIVAL DATE: FALL 2022 WHERE: H I S T O R I C D O W N T O W N FAYETTEVILLE SQUARE WEBSITE: FAYETTEVILLEFILMFEST.ORG The Fayetteville Film Festival strives to bring world-class film to Arkansas, to develop meaningful relationships with filmmakers around the world and to provide creators and supporters an opportunity to share their passions and build community.

From student films to music videos, animated films to documentaries, this year’s festival will offer three days of fun for film lovers this fall.

The festival board and sponsors have also announced the 2021 summer cycle recipients of the Fayetteville Film Fest Micheaux Award, named in honor of Oscar Micheaux, a founding father of American Black cinema: Andy Sarjahani for Iranian Hillbilly, Paris Burris for House by the Water, Michael Day for And the Winner Is and Honorable Mention Kweku Krampah for Idols.

The Micheaux Award distributes funds to BIPOC filmmakers in biannual cycles, and the accompanying Film Lab facilitates yearround workshops and other educational opportunities to strengthen and support the Arkansas BIPOC film community.

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Arkansas Shorts, an annual event that showcases Arkansan short films, will celebrate its 15th anniversary in 2022. The festival features films in three categories: Arkansan filmmaker, North American filmmakers and international filmmakers. The shortfilm festival is also a showcase for Low Key Arts’s filmmaking workshop “Inception to Projection,” and will highlight work by local filmmakers ages ranging from teenagers to seniors. // FILMFREEWAY.COM/ARKANSASSHORTS DELTA SILVER SCREEN FILM FESTIVAL DATE: JUNE 2022 WHERE: DOWNTOWN NEWPORT As part of the annual multidisciplinary Delta Arts Festival, Delta Silver Screen Film Festival focuses on Arkansas filmmakers and filmmakers from the Delta. The festival features 10 films and is spread out across 12 venues in downtown Newport, including Jane Parnell Performance Hall.

The Delta Arts Festival aims to make creativity accessible to everyone, celebrate the art, literature, music and film created in the Delta and inspire new generations of filmmakers, musicians, authors and artists.

FILMLAND DATE: FALL 2022 WHERE: LITTLE ROCK Filmland, an annual festival by the Arkansas Cinema Society, aims to nurture and inspire Arkansan filmmakers by providing a venue for filmmakers and their art. The fourth annual festival is returning this year as a hybrid event called “Filmland in the Park” at MacArthur Park and will be complete with a drive-in experience.

“We are very excited to host another unique outdoor, drive-in experience for Filmland—this year in Little Rock’s MacArthur Park. We plan to bring some of the most talked-about films from this year’s festival circuit to Arkansas,” said Executive Director Kathryn Tucker about the 2021 festival. “This year, we don’t just have something for the movie-watchers, but also the movie-makers. We are so proud to announce the launch of our daytime outdoor panel discussions and educational workshops for filmmakers and film-lovers in our state.” / / A R K A N S A S C I N E M A S O C I E T Y. O R G / FILMLAND

BENTONVILLE FILM FESTIVAL DATE: JUNE 22 TO JULY 3, 2022 WHERE: VIRTUAL AND IN-PERSON EVENTS IN BENTONVILLE The Bentonville Film Festival is a one-of-akind annual event that champions inclusion in all forms of media. The six-day festival is organized by the Bentonville Film Foundation, whose mission is to amplify storytellers who identify as female, non-binary, LGBTQIA+, BIPOC and people with disabilities in entertainment and media. Each year, BFFoundation works with partners to foster inclusivity in media and positively influence the entire community.

This year’s hybrid virtual and in-person festival featured a juried competition program powered by diversity, film premiere screenings, panels, talks and other special events that were all dedicated to inclusivity and representation.

“Our decision to pilot a hybrid festival in the face of 2020’s challenges catapulted our reach and strengthened our community of brilliant, diverse storytellers and creatives,” said BFF chair and founder Geena Davis. “With [2021’s] program, we will only build on that progress, welcoming back attendees from around the globe—and all of their friends.” // BENTONVILLEFILM.ORG

FILM FESTIVALS

SET THE SCENE

MADE IN ARKANSAS FILM FESTIVAL DATES: MAY 13-15, 2022 WHERE: CALS RON ROBINSON THEATER IN LITTLE ROCK The Made in Arkansas Film Festival celebrates the homegrown talent and vision of filmmakers in the Natural State and surrounding region.

Co-directed by Kerri Michael and Johnnie Brannon, their mission is to support and promote Arkansas films and filmmakers.

“Our festival not only provides an opportunity to showcase the work of Arkansas filmmakers, it provides the potential for filmmakers to share ideas, collaborate on future projects and draw inspiration,” Michael said. “We’re proud of this state and the imagination and craft of our filmmakers, and we exist to support them.”

Organizers are planning In-person showcase screenings beginning in October, if it’s safe to gather. // MADEINARK.ORG

ARKANSAS MINORITY FILM AND ARTS ASSOCIATION FILM FESTIVAL DATE: SEPTEMBER 2022 The Arkansas Minority Film and Arts Association is a nonprofit organization dedicated to the development, awareness and exposure of filmmakers and artists of color. Founder and executive director Corrigan Revels focused on connection during the group’s second annual film festival, which was held virtually Sept. 1618, 2021.

“I want people to be able to connect and I just want attendees and everybody else to be inspired by this,” Revels said.

While the annual festival filmmakers of color from around the country, it includes a Natural Category that showcases creators from Arkansas. // THEAMFAA.ORG

PHOTO COURTESY OF MARLANE BARNES

You may recognize her as the Irish vampire Maggie from the The Twilight Saga: Breaking Dawn: Part Two or as Audrey in Mad Men. But actor and writer Marlane Barnes has hung up her professional acting hat to try on a new one for size: Educator.

WORDS / JULIA M. TRUPP When Marlane Barnes studied theatre at the University of Arkansas, she wanted to know how her professors understood each scene they watched.

She went on to earn a master of fine arts in acting from the University of Texas in Austin before pursuing a professional career in Los Angeles. After a decade as a working actor, she decided to head back to her home state to see how she could contribute to the Arkansas arts scene. She’s taught courses and workshops at colleges, universities and regional theatres, helping actors to launch their film and television careers or to enrich their lives in the arts, as she’s done for herself.

“I love the search for clarity in a scene, and I love building a relationship of trust and understanding with students,” Barnes said. “I am more interested now in the ways the arts can enrich my life and the lives of others rather than define it.”

We asked Barnes what she looks for when she reads scripts and screenplays.

Here are a few things on her list: STRUCTURE: “With new writers, I am a stickler for structure, so I am looking for the tension, stakes and story arc that are going to make a work accessible to an audience (especially if a writer wants to sell their script or get financing for production).”

TEXTURE: “For those who have been at it for a long time or intend to self-produce, I want characters with a lot of texture.”

SENSE OF HUMOR: “No matter the genre!”

AUTHENTICITY: “You know what they say: It’s hard to be original, but you can be authentic! I would encourage writers not to write what is trendy— mostly because I think that’s toxic to your creativity, but also because you have to think long term—most scripts take a decade to get produced!”

Marlane Barnes has more than a decade of experience in the film industry.

She can be reached through the contact form on her website or by emailing marlane.barnes@gmail.com for one-hour private coaching sessions for film/ television acting and auditioning techniques. She also covers screenplays and advises writers on getting their scripts in fighting shape. // MARLANEBARNES.COM WWW.I DL E C L AS S M AG . CO M 39

PA U L P E T E R S E N ( L E F T ) ALEXANDER JEFFERY

A ND

A STORY TO TELL MAKING AN INDEPENDENT FILM CAN SEEM LIKE AN IMPOSSIBLE TASK, SO WE SPOKE WITH A GROUP OF FILMMAKERS ABOUT HOW THEY DID IT.

as actors and writers.

THE SCHWARTZMANS

Fast forward to 2009, they collaborated as producers for the time on a short film called “Bed Heads,” written by Schwartzman’s uncle Scott Merrow. Two years later, they entered that film and an animated short directed by Hampson in the Offshoot (now Fayetteville) Film Festival, which brought Schwartzman back to his hometown where he met many people who would go on to work with them in the near future. This trip inspired the two to return in 2012 to Northwest Arkansas to film Gordon Family Tree, the first feature they wrote, produced and financed themselves for their company, Purpose Pictures. Directed by Hampson, the film starred Corbin Bernsen, of L.A. Law fame, and Richard Karn, beloved sidekick, Al, from Home Improvement, alongside Jennica and Schwartzman, plus local actors like Cassie Self, Jason Suel, Laura Shatkus and Mark Landon Smith.

Ryan Schwartzman headed west from Fayetteville to attend college at University of California, Santa Cruz. He majored in theatre and moved to Los Angeles to pursue a career in acting after graduation.

After landing a gig at a children’s theatre, Schwartzman met his future wife and collaborator Jennica, who grew up acting.

One of her older brothers, Marc Hampson, had gone to film school so she was able to soak up as much as possible about being behind the camera during her time in front of it by working on his projects over the years. This time was a masterclass for the couple and greatly shaped their desire to become producers. Over the next few years they continued to work with this group and worked on more short films and web series

Jennica held onto the program from the Offshoot Film Festival and visited each sponsor listed on the back to determine how film friendly the businesses were. She took notes on what had filmed around the state and learned the politics of Arkansas’ burgeoning film community. Because they had never produced their own feature, the Schwartzmans found themselves unable to get investors from the West Coast so they self-financed the film through credit cards, loans and Kickstarter. They were the first film in the region to rely on the crowdfunding platform for their production and many of their supporters were from the 42 businesses Jennica had met along with friends, movie lovers and members of the NWA film community.

WORDS / KODY FORD The myth of movie making involves Hollywood lots, smokey rooms and massive amounts of cash. Taking a story from the page to the screen can seem beyond daunting; it can seem downright unachievable. But you don’t have to be John Wick to complete this impossible task.

We talked to several Arkansans who have made independent films here in the Natural State without large studio backing. They’re going to tell us how it’s done.

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For anyone looking to produce their first film, Jennica offers some advice: “My big tip is talk to a producer, who's done it before and get a copy of their paperwork and then make your own version. That's better for you and better for your community. I think the number one thing in sponsorship is what can I bring to your business that you might want? And it's not always customer or awareness. Sometimes it's just prestige and legitimate connection to the community.

There's things that businesses might want but what they can afford to do and what they can support varies widely on the size.”

Recently, Jennica, Hampson and collaborators Aaron Fairley and Joshua Mauldin announced a new company, Elekhan Films, that will bring three films to Arkansas starting in 2022.

Read the Schwartzmans’ full story online at idleclassmag.com ALEXANDER PETERSEN

JEFFERY

&

PAUL

While working as First Assistant Director on Ray Noori’s film, The Philosopher King, in 2013, Alexander Jeffery found himself in awe of Sweden and especially making a movie in Europe. The small crew lived together in a home and spent their time together, part summer camp, part family vacation. During this time, a seed was planted, one that would grow into a screenplay within a few months of his return to the United States. Jeffery wrote a script— boy meets girl in Italy. He loved the idea, but there was only one problem. The script wasn’t any good. So, he shelved it.

Over the next few years, Jeffery helped launch the El Dorado Film Festival where he reconnected with his old friend Paul Petersen who’d come to town for the festival. The pair began collaborating on films together and won the $50,000 Louisiana Film Prize for their short film, “The Bespoke Tailoring of Mister Bellamy.”

They wanted to do a feature, but none of their ideas really caught fire. So, Jeffery dusted off that old “Italy film” script for a major overhaul. Inspired by their poetry and music respectively, Jeffery re-wrote it with Petersen in the lead opposite his friend, songwriter Andrea von Kampen.

He considered how to incorporate music into the plot like films such as Once. The previous story of a European whirlwind romance faded away into a tale deeply inspired by films like Before Sunrise, Lost in Translation and Inside Llewyn Davis.

However, turmoil in Jeffery’s and Petersen’s lives at the time—Jeffery had just lost his grandfather and Petersen had lost his father—permeated throughout the story.

Along with family tragedy, they were under the pressure of their own brief success after winning the Louisiana Film Prize for “The Bespoke Tailoring of Mister Bellamy.” Jeffery said, “I was personally feeling massive pressure to follow that film up. Molto Bella became a love letter to the creative process and taking that leap of faith to share a part of yourself with the world, even if it might fall flat on its face.”

In early 2019, Jeffery and Petersen completed a first draft of the script and took it to their friend, Richard Wharton, who loved it, but suggested the film be set in Taormina, not Tuscany. Jeffery started researching Taormina and Mount Etna, and thought the area would be a perfect backdrop for the story, so he rewrote the script for Sicily. In September 2019—one month before filming began—Jeffery and Wharton headed to Italy to scout locations. During this trip, Jeffery found more inspiration and revised the film again after having actually been to the region.

Finally, in October 2019, they packed their bags and headed to Sicily to film for three weeks, wrapping in early November 2019, only weeks before Covid-19 struck Italy.

During Jeffery and Wharton’s initial visit, they connected with the owner of a local bed and breakfast, Michele Scimone, who connected them with restaurants and shops to get permission from the owners. They also had to be creative with what gear they could bring over from the US and what they could rent locally. During the El Dorado Film Festival, Jeffery connected

with Roman filmmaker Eitan Pitigliani, who helped them secure permission to film in the public centers of Taormina and cast actor Vincenzo Vivenzio to play the role of the Sicilian Waiter in a key scene.

While they had permission to film within the town, they could not interrupt tourism, which led to some strategic decisions with how and when they filmed scenes in public.

Jeffery’s favorite moment took place in Savoca where they had just finished filming an emotional scene in front of the church that served as the setting for Michael Corleone's wedding in The Godfather. He said, “It was amazing to be there, knowing it was such a part of cinema history. The sun started to set, several cast and crew walked up over the hill, and we had this spectacular view of Taormina in the distance. It was incredibly calm and quiet and then, in the distance, church bells started to ring. It's hard to describe how magical it really was, but it was definitely a moment that will stick with me for a long time. Even though we were filming in this incredible place, it was very stressful at times, and I think that moment grounded us.”

Read Jeffery and Petersen’s full story online at idleclassmag.com SETH SAVOY & JASON MILLER Co-writers Seth Savoy and Jason Miller met as film students at the University of Central Arkansas where they shot music videos and short films together. In 2014, they began writing the script for Echo Boomers; seven years passed from beginning of writing to the film’s release. Savoy had moved to Chicago and got the idea for the story from an article in the local paper about a burglary ring and then they expanded upon it to form a story of disenchanted Millennials breaking into the homes of Chicago’s wealthiest citizens and selling the wares on the black market.

One night at a dive bar on the northside of Chicago, Savoy played Pop-a-shot basketball for fifty cents a game with a stranger, who went on to become the first investor in the film. The script was optioned and they used the small amount of seed funding for various pre-production tasks such as hiring an entertainment attorney from Chicago, who helped them get accepted to the screenplay competition at Sundance Film Festival. For the contest, the judges selected the top 20 scripts submitted. Savoy and Miller made the cut and were asked to come pitch the film.

Savoy had studied up on what buyers and

sellers of films liked to hear so he felt fairly confident going into the event.

“Your script has to be good, but I think a lot of it comes down to the pitch and how you spin it,” Savoy said. “And so we'd probably gone through maybe two drafts, maybe three drafts, and then we started pitching it pretty hard. And I think that pitch was so good that we could kind of spin that this is like a fun, relevant thing that people are loving and that's just kinda what people latched onto. So we took it out pretty quickly once we got the pitch down.”

After their three minutes for the pitch ended, Savoy and Miller watched out of the Sundance competition as the winners.

With such a crowning achievement at Sundance, offers poured in to buy the script, but no one wanted Savoy to direct, so they set out on their own to make Echo Boomers a reality. They brought on Byron Wetzel and Sean Kaplan as producers, who got Michael Shannon secured as the antagonist. Towards the end of preproduction, Savoy and Miller brought on Northwest Arkansas businessman Tom Gordon as an executive producer. Gordon solicited additional investors to help them meet their $3 million budget.

While Echo Boomers is set in Chicago, the film shot in Salt Lake City with the exception of the scenes of Schwarzenegger’s character arriving at Union Station in the Windy City. Savoy directed and Miller served as a creative producer. Though initially intimidated to work with Shannon, Savoy found him to be a true collaborator who was open to feedback but also willing to provide teachable moments for a firsttime director. Looking back on producing their first film, Miller offered a word to the wise—beware of those who make promises they cannot fulfill—a mistake that set their production back a good bit in the early years of development. Trusting your investors, producers and crew is a necessity he believes.

Echo Boomers premiered in 2020 during the midst of COVID-19 shutdowns. They secured overseas distribution and streaming rights. The film provided a return on investment for their financiers and provided Savoy and Miller with a great experience and one hell of an IMDB credit. Despite the intensity of production, Savoy felt it all came together in the end.

Read the full story behind Echo Boomers online at idleclassmag.com

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Y E S T E R D AY T O D AY YOU DON’T NEED A BIG BUDGET TO PRODUCE A HISTORICAL FILM. JUST SOME PATIENCE AND A LOT OF INGENUITY.

WORDS / KODY FORD PHOTOS / KANDI COOK + AMBER LINDLEY Because we still haven’t invented time travel, historical films are the closest you can get at the moment unless you’re into Renaissance Faires or Civil War reenactments. These movies have an epic grandeur to them.

Juliet’s lament upon the balcony. Ben-Hur in a harrowing chariot race. William Wallace shouting, “Freedom!” They capture the imagination with their intricate costumes and elaborate sets, all of which seem a bit expensive. But you don’t need $100 million to make it happen. We spoke with several independent filmmakers who have made period pieces about how they crafted such a film on a smaller budget.

THE OLD WEST For decades Westerns reigned supreme at the box office and on television sets. They told tales of bravery on the frontier, which appealed to a post war American sucking down Coca-colas and drag racing hot rods in their suburban enclaves. Now, in hindsight many of these films are seen as problematic revisionist history. But the appeal of Westerns still lives on today.

While maintaining accuracy with details is still important, today’s filmmakers tend to provide different points of view that were overlooked in the past.

Amber Lindley has long had a soft spot for historical epics. As a teenger she gravitated towards Jane Austen novels and pursued the aisles at Blockbuster Video looking for historical romance films. One of her favorite films is Far and Away, the Ron Howard film that starred Tom Cruise and Nicole Kidman as Irish immigrants. The film faced criticism for both the production and themes as it revolved around the Land Run of 1893 in Oklahoma. However, the epic scale of the film touched her.

“When I saw Far and Away, it's this huge, sweeping epic thing,” she said. “And it does have its problems, but sitting in the theater and watching that land race on the big screen, I had never experienced that

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before...When you're in that moment with those boomers, what does that mean to our history? That scene was just so well done in Far and Away that it made the movie for me.”

Lindley’s love of days gone by led her to option the novel, The Mustanger and the Lady by the late Dusty Richards, of Springdale. While the novel had more of the John Wayne Western archetypes, Lindley saw another story that could be told with the material, one of female empowerment that would be more relevant to modern times.

She developed the story with the character, Julie, as the lead, but her collaborators and investors just didn’t see her take as bankable. But soon Lindley found herself a powerful new ally when director James Cotten, who had just boarded the project, also expressed that Julie should be the lead.Their investors decided to let Lindley and Cotten give it a shot.

While Cotten meshed with Lindley on the vision for the story, he brought a level of experience that no one else involved with the film had—he’d actually directed a Western, the post Civil War film, Sugar Creek. He immediately talked the production team into narrowing the scope of the film to reduce the budget. So many extra costs are incurred when shooting a Western such as $70,000 insurance for the horses. Cotten convinced the team to learn from his mistakes on Sugar Creek. They did a rewrite on the script that, in Cotten’s words, reverse engineered the story to fit

the budget. They kept the costumes. They kept the horses. They kept the guns. But they brought the movie in at $500,000.

They chose to film Painted Woman in Oklahoma because of the tax incentives at the time and the ability to access locations that fit the time period. He wrote several scenes that would allow them to film strictly within a museum that had once been the home of one of the state’s richest men. It had period appropriate furniture and was designed much in the way it had been over a hundred years ago. They found horse trainers who had their own wagons and costumes they could provide.

They built multiple locations on the land that belonged to this crew. They filmed the early part of the film at night to shoot in locations that would have proved more problematic for blocking out modern life during the daylight.

“You need to be smart about what it is you're planning to do,” Cotten said.

“And one thing that a Western allows people to do that a modern movie doesn't have are landscape shots, being out in the woods. Land without things on it is cheap to rent. Get your characters down to a small amount of characters, limit the costumes that they're going to be in. Tell a story that is about the characters like having to traverse the landscape that is against them. And what happens in between the characters, design it down to its bare essentials of what the story should be, and then do whatever those bare essentials are to the best ability that you can. Bring a lot of production value inside of the camera work and the landscapes. And come up with interesting ways of how to get rid of the things that are expensive.”

Painted Woman came out looking far more expensive and expansive than its budget might have allowed with an unseasoned director at the helm. Lindley has since gone on to co-produce the documentary, The Western District, which tells the story of the judicial district in Fort Smith in the time before Judge Isaac Parker, aka “The Hanging Judge” and the rise of corruption under the newly-assigned head U.S. Marshal

Logan Roots. Director Brandon Goldsmith had originally written this as a play, which gave him more freedom to fill in the gaps of the record as he wished; however, when they expanded to a documentary, he had to go out and find evidence to fill in the gaps, which took the story down somewhat different paths to a wild history he had not originally anticipated.

Lindley produced re-enactments with Zak Heald at Farm Studios outside of Bentonville with Goldsmith at the helm.

They utilized some of Goldsmith’s scenes and costumes from the original play for scenes like a recreation of an 1800s Congressional Hearing room.

While most filmmakers are beholden to studios or investors, much of Goldsmith’s work was funded by the Fort Smith Historical Society. “With non-profit organizations, they don't have lots of money and you're getting something from them that it's a bigger gift to them than it can be to other people,” he said. “I hold that with high regard to really make sure that I use their money well.”

AFTER THE WAR “Blood on the Risers”—a short film cowritten and directed by Caleb Fanning and produced by Blake Elder and Dan Robinson—tells the story of a soldier returning from World War II and the horrors he brings home with him through post-traumatic stress disorder. The Rockhill Studios’ film stars Chuck Mere’ and Cassie Self. It has won many awards over the last few months at festivals. Part of its appeal has been the eye for detail the production team maintains throughout the short.

“One of the biggest things for us was with the settings,” said Elder. “We kind of had this conversation about, you know, what can we use for our advantage in this region?”

They pinpointed the Shiloh Museum, the [Arkansas-Missouri Railroad] train station and the Arkansas Air and Military Museum in Northwest Arkansas. Shiloh Museum has buildings that are 1940s accurate, but they're equipped with modern conveniences such as electrical outlets and places for talent and crew. The Arkansas Air and Military Museum had planes and vehicles that dramatically enhanced production value.

Their art department was able to access the locations to provide some finishing touches for authenticity.

Elder added, “I think it really came together.

Being a history buff and liking World War II, we really dove in deep on the details of their insignia patches and things like their wardrobe and military items, and that was a blast.”

THE UNREMEMBERED EIGHTIES Filmmaker Juli Jackson journeys back to the beginning of the 1980s in a location far from suburban shopping malls and other common tropes of the era. Her short film, “Delta,” is a 12-minute Southern Gothic drama set in rural Arkansas that mixes live action & animation to tell the story of the day ten-year-old Nick Francis met the Devil.

The surrealist nature of the story and the mixed media approach set “Delta” apart from many period pieces. While 1980 is more contemporary than World War II or the late 1800s, Jackson still faced challenges trying to be diligent about production design.

“When you start looking for objects, clothing, vehicles, you spend a lot of time googling things like ‘1980s boys sneakers’ or ‘how fast does rust develop?’” Jackson said. “One thing I had to keep an eye on when location scouting were rice fields because most fields are precision-leveled now. This is really noticeable in rice because it means the majority of levees are completely straight. But when I was a kid in the 80s, a levee was never straight.

They curved, making beautiful shapes in the landscape. So we had to make sure to shoot around all those perfectly straight levees out there.”

Jackson believes the story could have been set in a different time and still worked, but things would have had a very different feel.

The animation comes from notes young Nick takes about animals and plants he sees on the farm. A modern day ten-year-old, in Jackson’s opinion, would use an app on his phone and that would change the animated sequence in the character’s imagination.

While some filmmakers might be daunted by the idea of shooting something even set only a few decades ago, Jackson was not dissuaded. She said, “I felt confident the story I wanted to tell could be managed on a budget, because there is a lot in Arkansas that just hasn’t changed if you know where to look. So keeping an eye out for those places and then researching everything you put on screen to make sure everything is accurate. It takes time but it's also pretty magical to be able to get to a location and turn around 360 degrees, checking for modern anachronisms, and not finding any.”

For filmmakers looking to make their own historical shorts or features, the takeaway would be to find a balance between your budget and the story. Sometimes authenticity gets expensive so be mindful of the scope of things when writing. But one thing stands above all—story.

“We as writers and filmmakers have that power to negotiate what people see and how it's perceived and how characters are or shown on screen,” Lindley said. “And I think a great responsibility for anybody that really wants to do a period piece is to stay focused on the story. But then, because you've chosen to do a period piece, you must be responsible for what you're saying overall about that moment in time.”

“DELTA” BY JULI JACKSON

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ING CAL L ACTORS CASTING AGENCY’S MARK LANDON SMITH SHARES SOME TIPS ON HOW TO LAND A ROLE. When you watch beautiful starlets and chiseled actors on the big screen do you find yourself imagining what it would be like if you were a lead in a movie? If you decide to pursue that dream and start looking for opportunities to audition, it’s important to remember there’s plenty of work that happens behind the scenes before an actor can land that coveted lead role.

Actors Casting Agency is an Arkansas-based agency that represents actors for film, television commercials and series. The organization’s mission is “to empower actors and to empower clients in creating thoughtful and exciting projects in a safe, encouraging and diverse environment.” Mark Landon Smith is the founder and casting director of ACA and he shared a couple of tips for how to prepare for and land a role in a project.

FOLLOW THE GUIDELINES THE CASTING AGENCY SENDS OUT FOR SUBMISSIONS. “A lot of casting is time sensitive, like we need someone within the next two hours and those who respond quickly and follow the instructions have a much better chance of being in a project.”

HAVE A GOOD HEADSHOT THAT REPRESENTS WHO YOU ARE TODAY. “That’s our first introduction to an actor and the headshot needs to look like the actor looks right now not 10 years ago and not photoshopped or anything.

We need to know exactly what you look like.”

ONLY GIVE US WHAT WE ASK FOR. “If we just ask for a headshot and a résumé, just give us that. Don’t send us your reels, don’t send us 14 headshots, don’t send us all your links to all your stuff.

We won’t look at it. If we want it, we’ll ask for it.”

KNOW WHAT YOU’RE READY FOR AND KNOW WHAT YOU ASK FOR. “A lot of people say I want to be a lead in a movie and they have absolutely no idea what it takes to be a lead in a movie. It’s huge amounts of work and huge amounts of pressure … I think it’s important for actors to not get too ahead of themselves before they’re ready for it because it’s much more effective and gives you much more confidence to be successful in supporting roles than be unsuccessful in leading roles.” // ACTORSCASTINGAGENCY.COM 44 TH E F I L M AND ME D IA ISS UE 2021

DIRECTOR — Fred Goss Fayetteville What made you want to be a director?

Since I was a kid I wanted to act, direct and write. First it was plays but then I realized there was no money in plays so I got off that a few years after high school...I moved to Hollywood from Redondo Beach to do standup comedy and later I realzied no one give s a flying fuck about your career but except you. I had no one - my family is West Virginia and Michigan.

I really was the kid in the theatre and 12 or 13 watching films that were beyond my scope like Bonnie and Clyde. I went and saw Annie Hall when I was 15 or 16 and I was like that’s it. That’s what I want to do.

I’d never seen anyone open a film like that.

Do you think directors should start as cinematographers?

I basically almost did every job on a crew before directing because you want to be a director who doesn’t know how to shoot.

I’d never hire myself as my own cameraman but I can do it. You want to be able to step into any position to get to where you want it to be as a director. The DP and the camera dept - if you don’t know what you’re doing - they’ll just tread on you. They’ll be like “no, you can’t do that”. They’ll suss you out.

How do you feel about the proliferation of filmmaking due to digital cameras?

When I started trying to direct, there wasn’t even home video, back around ‘83 / ‘84.

There were VHS camcorders but they looked like shit. Back then, it had to be shot on film and that’s what kept it as this little club. In [Hearts of Darkness: A Filmmakers Apocalypse], Francis Ford Coppola predicted that technology one day some little girl in Iowa could make her own movie and that’s when it would become art again.

JOIN THE CREW The exclusion of others because they can’t afford it is done. Coppola called it.

What is the most challenging part of this position?

The most challenging part is when people think they need to hold onto information to get ahead and move up. It’s not efficient and causes a lot of fires that will need to be put out.

What is your favorite part about working in the film industry?

ASSISTANT DIRECTOR — Felisa Womble Los Angeles/Little Rock How did you get into being an assistant director?

I believe that working in the AD department as a production assistant you fall into [being an AD] if you love it. Once you get on set, take one day and watch each department and what they do. You will figure out what you want to do on set pretty quickly.

Definitely locations and stunt units. I’ve seen things that normal people will never see in their lifetimes. For example on X-Files we went up to Sacramento California into a mountain 5 miles down in the earth that was a power plant. Massive. To see what our lighting crew did was amazing. One flip of a switch. Stunt units are exciting and scary.

You never want to see anyone get hurt but when it’s successful the whole crew literally jumps up and down and we all hug each other.

What does an assistant director do on set?

An assistant director is a lot of things. We are the communication on set. There are usually 3 assistant director’s, a first AD, a second AD and a second second. The first AD is responsible for the filming schedule, working with the director, director of photography and other heads of department to ensure an efficient shoot. The Second AD is responsible for all paperwork, call sheets and production reports. The second second will help in managing the crew and running the set, and are typically responsible for organizing all the Background Extras action during the scenes.

What is your favorite part about this position?

My favorite part of being an assistant director is watching the crew come together and flow. It’s important that all information be passed along immediately and efficiently. The more communication that is happening the smoother the shoot.

Holding back information is a no no on set.

All departments must be on the same page with every scene.

between radio, television, live events, and theater. I’ve had the opportunity to touch all of those bases. My bachelor’s degree is in music composition, so I started out as a composer. And as I was composing for some of my friends who were editing, I was like, “Man, that editor looks just like Pro Tools.” And then it was like, “Man, now I’m editing, so now I might as well learn how to run a camera.” And since I already had an audio background, then location audio felt natural. And then as I needed grips and gaffers and that sort of thing, I was able to start interacting with them in a way where I quickly figured out the things that they like doing and the things that they don’t, and how to be empathetic to their circumstances.

So, it’s really just about getting in at all the levels and being able to put together a team. And then, it’s about the result. You put that team together, you make something, but then when that team’s done, they’re done. But then the project lives on. The project has to go to festivals, distribution, and there are steps after that. For me, as a creative, learning all the logistical steps has been something that has made it feel possible no matter what. I’m just going to learn how everything works, and then the things that I want to create I’ll be able to create. And the way I learn that is by helping everyone that’s awesome create everything I can. And so, I’m just in the business of finding awesome people and seeing how I can help them.

PRODUCER — Dan Robinson Fayetteville FayPublic.tv What do you do as a producer?

A big thing that I do as a producer is introducing people and advocating for people, helping them understand each other. So, when you’ve got someone who’s an aspiring filmmaker who’s trying to talk to a location about what they’re wanting to do and how they’re wanting to do it, there are ways to make that smooth for everybody involved. And that is a big part of what I do as a producer. It’s always been something that I’ve been drawn to, so it has never felt like a stretch for me. I want to know what everyone is doing and how they’re doing it, and how I can help them do it better.

As those opportunities grew, I had more of an opportunity to expand my portfolio,

DIRECTOR OF PHOTOGRAPHY — Zak Heald Bentonville BentonvilleStudios.com What was it that first you to be behind the camera and make it go from just being like a tool to an art for you?

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[or] flaw for me is instant gratification, which I think that really brought me to behind the camera. I love storytelling. That’s something I’ve always been passionate about ... [W]hat really draws me to film and to this industry is just the ability to shape and tell stories. And being behind the camera, I think, it solves that other piece of it, which is there’s this, I have a desire to create visual art.

And the instant gratification — when you are a writer, you can write something and never see that on the screen, maybe in your entire lifetime or it could take 10 or 20 years before you see that work … [W]here I think with being a DP in this industry a lot of the work I do, I’m not waiting more than a few months, you know. Most of the time before it’s out and the people in the world get to see, I can show my parents right or my grandmother. I love that part of this.

[Also] I’ve always loved light. I’ve loved the way it impacted things. I love playing with that. I’m colorblind and so one of the things that I think that has also impacted my desire to be behind the camera is I really enjoy playing with shadows, like contrast and light. It’s a lot of how I see the world.

I mean, I see color, don’t get me wrong.

I’m not completely colorblind. But I see way less colors than the average person does. And so I think a lot of my desire to be behind the camera was just to kind of paint with light.

ART DIRECTOR — Mitchell Crisp Little Rock

coordinator for several seasons. And that’s how I learned what the art department was actually all about. I’ve been doing this for about 22 years now. I moved to Arkansas in 2003 and thought I would have to leave my career because you know, it’s Arkansas, and everyone thinks there’s no film here.

But, I have managed to work on all of the big movies that have come through here since I’ve lived here. Since 2003, I believe I’ve worked on at least one feature film a year, and I’ve gotten to work on more and more here over the years.

What’s your favorite thing about working with the art department?

My people! My crew is the very best. It is insane how good my people are. I feel very lucky that I get to work with people whom I just absolutely love. They’re all so talented and amazing.

Being in the art department means we get to fill the frame. So, everything other than the actors has had my influence on it.

I oversee the costume department, and hair and makeup stuff too. One example of a cool art department moment was when I got to travel to South Africa in 2016 and built a giant biblical city set. I had 230 people in my department alone, and it was a big blockbuster. The craziest thing was that I drew a bunch of pictures on paper of what I wanted it to look like, just little sketches.

And then I walked into the city that we had made. The camera was going to be really high, so it couldn’t go up just ten feet. It was big, like you could go up the stairs and still not see power lines or anything. There was this moment when I went out to look at it, and I had my notebook in my hand so I could write down measurements, and I was looking at this piece of paper with a pencil sketch that I had drawn from Little Rock, and I was just in awe of the actual city in front of me. That was really exciting, and I’m glad that I feel confident enough in my skill set to contribute something so positive to the storytelling experience.

How did you get into doing costumes for films?

I truly lucked out and met someone who works as a costume designer in the film industry already. She’s a fellow vintage clothing seller and she came into my shop downtown one day with a friend, and while we were talking I mentioned to her that it’d always been a dream of mine to do costuming for films. She ended up calling me shortly after we met and asked if I’d be available to assist her on an upcoming movie and I said yes! So far I have done two of my three movies with her.

What is something about this position most people don’t realize?

A huge part of the job is keeping your eyes peeled for continuity errors. Once an outfit is established, meaning it has been worn for a take and the camera/audience has seen it, we start making sure necklaces are in place, shirts are tucked in the same way each time, etc. It can get tricky since these characters are supposed to be real people, right? So maybe they take off their jacket when they’re driving, or they pull a Mr. Rogers and change into different shoes before they leave for the day.

Is there anything else you’d like to add?

Set life is definitely addicting. I was warned that I’d want to come right back as soon as a film ended, but I didn’t know how truly rewarding it would be to work your butt off for a few weeks and be part of a team where each department has a crucial role in getting the thing made. I actually haven’t seen any of the films I’ve worked on yet, but I can’t wait to have a watch party and reminisce about a scene and what it was like to shoot it, or what the weather was doing, or how hungry we all were while filming it.

How did you become drawn to the field of production design?

I am like so many women in that I thought the only things open to me, if I wanted to work in film, would be directing or acting, because that’s all girls could be. But I think stuff is changing now. I know that 87% of production designers are men. And so, really it seems like this industry would be really kind to women, but it’s not. I started my career in New York. My first job was with Law and Order, I was the art department

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GRIP — Johnny Clorus Hot Springs COSTUME SUPERVISOR — Alex Flanders Little Rock

What does the Grip do and why is it necessary for a film?

Gripping is the physical work of putting the lighting together. The bigger the lighting setup for a movie the more grips you need.

After the set is built, grips not only put the lights up but sculpt, color, diffuse and direct it under the instructions of the gaffer (the person who is responsible for the lights).

Grip is the one thing that productions always are happy to have more of. I just try and help out where help is needed.

Recently recorded sound on a low budget shoot and do set decorations.

So I go with her into rehearsal, watch the scene. I have the sides and the lines. And when she walks away, I do the role for her so that we can set up for lighting camera movements, all of the technical aspects of the shot because we work 12 to 14 hour days, so it would be impossible for one person to constantly be on set the whole time. So they call a second team. I’m the second actress that stands in [and] sets up the technical aspects of the shot, the camera and the lighting.

Why do you like working in film?

When you aren’t working on setting up the shots, are you just hanging out the rest of the time?

Film, and even social media videos are an easy way for people to learn about the world. You can control how people see that world. And then get attention for it. As an only child nothing is better than getting that attention!

I have my own short video series coming out soon called Magic the Magician, besides shooting it, I put the sets together.

How much troubleshooting is part of your position?

This position is nothing but troubleshooting, especially when on location. Not only are there physical barriers but the sun is always moving! Sometimes a movie has just one day to shoot a scene in a location. That scene might have the exact same lighting in the movie but not only will the sunlight move but rain can come. What then? The grips move everything around to make all the light for every shot match!

Yeah, so it really is like a tag team effort...

We’ll all come together in the morning and we’ll run the scene and I’ll take notes.

And then they walk away to go to the hair, makeup trailer, go get wardrobe, go talk to the director or whatever … I am now there, she has tagged me. And now I am walking through the scene saying the lines, showing the cameras the marks, standing in different positions, sitting here, standing there to make sure that everywhere is lit properly.

And then once we feel like we’ve gotten every technical aspect worked out, then she will come back, tag back in and then we roll. And while we’re rolling, I usually sit behind a monitor and watch because as we start filming, they may make a change, decide like, you know what, I don’t want to sit down here and we might then tag back out and go change the lighting again or something of that effect. So throughout the day I’m working half the day, she’s working half the day ... When I’m not working, I’m usually still mostly part of it, watching the monitors and staying as involved as I can.

STAND-IN — Lauren de Miranda Los Angeles/Fort Smith You worked on Marvel’s Agents of S.H.I.E.L.D. for seven seasons as the stand-in for Chloe Bennet (who played Daisy Johnson/Skye/Quake), which is very exciting. What exactly did you do as a stand-in on the set?

So the way I described it is I am the actress’ other half for the day of the shoot. And I tag in and out for her throughout the day.

CATERER — Zane Placke Fayetteville You worked at a lot of restaurants in Northwest Arkansas like Preacher’s Son and Greenhouse Grille. So how big of a shift was it in terms of job duties and things to go from restaurant into the catering position?

Yeah, it is a very different schedule. The first couple of days on True Detective, I think I got there at three in the morning, maybe 3:30. The hours for catering are wild. Well, if the crew gets started at eight where they’re at seven with breakfast ready, but that means we’ve got to roll up, set everything up, start cooking. It might, it might get there at four in the morning. So then, the days are usually longer. I know I wasn’t unused to working long hours in restaurants, but it’s pretty hard to top catering’s weekly workload. Then as far as the work goes, it’s still cooking. We still do good food. We aim for restaurant food and fancy dishes, but you’re doing it out of a food truck or out of a tent with some rolling equipment. So things you get used to being easy in restaurants suddenly have a new challenge because you’ve got to log all your water in with five gallon bottles or hook propane up for everything, or figure out where you can get power. So all the skill set of restaurants is the things you need, but there’s so many other little elements and complications from doing it on location and at a schedule that fits with the film production.

For people who haven’t been on a set before, is it kind of like a heavier workload since you’re not doing specialty plates?

How wide of a net do they cast terms of food variety when you’re on the set?

I’ve only ever worked with my catering company, so I couldn’t say what others do but we do our absolute best to accommodate everyone’s needs or dietary preferences. So for a TV show, which we typically do, we’ll have a crew and cast of something like 150 to 200 people... And within that, you’ll have people who eat everything from guys who are afraid of eating anything but steak and potatoes, to people who want raw vegan, paleo, carbfree, all organic. So we really we do our best to accommodate everyone on a given day. We’ll have usually three meat based entrees. Usually like a red meat, poultry, or fish - several starches, several vegetables.

We make sure there’s vegan options or sugar and carbohydrate-free options for paleo people or something.

We can take an element of this garnish from that sauce from this other dish and recombine it to a full vegan meal. We feed everyone we can and do everything we can think of to accommodate everyone. I don’t like people going hungry, they’re working hard all day and we’re there to feed them.

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D O C U M E N TA R I A N S W E LOV E

MARIO TRONCOSO // LISA MARIE EVANS

Capturing a true story is far more arduous than many might realize. In a narrative film, the filmmakers have total control over the story. Each scene, sequence and act leads to a climax that they craft along the way. The documentarian faces a different task, one that requires a balance of objectivity and subjectivity while trying to piece together a coherent and engaging story from the past or their present in an attempt to discern facts from truth. As legendary filmmaker Werner Herzog said, his famous “Minnesota Declaration” to Roger Ebert, “Fact creates norms, and truth illumination.” The documentarian must ascend beyond the mundane facts at hand to capture the imagination and ignite within the viewer a thirst for truth. We spoke with several documentary filmmakers about their recent work and what they love about their job.

Tell us about your journey to becoming a filmmaker.

(01)MARIO TRONCOSO BENTONVILLE THETREEANDTHEBEAR.COM INTERVIEW / KODY FORD

Right before I moved to Houston, I have a music venue in Madrid that I own, and I have live music seven days a week most weeks. And I continue writing all the time, meeting really interesting characters … I was getting older and it was then when I decided this is not what I want to do with my life. I want to be a filmmaker full time and I wanted to go to film school. So I really wanted to go to NYU... I kind of made a plan—I going to go to Houston first and get credits, then transfer to New York... I started working with a bunch of artists in the Montrose area in Houston, and we have started doing video art, experimental pieces. I got involved with public access TV in Houston … That’s when I started learning. I was coming at it as a storyteller by going through public access. That’s what I learned to do it as a job...And that’s how I started... I was not interested in documentary all this whole time, all I wanted to do is narrative films. That’s really still the plan. This is just a detour. But then I met my ex-wife and she had moved back to Houston and she went to school in Berkeley and she started doing documentaries when she was there. She was working on a story there and that’s how I got involved - “Oh, I can help you.” And then I discovered documentaries. I’ve never realized how much I will enjoy doing it, meeting real people and getting to really know them.

What do you think are the essential elements to a good documentary?

Do you feel that being a creative person requires that you give back or tell a particular story? Is there a certain responsibility to society with being a creator? Why (or why not)?

I first began DEI work 20 years ago with the National Conference for Community Justice (NCCJ) in Kansas City. I am a lesbian who came out in the 90s and it’s been a cornerstone of my work to ensure that queer stories are documented, given avenues for expression and are celebrated.

(02)LISA MARIE EVANS

FAYETTEVILLE IG / @LISAMARIEFILM

INTERVIEW / JULIA M. TRUPP

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I think there’s a certain responsibility to society by having been created. Right? As humans, I think it’s essential that we ask ourselves how we’re giving back and continue to find ways to do so to enrich the society in which we live. It makes us better humans, individually and collectively.

What was your role in “In Her Words: 20th Century Lesbian Fiction”? How did you get involved with the film?

In “Her Words: 20th Century Lesbian Fiction,” is a feature documentary examining the history and impact of lesbian fiction from the 1920s through the 1990s. I am a director on the film. I spent hundreds of hours conducting online research, visiting archives across the states, studying

Honesty—I think that’s really important. Not every filmmaker is honest. I think the ones that are really good are pretty honest. They’re honest with themselves and with the people they are talking to. And the ones that really focus on one thing, they try to answer one question...

What makes you go to do a documentary is something that you need to learn. There’s this one question that you need to figure it out, and then you pursue that question. The problem that most people have— people will start with a question and then they have another question and they have another question and they try to keep following all these questions instead of being focused. So I think being honest, having a good reason for doing it, like a good question— something that you really want to learn and then to keep focus on that path.

Do you have trouble shifting between documentary or commercial and narrative work?

I can switch from narrative work to like commercial work, documentary, because to me, everybody is the same. Like whether your story is real or fiction, you’re still dealing with real people and the actor or the person you are talking to, they’re all real, you know. I don’t see any difference between fiction and documentary in the way you treat people, the way you talk to people, you know, it’s all the same. So I always brought that here. Like I refer to people that are my documentaries—I don’t refer to them as subjects. I refer to them as characters—they’re characters in this story that we are creating together.

LGBTQ history and reading lesbian fiction. I packed lighting, camera and audio equipment in a suitcase and traveled across the states to film and interview the authors, including Ann Bannon, also known as the queen of lesbian pulp, Rita Mae Brown, Dorothy Allison, Jewelle Gomez, Lesléa Newman and Katherine V. Forrest. I also flew to London to interview Sarah Waters. I am also the editor, animator and web designer for the film.

After Nancy Garden passed away, authors Sandra Moran and Marianne K. Martin felt an urgency to ensure the stories of lesbian authors were documented. They developed the outline for this film as a presentation for the 2014 National Women’s Music Festival in Madison, Wisconsin.

Tragically, Sandra was diagnosed with stage 4 cancer and passed away less than a month later at the age of 46 in November 2015.

Sandra’s widow, Cheryl Pletcher, continued with Sandra’s passion for this project, focusing on the business aspects. Cheryl and I were introduced to one another through a mutual friend. We FaceTimed with Marianne and began filming about a month later. Cheryl Pletcher is a project manager and the producer. Marianne K. Martin is an author featured in the film, a publisher, a researcher and a co-director. We continue to feel Sandra’s guidance every step of the way.

DIANA MICHELLE HAUSAM // STEPHEN BAILEY

How did you get started as an artist, and how did you get into filmmaking?

I’ll start back in 2009 when I got my degree in photography at the University of Arkansas. I was doing mostly documentary-type photography projects then. I started working with the artist Tim West. He lived out there in Winslow – he was an artist that lived in the woods, literally. He had a master’s degree in art. I just found him, started photographing him, and then that turned into me making a film about him. It was just a short film, but it aired at the Hot Springs Documentary Film Festival, and the Loop program on AETN. But also, the PBS Online Film Festival. It was just a short film, and now everyone’s waiting on the feature film. I keep getting questions about that, but that was a long time ago. That was in 2014, when the short was out there at the local film festivals and whatnot.

And so, I’m still working on the feature. I don’t have the same editor as I did before, so I’m having to pass that entire project onto someone else.

I’m in the process of doing that. So eventually, I’ll have the feature film, but it’s going to be like, ten years later. That’s actually pretty normal when it comes to films. All of Tim’s work is at M2 Gallery in Little Rock, and he left it to me to finish his film and get the word out. And so, they’re kind of waiting for me to finish the film so we can present his work again.

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that’s kind of taken over. But, over time, I was photographing Tim, and I decided that I wanted to capture him with moving pictures instead. And I did both; I took his picture and I would just go out there and film him, and spend the whole day with him. I took him to art shows in Little Rock and Hot Springs, and we were buddy-buddy for a long time. And then he died, but his legend lives on. He’s a super cool dude. He was the guy that got me into moving pictures, and that was in the early 2010s.

What are you working on currently?

So I’m working on this film with Paul Summerlin called It’s No Secret. It’s a film about a yogi and a prominent musician here in Northwest Arkansas.

It’s also about his mental health, healing and spirituality. So, there’s a lot going on with the film. And the short is actually separate from the film. It’s more of an experimental short, kind of to show some of the scenery and show Paul as a yogi. So, the film actually dives much deeper into everything. The experimental film is just something beautiful that we’re putting out ahead of time.

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WEST FORK FB + IG / @DIANAMICHELLEFINEART INTERVIEW / SOPHIA STOLKEY

I do want to finish it and that’s a big priority for me, but I’m also working on this other film

What inspired you to work in documentary film?

My path to filmmaking was anything but linear.

I rarely read fiction novels growing up. I was a math and science nerd, and spent the majority of my time in college studying physics. But I suppose the ultimate thing that inspired me to work in documentary film was and is the ongoing process of reconnecting with myself and my own history. My family is from Jamaica and without realizing it, I estranged myself from my own family’s culture at an early age to feel more at home in America. But it was once I started my work focused on international development in that latter half of college and when I came to the Clinton School of Public Service that I gained an appreciation of just how impactful the stories that we tell ourselves are in shaping our own world and lives.

Having the opportunity to be exposed to so many different ways of life helped me realize that the way we see the world is all relative—it’s built off of the stories that shape our history, what is kept or omitted from the stories our families, what we choose to believe that creates the story of who we are. To me, these stories are the backbone of all of the decisions, policies and terminology that guide and determine our futures. We can

use these stories to divide each other, instill fear and perpetuate the power dynamics that mark the conflict in our world today. Or we can use the stories to expand our understanding for each other and take from the best that we all have to offer. I didn’t know it then, but this applies to myself and my own family and is something that has drawn me into filmmaking even more, the longer I learn about the art form.

What’s one story you’d like to tell that you haven’t yet?

One story that I have yet to tell is one of my own family and family’s experience immigrating to the U.S. My sister and I are actually writing a narrative film based on that story, which draws on our Jamaican ancestry, Pan-African activism of our elders and the alienation that can occur when trying to assimilate to a new culture. Though it’s rooted in our own history, I think the idea of losing yourself and your own identity is quite universal across different cultures and generations.

(04)STEPHEN BAILEY LOS ANGELES, CALIFORNIA IG / @AKABRADFORD

INTERVIEW / ANTOINETTE GRAJEDA

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DEVON PARKS // CLAY PRUITT

Do you prefer documentaries or narrative films as a filmmaker?

I prefer narrative films over documentaries generally; fiction rather. However, the storytelling is what fascinates me. At the end of the day, it’s the complexity of the narrative and the characters involved. In many ways, Still Missing Morgan became such a complicated and unique story after we began production, that the challenges involved had the potential to not only be an engrossing story with intricate characters, but an impactful story within the real-life scenario.

We had an opportunity to provide a resource to possibly help the family of a missing child through telling this story on a large scale.

(05)DEVON PARKS FORT SMITH IG / @DEVO92857 MADPOSSUM.COM

INTERVIEW / KODY FORD

(06)CLAY PRUITT

FORT SMITH

INTERVIEW / KODY FORD

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What inspired you to make this series about the Morgan Nick disappearance?

Morgan is a year older than I am. I was directly impacted by her story as a child, she was taken five minutes down the road from where I grew up.

Her kidnapping was talked about as the standard example by parents, of why you should stay close and not run off while at ball games or events. I’d always had her story in my mind. I didn’t know the details but as with everyone who knew of it, we hoped it’d be solved within our lifetimes. And I also hoped I’d be able to tell that story when the time came. It wasn’t five years after my wife and I had moved to Los Angeles that I got a call from an executive producer wanting to do the same and knew of my work and connection in that area.

I never pictured it being in documentary form, but also never pictured the direct impact of our filmmaking aiding in the case.

What were some challenges to making this in terms of research, access, evidence, and witnesses?

Challenges were vast, especially coming from a narrative film realm. Nothing can be “makebelieve”—you can’t just add a scene here and there to connect two arcs, you can’t write a script for your subjects. Once you get past that you see the real difficulties, yet uniqueness, of this series. Morgan’s case is an open case. It’s never been closed; it’s worked every day, which means you cannot file FOIA requests to see evidence or the vast case files that exist on her investigation.

The efforts that have been ongoing for 26 years is all behind a locked door inside the Alma PD. That said, it took us 6 months of meetings and communication to get to know the current and former investigators within the case, as well as numerous discussions with FBI Agents involved to follow them real time as they investigate, execute and seize evidence over the past two years. Movement has been busy since we’ve been following them; all unbeknownst to the general public. It was also very important to me and our producers that the family be involved. It’s their story and we couldn’t tell it without them.

We wanted our efforts to aid them in a way that other resources they’ve had in the past couldn’t.

That alone makes it such an important project for everyone on our crew. It gives a different feeling of value to when you step on set.

You’ve done a lot of commercial and television work over the years, but The 24 is your first feature documentary. Tell us about the film and what you learned making it.

the event I had myself and two cameramen that came out and helped me for a little while. It was like 32 hours awake probably with getting there and the awards ceremony.

The 24 hours of Horseshoe Hell is the most amazing and incredible event that I’ve ever been to...It’s the world’s only 24 hour rock climbing competition. Climbers come from all over the world to a place in Jasper, Arkansas, called Horseshoe Canyon Ranch. They start rock climbing at 10 a.m. on Friday morning and climb for 24 hours straight until 10 a.m. on Saturday morning. Some really big names have competed in this. Only place in the world that this happens.

When you’re rock climbing you are literally hanging off the side of the wall filming. I was a rock climber in high school and college. I probably haven’t climbed in 20 years and I was back trying to climb...Plus the endurance aspect of it. It’s just as much a physical competition as a mental competition.

If I could do it all over again—I was learning how to shoot this as I was hanging from the wall shooting. I hadn’t really filmed anything hanging off the side of a cliff before. That’s the bottom line—I hadn’t done it. Getting practice filming climbers prior to the event itself would have helped. Also, if I could actually get up there I could have had some better shots. I wish I’d had more crew to help me through that whole process. But I was paying for this out of my pocket. You do what you do.

I utilized drones a lot. Parts of it were hard for the drone because so much trees and stuff that could get in the way. Some of my favorite shots in there are drone shots. For the actual day of

This started out as a story about a climbing competition but ended up a story about the rock climbing community. Climbers it’s a community I like. Those people kinda took me in and made me part of their family and opened up themselves and their event up to me and trusted me to tell this story in a way that they wanted the story of The 24 to be told. I was very thankful about it.

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man, this is some good emotion that I’m not capturing just in writing.”

WORDS / ANTOINETTE GRAJEDA PHOTO COURTESY OF DAZZMIN “DAZZ” MURRY The perception of Southerners varies drastically, especially when you compare the perspectives of those who live in the region with those who do not.

Following the 2016 election, Adena White noticed gaps in the way people discussed the South and Black voters. She realized Black Southerners were missing from the conversation and decided to do something about it. With a background in public relations, White tapped into her skills as a writer to create a blog.

This realization prompted White to shift her platform to a podcast so she recruited her sister Katrina Dupins to produce and her friend Kara Wilkins to co-host. The Blackbelt Voices podcast debuted in 2019 and the trio launched the third season this fall.

Through first-person narratives and in-depth conversations, the podcast “propagates the richness of Black Southern culture by telling the stories of Black folks down South.” The podcast’s name is a reference to a region in Alabama and Mississippi that became known as the Black Belt because of its fertile soil.

“But then when Black people worked the soil, it came to have a double meaning,” White says.

“A blog came to mind as a way to tell Black stories and to show the diversity of Black people and of the South, and also to connect,” she says.

An interviewee once remarked the South is anywhere where Black people are and the three women took that to heart. Podcast guests do not have to live in the South, but they generally have a connection to the region or to a topic impacting Black people.

White wanted “to connect with other people who were doing cool things” at a time when the South didn’t feel like a welcoming place she wanted to live in. In 2018, White conducted her first interview with an Arkansas native living in Nashville, Tenn., who created a nonprofit organization to engage Black voters.

The show focuses on a variety of issues all centered on “telling the stories of Black folks across the South,” Wilkins says. Topics of discussion have included women of color entrepreneurs, police brutality and racism in the newsroom.

“It was a very great interview, she was very passionate about things,” White says. “She cried talking about her mom and I was like

“It’s usually not hard to find a guest. There’s usually somebody who is out there that wants to talk and has something to say,” she says.

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“We’re just here to be a good listener and to get their message out.”

While subject matter varies, White says they tend to focus on issues like social justice, racial equity and progressive politics.

“We do try to focus on our love of being Black, our love of being Southern and just talking to people who also have complicated relationships with this area, but they love it and they’re making the most of it,” she says.

The podcast creators have their own complicated relationship with the South.

White and her sister were born in Center Ridge, Ark., an unincorporated community north of Little Rock which she describes as the “country country” with no stoplights or city government. Through the podcast, Dupins says they can highlight Southern experiences outside of the “backwoods barefoot” stereotype that’s often associated with the region.

“I love living here, love the South, but when you hear people talk about it outside of where we are, you already know what their connotations are going to be and it’s not anything that I want to relate to,” Dupins says.

Podcast listeners can relate to the stories no matter where in the country they live because many folks can still trace their roots to the region, Wilkins says.

“Wherever you go it is still that shared common experience that we all have to support and build the South but really to support and build ourselves as Black people,” she says. // PODCAST.BLACKBELTVOICES.COM

WORDS / SOPHIA ORDAZ “It’s a pitiful frog that doesn’t praise its own pond,” says Randy Wilburn, a business consultant and father of three sons who was born in Virginia, raised in New Jersey, and has called Northwest Arkansas home since 2014. For the past two years, Wilburn has been celebrating his chosen neck of the woods, interviewing local entrepreneurs, business owners, professionals, creative minds, and community figures for his podcast I Am Northwest Arkansas.

“Creative people, whether they be entrepreneurs, business owners or artists, are the lifeblood of the community …

This podcast is the podcast I would have wanted to listen to before I moved here to learn about the area,” he says.

“The way that I know that I achieved my objective is that there have been several people that have relocated here, and a lot of it was predicated upon the information I shared on the podcast.”

Wilburn intends to capture the intersection of business, culture, entrepreneurship and life in the Ozarks, with episodes spotlighting a range of NWA personalities from Fayetteville City Councilor D’Andre Jones and Slim Chickens CEO Tom Gordon to the minds behind Arkansas Cinema Society and OZCast, an online variety show.

Wilburn has a knack for pulling personal stories out of people, which he can trace back to his grandfather, Mal Goode, the first Black network newscaster for ABC news.

“I would always hear [my grandfather] calling in news reports from the house,” he says. “Back in the day, if he had interviewed somebody, he would take the clips and send it off to ABC using the old rotary phone. I would hear

him do that as a young kid, maybe 5 years old, and then an hour later I would hear it on the radio. That stayed with me.”

With I Am Northwest Arkansas, Wilburn aims to reach people who are considering moving to the area and locals with NWA roots alike.

There’s something special in the air here, and it ought to be celebrated, he believes.

“I’ve been all over the country. I’ve lived on the West Coast, lived in the Deep South, lived on the East

Coast, lived in New York, Boston, the whole nine yards. I’ve seen it all,” Wilburn says. “I think people are real [in NWA] and have a good nature about them, so I like to highlight that on the podcast …

People genuinely want to help other people out, and they take you for face value …I fell in love with [NWA], but what I fell in love with more was the people.”

I Am Northwest Arkansas is available on all streaming platforms. // IAMNORTHWESTARKANSAS. COM

WORDS / CASSIDY KENDALL Reel Talk Arkansas, a podcast from the Arkansas Cinema Society, started earlier this year with the mission to continue the growth of Arkansas’s film community. With host Kody Ford sitting down twice a month to talk with local film writers, producers, actors and critics, this podcast is a great way for local filmmakers and film lovers to stay connected.

“It’s all about showcasing these great people, events and jobs that are part of filmmaking here in our state,” Ford said.

Stream Reel Talk Arkansas at reel-talk-arkansas.simplecast.com or on Apple Podcasts, and keep up to date with the podcast on ACS’s Instagram, Facebook and Twitter. // ARKANSASCINEMASOCIETY.ORG WWW.I DL E C L AS S M AG . CO M 53

THE DON LOCKWOOD We both enjoy a classic Old Fashioned, so when we came across this sweet variation from one of our favorite cocktail books (Cocktails With A Twist by Kara Newman, who has been a guest on our show!), we both fell in love with it.

1 oz bourbon 1 oz Islay scotch whisky 1/3 oz maple syrup 1 dash angostura bitters 2 dashes cocoa bitters Mix all over a large ice cube in old fashioned glass.

WORDS / JULIA M. TRUPP Entrepreneurs and friends Amy Hester and Emily Reeves Dean know how to have a happy hour. On the Arkansascentric podcast Conversations, Cocktails and Connections, the two chat, make cocktails with local businesses and celebrate the little things in life. “We’ve toasted each other’s victories, mourned over tragedies, traveled around the country, gossiped, laughed, cried, and had lots of boozy drinks together,” Dean says.

They began the podcast in 2020, when many businesses were shut down, to highlight local businesses, encourage people to support them, learn what they were doing to pivot during the pandemic and enjoy a good drink along the way.

Hester and Dean always ask their professional guests questions to help improve their bartending technique and learn more about the craft, and they don’t typically do practice runs before filming. Any time they make a mistake during recording, their

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reactions are real—and they don’t mind making fun of themselves.

“Before we started this podcast, we were already quite experienced as alcohol consumers, but we were quite inexperienced at doing anything more than pulling the cork from a bottle of wine. We have literally learned ‘onthe-job’ how to make the cocktails we drink,” Dean says. “We air all our mistakes and genuine reactions with our audience, from exploding soda to a mess with egg whites and from cut fingers to trying to make things drinkable that definitely weren’t drinkable (basically by adding more booze). We are just figuring it all out as we go along.”

New episodes are published every Tuesday and Saturday on their website, Apple Podcasts and YouTube. // CONVERSATIONSCOCKTAILSCONNECTIONS.COM FB + IG // @CONVOSCOCKTAILSCONNECTIONS

PULL UP TO THE DRIVE-IN SPEAKER BOX WORDS / SUMMER EL-SHAHAWY PHOTO / COURTESY OF BO COUNTS Film fans across the U.S. keep tuning in to Fayetteville’s film review show The Drive-In Speaker Box is an iconic piece of Fayetteville, originally started by Bo Counts in 2004 as a blog-turned-radio show on KXUA 88.3FM. The show is now completely web-based, recorded live every Monday night from their studio in Fayetteville, and has audiences all over the country, even outside the U.S. The genesis of The Drive-In Speaker Box was Counts’ love for film scores and film-making. He worked in a video store and went on to work in the film industry as a boom operator and field producer.

“I was able to take all of this experience both as a film lover, filmmaker

and entertainer to blend it all together into a fun and hopefully educational show to help people have a better appreciation of movies.”

While theaters were shut down, the show reviewed older films and features on streaming networks. During this time, the audience became more interactive, commenting live during the show, which reshaped the show’s format.

“My favorite thing has been being able to connect with our audience in real time and have them become a part of the show,” Counts said. “It has become a fun little community of film fans that come for our humor and banter, but also for our encyclopedic knowledge of useless film facts!”

The Drive-In Speaker Box can be found on listeners’ favorite podcast app, and Counts can be found watching films at the movie theater. // @THEDRIVEINSPEAKERBOX

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An Interview With a Puppet

We hung out with the star of “Blueberry’s Clubhouse” this summer to find out what she’s up to over at Arkansas PBS and the Arkansas Museum of Fine Arts (AMFA).

memorizing lines and what not, but I’m a natural at memorizing things. All the people at the AMFA build all these wonderful sets, and then they decorate them with all these wonderful toys, and then the folks at Arkansas PBS film all the scenes with their fancy cameras. We film for about a week per episode but it takes months and MONTHS to cram all the fun in.

I loved making the Friendship Tree with Delisa and the Arkansas Craft Center on the first episode of this season! As the official happy camper in the Natural State, what’s been your favorite activity on the show so far?

Hmmm. That’s a toughie. There’s just so much we’ve gotten to do. We’ve gone hiking with Chuck Dovish, and we put on a Jamboree with kids from all over the state.

But I think my favorite was the Summertime Friendship Feast. There was just SO MUCH GOOD FOOD.

A

spunky blue puppet with an affinity for pink glasses and candy gives a whole new meaning to “happy camper.”

Meet Blueberry, the fun-loving star of Arkansas PBS’s original series “Blueberry’s Clubhouse.” Born out of a virtual puppetry workshop during the 2020 summer quarantine, the show takes viewers on themed adventures across the Natural State with Blueberry (voiced by Rivka Kuperman) and her summer camp friends.

With “Blueberry’s Clubhouse,” you can head to summer camp and go on field trips around the state, all from the comfort of your own home. “Blueberry’s Clubhouse” is a partnership between Arkansas PBS and Arkansas Museum of Fine Arts.

Hi, Blueberry! Can you tell us a bit about your clubhouse and what types of fun you, Max and your friends have had the past couple summers?

Max and I stay in the best clubhouse at camp. It’s in a tall, tall tree that looks out over the lake. We have all kinds of fun gadgets that help us talk with our friends all over the state—like my periscope or my tin can phone. And this summer my dad helped get the howdy helmet working! The best thing about the clubhouse though is that I get to share with my friend Max, and all my friends come and visit me there—Camp Counselor Carol, Beauty the Butterfly, even Max’s little brother Miles!

Your show is funny, educational, creative, empathetic—now that you 56 TH E F I L M AND ME D IA ISS UE 2021

have finished your second season, what have you learned and taken away from this experience so far? Had you done any acting or guest appearances before landing your own TV show?

Another thing we love about your show is that grown-ups can learn from it too.

Why is a show like this one important for not only kids, but the entire creative community in Arkansas, especially during relatively uncertain times like we’re in now?

We learn so much each summer. Last year we learned all about always having fun, even when things don’t go our way. And this year we’ve learned it’s a lot better to be empathetic with our friends rather than argue with them. I have done some acting before—plays at my school and things. But never TV. I feel like a star!

Hmmm, I think what is the most fun about our time at camp is that we’re always learning that no matter how scary or unsure the world around us is—you always have the power to make sure that you feel OK about it. Maybe it’s through friendship or empathy or imagination, but the best way to face the world is always up to you.

Your show features some fun segments!

We’ve got food with Chef Shawn, we’ve got virtual field trips with amazing people around the state, silly jokes with Earl the Squirrel—there’s so much that goes into it! How did you and the production team decide on those segments?

Well, first and foremost we think about what lesson we want to learn this summer, like learning about empathy. Then we plan our adventures around that. Knowing that lesson also helps us find and work with our community partners on what segments they’ll present. Critters and friends like Earl just sorta fill in the gaps with their personalities along the way.

How long does it take to film each episode? What all goes into filming each one?

For me, it’s lots and lots and LOTS of

Is there anything else you’d like to share about yourself or Arkansas PBS? Well I just know that my friends at Arkansas PBS and The Arkansas Museum of Fine Arts are so thankful for all the boys and girls and parents out there who tune in each week and watch our adventures! And also don’t forget our full episodes are available through myarkansaspbs.org and on YouTube! And also-also don’t forget: Take what you learn in the clubhouse and go have an Arkansas adventure all your own!

Maybe I’ll see you at camp!

“Blueberry’s Clubhouse” airs on AR PBS-1, livestream at myarpbs.org/watchlive and is available on demand on the Arkansas PBS website, YouTube, the Engage Arkansas PBS app and PBS Video app. // MYARPBS.ORG/BLUEBERRY // YOUTUBE.COM/ARKANSASPBS

REEL WOMEN WITH AMBER KARNISH Growing up, Amber Karnish didn’t have many female filmmakers to look up to, and that never sat right with her. After becoming the assistant director of education at Fayetteville Public Television in 2020, she decided to change that and created “Reel Women,” a show designed as a safe space for women to share and promote their experiences in the industry, as well as inspire and empower women who are interested in the field.

“Reel Women is significant, especially in Arkansas, because we are so lucky to have so many talented women in the industry here,” Karnish said. “The show gives those women a platform and a voice in the industry and it’s moving the needle of equality in the film industry by connecting and promoting the creativity and passion of women in film.

New episodes of “Reel Women” debut on Fayetteville Public Television (Cox 218, AT&T U-verse 99, OzarksGo 44) at 8 p.m. every Monday, as well as on the station’s YouTube channel. Catch reruns of the latest episode at 8 p.m. the following Wednesday and Friday. // @REELWOMENINFILM // @AMBERKARNISH

THE GLOW WITH BIG PIPH Arkansas native, artist and musician Epiphany “Big Piph” Morrow celebrates minority creatives and artisans as they make the Natural State more vibrant and diverse in “The Glow with Big Piph.”

“I saw the series as a natural extension from my theatre show of the same name that highlighted my inspirations and how I hope to have impact,” Morrow says. “Instead though, I wanted to share the stories and works of all the phenomenal Black Arkansans doing the same.”

The six-part digital series premiered in November 2020 on the Arkansas PBS YouTube channel. All episodes are available at www.youtube.com/ arkansaspbs. // @BIGPIPH

FPTV OPEN MIC For decades, Fayetteville Public Television has served as a tool of expression and free speech in Northwest Arkansas. One such way is through the show Open Mic. Produced by Blaire Hastings, Open Mic serves as an outlet for talent, organizations and people in Washington and Benton Counties have five minutes to broadcast their ideas and original creative pieces to television and Internet audiences.

“Open mic is a great option for many people,” said Hastings. “Musicians can utilize it for their original songs and non profits can also use it for alerting the public of events that they are raising awareness for.”

During COVID-19 lockdown, FPTV filmed all of their interviews virtually and launched two versions of Open Mic— "Make your voice heard," which encouraged people to engage in opinions as well as artistic expression, and "FPTV Team" series, which was a series that supported women in broadcasting. The programs included guests like Jamie Weiss (40/29), DJ Dom Blake (105.3 FM) and Michael Day (Dayvision).

Filming for Open Mic takes place on Tuesdays at 5 p.m. to 6 p.m. and Thursday 11 a.m. to 12 p.m. at the Fayetteville Public Television studio, located at 101 W. Rock St. Visit www.faypublic.tv for more information.

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THE WENDY LOVE EDGE SHOW “The Wendy Love Edge Show” is a variety show that brings together plant medicine, women’s empowerment, wellness, music and art. Wendy interviews guests from around the country who are connected to each show’s theme.

“I hope that people take away from the show the true nature of what creating community means,” she says.

“Community is vital to our survival, and one of my strengths is to create it and show others how when we work together and listen to each other we can accomplish anything.”

The show airs at 7 p.m. Monday, Wednesday and Friday on Fayetteville Public Television. Episodes also air on YouTube and are available as a podcast.

FB // @THEWENDYLOVEEDGESHOW TWITTER // @THEWLESHOW

LATER WITH JASON SUEL The late night variety-style talk show “Later with Jason Suel” features Northwest Arkansas talent, chefs, artists, musical guests, actors and the myriad of personalities that make up this special region of the Ozarks. Season 9 starts in September.

“I am particularly excited about welcoming guests back to our studio when it is safe and appropriate,” Suel says. “Additionally, we have spent much of the pandemic focused on creating new sketch comedy, new featured characters, new animated segments and new partnerships with other creative entities in NWA.” Episodes air at 9:30 p.m. Saturdays on Fox 24 in Northwest Arkansas and are available on YouTube. // @LATERWITHJASONSUEL

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TAVERN TALK Before the curtain opened on “Tavern Talk” with writer and aspiring filmmaker Philip Price in Little Rock, most viewers knew it as “Initial Reaction.” After a partnership with a larger theater changed and a job offer relocated his co-host to Northwest Arkansas in 2018, the show’s format evolved to Price co-reviewing film releases with various guest hosts at Movie Tavern by Marcus Theatres. And so, “Tavern Talk” was born.

“Tavern Talk affords me the opportunity to be creative on a consistent basis and ensure I don’t lose sight of what I’ve always wanted to do. I always wanted to write and direct movies and with Tavern Talk I not only get to come up with and shoot fun skits every week to put before our reviews, but I am also able to see new movies every week and talk about them with people who love the magic of the theater-going experience just as much as I do,” Price said.

Price and his “Tavern Talk” crew want to reach as many cinephiles as they can with each review, taking advantage of early Thursday night showtimes that hype up opening weekends. Complete with a cold open, “Tavern Talk” reviews are typically posted to YouTube on the movie’s official release day or opening weekend. Comment, like and subscribe to the Tavern Talk by Initial Reaction channel on YouTube to stay up to date. // @INITIAL.REACTION // YOUTUBE.COM/INITIALREACTIONREVIEWS

GOOD ROOTS Produced in partnership with Arkansas Farm Bureau, “Good Roots” is a monthly segment that features small town stories of life and innovation in every corner of the Natural State. The show, in its first year and hosted by Logan Duvall of North Little Rock’s Me and McGee Market, explores rural culture and the roots of its community: agriculture, food, healthcare and more.

“Good Roots is about Arkansas, real Arkansas—the good, the bad, and the neutral. So it’s vital to help understand what’s going on in an unbiased way. Although it can be hard for me to be impartial, I love farmers and health,” Duvall said. “There are so many people in Arkansas working towards making things better. I’m happy to have a part in it.”

Tune into Arkansas PBS on the second Friday of every month to catch a new “Good Roots” segment, or check out the Arkansas PBS YouTube channel, the Engage Arkansas PBS app and PBS Video app. // MYARPBS.ORG/GOODROOTS // YOUTUBE.COM/ARKANSASPBS

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Film studios and production companies across the state are giving amateur and professional filmmakers alike a chance at the limelight through equipment and studio rentals.

THE J.B. AND JOHNELLE HUNT FAMILY CENTER FOR INNOVATION FAYETTEVILLE The 5,000-square-foot digital technology center of the Fayetteville Public Library takes studio recording to the next level. In each of its tailored labs, the Center for Innovation provides public access to high-end technology and to courses on subjects from 60 TH E F I L M AND ME D IA ISS UE 2021

virtual reality to audio and video production. By providing this level and range of programs at no cost to visitors, the library seeks to encourage digital literacy. // FAYLIB.ORG

FAYETTEVILLE PUBLIC TV FAYETTEVILLE Fayetteville Public TV (FPTV) offers a wide variety of equipment rentals for free, as well as classes and helpful documents to train in all things media production.

From project planning to studio work, FPTV has educational tools and resources for local production teams to learn how to produce professional studio work. // FAYPUBLIC.TV

CACHE BENTONVILLE The Creative Arkansas Community Hub & Exchange (CACHE) provides resources, group-based learning and one-on-one consulting for creatives and creative organizations in the state that focuses on their business development and artistic needs.

For more information on housing, space and equipment rentals, visit the CACHE Arts Resource Center online. To read and participate in the chats on message boards, users must read CACHE’s community guidelines and create an account. // CACHECREATE.ORG/ARTSRESOURCE-DESK

ROCKHILL STUDIOS FAYETTEVILLE

5 STAR PRODUCTIONS FORT SMITH

Award-winning production company Rockhill Studios offers affordable studio space and highquality film equipment rentals.

The studio proudly offers camera equipment from trusted brands like RED, Sony, Sigma, Tilta and SmallHD.

The 801 Media Center at 5 Star Productions offers many amenities for your production crew. With a surround sound system complete with a soundboard and mixer for digital recording, as well as microphones, projection, taping, editing and other by-request equipment and services, 5 Star always evolves with new technology and is ready to help you bring your next project to life.

// ROCKHILL.STUDIO

PRISMA BENTONVILLE Prisma is a full-service video production company that offers onsite production, studio production, post-production, motion graphics, sound mixing, color grading, title design and visual effects. // MADEBYPRISMA.COM

// 5STARPRODUCTIONS.COM

FARM STUDIOS HIWASSE As Arkansas’s largest sound stage, Farm Studios has 10,000 square feet of dedicated production space for filmmakers to design, build

and shoot whatever their project requires. The studio is equipped with high-speed wireless internet and secure keycard access. // BENTONVILLESTUDIOS.COM

STUDIOCHUNKY ROGERS StudioChunky utilizes a variety of creative and technical skills to deliver quality productions for their clients. From digital film to animation, pre-production to post, the Rogers-based studio is experienced in multi-camera and remote live broadcasts. // STUDIOCHUNKY.COM Find the full list of equipment rentals online at idleclassmag. com

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CREATIVE DESIGN SERVICES

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caN’t WaIt To taKE a bITe

Feb. 11, 2022 LocATed AT 214 (formerly the Arts Center of the Ozarks)

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