Bay Guardian Archives

What really happened at the Clint Reilly press conference on the settlement of the Hearst/Singleton lawsuit

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By Bruce B. Brugmann

Okay, okay, after getting a note from my Contra Costa source who follows Singleton news coverage for me in the East Bay, I realized I better explain what happened to me after the Clint Reilly press conference Wednesday morning. My source said he saw my whacked up face in the blog below and “thought Phil Bronstein was up to his old tricks.”

This was a reference to the famous incident in l993 when Reilly, then a political consultant, was invited to the old Hearst Examiner by then publisher Will Hearst to advise the Examiner on how to grow its circulation.
As the three sat in the Hearst conference room, an argument ensued between Bronstein and Riley and Reilly was soon taken out of the Examiner on a stretcher with a broken ankle. He sued the Examiner for assault and battery and collected a reported $600,000 in an out of court settlement. |Guess what: Hearst/Examiner/Bronstein have had it in for Riley ever since and have treated him shabbily in their news and editorial columns.

No, no, I explained to my source. I am a Ft.Carson-trained advanced infantryman and a Korea veteran (cold war), and I could handle Bronstein. I explained that I was walking back to the parking garage from the Merchants Exchange Building, where Reilly held the press conference, with my associate Paula Connelly and G. W. Schulz, the Guardian reporter on the story. Just as we were approaching the garage, I tripped on a rise in a grate on the sidewalk. I fell ingloriously face first on the hardest and most unyielding sidewalk north of the Tehachapis and whacked both knees and my face and started a nice shiner on my right eye. I must have looked as if I were staggering into the street after a barroom brawl.

Arnold’s dishonest rail stand

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TGVtrain.web.jpg
By Steven T. Jones
Why can’t Gov. Arnold Schwarzenegger or his proxies explain their opposition to high-speed rail? They try, as they must. After all, this is a green project lauded across the ideological spectrum and around the world for its potential to prevent global warming, dirty air, and clogged freeways and airports.
But all the answers Arnold’s people give are illogical, unresponsive, or contradicted by the experts. In the end, it appears the Schwarzenegger administration is simply unwilling to support high-speed rail or to level with the public about why. Legislators and other Democrats say they’re solidly behind the project, something that will be tested this weekend in San Diego when the state party convention considers a resolution of support authored by longtime party activist Jane Morrison of San Francisco.
“It’s very timely because the governor is trying to cut the budget [for the California High Speed Rail Authority] back to $1 million and delay the bond measure,” Morrison told the Guardian. “I think this is a terribly important project.”

Will the newspaper barons back down?

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By Tim Redmond

The Chronicle today went to great effort to suggest that Clint Reilly didn’t actually get the concessions he claimed at his press conference on the settlement of his lawsuit against the big newspaper publishers. We just called Reilly, and he’s adamant: The publishers promised him free space in ther papers for a regular column on community issues.

Apparently that didn’t sit well with some of the editors at the papers owned by Dean Singleton’s MediaNews Group, and the publishers have been madly trying to back away. But Reilly says his attorney, Joe Alioto, has been in touch with the publishers, and he’s expecting a formal joint statement later today in which the newspaper barons will retract their comments.

“And if they don’t,” Reilly told us, “we’ve just go forward and take this case to trial.”

Disapproving Characterization

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by Amanda Witherell

We just got this letter from Matt Dorsey. He didn’t like the way we talked about the city attorney’s office and their love/hate relationship with metadata. Sorry Matt! You know we love your sunshiney attitude.

Press Secretary Dorsey writes:

For the record, I forcefully disagree with Amanda Witherell’s characterization that this office’s Sept. 19, 2006 memorandum represents a scenario in which “the city attorney’s office in San Francisco has strongly advised against releasing public documents that may contain metadata.”

A thorough perusal of this public memorandum should prove my point convincingly.

Matt convinces, after the jump…

Green Guerrillas Out of the Cage Tonight

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by Amanda Witherell

Green Guerrillas.jpg
photo courtesy of indybay.org

The Green Guerrillas Against Greenwash will be cavorting in front of PG&E headquarters this evening at 6:15. The street theatre will be honoring 6.6 million lives devastated by the Chernobyl explosion, 21 years ago today. They’ll be pointing out PG&E’s ongoing relationship with nuclear power.

Shows!

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Holy F**k at The Independent the next two nights, 27th & 28th, previewing material off of their sophomore full-length, due in September.  As well, thanks for the !!! preview.  Should you care to attend their performance at the Fillmore  Monday night.  Love to have you out.

In addition, sent you a copy of Land of Talk’s debut ep, Applause Cheer Boo Hiss, prior to its March 19th release here in the U.S.  Already critically acclaimed in their home nation of Canada, the Montreal trio have been building momentum here in the U.S. since early last year, performing regularly in New York, before hitting SXSW and taking to the road with Menomena and Field Music.  Paste Magazine was quick on the ball, already calling Applause, “The most perfect debut of 2006”, before running a feature in their current issue, and KEXP’s John Richards, put it quite simply, “Holy crap, this is great!”.   Land of Talk will take to the road with The Rosebuds in June, making their San Francisco debut, June 12th at the Great American.  

Pull it out of your stacks and give a listen.

Thanks,

Brendan
 
Tag Team Media – 45 Main St. – Ste. 604 – Brooklyn, NY 11201
ph. 718-797-4211 fx. 718-797-4524 e: brendan@tagteammedia.com
www.tagteammedia.com


Hit me up about:
!!! * Amandine * Apostle of Hustle * Born Ruffians * Clinic * Dappled Cities * Division Day * Earlimart * Feist * Gonzales * Holy F–K *

Tonight!
THE BLOOD BROTHERS 
Celebration, Triumph of Lethargy Skinned Alive To Death 
Wednesday, April 25 
$14 – Doors 7, Show 8
The Blood Brothers combine experimental, punk, hardcore, and post-hardcore, among many other styles… In small circle discussions, the band related that they have influences from the No Wave punk scene of the 1980’s. The band has cited Botch, Drive Like Jehu, Gang of Four, Angel Hair, Highway 61, True North, and Bootsy Collins as influences. 
More Info & Tickets

THE AVETT BROTHERS 
Kemo Sabe 
Thursday, April 26 
$15 – Doors 8, Show 9
The Avett’s brand new album to be released May 15 entitled “Emotionalism”. The album, like The Avett Brothers, is a mixture of old-time country, bluegrass, pop melodies, folk, rock n’ roll, honky-tonk and ragtime. The songs are honest: just chords with real voices singing real melodies. But, the heart and the energy with which they are sung, is really why people are talking, and why so many sing along. 
More Info & Tickets

KFJC Presents
MONO
World’s End Girlfriend, The Drift 
Friday, April 27
$13 adv/$15 door – Doors 8, Show 9
Despite their albums’ masterful subtleties and majestic walls of noise, the consensus has remained that their transcendent live show is simply incomparable. Tix moving fast, get them now!

Score one for fun

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By Steven T. Jones
For the last year, the Guardian has been trying to get mainstream San Francisco to pay attention to the mounting threats to this city’s nightlife and outdoor events. Last night, the issue finally started getting some traction when the San Francisco Democratic County Central Committee overwhelmingly approved a resolution calling on the city to value fun and enact policy changes to protect it (to read the resolution, click here and select “Nightlife and Festivals Resolution”). Kudos to all the representatives who supported it and to the Outdoor Events Coalition and Nightlife Coalition for their advocacy on the issue. There are signs that Mayor Gavin Newsom is coming around on the issue, but the real test will be whether he can rein in the bureaucracy’s hunger for bigger fees and make fun a priority in his next budget update. BTW, it would also be nice if the Chronicle, Examiner, and local TV stations would start paying attention to an issue that goes to the heart of whether San Francisco maintains its lively culture. We really can’t be the only ones that love a good party, can we?
uh-1.jpg
Photo from How Weird Street Faire, courtesy of Mv.gals.net

No Bez at Happy Mondays’ Coachella appearance

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I know you hate to bellyache but apparently the moment is here for nostalgic baby ravers. Happy Mondays dancing fellah Bez was stopped at the border and won’t be fronting the band at the group’s first US performance in 15 years at Coachella Sunday, April 29. Read the statement from their reps and weep:

happymondays.jpg

Due to tightening immigration and working visa legislation, Bez was not, unfortunately, able to secure a visa to perform at Coachella this weekend.

Bez will however be appearing in the UK in May with Happy Mondays on their sold-out UK tour.

Happy Mondays apologies to all their US fans that they will not, on this occasion, be able to enjoy the spectacle of Bez shaking his stuff for them at Coachella.

As legendary for their lifestyle as their unique collision of rave beats, indie rock and street poetry, the biggest surprise is probably that the band members have even survived this long. But they have, and Shaun Ryder, Bez, and Gaz Whelan have a brand new album tucked under their arms. The biggest question on most peoples’ lips is, probably, why now?

Important tenant alert — call Leland Yee!

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By Tim Redmond

A critical piece of tenant legislation is heading for the floor of the state Senate, and so far, San Francisco Senator Leland Yee hasn’t taken a position on it. The bill would dramatically reduce the number of Ellis Act evictions in the city and save the homes of thousands of low-income renters and seniors.

The bill number is SB 464, by Sen. Sheila Kuehl (D-L.A). Contact Yee’s office today and demand that he support it.

You can email him directly from here. Or you can call his local office at 557-7857.

Barons back off newspaper trial

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See bottom of story for full Web package of Guardian newspaper-transaction coverage and documents related to the Reilly suit

Click here for the Reilly press conference documents.

Click here for the famous April 26, 2006 letter.

Well, it’s over before it ever truly began.

Clint Reilly’s federal civil suit against the Hearst Corp. and MediaNews Group, filed last year in an attempt to block the would-be competitors from sharing monopoly control of the Bay Area’s daily newspaper establishment, ended today in a settlement that left Reilly claiming victory.

The deal blocks any future business deals between Hearst, owner of the San Francisco Chronicle, and MediaNews, which now owns almost every other daily in the region.

The settlement saved some of the nation’s biggest newspaper barons from the prospect of a long and embarrassing trial that could have produced alarming revelations about the way the big publishers do business.

The case was set to go before a judge and jury April 30.

But in exchange, Reilly says he got most of what he was asking for – in particular, an end to the prospect of a Hearst-Media News business deal.

At a morning press conference April 25, Reilly announced that the settlement puts the Chronicle back into competition with local MediaNews properties.

“The purpose of my lawsuit,” Reilly told reporters, “was to ensure we will not have one company or one partnership owning every single paid subscription daily newspaper in the Bay Area … I strongly believe in newspaper competition. Newspapers create the record of our civic life.”

The local real-estate investor and former mayoral candidate forced the two companies, along with minority business partners the Stephens Group and Gannett Co., to promise they wouldn’t carry out the terms of a now-famous letter dated April 26, 2006 that outlined how Hearst and MediaNews could consolidate distribution and advertising operations among their local papers to create revenue.

That was just one of many proposed plans Reilly’s suit called a violation of federal antitrust laws. Also according to the settlement, Hearst’s $300 million stock investment in MediaNews, which CEO William Dean Singleton relied upon to complete his takeovers last spring of the San Jose Mercury News, the Contra Costa Times, the Monterey County Herald, and eventually, the Torrance Daily Breeze near Los Angeles, would rise and fall in value based only on the performance of MediaNews assets outside of the Bay Area.

The “tracking stock” scheme, as it’s known, was initially conceived this way to clear Hearst and MediaNews of immediate antitrust scrutiny by justice-department officials, but Hearst hoped it would later be converted into general MediaNews stock that included its Bay Area papers, a fact confirmed by records unearthed in an earlier phase of Reilly’s suit. Hearst, it turned out, much preferred that its huge investment include the totality of MediaNews.

But today’s settlement would keep that from happening, according to terms laid out between the parties, some of which they’ve agreed not to disclose.

Any talk of conjoined operations during the next three years between the companies would have to first be divulged to Reilly and his legal team.

Singleton has also agreed to turn over all executive meeting minutes of the California Newspapers Partnership, formed originally with Gannett and Stephens in 1999, that detail any negotiations with the Chronicle or other major media companies looking to do business with MediaNews in the Bay Area for the next three years.

In addition, Reilly will be permitted to recommend a citizen for appointment to the editorial boards of CNP’s Bay Area newspapers and will himself serve on the editorial board of at least one of them.

“The ten-month-long legal battle gave us a chance to see confidential documents between Hearst and MediaNews, Stephens and Gannett,” Reilly said. “Numerous documents show these newspaper companies and their executives are capable of the very cover-ups they so vigorously prosecute in politicians, executives and celebrities. I believe that their primary motivation for settling this case was their fear of exposing questionable competitive practices to public scrutiny.

“This is the second time Reilly has done this,” his attorney, Joe Alioto, told the reporters, referring to a 2000 suit Reilly filed to stop Hearst from shutting down the San Francisco Examiner. “And he does it because the government won’t do it. He does it all at his own cost and risk.”

—————————–

Reilly’s first antitrust assault on Hearst produced some sensational revelations – including the fact that the Examiner publisher sought to trade favorable editorial coverage of then-Mayor Willie Brown in exchange for Brown’s support of Hearst’s business deals.

With the settlement in place, Reilly’s second suit won’t produce that sort of high drama. But he has forced the release of records showing that Hearst and MediaNews wanted to develop close business ties – and there are more potentially explosive documents that may become public.

After the Guardian and Media Alliance intervened to have records previously sealed by the newspaper companies opened to public access, we learned for the first time that Hearst had considered selling the San Francisco Chronicle to Singleton in 2005. But the latter’s offer was chump change, coming just a few short years after Hearst had plowed through three quarters-of-a-billion dollars in its bid to take over the Chronicle and dump the San Francisco Examiner, which it had owned for more than a century. The terms were “totally unacceptable,” Hearst executive James Asher would tell the justice department in a September deposition that turned out to be among the most interesting and candid documents to surface from the intervention.

We learned that Hearst had spent more than 10 years gnashing at the bit for an opportunity to invest in the MediaNews business model, best described as a series of “clusters,” in which Singleton consolidates the operations of several regional newspapers, hacks madly at the payroll with a broadsword, and sends ill-fated staffers packing, from veteran editors with Pulitzers on their résumés to longtime press operators.

We learned that Hearst’s inspiration for its major stock investment in MediaNews began after the two became fast friends in Texas, Singleton’s home state. MediaNews in 1995 sold the assets of the Houston Post for $120 million to Hearst, which owned the Houston Chronicle, enabling Hearst to rid itself of a major-market competitor.

We learned that from day one, Hearst wanted its $300 million investment to directly hinge on Bay Area MediaNews properties as well, presumably meaning they believed it would make the investment more valuable, and also meaning Hearst would then have less of an incentive to compete directly with MediaNews. Would you if your competitor was holding $300 million of your money?

We also learned that an anticompetitive agreement to join advertising and distribution networks with MediaNews was required by Hearst “in order to proceed with the transaction,” according to a memo Hearst exec Asher sent to MediaNews president Joseph J. Lodovic IV in early 2006. In other words, a quid pro quo by its very definition.

We learned that contradictory legal strategies are far from off limits. The Hearst Corp. argued first in Reilly’s 2000 suit that the Bay Area is brimming with aggressive newspaper competition, and for that reason, he had no grounds to denounce the closure of the Examiner planned at the time. The papers argued in 2006, however, that newspaper competition in the Bay Area is actually all but non-existent because the markets are subdivided, so Clint Reilly doesn’t have anything to complain about.

Some of the most interesting material is still under court seal, including the depositions of senior publishing executives. But the settlement specifically allows Reilly to go back into court seeking an order to open those records, and he and Alioto vowed to do that very shortly.

—————————

Overall, it’s been a monumental year for newspapers, replete with massive waves of unfortunate irony. Banner headlines at dailies across the country have prophesied the death of newspapers, a trend story that Hearst and MediaNews tried to use in court to convince judge Illston that the industry was wilting under a consolidate-or-die atmosphere. A better analysis, of course, might conclude simply that shareholders aren’t getting the enormous returns they once did, with the exception of the Chronicle, which, we learned from Reilly’s suit, has been losing $1 million a week for Hearst — if not more.

A shareholder revolt broke to pieces one of the nation’s largest newspaper chains, Knight-Ridder, respected by many in the industry for its commitment to investigations, bold enterprise reporting and funding for national and international bureaus. The company was forced to sell after investors grew restless, and Singleton swept in to takeover the chain’s gem, the Merc, as well as the Times in Contra Costa County.

Layoffs ensued and MediaNews immediately began consolidating business-side functions in a single San Ramon office where operations for several papers could be managed at once. And MediaNews recently spiced up the company’s Web site, an emblem of its new dominant position. But like the old site, there’s very little information about the company’s journalism awards, and no bios of its editors, profiles of its reporters or portraits of anyone driving the company’s papers from the bottom up. Like the old site, there’s information for investors and photos of the company’s top executives, including one of Singleton smiling alongside company president Lodovic, who earned a $1 million bonus just as MediaNews consummated its marriage with Hearst last year.

At MediaNews papers in the Bay Area, single stories began appearing in several papers under one byline during Reilly’s suit meaning fewer perspectives for major Bay Area issues. Again with a touch of irony, one of the regular bylines on stories covering Reilly’s suit has been from veteran Merc reporter Pete Carey, who under the paper’s old owners helped win two Pulitzers, first for its joint 1985 coverage of the downfall of Filipino despot Ferdinand Marcos and second for stories explaining how red tape blocked needed retrofits at some California highways leading to greater infrastructure damage during the 1989 Loma Prieta earthquake.

In Minnesota, a Ridder family heir hung on as publisher of the St. Paul Pioneer Press after Singleton took it over last year with Hearst’s help before he left just recently for a job at the competing Minneapolis Star Tribune. The move has devolved into a bitter court dispute with Singleton, according to the Twin Cities alt weekly, City Pages. The Ridder family’s involvement with the Pi Press lasted more than 70 years.

Even Singleton’s beloved flagship paper, the Denver Post, couldn’t escape “industry changes” – that is, layoffs. The paper reported buyout offers to more than a third of its staff April 24.

But we have received a recent ominous sign of what’s to come just as Reilly inked his settlement with Hearst and MediaNews.

In an election for board directors at the April 24 annual meeting of the New York Times Co., 42 percent of the shareholders withheld their votes to protest the company’s stock structure, which keeps a controlling ownership stake in the hands of the Sulzberger family, the members of which have owned the Times for generations.

The Times – like the Washington Post – has staved off shareholder raids like the one that tanked Knight-Ridder by maintaining their own separate class of stock. The Sulzbergers have reiterated that the strategy enabled them to keep quality reporting at the paper’s forefront and short-term obsessions with profit at bay.

“Mr. Sulzberger dismissed the calls to separate his two titles,” a Times story on the meeting noted, “saying that holding both roles [of publisher and chairman] allows him to ‘balance the financial and journalistic needs of this institution.'”

But Wall Street’s war on newspapers, in the meantime, is likely not over.

“At the beginning of my case, I said that 25 years involvement in politics and government had taught me how important newspapers are to our democratic society,” Reilly said at the press conference. “I hope this lawsuit in 2007 will guarantee competition among newspapers for another generation in our city and the Bay Area.”

THE PAPER TRAIL
Several of the documents stemming from Clint Reilly’s antitrust claim against Hearst, MediaNews and other business collaborators in the California Newspapers Partnership

THE UNFOLDING STORY
Major Guardian stories and editorials published since last spring following the recent major Bay Area newspaper transactions and Clint Reilly’s resulting lawsuit

THE NEW-MEDIA SCOOP
Posts to the Politics Blog about the Clint Reilly suit

THE BRUCE BLOG ON MONOPOLY MEDIA
Keeping tabs on the Galloping Conglomerati via blog reports and impertinent questions

The Bruce Blog on monopoly media

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Still censored: the story and debate on the impacts of media consolidation in the Bay Area
Posted in Bruce (B3) on April 16, 2007 05:03 PM

Shocked! Shocked! And shocked again!

Posted in Bruce (B3) on April 13, 2007 05:44 PM

Stop the presses! Here come the documents of secrecy, stonewalling, and collaboration from the nation’s biggest chains (Hearst, Singleton, Gannett, Stephens) Why people get mad at the media (l4)
Posted in Bruce (B3) on April 11, 2007 03:53 PM

Singleton buys another daily paper and further locks up the Bay Area market .Where’s the U.S. Attorney General and the California Attorney General?
Posted in Bruce (B3) on February 5, 2007 05:11 PM

Why people get mad at the media (part 9). the Chronicle and Associated Press blow the big media story and refuse to make corrections
Posted in Bruce (B3) on January 30, 2007 01:48 PM

Eureka! More on how monopoly papers cover monopoly news

Posted in Bruce (B3) on December 20, 2006 04:35 PM

Clint Reilly wins a big one against Hearst and Singleton. Fighting to keep one newspaper towns from becoming a one newspaper region.
Posted in Bruce (B3) on November 28, 2006 03:04 PM

Memo to the city desks of the Chronicle/Hearst and Media News Group/Singleton papers and the Associated Press: the Hearst/Reilly antitrust suit is scheduled for a hearing tomorrow (Wednesday) morning before Federal Judge Susan Illston. Will you cover it?
Posted in Bruce (B3) on November 21, 2006 05:57 PM

SF Chronicle to Outsource All of Its Printing, reports Editor and Publisher Magazine. Will those “competitive” Hearst and Singleton papers cover the monopoly story and its impact on San Francisco and the Bay Area?
Posted in Bruce (B3) on November 17, 2006 12:29 PM

The Santa Rosa Press Democrat/New York Times “censors” the annual Project Censored story. Why? Some impertinent questions for the Press Democrat
Posted in Bruce (B3) on November 13, 2006 01:55 PM

More Impertinent Questions on Hearst shenanigans on the drug pricing scandal (part 5) Why did Hearst censor an AP story on McKesson profits?
Posted in Bruce (B3) on November 2, 2006 02:33 PM

Let us lift a Potrero Hill martini for Thomas Peele of the Contra Costa Times/Singleton papers. He criticized Singleton by name for sealing court records in the Hearst/Singleton antitrust case.
Posted in Bruce (B3) on October 30, 2006 03:37 PM

Dear Jerry Brown: more impertinent questions on the Hearst shenanigans (part 4)
Posted in Bruce (B3) on October 20, 2006 04:55 PM

Impertinent questions on the new Hearst shenanigans (part 2, see previous blog)
Posted in Bruce (B3) on October 18, 2006 03:52 PM

The Guardian turns 40: some things never change
Posted in Bruce (B3) on October 17, 2006 04:01 PM

Judge seals file in MediaNews trial

Posted in Bruce (B3) on September 15, 2006 02:51 PM

Eureka! Finally, Hearst covers the censored story and admits it is partnering with Singleton
Posted in Bruce (B3) on September 14, 2006 01:48 PM

Finally, the Conglomerati do a bit of reporting (actually only a little bit)
Posted in Bruce (B3) on September 8, 2006 04:22 PM

Eureka! Here comes even more Eurekaism! (part 3)
Posted in Bruce (B3) on September 5, 2006 05:35 PM

Eureka! There’s more Eurekaism!
Posted in Bruce (B3) on August 25, 2006 04:39 PM

Where are Hearst and the Chronicle? The conglomerate cometh
Posted in Bruce (B3) on August 11, 2006 05:00 PM

More on the Case of the Uncovered Bay Area Newspaper Monopoly

Posted in Bruce (B3) on August 2, 2006 12:03 PM

The press censors the press
Posted in Bruce (B3) on August 1, 2006 04:53 PM

Stop the presses
Posted in Bruce (B3) on July 31, 2006 05:40 PM

Monopolies are forever
Posted in Bruce (B3) on July 28, 2006 04:24 PM

Noise for witches night!

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WALPURGISNACHT WRECKEND
BLACK NOISE FEST FEATURING:

SIXES
Gerritt
Deathroes
Black September
SCARD
Behalf
Josh Hydeman
Tullan Velte
Dave Ed
T / R
Phroq
Chronicles of Lemur Mutation

DJ KLAXON of Bone Awl

APRIL 28TH – 29TH at TERMINAL

Meta-wha…?

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by Amanda Witherell

The city attorney’s office in San Francisco has strongly advised against releasing public documents that may contain metadata, (except when it serves their own purposes, like getting to the bottom of how the 49ers move to Santa Clara slipped right by them.)

The House of Representatives doesn’t seem to have a problem with it though, as Rep. John Conyers, Jr. has asked for “all e-mail communications and all meta-data underlying them, stored on Republican National Committee (“RNC”) servers or otherwise in the possession, custody, or control of the RNC, that are related in any way to the recent firings by the Department of Justice of United States Attorneys, or to communications to the Congress about those terminations and related matters as set forth in this letter.”

Read the full text of his letter to RNC Chairman Robert M. Duncan, after the jump…

Time to ride

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By Steven T. Jones
Despite the article’s deeply flawed premise, it was nice to see the Chron’s Matier and Ross promote this Friday’s Critical Mass ride.
smaller wheel.gifAfter the duo whipped drivers into an ill-informed frenzy earlier this month and caused the SFPD to double the promised police presence, we bicyclists will need big numbers on our side to keep the mass moving and show that we won’t be shamed or threatened into abandoning this important social protest event. And from what I’m hearing, people are more committed than ever to Critical Mass, creating the possibility that this Friday’s event will be huge and fun. Personally, I can’t wait.

Time to ride

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By Steven T. Jones
Despite the article’s deeply flawed premise, it was nice to see the Chron’s Matier and Ross promote this Friday’s Critical Mass ride.
wheel.gifAfter the duo whipped drivers into an ill-informed frenzy earlier this month and caused the SFPD to double the promised police presence, we bicyclists will need big numbers on our side to keep the mass moving and show that we won’t be shamed or threatened into abandoning this important social protest event. And from what I’m hearing, people are more committed than ever to Critical Mass, creating the possibility that this Friday’s event will be huge and fun. Personally, I can’t wait.

Yet it’s too bad the M&R keep getting things so wrong, such as when they say Mayor Gavin Newsom “has a lot riding on this event…the basic question being whether he can control the city’s streets come Friday night..” That’s bullshit. On this issue, Newsom has been wise enough to avoid taking the Chron’s bait and calling for a Critical Mass crackdown. He never promised to “control” Critical Mass and therefore has nothing riding on this Friday’s outcome, unless the police get aggressive and cause problems. The only test we’ll see this Friday is of M&R’s mass-gone-mad fable, which are like to be shown for the one-sided, self-serving sensationalism that it was.

What’s wrong with America, in one simple stat

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By Tim Redmond

The New York Times reported yesterday that the 25 top hedge fund managers in the United States earned a combined $14 billion last year — “enough to pay New York City’s 80,000 public school teachers for nearly three years.”

Think about it. Twenty-five people earned in one year almost three times as much as every public school teacher in New York, put together.

And thanks to Bush’s tax cuts, those 25 people, all of whom took home at least $240 million in compensation last year, wil pay about one-thrid as much tax as they would have paid under such radical left-wing presidents as Richard Nixon.

This is why the public schools are in bad shape, the streets are filled with homeless people, poverty is on the rise across America, a growing number of qualified kids can’t afford to go to college … the list is endless.

And so far, I haven’t heard a single leading Democratic candidate for president talk about raising taxes (not just letting the Bush cuts expire, but actually raising taxes) on the people who “earn” obscene amounts of money.

This is, in my mind, the single most important problem in the nation. It makes me sick.

Ponder or ignore? Enjoy

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> johnny@sfbg.com

The oldest film festival in the United States and Canada, the San Francisco International Film Festival reaches its golden anniversary this year. That’s half a century of bringing movies from all over the world to one area of America that doesn’t assume America is the world.

At this moment a solo videomaker has to kill at least a few dozen people to storm the multinational media palace. Yeah, this thought crashes the SFIFF’s party. But it adds context to the fest’s contents. One Guardian contributor recently forwarded me a news story that drew specious links between the Virginia Tech tragedy and Park Chan-wook’s 2003 movie Old Boy. The presence of The Bridge (a documentary that uses images of death in a problematic manner) at last year’s SFIFF proves that film festivals also face ethical dilemmas about what they present. Does increasingly pervasive digital imagery correspond with a decrease, rather than an increase, in imagination? Does it prompt a lazy way of seeing and corrupt the meaning of an image?

The SFIFF offers a chance to enjoy – not just ponder or ignore – such questions. As a major progenitor of the festival model that has come to dominate cinema outside of Hollywood, this event often celebrates and represents the establishment, as Sam Green and Christian Bruno’s 2000 short film Pie Fight ’69 makes clear. But unlike many younger festivals, the SFIFF’s programming favors substance over sensation.

George Lucas, Robin Williams, and Spike Lee will be feted this year, but the Guardian‘s SFIFF 50 coverage has an eye for diamonds in the rough: great, quiet films such as Heddy Honigmann’s Forever; a definitely maddening but possibly classic work of art, Pedro Costa’s Colossal Youth; and digital animator Kelly Sears’s hilarious short works – in step with hallucinatory digital mind-blowers and eye-blinders such as Paper Rad – which feature in the type of one-time-only SFIFF collaborative event that can yield a memorable night.

I’d like to draw attention to the SFIFF’s two entries from the New Crowned Hope series recently curated by Peter Sellars (Mahamat-Saleh Haroun’s Daratt and Garin Nugroho’s dazzling Opera Jawa) and to close by freestyling the praises of Veronica Chen’s gorgeous Agua. In its regard of two generations of men, of male physicality and psychology, it is a pleasurable, less-austere improvement on Claire Denis’s highly acclaimed Beau Travail and part of a possible new wave of cinema – led by Douglas Gordon and Philippe Parreno’s Zidane – that trailblazes the cinematic potential of contemporary sports performance and its portraiture. Dive into it and SFIFF 50. *

Cinema brut

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> a&eletters@sfbg.com

Early on in A Parting Shot, Isild Le Besco’s character curls up at a bar, crowded by two leering men ordering her the hard liquor with which she courts abnegation. A couple cuts later, she’s teasing one of her throwaway lovers for asking her to be tender, warning the next in line that she’s "pas douce," or "not soft." Pas Douce is the original title of Jeanne Waltz’s finely calibrated debut, though it could pass for several French offerings with similarly bruising and bruised heroines at this year’s San Francisco International Film Festival.

French art cinema has been rife with sex of the pas douce sort for years now: a diverse group of filmmakers (Gaspar Noe, Catherine Breillat, Francois Ozon, and more recently, Jean-Claude Brisseau, of Exterminating Angels infamy) has coalesced, marked by the provocative blend of hyperrealism and hardcore. The French have never shied away from showing a little skin – it would be silly to think the original new wave didn’t owe some of its cachet to it – but these latter-day sexual misadventures represent something pointedly unpleasant in form and content. Critic James Quandt dubbed it new French extremism, though cinema brut works just as well.

In SFIFF films such as On Fire, 7 Years, and Flanders, this tendency is toned down but still embedded in narrative and character. Being French, all three feature some manner of love triangle: in Claire Simon’s On Fire, teenage Livia (Camille Varenne) plays like Lolita, teasing a boy her age while imagining herself the object of a swarthy fireman’s desire (hello metaphor!); in 7 Years, Jean (Valerie Donzelli) has sex with her prisoner husband’s warden on tape, nominally for hubby’s benefit; and in Flanders, sad-eyed Barbe (Adelaide Leroux) opens her legs to two neighbors going off to fight an unnamed war in the Middle East.

They are all Mouchette’s daughters, these women. Mouchette, the title character of Robert Bresson’s stark 1967 film, is perhaps French cinema’s gold standard of female suffering (with all due respect to Maria Falconetti in Carl Theodor Dreyer’s 1928 The Passion of Joan of Arc). She’s there in the shots of Barbe on her back, staring skyward in full surrender to a man’s grunting weight; in the way Livia sighs while putting a cup of coffee on for her father; and certainly when Le Besco’s Frederique rides her bike into a lake in a fit of ecstatic despair (Mouchette ends her own life rolling into a bog).

Bresson’s content was indivisible from his unadorned film style, and here too these new directors toe the line, shooting in long takes, often on location, with a handheld camera and a resourceful approach to sound. As far as formulas go, this one’s a pretty safe bet in film festival circles (see: the Dardenne brothers and Abbas Kiarostami). Flanders director Bruno Dumont (The Life of Jesus, Humanite) is already well established in this regard, and while On Fire, 7 Years, and A Parting Shot all have their good points, his latest film is the clear standout among the SFIFF’s cinema brut. It strikes me as Dumont’s version of (and perhaps, improvement on) Michael Cimino’s 1978 The Deer Hunter in the way it mediates battleground and home front as two complementary parts of one continuous, damaged landscape. The Flanders segments work better than the ones in the desert, both for Leroux’s unnerving performance and for Dumont’s painterly compositions (the director grew up in this part of northern France). Flanders occasionally breaks down in its long silences, but it’s a beautifully wrought film, full of carefully plotted mirroring and harrowing disruptions. It’s also unremittingly physical – the sound design of boots squashing and sucking the Flanders mud is all the exposition we could ever need.

Flanders possesses a formidable style indeed, but the closing lines of Quandt’s essay still demand satisfaction: "The authentic, liberating outrage – political, social, sexual – that fueled such apocalyptic visions as Salo and Weekend now seems impossible, replaced by aggressiveness that is really a grandiose form of passivity." Or maybe there are simply too many of these films and scenes piling up, diluting the resonance of any one effort. An uncomfortable question: how would we respond to Mouchette if it were released in this deluge?

It’s impossible to say, but I have little doubt that burnout had something to do with the pleasure I took in Christophe Honore’s new wave-meets-J.D. Salinger yarn, Dans Paris. Honore’s film is steeped in Jean-Luc Godard, Francois Truffaut, and Eric Rohmer, and while individual bits feel too cutesy (e.g., Louis Garrel skipping down a Paris street in fast-motion), most of this nervy technique has retained its bite, thanks to the staid but lurid minimalism of new French extremism. Honore’s characterizations are tenderly muted rather than brutishly absent; he’s more concerned, in proper new wave fashion, with the talk before and after sex than the act itself. Rather than aiming for extremism (and let it be said that 2001’s Amelie represents, in its own way, as extreme a vision as that year’s Fat Girl), Honore charges Dans Paris with eclecticism: of tone and thought and most likely meaning too. *

DANS PARIS (Christophe Honore, France, 2006). May 4, 9:15 p.m., Kabuki. Also May 7, 9:30 p.m., Kabuki

FLANDERS (Bruno Dumont, France, 2006). May 6, 5:15 p.m., PFA. Also May 8, 9 p.m., Kabuki; May 9, 9:30 p.m., Kabuki

ON FIRE (Claire Simon, France/Switzerland, 2006). May 5, 1:45 p.m., Clay. Also May 7, 7 p.m., PFA

A PARTING SHOT (Jeanne Waltz, France, 2006). May 5, 7 p.m., Clay. Also May 7, 1:30 p.m., Kabuki; May 8, 6:30 p.m., Kabuki; May 10, 4:30 p.m., Kabuki

7 YEARS (Jean-Pascal Hattu, France, 2006). May 5, 9:30 p.m., Clay. Also May 7, 7 p.m., Kabuki; May 9, 1 p.m., Kabuki

Otar, Otar, how does your “Garden” grow?

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The San Francisco International Film Festival is offering a rare treat this year with its presentation of Otar Iosseliani’s latest film, Gardens in Autumn, and Julie Bertuccelli’s documentary about Iosseliani, Otar Iosseliani, The Whistling Blackbird. The director of 2003’s Since Otar Left, Bertuccelli has worked as Iosseliani’s assistant director, so her portrait goes well beyond a primer on his body of work, which began in Soviet Georgia in the late ’50s and continued through his relocation to France in 1982.

After a shaky beginning that has Iosseliani quoting Aleksandr Pushkin at length without translation, the doc moves quickly into the meat and potatoes of Gardens in Autumn‘s construction, such as a poetic demonstration of the transition from storyboarding to shooting. The sisterly abuse Iosseliani endures from his producer, though, is probably the best stuff in the film ("You took that idea from another screenplay"; "You’re not Rivette! Cut it down!"; "This ending is stupid"). Bertuccelli’s document of the bumpy road to a final product is a fascinating counterpoint to the sensuous languor of Iosseliani’s film.

Gardens in Autumn starts as unpromisingly as the doc, as a broadly Bunuelian satire of the bourgeoisie (a comic wife buys expensive junk, a bureaucrat quietly smokes a cigarette as a labor demonstration swells), but the story almost immediately makes a welcome 180-degree turn. As if our hero Vincent (Severin Blanchet) can sense the satire in progress, he abruptly resigns his post as a government minister and returns to the town of his youth, where his mother (Michel Piccoli, a fixture in Luis Bunuel’s French work, in convincing drag) holds court in an extravagant mansion and drunken clergymen with frat boy temperaments roam the streets. The film fans out into a thinly plotted waltz through the good life, where even the occasional bursts of violence look like they might be fun. It’s the type of film in which a man can shrug off the squatter inundation of his apartment and move into the secret back room behind the bookcase.

The critic J. Hoberman described one of Iosseliani’s recent ensemble films somewhat dismissively as a "genteel circus," but the tag can also serve as an affectionate characterization of his best work. His latest exercise in modulated hedonism may not have much to say on the politics of happiness, but sometimes that can be a blessing. (Jason Shamai)

GARDENS IN AUTUMN (Otar Iosseliani, France/Russia/Italy, 2006). Sun/29, 6:30 p.m., Kabuki. Also May 6, 8 p.m., Kabuki; May 8, 9:15 p.m., Kabuki

OTAR IOSSELIANI, THE WHISTLING BLACKBIRD (Julie Bertuccelli, France, 2006). Fri/27, 4 p.m., Kabuki. Also May 3, 8:45 p.m., Kabuki; May 9, 6:30 p.m., Kabuki

The four men in “The Iron Mask”

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When The Iron Mask screens at this year’s San Francisco International Film Festival, four disparate cinematic personalities will merge – three in spirit and one in the flesh.

Now 68, Kevin Brownlow made his first feature film, 1966’s It Happened Here, while in his 20s and subsequently published two books, one (How It Happened Here) on the making of that movie and another (The Parade’s Gone By) featuring interviews with silent-era filmmakers and stars. At that time, the silent era was almost like a technical glitch to be overcome and forgotten. But Brownlow would soon help immortalize great early works through his interviews and his pioneering skills as a restorer.

At the Castro Theatre, Brownlow (the recipient of the SF Film Society’s Mel Novikoff Award, whose latest movie, Cecil B. DeMille: American Epic, also screens at this year’s festival) will present 1929’s The Iron Mask. That movie’s star, Douglas Fairbanks, had an effortlessly cheery, energetic onscreen persona, performing his own, Jackie Chan-like stunts. He also ran a tight ship offscreen, controlling nearly every aspect of his business empire. When Fairbanks began planning his extravagant 1922 film Robin Hood, with its record million-dollar budget, director Allan Dwan landed in the driver’s seat. A crackerjack action man, Dwan could keep up with Fairbanks and move things at a brisk pace; Dwan would go on to direct about 400 films, most of them considerably cheaper.

Fairbanks hired Dwan once again for The Iron Mask, a follow-up to 1921’s The Three Musketeers in which Fairbanks would reprise his role as D’Artagnan. The film is not without its breezy, exciting moments, but by this time Fairbanks was 46 and beginning to slow down. He seemed to understand that his antics no longer coincided with the times; his D’Artagnan is a bit long in the tooth and meets a less heroic ending than does the typical Fairbanks hero. Concurrently, talkies had begun to draw the curtain on silent pictures. Fairbanks recorded two talking interludes for the film, which only add to its heartbreaking, elegiac nature. When The Iron Mask was restored, the great modern composer Carl Davis, whose work currently graces a number of silent movies on DVD, recorded a 42-piece orchestral score worthy of the film’s energy and its melancholy. Fortunately, as Brownlow will no doubt demonstrate, it’s possible to see the film with new eyes. In that, there’s no reason to be sad. (Jeffrey M. Anderson)

CECIL B. DEMILLE: AMERICAN EPIC Sat/28, 9:15 p.m., Kabuki

THE IRON MASK: AN AFTERNOON WITH KEVIN BROWNLOW Sat/28, 2 p.m., Castro. $9-$12

KEVIN BROWNLOW: AN INTRODUCTION TO SILENTS Sun/29, 5:30 p.m., PFA

Do you remember your first time?

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Of the hundreds of thousands of feature movies made in the past century, how many were spectacular debuts? Maybe 30? Reason decrees that we can’t expect the 11 first features that make up this year’s SKYY Prize nominees to be brilliant; frankly, they’re not. Yet it was little more than a handful of years ago that the San Francisco International Film Festival’s SKYY jury awarded its prize to Jia Zhang-ke’s Xiao Wu, a debut that marked the beginning of one of the most masterful filmmaking careers in the world today.

Two of this year’s nominees, Kim Rossi Stuart’s Along the Ridge, from Italy, and Pavel Giroud’s The Silly Age, from Cuba, owe a debt to one of the great debut films, Francois Truffaut’s The 400 Blows. Truffaut’s look at boyhood gone awry has secured the template for a half century of coming-of-age films, but like the biopics that overtake screens and vie for awards at the end of each year, such efforts have become too familiar. Aren’t personal stories supposed to be one of a kind, like snowflakes? Perhaps if you’ve seen one snowflake, you’ve seen ’em all.

Nominating Horace Ahmad Shansab’s Zolykha’s Secret, from Afghanistan, was probably some big-hearted gesture of goodwill, but by Western standards, it’s a painfully clumsy affair. Similarly, Xiaolu Guo’s How Is Your Fish Today?, from China, and John Barker’s Bunny Chow, from South Africa, go nowhere fast.

Bay Area native and Golden Horse Award winner Daniel Wu has turned from acting to a comedic directing debut, The Heavenly Kings. Though he treads on sacred Spinal Tap territory with his phony rockumentary idea, he and his friends Conroy Chan Chi-Chung, Andrew Lin, and Terence Yin actually went through with the indignity of being in a boy band called Alive, recording and performing to conjure up material for this film. Only one of them can sing, and none of them can dance, but that doesn’t matter in today’s music industry, which relies on stylists, choreographers, and hired fans – not to mention Internet scandals – for success. The Heavenly Kings is certainly scathing, even if it’s only sporadically funny. (The best line involves African rainforests.)

I suspect that Marwan Hamed’s The Yacoubian Building, from Egypt, is also trying to be funny, but it tries to be too many other things as well. Based on a beloved novel by Alaa’ al-Aswany and sprawling to almost three hours, it’s stuck between pleasing the novel’s fans and appealing to new audiences, an impasse that results in heavy exposition and a kind of middling pace that makes time crawl. But it’s also full of sweeping crane and dolly shots, and as with films such as The English Patient, its gargantuan scale will impress some viewers. Jean-Pascal Hattu’s 7 Years, from France, is a bit more daring in its depiction of a woman who falls in love with her incarcerated husband’s prison warden. But it dabbles in Bressonian artificiality without achieving a Bressonian sense of grace.

In surveying this year’s SKYY Prize nominees, perhaps it’s best to search for glimpses of genius or inspiration that could possibly lead to more interesting follow-ups. Joachim Trier’s Reprise, from Norway, has many such glimpses, thanks to frenetic flashbacks that recall everything from Run Lola Run to Snatch and Human Traffic and also due to its discriminating taste in vintage punk music. But when the film’s narrative returns to the present, it begins to wallow in a kind of maudlin, navel-gazing dopiness that kills the initial buzz. Tariq Teguia’s Rome Rather Than You, shot in Algeria, couples startling cinematic brilliance with highly irritating patches of indulgence. Its tale of an Algerian pizza chef who applies for a visa to move to Italy is like a tantalizing mystery house with long, winding passages that lead nowhere. Unfortunately, even Teguia appears to get confused from time to time.

Finally, on the very crest of the much-discussed Mexican new wave, Francisco Vargas outplays all first-time peers with his magnificent The Violin, set in the 1970s. Violinist Don Plutarco (Don Angel Tavira) can only play by strapping his bow to his handless stump. As his guerrilla son fights a secret battle against the ruling military regime, Plutarco winds up serenading a sensitive (but still sinister) captain. Vargas shoots in luscious black-and-white, switching between handheld camera for tense moments and static shots during rest periods that still manage to be breathtaking. In one amazing sequence, Plutarco sits by a campfire and explains the origin of war to his grandson while Vargas slowly, slowly tracks over smoldering coals. But it’s Tavira’s gaping, withered face that gives the movie its mileage. He’s 81, and it’s his first acting job. How’s that for a debut? (Jeffrey M. Anderson)

ALONG THE RIDGE (Kim Rossi Stuart, Italy, 2006). May 5, 4:15 p.m., Clay. Also May 7, 3:30 p.m., Kabuki; May 9, 9 p.m., Kabuki

BUNNY CHOW (John Barker, South Africa, 2006). Sat/28, 9:45 p.m., Kabuki. Also Sun/29, 6:45 p.m., Kabuki; May 4, 9:30 p.m., Kabuki

THE HEAVENLY KINGS (Daniel Wu, Hong Kong, 2006). Fri/27, 9:45 p.m., Castro. Also Sun/29, 6 p.m., Kabuki; May 4, 5 p.m., Kabuki

HOW IS YOUR FISH TODAY? (Xiaolu Guo, China/UK, 2007). Sun/29, 8:15 p.m., PFA. Also May 5, 12:30 p.m., SFMOMA; May 7, 9:45 p.m., Kabuki

REPRISE (Joachim Trier, Norway, 2006). Fri/27, 5 p.m., Kabuki. Also May 6, 9:30 p.m., Kabuki; May 4, 9 p.m., Clay; May 8, 9:30 p.m., Aquarius

ROME RATHER THAN YOU (Tariq Teguia, Algeria/France/Germany, 2006). Fri/27, 9:15 p.m., Kabuki. Also May 5, 2 p.m., Kabuki; May 6, 8:45 p.m., Kabuki; May 8, 6:30 p.m., Aquarius

7 YEARS (Jean-Pascal Hattu, France, 2006). May 5, 9:30 p.m., Clay. Also May 7, 7 p.m., Kabuki; May 9, 1 p.m., Kabuki

THE SILLY AGE (Pavel Giroud, Cuba/Spain/Venezuela, 2006). Sun/29, 8:15 p.m., SFMOMA. Also May 2, 9:30 p.m., Kabuki; May 3, 1 p.m., Kabuki; May 5, 9:45 p.m., Kabuki

THE VIOLIN (Francisco Vargas, Mexico, 2006). May 4, 3:15 p.m., Clay. Also May 6, 6 p.m., Kabuki; May 8, 3:30 p.m., Kabuki

THE YACOUBIAN BUILDING (Marwan Hamed, Egypt, 2006). May 6, 2 p.m., Kabuki. Also May 9, 1:30 p.m., Kabuki; May 10, 7 p.m., Kabuki

ZOLYKHA’S SECRET (Horace Ahmad Shansab, Afghanistan, 2006). May 5, 5:45 p.m., Kabuki. Also May 8, 4:15 p.m., Kabuki; May 6, 5 p.m., SFMOMA

On tone’s tail

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> a&eletters@sfbg.com

With that inimitable San Franciscan condescension toward anything too popular, various eyes rolled skyward when the SF Film Society announced the tributees at the 50th SF International Film Festival would include the two most famous Hollywood-type people who live hereabouts, George Lucas and Robin Williams. Like a canyon-echoed foghorn, bass exhalations of "borrrrrr-ing" filled select pockets of local airspace. But really, wouldn’t those same naysayers be wondering aloud whether the fest lacked sufficient clout if it hadn’t pulled such big guns for its 50th anniversary?

Intellectual purists might think fondly of the SFIFF’s 1987 tribute to Hungarian Gyorgy Szomjas or of 2004’s ahead-of-the-cusp Malaysian cinema showcase, but the festival has always courted and attracted celebrities. If inventors could perfect a time machine, there’d be a huge queue to revisit some of its earliest stellar events.

World cinema giants passed through the SFIFF’s gates from its beginning in 1957, when it was local theater owner Bud Levin’s all-volunteer baby and veteran Hollywood star Franchot Tone played the role of MC. But the press was naturally always more intrigued by visiting stars, nubile starlets, and what designer couture socialites wore to gala events. Indeed, as the ’60s evolved, fashion and the bountiful femininity it decreasingly cloaked often overshadowed public discussion of Luis Bunuel, Jean-Luc Godard, and John Cassavetes. A near-topless North Beach dancer known as Exotica riveted attention in 1964, the same year several Playmates of the Month attended. Actress Carroll Baker’s see-through ensemble did the trick in 1966, while the suicidally plunging neckline of uninvited guest Jayne Mansfield meant she was asked to leave. The same year, festival chairperson Shirley Temple Black quit to protest the inclusion of the Swedish feature Night Games, which she considered pornographic.

In 1965 the late SFIFF program director Albert Johnson commenced an extraordinary series of epic afternoon tributes to Hollywood legends. No one else was doing such events, so he got the cream of the back-harvested crop: Gene Kelly, Lillian Gish, Howard Hawks, Henry Fonda, Rita Hayworth, Fred Astaire, Bette Davis, John Huston, Frank Capra, and more. Soon everyone began imitating Johnson’s clips-and-chat template.

But the SFIFF was hardly done with lassoing big names both nostalgic and current. The 1975 festival featured the strange-bedfellow roll call of Shelley Winters, Dyan Cannon, Natalie Wood, Jack Nicholson, Robert Evans, Burt Lancaster, Roger Vadim, Gale Sondergaard, and Merv Griffin. In 1979, Sir Alec Guinness, still basking in Lucas-bestowed glory, was honored in the festival’s first (and last, to date) opening-night tribute. Among the glittering attendees were O.J. Simpson and then-girlfriend Nicole Brown. How sweet.

Due in part to an increasingly cutthroat festival landscape, in recent years the SFIFF has tilted toward sober rather than silly celebrity visitors. Tabloid types now need it even less than it needs them. Still, there have been felicitous highlights among latter-day tributes: Fillmore resident Winona Ryder’s refreshing public dis of one local print gossip hound as "a parasite"; Clint Eastwood’s lovely penchant for crediting collaborators whenever he was faced with a direct compliment; Annette Bening shouting anecdote prompts to onstage spouse Warren Beatty; Geena Davis admitting that unlike most self-conscious actors, she loves to watch herself onscreen.

Less ingratiating moments are often memorable for what they reveal about a beloved (or not) figure. Dustin Hoffman’s bizarre ramblings in 2003 reminded me of the tribute to a ditzy Elizabeth Taylor that I’d witnessed at a festival in Taos, NM, a couple years earlier. I’ve never felt such pained sympathy for an interviewer as during Harvey Keitel’s curt cutoff of every respectful Q&A path during a 1996 event. Then there was the time Sean Penn’s ever-so-rebellious cussin’ before a full house at the Kabuki Cinema sent Robin Wright storming out with kids in tow just minutes into his 1999 tribute.

The SFIFF is never going to be the kind of festival Paris Hilton feels she need attend. But even the talented are capable of charmingly awkward – and just awkward – moments. The SFIFF’s awards often cast unexpected light on professionals we’d hitherto identified by their roles; this can make for lurid fun. Still, I prefer it when talents I admire keep their personality flaws off my windshield. Once those bugs get embedded, it’s hard to enjoy a clear view again. *

FILM SOCIETY AWARDS NIGHT May 3, 7:30 p.m., $500-$25,000. Westin St. Francis Hotel. 335 Powell, SF. (415) 551-5190

FILM SOCIETY DIRECTING AWARD: AN EVENING WITH SPIKE LEE May 2, 7:30 p.m., $20-$25. Castro

FIVE-O: STORIES AND IMAGES FROM 50 YEARS OF THE SF INTERNATIONAL May 8, 6:30 p.m., $9-$12. Kabuki

FOG CITY MAVERICKS With George Lucas and others. Sun/29, 7:30 p.m., $20-$25. Castro

PETER J. OWENS AWARD: AN EVENING WITH ROBIN WILLIAMS May 4, 7:30 p.m., $20-$25. Castro

Magic stoned

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> kimberly@sfbg.com

Dream catchers and rainbows. Stately dragons that soar the starry skies as majestically as a space station and more Marshall stacks than you can shake a pewter warlock wand at. Lone wolves and lynx meeting under snowy boughs in untamed, magical communion. Daggers with serpentine handles morphing gently into stalactites and snowflakes. Wizards solemnly lifting crystal balls aloft in triumph, taking a Festival Viking cruise past jagged pink quartz reefs. Look out for a metal band with feathered hair and quasi-KISS face paint rising over the mountain of gold coins.

No, it’s not an old Heart music video but the cheese-coated language of so-called crystal power – and the kitsch iconography that video artist Kelly Sears works with in her 2004 animated short, Crucial Crystal, one of three she will show as part of "Notes to a Toon Underground." Xiu Xiu, Grandaddy’s Jason Lytle, William Winant, Tommy Guerrero, Marc Capelle, and Guardian contributor Devin Hoff are among those providing the live musical accompaniment and original scores to 15 animated works by Sears, Jim Trainor, Wladyslaw Starewicz, David Russo, and Emily and Georgia Hubley.

The pieces originate from anywhere between 1912 and 2005, though some such as Crucial Crystal mine a high-low quarry that’s both timeless (power chords are forever) and already dated in rapid-cycling retro-hipster circles (truck stop lone-wolf imagery naturally begat those interminable wolf band names). It’s done to comic effect, propping up and sending up its subject simultaneously. "When you take a sampling of crystals, black metal, Marshall stacks in the snow, dream catchers, and New Age and nu metal imagery like that and collect them into one big fantasyscape in some impossible universe, it reads as superdated," Sears says over the phone from Pitzer College in Claremont, where she works as the director of production in intercollegiate media studies. "If it was made now, it would have a whole new crop of contemporary pop images that would go in it: a lot of ’70s recycled stuff and a lot of hair."

Hard-rocked and rainbow-hued, Crucial Crystal broke off from a band project, Sexy MIDI, that found Sears making videos to accompany her orchestra pit-style re-creations of MIDI covers gathered online. She culled her crystal fantasia from similar free-source locales: "It was about getting really democratic, finding those images," the 29-year-old animator says, laughing brightly. "The philosophy was, if Google image search doesn’t have it, I don’t want it!"

That hunting-gathering impulse also informs the other Sears works in "Notes": Devil’s Canyon (2005), a wryly surreal and unexpectedly poetic ode to America’s cowboy romance with expansionism and industry, which Sears describes as a "completely fantastical, dystopic manifest-destiny story of the West," and The Joy of Sex (2003), a hilariously solemn animation of the sex manual’s 1991 update.

She found the tossed tome while she was working on her MFA at UC San Diego and liked the idea of animating the book’s images of a conservatively coiffed post-Reagan-era couple in the throes of damped-down passion, using restrained, minute motions accompanied by a flattened MIDI cover of "I Want to Know What Love Is" (it will be given a new score at "Notes"). "I’m really about saving things that got thrown away," she says. "That’s why I look for imagery in thrift stores and garage sales. I really like the idea that the story told by this imagery isn’t functioning anymore and has been cast aside. It’s ready to be picked up and transformed into some sort of new story that could possibly be more relevant now."

Sears’s aesthetic may radically shape-shift from video to video, but her skill at juggling pop wit with postmodern smarts remains the same. "Kelly comes out of nowhere, but you are reminded of a specific ‘somewhere’ because her signifiers seem universal: appropriated pop and illustrations, a cult following-in-the-making," e-mails Darin Klein, who recently curated a show at the Hammer Museum in Los Angeles that included a collaboration between Sears and choreographer Ryan Heffington. "Her sincerity, her technicality, and the thoroughness of her execution hint at a woman who tunes in and never turns off or drops out."

Sears’s fascination with found images emerged from her distaste for the look of digital video and her sensory appreciation of the texture and beauty of old books, National Geographics, and encyclopedias from the ’60s and ’70s. Currently, working on narratives about orgone boxes and men who modify their bodies into machines, she describes her process as "completely time-consuming": it involves scanning hundreds of images, digitally cutting each out, breaking each still into planes that will eventually move, and then working on the images in After Effects and Final Cut. Still, the time and toil appear to be worth it. "It just seems like a really great way to open up some form of culture or history that’s been produced," she says, "and get your two cents in by rearranging the signifiers in a different way." *

NOTES TO A TOON UNDERGROUND May 5, 8:30 p.m., Castro