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November 15, 2017

From the StoryCorps App: First Thanksgivings

Did you know that the stories you hear from us on NPR and our podcast are excerpts of interviews pulled from the StoryCorps Archive? Participants visit one of our recording locations with a friend or family member to record a 40-minute interview with the help of a trained StoryCorps Facilitator, or record a conversation using the StoryCorps App. We’re sharing this unedited interview from the StoryCorps Archive with you in its original form.

Thanksgiving is one of the biggest holidays celebrated in the United States, but if you grew up in another country, you may not have celebrated, or even heard of, the holiday. Listen as three immigrants share their stories about their first Thanksgivings and the new traditions they’ve created with their families.

Jayashree Patale emigrated to the United States from India. In her StoryCorps App interview, she tells her granddaughter, Tara, about her first Thanksgiving in America. Jayashree had never heard of the holiday, but she tells Tara about a welcoming neighbor who invited her over for dinner to share in their traditions. “I was a little shy at the time,” she says, “but everybody made me so comfortable.” 

Jayashree tells the story of being served sliced turkey and not realizing it was meat. She happily finished her meal even though she’s a vegetarian! “I said, uh oh!  But it’s all right, it doesn’t matter whether I ate meat or not,” she says, “I had a great time, and I really appreciated that people were so loving.”


Valerie Cecil, who grew up in England, tells Joaquin Borja about celebrating Harvest Festival Suppers growing up.  She never celebrated Thanksgiving, though, until she married her husband, who is from Texas. She talks about the first year they celebrated it together, when they were living in Egypt. “He invited several of the American families who were on their own there over to our house for Thanksgiving,” she says. “So I had to learn how to cook pumpkin and pecan pie!”

Valerie shares some of the traditions she’s now passed down to her children and describes the five-course meals she prepares every year for the holiday. One round involves a mystery sorbet that her guests have to guess the ingredients of.


Amanda Lacson asks Mike Alvarez what traditions his family started when they came to the United States from the Philippines. “The first thing that popped into my mind is Thanksgiving,” he says, “but I think Filipinos, or at least my family, will use any occasion to celebrate and prepare food!”

He describes the eclectic dinners his family would have, “Someone did make a turkey with stuffing — but it would also be accompanied by traditional Filipino cuisine,” he laughs, “Like pancit, turon, lumpia…  The turkey would still be at the center of the table, but the perimeter would be Filipino food.”

All material within the StoryCorps collection is copyrighted by StoryCorps. StoryCorps encourages use of material on this site by educators and students without prior permission, provided appropriate credit is given. This interview has not been fact-checked, and may contain sensitive personal information about living persons.

Source: SNPR Story Corps

November 14, 2017

Filmmaker In Focus: The Light of the Moon, Maya Dardel, and Lane 1974

The Light of the Moon, Maya Dardel (screened at SXSW as A Critically Endangered Species), and Lane 1974 premiered at the 2017 SXSW Film Festival in our Narrative Feature Competition and Narrative Spotlight sections. Take a closer look at these films exploring three unique female perspectives with our Q&A with the directors below. Check out our alumni blogs to find out where you can watch these films.

The Light of the Moon

Jessica M. Thompson is an Emmy-nominated Australian filmmaker, who founded Stedfast Productions, a collective of visual storytellers, in NYC in 2011. She has worked as an editor with Academy Award-nominated filmmaker, Liz Garbus, and on Cheryl Furjanic’s award-winning documentary, Back On Board. The Light of the Moon is her directorial feature debut, the film won the Audience Award for Narrative Feature Competition.

Q: Tell us a little about your film?

JT: My film is about Bonnie – a sassy, sophisticated New York City architect – whose life is irrevocably changed when she is out one evening with her friends. Afterwards, she struggles to regain the intimacy she once had with her long-term boyfriend, Matt, and to retake control of her life. The film basically deals with the first stage of grief: denial.

Q: What motivated you to tell this story?

JT: I was sick of seeing rape so casually and unrealistically used as a plot-point, or for dramatic effect, in mainstream films and television shows (typically by male writers). After having two friends experience the trauma of assault, and seeing the infinite amount of victim-blaming in the headlines, I felt compelled to tell a story that is steeped in reality. Despite the likelihood of being dubbed “the rape film,” the assault actually happens in the first 10 minutes, and the film largely focuses on Bonnie’s struggle to accept the truth and the impact it has had on her life. It doesn’t focus on the courtroom drama, as that’s (unfortunately) not typically how violence against women concludes, nor does the film become a unlikely tale of revenge. It is a quiet drama about one woman’s recovery. I simply felt this story was one I had not seen told before, and I felt it was due-time to tell it.

Q: What do you want the audience to take away from this film?

JT: I’m hoping the film will provoke thought, stir emotion, and start a conversation or two.

Maya Dardel

Magdalena Zyzak studied film and literature at USC. She is the author of a novel, The Ballad of Barnabas Pierkel. Zachary Colter is an award-winning poet, author of five books of poetry, fiction and literary criticism. He studied poetry at the Iowa Writers’ Workshop. Maya Dardel is the pair’s directorial debut.

Q: Tell us a little about your film?

ZC/MZ: The film tells the story of the final weeks leading up to the disappearance (and presumable death) of Maya Dardel, an internationally respected poet and novelist who lived, until 2016, in the Santa Cruz Mountains of California. Maya announces on National Public Radio that she intends to end her life and that young male writers may compete to become executor of her estate. The man who wins will inherit Maya’s home, land, books, unpublished manuscripts, and be expected to protect and promote her posthumous reputation.

Q: What motivated you to tell this story?

ZC/MZ: We see Maya Dardel as the first film in a diptych (linked by theme and form, not characters) intended to explore a certain colder category of female power/intelligence, a category undervalued in America, as the recent election has illustrated. Our protagonist, Maya, is unsentimental, acerbic, and unapologetically threatening to the young men she encounters. She is not “soulful” or “motherly.” Her positions stress strength and reject victimhood.

It’s also a film about writers. We come to filmmaking from literary backgrounds and wanted to make a film about writers today, exploring the tragicomedy of a literary vocation at the end of print culture, at a time when MFA programs have replaced Parisian cafes and an aesthetics-first engagement with language is disappearing. The men who compete for Maya’s estate exemplify, in non-stereotypical, non-reductive ways, four kinds of youngish writers one might encounter in the graduate creative writing programs of the United States today.

Q: What do you want the audience to take away from this film?

ZC/MZ: We hope the film might function as an elegy for the pre-digital humanities, for ink and paper poetry, and for an important generation of writers; Maya’s generation, though obviously very much alive, is losing the attention of young people, losing readers. We hope, too, that some will appreciate a film about complex psychological and erotic games.

Lane 1974

SJ Chiro graduated from Bennington College with a degree in theater and French literature. She spent much of her early career as an actor and director in Seattle’s theater scene and has since directed several award-winning short films.

Q: Tell us a little about your film?

SJC: This film is based on the memoir by Clane Hayward, The Hypocrisy of Disco. It’s 1974. 13-year-old Lane lives on a beautiful Northern California commune, wild and free, until her mother, a rebel and iconoclast, alienates their small group from the security and safety of the community land. They begin moving from one unlikely situation to another, leaving normal life far behind.

Scrounging for food and hitch-hiking, while her mother cadges cash and begs favors, Lane and her siblings rely on one another in an increasingly desolate and isolated emotional landscape. Desperate and forgotten, Lane sets out alone in search of a future she’s always imagined, but cannot conceive.

Q: What motivated you to tell this story?

SJC: This is the film that would not get out of my way. It dogged me. I was obsessed with telling this story before I died. I felt if I didn’t, maybe a generation of childhoods would be lost. There are so many of us children of revolutionary, forward-thinking, flawed parents who lived deeply unconventional childhoods, but most of us don’t talk about our childhoods. I felt it was time to change that.

Q: What do you want the audience to take away from this film?

SJC: I hope people will realize that the hippies of the 1970s were more than the butts of jokes. They were real people trying to find a way out of a terrible time in our history. They were bold and dared to live in physical discomfort for the comfort of not participating in a sick society. They chose to live the ultimate American Dream: that of embracing freedom above all else. What was forgotten was children did not have that choice. We are entering a new time of political and social turmoil. To move forward, it’s important to remember, and learn from, the past.

Join Us For SXSW 2018

Grab your Film Badge today for primary access to all SXSW Film events including world premieres, roundtables, workshops, and parties. Register to attend by Friday, November 17 and save. Book your hotel through SXSW Housing & Travel for the best available rates.

Follow us on Facebook, Twitter, Instagram, and SXSW News for the latest SXSW coverage, announcements, and updates.

See you in March!

The post Filmmaker In Focus: The Light of the Moon, Maya Dardel, and Lane 1974 appeared first on SXSW.

Source: SxSW Film

November 14, 2017

HTC shows off all-in-one VR headset called Focus

<b>HTC has officially unveiled a standalone virtual reality headset called the Vive Focus.</b><p>The all-in-one gadget does not need to be connected to a computer or use a phone’s screen to show images.<p>The move comes a month after Facebook’s Oculus division unveiled plans for its own untethered headset.<p>HTC …
Source: CW’s Flipboard Feed

November 12, 2017

AFI FEST Announces ‘Molly’s Game’ as New Closing-Night Film, Replacing ‘All the Money in the World’

Less than a week after announcing that Ridley Scott’s “All the Money in the World” will no longer serve as its closing-night film, AFI FEST has announced that Aaron Sorkin’s directorial debut “Molly’s Game” will now close the festival. The film, which stars Jessica Chastain as the real-life proprietor of a high-stakes poker game, had already been announced as part of AFI FEST but will now get pride of place as the final film to screen during the weeklong event.

Paul Thomas Anderson’s “Phantom Thread” and Steven Spielberg’s “The Post” had both been mentioned by festival-goers as potential replacements, which was probably wishful thinking; neither film is expected to screen until after Thanksgiving. “All the Money in the World” was pulled after several men accused star Kevin Spacey of sexual misconduct, and the actor’s scenes are now being reshot with Christopher Plummer in his stead.

The screening of “Molly’s Game” — which also stars Idris Elba, Kevin Costner, Michael Cera, Jeremy Strong, Chris O’Dowd, Bill Camp — will be preceded by a tribute to Sorkin.

“Aaron Sorkin is an American master, and we are proud to shine a proper spotlight on his directorial debut, MOLLY’S GAME, on AFI FEST’s Closing Night,” said Jacqueline Lyanga, AFI FEST Director, in a statement. “As Sorkin embarks on this next chapter of his career, his talents are timely for a tribute as he brings his gift of crafting compelling narratives and complex characters to the story of female impresario Molly Bloom.”

Source: IndieWire film

November 12, 2017

Nine Women Allege ‘Sexual Harassment, Degradation and Bullying’ at Zentropa, Lars von Trier’s Production Company

Nine women have come forward to speak about their experiences with “sexual harassment, degradation and bullying” at Zentropa, the Danish production company co-founded by Lars von Trier. Many of the accusations center around Peter Aalbæk Jensen, the company’s other founder, who is “highlighted by several sources one of the main figures perpetuating the system of degradation.”

These women offered their accounts to Politiken, one of the oldest and most widely read newspapers in Denmark. One of them, Meta Louise Foldager Sørensen, worked on such films as “Antichrist” and “Melancholia” and claims that “I think that everyone who has been employed by Zentropa has been exposed to or witnessed certain things. Both sexually charged acts and bullying or ‘teasing’. All of this was an ingrained part of the culture.”

Former employees claim that Jensen “would grope their breasts time and again. Get close and start moaning while they were on the phone” and “even arranged several sexually degrading acts on stage at the company Christmas party in front of guests from the film industry.”

Von Trier and and Jensen formed Zentropa in 1992, eventually growing it into Scandinavia’s largest film-production company. It played a key role in the Dogme 95 movement and more recently produced “The Hunt,” “A Royal Affair,” and “Nymphomaniac,” among others.

“There have been plenty of times when I’ve been over the top or gone too far,” Jensen told the paper. “And I stand by that fully. But the question is whether you are an adored leader or not. And I am an adored leader.” Read the full report here.

Source: IndieWire film

November 12, 2017

‘All the Money in the World’ Reshoots Will Probably Cost More Than $10 Million

Ridley Scott’s decision to replace Kevin Spacey with Christopher Plummer in “All the Money in the World” won’t be cheap. Variety reports that the unprecedented move, which came in reaction to numerous accusations of sexual misconduct being made against the Oscar-winning actor, “will likely be north of $10 million to the film’s budget.”

That’s quite the sum, especially considering the film’s production budget was already reported at $40 million. The reshoots are expected to take between eight and 10 days and involve Michelle Williams (who’s currently shooting “Venom”) and Mark Wahlberg (who’s promoting “Daddy’s Home 2”).

“All the Money in the World” was originally set to have its world premiere at AFI Fest this Thursday, November 16; that screening has been canceled, but Scott and Sony still plan to have the film ready in time for its scheduled release of December 22.

Source: IndieWire film

November 12, 2017

‘Three Billboards’ Joins ‘Lady Bird’ as a Female-Centric Specialized Smash

For the second straight weekend, a strongly reviewed new film with a central female character broke through the clutter of this mixed fall season to great success. “Three Billboards Outside Ebbing, Missouri” (Fox Searchlight) joined “Lady Bird” (A24) as the best starts among the many top titles vying for attention, and both did so by a wide margin above other films. “Lady Bird” added other top cities and proved its first week was no fluke, showing results unequaled since “La La Land” last year.

The grosses in both cases are early results, but the films look in prime position for both greater success and maximum attention just as the awards jockeying is reaching high gear. And given that both are female-centered, and not historical figure-based like so many other titles, makes them even more vital at the moment.


Three Billboards Outside Ebbing, Missouri (Fox Searchlight) Metacritic: 86; Festivals include: Venice, Toronto 2017

$320,000 in 4 theaters; PTA (per theater average): $80,000

Fox Searchlight’s best platform opener since “Birdman” three years ago fell slightly below the even stronger performance of “Lady Bird” last weekend. Close in this case counts, as the initial gross for Martin McDonagh’s acclaimed comedy/drama about a woman seeking justice responded to very good reviews, including plenty of attention for Frances McDormand’s performance.

This initially appears to have much greater appeal than the British director’s earlier “In Bruges” (adjusted almost $10 million in 2008) or his wider released “Seven Psychopaths” (close to $17 million). The early numbers position it strongly going into the awards derby as Searchlight returns to form after a series of under performing films, with Guillermo Del Toro’s “The Shape of Water” still to come.

What comes next: 12 new theaters add this Friday, with a Thanksgiving run of over 400 theaters planned.

Joachim Trier thelma


Thelma (The Orchard) Metacritic: 75; Festivals include: Toronto 2017, New York 2017

$12,358 in 1 theater; PTA: $12,357

Eclectic Norwegian director Joachim Trier returned to his native country after testing American waters with “Louder Than Bombs.” That Jesse Eisenberg/Isabelle Huppert starring New York-set film also was released by The Orchard. While not helped by the unheard of running of a favorable New York Times review on Saturday, not Friday, “Thelma” grossed more than half as much as the earlier film, despite playing at only one rather than four theaters initially. It’s a decent initial response for a subtitled film these days, and helps its cause as its country’s Oscar submission.

What comes next: Los Angeles in next on Nov. 24

“Lady Bird”


Week Two

Lady Bird (A24)

$1,249,000, in 37 theaters (+33); PTA: $33,766; Cumulative: $1,781,000

Greta Gerwig’s film started out as the strongest limited specialized opener of the year. Its second week big city expansion now is easily the top at this point since “La La Land” last year. The per theater average is substantially higher than other specialty hits this year: “The Big Sick” averaged $23,200 in almost double the number of theaters (bringing down the per theater take), while this is more than double what of “Wind River” in its second weekend at a similar theater count. It is 30 per cent or more ahead of what “Moonlight” and “Ex-Machina,” A24’s two biggest initially limited release titles, had done ten days into their releases.

With award citations beginning in its near future and a rapid expansion to initially go wide over Thanksgiving, this looks on track to be the distributor’s biggest success yet and potentially vie with “The Big Sick” ($42 million) as the top specialized film, at least among those released to this point.

Last Flag Flying (Lionsgate)

$172,000 in 32 theaters (+28); PTA: $5,375; Cumulative: $241,773

Veteran’s Day weekend saw a big city widening for Richard Linklater’s latest. Amazon Studio’s latest, about three vets reuniting when the son of one dies in Iraq, continues to struggle to find interest. In five fewer theater than “Lady Bird,” it did only about one sixth as much business per theater (which though is a better ratio than last week in four locations.) It remains possible that as this moves into mid-America its prospects could still improve, but it has a long way to go before it gains traction.



Castle Rock Entertainment

LBJ (Electric)

$(est.) 500,000 in 608 theaters (-51); PTA: $(est.) 833; Cumulative: $(est.) 2,076,000

Rob Reiner’s biopic about the 36th president dropped from its already weak start, with a third term out of reach.

My Friend Dahmer (FilmRise)

$190,000 in 45 theaters (+41); PTA: $4,222; Cumulative: $243,207

The interest shown last weekend in the initial dates for this graphic novel adaptation continues in its quick second week expansion. These again are quite credible grosses and suggest wider interest ahead.

1945 (Menemsha)

$20,920 in 2 theaters (no change); PTA: $10,460; Cumulative: $58,875

This Hungarian film about a Holocaust survivor’s return home continued its two initial Manhattan runs with a continued decent result.

Blade of the Immortal (Magnolia); also available on Video on Demand

$18,000 in 25 theaters (-6); PTA: $720; Cumulative: $98,581

Cult director Takashi Miike’s 100th film continues in select theaters while also streaming

Ongoing/expanding (Gross over $50,000)

Let There Be Light (Atlas) Week 3

$1,094,000 in 773 theaters (+131); Cumulative: $5,919,000

Kevin Sorbo’s latest faith-based polemic added more theaters but saw a 35 per cent drop. Its nearly $6 million gross though has been impressive.

Victoria & Abdul (Focus) Week 8

$675,000 in 637 theaters (-159); Cumulative: $21,537,000

The Judi Dench express continues with her latest still adding gross as it ends its second month in release.

The Florida Project (A24) Week 6

$579,370 in 229 theaters (+40); Cumulative: $3,839,000

Sean Baker’s acclaimed title continues to find interest as it slowly expands. It has continued to be on of the top fall performers, although not yet a crossover title in most situations. At this point, the somewhat similar “Beasts of the Southern Wild” had grossed an adjusted $6.7 million in a similar total theater count by its sixth weekend. But that film had its late summer play time see considerably less competition among adult fare.

Loving Vincent (Good Deed) Week 8

$515,140 in 212 theaters (+7); Cumulative: $3,934,000

This hybrid animated film is the most original biopic of the year, and its unique take on telling the story of the troubled Vincent Van Gogh keeps showing strength with only a small drop once again. This looks to have a shot at reaching $6 million or better.

"The Killing of a Sacred Deer"

“The Killing of a Sacred Deer”

The Killing of a Sacred Deer (A24) Week 4

$476,243 in 238 theaters (+152); Cumulative: $1,559,000

The third film in A24’s busy current slate, Yorgos Lanthimos’ typically offbeat European-set drama with Nicole Kidman and Colin Farrell, isn’t showing interest at this point at quite the same level as their two other films in release. It has widened quickly and looks to have reached most of the theaters where it might find interest.

Marshall (Open Road) Week 5

$419,425 in 596 theaters (+82); Cumulative: $8,464,000

Open Road has been sticking with this biofilm of the early career of the Supreme Court Justice, and it seems to have been worth it. They increased the dates this week, with the result of a small 17 per cent drop in gross. They have maximized its potential even if the result has been less than they might have hoped for.



Mary Cybulski

Wonderstruck (Roadside Attractions) Week 4

$245,220 in 261 theaters (+140); Cumulative: $825,262

Todd Hayne’s latest film, from Amazon Studios, had a substantial expansion with still the same minimal results seen in its initial weeks.

Jane (Abramorama) Week 4

$228,876 in 96 theaters (+41); Cumulative: $825,033

As in earlier weeks, this documentary about Jane Goodall and footage of her primates continues to find wider appear as it expands.

Goodbye Christopher Robin (Fox Searchlight) Week 5

$180,000 in 196 theaters (-66); Cumulative: $1,523,000

Another biopic — this time about how “Winnie the Pooh” came to be — has not attracted much of an audience, and is now losing theaters. It is likely to get to at best around $2 million.

The Square (Magnolia) Week 3

$156,156 in 50 theaters (+29); Cumulative: $447,239

This Swedish comedy and Cannes top prize winner continues to perform ahead of most subtitled films. It is expanding more quickly than most similar titles, and continues to get a respectable response as it reaches more cities.

Battle of the Sexes (Fox Searchlight) Week 8

$95,000 in 103 theaters (-55); Cumulative: $12,480,000

The Emma Stone-Steve Carell retelling of the Billie Jean King/Bobby Riggs tennis match carries on a theaters still as it completes what was quite a wide run with a mixed result.

The Noviatiate (Sony Pictures Classics) Week 3

$55,206 in 29 theaters (+13); Cumulative: $166,052

This 1960s American-set story of a nun in training isn’t getting much initial interest as it slowly expands to top cities.

Also noted

Faces Places (Cohen) – $32,207 in 20 theaters; Cumulative: $424,414

Wind River (Weinstein) – $30,339 in 86 theaters; Cumulative: $33,752,000

Lucky (Magnolia) – $30,000 in 45 theaters; Cumulative: $887,323

The Human Flow (Magnolia) – $21,000 in 23 theaters; Cumulative: $404,175

Breathe (Bleecker Street) – $17,059 in 32 theaters; Cumulative: $454,343

Bill Nye: Science Guy (PBS) – $14,350 in 1 theater; Cumulative: $22,186

BPM (Beats Per Minute) (The Orchard) – $10,703 in 20 theaters; Cumulative: $56,246

Mark Felt: The Man Who Brought Down the White House (Sony Pictures Classics) – $9,295 in 16 theaters; Cumulative: $755,541

Source: IndieWire film

November 12, 2017

Gal Gadot Won’t Make ‘Wonder Woman 2’ if Brett Ratner Is Involved — Report

Gal Gadot won’t be involved with the “Wonder Woman” sequel if Brett Ratner is too. That’s according to Page Six, who report that the action heroine wants to distance both herself and the franchise she stars in from a man accused of sexual harassment by several women.

“Brett made a lot of money from the success of ‘Wonder Woman,’ thanks to his company having helped finance the first movie,” a source told Page Six. “Now Gadot is saying she won’t sign for the sequel unless Warner Bros. buys Brett out [of his financing deal] and gets rid of him.”

Prior to the publication of several accusations against Ratner, Gadot canceled her appearance at a dinner where she was scheduled to present him an award.

“She’s tough and stands by her principles. She also knows the best way to hit people like Brett Ratner is in the wallet,” the source added. “She also knows that Warner Bros. has to side with her on this issue as it develops. They can’t have a movie rooted in women’s empowerment being part-financed by a man ­accused of sexual misconduct against women.”

Gadot had also made an Instagram post in the wake of the Harvey Weinstein scandal, writing, “Bullying and sexual harassment is unacceptable! I stand by all the courageous women confronting their fears and speaking out. Together we stand. We are all united in this time of change.”

Instagram Photo

Source: IndieWire film

November 10, 2017

The Unedited StoryCorps Interview: Marjorie Klindera & Carol Miller


Did you know that the stories you hear from us on NPR and our podcast are excerpts of interviews pulled from the StoryCorps Archive? Participants visit one of our recording locations with a friend or family member to record a 40-minute interview with the help of a trained StoryCorps Facilitator, or record a conversation using the StoryCorps App. We’re sharing this unedited interview from the StoryCorps Archive with you in its original form.

If you find yourself in a panic over your poultry this Thanksgiving, there’s a toll-free number you can call! The Butterball Turkey Talk-Line, which began in 1981, is where you can find experts like Marjorie Klindera and Carol Miller on the other end of the line to answer all of your bird-related questions. In November 2015, Marjorie and Carol recorded a StoryCorps conversation about the over 30 years they have each worked the talkline and shared stories about their favorite calls.  Long-time fans of StoryCorps may remember an edited version of this interview that aired on NPR’s Morning Edition, but this full-length recording includes a plethora of stories that never made it into the two-minute broadcast.

Carol tells the story of a caller whose home was destroyed by Hurricane Andrew.  All she had to cook with was a microwave, but “she was bound and determined to make a traditional Thanksgiving meal for her family.” The caller told Carol, “I’ve got so much to be thankful for — I have my family.”

Marjorie recounts the story of a caller who wasn’t calling to ask a question, but “calling to brag that he had solved his own problem — his turkey was too big for the pan that he had, and his solution was to wrap the turkey in a towel, stomp on it and break some bones, then it fit in the pan,” she says. “He was very proud of himself!”

Carol remembers a call she received from a young man who wanted to propose on Thanksgiving day. “He wanted to mix diamond ring in the stuffing and then stuff it inside the turkey.”  She convinced him that that wasn’t a good idea and together they came up with a new plan. “Every year, I think about him,” she says. “If she said yes and if everything went well, they’ve now got the kids around the dining room table, they’ve got the grandkids around the table, and I’m sure every year grandpa tells that story.”

If things don’t go perfectly to plan though, “It’s [about] having the family together,” says Marjorie. “The food, we try to make it as perfect as we can, but it doesn’t come down to that.” Carol adds, “And it’s kind of funny if something goes wrong, ’cause then you’ve got a memory for years and years!”  The job requires them to work an eight hour day on the holiday, but they are happy to do it because, as Carol says, “We cannot desert America on Thanksgiving!”

All material within the StoryCorps collection is copyrighted by StoryCorps. StoryCorps encourages use of material on this site by educators and students without prior permission, provided appropriate credit is given. This interview has not been fact-checked, and may contain sensitive personal information about living persons.


Source: SNPR Story Corps

November 9, 2017

25 Years of SXSW Film Festival – Keith Maitland

To commemorate the 25th edition of the SXSW Film Festival, we continue our weekly alumni spotlight on careers launched, artists discovered, powerful performances, and more with filmmaker Keith Maitland.

Maitland is a documentary storyteller whose narratives all revolve around the people and history of Austin, TX. In 2009, Maitland premiered his directorial feature debut, The Eyes of Me at the SXSW Film Festival.

Tower premiered at SXSW in 2016 and won the Grand Jury Award and Audience Award for Documentary Feature, as well as, The Louis Black “Lone Star” award. Tower is based on writer Pamela Colloff‘s Texas Monthly feature 96 Minutes, about the UT Austin sniper. Maitland used a mix of animation, interviews and archival footage to bring Tower to life.

That same year, Maitland directed A Song For You: The Austin City Limits Story which gave audiences a backstage pass into the show’s evolution. A Song For You won the Audience Award in the 24 Beats Per Second category.

We are honored to share his #SXSWFilm25 story with you.

“I love SXSW – the entire city is alight with parties and music and distractions of every type, and none of that matters when you step into the darkened theater to be transported by the incredible array of movies and premieres that Janet and Jarod bring to the screen.

My first night ever in Austin was SXSW 1994, spring break of my senior year of high school – it was the very first year of movies at the fest and I saw a doc called Janis Joplin Slept Here. I didn’t know much about Austin but that first night of SXSW convinced me that I could live and thrive in this town, and a few months later I was an Austinite.

Over & over, I am thankful and grateful that we got to launch Tower at SXSW. There’s something so special about the Austin audience, plus those that come here for the fest, and sharing this deeply emotional story here where it happened, was one of the most cathartic cinematic experiences I’ve ever witnessed.”

Stay tuned to SXSW News each week for more 25th edition stories.

Join Us For SXSW 2018

Grab your Film Badge today for primary access to all SXSW Film events including world premieres, roundtables, workshops, and parties. Register to attend by Friday, November 17 and save. Book your hotel through SXSW Housing & Travel for the best available rates.

Follow us on Facebook, Twitter, Instagram, and SXSW News for the latest SXSW coverage, announcements, and updates.

See you in March!

Photo by Mike Windle/Getty Images for SXSW)

The post 25 Years of SXSW Film Festival – Keith Maitland appeared first on SXSW.

Source: SxSW Film