October 9, 2014

 
 
really excited to program the world premiere of Seth Caplan’s FLATLAND 2: SPHERELAND at Austin Film Festival in 2012 so it’s great to continue to support his work.”  Caplan currently has several films making their way around the festival circuit and the upcoming MEET ME IN MONTENEGRO (with MIDNIGHT KISS writer/director Alex Holdridge).  "I'm honored to show the post-apocalyptic world of The Well at OTHER WORLDS AUSTIN,” says Caplan, “It's always a thrill to bring my films home to the ATX!"

The Well world premiered at the Los Angeles Film Festival where LA WEEKLY said: “Apocalyptic nightmare The Well doesn’t need a gimmick - It’s as brutal and beautiful as genre flicks get...”  The film won Best Screenplay and Best Actress at Las Vegas Film Festival and has also played/will play prior to screening at Other Worlds Austin Vancouver International Film Festival, Grimmfest (Manchester, UK), Chicago International Film Festival, Fantasporto (Portugal) and Black Bear Film Festival (Pennsylvania).  This is Tom Hammock’s first feature as a director but he does have 25+ credits as production designer including THE GUEST, YOU’RE NEXT, THE LAST EXORCISM, and segments of V/H/S/2.   Hammock and Forman were two of the three people on All The Boys Loves Mandy Lane from its initial development in 2003.  In addition to Jon Gries, the film stars newcomer Haley Lu Richardson as Kendal and Booboo Stewart (TWILIGHT, X-MEN: DAYS OF FUTURE PAST) as Dean.
 
 
 
 
Check in for 10 Screenings of SciFi
 
 
 
 

by Courtney Hazlett

Coming in for the weekend for Other Worlds Austin?  There are a few hotels near the Galaxy Highland Theater that have graciously offered our Other Worlds Austin attendees a discount!  Please note: you are responsible for all of your own reservations and charges. We at OWA just want to present to you a couple places that have been kind enough to offer discounts on their room rates during your stay! Besure to tell them that you are coming in for Other Worlds Austin.

Holiday Inn Midtown (6000 Middle Fiskville Rd, Austin, TX 78752) 

  • $109/night for a Run of House room

  • Use code: OWA or click here

  • Must reserve by November 7th to be guaranteed this rate!

  • Reservations must be cancelled no later than 4pm 48 hours prior to arrival to avoid penalty

  • contact: http://hiausmid.com or 512-451-5757

 

Orangewood Suites (935 La Posada Dr., Austin, TX 78752)

  • $89/night plus 15% tax for a Single Suite (1 king size bed, 1 full size sleeper sofa, 1 full kitchen, 1 full bathroom)

  • $109/night plus 15% tax for a Double or Loft (1 king size bed, 1 full size sleeper sofa, 1 full kitchen, 2 full bathrooms)

  • Rate includes complimentary hot breakfast buffet, internet, and parking. Lite meal M-F 5:30pm until 7:00pm.

  • Rate available until December 7th

  • Reservations must be made in advance and will be based on availability. Cancellations must be made 48 hours prior to check-in to avoid penalty cost of first night rate.

  • contact info: http://www.orangewoodsuites.com or 512-459-3335

Orangewood Inn & Suites (9121 North IH-35, Austin, TX 78753)

  • Single Room - $60/night plus 15% tax (1 king size bed with refrigerator and microwave)

  • Double Room - $69/night plus 15% tax (2 full size beds with refrigerator and microwave)

  • Rates available until December 7th

  • Reservations must be made in advance and will be based on availability. Cancellations must be made 48 hours prior to check-in to avoid penalty cost of first night rate.

  • contact info: http://www.orangewoodinn.com or 512-836-0079

Again: you are responsible for all reservations and charges.  We look forward to seeing you in December!

 
 
 
 
Top 5 SciFi Costumes
 
 
 
 
 
 
Dipping Into THE WELL with Director Tom Hammock
 
 
 
 
Back in June I had the great fortune of catching THE WELL before anyone else, when I previewed the film for an article for AMFM Magazine.  Here is that article from the films World Premiere. 

Dipping Into THE WELL with Director Tom Hammock (And Coming Out Covered In Post-Apocalyptic Oil Sludge)

By BEARS FONTE
Reprinted by permission from AMFM MAGAZINE

I just finished up a post-apocalyptic week with a screening of the Guy-Pierce-starring THE ROVER (review to come) and director Tom Hammock’s THE WELL, which made its world premiere at the LA Film Fest last Thursday. Hammock’s film follows teen scavenger Kendal, who, with her boyfriend, remains one of the last hold outs in a dust-covered valley slowly being taken over by ‘water baron’ Carson (played by Jon Gries, Taken, Napoleon Dynamite). I had a chance to speak with Hammock hours before the premiere about his rather dark vision for our future and he told me the setting came right out his childhood. “I grew up spending a lot of time in the desert because my dad’s a biologist,” says Hammock, “there were all these areas that when I was little were alfalfa fields and wheat fields and family farms between Los Angeles and Mammoth. Over the course of the last twenty years or so, they drained their ground water too low, and the top soil blew away, just like in the dust bowl, and all these families walked away from their farms.” This tragic human-induced geological change provided the perfect playground for Hammock’s story. “We shot in this really sad area, Lucerne valley,” he explains “where we literally were shooting in family farms with possessions still buried in the sand. So all that’s real, like sand pushed up ten feet on the windy side of the house.”

Hammock co-wrote and co-produced the film with Jacob Forman, who wrote one of my all time favorite Texas horror films, ALL THE BOYS LOVE MANDY LANE (on which Hammock served as Production Designer). The look of the film was central even in its earliest stages. “He and I have this sort of unique process where, when we’re starting a project,” explains Hammock, “at the same time we’re doing treatments, I do a whole lot of visual research like I’m designing the film and build these booklets of locations and props and photos of characters and that way we can constantly refer back to it when we’re writing.” One of the best things about THE WELL is how complete the world feels, and the way the audience is just thrown into it, with very little explanation. This was by design, according to Hammock: “every futuristic movie starts with the globe spinning and just telling you what exactly has happened, we wanted to be different because we felt like that would make the movie more real.” The titular ‘well,’ which has kept Kendal and her boyfriend alive in the wake of the mass exodus, has dried up, and now Kendal must find a way out. Her quest for a distributor cap that will fit their broken-down plane becomes desperate and her search leads her further away and closer to the gas-masked goons that do Carson’s dirty work.
 
Carson is heartless, but really just an extension of the power hungry industrial tycoons that exist today. He even has a somewhat forgivable driving reason, leaving a legacy for his daughter Brooke, a cold-blooded killer about Kendal’s age. “We really just tried to give it a different look from other apocalyptic films,” says Hammock, “you know you have the punks and the cannibals and all that stuff, which is fantastic for those films, but seemed a bit far-fetched for us. The closer we kept it to reality, the scarier we thought it would be.” So this isn’t Mad Max fighting over a tank of gas. In fact, the twist is especially nice when Kendal must break in to Carson’s compound, actually swimming through a pool of oil. Hammock wanted to “make the oil the waste product, as opposed to, you know you go to all the oil derricks now and they pump out that waste water.” Hammock also enjoys that so much of the film is rooted in science and what’s happening now, saying “a lot of the stuff is within one step from reality.” Even Kendal’s search for the distributor cap is “mechanically correct,” he brags, it’s “the one thing you can transfer from a car engine to an airplane engine.” This sequence is also an overt reference to the same seminal post-apocalyptic film they seemed to be distancing themselves from: “if you think back to the very first Mad Max, the character is introduced putting the distributor cap into his interceptor,” says Hammock, “that became the basis for Kendal’s quest for our whole movie.”

Another aspect of the film that stands out in contrast to a majority of films in the genre is the strength and central importance of the lead character. “There was a very specific thought behind that,” says Hammock, “we just kind of wanted to take the protective stereotypes we have in samurai films and westerns – which in many ways is what this is – and to turn them on their heads.” So in The Well, the young girl is protecting the boyfriend, looking out for the child, fighting the bad guy. The actress, Haley Lu Richardson, really had to be up for almost anything. “We went through three or four auditions,” Hammock says, “and really put her through her paces because we have this really unique situation in the film where it is single point perspective film so she is either in every frame or its her p.o.v.” There is also a great deal of fighting – guns, swords, and hand-to-hand – and Richardson’s background as a dancer allowed them to shoot the sequences “in camera and really give us the 70s feel.” Instead of cutting on each kick or hit, says Hammock, “we just keep it all in one take and let them fall all the way to the ground, so it feels more brutal.” 

 
 
 
 
Also on OtherWorldsAustin.com
 
 
The Creepy Time Traveler (A Story-lette)
 
The Practical Effects of Special Effects
 
SciFi vs. Horror vs. Fantasy vs. RomCom: Cross Genre Stories
 
       
 
A Short Story by DAN REPP — "" just liked watching her smile. I thought my life would gain purpose if just one of those smiles were caused by me.”  Not 100% SFW or atleast children.
 
Blog by REID LANSFORD — "An audience that once gasped in awe at a seemingly never ending Star Destroyer pursuing a Rebel Cruiser through the stars looks at the green screened creation of Krypton in last summers Man of Steel and collectively shrugs."
 
Blog by BEARS FONTE — "Because Science Fiction often has to do with context of a situation, or a fundamental plot point, SciFi works can be horror films, they can be comedies, they can even be murky indie mumblecore films."
 
 
Inaugural OTHER WORLDS AUSTIN SciFi Film Festival
---------------December 4-6, 2014-----------------

 
 
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