By Lee LaMarche
It’s been said that Arkansas is becoming a hub for film. I’d argue that it’s been “hubbing” for longer than most people realize. As someone whose tenure in the state started a mere five years ago, it was a thrill and surprise to learn that the Arkansas Cinema Society (ACS) has been holding the Filmland festival since 2017. Held at the beautiful Arkansas Museum of Fine Arts, the annual gathering brings together local filmmakers, industry professionals, and some of the biggest names in Hollywood for a variety of screenings, talks, and round-table discussions. I was lucky enough to make the 200-mile trek from my home in Bentonville for the final day at Filmland.
One of the more interesting (and technical) events was the Panavision Fireside Chat. The intimate talk between Panavision Marketing Executive Mike Carter and cinematographer Gabe Mayhan brought what could have been a strictly high-level discussion about lighting and lenses to a group of both insiders and amateurs looking to learn. Carter doled out interesting industry tips such as “when trying to film with a 1970 look, use 1950 lenses as modern sensors may be too good at correction”, which seems obvious only AFTER you’ve been told. Mayhan’s advice of “light the space, then the face” boiled down a career’s worth of knowledge into something even a writer like me could understand.
“It’s not about if you’ll make a film. But when and with whose money” - Jeff Nichols
However, the overwhelmingly uplifting moments came during Variety’s Southern Storytellers panel. As a first-time screenwriter/producer, it was beyond inspiring to hear from a group of writers/directors/producers who could directly address catalysts and inspirations from their own careers. Craig Brewer (Fight Night: The Million Dollar Heist) spoke to the idea that everyone finds their own way to success, “You don’t need anything you think you need to make films”. Jeff Nichols (The Bikeriders) shared this wisdom, “It’s not about if you’ll make a film. But when and with whose money”. This direct advice to burgeoning film students and seasoned industry veterans was met with applause and knowing nods by those in attendance.
The biggest star in the room was, by far, Coleman Domingo (Sing Sing) who spoke of his working-class background and supportive parents who, although they did not necessarily understand what he was doing (hoping he would choose a “career” rather than just have a “job”) were behind him 100%. Domingo made it clear that although he felt his career took off later than most, he was never a “struggling” artist. In fact, he found the word “struggle” to be a bit demeaning both to himself and to artists in general. He preferred the term “hustle”. A hustler is always preparing for their next gig. They are active, directing their lives as much as possible. He believed in changing the narrative to “hustle not struggle”. This rang true for me as someone who has always had jobs while trying to find the career I was expected to have. In my late thirties, I was given the unbelievable opportunity to concentrate on writing as a career rather than as a hobby. Some would see this as a disadvantage as if I’m past my prime, but in Domingo’s eyes and those of the others on stage, it means I just have some catching up to do.
On another personal note, I was moved by Sing Sing producer, Monique Walton. She spoke about the filmmaking process and how we are all “fiction filmmakers”. This phrase echoed through the hall and made its way to the second-to-last row where it hit me like a cannonball. She spoke about her own experiences at Yale, realizing that she had created a short film that rang true with others, moving on to bigger projects, and winding up at Cannes. She spoke of her career as not just a series of lucky breaks but as something she worked towards and achieved. This felt genuine to have someone say “Sure, I might have had some luck, but I worked damn hard to get it.” Regardless of what we’re making, we are creating, we are developing, we are carving and delving. The idea that we are all creating something to be proud of, regardless of who sees it, is the first step in the process. It made me want to grab my own life by the shoulders and direct it exactly where I want it to go.
I would be remiss if I did not discuss the capstone to the entire event. Coleman Domingo was there not just to show us that careers can find their footing at any point. He was there to share his new film “Sing Sing”. The fully-packed house sat in rapt attention as the true story of a performing arts program for prisoners decided on and prepared for their next show. I was moved to tears at various points and found myself laughing pretty hard at others. Sing Sing may have been one of the best cast movies of the year, choosing to use real prisoners from the acting program rather than dipping into the standard Hollywood pool. These were men who were essentially reenacting a piece of their lives, men who proved that genuine emotion could hit an audience where they live. Domingo’s performance was award-worthy but in my opinion, Clarence “Divine Eye” Maclin should be in the running for Best Supporting Actor by virtue of his ability to deliver both menacing realness and a stirring Hamlet soliloquy.
As a first-time Filmland attendee, I was promised a look at all angles of the industry. In this, it did not disappoint. I was left desperately inspired. If you were unable to attend this year’s events, it behooves you to get involved and get tickets as soon as next year’s lineup becomes available. If you’re interested in film at any level, Filmland will not only address your needs but also fill you with more knowledge and excitement for filmmaking than fits in any brochure or website.
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