'Waco' Movie Controversy Takes a New Texas Twist

One of the producers involved in the controversial movie project Waco has resigned her post as head of international sales for Entertainment 7 and contends that political "pressure from above" the Texas Film Commission caused state incentives to be denied to the $30 million production, which focuses on the 1993 Branch Davidian standoff that left more than 80 people dead.

Tara Wood adds that her work on the Waco project "as it pertains to assistance with funding" is complete, and she will return to Austin soon to focus on her Texas-based entertainment distribution company. Emilio Ferrari, head of Sherman Oaks, Calif.-based Entertainment 7, will remain the Waco project's lead producer, she says.

"It’s very unfortunate that Texas will not benefit from this project," she says. "I’ve lived in Austin for 15 years, going back and forth to L.A., and have been actively involved in trying to get the film community back on track. This is quite a blow. I was very encouraged when the most recent bump in incentives went through, because it actually allowed us to consider Texas to shoot. I’m shocked at this [Texas Film Commission] decision.

"Since Mr. Ferrari has made that ridiculous statement 'will never ever shoot in Texas,' I have left his company as head of international sales of Entertainment 7. I’ll be damned if I worked this hard to have someone be that reckless! I have a Texas-based distribution company and will put all my efforts there again."

Ms. Wood notes: "When this all went down, the last thing I wanted was to be associated with anything against Texas or the Texan people. My argument is against the language in the provisions [which bars portraying "Texas or Texans in a negative fashion" in any project seeking state production incentives]. In my opinion, this is blatant censorship, and ‘the state’ of Texas needs to take a step into this generation. The picture is going to be made with or without Texas, with another state reaping the benefits, most likely Louisiana (again). It was unfortunate that [Texas Film Commissioner] Bob Hudgins has been attacked in all of this. He made the mistake of taking the blame and becoming the state’s scapegoat by stating it was his decision. If you know Bob, you know he wouldn’t deny the Texas people the benefits. I firmly believe there was pressure from above."

-- Si Dunn

Texas Movie Incentives: The 'Censorship' Controversy Continues

Texans and outsiders hoping to produce moving-image projects (movies, TV shows, documentaries or video games) with state assistance are beginning to wake up to the realities of a legislative restriction that some now decry as "censorship."

A statute signed into law with little fanfare in June, 2007, established the following conditions under which the state-funded Texas Film Commission is supposed to review applications for grants to assist moving-image productions:

"The office is not required to act on any grant application and may deny an application because of inappropriate content or content that portrays Texas or Texans in a negative fashion, as determined by the office, in a moving image project. In determining whether to act on or deny a grant application, the office shall consider general standards of decency and respect for the diverse beliefs and values of the citizens of Texas."

The part causing the most debate and heartburn at the moment involves the language where the Texas Film Commission "may deny an application because of inappropriate content or content that portrays Texas or Texans in a negative fashion, as determined by the office..."

Texas Film Commissioner Bob Hudgins recently denied a state grant to assist the production of a $30-million movie project called Waco, after some of the participants and observers of the 1993 Branch Davidian standoff that resulted in more than 80 deaths claimed its screenplay was "inaccurate" and portrayed some real-life characters in a negative light. Numerous Texas entertainment workers were hoping to get jobs on the Waco project. But one of the movie's producers has since stated that his company will "never ever" shoot a movie in Texas as a result of the ruling.

Some opponents of the Texas Film Commission ruling, including this writer, have voiced opinions that the Waco movie would be a work of fiction, no matter how truly "based on real events" it is, and the Texas Film Commissioner thus has been tasked by state legislators to censor fiction.

After all, some of the most successful and enduring movies about Texas, including Giant and The Last Picture Show, have not portrayed Texas and Texans in a positive fashion. Neither have movies such as The Texas Chainsaw Massacre and TV shows such as Dallas. But Giant and Dallas have brought tons of tourism dollars to Texas and are still paying off decades later. And other movies and TV shows, including the definitely inaccurate Walker, Texas Ranger, also will pay tourism and "image" dividends to Texas for many years to come.

Texas may as well face the truth. The state's image has been less than angelic to the outside world since at least 1836, and there's just no way the Texas Legislature will ever be able to stuff that genie back into a Shiner beer bottle.

Here are links to some of the ongoing discussions voicing criticism or approval of the Texas Film Commission action:


The Austinist.com

The Austinist.com

The Austin American-Statesman

The Texas Legislature currently is bogged down in a pile of partisan political battles over voter ID cards and other issues, and its session will end soon. Thus, the "in a negative fashion" restriction may keep generating controversy--and negative light for Texas politicans' lack of enlightenment--and keep causing job losses for many months or years to come.

-- Si Dunn

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Texas Movie Incentives = Texas Movie Censorship

"We can tell the story, 'The Scoundrels of Texas.' We have scoundrels. As long as we portray our scoundrels accurately, then those projects, you know, will be able to be included in the program," Texas Film Commissioner Bob Hudgins recently told News 8 Austin.

Hudgins was responding to questions about his recent decision to deny state assistance to Entertainment 7's movie project Waco, on the grounds that events depicted in the script did not accurately portray what the Branch Davidians and others said happened during the violent 1993 standoff near Waco that left more than 80 people dead.

Of course, who can judge what is "accurate" and what is not? One hundred people watching one incident will see it one hundred different ways and can create one hundred totally different accounts of what they just witnessed.

Movies -- unless they are billed as documentaries -- are fiction, and in fiction, anything goes. Nothing is "real."

As Austin actor and writer Curtis Wayne has pointed out: "Did The Sopranos paint New Jersey in a good light? Do you think NJ would vote 'yes' on incentives to have it shot there, knowing what they know now? Of course they would. This is silliness."

The provision invoked by Texas Film Commissioner Bob Hudgins goes beyond "silliness," however. State legislators have imposed outright censorship conditions that deny incentives to moving image projects which portray "Texas or Texans in a negative fashion."

Texas has long prided itself on being big, bold, strong and independent. But in this ridiculous case, it is attempting to protect itself in the same manner that a small-town Chamber of Commerce might try to guard the business image of its population-10,000 burg.

I repeat, movies are fiction, and in fiction, anything goes -- including "factual" inaccuracies and Texas buffoons and crooks. Was the TV show Dallas an accurate description of Big D, Texas and Texas oil tycoons? Yee-haaa! That's a big NO, cowboy. Has the fact that Dallas stayed on the air for 13 years, until 1991, somehow stopped or hurt Dallas-related tourism? No, people still show up from all over the world eager to see Southfork Ranch and other memorabilia of the series.

Texas definitely has not been hurt by this bald-faced bit of fiction. Indeed, the state has made a ton of money from it and equally inaccurate shows such as Walker, Texas Ranger. And Texas could keep making tons of money from Texas movies and TV shows, even those that criticize the state and mock the attitudes and mannerisms of the citizenry. We can be embarrassed all the way to the bank.

The Waco movie project had an estimated budget of $30 million, much of which would have been spent in Texas. The production company also wanted to shoot another movie in the state. Now, according to Entertainment 7's Emilio Ferrari, his company will "never ever" shoot a movie in Texas.

Quite a few Texans, some of them currently unemployed, were counting on those movie jobs, and now they won't be working. The production company also will not be buying food and supplies and renting equipment in Texas. This is a much bigger embarrassment than enduring 120 minutes of celluloid fiction showing federal agencies and Waco's Branch Davidians ending up in a violent shootout, standoff and deadly fire.

If the Texas Legislature has any sense at all (and, quite often, that is strongly questioned by Texas voters), the "in a negative fashion" clause should be stripped out of the Texas moving image incentives statutes just as soon as possible.

-- Si Dunn

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"Waco" Production Company on Texas: "We Will Never Ever Shoot in That State"

By Si Dunn

Emilio Ferrari, described on the Internet Movie Database website as "one of Hollywood's busiest independent producers," is hopping mad. Ferrari, an executive with Entertainment 7 in Sherman Oaks, Calif., is vowing to "never ever shoot" another movie in Texas.

The Austin American-Statesman reported May 20 that Texas state tax incentives have been denied for Entertainment 7's movie project Waco because of alleged "factual inaccuracies" in the script.

Waco focuses on the violent 1993 standoff between federal law enforcement agencies and the Branch Davidians led by David Koresh, at a compound near Waco, Texas.

Texas State Film Commissioner Bob Hudgins rejected the incentives, telling the American-Statesman that his decision was based on restrictions put into place in 2007 by the Texas legislature. A provision (introduced by Republican State Senator Steve Ogden) restricts filmmakers taking tax incentives from depicting "Texas or Texans in a negative fashion" in their productions.

Hudgins told the American-Statesman that his decision to deny the incentives to Entertainment 7 was "not censorship at all," and he added that Entertainment 7 is welcome to shoot Waco in Texas--without state financial assistance.

But Emilio Ferrari, in an email sent to Dateline: Oblivion from the Cannes Film Festival, sees things much differently:

"First of all, for the record, the script on the story of what happened in Waco is very accurate. Years and years of research and our co-producer is someone whose Waco doc won an Emmy and was nominated for an Academy Award. Also, it's pure bullshit what the head of the film commission said about the script having factual inaccuracies. He has had the script since last year and loved it and couldn’t wait for us to come there and shoot and was helping us with locations, etc. And now, suddenly, the script is no good, like he is amazingly now an expert on Waco based on his years and years of research. Come on, give me a break. We all know what’s going on here. It's politics in full force. And...it's pure censorship and political pressure," Ferrari stated.

"We were also going to bring another film to shoot there (Texas) with a studio behind it, but now, after all this, we will never ever shoot in that state. And we shoot a lot of films."

This news likely will be disappointing to many who work in Texas' struggling moving images industry. Hopes for new productions and new jobs have been running high since Gov. Rick Perry signed Texas' new production incentives legislation into law April 23 at Robert Rodriguez's Troublemaker Studios in Austin.

The Waco movie was expected to create numerous production jobs in Texas.

But as Ferarri told the American-Statesman, "It's not a movie about Texas. It's about an incident that happened there, but it could have happened anywhere."

In this case, after the incentives rejection, Waco very likely will now be filmed "anywhere"--except Texas.

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Two Moments in Austin (Photos)

Texas Senate in Action (April 29, 2009)
(Photograph copyright 2009, Si Dunn)

"Record Low" Temperature (May 15, 2009)
(Photograph copyright 2009, Si Dunn)

A True (and Truly Good) Tale of Newsprint and Murder

WAR OF WORDS: A True Tale of Newsprint and Murder
By Simon Read
(Union Square Press, $24.95)

You think the newspaper business is tough now? Competing newspapers in mid-19th-century San Francisco sometimes fought each other—literally—for circulation and advertising supremacy in a rough-and-tumble city fueled by Gold Rush money, whiskey and gambling and ruled by corruption, vigilantes, violence and scandal. Publishers were beaten or murdered. Editors sometimes faced off with dueling pistols. Mobs angry at articles or editorials surged into newspaper offices and destroyed everything in sight. And, notes author Simon Read in War of Words, “Reporters roamed the streets like rival gang members, many with the reassuring weight of a sidearm against the hip.”

At times, a half dozen or more newspapers battled each other for readers, and there was plenty to write about—or gossip about—in mid-19th-century San Francisco.

“Murder was the news industry’s bread and butter in those early days,” the author writes. “A tale of killing always received priority coverage and was seldom cut or held to make room for copy of a less dramatic nature….In the 1800s, much like today, sex and violence sold newspapers.”

Right in the middle of this newsprint melee, the famed (and recently financially imperiled) San Francisco Chronicle was born “as a throwaway vehicle for theater advertisements and drama critiques” known as the Daily Dramatic Chronicle. It was founded by two brothers, Charles and Michael de Young, members of “a family with an obscure history draped in sordid rumor.”

The de Youngs, however, proved to be adept and lucky businessmen, Simon Read points out in this engaging, entertaining and enlightening historical portrait of San Francisco journalism and the controversial personalities behind it. The de Young brothers paid back their publication’s startup loan just one week after their debut issue on Jan. 16, 1865. They also kept costs low by doing all of the newsgathering, typesetting and publishing themselves. They even gathered up and recycled old issues in clever ways that brought in a little extra money and helped build up their publication’s reputation.

The Daily Dramatic Chronicle soon became a magnet for writers such as Mark Twain, Bret Harte and others who later would become famous. It also got an unexpected circulation boost from a tragic event in Washington, D.C., when President Abraham Lincoln was assassinated. The brothers’ newspaper normally went to press after the city’s morning papers had published and long before the afternoon papers appeared. The Daily Dramatic Chronicle was able to hit the streets with fresh headlines and quickly follow up with extra editions as stunned people scrambled to get the latest news about Lincoln’s death. Meanwhile, mobs attacked and destroyed some of San Francisco’s newspapers that had taken pro-Southern or anti-Lincoln stances.

After these dramatic events, and now with fewer competitors, the newspaper kept growing and later was renamed the San Francisco Chronicleon Aug. 16, 1869.

But new troubles and controversies were just beginning for what would become San Francisco’s premiere daily newspaper. Simon Read’s new book takes the reader deep inside the turmoil of the San Francisco Chronicle’s early history as a war of words spirals out of control between Charles de Young and Isaac Kalloch, a mayoral candidate and well-known “hellfire preacher” with a scandalous reputation. One man soon would shoot and almost kill the other, and a son of the survivor later would retaliate by shooting and killing his father’s assailant.

The author, a former Bay Area reporter who has written three other books, has done an excellent job of mining colorful quotes and details from newspaper articles, periodicals, magazine articles, and court transcripts from “the time in question.”

WAR OF WORDS: A True Tale of Newsprint and Murder definitely lives up to its title and subtitle.

-- Si Dunn

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How I Made a Science Fiction Short Movie at My Kitchen Table

One weekend, I really, really wanted to make a no-budget science-fiction short movie set in outer space. But all I had available was a kitchen table, a digital video camera, a webcam, a few still photographs of the moon, some ski clothes, several pieces of outdated electronics gear, some Christmas lights, and the ability to generate cheesy sound effects and weird music.

Obviously, I couldn't go into the "future" with such a motley collection of junk. I would have to create a short movie that is set in the fairly recent past. Some of the electronics gear had been new in the late 1970s. So that became the timeline: a Seventies' sci-fi tale.

I would boldly go where I had no other choice to go.

One other problem: I had no cast and no crew. I would have to do it all myself, including acting. And, naturally, I look nothing at all like someone who would get sent into space. (Except, perhaps, to get rid of me.)

But, I persisted. I piled up all of the junk on the table and stared at it for a long while (wondering if I was insane). Then I started scribbling a little script.

Maybe, I decided, if I arranged the electronics gear a certain way and used the cheap little webcam to capture some video images, I could simulate being in space. Sort of?

So that's what I did. First, I shot some short, closeup clips of the electronics gear, using a cheap little Canon ZR-500 miniDV camera. Then I stacked the gear up on the table.

To simulate a camera in a space capsule, I used a very basic webcam and tried to pretend to be an astronaut while wearing some old ski clothes. I did not, of course, receive any Academy Award nominations for my performance.

The only way I could simulate weightlessness was to use a radio microphone with a fairly stiff, coiled cord. I could shove it into view from just off camera and catch it just as the coiled cord lost tension and the microphone seemed to float toward my hand.

The moon and Earth pictures were public domain. I printed out some moon pictures and used a digital still camera to create closer and closer views of the surface--to simulate a porthole view of falling from orbit.

Next, I recorded a variety of electronic and atmospheric sound effects (such as static), using a simple tape recorder held in front of the speakers of shortwave radios.

Finally, I combined audio and video tracks in Windows Movie Maker and created the cards for titles, credits and story text. The music is something that I made up by recording a few sounds, slowing them down, playing them in reverse and looping them.

The resulting short movie, Will, has brought in a few good comments and emails since I posted it on YouTube about two years ago. Some people have even suggested that I should make some new episodes in which the astronaut has survived the crash and is now stranded on the moon.

But, to be completely honest, my career as a kitchen-table movie astronaut probably is over. I can't afford enough green cheese to build the necessary sets.

--Si Dunn