
In the middle of writing the follow up to his 2009 feature, St. Nick, David Lowery was stuck. “I reached a point in the script where it became very difficult,” Lowery remembers. “I was trying to make it an action movie, but I wasn’t sure why I wanted to make the story. So I did what I always do when I’m fed up, which is go for a run.” While jogging, Lowery plucked the seed of a scene from his script — a father talking to his daughter one night — and spun it out into something a little different: a bedtime story between a father and his son. “The whole story erupted in my mind,” says Lowery. “It was just there.”
Upon returning home, Lowery typed the story out in one sitting, and that afternoon jog turned into Pioneer, one of the best shorts you’ll see all year. A single scene, the short focuses on the father as he tells a violent story about a soldier and an absent mother to his absorbed young son. Both a fanciful tall tale and a mysterious, even frightening, parable, the bedtime story ushers not only the young son, but us too into a metaphorical, mixed-up place, where childlike wonder coexists with adult wisdom. Musician and actor Will Oldham plays the father and what a joy his sensitive, empathetic and pitch-perfect performance is! The four-year-old Myles Brooks is equally sensational. Pioneer premiered at Sundance 2011 and went on to win Best Short at SXSW, the Indie Grits Festival and the Ashland Independent Film Festival. The film will be released by Wolfe Video on DVD this August.
Recently, Lowery watched Pioneer on a double bill with St. Nick, which is a sparer take on childhood more concerned with tone and texture than story. “St. Nick is like a distended version of my memories of childhood,” he says, “and Pioneer takes the same themes and collapses them into a more concise form. It represents a step forward for me as a filmmaker, and it’s also directly personal, which is the reason I dedicated it to my dad.”
When the Dallas-based Lowery is not directing his own features, he’s making a living editing — both corporate and commercial work as well as indie features. He co-edited Dustin Guy Defa’s tremulous relationship drama, Bad Fever, and he’s currently cutting Andrew Brotzman’s Nor’easter. “Working on other people’s films makes me a better director,” admits Lowery, adding that he “loves all kinds of movies. I’m going to see Transformers: Dark of the Moon 3D today, despite myself.” And when he’s not writing or directing or editing film, he’s often writing about it. His “Drifting: A Director’s Log” is one of the best filmmaker blogs, filled with information on his own shoots but mostly his takes on other films, everything from Malick’s The Tree of Life to work by the colleagues he meets on the fest circuit. “I feel that building an audience is part of being a filmmaker,” Lowery says. “I was blogging in 1999, before blogging was even a word, and I’ve kept it up. I didn’t go to film school, so seeing someone mentioning a title online and then going and watching it and exchanging ideas about it in the blogosphere — that’s been my education.”
Next up for Lowery? He’s talking to a couple of Hollywood producers about larger projects but, for the moment, he says, “I’m in pre-production on my next feature, which is about an outlaw in the ’70s who breaks out of prison to find his wife and daughter and build them a house.” — Scott Macaulay
Contact: davidpatricklowery@gmail.com
ST. NICK trailer from ST NICK on Vimeo.
David Lowery, one of Filmmaker’s 2011 “25 New Faces,” is set to direct a new, “contemporary western” that teams him with three others from our annual talent survey. As announced by Deadline, Ain’t Them Bodies Saints is set to star Rooney Mara (picked for our 2009 list) and will be produced by a team including Jay Van Hoy and Lars Knudsen (from our 2006 list). Ben Foster and Casey Affleck are also attached; James Johnston, Toby Halbrooks, Amy Kaufman also produce; and the pic is repped by WME Global. Evolution Independent’s Cassian Elwes is putting together … Read the rest
At SXSW a panel titled “The Great Cinematography Shootout” gathered a group of directors and cinematographers to discuss independent film lensing in an age of proliferating formats and lower-cost, high-quality cameras, like the Canon 5D. The directors of photography were Jody Lee Lipes (Girls, Tiny Furniture, and also the director of Opus Jazz), James Laxton (Medicine for Melancholy, Leave Me Like You Found Me), Clay Lifford (Gayby, and also the director of such films as Wuss and Earthling), PJ Raval (Trouble the Water, Sunset Stories, and also … Read the rest
(Bad Fever opens in New York City at the reRun Gastropub beginning Friday, January 3, 2011. It world premiered at the 2011 SXSW Film Festival and is being distributed by Factory 25. Visit the film’s official website to learn more.)
For those viewers with a deep-seated fondness for the character-based New Hollywood dramas that were churned out in the 1970s, Dustin Guy Defa’s Bad Fever will feel like a welcome return to that glorious past (I should know, as I am guilty of said deep-seated fondness). From the spare opening title card—complete with a copyright tag at the … Read the rest

Here outside Zoom following BMI’s annual seat-switching dinner are elusive rock icon Rodriguez and Malik Bendjelloul, the director of his doc, Searching for Sugar Man. At the dinner, I asked Bendjellaul whether he was a fan of Rodrgiuez’s before the film. No, he said. He was looking for a story and hear about the Rodriguez saga from a private detective. The film was acquired at Sundance by Sony Pictures Classics.

Left behind after the Sundance premiere of Exit to the Gift Shop was this Banksy artwork, nicely framed by the good folks in Park City. Caught checking out the … Read the rest
Filmmaker David Lowery (Pioneer, St. Nick) has an interesting piece on his blog today comparing the storytelling engines in Sean Durkin’s Martha Marcy May Marlene and Julia Leigh’s Sleeping Beauty. Martha, he argues, deliberately builds tension by withholding key information, while Sleeping Beauty lays everything on the table up front in an attempt to diffuse tension and focus deeper on story, theme, and character.
In the article, Lowery also defends Martha against Richard Brody’s recent New Yorker blog post (a response in itself to Anthony Lane’s review of the film) in which Brody argued … Read the rest
Independent Film Week wrapped up last night with a closing night party swankier than most of us in the non-profit indie film world are used to. There were lobster rolls. There was paella (seriously, more paella in one place than I’ve seen over my entire life.) And there were three-hundred underfed indie filmmakers. Not a bad deal
This was my third time at Film Week, and easily the best. Over five days, we hosted 2,200 filmmaker/industry meetings, as well as a conference, a screening series and a boatload of other special events. Here are some final photographic highlights:

Writer/Director … Read the rest
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