The Circuit

by Dade Hayes
The only thing missing was the drum circle.

The Woodstock Film Festival, which wrapped Sunday, drew a crowd marbled with notables for its ninth edition and played out exactly as one might expect. Acoustic guitars were strummed. Vegetarians dined out. And incense, among other things, was burned.

Even a roster of recognizable named did nothing to alter Saturday night’s decidedly off-the-cuff awards gala, which prompted flashbacks to the loose-limbed Golden Globes ceremonies of yore transplanted to upstate New York.

James Schamus, the Focus Features topper who received this year’s Trailblazer Award, said, “I’m not a big fan of awards, but this night has not only been ruthlessly efficient but also real.”

Situated just 90 miles north of Gotham, Woodstock also lures many film biz pros who live north of the city. It has always had a strong buy-in from the specialty and indie scenes. Panels during this year’s fest featured the likes of sales guru John Sloss, producer Ted Hope, IFC marketing/publicity VP Ryan Werner, former Red Envelope chief Liels Copland and Cinetic’s Matt Dentler.

Because of the low-key vibe of the place, conversations are free-flowing and discursive (a little too much so for those involuntarily being pitched a passion project). Sloss, on a panel about alternative distribution (moderated by yours truly), held forth on the dismal state of the acquisitions biz. While he acknowledged doing a lot of business with IFC, he said that the company “is basically a VOD company that uses theatrical as a way to promote the DVD.”

Schamus’ use of the word “efficient” to describe Saturday’s gala was a bit generous, given how chaotic the stage was at times on Saturday as presenters brought other presenters to the stage, and they in turn gave out awards. Aside from Schamus, honorary prizes went to d.p. Haskell Wexler and director Kevin Smith.

“Now, somebody dressed a lot better and smelling a lot better than me is going to come out and say a few words,” said Mark Duplass, a T-shirt-clad Austin filmmaker (“Baghead,” “The Puffy Chair”) in one characteristic moment.

Sloss, his post-Toronto blues at bay, rallied to toast longtime client Kevin Smith. Melissa Leo, an Oscar hopeful this year for “Frozen River,” vamped discursively for 15 minutes, detailing her flights to and from the San Sebastian fest, where she won best actress, and ranting about Dollar Rent a Car.

Ang Lee offered a wry intro to Schamus (“People are always surprised how funny he is – and that he speaks English,” the honoree joked) and John Sayles, Maggie Renzi and David Straithairn brought Wexler to the stage, a few minutes after an unidentified man crashed the stage as seven (count ‘em!) cinematographers were claiming a trophy named after Wexler for their work on the doc “At the Edge of the World.” At the edge of the stage, he confessed, “I’m not one of the seven. I just wanted to meet Haskell Wexler.”

In the other major competitive prizes, audience awards went to “Let the Right One In” (narrative) and “Playing for Change: Music for Peace” (documentary), while jury prizes were given to “Prince of Broadway” (narrative) and “In a Dream” (doc).

Smith, who took home the towering hunk of molded metal called the Honorary Maverick Award, cracked, “In any other year, it’d be great to be called a maverick,” adding, “Other people got cool people to introduce them and I brought my lawyer. I’m sure he’s going to want 7% of this too.”