I actually had not given a moment’s consideration to attending the Slamdance Film Festival in Park City, Utah until someone at the House of Blues Elvis show asked me if I was planning to go. Even then, my immediate response was "of course not". The idea had been planted though, and once I remembered I had one more free ticket on Southwest, I set out to learn what would be involved in attending – it turned out to be eminently affordable on a by-film basis. (In other words, I wasn’t paying $350 for a Festival Pass!) The dilemma then was to find someone in Utah to purchase a ticket to the premiere for me. Tickets were to go on sale on January 22nd and at almost the eleventh hour on the 21st a friend of a friend agreed to do so. Unfortunately, when she arrived the tickets were already sold out. They suggested, however, that sponsor tickets might be available the day of the show. When I called to get information on this, I learned that they had added a few more tickets, andthey agreed to hold one for me. I immediately called a friend and had him pick it up the next day. And so, on January 28th I found myself enduring the slightly colder weather of Park City, Utah for the premiere of Dwight’s film.

I arrived late morning in Salt Lake City, and the ride up the mountain saw a few snow flurries fall. The intervening hours were spent just wandering through the many shops in Park City, and I was back at Treasure Mountain Inn in plenty of time for the 5:30 screening. While waiting, I chatted with a local couple who were volunteering at the Festival. This later turned out to be a fortuitous conversation. Finally, we were admitted. The room (a meeting room with chairs set theater style) held perhaps 100 and the center aisle was soon filled with pillows to accommodate a few more bodies. After a few words from Slamdance guy Dan, Dwight introduced the film. I won't go into any detail about the film itself out of deference for those who haven't seen it. The film received a good round of applause at it's conclusion, and Dwight came forward for Q&A with the audience.

Q. One girl said she like the atmosphere and the emotion she got from the film, and wondered what Dwight had intended to convey.
A. He replied that what he hoped to get across was the mundaneness that life often has, as well as the clumsiness of violence. He felt that westerns as a rule aren't realistic in either area. (Of course Dwight said this with many more words than I!)
Q. The same girl then asked, after having lived with the film for awhile how he felt about the pauses and the pacing.
A. He said that many editors, directors, etc. have told him he will probably never be "done" with editing the film; that he will always think of something new or different he might like to do -- but that overall everyone associated with the film felt good about the project. As an aside, he indicated that they had to quit the editing process about 2 weeks prior to get the film up and running for Slamdance, and that the Festival was aware some work still remained.
Q.Vince Vaughn indicated that he had a question.
A. Dwight laughed and said he couldn't believe that after all this time there were still questions Vince could ask.
Vince wanted to know what was up with the funky bandannas.
Dwight could only conjecture that the outlaw band had knocked over a store with women's fabric samples.
Q. A question was asked as to where the film had been shot
A. Dwight talked about the location in Tucson, and said they shot in 26 days.
Q. Someone asked about his influences for the film.
A. Among others, Dwight referenced "One Eyed Jacks", "The Fugitive Kind", and "A Man And A Woman".
Q. Someone asked if he had particular interest in westerns.
A. Dwight responded that in as much as he is a country singer, he has been approached to do westerns in the past, but that most westerns don't interest him. In writing SOHWOH he was attempting to create something that would interest him. He stated that most of the actors signed on to do the project a year in advance of it actually going into production. He said he tried to give each actor the space to create their own nuances and timing within the roles, and again thanked everyone for their efforts and belief in the project.
Q. Someone asked what his next project would be.
A. He responded "one with money!" -- he said he definitely did not have plans to do anything that didn't have financing securely tied down. (Note: relative to the financial difficulties Dwight encountered on the film, Buck Owens is listed as Executive Producer.)
There were no further questions so Dwight thanked everyone for coming.

The couple I had been talking with before the film found me in the lobby a short while later and handed me a pass for the Closing Night Party. It seemed they had walked over to Cisero's and were told the downstairs area was already at capacity and that the restaurant wouldn't be letting anyone else in until 11:00 or so as space allowed. This couple didn't plan to wait, and were very kind in walking back to the hotel to let me have their pass. I had a shuttle scheduled for 11:00, but headed over to Cisero's nevertheless to find out what the scoop was. (I'd overheard Punkin say that Dwight would be playing about 9:30.) Restaurant staff was adamant that no one else was coming in for two hours or more, so I headed off to get some coffee (it was cold out there!) After thawing out a bit, I wandered back by the restaurant because I've heard that sometimes Things Change. Sure enough access was easier this time around and as soon as the Awards portion concluded, the guys and Dwight were introduced. They played for about 40 minutes on a very small stage. Bridget and Vince were in attendance. Songs included "Guitars, Cadillacs" "Little Sister", "Fast As You", A Thousand Miles From Nowhere" "North To Alaska", and "Little Ways" among others. The end of the performance coincided nicely with my having to leave to catch my shuttle, and thus ends this tale.

Oct. 5, 2000 ~ A Special Screening of South of Heaven, West of Hell was held at the Laemmle Music Hall Theater in Beverly Hills. I flew down after work (gosh, what else would one do on a Thursday night?) for this screening since I was curious as to what changes might have been made since it's first showing at Slamdance. I learned that Dwight had already arrived when I reached the theater. I did see him in the lobby briefly a couple of times before the film began as he chatted with fans and friends.

A premature start to the film was interrupted by Slamdance personnel with an introduction of Dwight, who spoke briefly about the film and about My Friend's Place, to which proceeds of this screening, as well as from a benefit concert on November 4th at the Museum of Flying, will being donated. The film was rewound and we entered a world a little South of Heaven, and West of Hell. Approximately 20 minutes have been edited from the film and, to the best of my recollection, a few scenes have had footage replaced for a slightly different look to the scene. I thought the "flow" of the film was improved, and I noticed a couple of things relative to the sub-plot I hadn't picked up on previously. Overall, I thought this somewhat pared-down version had a nice rhythm to it, in addition to beautiful scenery, superb acting, and a "really interesting" sub-plot.

After the film, Dwight mingled with the crowd in the lobby. As mentioned on Yoakam Holler, Trimark Pictures has signed on as distributor and, with luck, the film will be in theaters later this year for everyone to see.

I'd missed the 10:00 flight back, so that meant it was the 5:30a.m. flight out of LAX for me...(don't you hate it when work interferes with the rest of your life?)

The Babylonian Cowboys
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