By MCN Editor


Austin, Texas – March 15, 2011 – The Jury and Audience Award-winners of the 2011 South by Southwest (SXSW) Film Conference and Festival were announced tonight at the Festival’s Awards Ceremony, hosted by comedian Owen Egerton in Austin, Texas. Feature Films receiving Jury Awards were selected from the Narrative Feature and Documentary Feature categories. New for 2011, films in competition were also eligible for Jury Awards for Best Editing, Best Cinematography, Best Score/Music, Best Screenplay (narratives) and Breakthrough Performance (narratives). Films in these categories, as well as Spotlight Premieres, Emerging Visions, Midnighters, Lone Star States and 24 Beats Per Second, were also eligible for 2011 SXSW Film Festival Audience Awards. Only Narrative and Documentary Feature, Spotlight Premieres and Emerging Visions Audience Awards were announced tonight. Lone Star States, 24 Beats Per Second and Midnighters Audience Awards will be announced separately on Saturday, March 19.

SXSW also announced the Jury Award-winners in Shorts Filmmaking and Film Design Awards, and Special Awards, including the Louis Black / Lone Star Award, the SXSW Chicken & Egg Emergent Narrative Woman Director Award and the SXSW Wholphin Award. Details can be found at

“It’s been completely exciting to witness the overwhelming appreciation and acclaim for the 2011 SXSW Film lineup,” said Film Conference and Festival Producer Janet Pierson. “The unique combination creative talents from music, film and technology all in the same environment has once again set an electric backdrop for our films, and across the board, the combustion of new talent, fresh perspectives, and the engaged community has been exhilarating. We are happy our Awards can honor even a sliver of the wide-ranging talent we were privileged to host this year.”

The 2011 SXSW Film Festival Juries consisted of:

Narrative Feature Competition: Roger Ebert, Logan Hill, Michelle Satter

Documentary Feature Competition: Mark Olsen, Lisa Schwarzbaum, Sky Sitney

Narrative Shorts: Jon Korn, Jay Van Hoy, Rose Vincelli

Documentary Shorts: Brad Beesley, Jay Duplass, Amanda Micheli

Animated Shorts: Austin Kleon, Bill Plympton, Alison Willmore

Music Videos: Tom Blankenship, John Kunz, Ron Mann

Texas Shorts: Victor Diaz, Megan Gilbride, Adam Roffman

Texas High School Shorts: Cole Dabney, Marcy Garriott, Bart Weiss

Title Design: Ian Albinson, Jenny Lee, Tommy Pallota, Ron Pippin, Kurt Volk

Poster Design: Craig Crutchfield, Craig Denham, Marc English, Tim League, Charlie Loft, Danny Parker

Louis Black / Lone Star: Marjorie Baumgarten, Elvis Mitchell, Robert Wilonsky

For the 2011 SXSW Film Festival, 140 features, consisting of 66 World Premieres, 15 North American Premieres and 15 U.S. Premieres, were selected from a record 1,792 feature-length film submissions composed of 1,323 U.S. and 469 international feature-length films. 153 shorts were selected from 3,089 short film submissions. The nearly 300 films were selected from 4,911 overall submissions; a record number and a 23% increase over 2010. The 2011 SXSW Film Festival Awards were hosted by Ovation TV.

The 2011 SXSW Film Festival Award Winners:

Feature Film Jury Awards


Grand Jury Winner: Dragonslayer
Director: Tristan Patterson

Best Editing: Where Soldiers Come From
Editors: Kyle Henry & Heather Courtney

Best Cinematography: Dragonslayer
Director of Photography: Eric Koretz

Best Score/Music: The City Dark
Music by: The Fishermen Three, Ben Fries


Grand Jury Winner: Natural Selection
Director: Robbie Pickering

Breakthrough Performances:
Evan Ross – 96 Minutes
Rachael Harris – Natural Selection
Matt O’Leary – Natural Selection

Best Screenplay: Natural Selection
Writer: Robbie Pickering

Best Editing: Natural Selection
Editor: Michelle Tesoro

Best Cinematography: A Year in Mooring
Director of Photography: Elliot Davis

Best Score/Music: Natural Selection
Music by: iZLER, Curt Schneider

Feature Film Audience Awards

Winner: Kumaré
Director: Vikram Gandhi

Winner: Natural Selection
Director: Robbie Pickering

Winner: Becoming Santa
Director: Jeff Myers

Winner: Weekend
Director: Andrew Haigh

*Audience Awards for 24 Beats Per Second, Lone Star States, and Midnighters sections will be announced on Saturday, March 19, 2011.

Short Film Jury Awards

Winner: Pioneer
Director: David Lowery

Winner: Mothersbane
Director: Jason Jakaitis

Director: Beomsik Shimbe Shim

Winner: Hollerado, “Americanarama”
Director: Greg Jardin

Winner: 8
Director: Julie Gould & Daniel Laabs

Winner: ( __ )
Director: Chad Werner

SXSW Film Design Awards

Winner: Silver Bullets
Designer: Yann Legendre

Audience Award Winner: Green
Designer: Adrian Kolarczyk

Winner: Blue Valentine
Designer: Jim Helton

Audience Award Winner: Blue Valentine
Designer: Jim Helton

SXSW Special Awards

Winner: The Eagleman Stag
Director: Mikey Please

Winner: Sophia Takal for Green

Winner: INCENDIARY: The Willingham Case
Directors: Steve Mims & Joe Bailey, Jr.

Presented to: Erin Casper

About South by Southwest Film Conference & Festival

The SXSW Film Conference and Festival is a uniquely creative environment featuring the dynamic convergence of talent, smart audiences and industry heavyweights. A hotbed of discovery and interactivity, the event offers invaluable networking opportunities and immersion into the art and business of the rapidly evolving world of independent film.

The Film Conference buzzes as world-class speakers, creative minds, and notable mentors tackle the latest filmmaking trends amidst the unmatched social atmosphere of the SXSW experience. Simultaneously, the internationally acclaimed, nine-day Festival celebrates raw innovation and emerging talent, featuring a truly diverse program that includes provocative documentaries, subversive comedies, DIY narratives, genre standouts and more. For more information, visit

2011 Festival Sponsors

The SXSW Film Conference and Festival is sponsored by Miller Lite, Chevrolet, AOL, IFC, Brisk, PepsiMax,, Monster Energy and The Austin Chronicle.

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon