CARRIED AWAY, the Golden Alchemy Presentation, tells the story of Ed Franklin, a young man pursuing his dream in Hollywood, who returns to Texas at Christmas to reunite with his family in turmoil. His parents’ marriage has failed, his younger brother is waiting for the pot dealer’s trial, and his older brother bitterly blames him. Worse still, her beloved paternal grandmother was admitted to the nursing home after a stroke that left her mentally handicapped. Unlike his father and with the help of his grandmother, he abducted them with the intention of taking them with him. His father and brothers follow them in a race over rugged terrain that surprisingly ends in the California desert.
LOOK AT THE TRAILER
Fort Worth resident and Hollywood veteran Tom Hacaby (TAKING TIGER MOUNTAIN REVISITED) wrote and directed CARRIED AWAY and produced it together with James M. Johnston (A GHOST STORY, THE OLD MAN AND THE GUN) and co-producers Gabriel Horn and Jennifer Floyd, all from Dallas/Fort Worth. It was filmed in February and March 2009 in Northern Texas, Arizona and California. Arcosanti, Paolo Soleri’s experimental architectural community in the Arizona desert, serves as the backdrop for much of the second half. The high-resolution image (taken with the RED cameras of DOP Ron Gonzales) was edited during filming by Benjamin Wilbanks and Sam Krutsinger in a state-of-the-art mobile editing studio called Confidence Bay, set up by Krutsinger and his partner Michael David Weis. Extraordinary benefits and a significant number of additions collected by Tony Cobb Brock and Sally Allen came entirely from the DFW acting pool. Fire Theatre, Fort Worth, an award-winning musical ensemble, performs on the big screen and brings nine songs to the soundtrack. Curtis Heath (HELLION, 1985), co-director of Theatre Fire, composed the score. A semi-autobiographical fairy tale is a favourite project for a writer/director who decided to finance it himself to make a truly independent film.
STATEMENT BY THE DIRECTOR :
CARRIERE is based on my relationship with my family and especially with my grandmother, even though I haven’t taken her with me or traveled with her on long journeys since I grew up. I wrote the first design over 20 years ago in Hollywood. The agent, known for stirring up wars in plays, sent it to the top ten directors of the time. Next week they’ll all be gone, some suggest we go back when we get a star. In 2007, as a legacy of my brothers and sisters, I returned to my hometown in Texas to take care of my father with Alzheimer’s disease. I thought I would seize the opportunity to escape the film industry and follow my museum of art photography. Then came the Night Sliders, a small horror comedy directed by a small group of filmmakers in the bush south of Kautown. It’s one of the most entertaining and professional local films I’ve ever seen, with a certain extra that qualifies it as art in my head. Gabriel Horn, who was co-producer and protagonist of Night Crawlers, asked me to read what I wrote and I gave him Carried Away. The next day he called to say that he liked it, that he wanted to do it with me and produce it. He seemed confident he would find funding. Meanwhile, I took out a loan to buy a house I own in Los Angeles. We talked about filling the remaining roles with name players, and we made several requests to do so, despite my ambivalence towards the name game I’ve played in Hollywood for so many years. With Tony Cobb Brock and Sally Allen, the distribution leaders of the DFW premiere, I soon got the best possible distribution without a name. At that time the team had grown into mainly former members of the Night Sliders, but also James M. Johnston, a fan of the DFW-DIY scene, and his friends, Theater Fire, a local band I admired from afar.
The budget has gone from an unrealistic $75,000 cake to a realistic $275,000. But we only got my share to put the movie on the couch. Eventually, the rest of the money was raised through delays, credit cards and the sale of several investment points. The people I met on Facebook were cut out enough to cover the craft service. Perhaps because I am 60 years old and my father died of Alzheimer’s, the problems of the elderly seem so urgent and crucial to me. But anyone who follows the news knows that our society is ageing exponentially. The baby boomers, who have dominated American society since the 1960s, are part of old people’s homes and senior citizens’ centres. They are not satisfied with the second-class status that modernity wants to offer the elderly. For most of the century we have banned age and its natural effects. Like death itself, we brought the elderly as far away as possible. This attitude is not tenable. We need to treat the elderly in a new way, or maybe in an old way. I have no answers, but I have questions that are better formulated in my film than I can. – Tom Hakabi
Big Bear Film Top (Big Bear Lake, California)
Gabriel Horn – Chief Executive Officer/Chairman
The Summit and Festival promotes artistic production in and around California’s Big Bear Lake and celebrates film and music through film screenings, concerts, workshops and educational programs that culminate in an annual physical and virtual festival.
CHRIST PIXASSO (feature-length documentary)
Gabriel Horn is director/producer
Picasso’s CHRIST is the search for authenticity and the bizarre mystery of a hitherto unknown drawing of Picasso’s Christ of 1906. Forced to find their way into the monstrous underworld of Picasso’s potential former owner – New York art dealer Andrew Crispo – the filmmakers find themselves in a web of lies, murder and bizarre confrontations, including a 25-year trip to the infamous Attica High Security Prison in New York City.
Part of the proceeds will be transferred to the AFA (American Alzheimer’s Foundation) https://alzfdn.org/.
Warm and entertaining, penetrating and funny. A movie for everyone.
– Bill Paxton. (Alien, Titanic, Great Love)
It’s a nice picture with a clever story that goes deep into the human realm. – Joe O’Connell (Dallas Morning News)
Daring and urgent expedition. DESCRIPTION for here and now. – Michael H. Price (Fort Worth Business Press)
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