On His Mark: Richard Linklater explores the rich contradictions of artifice and reality, theatre and film, love and desire in ‘Me and Orson Welles.’
Early Life 1910 (Oct. 25) — Tyrus Wong (Wong Gaing Yoo) is born in Nom On, Guangzhou, China, to Wong Sai Po and Lee See 1919 (Dec. 30) — Tyrus immigrates to the U.S. under the paper name of Look Tai Yow (or Yu) on the S.S. China with his father, whose paper name was […]
‘Dazed and Confused’ and Together Again: After 20 years, the gang reunites for induction into the Texas Film Hall of Fame.
Before Slacker, an experimental narrative revolving around 24 hours in the lives of 100 characters, garnered acclaim in 1991, Richard Linklater had made many shorts and completed a Super 8 feature, It’s Impossible to Learn to Plow by Reading Books (1988).
In this photo gallery, see Tyrus Wong’s ability to use a wide array of mediums and reach out to diverse audiences. Over his career, Wong’s atmospheric, emotive and poetic paintings inspired animated films for Disney, live-action cinema for Warner Bros., greeting cards for Hallmark, and dinnerware for Winfield Pottery.
Linklater’s films are an attempt to understand the growing-up process. Not simply in terms of adolescent angst, but more as to how, in a world full of choices, we decide who we are going to be (or don’t decide). What are the choices and the influences that lead us to be who we are and who we are going to become? This is the central theme in all of Linklater’s work.
Without question, the most important moment in Austin filmmaking history, even more than the story of the making of The Texas Chain Saw Massacre, was Rick Linklater’s decision to stay in Austin after Slacker and not move to L.A. Given his socially conscious drive, Linklater not only inspired filmmakers across the country, he united the Austin film community into a cohesive cultural force.