In their first 25 years, the Denver International Film Festival saw experimentation, edification and expansion. Today, the established fall event is highly anticipated and warrants the attention of the filmmaking industry. In addition to all of this, they realized their dream of having their very own home — the Starz FilmCenter.

On Oct. 9, the city of Denver and its energetic film-going public will once again welcome the opening night festivities of the film festival. This is year number 26 for the festival and as it passes its quarter-century mark, Ron Henderson, director of the festival and executive director of the Denver Film Society — the festival’s producer — talks about how he will he be able to top the previous year.

“You want to be better, more exciting, and I think we did it. We put together a strong number 26.” The film festival runs Oct. 9 through Oct. 19 with nearly 200 titles being screened and nearly 100 filmmakers appearing along with their cinematic art.

The film festival has earned the respect of some filmmakers and industry folks, but getting the attention it deserves has been hard to come by. Local filmmaker Alexandre Philippe is looking to help pull the focus of the filmmaking industry to Denver. Philippe operates in Denver mainly as a screenwriting instructor. On top of that, he is anxiously awaiting the opening of the Denver Screenwriting Studio, for which he will serve as director.

by Steve Stoner - The Metropolitan

Evecutive Director of the Denver Film Society, Ron Henderson poses in front of a film schedule grid for the 26th Starz Denver International Film Festival in his downtown office on Blake Street.

Philippe’s idea is to change the perception that Denver’s writing talent has to move to either Los Angeles or New York City, where the market is already saturated, in order to get work. He would like to build a community of talent the Screenwriting Studio can advocate for, and also get the writers exposure and possibly get them a deal.

Philippe has every intention of making this happen. He has been teaching screenwriting for over three years in Denver and the talent he has come across in his classes has led him to believe it will happen. “The ultimate goal is to allow the talent to focus on writing, and we’ll take care of making things happen for you,” Philippe said.

Philippe has his first feature-length creation, for which he served as both director and executive producer, in this year’s film festival. “Chick Flick: The Miracle Mike Story,” is a documentary style “picture show” in which he forms his presentation to mimic a moving comic strip. It is a unique, stylish exhibition of an already obscure subject.

The film has already sold out three screenings at this year’s festival and a fourth screening has been added. “Chick Flick” has been screened at both the Cannes Film Festival and the Puchon International Fantastic Film Festival in South Korea. At Puchon, Philippe’s film sold out an opening night screening of 1500 seats, so he is quite familiar with selling out screenings.

“The success of one is the success of everyone,” Philippe says, and it goes to show Denver’s filmmaking community and supporters are demanding attention and respect.

DENVER’S INTERNATIONAL FILM FESTIVAL

Henderson feels the function of a film festival is to not only showcase the newest progressive, independent, art flicks, but to showcase films that are taken from the corners of another country, another culture that would otherwise not have the opportunity for theatrical release in this country.

“That’s what a film festival should be fulfilling and a role it should be playing,” Henderson said. Film festivals come in all shapes and sizes, with their different personalities.

Please know that there are different types of festivals one can attend. There are industry festivals, where the wheeling and dealing of films only happen, or competitive festivals, with their jury prizes. There are thematic festivals and then regional festivals – Denver fits this one.
The Denver festival has a strong history of showcasing international films. The exclusive highlight in the early years was the film festival’s concentration of eastern European films. This was before the walls came down, a legacy that Henderson is very proud of.

“The common theme is a mission of showcasing films the public would normally not get to see outside the context of a film festival,” Henderson said.

Henderson tells of how the process of producing the festival is enormously exhausting. “Before the FilmCenter became a daily operation, before we started six other niche festivals throughout the year, there was a true down time after the International festival,” Henderson said. Now that has changed. There is some down time when the festival concludes and a 30-60 day clean up period for getting the thank-you letters out and the prints returned. With no real down time anymore film festival producers can not worry about it, being right on their heels is the start of next year’s film festival circuit.

Denver’s film festival looks to three other major film festivals to help guide its own program for the coming year. “Sundance is an important festival—the major platform for independent American films. That’s where you find the pulse for what’s new this year, what to look for,” Henderson said.

Next is the first major international film festival in Berlin, Germany. This happens in February. It has over 700 titles screened over 10 days. “It's an important festival for us to get our first taste of what is new in the international arena,” Henderson said.

Then of course the granddaddy of them all; the Cannes film Festival. “We look at Cannes for the American studio films, so we look at what might screen for opening night, closing night or centerpiece.”

ROCKY MOUNTAIN HIGH

This event provides the film-going public a major service not only to Denver, but to the Rocky Mountain region as well Henderson said. “In addition to bringing all of these films that you normally wouldn’t get to see, we also bring to you, the filmmakers, a part of these films. This is what transforms a film-going experience, from just going to the movies to having the opportunity to enter into dialogue with filmmakers and directors.”

Another highlight of the festival is the greatly anticipated social event of opening night, film and gala party afterward. The screening is in a 2800 seat venue, the Buell Theatre, and this year the gala party happens at the newest nightclub in lower downtown Denver—Rise. Last year’s opening night festivities sold out. “There are also a number of other parties and receptions throughout the ten days which give people an opportunity to socialize with our visiting film artists,” Henderson said.

One attribute, of at least this festival, is every film is introduced and some films have a Q and A session afterward with either a filmmaker or an actor of that film. With time the film festival has grown considerably. The numerous special events, parties and in-person’s one might partake in satisfies the social desires of fun and arty interaction with filmmakers and leaves one eagerly awaiting next year.

It seems Denver might be pressing the demands of their film festival to establish itself as a center for showcasing independent or art films.

Although the Denver International Film Festival is not an “industry festival,” Henderson explains the festival, that while under his direction, has come to equal that of any major film festival in the world today. “We match up against pretty much any film festival in the world, in terms of the quality of our program, the reception it gets from the film-going public as well as the critical reception it receives.”

Now all the festival needs is to have some press from industry publications like Variety or Hollywood Reporter so the industry itself gives the festival the attention it deserves. However, according to long time patrons of the Denver International Film Festival, they would like to keep it one of the best-kept secrets on the international circuit.

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by William C. Moore - The Metropolitan

Megan Sarge is a Metro sophomore. She is majoring in microbiology and plans to graduate "as soon as possible."

All her life, Megan Sarge has had a passion to help others. Adopted as a newborn by Bill and Paula Sarge in 1984, Sarge says her own life has encouraged her to help others. This experience, Sarge says, has molded her to the unique individual she is today.

“When I was five I remember crying to my mom because I was so happy and lucky I was adopted into a normal family,” Sarge said.

Sarge says that her life as an adopted child has been no different than those of her friends – or anyone else’s for that matter.

She says that she is fortunate to be part of a healthy, nurturing family that exceeds all expectations of a family.

“When people ask me what is it like to be adopted, I ask them how it is to not be adopted,” Sarge said.

Because of her experience of such a love, Sarge has an inherent passion to help others.

“I want to make the quality of life better for as many people as I can,” Sarge says.

Sarge has her heart set on several areas to help people – but particularly medicine.

“I have always wanted to go to medical school, get a Ph.D. and use my knowledge from these to travel abroad and provide medical care,” Sarge said.

A microbiology major, Sarge feels she is headed in the right direction.

“I am naturally curious. Science has always intrigued me.”

Additionally, Sarge says she wants to someday work with youngsters.

“I would like to give children someone to count on if they don’t have anyone,” Sarge said. “I want to be a shelter for them. I want to show them that I care – and would do anything for them.”

Moreover, Sarge hopes to someday adopt a child of her own.

“I want to adopt an older child because they have less hope than younger children to be adopted,” Sarge said.

She feels that her parents gave her an opportunity, a life and a family. Ultimately, she wants to provide someone else with the same.

Sarge says that there is already a need for so many children to have families, thus she wants to give to a child a family and a future.

“There are a lot of kids out there that need it [help], we need to start helping any way that we can.”

Currently, Sarge is planning to volunteer as a mentor for middle-school students.
“I don’t want kids to make the same mistakes I did,” she said.

During her free time, you can find Sarge at the United Studios of Self Defense where she hones her kung fu skills.

“Kung fu makes me feel like I can take care of myself. I like martial arts in general,” she said.

Sarge is a transfer student to Metro and is currently a sophomore. So far, she enjoys Metro’s unique environment, teachers and students.

In the future, Sarge hopes to run a marathon and overcome her fear of heights by jumping from a plane – with a parachute of course.

For now, Sarge is focused on finishing her microbiology degree, working as a nanny, and trying to survive the fast-paced, busy college life.

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Fifteen shows later, Laura Markel, a Metro musical theater major, says she still loves to perform. Luckily for her she found her love for theater – and beyond theater, musical theater – while still young.

“I think it’s because theater is so representational to life,” Markel said. “Mainly because it brings so much joy to people. It’s the thing I am best at.”

When Markel came to Metro a few years ago, she had limited experience in theater – two to three shows at most, she says.

by Christopher Stark - The Metropolitan

Laura Ione, a theatre student at Metro, also works as dresser behind the scenes for the Curious Theatre Company at the Acoma Center. The theatre is putting on a production of the play Nickel and Dimed that will run through October 25.

Originally, Markel had a desire for anthropology. But in 1999 her interests moved towards theater, where her talent has shown to be prominent.

“A friend of mine was in the theater department. I enjoyed theater and decided to pursue it,” Markel said.

“I love the (theater) department because it’s the safest, most comfortable welcoming place I have been on campus. The whole atmosphere is inviting. Almost all of my best friends I have met through the theater department. They are relationships that will last a lifetime,” Markel said.
Soon after Markel joined the theater department, she auditioned for a Metro Production of “Rosencrantz and Guildenstern,” where she landed a principal role.

“I was really shocked, yet grateful,” Markel said.

Since then, Markel has produced a 10- minute student production, served as a master electrician in a production, and appeared in 14 other shows.

Of all of her appearances, Markel has two favorite performances.

Her first was her appearance as Martha in the musical “The Secret Garden.” “It was a huge challenge – an educational experience,” Markel said. Before this, according to Markel, she had never sung in front of people.

Her second important role was in last spring’s student production of “Shadowbox.” Markel played Felicity, a 65-year-old woman dying of cancer. The part was absolutely 100 percent different from herself, she says.

“It was the most challenging and rewarding role I have ever done. It was completely different from me,” she said.

In fact, Markel’s performance was so convincing that another actor in the show overheard an audience member discussing Markel’s performance.

“One of my fellow actors overheard someone discussing whether I was a young student playing an older character, or if I was an older student,” Markel said.

“That was my best work,” Markel added.

Besides performing, Markel has worked as a technician in the King Center for two years.

Additionally, outside of Metro’s theater department, Markel works as a backstage dresser for the Curious Theater Company. Typically, Markel deals with 30 to 40 different characters each night.

“I am constantly putting them in different costumes,” Markel said. “I get to see all the technical aspects – it’s important. But I really want to be a performer.”

Markel has a strong intuition that she will perform professionally.

“I want to be an actor. No, I will be an actor,” she said with a confident voice.

Someday, Markel hopes to work or perform at Steppenwolf Theater. Her need to work at the great Steppenwolf Theater came when she visited for a show last summer.

“It was perfect. Everything was perfect. The show, “The Violet Hour,” was the most perfect show I’ve seen in my life.”

So, until we see Markel on stage performing professionally, she will be busy maintaining her relationships, she says.

“My main goal is to maintain my relationships, especially with my goddaughter,” she said. “I would give up theater for my family.”

“I’ve been blessed with a great life.” Markel concluded.

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by Joshua Lawton - The Metropolitan

Field of Corpses creator and owner Zachary Meyer, right, poses with Metro student Matt Martella in the sink room of the scare project. It has taken the group of mostly Wheatridge High School graduates two years of planning and the gathering of scary items to open for business. Nearly 40 people staff the horror filled field weekend nights.

As long as they stayed together, they knew they’d be all right. At the entrance, a woman warned the five high school students they were entering at their own risk.

The students grinned nervously and shifted their weight in anticipation.

“You go first,” one insists.

“No, you,” another pleads.

“Well, I’m not going to be last!” a third decides. Darkness has fallen on this night in October, which can only mean one thing: it is time to encounter all that goes bump in the night.

Bum-bump, bum-bump, bum-bump. Their hearts beat nearly out of their chests. Someone had to go first, but who would dare enter the Field of Corpses?

The Field of Corpses haunted house is 1.5 acres of creeps, freaks and terror. It is Colorado’s largest haunted house and the first that any city council in Arvada has approved.

“A lot of time, blood and guts literally went into this,” Dennis Meyer, father of the the FOC’s creator, stated in his speech before the ribbon was cut on the Grand Opening of the attraction on Oct. 2.

It took three years for Meyer’s son, Zachary, to put together this heart-stopping haunted spectacle, on which dozens of actors and designers, including Metro student Matt Martella, worked since March.

With the help of friends and family Zachary Meyer’s initial idea mutated into a monster of a haunted house with 33 rooms and several features unique to Colorado’s annual haunted houses.

by Joshua Lawton - The Metropolitan

Metro student Matt Martella fills a dark room with sparks at Field of Corpses, a field of haunted characters and rooms for the halloween holiday, in Arvada Oct. 5. The project has taken two years of planning and gathering of scary items for the group of mostly Wheatridge High School graduates. Nearly 40 people staff the horror filled field weekend nights.

The Field of Corpses began as a field of nothing except a legendary 120 year-old barn. Meyer and his conspirators constructed an electrocution chamber, Sleepy Hollow forest, haunted bathroom, demented butcher’s shop and dozens of other surprises.

“We paid attention to a lot of small details that a lot of other haunted houses really don’t,” Martella explained as he showed off the results of three years of passion and hard work. Martella sold his soul to the Field of Corpses project after he and Meyer attended a haunted house convention in Chicago in 2002.

Small details were painstakingly attended to right down to the live rats caged in one of a myriad of creepy rooms. The attraction’s open areas are also detailed, such as the boardwalk in the ghost town which creaks eerily as bats look on from broken windows. In addition, an ancient corn thresher, a machine used to harvest corn, was “a real pain in the ass” for Martella to move by truck into the cornfield at the site.

There is also reported to be a friendly spirit in the spooky swamp Martella helped construct, which acts as a “ghost in the machine.” Martella laughed about the spirit, admitting that it is harder to work with ghosts than with cobwebs because the fog machine “was plugged in but it wasn’t ready to go, and it was just going,”

“Every haunted house has a graveyard,” Martella said. “But soon you’ll see that it gets very, very different very, very quickly.” The gravedigger shed in the graveyard features old tools that had been used by Martella and others to create a macabre ambiance in The Field of Corpses.
Admission is $12 but well worth every penny. The tour takes a minimum of twenty unforgettable minutes. The creepy creation features 33 rooms with 50 actors. Their dialogues, detailed costumes and makeup do far more to frighten than the antics of an axe wielding lunatic in a B movie..

This is a scare for the sophisticated. Only at the Field of Corpses can you see a bloody Easter bunny, a school room that’s seen more than its budget cut, a devilish playground and a Western ghost town where the guns aren’t the only things smoking. This haunted attraction also warns about the possibility of vertigo. Beat that, Freddie and Jason.

Dare to visit the Field of Corpses at 13251 West 64th Ave. Let it chill you to the bone Thursday - Sunday through Oct. 19, or every day Oct. 24 to Nov. 1 from 7 p.m. until 10 p.m. on Thursdays, and Sundays and from 7 p.m. until midnight Fridays and Saturdays. For directions and information, call 303-423-FEAR or visit www.fieldofcorpses.com.

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On a Sunday, after only two hours of sleep, he left his wife behind for a 20-hour plane ride from the deserts of Texas to the deserts of Iraq. Sweating and delirious, he found himself stuck behind the wheel of a broken HMMWV in the middle of nowhere, with a generous amount antifreeze sprayed across his legs.

In the mild 82-degree heat, they dumped their drinking water in the radiator to get it working again and were once again on their way. This joyous moment didn’t last long, two miles later the vehicle was dead on the side of the road.

Getting it to work once again was difficult; watching the HMMWV slowly die, yet again, was even worse. Lost, they spotted a vehicle racing through the desert toward them. His NCOIC, terrified and paranoid, ordered him to drive on thinking the other vehicle was “the enemy.”
Always the good soldier, he drove on as fast as the vehicle would allow — at a brisk walking pace — until the other truck caught up with them. It turned out to be the Air Force Police who just wanted to notify them that their vehicle’s engine was on fire.

Sent to tell the others what had happened to their HMMWV, he hitchhiked back along the convoy route to camp, reported his unit’s non-operative status, and found a patch of earth to sleep on.

He woke up a short time later choking on a mouthful of black flies. Later he drove for several days in the blistering sun, crossed what was possibly a mine field…twice, and lost his wallet in the process.

He found a bombed-out palace with a garden and sent a rose from it home to his wife just before the garden was destroyed by tanks.

Since then, readers of The Metropolitan have been told stories about the old man fighting a legion of teenagers by himself, about the time he risked his life for some Juicy Juice, or when he talked to a girl whose marriage proposal was punctuated with a mortar explosion. Bootlegged alcohol, feral dogs, and idiocy framed the borders of his unique picture on the war. A war that, for him, is stumbling toward an ending, because he is finally being sent home.

This series of articles is based on the dialogues that I have with a friend of mine who is currently serving in Iraq. It is our attempt to illustrate a unique perspective about the ordinary people engaged in extraordinary situations.

This is nearly the end of the Dispatches; he has promised to document his travels back home, and will as soon as he can. However, he may be out of contact for the next week or so.

Until then, this is the 14th dispatch.

-Ian Neligh

I went to a “Reunion and Suicide Prevention” briefing today, as is mandatory to clear this place and get on a plane back to the world. During the briefing, I was amused by two points made by the Chaplain who spoke.

Point 1:

“When you get home, your kids are going to get sick. Don’t worry about that, it isn’t some kind of Iraqi crud you brought back with you, kids just get sick when their parents come home from deployments. It has NOTHING to do with your deployment.”

Point 2:

“Vulgarity. Let’s talk about vulgarity. You all know that real people don’t talk like that, and you shouldn’t either. So, let’s keep that in mind. No vulgarity.”(Later) I spoke with a Captain who I rode with today. He asked if I had heard who had been killed (recently) by an RPG attack.

I told him that I hadn’t (yet) heard. A female Major who was standing nearby told us who it was, and what had happened.

I was shocked by the emotion and odd tone the captain took as he said openly:

“I just saw (that soldier) at breakfast this morning.”

The way he said it portrayed to me something I’ve almost forgotten exists here. His voice was full of sympathy, a voice of sadness.

The HMMWV was silent as we finished our drive to where the captain lives.

Solemnly and quietly he exited the vehicle, obviously rattled by the mortality of his friend.

I guess it just goes to show, no matter how jaded you get, somehow war and the death that comes with it gets to us all.

Sh#t man, you should’ve heard this guy. I was speechless. All I could do was try and put myself in his place. I mean, I know this guy; I work with him pretty much everyday, and I respect him for how he’s held up. To see him so shaken, to see one of the few respectable officers left take the death of a soldier so much to heart, was moving. A very sobering experience.

This is an on-going account and will be continued in a future edition of The Metropolitan. Read the entire series at www.themetonline.com

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