Past festivals have seen more than 4,000 tickets sold, and this year is expected to exceed those numbers, says Helen Stephenson, the festival's founder and executive director. During its early years, the festival played at various venues, including one that closed down right after a movie.
"At the end of the screening, we were told, 'Get all your stuff out,'" Stephenson recalls. Luckily, Yavapai College eventually offered the festival a home, and with its 900-seat theater, which was recently renovated and has up-to-date digital technology for today's film medium, the college is a perfect venue.
Screenings rarely sell out given the size of the auditorium, which works in your favor for getting into every movie you want to see. The schedule is also well-planned so you don't have to pick and choose one film over another or skip a workshop in favor of a movie. You really can do it all during the festival, but below are our top five reasons to take the drive up to Prescott, check out a week's worth of movies, and remember what a cool breeze feels like.
Meet the daughter of Orson Welles. The festival opens with "Film Noir and Pinot Noir," a night of wine and the Orson Welles classic The Lady from Shanghai. The movie was a disaster with audiences and critics alike, but as with much of Welles' work, it was ahead of its time and misunderstood by the hoi polloi. Starring Welles and his wife, Rita Hayworth, who horrified studio executives by cutting her luxurious red locks and dying them blond for the part, the film is a double-crossing, bad-girl, love-triangle murder flick set in glamorous ports around the North American continent. The movie was much more popular in Europe, although the Hollywood set found the making of it titillating. Welles' reputation in Tinseltown was going down the toilet, and by the time the film was released in 1948, he and Hayworth were divorced. Prescott Film Festival managed to score a great guest for their opening night showing: Orson's daughter Beatrice Welles, who lives in Sedona. She'll be on hand for a post-screening Q&A. Show up having done your homework, and you might get some juicy backstory on why the great director didn't make another Hollywood film until 10 years later (Touch of Evil).
Get a little closer to George Clooney (sort of).
When American films go abroad and Hollywood stars open their mouths, an entirely new artist takes flight: the dubber. Being George Clooney, playing July 20, profiles the 24 men around the world, from Brazil to Italy and India, who are the voice of one of the most famous movie stars of all time. It's a fascinating look into the life of voice actors, who don't always know what's going on in a movie – one artist says she's not sure if the woman in the scene is having sex or giving birth – or are in competition with other voice actors trying to take their gigs. Director Paul Mariano, whose 2011 documentary These Amazing Shadows played Sundance, weaves together personal stories with a behind-the-scenes look at the technicalities of dubbing, plus a little history for good measure (i.e. dubbing grew out of fascism).
Geek out at workshops.
If you're a filmmaker or an aficionado, you'll have plenty to learn during the festival's workshops, which run all week long. Definitely catch the film preservation workshop on July 18. It might not sound thrilling, but the guy who runs it, Bob O'Neil, is sure to have lots of fantastic anecdotes about Hollywood's golden age. He worked at Universal for nearly 40 years restoring classic films, including Rear Window, To Kill a Mockingbird, and Bride of Frankenstein. Horror buffs will want to check out "The Sound of Fear" on July 20, a journey through horror films' aural landscape with sound editor Noah Blough, who worked on The Exorcist, Independence Day (the first crappy one) and Mission Impossible II. For filmmakers, make sure to attend "Micro and Macro Film Financing" on July 19, and "Radio Silence" on July 20. Everyone certainly has artistic integrity, but every artist also needs to pay the bills. Both these workshops promise an insider's insight into the labyrinthine world of film as business. All workshops are free.