Double feature
As Lily Keber turns the page of her small notebook, the dark blue-green lines of a tattoo peek out from under the sleeve of her peach cardigan. Professionalism meets creative expression right here in the state’s office of Entertainment Industry Development. The young filmmaker reads off a list of luminaries she has interviewed already for Bayou Maharaja, an ambitious documentary in her command that tells the story of James Booker, the flamboyantly talented piano-playing wild man of New Orleans. Harry Connick Jr., Dr. John and more, she says at a rapid clip.
“Too bad you couldn’t get Hunter Thompson,” says Chris Stelly, director of the state’s office of film and television and interim executive director for all of Louisiana Entertainment since his former boss, Sherri McConnell, left for the private sector last summer. “[He coined] the term ‘Gonzo’ journalism from a James Booker song.”
Stelly is a fount of knowledge on music, film and Louisiana history. As a teenager he worked as a projectionist at a movie theater, and he gave tours of the Capitol during the Foster administration. Keber is meeting with Stelly and his assistant director of film, Amanda Hafford, to discuss the progress of her project and to gain clarity on the popular tax-credit program that has boosted Louisiana to third in the nation in film and television production. There is also the new Louisiana Filmmakers Grant Fund Program designed to aid indigenous artists with lower-budgeted projects, and Bayou Maharaja could potentially benefit from either program, depending on the total budget.
And back and forth they go, discussing budgets and if David Brinkley can fly in from Houston for his interview, broadcasting options and film festivals, and other hurdles ahead for Keber.
“I’m trying to make it so that the American public at large will get who Booker is,” Keber tells Stelly. “Right now he’s like Louisiana’s little secret.”
“I would look at options in Europe as well, because I think you’ll find artists like him have an even greater respect over there,” Stelly tells her. “We were in Deauville, France, for the American Film Festival in 2007 and had a Lafayette band with us. It was early morning, the dew hadn’t lifted, the band struck it up and out of nowhere people started congregating. It was amazing. They have a real love for American and Louisiana music.”
As 2011 ends, the digital interactive sector of Stelly’s office is booming, A&E series Breakout Kings continues filming in Baton Rouge, and rumor has it another large feature film project will be announced in January.
Stelly has for six months been pulling double duty as both McConnell’s replacement and the state’s director of film and television. There’s been little word at this point from LED Secretary Stephen Moret on removing the “interim” from Stelly’s title, but the LSU alumnus expects the state’s current hiring freeze and his situation to be resolved before the next legislative session.
“I grew up in a blue-collar family and feel fortunate to do what I do,” Stelly says. “I don’t like to look too far ahead on things that are not in my control, so we’re just focused on building up an industry that is indigenous, long-term and self-sustaining. My son has shown some talent drawing, and maybe one day he’ll want to be a digital animator or videogame designer. The driving point for me is that I want my kids, when they grow up, to have options to work in this industry and stay in this state.” louisianaentertainment.gov
