Dean Haspiel and Neil Swaab will both be part of KingCon II in Brookly this weekend (photo by twi-ny/mdr)
Brooklyn Lyceum
227 Fourth Ave. between President & Union Sts.
Friday, November 5, $3, 8:00
November 6-7, $3-$10, 11:00 am – 7:00 pm
718-857-4816
www.kingconbrooklyn.com
The second annual KingCon independent comics and animation convention got under way with two panel discussions on Thursday night at the Brooklyn Lyceum and has a hoppin’ party scheduled for tonight, with readings and live music by such guests as Jeff Newelt, Jen Ferguson, Paul Pope, Dean Haspiel, Joan Hilty, Joe Infurnari, Americans UK, and the Charles Soule Band. The convention kicks into high gear Saturday and Sunday, featuring appearances by such writers and illustrators as Kyle Baker, Simon Fraser, Michael Kuperman, Neil Swaab, Mike Cavallaro, and Becky Cloonan, with such panels as “Collaboration Counseling,” “The Funny Pages: Comedy in Comics,” “How to Draw Comic Characters for Kids of All Ages,” and “Hips, Lips & Pencil Tips: The Sexual Female as Feminist Focal Point.” We can’t wait for Saturday afternoon’s look at the Brooklyn-set HBO series BORED TO DEATH, a discussion with creator Jonathan Ames and graphic artist Haspiel, moderated by Newelt.
RUN FOR YOUR LIFE tells the remarkable story of Fischl Leibowitz, better known to the world as Fred Lebow. At the age of fourteen, Lebow left his home in Romania and eventually immigrated to the United States. In the late 1960s, he became obsessed with running, at the time a strange form of exercise practiced by very few New Yorkers. But soon Lebow was organizing events such as the Cherry Tree Marathon through the Bronx in 1969 and the Central Park Marathon, leading to the first-ever five-borough New York City Marathon in 1976, a race that many believe helped lead the city through its financial, crime-filled crisis. Through archival footage, news reports, photos, and new interviews with Lebow’s friends, family, and colleagues, a fascinating picture emerges of a driven visionary who was a masterful manipulator and negotiator, a man ahead of his time with regard to marketing and sponsorship. Among the people who share their memories of Lebow are marathoners Bill Rodgers, Frank Shorter, and Greta Waitz, former mayor Ed Koch, parks commissioners Henry Stern and Gordon Davis, past presidents and board members of the New York Road Runners Club, and his sister, who makes latkes for filmmaker Judd Ehrlich. Lebow was one of the all-time great New York characters, forever wearing a painter’s cap and sweatsuit, doing whatever was necessary to get himself and his sport to the next level. The ending is both exhilarating and heartbreaking. With the New York City Marathon scheduled for November 7, RUN FOR YOUR LIFE, which was a highlight of the 2008 Tribeca Film Festival, will have a special screening at the Maysles Cinema in conjunction with the monthly Jock Docs series.
When we caught U2’s Vertigo Tour at the Garden in June 2006, we were up in the rafters, looking down at tiny dots that just happened to be drummer Larry Mullen Jr., bass player Adam Clayton, guitarist the Edge, and singer Bono. But the World’s Most Important Band is front and center for everyone to see in U2 3D, the first-ever full-length film shot in Digital 3-D, directed by Catherine Owens and Mark Pellington. Using as many as eighteen specially equipped digital cameras and recording decks, Owens, who has been U2’s visual content director since ZooTV, captures the Irish band during stadium shows in South America and Mexico, focusing on the March 1-2 concerts at Estadio la Plata in Buenos Aires. The new technology, previously used for sporting events, has a fascinating layered effect that sucks in viewers — yes, who are wearing special glasses (not unlike the specs Bono used to wear as the Fly) — placing them right in the middle of the action as the band powers through an exultant setlist that, if not quite ideal, includes “Vertigo,” “New Year’s Day,” and “Pride (In the Name of Love).” You can’t help but reach out for Bono as he seemingly jumps out of the screen while singing “Touch me” during “Beautiful Day,” and then you’ll swear he’s reaching out only to you when he stares into the camera during “Sunday Bloody Sunday” and promises to “wipe your tears away.” And when tens of thousands of fans all bop up and down in unison to “Where the Streets Have No Name,” forming a propulsive wave, you’ll feel a rush beneath your seat that moves up into your gut. Owens and Pellington (ARLINGTON ROAD) incorporate the band’s hypertextual stage show into the new format, as digitized figures, words, symbols, and letters from the large screens behind the band seem to float right in front of your face. The concert footage is supplemented with extreme close-ups shot onstage without an audience, and the energy level severely drops at these times, although Mullen’s drum kit looks amazing in 3-D. As straight-ahead concert movies go, U2 3D is among the best ever made, a unique theatrical experience that will blow you away. The film is part of the Midnight Rock Docs section of the DOC NYC festival, which also includes D. A. Pennebaker’s ZIGGY STARDUST AND THE SPIDERS FROM MARS: THE MOTION PICTURE, screening at 11:59 on Saturday night.
