by Matt Dentler

Thanks to the inception of Cinematexas, by Poyser and Tsangari, the tradition can live on in bigger and better ways. Taking what they learned from their experiences of trying to get films made on their own, they saw just how valuable the assets of Austin's film community can be. Whether it's the charitable organizations willing to help with funds, the film school ready to inspire, the co-ops offering an environment for creative energy, or the festivals with exhibition outlets, there is a strong do-it-yourself film community all over Austin. As Poyser and Tsangari have shown, all it takes is some practice, some passion, and some great talent. They went beyond just making their films, they created an atmosphere to showcase them and circumvented the conventional system. If anything is a testament to the independent spirit of Austin filmmaking, that certainly is.

In 1996, film student Bryan Poyser and his professor, Rachel Tsangari, decided to start what has become one of the most prestigious short film festivals in the United States. The University of Texas has housed the Cinematexas International Short Film Festival since that first year and it continues to grow. Due in part to the ingenuity, time, and passion instilled in both Poyser and Tsangari, Austin nurtures more filmmakers every year. The Texas Capital is known around the world for its arts scene. The soul of what it takes to survive in that scene is evident in the lives and careers of both of these artists. The essence of independent filmmaking resides in Austin's theaters, study co-ops, and video stores. In 2001, Tsangari and Poyser are travelling the film festival circuit. Poyser has his acclaimed short, Pleasureland, while Tsangari is supporting her first feature, The Slow Business of Going. Both films have played at notable festivals around the world, while remaining strictly independent. Poyser's film has played the New York Underground, Boston Underground, and Ann Arbor Film Festivals. Tsangari's film has played Rotterdam, South by Southwest, and more. Both films, in their own ways, are tributes to cinema: Pleasureland, a look at the adult film world; and Slow Business, a look at the history of filmmaking. Nonetheless, they are both united in their homage to movies at their most underground and defiant core, where film is about staying away from the mainstream and working outside of the system. As we watch the sex in "Pleasureland," or the slapstick in Slow Business, we are reminded of the romance found on the silver screen. In Austin, many organizations have helped Poyser and Tsangari achieve their goals. The Austin Film Society, founded by local director Richard Linklater, is based on raising funds to help Texas filmmakers. Through screenings and other drives, AFS gives the aspiring moviemaker a chance to learn the craft and earn the cash so that their dreams can become celluloid. Through the Texas Filmmakers' Production Fund, AFS is able to share money with local artists and help get films made.

The Cinemaker Co-op is another Austin collective that allows struggling artists the chance to build and study through the making of Super8 films and beyond. It's a community of filmmakers from the Austin area who strive to make the content they desire, no questions asked. Added to the mix is The University of Texas at Austin's film school, one of the nation's most respected, which can give anyone the proper academic training required for a successful film career. Both Poyser and Tsangari took elements from all of these and made their films. They were able to tell their stories with the use of all this background. And then, when the time was right, they were able to take advantage of Austin's many fim festivals. Festivals such as South by Southwest, Austin Film Festival, and Cinematexas all give filmmakers from around the world an opportunity to have their films seen by the public, peers, and industry.

*Do It Yourself