The photo I posted yesterday of Louis Black and Jackie “the Jokeman” Martling was taken at a dinner for Margaret Brown’s documentary competition film The Order of Myths. Margaret is the Austin filmmaker also responsible for the lovely musician portrait Be Here to Love Me: A Film About Townes Van Sant. Her new film examines the culture of Mardi Gras in Mobile, Alabama, the location of the oldest running Mardi Gras festivities in the country. Two separate organizations govern the celebrations: one for whites and one for blacks. In the process, she provides a unique look at the remnants of segregation and racism in America today, institutions that, over the decades, have grown in subtlety and as a consequence of universal complacency. The film smartly avoids blame-mongering in favor of a display of the deep roots of our racial enculturation and complacency. We’ll have much more to say about Brown’s film when it inevitably plays in Austin.

There was one big question at last weekend's Fangoria Weekend of Horrors: would guest of honor Robert Rodriguez spill the beans on his next project?

Rodriguez, who received a Half a Lifetime Achievement Award, disappointed anyone expecting Barbarella or Sin City 2 to be next on the slate. Both projects are go, but the Writers Guild of America strike puts both on hiatus. What seems likely to get to the screens first is Shorts, which he called "Pulp Fiction for kids." That's the structure, not the body count: he compared it to Little Rascals, a series of short, interlocking stories that he's been working on for a while.

He's thinking about collaborating with another director (and no, it's not Quentin Tarantino.) Apparently he and James Cameron are keen to work together, but "he's swamped with his stuff, and I'm swamped with my stuff."

Can’t resist posting this photo taken at Sundance of Austin Chronicle editor Louis Black with Jackie “the Jokeman” Martling, the notorious comedian who is a frequent visitor to Austin. As a passionate listener of Howard Stern, Black has been a longtime fan of Martling’s. This chance meeting is the happiest I think I’ve seen my boss in this new millennium.

Ever wonder why legendary film makers sometimes become hacks? Harry Knowles of Ain't It Cool News has a theory. "The reason that people like John Carpenter and John Landis aren't making the movies we want is that producers have no memory."

So they announced the Oscar noms this morning, and it's a bit of a surprise that the warm, cuddly Academy so completely embraced two of the darkest, most challenging films of the year, No Country for Old Men and There Will Be Blood. Even awesomer: In Adapted and Original Screenplay categories, female writers netted four nominations total – Tamara Jenkins (The Savages), Diablo Cody (Juno), Nancy Oliver (Lars and the Real Girl), and Sarah Polley (Away From Her). Because this is a day for rejoicing, I will refrain from taking a swipe at Oliver's part in the unbearably twee, terribly disingenuous Lars... well, mostly refrain. Congratulations, ladies.

My first few film picks all turned out to be winners. The Black List, which just received word as the festival opened of a sale to HBO, is a collaboration between filmmaker Timothy Greenfield-Sanders and interviewer Elvis Mitchell. The documentary offers clips from interviews with some 20 influential African-American figures on a variety of subjects. Collectively, their abbreviated dialogues demonstrate many of the commonalities but, moreover, the differences among them regarding individual and racial identity. Pretty fascinating stuff and trenchant as can be in this moment in time when the campaign for the presidency is inciting a closer examination of identity politics.

One of the reasons for going to a movie convention is the little secrets you find out from the guests. Like when special effects wizard Tom Savini revealed to the crowd at this weekend's Fangoria Weekend of Horrors there's something he can't stand.

"I hate having fake blood on me," said the man who helped spread enough of it around for Dawn of the Dead. But on is a big step up from in. As an actor in the up-coming Lost Boys 2: The Tribe, at one point he was being picked up by another actor, who was dressed in a wet suit and had a tube up his sleeve, ready to pump a spray of fake blood. Unfortunately, with his hand being where it was, Savini realized "I could feel the blood going up my ass. I was getting a fake bood enema."

For those who wondered why he's spending more time in front of the camera, rather than doing effects make-up, he had some sad news: as he gets older, the tiny detailed work is harder on his fingers. However, he still had some handy hints for up-and-coming gore auteurs: if your fake blood is going to be splashed against a white background, add a little green dye, "or it'll look like Strawberry Kool-Aid."

While Electra and Elise Avellan (aka the Grindhouse babysitter twins) were undoubtedly fan favorites at this weekend's Fangoria's Weekend of Horrors at the Renaissance Austin Hotel, they didn't get the biggest crowd response at Saturday's Q&A about their new movie, The Black Waters of Echo's Pond. That went to writer/producer Sean Clark, for the line "I was dropping goo on the ladies. You can quote that."

The twins spend much of the movie (described by Clark as an evil Jumanji) wearing black full-eye contact lenses and drooling a thick, vile slime. But anyone who has been near a horror set knows things can be a little less creepy in front of the camera. "The problem," explained Elise, "was staring in the face of your twin who is supposed to be an evil possessed creature, but the contacts made her look like Bambi."

From Creature from the Black Lagoon to House of Wax, 3D cinema and horror movies have always gone hand-in-claw. While the current resurgence in the technique has been dominated by big budget outings like Meet the Robinsons and the upcoming U2 3D, the new movie starring Austin's own Angela Bettis (of May and Roman fame) proves the tech is getting affordable.

Scar (which had a five-minute sneak preview at the Fangoria Weekend of Horror) is a small-budget slasher flick which looks to hit the twisted psychology that attracts self-declared "spazz" Bettis. But the big news is that the film-makers went for the new Real D technology. "I went to a demonstration of the technology," said producer Norman Twain, "and I said, 'we're going to do this picture, which was called Freckle Face back then, in 3D." So Twain hired cinematographer Toshiaki Ozawa, got hold of a Hi-Def 3D camera rig from NHK in Japan ("They're the most stable," said Twain), hired translators, and set about adding that third dimension. For anyone expecting it to just be axes coming out of the screen, the opening shot is Bettis jogging, and it's still creepy.

With three Real D systems in and near Austin, and with this being Bettis' home town, Twain was positive that there'll be some scarification here when the film opens later this year.