aiff_program09_interior.xp 3/2/09 3:55 PM Page 55
The Fan and the Flower Free Lunch
7 minutes a73 2005 a73 USA 35 minutes a73 2008 a73 USA a73 In Competition
Saturday 10:10a
a73
Sunday 12:40p Saturday 6:20p
a73
Sunday 12:20p
a73
Monday 9:50a
Plays in: Family Shorts (p13) Sponsor: Ashland Home Net Plays in: Short Stories (p50)
shorts
Director/Animator/Editor: Bill Plympton a73 Executive Producer/Producer/Screenwriter: Director/Executive Producer: Rick Curnutt a73 Producer: Xavier O’Ryan a73 Screenwriters: Rick
Dan O’Shannon a73 Editor: Biljana Labovic a73 Music/Composers: Didier Carmier, Corey Curnutt, Bubba Murray a73 Cinematographer: John Honoré a73 Editor: Bettina Zachariah a73
Jackson, Pink Martini, Nicole Renaud a73 Narrator: Paul Giamatti a73
plymptoons.com Music/Composer: Vicente Avella a73 Principal Cast: John Hendrix, Charlie Pecoraro a73
myspace.com/freelunchfilm
An ill-fated and unconsummated romance between a fan and a
flower magically creates a fairy tale ending. This atypical Bill Walter is done with handouts, done with his privileged past,
Plympton film is back by popular demand from the 2007 AIFF. and he’s done with having to answer to people. Realizing the
value of hard work, Walter sets off on the road to the American
See p14 for more about Bill Plympton, recipient of the 2009
dream...in a lunch truck. Together, Walter and his friend Casey
AIFF Artistic Achievement Award.
serve the working people of L.A., while Walter struggles with
the realities of business and being a fish out
of water. Will the struggle prove to be too
much or will he overcome his privileged
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past and make his own dream? [language]
Rick Curnutt
Graduate Student: Chapman University
Director’s Statement
The film has questions at its core; an identity
crisis. I’ve always been obsessed with the concept of the American
Dream. I didn’t want to simply document Walter’s journey. I
wanted to create a mood or atmosphere with compositions and
movement, playing things as naturally as possible. We had a
structure but never let go of the freedom to improvise; respecting
but never being a slave to the script. Realism was key, but I also
wanted to create a visual and audial poem.
Filmography: Alarm; Choose One; Pop!; Potty Talk; Run, China; Xinjiang is Good
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