Austin Director Dylan Varella Walks Us Through an Experimental Music Video. “The story still came from a human element, but they leveraged all the existing AI tools to help enhance that visual experience. That’s what filmmaking and storytelling is about. It’s about providing an audience an experience. ” Jack Song, San Francisco Film Commission, on the award-winning Get to You , Los Angeles Times, Sept. 26, 2024. Austin-based director Dylan Varella won Best Music Video at the very first Project Odyssey AI Film Gala in San Francisco for his collab with Caleb Hurst, Get to You. Check it out, and then watch Varella’s fascinating behind the scenes breakdown. SO MUCH OF WHAT I’D SEEN WAS REALLY COOL, BUT YOU KNOW, STILL KINDA LOOKED LIKE DIGITAL MUSH. My buddy, Caleb Hurst, had this song and like zero budget. So I thought “let’s just use this as an excuse to mess around with AI stuff.” We wrote a script where AI serves a narrative purpose, has a reason to be there. We shot a video outline — Caleb, me, my girlfriend, and a couple of friends we talked into playing aliens. The video allowed AI to build on something tangible and real. IT WAS, LIKE, A 300 HOUR SHORT CUT. I went in thinking I was going to be able to create whatever the hell I wanted and it would take the heavy lift off my shoulders. But it ended up being its own thing. Coding, learning the program, how to query. After a little experimentation we settled on ComfyUI’s interface to house AnimateDIFF built on Stable Diffusion . WHAT I LEARNED FROM AI REDDIT THREADS: THERE’S A LOT OF DUDES TRYING TO CREATE A PERFECT BLONDE. We exported each shot and then submitted it with a series of reference images. As an example, for a clip of Caleb running, I fed the program a still of Bjork dressed as a celestial figure . I then prompted AI by saying “man runs along road, celestial aesthetic, alien imagery.” It’d take about five minutes and then kick something out. We’d look and adjust. THE SECOND I CAN’T TELL IT’S AI IT’S CHEATING. We intentionally used AI — the aesthetic is part of the narrative. What worries me is the other side of the coin. The harder it is for me to tell what’s real the more troubled I am. At the same time, AI can be great with tasks like storyboarding and pre-visualization. And that makes it easier for me to make art. It’s all about how you’re using the tool, right? Notes from a conversation with Alan Berg, all stills from Get to You unless otherwise noted. ANOTHER AUSTIN FILMMAKER HEADS TO SUNDANCE. Bethiael Alemayoh at the Happy Heat Spring Release Party, March 2023. Bethiael Alemayoh was born in Dallas to her Eritrean mother and Ethiopian father, who immigrated in the 80s. She graduated from The University of Texas at Dallas with a Business Degree, but a desire to be more creative and start making films led her to Austin, where she interned with director Richard Linklater, worked at Arts+Labor, and made over a dozen shorts - including the We Are series, which was distributed by Issa Rae Productions. In 2020, Bethiael was accepted into NYU's Graduate Film Program, where she continued developing her narrative feature film, I Didn't Forget You . Last week, the project was one of 10 selected for the 2025 Sundance Screenwriters Intensive . AN IMMIGRANT’S SONG: The Story Behind I DIDN’T FORGET YOU. Bethiael’s parents in Dallas, 1990s. “There’s a photo of a Texan on the left, a reminder they’re far from home.” Bethiael Alemayoh THE CHUCK WAGON RIOTS “ If you wanted to rub shoulders with the militants, the Chuck Wagon was where you went. It was the only place on campus where the radicals dominated, our liberated territory. Counterculture types were frequently found there and it was the scene of a great deal of personal organizing as we mixed easily with other students interested in listening to our positions in a relaxed atmosphere.” David P. Hamilton, The Rag Blog , February 17, 2010 . A typical Chuck Wagon gathering. Photo by Alan Pogue, The Rag. Every old building’s got a soul, an energy you feel the moment you walk in, and for more than 50 years, the place described above has defined and amplified the voice of alternative Austin. Which isn’t always welcomed by the powerful people. In 1969, the Board of Regents sparked a riot after they decided to limit the space to students “with an active ID.” David Hamilton, who worked with leftist radicals and wrote for The Rag, outlines what happened. My roommate Paul Spencer and I reflexively decided to challenge it. Paul had been a student for several semesters, but at this point was not enrolled. He was immediately confronted by the president of the University, Bryce Jordan, who sternly said, “Paul, you know you’re not supposed to be in here.” Of course, it was completely astounding that the president of the university was in the Chuck Wagon before 9 a.m. to personally help enforce a minor rule enacted only hours earlier. Even more revealing was that Jordan knew Paul’s name and status. He motioned for the cops to step in. They grabbed Paul. The following Monday, the first day of classes after this incident, there was a lunch hour protest. Hundreds of us marched into the Chuck Wagon en masse without showing ID’s. It was an occupation. The University had its military on call, hordes of city cops geared up for action. They surrounded the building and gave us a deadline to get out by 4 p.m. Some civil disobedience volunteers decided that they would stay inside and get arrested in nonviolent protest while the rest of us, having pledged to bail them out, left. The police stormed in at exactly 4 p.m. Photo by Alan Pogue, The Rag. They brought in a large panel truck to haul away prisoners. Some heroic comrade slit one of the truck’s tires. This rendered it unable to proceed to the jailhouse except on the rim, the alternative being to change the tire on the spot while surrounded by hundreds of angry students. In their confusion, the police left the rear door of the truck momentarily unguarded. Another hero of the revolution stepped forth from the crowd at that crucial moment and threw open the truck’s rear door, allowing our captured comrades inside to escape. The cops were mightily pissed. They then formed a phalanx that plunged into the crowd with the specific goal of grabbing Paul. He had been doing nothing beyond standing in the middle of a large crowd outside -- perhaps chanting -- and had not participated in the occupation, but they arrested him again anyway. Among those arrested besides Paul and me were Bill Meacham and a couple of the “motherfuckers,” Jay and Randy. The motherfuckers [the group was actually called "Up Against the Wall Motherfucker"] were a militant SDS offshoot. As an expression of their dedication to radical leveling and their alienation from the prevailing order, they all used Motherfucker as a last name. Hence, my comrade Jay McGee became Jay Motherfucker. Having the Motherfuckers involved provided lots of energy and style, but somewhat complicated our public image at that trying moment when we were technically facing up to 20 years in prison. The 1969 Christmas card. One of our defense arguments was to ask why we could all be held responsible for damage done by one person to one truck tire. The state said we had all conspired to commit this crime by our participation in the events. The DA wanted a plea bargain for 30 days in jail and probation. Paul, believing that he had been the one assaulted and that he had acted appropriately in support of lawful procedure, wouldn’t buy the deal and eventually bolted. They never chased him. Running him out of town was a sufficient victory for them. Austin’s loss was great. David’s full article can be found on The Rag Blog . The account goes into great detail and has a distinct point of view. As for the Chuck Wagon…Auspop’s Maddie McVey picks up the story. NOTHING’S SWEETER THAN CACTUS Jim Franklin and fellow travelers at the Chuck Wagon, courtesy Auspop. Prior to the days of the Armadillo World Headquarters, future Armadillo Art Squad artists like Jim Franklin and Micael Priest were regulars at this lively spot, where even Janis Joplin once sang. In 1977, after a two-year, $5.7 million renovation, the space reopened as the Cactus Café, initially used for plays, dance recitals, and symposiums. Notably, the venue hosted the 1978 “Is Rock Dead?” panel featuring famed music journalist Lester Bangs, Sterling Morrison, John Morthland, and Alex Chilton. Early in their career, singer-songwriters Lyle Lovett, Robert Earl Keen, Lucinda Williams, Shawn Colvin, Nanci Griffith, and Ani DiFranco frequently took the stage. The Cactus Café also hosted renowned performers Alison Krauss, Jimmie Dale Gilmore, Butch Hancock, Townes Van Zandt, Loudon Wainwright III, Bill Monroe, Richard Thompson, Guy Clark, the Dixie Chicks, John Hiatt, Iris DeMent, Ralph Stanley, Suzanne Vega, Gillian Welch, and Patty Griffin. In 2010, the University of Texas announced plans to close the Cactus Café as part of cost-cutting measures, sparking outrage from the music community. A protest ensued, and KUT, Austin’s public radio organization, stepped in to manage the venue and absorb its financial losses. CACTUS CAFE CONCERT SERIES Fast forward to the here and now, when UT Austin Songwriter in Residence Darden Smith kicks off three weekends of stacked shows to commemorate the venue’s 45th anniversary. The series, presented by The University of Texas and University Unions in partnership with Armadillo World, will feature performances from legends, popular current Austin acts and talented students. Tickets are moving fast, many shows are already sold out, and you can grab your seats here. WHEN YOU GROW YOUR OWN YOU DON’T HAVE TO WORRY ABOUT A RECALL. There is no way to sit here, during this first week of February, and not notice that it’s suddenly 80 degrees. The heat’s disrupted the natural rhythm for all things alive. Winters are a time of die back and recharge, of banking enough “chilling hours” (time below 45 degrees) to both stimulate fruit production and tamp down the spring insect population. When these cycles get disrupted, the consequences can be unforeseen and severe — in February 2021, for example, a similar stretch of warm weather triggered my early peach variety to bloom. Two weeks later, the snowpocalypse encased those flowers in ice. The tree, weakened by the energy spent producing its bloom and shocked by change, died. No peaches now. Feb. 18, 2021. So what to do? With the warm temperatures telling everything it’s spring, we’re out in the garden a bit early, crossing our fingers. I have no idea what the rest of the month will bring, but right now the winter vegetables are thriving and we’ve put the first spring crops in the ground. We planted six fruit trees this weekend (three plum, two peach and a fig) as well as our seed potatoes, carrots, and asparagus crowns. We don’t plan on adding any true spring/summer plants until at least the end of February, but here again we’ll look to the clues nature provides. For me there’s a solace to be found in the soil, a sense that I’m connecting to life, to tradition, and perhaps most important, to food I can trust. TAPPING INTO THE SOURCE Winter’s the only time of the year Barton Springs actually feels warm, and the temperature differential creates a thick ethereal layer right above the water. Marshall Tidrick’s been photographing the scene. Photos by Marshall Tidrick . I was attracted to photography initially because it felt like a way that I could speak to people I would normally never have a chance or reason to talk to . The inspiration starts with my general obsession with Barton Springs. I’ve always been drawn to being in and around water. Almost everything that I pay attention to is related to the swimmers. I just really love when people have a niche interest that draws them together. I start early. Pre-sun usually. I need time to think about what it is I’m trying to do that day. Ease in, so it doesn’t feel rushed or panicky, which is definitely the opposite of what morning Barton should feel like. I never want to disturb the vibe, you know? I shoot on a variety of film cameras. I just prefer it! Not that there’s anything wrong with digital, but I never seem to get pictures with the same kind of feel as when I work on film. For this project I used a Mamiya RZ67 for the most part, and an old Rolleiflex while the mama was out of commission. If you dig it, f ollow me on the old gram as I continue working on the series . As any artist knows, a little love goes a long way! Head down on a cold morning and jump in. It’s a magical experience. We conclude with a digital muse from Arts+Labor artist Laura Gonima. HOW TO CATCH A CULTURE VULTURE Next month brings us SXSW, Happy Heat’s Soul Food Sunday, and news of another Armadillo World revival in South Austin. And what else? We want to hold up and celebrate the folks contributing to our culture, so if you’re doing something interesting drop us a line! Go see something, tell us about it, we’ll share more stories next week. Let’s build something together. We’d be forever grateful for your help, and an easy way to do so is by subscribing to the Happy Heat Substack. What comes in goes right back out in artist commissions and live shows. To which you’ll get to come! For the first 100 subscribers, we are offering 20% off forever. Get 20% off forever