Benh Zeitlin, director of Beasts of the Southern Wild.Director Benh Zeitlin, whose last film Beasts of the Southern Wild was nominated for Best Picture, and his frequent collaborators at the creative collective Court 13 are looking for two actors for their next project.

Here’s the details, which are somewhat different that a conventional casting call, so please read closely:



WE ARE NOW SEEKING ADULTS for 2 very specific roles to audition for OUR NEXT FILM! If you or anyone you may know matches the descriptions below, please respond with a recent photograph of yourself (selfie, snapshot, family photo etc.) and your contact information, and we will be in touch to arrange an audition. NO ACTING EXPERIENCE IS NECESSARY!

Female Caucasian age 35 – 45A strong, hard-working mother with a twinkle in her eye and joy in her heart.

Male Caucasian age 50-70, tall with angular facial features. A tough man whose hard life and rough exterior mask a trustworthy soul. 

If interested, please send your photos, email address, and contact number to”


Central Casting Celebrates Ninety Years

by Arthur Vandelay on December 4, 2015

Central_Casting_Primary_Mark-webCentral Casting has been a mainstay of the film industry in Los Angeles for decades, and have expanded to states including Louisiana to service films shooting on location. Here’s the press release on their anniversary:

Central Casting Celebrates 90 Years of Service to the Entertainment Industry

BURBANK, CA December 3, 2015 Central Casting, the leading provider of background actor casting and payroll services since 1925, celebrates 90 years of service to the entertainment industry on December 4. Background Actor Appreciation events will be held in all three Central Casting offices – Los Angeles, New York, and New Orleans.

For 90 years, Central Casting has been Hollywood’s central hub for background services that brings together producers, casting directors, and background talent (“extras”) for projects. They are the premiere agency and the only one-stop shop that takes productions from finding background talent all the way through providing talent payroll services. The brand permeates the entire entertainment industry, and the phrase “Straight Out of Central Casting” is firmly planted in the lexicon of pop culture catchphrases.

While there have been many changes in the entertainment industry, Central Casting has always remained at the forefront of background casting. “We’re thrilled to be sharing our 90th anniversary celebration with our clients, our customers, and our entire industry,” shared Jennifer Bender, Executive Vice President of Central Casting. “It’s great to look back on all we’ve accomplished, but to also look ahead at how we can continue to grow our brand.” Bender is currently leading a Casting technology modernization project, which when completed will significantly impact the casting experience for both background actors and production.

Central Casting has served as a launching ground for stars such as Brad Pitt, Eva Longoria, John Wayne, and Kelly Clarkson. This career launching reputation has made Central Casting a symbol of hope for people eager to break into the business of Hollywood. Central Casting has offices in California, Louisiana, and New York and is a division of Entertainment Partners, the global leader in entertainment payroll solutions.

As part of the celebration, Central Casting has launched a blog featuring client and background actor shout outs, historical memorabilia, and fun clips from projects they’ve worked on. They’ve also been posting photos on their Central Casting 90 Instagram account. Learn more at and

About Entertainment Partners and Central Casting

Entertainment Partners is the global leader in entertainment payroll, residuals, tax incentives, finance, and other integrated production management solutions, with offices in the U.S., Canada, London, and Tokyo. Combining unparalleled industry expertise and resources, EP strives to make the complex simple and collaborates with clients to help them produce the most cost-effective and efficient film, television, digital, and commercial projects. Casting and payroll for background actors is handled through its legendary Central Casting division, a Hollywood icon since 1925. Established almost 40 years ago, EP is a 100% employee-owned company where each employee has a vested interest in upholding the company’s highest standards of service, integrity, transparency, and accountability. Visit the website at



Stephen Dorff Stays Frosty

by Micah Haley on November 12, 2015

Dorff-webStephen Dorff is a veteran. His feature film career stretches back twenty-eight years to 1987. Quite the feat for a man in his early forties. Along the way he has starred opposite greats John Gielgud, Dennis Hopper, Kris Kristofferson, Melanie Griffith, and Christopher Plummer. He’s also starred opposite his excellent contemporaries, including Christian Bale, Johnny Depp, Reese Witherspoon, Maggie Gyllenhaal and Norman Reedus.

Long a recognizable name, Dorff has alternated between lead roles and memorable characters. They have often been rough around the edges. Dorff transcended those characters in 2010 with Somewhere, director Sophia Coppola’s film about a big budget actor just going through the motions. He reexamines his life when his eleven-year-old daughter pays him a surprise visit. The film won the prestigious Golden Lion at the Venice Film Festival.

Now in post-production, Sex, Guaranteed is a new film from Brad and Todd Barnes, whose previous efforts include The Locksmith and East Nashville Tonight. It stars Stephen Dorff as Hank. Alongside him are Grey Damon as Kevin, Bella Dayne as Zade, James Debello as Steve, and funnyman Dan Fogler as Carl.

Sex, Guaranteed is set in New Orleans, where it was shot on location. I spoke with Stephen on set late one night in a mansion on Esplanade Avenue, the edge of the historic French Quarter. He took off his character’s headband and sat down, exhausted from a long day’s work.


MH: I would love to hear how you became a part of this film.

SD: It was really Dan Fogler, who plays Carl in the movie. I think he mentioned me to the producers. It was very last minute. I don’t do many comedies in my career. I did a little stuff with Sandler over the years and I’ve done bits of comedy in movies. But I got the script and I just loved Hank. I didn’t know too much about the filmmakers but I did a Skype call with them and heard that they had won a big award at Sundance a few years back for a smaller film they did. I knew they had some shorts in Sundance. Once I researched the Barnes brothers and talked to them, I thought they seemed really smart and interesting. The script was very funny. A couple of weeks before, I was offered another film in Louisiana that was a comedy that I didn’t think was as funny. That had some pretty good comedic talent in it but this one I thought was just really original. It had a real, sweet message, and at the same time was the dirty kind of R-rated comedy that I grew up loving.

MH: How did the character of Hank influence your decision to do the movie?

SD: He’s an amazing character. At the same time also, Hank was a great opportunity to bring in a lot of influences that I liked growing up watching comedies. The kind that I think are missing out in the market place. It was also a chance to do a comedic role in a real way. So I think I jumped on that opportunity. There were also a lot of people – friends of friend – that knew the producers and the Barnes brothers, that knew A.D. Coffman, who casted the film. It all just kind of fell into place and it has been a real cool adventure playing this character. And I love New Orleans because you’ve great music.

MH: You’re working everyday. On this movie, you’re in it to win it.

SD: Definitely this week! Because we’re in Hank’s house. You’re in his bedroom right now in this amazing mansion that were shooting in the Quarter here right on Esplanade. So yeah, the big set up takes place here. The movie starts on the roof and ends in a similar place. It’s a great location we got for such a small film. We’ve gotten a lot of great people around New Orleans that really have helped us and really believed in the material as well. There’s a lot of small films that come in and people do favors but this one it seemed like a lot of people really want to see us win. I felt that when reading it. I think we’ve got great production value for the amount of money we’re spending.

SCENE_EDITED-18-webMH: Describe the character of Hank as he appeared to you in the script.

SD: Hank is a lovable train wreck. When we meet him, he’s a very rich, incredibly wealthy man that is probably not from New Orleans but has been living here for a while. He’s about to have a three-day rager. What we realize about him, without giving too much of the story away, is that he’s very depressed as well. Like our main guy Kevin. He’s lost his true love. So, basically, underneath all the dirty jokes and all the dirtiness, there’s a message about love. Everybody in the film is missing that connection. Hank’s idea is, “Let me do one last great thing.” Hank really becomes obsessed with getting Kevin laid. It becomes more about getting his one true love back. In a way, Hank has created a love story, an imperfect match between two people. And maybe Hank’s gonna get a second love. He’s a mixture of a lot of different comedians that I loved that I’m kinda stealing things from. I’m just kind of creating this guy that I want to be iconic. One of those great characters that you remember for years to come, I hope.

MH: Who are some of the comedians you’ve looked to for inspiration?

SD: Hank’s got a lot of early Chevy Chase in him. He’s got a bit of Jack Nicholson in him. I think he’s got a bit of Bill Murray from Caddy Shack and movies like Stripes. There were a lot of the great comedies when I was growing up. I don’t laugh as much at comedies now. There’s guys like Will Ferrell and people like that that still make me laugh but for the most part, it’s really in the writing. I feel like comedy now is usually forced. Maybe I laugh once or twice in a comedy. Maybe. I haven’t seen a really, really funny movie in a long time. This movie and this script made me laugh out loud because you play it straight. You play it for realism and, to me, comedy is all about tone. These directors completely know what they’re doing when it comes to tone and that’s really important. You can be in a slap stick, broad movie more like Sandler does a lot or you can be in a film like Sideways which has incredible comedy but is played more straight. This is like a mixture of the two. And I really like the way they’ve told the story. I look forward to seeing it. I haven’t seen anything but people seem to be laughing so that’s always a good sign.

MH: Sex, Guaranteed seems like the tightly scripted kind of comedy from the 80s. There were a lot of comedies that came out in the 80s with big stars like Chevy Chase and they had excellent scripts that were very tight pieces of work. They were less improvisational.

SD: To me, comedy has now become almost like SNL vignettes stretched into a whole movie. But once the joke is out, it kind of becomes redundant. With this film, what you have are real characters, a real story and the jokes just play. They keep coming and coming and coming. I don’t read comedies everyday because I usually do dramas. So, for me, it’s a bit of a new frontier. I look forward to doing it more.

MH: Is there any amount of improvisation on set?

SD: Yeah! With a character like this, the Barnes brothers have given me freedom to add lines. I obviously look to them for their judgment and I’ve hopefully come up with some funny stuff. Me and my friend Mark have come up with some funny stuff. We’ve hopefully just added to what’s already really original and funny in the script. They totally give you room to improv but the scripts so tight that I find when you improv in this movie, you’re killing the jokes that are there. I feel like this script is so tight, you can just play the script and it will work. Once in a while, I’ll add a few more little tag lines or funny exit lines or things that the script didn’t have, just to bring it up a notch in those scenes. But for the most part, I’m just playing the character as written.

SCENE_EDITED-14-webMH: I know you’ve shot in New Orleans before.

SD: Yeah, a couple of times, but not many.

MH: One movie in particular that I would love to see…

SD: Tony Kaye’s movie?

MH: Yeah! Black Water Transit. I’ve heard so much about it but it’s never been released.

SD: The $30 million Tony Kaye movie that’s never come out. Yeah, I’d like to see it, too. I saw a rough cut. I mean, Tony is crazy, but he’s a great filmmaker. This cut I saw was a visual masterpiece. It didn’t make much sense but it’s definitely worth seeing. Unfortunately, that movie, along with a David O’Russell movie and a bunch of other movies, are stuck in this lawsuit. I don’t know, but maybe one day when I’m sixty, it will come out. I forgot what part I played. It’s been seven or eight years ago. I’ve made a lot of movies since then.

MH: It was a big movie, and it’s just never surfaced. When you came back to New Orleans for this film, was there anything you were looking forward to visiting in New Orleans?

SD: I just remember New Orleans being such a fun town.I like being at a bar and being able to take your drink to go. That’s pretty cool. I’m also a fan of just the characters that you find. Talented musicians that you see on the street. Walk by and there is some sixteen-year-old girl playing the violin and it’s amazing. I like the quirkiness of the town. I like the people. For the most part, people are friendly and passionate. They don’t like change much. They’re very loyal to what the vibe is, which I think is great. Cause it’s an old city and it should have that feeling. I love the restaurants, the food, the music, going to Frenchmen Street, hearing the music. It seems like every weekend, there’s a different event, whether it’s French Quarter Fest or Jazz Fest or WrestleMania. A couple of weeks ago, there were wrestlers everywhere! It’s a kooky place but I like it and then you can leave it and go up Magazine and it becomes a different world in Uptown. It’s got flavor.

I can imagine worse places. I did a movie in Cleveland. That wasn’t fun. But New Orleans is fun and I always like going to the places that we’re shooting a movie in. I think what’s great about this film is that it was written for here. Brad Barnes has been here for like eight months writing and prepping this comedy, which is a long time. He got to really know the city and I think that’s smart. I’m not a big fan of coming to Louisiana and then trying to make it New York or another other town. I always find that to be terrible. I believe you should be in the city that you’re supposed to be in. If you’re for London, you go to London. If you’re in Peru, go to Peru like my last movie. If you’re in New Orleans, let’s do it in New Orleans. But obviously there’s a lot of tax breaks here and people are shooting tons of movies here, so it’s really become the back lot of the South.

MH: There are a lot of films shot here and sometimes people try to do something here that doesn’t really work.

SD: If you’re doing stage stuff, it doesn’t really matter. But the great thing about this movie is that not many movies are shot right in the French Quarter. We’re doing stunt scenes and some pretty crazy stuff right here off Esplanade and Chartres. That felt pretty cool. You see all the characters driving by right near Port of Call so you can go get a burger if you get hungry.SCENE_EDITED-19-web

MH: Stephen, I see you spent time here…because you’re pronouncing everything right!

SD: Yeah, man, I know the good spots. Bacchanal in the Bywater, that’s a new spot that I’d never been to. It helps that I have some friends here. Mark, my buddy, he lives here and most of the time he keeps a place here. He’s done so many movies here. He showed me some spots I didn’t know because I prefer the non-touristy spots myself. I like to check out the cool New Orleans spots and that we have done.

MH: Frenchmen Street is a great place to start.

SD: Yeah, that’s a fun place. You really wanna hit it when there’s some great bands playing. Some nights are more commercial than others. I’m actually doing another movie right after this here so I’ll be coming back. I’m hoping to get Jazz Fest in, either the first weekend or the second, because I’ve never been for that.

MH: What’s the next film?

SD: It’s kind of an experimental film that I’m doing with a director named Nick Love. He’s kinda coming up over in England. He did a movie called The Sweeney with Ray Winstone. He does gangster movies in England. He’s real tight with Guy Richie and he’s young and this is his first American foray. It should be good and it’s really a big idea and a smaller, intimate story that’s character-based. It’s like Trainspotting meets Chronicle. It deals with a character that has powers but he’s not from a different planet. He just can do certain things that normal people can’t and it’s a pretty experimental thing. Right now, we have a very big treatment but the script is being formed as we speak. I really liked him and he brought his whole team from England. I’ll have some people hopefully from this one crew of people that I’ve worked with and go shoot that for five or six weeks from May till the end of June, I think. I’ll be here in the heat.

MH: It definitely gets hot.

SD: Yeah, it gets kinda sticky. I’m not the biggest fan of humidity, but we’ll give it a shot.

MH: There are drive-thru daiquiri shops.

SD: Drive thru daiquiri shops! I’m not usually driving so that’s a good thing. The reason my eyes are this red for this on-set interview is that I’m on my third day of my binge party here at the house. So I’m supposed to look a little messed up.

MH: I’m a really big fan of Blade. And comic book movies are unbelievably big now. That movie struck a note that I think has set the tone for the modern comic book movie. What were your conceptions of that film at the time? Did you have any idea what it would become?

SD: I knew it was the first Marvel movie made and I knew it was based on a comic that wasn’t that popular. Deacon Frost in the comic looked more like Whistler, Kris Kristofferson’s character. But Steve Norrington was the guy that sold me on that. To be honest, I had done a lot of independent movies before independent cinema became so trendy and I was not really interested in high concept movies. When Blade came along, it was the first huge paycheck. A big studio movie. It was a great character but I thought it was going to be the end of my career to be honest. I thought I was like a major sell out for doing it because I was really interested in art movies. When I was younger and working on Bob Rafelson movies and working with Harvey Kaitel and Nicholson. All these great actors I got to learn from. So, I thought doing this movie with fangs and blue eyes and… I though, “What the hell am I doing here?” I didn’t realize that I was turning a character into something that I still hear about every day if I walk down the Quarter.

MH: How has the legacy of the film surprised you?

SD: It’s crazy. We made it and it came out end of 1998-1999. It’s fifteen years ago. That’s pretty weird that people are like “Deacon Frost!” They’re still tripping but that’s a credit to the film. That was definitely an interesting time. I would put the first Matrix in there as well. I think Blade and The Matrix were definitely ahead of their time when it comes to effects. The groundedness of a comic book, where it doesn’t have to be so fantastical and I think that’s what made movies like Iron Man strong, too: putting Downey in that character and grounding it somewhat. Always in the end of those movies, they always get so fantastical. I feel like they always go too far with the fight scenes, spaceships and they start to lose me.

MH: I think that’s one of the real strengths of Blade’s finale. I remember seeing footage of what the original computer generated Frost at the end was supposed to be, and it jumped the shark.

SD: Yeah they spent like $8 million on this blood monster that never worked.

MH: And at the end of the day, the solution was a character solution.

SD: A huge fight scene. A nasty fight with the two guys. That’s all you need. You just wanna have it come to a head and this blood lava lamp thing they tried to do was just silly. The whole movie was hard, so why are we going silly at the end? I think it was hard for New Line and Bob Shaye to have to swallow that $7 million dollar waste of money but in the end, I think he made the right call. The movie was incredibly successful and spawned two sequels.

MH: You also did an amazing movie with Sophia Coppola called Somewhere.

SD: Yeah I love that movie.

MH: I love all of her films. They’re incredibly poignant.

SD: She’s the best. I think she’s a total original and Somewhere came at a time that was perfect for me to play that kind of character. She just embraced me in a way that really was out of nowhere. I was doing good films and was working. I had just done Felon, which seemed to get really popular after it came out. I did Public Enemies and World Trade Center. I was working with all of these great directors on more character kind of parts. And then Sophia just landed me after Felon. It was just an incredible experience working with her and winning the Golden Lion [at the Venice Film Festival]. And then I hear about that movie a lot, too, so obviously every audience is a different movie audience. You have your genre movie audiences that will talk about Blade and Felon and then you have artistic people who will be like, “Somewhere was the greatest film.”

I always get hit by different people and I believe as an actor you wanna hit different genres. I actually texted Sophia and said, “I’m doing a comedy. I’m playing this guy Hank. I think you’re gonna like it.” And she was like, “I’m so excited you’re doing comedy.” She’s always telling me I should do more comedy, so we will see how Hank Landry turns out.

MH: Somewhere’s a great film and it’s a certainly different side of you as an actor. It’s great to see you go from horrendously terrifying villain in Blade to action star in Public Enemies. And then Somewhere just came out of nowhere.

SD: I just try to mix it up. After Somewhere, I did Immortals as a commercial play, which obviously did really well and was Relativity’s biggest film. But after that, I wanted to do something intimate, so I did The Motel Life which got incredible reviews. I wish it would have done better and had more of a release but the work was awesome. That movie will become very famous in a few years. It might just take a little time but Emile Hirsch is in that with me and that was just a great experience. It’s just about mixing it up. I don’t wanna do the same thing all the time.

Sex, Guaranteed is now in post-production.


The Mowgli’s with Lights at House of Blues

by Alx Bear on November 5, 2015

Mowgli's-1-2The seven-piece hippie outfit, The Mowgli’s, plays at House of Blues Friday night. Three and a half years after their debut album, Sound the Drum, the group is on tour promoting their newest feel-good record, Kids in Love.

Mowgli's-2The band- Colin Louis Dieden (vocals, guitar), Katie Jayne Earl (vocals, percussion), Dave Appelbaum (keyboards), Josh Hogan (guitar, vocals), Matthew Di Panni (bass), Spencer Trent (guitar, vocals), and Andy Warren (drums)- uses a combination of catchy choruses, jubilant beats and reassuring harmonies to boost listeners’ spirits. Their vibes will swallow you up so you cannot help but clap and sing along.

Mowgli's-1While many are familiar with their hit “San Francisco,” few are aware of their mission to bring awareness and kindness to others. The group launched a social campaign called “Be a Mowgli,” which encourages people to perform good deeds and spread love. It is this combination of mood-raising music and a genuine drive to change the world that is refreshing amongst rockers.

There’s more!


Create-LouisianaOne of the great new additions to the New Orleans Film Festival this year was the creation of the Create Louisiana Filmmakers Grant. This year’s winner, the first ever, was announced during the height of the festivities. Find all the details in the press release below.


Director Nailah Jefferson and Producer Jon Wood Awarded $50,000 2015 Create Louisiana Filmmakers Grant for their film, Plaquemines

Deep South Studios, the Louisiana Endowment for the Humanities and the New Orleans Film Society present grant to local filmmaking team at the Prytania Theatre during New Orleans Film Festival’s closing night festivities

NEW ORLEANS, La. (October 22nd, 2015)—Deep South Studios, the Louisiana Endowment for the Humanities and the New Orleans Film Society awarded tonight the inaugural 2015 Create Louisiana Filmmakers Grant to Director Nailah Jefferson and Producer Jon Wood, for their short film project, Plaquemines about a town in despair that estranges father and son.

The #CreateLouisiana Filmmakers Grant is an industry building grant program awarding $50,000 to a local filmmaking team for a short film to be completed over the next 12 months. The winner will receive mentorship and professional services throughout the year-long period, providing them with a unique opportunity to showcase their talent and the ongoing strength of the state’s creative economy.

“Deep South Studios is proud to sponsor this year’s #CreateLouisiana Filmmakers Grant and congratulates Director Nailah Jefferson and Producer Jon Wood for their strong work with Plaquemines,” says Scott Niemeyer, CEO/Developer of Deep South Studios and founder of Create Louisiana. “We look forward to working together over the next year on this exciting project.”

A total of 37 filmmaking teams applied for the 2015 grant, with teams from around the state submitting projects that highlighted the great indigenous talent that Louisiana has to offer.

Five finalists were selected and invited to pitch their projects to a panel of industry professionals during the 2015 New Orleans Film Festival. The five projects selected for the final round include:

·   Destiny is an Outlaw, directed by Daneeta Loretta Jackson, produced by Patrick Jackson
·   Drive Through, directed by Luisa Dantas, produced by Gianna Chachere
·   Elnora, directed by Kira Akerman, produced by Josh Penn and Sasha Solodukhina
·   Forked Island, directed by Nicholas Campbell, produced by Marcus & Yvette Brown
·   Plaquemines, directed by Nailah Jefferson, produced by Jon Wood *WINNER*

“It’s essential to the New Orleans Film Society’s mission that we support filmmaking talent indigenous to Louisiana,” says New Orleans Film Society Executive Director Jolene Pinder.

“We are proud to provide the 2016 New Orleans Film Festival as a platform for Nailah Jefferson to showcase her work.”

Deep South Studios teamed with the Louisiana Endowment for the Humanities (LEH) and the New Orleans Film Society (NOFS) to offer the inaugural #CreateLouisiana Filmmakers Grant, an industry-building program designed to recognize and celebrate the creative industries in Louisiana, including all of the burgeoning, indigenous filmmakers that contribute to Louisiana’s vibrant creative economy. Applicants were required to have lived in the state for at least 12 months prior to the grant deadline. The winning film is to be completed within 12 months of receiving the award, with the finished project set to screen at the 2016 New Orleans Film Festival.

“For nearly 45 years, the LEH has been telling Louisiana’s stories to the world.” says LEH Executive Director Miranda Restovic. “We are proud to join our partners in supporting the inaugural #CreateLouisiana Filmmaker Grant, a project that will shine a bright light on Louisiana.”

The filmmaking community responded by submitting applications for narrative, documentary and animated projects. The #CreateLouisiana partners evaluated the originality of concept; the experience of the director-producer teams; feasibility of the director’s vision; budget; marketing and distribution strategy; and the use of Louisiana talent in front of and behind the camera.

About Create Louisiana’s Partners

#CreateLouisiana initiative is designed to champion the indigenous entertainment talent of Louisiana and support the development of the region’s integral creative industries. Through social media, grants, and development programs, #CreateLouisiana will stimulate conversation and mobilize a communication network that shares the stories, information and resources contributing to our state’s vibrant creative economy. #CreateLouisiana aims to collectively inspire an understanding of the value of our Louisiana creative and cultural community and the talented workforce that drives its development.

Deep South Studios is a new full-service motion picture, television and digital media production facility. Located in New Orleans, Louisiana – the heart of the fastest growing film and media production center in the United States. Conveniently located a mere stone’s throw from the heart of New Orleans’ Central Business District (CBD) and the world-renowned French Quarter. It is the largest design-built independent film and television full-service facility ever constructed in the Southeastern United States. Deep South Studios is the lead sponsor for the inaugural year of the Create Louisiana Filmmakers Grant.

The mission of the New Orleans Film Society is to engage, educate and inspire through the art of film. Founded in 1989, the New Orleans Film Society (NOFS) is the producer of the annual New Orleans Film Festival, which has grown into a major showcase of local, regional, national, and international films. In addition to the annual Film Festival each fall, the NOFS hosts special events throughout the year: the French Film Festival, filmOrama, the New Orleans International Children’s Film Festival, Moonlight Movies, and other events designed to benefit local film audiences, artists, and professionals. Throughout the year, the NOFS reaches approximately 40,000 people through its programming.

The Louisiana Endowment for the Humanities is a non-profit organization dedicated to providing educational opportunities to all Louisianans. The Louisiana Endowment for the Humanities’ mission is to provide all Louisianans with access to and an appreciation of their own rich, shared and diverse historical, literary and cultural heritage through grant-supported outreach programs, family literacy and adult reading initiatives, teacher professional development institutes, publications, film and radio documentaries, museum exhibitions, cultural tourism, public lectures, library projects, and other public humanities programming.


The Suffers at Voodoo Music + Arts Experience

by Alx Bear

After delivering soulfully gripping performances at Landmark Music Festival, Austin City Limits and CMJ Music Marathon, The Suffers will take the stage at Voodoo Music + Arts Experience on Saturday. The ten-piece soul band hails from Houston, Texas and released its debut EP Make Some Room earlier this year. Adam Castaneda (bassist) and Pat Kelly […]

WINNERS: 2015 New Orleans Film Festival

by Arthur Vandelay

The awards for the 2015 New Orleans Film Festival were announced over the weekend. Here’s the press release with all the details. New Orleans Film Festival Announces 2015 Jury Award Winners NEW ORLEANS, La. (October 18th, 2015)—The New Orleans Film Festival (NOFF) is excited to reveal its 2015 Jury Award Winners. This morning, hundreds of […]

Intermission Report for Austin City Limits

by Alx Bear

It’s a given that at a large music festival people will rave about the headliners. But for the not-so-commercial music lovers and rock ballad enthusiasts, here is your guide to the second weekend of C3 Presents’ Austin City Limits. Ben Howard Time: Sunday, October 11th from 4:30-5:30pm Stage: Samsung About: English folkstar, Ben Howard, takes festival-goers on a […]

HBO Now Arrives on the Roku

by Arthur Vandelay

HBO Now, the stand-alone streaming service, just announced a Roku app for its customers. Roku remains one of the most versatile over-the-top boxes, featuring virtually every streaming product with the exception of Apple exclusives. HBO Go had previously been available on Roku, but not HBO Now. HBO continues to move closer to Netflix’s business model, just as […]