So you wanna rake in the indie cred in Austin at next year's South by Southwest Festival? You have a skootch more than a week left to submit proposals for panels and/or rate the ones that have already been submitted for SXSW. But lucky for you, the SXSW Panel Picker is at your fingertips any time of the day or night. This cool new tool allows for everyone to have a say in what panels get okay'd for the festival.

According to the official site, "SXSW thrives on the creative intersection that takes place when great minds get together, and we feel the Panel Picker truly celebrates that. We believe that the real experts at SXSW are the people who bring the event to life - you, the thousands of people who attend every year. You know what you want to see, so this is your chance to help make that happen."

Previous panels include "The Incredible Shrinking (Expanding?) Film Critic Profession," which featured Cinematical's very own Scott Weinberg, "From Script to Screen," a Stanley Kubrick discussion, and much more. Get on your horse and head over 'cause the Panel Picker closes its doors on July 10th.

You can also stay up to date on all the latest SXSW-related film news and reviews over at the official blog. They gave Erik Davis' earlier post on the real girl behind SXSW's indie hit 500 Days of Summer a nice shout out, too. Even if you don't get your very own panel, you should do yourself a favor and hit up the festival since it's filled to the gills with enough media to burn your retinas and pop your eardrums. Plus, you can eat some BBQ with the peeps you Tweet at. Hey, just sayin'.

While many SXSW Film Festival attendees were at the Paramount last night watching The Hurt Locker, I decided to try a more Austin-ish event at Alamo Drafthouse on South Lamar. Tobe Hooper's first feature was screening -- no, not The Texas Chain Saw Massacre, but earlier than that. Eggshells was shot in Austin in 1968 and had a limited release the following year. And that's pretty much the last anyone saw of it on a big screen until now -- even Hooper, who was at last night's screening. Hooper says he had a DVD made from a VHS copy, but for the rest of us, Eggshells has been a "lost" film.

The film focuses on a big rambling house full of college-age people who hang out, throw parties, get married ... and discuss the "ghost" in the house, an odd energy field that lives in the basement. But as Hooper told us before the film started, this isn't a horror film. It's very much a film of the late 1960s, with some eye-popping psychedelic sequences -- the sex scene is especially groovy -- and characters acting symbolically rather than realistically. I especially liked seeing the shots of Austin, mostly The University of Texas, at the beginning and end of the film, and would love to watch this movie on DVD with freeze-frame to get a closer look at my town 40 years ago.

Waiting between movies on Sunday, I wanted to do something for a few minutes besides stand in line. I noticed an exhibit at the State Theatre, next to the Paramount, which was apparently related to the Trimpin documentary. I didn't know much about the movie, nor about the artist-composer Trimpin, but I wandered in. And I'm so glad I did.

The Trimpin Exhibit included some posters and sketches on the walls, but the crowning glory were Trimpin's "sonic sculptures." They were not only fascinating to look at, but did marvelous things with music. A hanging tree of Dutch wooden shoes turned out to be a type of instrument -- each shoe had a device in it, and was tuned to a certain note, and several compositions were preset into the tree. A collection of children's toy instruments, mostly guitars, all worked together to play some charming tunes. I didn't get to see what the machine with the two turntables did, but I'm planning to sneak back in there to see (and hear).

If you are living in Austin, you don't have to have a SXSW badge or pass or anything to see this exhibit -- it's free for anyone, and will be open at the State (719 Congress) from noon until 8 pm through Friday. It's a fun way to spend a little time. SXSW festgoers also have one more chance to catch the documentary Trimpin, on Friday night at the Paramount. I'm told the sonic sculptures in the movie are even more impressive, and hope to have the chance to find out.

Austin was celebrating film this week before the SXSW crowds even arrived. On Thursday night, Austin Film Society held its ninth annual Texas Film Hall of Fame awards gala at Austin Studios, honoring Texans and "honorary Texans" in the film industry. It's a fundraising event for filmmaker grants and educational programs, and attire ranges from the glitziest cocktail dresses to blue jeans and cowboy boots. Thomas Haden Church emceed the ceremony, revealing surprising depths of bizarre-yet-enjoyable humor. Really, I think someone should consider him to host the Oscars next year, although I don't know what his singing and dancing talents might be.

Thirteen and Twilight director Catherine Hardwicke, shown above, received the Ann Richards award for someone in film who "who breaks barriers and forges new creative paths." Her award was presented by Brendan Fraser. The Star of Texas award for an exceptional film made in Texas went to Rushmore, which was filmed in Houst -- Luke Wilson accepted the award. Linda Gray, who nearly goosed Thomas Haden Church onstage, inducted her Dallas co-star Larry Hagman into the Hall of Fame. Keith Carradine inducted Powers Boothe. Austin filmmaker Richard Linklater shared a tribute to Texas playwright and screenwriter Horton Foote, a Hall of Famer who died earlier this year. And Dennis Quaid presented the Tom Mix Honorary Texan award to his The Alamo co-star Billy Bob Thornton, who explained to us how he was more of a real Texan than an honorary one, anyway.

We've got photos of the event's honorees in the gallery below (as well as a few other familiar-looking attendees); check 'em out.

When in the world did it get to be the day before the SXSW Film Festival starts? I've been getting organized and ready, and so have the other Cinematical writers who are coming to town. We are going to be all over this fest like barbecue sauce on Texas brisket. (Don't tell me that you don't think sauce belongs on brisket, I don't want to hear that kind of perverted talk.)

Trying to decide which films to see has been at least as difficult this year as it has been in the past. Sam Raimi or Sacha Baron Cohen? Kathryn Bigelow's latest film, or Tobe Hooper's first? Office Space or Observe and Report? There are documentaries about mushrooms and Martin Scorsese movies, conspiracy theorists and film critics. And of course I want to see some of the big splashy premieres at the Paramount, but can't bear to miss any of the indie films I might not get to see again -- gaaaaaaah. I've made a list of a few of the movies we're looking forward to seeing this week. If you're coming to Austin, I hope I'll see you there.

Yes, that's a printer on the red carpet for the 10th anniversary screening of Office Space at the Paramount Theatre in Austin on Sunday night. The guys swinging baseball bats are the same ones you saw attacking the printer in the 1999 movie -- Ajay Naidu and David Herman. We like our red carpet scenes lively here in Austin.

Mike Judge, who wrote and directed Office Space (and played the manager at Chotchkie's), appeared at the event with nine other actors who played major characters in the movie -- everyone except Ron Livingston and Jennifer Aniston, essentially. The theater was sold out, and watching Office Space with 1,200 people who've seen it before was amazing and hilarious. Everyone frequently contributed cheers, whoops and applause for certain actors or memorable bits of dialogue ("Looks like you've been missing a lot of work lately." "I wouldn't say I've been missing it, Bob.").

October in Austin might mean the Texas-Oklahoma game to some people, or the welcome end of triple-digit temperature hell to others, but for movie lovers it brings us a week of Austin Film Festival, which celebrated its 15th year last week. I can remember when the festival was limited to one hotel and a couple of movie theaters, and the films were just something to do at night after the screenwriters' conference. This year, the conference spread out over several venues and the film festival itself, which lasts a full week, screened films in nine different locations around town.

The Paramount Theatre, which seats about 1,200 people, was packed for the opening-night film, W., with actor James Cromwell in attendance. This was a specially apt venue for the Oliver Stone film because if you walk outside the Paramount and look down the street, there's the State Capitol. The Governor's Mansion -- well, what's left of it right now -- is in walking distance of the theater. If we could only have blocked off Congress Ave. (hah), we could have posed Cromwell with the Capitol prominent in the background. Cromwell not only stuck around after the film for a Q&A, but stayed for the screenwriters' conference the next day to lead a conversation-style session about acting.

By Monday, we were more than halfway through Fantastic Fest. On the one hand, festgoers who were just there for the weekend had departed, thinning the crowds slightly. On the other hand, some of us realized that there were still tons of movies to see and only a limited time, so we had better try to get into as many films as we could. I know some people who managed to see 5 or 6 films a day. I'm not one of them -- too wimpy.

One movie I saw and liked on Monday was Santos, a superhero film from Chile. When director Nicolas Lopez took the stage before the movie, I recognized him as one of the judges from Thursday night's Air Sex Championships. He was a wonderfully unpredictable judge and turned out to be a charming speaker during the intro and later during the Q&A for his film (as shown in the photo after the jump). Santos is about a comic-book artist who doesn't realize he has the same superpowers as one of the characters he writes about -- and at various points in his life, he's called upon to use those powers. It's very funny, but if you get the chance to see it, bear in mind that many of the gags are not at all family-friendly. Santos was produced by Elizabeth Avellan of Austin's Troublemaker Studios (which produces Robert Rodriguez's films) -- no U.S. distribution deals as of yet, but I hope that changes.

I have a special place in my heart for Fantastic Fest because it was the first film festival I attended and covered professionally, for Cinematical back in 2005, the year the fest started. The 2005 fest was a long weekend of genre films, attended by a small enough crowd that you felt you knew everyone there by the time it was over. Since then, Fantastic Fest has expanded to nine days, added all kinds of crazy parties and events, become notorious for "secret screenings" that premiered films such as Southland Tales and There Will Be Blood, and introduced filmgoers to any number of international science-fiction, horror, animated, and other "fantastic" films.

In its fourth year, Fantastic Fest has grown so large and popular that its opening-night festivities moved from the genre festival's traditional Austin venue, the Alamo Drafthouse on South Lamar, over to the Paramount, a hundred-year-old theater in the middle of downtown that seats about 1200 people. The theater was packed for the opening-night film, the U.S. premiere of Zack and Miri Make a Porno, and writer-director Kevin Smith was also on hand.

The venue may have been the Paramount, but the minute the lights went down and a vintage trailer for Thunder Cops appeared onscreen, it felt like Fantastic Fest. Festival co-founder Tim League appeared onstage in a bright kimono, with a giant gong next to him, and announced, "With a stroke of this gong, I am about to declare this festival ... awesome!" Kevin Smith then introduced his film with a long and bizarre story about how he recently broke a toilet, then confessed that this had nothing to do with the film, he just wanted to tell the story.

Filmmaker Richard Linklater's feature films have often debuted in prestigious film festivals and venues, from Sundance to Cannes, but he's trying something different with his first documentary feature. After a splashy premiere in Austin last week, Inning by Inning: A Portrait of a Coach will be released ... not in theaters, but on a cable sports channel. You can watch the film on ESPN2 or ESPN2 HD at 10:00 pm EST on Sunday, June 15.

Inning by Inning is a profile of Augie Garrido, considered one of the "winningest" coaches in NCAA baseball. The film focuses on the 69-year-old coach's most recent seasons with the Texas Longhorns team. Linklater and his crew were given access to the team from 2005-2006, and it's fascinating to see personal, almost intimate moments when Garrido talks to the college players one-on-one, or as a team. Linklater had originally set out to make a documentary about the Longhorns' back-to-back winning seasons (2004-2005), but said (in a Q&A after the film's press screening) that he became interested in Garrido's coaching techniques and shifted the film's focus accordingly. Interviews with former Texas and Cal State-Fullerton players coached by Garrido, and other sports figures like Darrell Royal and Roger Clemens (Kevin Costner appears briefly too), round out the documentary.