I awoke this morning with 5 hours of slumber. Not bad compared to the previous day. My attempts to write at 2am earlier today were met with stiff resistance from my sleep-deprived stupor. I had hastily arranged the day before to have lunch at a BBQ joint unanimously raved by our local collegiate hosts: "Black Dog Smoke and Ale House." O I love Steak N' Shake, but one can only take so much of repitition, so it was time to explore.

I tweeted several Ebertfest tweeps to join me for lunch as I was going to try it no matter what. Replies were sketchy due to the great time we spent at Bentley's the night before (and in the wee morn). A friend had told me that many of the participants at today's first panel discussion, were beset with eyebags and hoarse throats. Two journalists still had to cover the Royal Wedding at 3am. One of them didn't sleep.

As I proceeded to the pick up point a little before noon, Spencer Turkin informed me that Kenji Fujishima would be joining me. But soon enough we spotted Matt Zoller Seitz who we invited to join in. And thankfully we also spotted Kevin Lee waiting outside with Grace Wang. Apparently she had received my tweet just in time. Spencer's car was again not equipped to deal with my unplanned invitation, but he was nice enough to sit in the trunk of his 4x4 after knowing that Matt and I had already taken turns doing so for the past two days. His friend Bryce Jakobs did the driving.

It was a small joint with only a park bench right out in front on the sidewalk. But it was packed, even though we had arrived early to get seats. We had no choice but to sit outside, but the day was glorious, with the sun counteracting somewhat chilly winds. You could have called it a street picnic. The menu had a quite a variety and the service was brisk. Three of us ordered tacos, two had "burnt ends" (crisp beef bisket slabs in a sandwich), while I ordered the beef brisket.

Once the meals were all delivered, Matt Zoller Seitz commented first, or more accurately, loudly exclaimed: "Oh my God!" It was a favorable review to say the least, as those words would be repeated by nearly everyone at the table who tried these dishes for the first time. And they were roundly succeeded by the next four words: "This is SO GOOD!" I reached into my pocket to photograph these culinary marvels, only to my immense disappointment. I had forgotten my camera, which now answers why you dear reader are not seeing any pics. That'll be corrected later on today (I hope).

We thanked Spencer and Bryce for the recommendation and for helping to choose what to order, and off to Virginia theater we went, joking around how we would all be asleep in the theater because of how we stuffed ourselves. We took our seats for the day's first screening of "45365," a documentary focusing on the city of Sidney, Ohio, which resides on the zip code indicated by its title.

The film was a stream of human moments, a collection of 500 hours of footage taken around Sidney during an entire year. Though it proceeds without a narrative arc, it contains scattered clips of multiple characters whose lives become clearer, more touching, and somewhat more universal in the film's progression. It starts out disjointed; almost scattershot, but you eventually sink in, identifying patterns in its multitudes, reflecting, "Yeah, life is really like that."

There are so many "travel" documentaries where a destination is highlighted by its "best" or most popular attractions, where we are told where we must go, what the people are like, or how the setting should be assessed. But "45365" never tells us what Sidney, Ohio is like, what we should think of its people, what makes it worth living in, or how popular it is. With its five "chapters" (each symbolized by a title's numbers), it merely watches, implanting itself into places and people's lives. It is more honest, more human, and more truthful than so many of its contemporaries. If you want to know what a true destination and its people are like, you should ask the film's directors, Bill and Turner Ross, to make a film about it.

Speaking of the two, their Q&A was one of the more interesting and lively of the festival. Both young men who seem to be truly devoted to their love of filmmaking than the profit that can be made from it, they noted how the festival was the largest reception they've had for the film, and the most intellectual give and take they've with an audience. The film currently has no distribution whatsoever and is described as essentially, "a black market movie." That's criminal. Whoever is reading this, please help them out if you can.

The night's next offering was the highlight of the evening; a movie that astonishingly brings back one of film's supreme figures: Richard Linklater's "Me And Orson Welles." The audience was packed with anticipation, especially to be in the same room with a great director such as Mr. Linklater. It tells the semi-fictional story of Orson Welles's legendary theatrical production of "Julius Ceasar," told through the eyes of actor Arthur Andersen, portrayed by Zac Efron.

The film is noted for a performance by Christian McKay, who plays the title character. His performance is so astonishing, so uncanny, that it feels as if Welles himself had risen from the dead. Welles famous diction, inflections, mannerisms, and bombast comes back to life. To even call it performance or an impersonation diminishes how wondrous it is. I could only describe it as a resurrection.

The movie itself is an embarrassment of riches. Its production design is exquisite. Its first rate cast gives no weakness. Its music evokes the classic American songbook. Its screenplay is witty and oh so smart. And its story aside from being one of the most insightful looks at a life in the theater, is also very very funny.

Its cast is populated with some of the best British theater actors working today, reflecting how much respect is given to the film's central play. The American actress Claire Danes emits a presence of quality and class whenever she is on screen. But what I also found quite notable was the revelation of Zac Efron as more than just a teenage star. He holds his own amongst the film's best performances, holding our attention, serving as our witness to the greatness of McKay's Welles. His noted physicality and grace adds a dimension to his representation of the confidence and innocence of youth. His character has the gusto and desire to be part of the arts, and the contrasting touching hesitation in the face of making and finding love for perhaps the first time. I hope we get to see more roles like this for Mr. Efron. He has the promise of a young unaffected Tom Cruise.

Richard Linklater's Q&A was the most sought after of the night, and he was very game and enthusiastic to participate (which seems to be on par for every filmmaker who has done so during Ebertfest). Not only did he answer questions, but he shot them out at the audience too in the form of the movie's trivia. Correct answers were rewarded with the movie's posters and soundtrack.

As the film's Q&A died down, the remaining audience started congregating near the stage for autographs with the director. We FFC members proceeded to have dinner, where I finally met with Claire as she spent most of the day going shopping with Krishna Shenoi's mom and sister. I told her she missed two wonderful films, but I don't blame her. The days can be grueling asking to hold our attentions in a cold theater for half a day. Many of us writing behind the scenes were starting to feel the effects of going on mostly adrenaline (some of us still working to cover the festival itself). Matt Zoller Seitz, who had left that afternoon, hadn't slept from the evening before, working to meet deadlines I'm sure many of the guests have.

After finishing dinner, we returned to the theater where I spotted Roger and asked him how he was doing since he himself had loyally attended every single entry so far. He nodded to me that he was fine, and to my surprise, he introduced me to Richard Linklater who was sitting next to him. I was unprepared, starstruck, and fumbling with my words. But I did tell him what great work he does. I was thankful for the moment.

The last entry of the night was Norman Jewison's "Only You," a film which both Roger and the director hold dear to their hearts. It tells the love story of two people who believe in romantic fate in different ways. Compared to many of the films at the festival, it was light and easy fare. I had seen the film before when I was in high school and enjoyed it quite a bit watching through more innocent eyes. But I admit as I started the film through its first 20 minutes, that I was becoming discouraged.

It felt overly manipulative and quite maudlin as it started. But because of the film's extremely charming characters, particularly Marissa Tomei and Bonnie Hunt, they hold our affection. And by the time Robert Downey Jr. enters the story as Ms. Tomei's polar attraction, all is forgiven. It also helps when you have the stunning presence of Italy, with its Venetian waterways, Tuscan Siena vistas, and Coastal mountainside of Positano. It's a European traveler's wet dream.

I was surprised how film was still able to win me over despite the passage of time. I was enthralled with the film's quiet strength in the belief of its themes. It sticks to its premise and bravely delivers. The earliest of film romances were never afraid to do so. This throwback won me back.

The film's Q&A took a while to begin, but that's because Roger himself wanted to present his dear friend Mr. Jewison to the audience himself. I was also very happy that my fellow FFC member and friend Olivia Collette got the chance to participate on the panel alongside one of her heroes. She never thought she'd get to do it when Ebertfest began, but when Chaz found out, she let her have her moment. Thank you Roger and Chaz!

The panel ended and we all proceeded to Mid-Fest party held on Green Street near our hotel. Many of the festival prized guests, including Richard Linklater and the Ross brothers Bill and Turner. I myself was too pooped to stay long. But I dropped by to say high and grab a bite just to keep myself going. It was a nice night with friends new and old. Krishna got to meet Mr. Linklater who is one of his favorite directors.

Going back to the hotel, my new friend Pablo Villaca mentioned to me how he wish it didn't end. I had a wide smile not because it was funny, but because it was true. I felt exactly the same way the same time last year. Those new to this were beginning to have these same thoughts dawn on them.

I told him how I felt for him while he told me there's always next year. If I could come back every year, I would.