It was quarter to 8 yesterday morning. I had just sent an email to the FFC inviting everyone for "brunch" at Steak N' Shake since Wael was the only one who had yet to go. It was Ebertfest's last day, the last screening was at noon, and some of us would be leaving as soon as it was over. It was now or never.

I put my sad thoughts off for a moment as I headed to Steak N' Shake for one last time. Wael, Seongyong, Grace, and Tom are were there to meet me at the hotel entrance. Jerry (Gerardo) wasn't able to get the email while Omer needed his rest. Omar met us there later on.

Wael enjoyed his meal greatly as we all shot the shit so to speak. Mostly commenting on how it was all ending. Once we finished we headed to Virginia theatre for the Festival's finale in SONG SUNG BLUE, a documentary about Mike and Claire Sardina, song revivalists famous for performing the works of Neil Diamond and Patsy Cline respectively.

The movie reminded me of HOOP DREAMS but for singing impersonators. It shows this loving couple and their passion for music and performing. We see the tragedies that befall Mike and Claire's family in ways only life can supply. We see them at their most irresponsible, their most fragile, their bravest, and their best. Does the film have a happy ending? Does any life have a happy ending? All that is to be said is that they lived life on their terms for good or bad. Whether they triumphed or not is up for debate. What is undeniable is that they persevered.

I remember when Roger introduced Claire Sardina at the Festival's opening gala. She was the last person on his roll call of guests. She confirmed her attendance by shouting out way in the back that "I'm right here!" As Chaz asked her to come up to the podium, Claire made her way very slowly. I was unaware of her background, not knowing if she was injured or sick. Roger, he himself a bit frail, went and walked to receive her. As they hugged midway, applause.

And what a marvelous reception Claire received after her film's screening. Though OKURIBITO might have been the festival's best show-stopper, SONG SUNG BLUE was the appropriate climax, as the crowd showed their appreciation. Tom Dark was right, Rodge sure knows how to pick 'em. After thanking her well-wishers, Claire said she would perform three songs, and the crowd was on its feet through all of them.

The film's Q&A with the film's director Greg Kohs was remarkable, as Claire noted of his persistence and concern as he started out as a fan and ended up pretty much as family, becoming the proverbial "fly on the wall" witnessing everything good, bad, and ugly. He spent more than 10 years detailing their story. Some of the great documentaries of our time, such as HOOP DREAMS and the 7 YEAR UP files have required as much if not more. It was time well spent.

After the close, Carol Iwata came up to us and mentioned that Roger and Chaz wanted to meet with us, particularly those who wouldn't be in Chicago for the next few days, to spend a fond farewell together. Where else? Steak N' Shake (D'oh!).

It was probably my 4th or 5th time there (I've lost track). I even got tweets criticizing me for destroying my diet as I have a "Twibbon" supporting Jamie Oliver's Food Revolution. Hey even Jamie indulges himself sometimes, and I'm never going to have burgers like these when I get back to Malaysia (heck, I won't be having any at all). So for all those naysayers, spare me.

It was time to say goodbye to some of those that spent time with us at the Festival. Those Oregon kids who went to every screening made us proud. Yes, I'm talking about you Dana Henson, Bret Bynum, Mike Millan, and Tyler Henson of Marshfield High School. If there's any right way to play hooky, you guys did it. Two other youngsters who we came across often were Sean Kelley and Danielle Williamson. They were both very nice and polite. Whenever you see kids like this with a genuine interest in film, good films at that, our hearts can't help but feel there is hope for the moviegoing future.

Jackson Savage, my newfound fan of the FFC, is astoundingly intelligent and astute for a 15-year old. When Omer, Grace, and I heard that he found SYNECDOCHE, NEW YORK good for his "emotional evolution," we were, as Roger would likely call it, gobsmacked. His mom brought him to Urbana-Champaign from their hometown of New Mexico. He might be going to Europe for vacation. Two life-shaping experiences which can only do him good. She did a good job.

Evan Cohen was another great help to us FFC. A very energetic volunteer for the entire week, he was one of many who helped shuttle our butts all over the campus. A pretty funny guy with a passion for performing himself. I kept on thinking of a young Conan O'Brien (not the hair!). Hey, that's how he started!

Grace and Ali had to go to the local airstrip to catch their return flights. So it was a round of hugs for them. The rest of us headed to Steak N' Shake. Roger and Chaz soon followed as we took our sweet time savoring the moment. It would only get sweeter as Grace came through the door saying that her flight was delayed. So I consumed my first Guacamole Double Steak burger with a Banocolate (banana and chocolate) milkshake, as if it were my last meal. Seongyong had to go as his flight was leaving. Grace had to go back to the airport to check her rescheduled flight. As it ended, hugs all around. Picture poses all over. Trips back to the hotel.

Grace came back to the Union as her flight was delayed until the next day. Tom and Omer had said their goodbyes driving back to their cities. Wael, Grace, Jackson Savage and me had one last dinner together at the worst Chinese restaurant in college town existence (I blame their indecisiveness!). But at least as Jackson headed home, we three had some final stories together. As I bid them farewell, I head to Chicago the next day with Jerry and Monica for my private moments. One last one in Champaign-Urbana.

Last. That's the word that strafes my heart. My newfound friends echoed my sentiments: We don't want this to be over. We can't believe it's over. This incredible gift that Roger gave us, not just the opportunity to meet him, be with him, see great movies, and attend parties for free. That's just icing. The feast was having this foreign family which spoke the same language: our mother tongue of film. 

I have never been able to speak with such eloquence and abandon about my love of movies and all that comes with it, to people who understand and intuit what I mean, without having to clarify. I have never felt this way with my best friends or my dearest family members. In film ideas, I connect to Seongyong, who has trouble with his English, even more so than with my wife.

This is one of the best gifts Roger has given me, and I cling to it feverishly. Those close to me sometimes ask why I tweet so much. I tell them it's my link to the world of film, and my new friends who I have been searching for all my life. Those twitter followings and followers might as well be fishhooks into my psyche, for which I am gladly a masochist. I don't know when I'll ever get the chance to experience this treasure again, but now that I've tasted it, I won't let it go.

Roger, thank you in many ways for bringing me home. I'll be back.

Got up around 8 to get ready for a breakfast get-together at an apartment Roger and Chaz were staying at. We FFC were told to meet at the front of The Illini Union before getting there. And who did I see there? Lo and behold my dear friend Wael Khairy.

How odd it is to say that. I had met him just last night, but feel that I've known him all my life. I gave him a big brotherly hug, exclaiming, "You made it!" All week each of us kept on mentioning with each memorable moment, "If only Wael were here to see this." But everyday we would here from Chaz that there was still a chance he could make it. Last night we were told he would, and we were really happy that the far flung correspondents would all be here.

At last night's party, I asked him if he had gotten any sleep, as my own journey to get here involved 19 hours of travel time and 10 hours of stop over time. He told me that he hadn't slept in more than 24 hours and was exhausted. But it didn't show. I'm sure he was happy, but he looked more in stunned disbelief. I could only smile knowing how much happier it was going to get for him.

Only a select few were invited for breakfast, but it felt just as packed as last night's party. Though there were people all around, it felt a lot more intimate. Something about mornings seem to bring out the warmest among us during Ebertfest. Probably because we had our rest.

Grace and I would chat more about Asian cinema with David Bordwell. Two other Michaels, Barker and Tolkin, seemed to be wheeling and dealing. Two Kims, Morgan and Voynar, both immensely readable film bloggers, were seen chatting it up (the former showcasing one of her beautiful coats). Tom Dark got a chance to mix it up with Charlie Kaufman, and told me a very nice story revealing just how nice a man Mr. Kaufman really is. Carol Iwata, Roger and Chaz's, personal assistant, got to showcase her "Midwestern Japanese" with Mr. and Mrs. Takita and their translator, with funny results.

I got to meet AP film critic Christy Lemire for the first time, and told her how very much I admired her moviegoing efforts involving her very first three month old son Nicholas. We compared notes, noting that when me and my wife had our first born, we stopped going to the movies completely for 2 years. I also got to meet Betsy Hendrick, Roger's very close friend and one of the major patrons of his film festival. She's very a warm and kind lady, frequently chatting with us whenever she had the chance. I'd say her enthusiasm for the FFC was as deep as Roger's. Without her, none of this would would have been possible.

It was nice seeing my fellow FFC mingling around. Picture-taking abounded. Vincent P. Falk's wordplay even more so. Ali Arikan was working the room like a pro, making a naughty photo-op remark that left me in stitches. Roger introduced his sketching prowess by showing his illustration for this year's Ebertfest logo as well as another used in for the Hawaii Film Festival. But the highlight of the morning was seeing Wael finally meeting Roger. I felt so much for him.

So it was time to go for the day's first of four screenings. Four. All I could think was whether I would be able to get through all of them. I was intent on doing so, since tomorrow only had one screening and I could get my rest then. As Chaz started the day's proceedings we knew what would come next. Wael got introduced to the audience who knew of his quest to attend Ebertfest. The crowd roared, Wael was enraptured, the circle was complete.

We started off with I CAPTURE THE CASTLE, an adaptation of Dodie Smith's novel of the same name, which tells the tale of an eccentric family, struggling with 1930s life in an old English Castle, as seen through the eyes of its protagonist, Cassandra.

It didn't work for me. I consider myself an anglophile, but something within me just kept on seeing it as contrived, a quality that kept me from fully buying into its emotional conflicts. It isn't a bad picture, and many times it can be entertaining and even touching, but I couldn't fully accept it having seen many works of the same nature yet better telling. Perhaps it would have worked better for me if I had read the novel.

Fortunately, the film's Q&A gave me some hope. IndieWire film critic Lisa Rosman mentioned how much she loved the film, noting that it shows a teenager actually dealing with love for the first time. So many film these days tend to show young people knowing exactly how to deal with this important moment (or not knowing how to deal with it all), but very few try and show those who are unsure, and how they navigate its questions. Listening to her, I think I need to see CASTLE once more.

Nell Minow, also known as Beliefnet's Movie Mom, moderated the panel. She's another wonderful movie soul that I've met here. For the past day or so she has sat in the same row that me, Omer, Omar, and Seongyong sit at, and she's always been game when we all start sharing our opinions. She's also a real blast when she really dislikes a film. Don't get her started on LOVE HAPPENS.

The next film shown was VINCENT: A LIFE IN COLOR which chronicles the life of Vincent P. Falk, Chicago's literally "colorful" character known for his striking suits, stealing the spotlight from TV shows to the Chicago marathon.

I saw Vincent at the Illini Union a day before the festival started. I recognized him right away and told the hotel manager, "That's the suit guy!" When I was introduced to him at our Meet N' Greet two days ago, I have to admit that I was a bit uncomfortable. He was always popping corny jokes and shouting "Oooooooh!" with some witty retort. But then I had already pre-judged him, thinking he was mentally challenged.

Then I saw the film, which completely changed the way I feel about him now. The film's director Jennifer Burns goes to remarkable lengths to show his background, profiling his upbringing, family, friends, work, and love of showmanship, revealing someone who has found, as Billy Crystal would say, "that one thing" to being happy. Despite being totally blind in one eye, and near as much with the other, he made his living comfortably as a programmer, which explains how he can afford all of his suits.

I was quite moved by the movie and mentioned to Jennifer afterwards that I thought her film was such a gift. I also told her I was guilty of the very biases which the film brings up, and greatly appreciated what she and Vincent did. When I got the chance to see Vincent, I told him the same, said that I was sorry, and that I'd never pre-judge anyone like that again. We chatted a bit and he told me that he specialized in COBOL. I told him I used to program in that language too. What are the chances of two COBOL VIPs at Ebertfest?

Two down, two to go. The third film was James Mottern's TRUCKER, which tells the story of Diane, a lady truck driver, played Michelle Monaghan, who hauls sixteen-wheelers for a living. She prefers to live a solitary life, with responsibility solely to herself, which clashes with the realities of her dying ex-husband, her estranged son, and a blossoming relationship with a longtime friend. Next to Tilda Swinton's portrayal of JULIA, Michelle's performance was the most fearless of last year.

There are a lot of pretty girls in Hollywood who need to play the same tired old roles mainstream Hollywood expects of them. Very few are willing to take on challenging parts which can possibly spoil their marketability and eventual financial success. Which makes Michelle Monaghan's turn here all the more remarkable. One of Hollywood's loveliest ladies, most people remember her for roles in MISSION IMPOSSIBLE 3 or MADE OF HONOR, yet miss out on her work in NORTH COUNTRY and GONE BABY GONE. Though she has done impressive work in the last two I mentioned, they both give no inkling of her range and depth which she displays in TRUCKER. She's earned one more fan in me.

Finally a dinner break, but no food for me just yet. I've just been informed that there'll be a "Post-fest" party, so I might as well eat there instead. I get to interact with Omar Moore a bit more and realize how much energy he has. Before Roger named him one of the FFCs, he was already blogging movie reviews at his website The Popcorn Reel, while maintaining law and photography practices. I find him a valuable resource when it comes to the inner workings of Hollywood since he has the insider access. Did I mention that though he works in L.A., he resides in S.F.? Which means his daily air-commute takes more time than it has to. Yet, talking with him reveals no such weariness. His accent is James Bond suave but his gestures are demonstrative. This is one dude I'll miss once this event is over.

Ah, the final screening of the night: BARFLY. A semi-autobiographical film about a few days in the life of poet/author Charles Bukowski. It's a truly American film in that it captures the grungy, booze-filled aura of seedy bar towns of Los Angeles, a subculture of America that I am quite unfamiliar with. The sunken, desperate air which permeates the film cannot sink Mickey Rourke's character of Henry (the Bukowski persona), whose intoxicated outlook feels strangely blissful.

The film has to be seen to be believed, as most films about alcoholics I've seen tend to be depressing. And to some extent BARFLY is depressing, but not in Henry's company. Its director Barbet Schroeder, who thankfully made it to Ebertfest, was a great admirer and eventual friend of Charles Bukowski, and it shows in his loving yet unflattering light of his protagonist. Henry is bloodied, intoxicated, and sometimes lost, but at the same time, wistful, content, and yes, happy.

After the Q&A it's one final stop to Betsy Hendrick's home for the final Ebertfest party, and of all the gatherings we've had, it was the most packed. And the throng was of course nearest the dining table, where those small burgers were heavenly (Angus beef!).

I met a couple who were trying to get their documentary film made about a World War 2 veteran who served in the Pacific. I offered them my contact details in case they needed any help finding resources in the Philippines. A met Troylene Ladner and her husband Aaron who also helped sponsor the Festival. But mostly I hung around my FFC friends, feeling most comfortable around them. I had a nice long chat once more with Tom Dark about family, kids, and his horses. Yes, he raises horses on his ranch (he's got the hay in his 4x4 to prove it).

I got the chance to catch Betsy and thank her for her hospitality, before I headed back to the hotel at around 3am. God bless her for helping this day become a reality.

Another 4 hour night of sleep, and I barely get up in time for this morning's panels. I could have slept in longer, but decided to attend the morning's first, entitled: "Do Film Students Need to Know Much About Classic Films?" I really didn't need to attend it, knowing the answer to that question. But I was anxious to see the audience turnout, hoping to somehow participate in enlightening students.

Sadly, most of the audience members weren't students. Their heads were a sea of grey and white (not a criticism but an observation), which I found kind of depressing, not because of who were there, but who weren't. It was interesting though to listen to what the panelists (David Bordwell, Richard Neupert, Howie Movshovitz, etc.) think young filmmakers might be missing out on, possibly "reinventing the wheel" so to speak without exposure to classic film canon. But there was also acknowledgement that the canon itself has to be sort of flexible as to what filmmakers are trying to achieve, as not all kids are trying to make another CITIZEN KANE.

What made the morning a delight was getting to meet and speak to Tom Dark for the first time. He cuts quite a first impression, which startled me when I first saw him at the Q&A panel for PINK FLOYD'S THE WALL. With his relaxed demeanor, Banana Republic Jungle Vest, old sandals, and Sam Elliott mustache, his look practically screams old codger. But when he speaks, his voice has a soft poetic flow that just draws you in. There is nothing trite in his words, and his insights and experiences when conveyed can feel like a daydream. I wasn't kidding when I tweeted that Tom Dark is a conversational joy.

After chatting with Tom, I got ready for the next panel: "The Global Web of Film Lovers", which I was to participate in. The last panel I remember doing was something back in college (or perhaps high school), and I don't even remember what it was for. But strangely, I felt relaxed this time, and my comments just flowed out of me. I kind of hogged the mic when it came to the issue of film piracy and the lack of access to quality films from the third world, but it has been an issue long on my mind, and I wasn't going to let the opportunity pass.

Speaking of which, I had prepared for that moment a few minutes before by speaking with one of my film critic heroes: Former New York Times film critic Elvis Mitchell. I was able to catch him in the hallway and told him how much I admired his writing. He probably felt the same way I did when I met my first fan yesterday, complete disbelief. He was very gracious with his time and offered suggestions when I mentioned what I wanted to talk about. I kept on calling him sir, and he told me (good-naturedly) never to call him that. "Please call me Elvis." he said. I told him that I blogged, "I just had to listen to Elvis again." He actually got a good laugh out of that. Yes!

Roger took our pictures before we started, and I took a picture of the audience, as I didn't know when I'd ever get to do something like this again. The big guy Omer was a damn good moderator, as he wouldn't let me take the mic too much (I couldn't help myself!), and tried to save Seongyong's commentary on his home country. He managed to have a number of questions to be answered despite us starting late and having very little time left.

After lunch we proceeded to the first screening of the day: Yojiro Takita's OKURIBITO (DEPARTURES). David Bordwell introduced the film saying that it is a very "Japanese" movie, meaning that understanding the country's cultural attitudes towards death, honor, nature, and even food can give a deeper appreciation for the film. Spot-on observation as usual. It was definitely the festival's show stopper, drawing a standing ovation at its end credits, and at the introduction of its director during its Q&A.

I had seen OKURIBITO previously on DVD and thought it was a wonderful film. But seeing it in the Virginia Theater, carefully heeding David's advice in paying attention to the sound, I was overwhelmed by the emotion carried by the movie's astounding use of music. I had mentioned how I loved its use of Beethoven's Ninth, and the director noted how it was purposely used to show an ironic high-and-low moment for the lead character. Though we can debate if it was deserving, it's easy to see how this film won last year's Oscar for Best Foreign Language Film. I haven't shed that much tears or shared that much laughs at a theater in quite some time.

After the film's screening, Grace and I had gathered with David Bordwell back stage for some chit chat about film and such. Once more, he was so generous with his time. The only person I've seen with as much energy in talking about movies is Martin Scorsese, as David sometimes sways from side to side just keeping it all in. He also suggested to Grace and I to continue our interest in covering film festivals, pointing out that Grace could do Toronto (TIFF) and I could do Hong Kong (HKIFF). He even said that if we needed credentials, we could get in touch with him. Like I said, he's one of the nicest men I've ever met.

The next screening was the Russian Dziga Vertov's CHELOVEK S KINO-APPARATOM (MAN WITH THE MOVIE CAMERA), a searing black and white of documentary footage of life in the Soviet Union in the 1920s. Though the film shows scenes of the old, it is more alive and vibrant than most movies shown today, serving as time machine and as laboratory experiment on the possibilities of film. Fellow FFC Ali Arikan noted that he could easily imagine Leni Riefenstahl easily being inspired by this film's energy and imagery, and who knows if it did?

What made the screening of MAN WITH THE MOVIE CAMERA especially worth seeing at Ebertfest was the performance of the Alloy Orchestra, a three-man ensemble performing live music to complement (in this case enhancing) the silent film. Their unorthodox instruments and energetic improvisations raise this piece to something more than just a movie. I would have loved to experience in a music hall in front of orchestral aficionados.

I must admit however that in the middle of this screening, I was attacked by exhaustion, repeatedly dozing in the middle. I decided to skip dinner and the last screening of the night: Charlie Kaufman's SYNECDOCHE, NEW YORK, which I kind of regret. I had seen SYNECDOCHE before, but wanted the chance to see it once more to perhaps catch or appreciate what I may have missed before. It's an uncompromising but insightful film about how man lives his life and his futile and humorous attempts to grasp its immensity. I hope one day to see it again, but oh what a sight it could have been in the Virginia Theatre!

There was a "Mid-fest Party" for select guests after the SYNECDOCHE screening at 11pm, and I had gotten the rest I needed. it was pretty lively and entertaining getting to hang around film organizers, guests, and fellow panelists. Some of my FFC friends were chatting with Charlie Kaufmann. I got the chance to chat with Howie Movshovitz, film critic for Colorado public radio and director of film education at the University of Colorado. I wanted to chat with him about film preservation as many of my Filipino film critics told me to bring it up (our film archives are non-existent or near death). He gave me a list of Film companies/studios that do it in the US, and they don't just do it for American films. He also confirmed what David Bordwell told me: it's really expensive (at least $80,000 per film).

He also told me some great film restoration stories, and I think he was genuinely glad that here I was, a young person incredibly interested in not just movies, but in their importance. He's the only guy I've ever discussed Charles Burnett with. Elvis Mitchell once again walked by and greeted Howie, and I told Howie that I loved Elvis's work. Elvis said, "See. I told you I had one." I called Elvis "sir" again, and yes, he warned me, "If you call me that one more time..."

I finally got around to eat past midnight. Caught up with my FFC buddies and Tom Dark (he's pretty much FFC to us as far as we're concerned). Another 3am arrival at my hotel room. Another 4 hours of sleep. At least I, along with the rest of my dear Far Flung Correspondents, will remember this forever.

Today kicked off with a "Meet and Greet" at the Illini Union, where Roger, his wife Chaz, the Festival's Guests along with members of "The Ebert Club" came together for breakfast before the day's festivities began. It was a family type affair; relaxed and casual. Chaz introduced us Far Flung Correspondents once more, with my brow less crumpled by shyness than before.

I met a man who had been a long time "correspondent" of Roger Ebert, back in the day when Compuserv was a dominant online service provider, and when Roger was one of its most active participants. He told me that Roger really hadn't changed that much since then, and that he was always inviting members to discuss film and its ideas with just as much energy as he does today on his blogs. In the middle of our discussion, Roger had walked in the door, and gave a nod of recognition to the man who had spoken so highly of him. After all of the countless people he has known and met, he remembers.

Gerardo and Monica Valero decided to give their very special gifts to Roger this morning, and they were stunning. The first was a signature of Orson Welles enframed with his black and white photo from THE THIRD MAN. Monica said that it was given by Mr. Welles to her aunt during his visit to Mexico.

The second gift was even more remarkable, a hand-drawn illustration (by Monica, an accomplished artist in her own right) of a very young Roger and his father. The picture was inspired by Roger's own eloquent memories of his dad, and of all the moments we Correspondents had together, I believe this one moved him the most.