Brant Sersen’s last film, the Rob Corddry-starring comedy Blackballed: The Bobby Dukes Story, won the audience award at SXSW 5 years back. His follow-up, Splinterheads, stars Rachael Taylor (top billed in the Washingtonienne pilot) and Lea Thompson (riding the heat of the recent resurgance of Howard the Duck), and is premiering at SXSW in Emerging Visions. Sersen answers The 5 Questions We Ask Everyone after the jump.

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• In the weekend battle of Sundance doc winners, Man on Wire easily outgrossed American Teen, with the former’s $24,250 on each of its two screens to the latter’s $8,565 on each of its five.
• Meanwhile, Batman eats money.
• Ridley Scott’s Nottingham has been delayed. Universal is apparently worried about an impending SAG strike (reminder: actors have been working without a new contract for like two weeks) and the fact that “the film’s forest locations need to be green.”
• Fouad Mikati will direct Ving Rhames, Ellen Barkin, Rob Corddry, Bob Odenkirk, Jeffrey Tambor and Maggie Q in Rogue’s Gallery for Richard Kelly’s Darko Entertainment.

One of the things I love about Harold & Kumar Go to White Castle is the way it treats its two stars, John Cho (as Harold, or “Rold”) and Kal Penn (as Kumar). The plot could have been played with any hot young dudes in Hollywood in the roles – you’d maybe expect two white guys, one with blonde hair, one with brown – but instead the characters are a Korean-American and an Indian-American. And it isn’t a big deal. Aside from a few derogatory, stereotypical comments made by unfavorable guys the duo meets on their adventure to find a White Castle, race isn’t an issue and doesn’t really come into play story wise.

However, the sequel, Harold & Kumar Escape from Guantanamo Bay, turns the color of their skin into the impetus of the story, which revolves around them being mistaken for terrorists (“North Korea and Al-Qaeda working together”). Almost disguised as a smarter, more politically satirical follow-up, Guantanamo Bay, which was directed by Jon Hurwitz and Hayden Schlossberg, who wrote this movie and the original, is basically just an adaptation of a Truly Tasteless Jokes book — if every other page of that book were annotated with updates, apologies, corrections and clarifications. It’s a movie that wants to have its offensively stereotypical cake and eat it, too – using a kind of utensil we’re not accustomed to seeing used for such a meal. What I mean is that each joke is a play on a socially recognized stereotype. Easily stereotyped characters are set up as clichés (dumb white-trash hick from Alabama) only to be revealed as the opposite (he has a classy home with refined interior decorating and accoutrements), yet ultimately they’re also exposed as being a part of that stereotype (he’s married to his sister and they have an inbred cyclops child in the basement).

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