I’ve now had the pleasure of screening two of Fatal Pictures’ short films, WORM and FAMILIAR. As part of my ongoing commitment to highlight and support independent filmmaking, I seized the opportunity to speak with producer Zach Green and director Richard Powell of Fatal Pictures to talk about these and other films and filmmaking in general… Continue reading Interview with Fatal Pictures’ FAMILIAR Producer Zach Green and Director Richard Powell
“Pig” can be defined in many ways. A common farm animal, a person inclined to eat too much, a derogatory slang toward law enforcement, or a fitting short hand for a selfish, sexist man who hates every bone in a woman’s body. None of these truly fit within the confines of the film PIG, which can lead an audience astray. The title is most likely derived from the ramblings of the main character in reflection on his own past behavior, but this plays only a supplementary role in this complex science-fiction story of one man’s odyssey to regain his own mind.
Written and directed by Henry Barrial, PIG is as much a psychological thriller as it is science-fiction. This surely has its roots in Barrial’s education in psychology, which comes through in the script. Rudolph Martin plays the nameless main character, who wakes up in the middle of the desert with his hands bound behind his back and a black hood on his head. It’s not looking like a good day ahead. On the brink of death by dehydration, or worse, he passes out.
Flash forward a bit and our mystery man awakes in the home of a woman living alone in the desert. This woman found the man and has cared for him while unconscious. It is at this moment the man realizes he is suffering from a terrible case of amnesia, unaware of who he is or how he has come to be in this bizarre situation. What’s abundantly clear to the audience, however, is that some is not right and bad things are sure to come. The Man, whose only lead in a slip of scrap paper reading “Manny Elder,” begins an arduous struggle to regain some sense of self, to recover his memory, but leads him deeper into the rabbit hole (so to speak) than he ever imagined.
Rudolph Martin is not just convincing as the amnesiac man, but displays a range of tools in his acting utility belt that make the character that much more engaging. PIG can be classified as fitting the same general category science-fiction film as TOTAL RECALL or MINORITY REPORT, but without the action. On his journey, The Man encounters Manny Elder, played by Keith Diamond, a familiar face from several popular television series, and others who lead The Man to slowly piece the puzzle together.
PIG is a film that too easily can be spoiled, but what I can tell you is that nothing is what it seems, including The Man himself. PIG is not a traditionally structured film, presenting the story in a non-linear fashion that dissects time and shuffles the pieces into a complex puzzle, different but in a similar manner as Christopher Nolan’s MEMENTO. PIG not only stands up to multiple viewings, but actually demands a second viewing to capture the story in it’s entirety. I’m not suggesting its an impossibly complicated story to comprehend, but simply that PIG tells a story in such a fresh and entertaining fashion that you’ll want to see it a second time.
Showtimes
Sunday, November 13th at 1:30pm – Tivoli Theatre
Blake Eckard is what you’d call a “micro-budget” filmmaker. This means precisely how it sounds. Movies made on little to no budget, independent fare created by artists driven to have their visions come to fruition, regardless of any financial obstacles that would otherwise restrict such an endeavor. Eckard’s newest film is titled BUBBA MOON FACE, which he wrote and directed. With a title as odd as BUBBA MOON FACE, you may imagine the film being equally strange. On some level, this is certainly true, but its a subtle quirkiness that underlies the entire film, primarily a drama about a drifter named Horton (Tyler Messner) that returns to his rural roots for his mother’s funeral. While back home, his car breaks down and is forced to stay with his brother Stanton (Joe Hammerstone).
Horton is a reserved man, not an entirely happy man, and clearly removed from his past as a country boy given his reluctance and uneasiness around his kin. Certain interactions with his brother suggest he’s been gone for some time. As the story progresses, we’re introduced to Horton’s father Gus (Joe Hanrahan) who really brings out the David Lynch style strangeness of the story. Gus is a multiple divorcee, sexually romantic with a woman at least half his age and clearly heavy into recreational drugs, likely methamphetamine, given the rural setting and his peculiar nature. His presence creates more tension with Horton than is already present Stanton’s newly revealed situation.
Imagine taking BLUE VELVET and and turning it into a low-budget family drama, and you may begin to come close to describing the uniquely absurd and intriguing nature of BUBBA MOON FACE. When a drunken one-night stand named Sabetha (Sylvia Geiger) shows up on Stanton’s doorstep with a newborn baby, Horton finds himself stuck in the middle of a parental spat he wants nothing to do with. From here, the story deepens further into a tangled web of familiar connections and uncomfortable situations, including a casual love triangle between Horton, Stanton and a barmaid named Leslie (Misty Ballew).
BUBBA MOON FACE was shot in rural Northwest Missouri, evident in the many beautifully photographed establishing shots that are peppered throughout the film. On this level, the film feels close to home, as my roots reach into this same general area. While the literal actions and dialogue of the film are exaggerated, for humor and dramatic effect, the core of the relationships and circumstances are based in a foundation of real life. In a less than flattering light, there’s a clear element of what you’d expect to find on The Jerry Springer Show, but the truth is these things do happen. There are people who, for whatever reasons, seem strange and alien to people from other backgrounds, and the same is true in reverse. It seems to me that Eckard is trying to accentuate this.
Blake Eckard now has made four micro-budget feature films in the last decade. Take a moment, consider that statement and you should realize how impressive that is. Major Hollywood studio films with multi-million dollar budgets rarely are completed from script to release in under a year, but Eckard is trending one feature film every 2.5 years. Eckard’s films may not look like Hollywood fare, they may not be as polished as most viewers are accustomed to, but what I see is an independent filmmaker who knows what he’s doing, but chooses not to focus on the money of making movies. Likewise, I’ve certainly seen better written films, whereas Eckard’s dialogue is far from perfect, but the clumsiness (for lack of better words) adds an element of uncomfortable absurdity to this story that makes sense on a somewhat satirical level.
BUBBA MOON FACE screened at the Tivoli Theatre this morning (11/12/2011) as part of the 20th Annual Stella Artois St. Louis International Film Festival, followed by a Q&A with filmmaker Blake Eckard.
BOY WONDER is a psychological thriller about a boy obsessed with finding his mom’s killer. This weekend some of the talent behind the film were at NYCC to promote its upcoming theatrical and DVD release. Below is an interview with writer, director and producer Michael Morrissey.
Here’s the official synopsis of the film:
A young Brooklyn boy witnesses the brutal murder of his mother and grows up obsessed with finding her killer. Thus begins his life as a quiet, straight-A student by day and a self-appointed hero at night. But what is a real hero? And who decides what is right or wrong? As the boundaries blur, Sean’s dual life wears on his psyche and his two worlds careen dangerously close to colliding. Like a graphic novel you can’t put down, Boy Wonder challenges morality, distorting perceptions of what is right and what is justified, as it races to its shocking conclusion.
BOY WONDER will be in limited theaters in NY starting October 21st & Chicago October 28th. BW will be on DVD & VOD November 8th!
Jerry Cavallaro – www.JerryCavallaro.com
My second day at NYCC started off with a 25-minute wait on a line that wrapped almost entirely around the Javits Center. I later found out there was a separate press / VIP entrance I could have used but the volunteer I asked apparently did not know about it either. The line wasn’t too bad though considering how many people in awesome costumes I got to see while I waited.
Once inside the convention, I saw the reason for the massive lines. The place was packed. Some aisles on the show floor were impossible to navigate and even the press rooms were full. I knew Saturday would be the biggest day at the con but I just was not prepared. The massive amount of foot traffic made taking decent pictures of people in costumes much more difficult but I still managed some decent shots.
After a quick hello with some fellow press, I began wandering the show floor aimlessly. Eventually I did fall into a little bit of a schedule based on a few booths and panels I wanted to check out. On my way to the BOY WONDER booth, I passed Magnet Releasing and noticed that writer/director/actor Ti West was signing posters. Being a fan of his work, I waited to meet him. We talked horror movies for a few minutes and he gave me some advice on a script I recently finished.
From there I headed over to my interview with Michael Morrissey, writer & director of BOY WONDER. We discussed the origins of the film, what it is like promoting it at conventions and more. I will post the full interview soon but here is a trailer for the film.
Following the interview, I made my way to a booth that actually has very little to do with movies but I want to mention anyway. IAmAStuffedAnimal.com is a website that makes a custom “little buddy” which look like the stuffed wrestling dolls I used to have as a kid. For a pretty reasonable fee considering all the personalization, they make these really cool stuffed dolls of anyone or anything you want. They first came to my attention when actress Felicia Day was posting pics with her buddy that they made for her. I found them on twitter (@StuffYourself) and saw they made custom buddies of a lot of the celebrities at the convention. In fact, the doll Seth Green & Macaulay Culkin were posing with in my video on Friday was from these guys. I loved that promotional idea and stopped by to do a quick interview with them. Check it out:
After the interview, I made my way to the EAGLEHEART panel at the other end of the building. This was a strange one. For anyone who has seen the show, you know how insane and hilarious it is. If you haven’t, the show is essentially a WALKER TEXAS RANGER parody with some of the most absurd humor you will ever see. Obviously, it is part of the Adult Swim lineup. The show stars Chris Elliott, Brett Gelman and Maria Thayer, who were all on the panel along with creators Michael Kolman and Andrew Weinberg. So why was the panel so strange? Well I guess such a crazy show deserves crazy fans. I taped the entire panel (except the preview clips) for you to check out. My favorite questions are the ones involving Brett Gelman’s beard. Yes, there were several questions just about his beard. Enjoy!
Because of this panel, it was impossible to get into the WALKING DEAD or AVENGERS panels. On my way to EAGLEHEART, I had to pass by the IGN Theater. No one was leaving in between panels there and the standby line to get in was massive. In fact, to get through the crowd I had to follow a man with a life-size fully functional R2D2 as if he was my police escort. I didn’t feel like spending all my time on a line anyway and going to the other panel gave me a chance to catch up with Chris Elliott for a few minutes. We have been friends for a few years but it has been a while since we last saw each other. They had to clear out the room pretty quickly but it was great seeing him again.
Missing the AVENGERS panel also opened up my schedule to go explore the convention center some more. I discovered the reason I couldn’t find any of the celebrity autograph tables was because it was in an entirely different section of the Javits Center with literally only one sign advertising it. It was an open space with much smaller crowds than any other section of NYCC. In addition to the signings, there were a lot of sections for kids, as well as an area for photos with the Delorean from BACK TO THE FUTURE & two different Batmobiles. There was also a small Quidditch field where I witnessed the last 20 seconds of what was surely an epic match between Batman and a Stormtrooper.
Walking through the signing area, I learned one very important fact. Mark Hamil is the king of convention signings and he truly cleans up. It was $100 for a ticket to meet him and at least 100 people were waiting on line when I passed by. That is damn impressive. Unfortunately both Eliza Dushku and Felicia Day were not at their tables when I checked. However, I did get to see Brian O’Halloran, who is best known as Dante from CLERKS. I actually met him a few years ago at a special event in Red Bank, NJ. He signed my Mooby’s Funployee nametag & even wrote in Dante. That year I wore it on my Funployee shirt and went as Dante to a Halloween party. I did not tell Brian this though because I did not want to creep him out. He was kind enough to grant me an impromptu interview that I will post very soon. After the interview I stuck around his table another 20 minutes chatting with him and some more fans who stopped by. He is extremely friendly and very knowledgeable. He offered some great advice and it really was a pleasure talking with him. I hope that we keep in touch because I would love to work with him someday.
I pretty much ended my day on that high note. I did pass by the Troma Entertainment booth on my way out just to thank Lloyd Kaufman for the quick interview from Friday and to find out how the Graham Chapman panel went since I was unable to attend it. Completely exhausted, I made my way home and passed out immediately on my bed. The interviews and photos will be posted soon.
Jerry Cavallaro – www.JerryCavallaro.com
The knuckleball is a rare and complicated skill in baseball. Often associated with being the specialty pitch mastered by those determined pitchers without the gift of “heat,” the knuckleball is a tricky beast, but when a pitcher takes control of its reigns, he can be nearly unstoppable. Phil “Knucksie” Niekro proved that by earning himself a place in Cooperstown, the National Baseball Hall of Fame, almost entirely for his unmistakable oneness with the knuckleball.
KUCKLEBALL is a short film that captures the essence of the rare and awkwardly effective pitch as a metaphor, telling a story of a boy and his disjointed relationship with his father. Milo (Alexander Wruck) is a boy about the age of ten. His father (Timothy McKinney), emotionally distant as a result of his wife having recently walked out, is focused on moving what’s left of his family to a new home. Milo’s youthful sights are set upon playing baseball, perhaps in part as a distraction from the pain of his mother leaving, but he fails to receive the support he longs for from his father.
Written and directed by Jordan Kerfeld, KNUCKLEBALL was shot on Super 16 film in Austin, Texas. The result is a richly warm and homey feel, like watching a nostalgic home video that was shot by a professional cameraman. Kerfeld’s eye for descriptive and interesting composition matches his ability to convey his vision within the frame without bluntly beating his audience with excess style. The most consciously visible shot in the film is the final one, which serves as a powerfully visual closing that needs no dialogue.
KNUCKLEBALL gave me the same pleasant feeling I often associate with having religiously watched every episode of Wonder Years as a child Milo’s age. I was able to connect, not just because of my own love of baseball, but because this is a film about a boy with an undying dream and his father who discovers new hope through his son’s unshakeable resilience.
The strongest element of KUCKLEBALL is Milo’s ingenuity and determination. Milo sneaks off with his father’s camcorder after failing to garner his attention, constructing his own tryout video to play in the Major Leagues. For Milo, the problem of his age never crosses his mind as an obstacle, only that he believes he has talent and that playing in the “big show” would produce the money he and his father now need as they enter into a difficult new chapter of life. What Milo’s father does when he discovers the tape is a wonderful moment, having the greatest influence on KNUCKLEBALL being an accomplished and respectable family drama.
“Like” KNUCKLEBALL on Facebook, or Visit the Official Website at kballfilm.com
MADELEINE ZABEL is the story of an infamous, Lindsay Lohan-type young celebrity named Maddy Z, and a stressed out reporter named Elliot Snow (Chris Henry Coffey) attempting to capture her in a controversial light. Both characters are far from happy. As we can imagine, Maddy Z (Jenna D’Angelo) is on the verge of a nervous breakdown, juggling too many “projects” from her modeling and music to fashion. Elliot is worn out but determined, potentially risking his own relationship during this brief 10-minute phone interview with Maddy Z.
Written, directed, produced and edited by Chris Shimojima, DP and editor of the acclaimed web-series Downsized, MADELEINE ZABEL tears away the makeup laden exterior of a fictional pop star and exposes the fragile, broken humanity that lies beneath. Jenna D’Angelo portrays the questionably talented, yet equally popular and criticized Maddy Z with a convincing range of emotions. She hides her true feelings until the end, when Elliot finally pulls the to the surface, practically sucker punching her with his questions as she sucker punched a paparazzi.
In the process of Elliot cracking Maddy Z, the two somehow reach a moment when they connect, inadvertently meeting on a path, headed in opposite directions, but ultimately benefit each other in unexpected ways. Coffey depicts the desperate reporter accurately, subtly conveying the gradual transition of his focus away from his own troubles to the troubles Maddy Z has finally come to confess to him on the phone, all while Maddy Z’s publicist Kelly Walters (Janet Laverty) attempts to control the spiraling situation with a military precision.
Cory Dross provides a flashy, glamorous sense of vision as the director of photography. MADELEINE ZABEL begins as a broadcast of a gossip/news style show airs a story about the her violent outburst against the paparazzi, then settles into the more somber isolation of Maddy Z in her luxurious hotel room, with sterile white walls and her publicist barking orders, but insisting she’s her friend and only has her best interests at heart. Elliot’s turn of the camera, however, tends to be more spontaneous, his perspective is more frantic, his world more chaotic.
The score, ranging from a techno-club infused opening to a more percussion-influenced dramatic undertone, comes from composer Thomas Vanoosting, who provided music for the PBS production Lincoln: Prelude to The Presidency. The music serves as an intricate underlay, helping to build the suspense of the phone interview, as Elliot’s questioning unravels into one strategically placed bombshell after another.
MADELEINE ZABEL is a powerfully energetic, neurotic tale of contemporary fame. The film tackles both sides of the monstrous pursuit of fame, the star and the star reporter, revealing that neither is far removed from the other. In the end, it’s all about what how to balance the persons of fame with the real person smothered beneath the artificiality.
Watch MADELEINE ZABEL by visiting the website, and “Like” the film on Facebook.
4 years ago, I attended a screening of SUPERBAD the day it came out. Immediately after that screening, I was inspired. The film was a series of long conversations. The story had been done a million times. But it worked because the dialogue was brilliant and everyone could relate to the characters. I have been a fan of CLERKS. & Kevin Smith for years prior to this but something just clicked. It had gone mainstream. So I started thinking about what the simplest idea for a story could be that would showcase the characters and the dialogue. I immediately came up with the age old idea of people stuck in a room. I began to realize that this was actually something I could do so I started working on the idea. A week later I started writing the script. 6 months later we started shooting. A year and a half after that, we premiered at our first film festival and went home with Audience Choice Comedy. And now, exactly 4 years after the idea was born, the film is now available for free online. Watch it. Enjoy it. And get inspired!
If you like the film and would like to help out, you can make a donation of $1 or more right HERE. As a token of appreciation, everyone who contributes will received access to nearly 10 hours of bonus features including deleted scenes, a feature length making of, behind the scenes videos, a commentary track and more. You can also help out by purchasing a t-shirt from DIRECTOR’S CAMEO. Several of the shirts featured in the film are available on that site, as well many more shirts designed specifically for filmmakers, movie geeks & pop culture junkies.
Now that it is finally available, what did you think of the film?
Jerry Cavallaro – JerryCavallaro.com
Shorts Program 8: Horror Shorts includes 8 individual short films of various styles, for a total running time of 95 minutes. Played consecutively, these films offer a broad and entertaining showcase for independent horror filmmakers in the St. Louis area.
Directed by Hugo Fleming, THE CASK OF AMONTILLADO is a tale of revenge, based on the story by Edgar Allen Poe. Two men (Mark Bunch and Billy Benner), with their minds altered by the effects of Budweiser 40s, wander deep into a subterranean realm, whereas only would may ultimately return. The film is more of a operatic ode to Poe, that a traditional narrative film. THE CASK OF AMONTILLADO contains no dialogue, instead told entirely by the very words of Poe himself. Illustrated by a haunting piano and vocal score (Somewhere Under the Rainbow, written and performed by Heather Rice) that draws on the dark heart of Poe’s literary horror. The cinematography (Matthew Pitzer) is eerie, capturing the cavernous early industrial setting, both ancient and chiseled by dead men’s hands. The narration, provided by Anne Williams, recalls a feminine twin of Vincent Price in his Poe era.
Erin Marie Hogan plays Jackie, a young woman who witnesses her boyfriend’s murder. Traumatized by the event, Jackie slips shuts her self in, crippled by an overwhelming state of agoraphobia. Spending the majority of her time alone in her quiet house, Jackie is haunted by her memories. As with any effective horror story, the sound of the film is key. Jackie begins to notice sounds in the walls, and strange evidence of an unknown presence. With so much of horror focused on gore and violence, its nice to see new filmmakers still interested in the psychological realm of horror, infinitely more difficult to pull of, but equally rewarding, as is the case with THE CONFINED. Hogan provides a quality performance, dwelling in a descriptive silence for much of the film. Writer, director and editor Nicholas Acosta made a fine choice of utilizing a meticulously steady camera, much like what Kubrick did in THE SHINING, but juxtaposes ti with the jarring, handheld footage of old home videos. THE CONFINED should sufficiently creep you out as a haunted ghost story should.
Written and directed by Brent Madison, THE DOOR begins in complete blackness, challenging the audience by layering multiple pulsating, echoing sounds into a frightening, techno-atmospheric landscape through the titles, cutting immediately into Allison’s (Allison Ochmanek) nightmare. She wakes, only to find her boyfriend Chris (Christopher Howell) taken over by an evil entity shortly after. Stylistically a cross between Carpenter and Candyman, THE DOOR offers a visual intensity and possibly the highest production value of all the horror shorts, complete with special effects and the style of dialogue we’ve come to expect from enjoyable mainstream fright flicks. The woman’s “possessed” boyfriend lures her into a large, old house where she comes face to face with the creature behind THE DOOR. The film’s score (Doug Pearson) penetrates the viewer’s senses, making the biggest impact in film’s visceral assault on the viewer’s fears.
Jack and Claire (played by Burke Mohan and Brigitte Crumpton) are newly engaged, but already experiencing turbulence in their relationship. When they decide to see a fortuneteller (Terry Hampton) on a whim, they get more than they bargained for. IN THE CARDS begins as a sort of anti-romantic comedy, with heavily cliche’s flowing from the fortuneteller’s mouth. Then the cards begin to fall into fated order on the teller’s table, sending the couple into a dream-like trance, allowing them an enigmatic glimpse into their own future. At first a fairly straight-forward approach, writer and director Zach Smith uses the couple’s initial foray into their fortune as a ledge from which to leap into a much darker, visually captivating story.
OUTPOST 13 is more science-fiction than horror, depicting the planet after we’ve already destroyed all it’s life-giving beauty. A scientist (Guy Stephens) works to save the dying planet, tucked away in a tiny laboratory where he spends his down time reliving his once beautiful planet through virtual reality. OUTPOST 13 is fully narrated, with it’s single characters uttering no dialogue on screen. The cinematography (Wyatt Weed) is highly effective and the images of Earth as it was are on a National Geographic scale, but the special effects from Pirate Pictures are what stand out in this film, providing a brutal, desolate landscape and impressive science-fiction touches to the interior and exterior of the outpost laboratory. OUTPOST 13 was written by William Hartzel and directed by Corey Logsdon.
Further she climbs, spiraling up a seemingly endless flight of stairs, a young woman (Stephanie Sanditz) faces her deepest fears. The staircase, like something from an M.C. Escher drawing, appears to have no beginning and no end, instead pulling her repeating to a door. What lies on the other side of the door? STAIRS, written and directed by Doveed Linder, draws visually on primal human fear, much like Hitchcock’s VERTIGO drew on the fear of heights. Sanditz conveys her fear with great conviction, relying solely on her facial expressions and body language, uttering not a single word. STAIRS is not a literal film, but a cinematic interpretation of a very uncomfortable human emotional experience.
This is the story of a lonely traveler (Stephen J. Hefferman) who takes shelter from a ravaging storm within an old hotel, welcomed by a curiously strange innkeeper (Brian McDowell), but haunted by a deadly supernatural seductress (Emily Brown) in his sleep. What I love most abut STRUMPET is how writer and director Wolfgang Lehmkuhl perfectly captures the essence of the early silent era of German expressionist horror. The gorgeous Gothic cinematography (Michael Lowhorn) comes as close as one can reasonably expect to mimicking the visual appeal of the old film cameras of that cinematic age. The score (Kevin MaCleod and Jon Feraro) is splendidly dreadful, representing the looming horror that surely awaits. The look of the film, and even the performances, also remind me of the subtly offbeat undercurrent present in so many of Guy Maddin’s films. Personally, STRUMPET is my favorite pick of the Shorts Program 8, immersing me fully into the abyss of exquisitely frightful sensory rapture.
Unfortunately, this offering from peter Carlos was the only film of this shorts program I missed.
Synopsis: In the middle of the night, something not of this Earth has come for teenager Alex Jackson.
Shorts Program 8, Horror Shorts will screen during the 2011 Stella Artois St. Louis Filmmaker’s Showcase at 9:30PM on Wednesday, August 17th at the Tivoli Theatre.
Shorts Program 6: Comedy Shorts includes 11 individual short films of various comical style, for a total running time of 80 minutes. Played consecutively, these films offer a broad and entertaining showcase for independent comedy filmmakers in the St. Louis area.
Directed by Anthony Meadows and shot by Tim Bowe, FLUFF is an awesome action-mystery-thriller ode to all the kick ass genres of cinema. The comedy is inherent, as the film is cast entirely with colorful, handmade puppets. The central character, a stuffed bear, meets up with a stuffed horse named Lewis (voiced by Tim Gowan) about a strange black disc (a button). As they flee from danger together through the woods, they run into a freaky shot-out stuffed bear-thing named Martin (voiced by Tyler Meadows), who joins them in a violent fight to the death with two sock monkeys seeking the black disc. Carnage ensues, culminating in an open-ended “what happens next” moment. The marionette-style animation of these puppets lends to the cheesy goodness of unmoving mouths and occasionally visible fishing lines controlling the puppets movements. Those who like TEAM AMERICA, MEET THE FEEBLES, or Triumph the Insult Comic Dog will probably eat FLUFF up with a spoon.
BLOODFEST CLUB: DOWN ON THE FARM is a short, comedic documentary on the making of the trailer for THE BLOODFEST CLUB, a brilliantly obvious horror-comedy hybrid with a certain John Hughes influence that is planned for production in 2012. Directed by Ken Calcaterra, this behind-the-scenes glimpse sets the mood by opening into a Benny Hill frenzy of high-speed filmmaking antics, set to quick tempo banjo music, which transitions abruptly to a heavy metal title. The film interviews the various cast and crew members, more than willing to share the ever-present abundance of indie-horror production war stories and battle scars. On the flip side, the support given the filmmakers from their community is addressed as well. This is a great opportunity to be entertained, while also learning about the exciting, and sometimes dangerous, lives of local indie filmmakers… and about the dangers of working with gerbils.
Larry and Terry Ziegelman co-wrote and co-directed BOOM BOOM, a dark comedy short about two friends who bump into each other over coffee. Ahmed (Karthik Srinivasan) sits nervously by himself when the loud and obnoxious Jamal (Behzad Dabu) recognizes him and imposes on his solitary coffee. Once Ahmed finally acknowledges Jamal as a friend, the film slips into absurdity hyper-drive, placing the two characters’ serious business of being Jihad suicide bombers on public display, making no effort to conceal their sinister purpose. The film is a, unapologetic satirical mocking of the rules and culture of Muslim extremists, with Ahmed and Jamal delaying each other as they debate and fantasize about what will be waiting for them on the other side, oblivious to the world around them. BOOM BOOM is either hilarious, or highly offensive, depending on your outlook, but the goal is to make us laugh, a goal at which the film succeeds.
GREENTHUMB was written and directed by Curtis C. Craig, and shot and edited by Daniel Parris, who also had his feature-length documentary GIVE A DAMN? premiere during this year’s St. Louis Filmmaker’s Showcase. The short film plays mostly as a montage, with a man going through his daily motions of hydrating himself, then hydrating the lawn, inadvertently discovering a novel solution for sustainable gardening. As the viewer, once you get past the baffling question of why this man chooses to do what he does, the film becomes a sort of parable for setting an example for others. I know, it sounds like a stretch, but what I took away from viewing this short film was a light, humorous approach to conveying a rather simple, environmental message.
Another short film written, directed, produced and edited by Ken Calcaterra, HELP WANTED is a silly silent comedy about a stoner dude trying to get a job at an ice cream shop. His hopes of free ice cream are repeatedly dashed when the young female clerk refuses to consider his proposal, but the man persists. One ridiculous attempt after another, from a hand-written resume to the most lavishly lame disguises, the film finally comes to a conclusion. There will be some who undoubtedly enjoy HELP WANTED, but the juvenile humor just isn’t my taste. If this is something you’re into, then by all means enjoy the show!
A man named Maximus (Steve Gibbons) walks into a grocery store. Queue the lavish orchestral music as Maximus selects a single red rose. IT’S A SYMBOL, directed by Jamie Koogler, follows two actors’ tedious and nerve-racking wait for this rose to finally die. Maximus is an annoying, overly energetic ham. On the other hand, Stacy (Dawn Davis) is the dead serious, pretentious type who demands the rose be dead, as a symbol for her character’s mental state. These two acting partners quibble and bicker back and forth like an episode of The Honeymooners or I Love Lucy, struggling to work together on their scenes. IT’S A SYMBOL plays like a soap opera, if the soap opera was cast by Saturday Night Live hopefuls. As silly as the premise is, silly as in Curb Your Enthusiasm, the film works as a throwback to ’80s era sitcoms. Maybe it’s just my interpretation, but it makes the craziness of the film enjoyable.
Written and directed by Stephen Jones, LIVE BY THE SWORD begins with Dale (Matt Wills) sitting at home with a plate of nachos, watching TV when an infomercial for discount swords catches his fancy. Dale is a geek, nothing wrong with that. His t-shirt that reads “Shakespeare Hates Your EMO Poems” tells us he’s not bashful about his geekness. The samurai sword arrives in the mail and thus begins Dale’s creatively destructive adventure. He gets carried away, using the sword in ways it was never intended, and taking it with him to inappropriate places. Like so many stereotypical trigger-happy, gun-loving ’70s era Dirty Harry characters, his sword fills the absense of a female companion in Dale’s life, until he meets Natalie (Kelly Nienaltowski), a woman with similar interests. On a purely technical front, LIVE BY THE SWORD suffers from a number of poorly lit night scenes, making parts of the film difficult to watch properly, otherwise the film is a fun, quirky boy-meets-girl story with a delightful touch of MALLRATS at the end.
Director Andrew Saunders’ short film MUGGED begins with a creepy through-the-knot-hole shot of someone watching, as a man walks by, busy talking on his cell phone. The man becomes the victim of a mugger, but what becomes excrutiatingly apparent, however, is that the mugger may be the true victom… of a Cable Guy type of unlikely stalker, who follows the mugger everywhere, believing he and the mugger are now friends. The man is an annoying, rude and clueless combination of Jerry Lewis and Kevin James, ultimately leading to a likely and anticlimatic ending. The film is enjoyable, but doesn’t do quite enough to make itself as original as it could have been. MUGGED stars Josh Wibbenmeyer and Jordan Bowlin.
Written, directed and edited by Nick Young, ROBBERS screams slapstick right from the start. The two robbers (David Appelbaum and Hubby Clark) exhibit the same level of skill as Harry and Marv from the HOME ALONE films. As it turns out, ROBBERS is very much like the HOME ALONE movies in this sense, except for the hero. Instead of a smart-mouther little kid, the robbers must deal with a drunk man (Devin Penn) whose wife left him for his best friend and has nothing to lose. It’s a nice twist, but not a terribly massive leap from the obvious inspiration. One thing ROBBERS has going for it is a witty, adolescent yet adult sense of humor that comes through in the dialogue. I enjoyed the film for what it is, which is purely meant to be popcorn humor, an adult take on a familiar family comedy.
Alternately titled “Sniper,” this black and white short film starts out peaceful, shot to evoke a serene feeling, complete with relaxing music and cutaway shots of pretty flowers gently swaying in the wind. A man (Jeffrey Glickman) removes a bag from the trunk of his car and takes a stroll through a park full of people enjoying themselves. No one seems to notice that his bag looks suspiciously like a gun case and that he appears to be headed straight for a tower in the center of the park. The music gradually takes a decidedly darker turn as the man ascends the tower stairs, a segment of the film I particularly enjoyed for it’s Hitchcockian visual flair. Even the composition of frames takes on a slight influence of German silent horror as the story reaches its climax. The tension slowly builds until the agonizing, unbearably brutal conclusion assaults the viewer as well as the innocents in the park. Co-directors Jordan Oakes and Hal Scharf take a simple premise and run with it, creating a cinematically strong film that bends the rules of traditional comedy, with an added twist at the end.
Two slackers with no muscial talent jamming out until one of the slackers’ parents return home. This is how THE WORLD CHAMPIONS begins, with these two daydreaming losers fantasizing about “when they make it big.” All of that changes while surfing the Internet for possible band names when they stumble upon the world champion apple pie eater. Suddenly, their delusions shift from becoming rock stars to setting a world record, believing this will reward them with respect, money and babes. They set out on a series of attempts to break a world record, any record they can, with fame in their eyes. From fastest time running a 100-yard dash, to most spin kicks to a tree in 20 seconds. After going through countless failed attempts, they have a mutual epiphany. THE WORLD CHAMPIONS was directed by and stars Matt Basler and Train Mayer, evoking Justin Long and John Belushi in their appearance and personalities.
Shorts Program 6, Comedy Shorts will screen during the 2011 Stella Artois St. Louis Filmmaker’s Showcase at 9:30PM on Tuesday, August 16th at the Tivoli Theatre.
