ANY DAY NOW may have a story that seems fitting for a Movie of the Week but that doesn’t change the fact that it is a incredibly well crafted film full of surprisingly powerful performances. Paul (Garret Dillahunt) is a closeted District Attorney and Rudy (Alan Cumming) is an aspiring singer currently working as lead in a drag performance at a gay bar. When Rudy’s negligent junkie neighbor ends up in jail, he looks after her son Marco (Isaac Leyva), a teenager with Down syndrome. Family Services places Marco in a foster home but Rudy soon finds him wandering the streets and takes him in once again. With temporary custody approved by Marco’s mother, Rudy and Paul begin raising him as their own. But when it is discovered Rudy and Paul are not cousins but a gay couple, they face a harsh legal battle to keep Marco in the safe and loving family environment they created for him.

Garret Dillahunt is probably best known for continuing the long-standing tradition of hilarious TV dads on Fox’s RAISING HOPE. I do not watch the show nearly as often as I’d like but he is consistently funny whenever I do. I haven’t noticed him in much else so it was a very pleasant surprise to see that just like Bryan Cranston (another former scene-stealing TV dad), Dillahunt is just as gifted a dramatic actor as he is comedic. He has a strong presence in the film and some truly great chemistry with the equally talented Alan Cumming. This may be Cumming’s best performance to date or at least his most powerful. Newcomer Isaac Leyva is truly captivating as Marco, almost immediately forming a deep connection with the viewer.

Travis Fine also deserves much praise for his expert handling of this story. Not only does he prove himself a very capable director but his writing is sharp and full of emotion. Credit for the script also belongs to George Arthur Bloom who originally wrote it over 40 years ago, which was the basis for Fine’s rewrite. It can be extremely difficult to find the right balance of humor for a film like this but the light touches throughout feel completely natural and welcomed. The only time I was a little caught off guard was the introduction of Don Franklin as a quite comical lawyer who shows up in the third act. At first he seemed to walk in from a different movie but he actually adds a lot of necessary levity that eases us into the finale.

The film takes place in the 70s but its underlying themes are just as relevant today. Full of fantastic performances, this is certainly a film that will have some buzz around it come Awards season. As someone who tends to avoid movies that require a box of Kleenex with ticket purchase, I cannot recommend this movie enough. Go see it, even if you are a cold heartless bastard.

Jerry Cavallaro – @GetStuck – JerryCavallaro.com

EDDIE – THE SLEEPWALKING CANNIBAL is a fun little dark comedy that will surely find a nice audience although it might not rise to a level of cult phenomenon that one might think based on the deliriously twisted plot. Lars Olafssen is a former well-known artist who lost his muse 10 years ago. Finally content with not painting anymore, he takes a small teaching gig in Koda Lake, Canada where he ends up also having to care for Eddie, a seemingly harmless handicapped adult played perfectly by Dylan Smith. Eddie was traumatized as a child by the death of his parents so he no longer speaks. He also has a tendency to wake up in the middle of the night, shed his clothing down to his tighty-whities and eat people while still asleep. This would be horrible if not for the fact that seeing Eddie’s carnage somehow triggers a creative response in Lars, leading him to start painting again.

One of the things I absolutely hate about movies set in the art world is that often people are depicted as creating their so called masterpiece and when you see the artwork, it is nothing special. A large part of EDDIE is Olaf’s paintings yet they are given the golden briefcase treatment, meaning we never actually see them. This is one of the many things the film gets right. It knows exactly what to show, as evidenced by the very brisk pacing and perfectly short running time. While the film may not always be nonstop hilarity or thrills, it is certainly never dull. I do agree with some other people’s sentiments that the film gets better the bloodier it becomes but I think the restraint from showing much gore at first works thematically as both Eddie and Olaf strive towards their magnum opus. There are a lot of other little details in the film that work equally well, such as the running joke of the radio DJ commenting on how each of the classical music pieces played throughout the film directly correlate to tragedy and scenes of death.

Rather than spoil any more surprises, let me just recommend checking out EDDIE when it finds some sort of a release. This is a damn fun film and despite the outlandish concept, it is easy to relate to especially for creative types. There’s no telling how far some artists will go to get their muse back…

Jerry Cavallaro – @GetStuck – JerryCavallaro.com

I will throw myself onto the altar as a sacrificial lamb so that fellow critics much better than I do not fall prey to using the following super cheesy & painfully obvious opening statement in their future reviews of this film. Remember me as a hero…

Much like the parked ice cream truck Jess Weixler finds herself stuck in for the majority of the running time, FREE SAMPLES goes nowhere. Yes, I know that’s bad. It’s the sort of line your friendly neighborhood entertainment guru will say in his segment on the local news in attempt to be clever. Unfortunately it does perfectly apply to the film. Hungover and unsure of pretty much everything in her life, Jillian (Jess Weixler) finds herself working all day parked in a vacant lot handing out free samples of an ice cream-like substance to a cast of quirky characters. There are a few subplots including a distant “kind of” fiance, a quick-witted guy she met the night before (Jessie Eisenberg), and a friendship with an elderly patron (Tippi Hedren).

In the end, there is some very minor character growth but it is in no way a substantial arc. This would be fine if the journey was entertaining but even at 80 minutes, the film seems to drag its feet far too often. This is not the fault of the actors; everyone seems to do well with what little material they have to work with. Jess Weixler channels her inner Winona Ryder as the smart yet irritatingly bitchy Jillian and Jason Ritter seems to have fun as Wally. Jessie Eisenberg is on his game as a much more confidant version of the character we have seen him play many times before. Sadly many of the hilariously quirky characters that show up for free ice cream fail to be hilarious or even relevant to the story in any way. The jokes falling flat could be due to poor delivery but it is more likely due to the script that could have used a bit more love before cameras started rolling. There are a few really good moments, namely the ones with Jason Ritter and Jessie Eisenberg, but they do not appear nearly often enough to save this slow mess.

Jerry Cavallaro – @GetStuck – JerryCavallaro.com

FAMILIAR is an independent short film from a team of Canadian filmmakers — including producer Zach Green and director Richard Powell — with a uniquely dark and intriguing central character. Watch this clip from the film and see why critics are enthusiastic about what this team of filmmakers are bringing to the table. FAMILIAR can be seen in it’s entirety at the following upcoming film festivals…

Chicago FearFest, April 13-14, 2012

Texas Frightmare Weekend, May 4-6, 2012

Dark Bridges Film Festival, May 3-6, 2012

Update: FAMILIAR has now also been accepted into the 2012 Fantaspoa Film Festival.

Not since David Lynch’s THE STRAIGHT STORY have I enjoyed a film about the charm of an elderly man’s unwavering determination and loyalty. THE DROUGHT, written and directed by Kevin Slack, is a 12-minute short film starring Edmund Lyndeck as Jonas, a senior resident of Brooklyn who struggles with his efforts to sell umbrellas from a small street cart during a summer drought. During his down time, Jonas recollects his life through visions of his late wife Janet (Kathleen Hope Reilly) as a young woman, the only thing that makes him smile during these dry, hot days of summer.

THE DROUGHT is an extremely romantic film, not in the contemporary sense, but in the nostalgic heart-warming sense. Jonas is a good guy, sad and lonely, but he’s pure and true. Lyndeck gives a quaint performance of a likeable old man, stubborn in his ways. Other than the memory of his wife, only one other thing in this world puts a smile on Jonas’ face… umbrellas, especially his first, which holds a special place in his heart and on his wall.

Cinematographer John Paul Clark works closely with director Kevin Slack to create an absolutely beautiful film, shot with a warmth that conveys the dry, summer heat, but still feel comfortable and inviting. The rest of the world around Jonas is happy and enjoying the weather, but Jonas dreams of the rain’s return… and therefor, the return of demand for his umbrellas. Rob Gokee supplies the original music for the film, adding to the overall romanticism of the story.

THE DROUGHT has two primary characters. The first is obviously Jonas, while the second is Marco (Ivan Goris), a supporting character and fellow street vendor. Marco and Jonas are friends despite being each others indirect competition. Marco makes efforts to help out the struggling Jonas, but he remains committed to his umbrella passion, despite his unspoken uncertainty. This friendship adds a level of generational perception, an element of the changing times to compliment the metaphorical use of the seemingly unchanging weather.

As is usually the case with short films, THE DROUGHT won’t be found in any theaters, except maybe for the occasional film festival. With that said, short films are often well worth the time it takes to seek them out and deserve more attention than they receive. Kevin Slack’s THE DROUGHT is gorgeous. It tells a simple but smart and pleasing story without being condescending or too cute.

With that said, I am privileged to say you can watch the film below:

The Drought – short film from Kevin Slack on Vimeo.

The Drought trailer from Kevin Slack on Vimeo.

Review originally published on September 27th, 2011 as part of our Fantastic Fest coverage.

My favorite science-fiction stories are often the subtle ones, films and literature that delve deeper into the philosophical of the genre pool, more than simply wading in the shallow end with fantastic technology and the sensationalism of aliens. THE CORRIDOR, written by Josh MacDonald and directed by Evan Kelly, does this well, while also mingling nicely with the psychological thriller genre.

THE CORRIDOR begins with a jolt to the viewer’s attention, firing a bullet of essential back story at point blank range, leaving a residue of smoldering mystery to ignite the slowly burning story that follows. Stephen Chambers stars as Tyler, returning from a stint of recovery after having a breakdown triggered by his mother’s death. In a show of support and to celebrate Tyler’s return, his four best friends decide to reunite with him for a weekend at his mother’s small house out in the Canadian wilderness.

David Fleming plays Chris, Tyler’s closest friend and probably the most level-headed of the five. James Gilbert plays Everett, the wilder of the friends and a musician with a borderline drinking problem. Matthew Amyotte plays “Bobcat,” the big, burly ex-football star turned family man. Finally, Glen Matthews plays Jim, or “Huggs” as he’s called by the rest of the crew, the smart and somewhat nerdy friend. Together, they’re an unlikely group of characters with a natural chemistry.

In the beginning, the friendly get together seems harmless enough, despite an underlying thread of mutual reluctance and trepidation amongst the friends. It’s difficult for them to feel at ease around Tyler, and the opening scene of THE CORRIDOR offers a more than reasonable explanation for this uneasiness. Over the course of their time together, Tyler’s four friends become more relaxed, but after Tyler takes a late night walk on his own into the woods, he begins to fear the worst about his condition.

Tyler’s mother Pauline (Mary-Colin Chisholm) has a very small role on screen, but the character has a much more significant role in the story as her and her son Tyler share a unique connection, but may not be what it appears on the surface. THE CORRIDOR refers to something Tyler’s discovers on his solitary walk into the woods, leading him to gather his friends to witness for themselves, but Tyler’s actions will ultimately lead to events that change their lives forever.

THE CORRIDOR showcases a cast of relative unknowns, young talent that collectively delivers a high caliber performance. This plays directly into the success of the director’s vision, as this is a dialogue driven story with strong, well developed characters. The viewer is given ample time to empathize with each of the characters and their motives, but the pacing of the film is also crucial, maintaining a comfortably controlled release of clues enhanced with properly placed brow-raising twists.

As THE CORRIDOR rises to a boiling point it morphs gently into a horror story wrapped around a science-fiction puzzle. What exactly is the Corridor? What does it mean? Where does it lead? These are the questions the filmmaker sews within our minds and leaves to germinate and take root. Evan Kelly tells a strong, engaging story that raises curious ideas, but he stands back and allows the viewer to come to their own conclusions about the Corridor.

Evan Kelly makes some bold but effective choices in his use of CGI. The special effects are minimal and simple, but not cheesy or distracting. THE CORRIDOR is a precise description of the anomaly presented in the film, while maintaining an nearly indescribable nature. The makeup effects are brutal and graphic, but do not exceed necessity. THE CORRIDOR seamlessly blends human drama with science fiction, psychological and visceral horror, and even a touch of metaphysical philosophy for one of the more mesmerizing but accessibly cerebral films I’ve seen in years. Enter THE CORRIDOR with your thinking cap on, but there’s no need to turn it up to eleven on the dial.

THE CORRIDOR opens theatrically in the United States and Canada on March 30th, 2012.

“Like” THE CORRIDOR on Facebook, or check out TheCorridorMovie.com for more information.

LAMBENT FUSE is an independent drama made entirely in Minnesota by college students, pre-professionals and new professionals in the filmmaking field. An ambitious project that strives to shed a more realistic light on issues of mental illness, LAMBENT FUSE has a lot going on within it’s 99-minute running time. While I applaud and encourage such ambitious undertakings, the rule of thumb known as “less is more” is often a philosophy one does well to heed, which applies to filmmaking as easily as anything else. However, that should never keep a storyteller from offering the viewer a challenge.

The film revolves primarily around two characters, Freddie (Rhett Romsaas) and Allison (Heidi Fellner), a couple near their two-year anniversary. LAMBENT FUSE follows a similar structure as more recent films including CRASH (2004) that feature multiple plots that converge across an indirect narrative structure. While this gives the film more to play with, and therefor more for the audience to keep up with, the overall outcome can be equated to five lanes of rush hour traffic trying to squeeze onto a three-lane expressway. Once again, this is not meant as a deterrent, but let’s be fair and call it what it is.

LAMBENT FUSE begins with two rather bumbling, inexperienced small-time crooks going from one convenience store to the next, sticking them up for their cash. This pair of supporting characters struck me as slightly too comical to fit into the rest of the story, and when it’s all said and done, serve little significance to the overall message and plot. This does, however, help introduce the audience to Lt. Phillip Richter (Matthew Feeney) who serves a crucial role in Freddie’s story, which is sprung into emotional liftoff by the death of his sister Emily (Jennifer Mergen). Richter also is primarily a supporting character, serving as a catalyst for the choices Freddie makes as he deals with his own state of mental distress, which goes from loss-induced depression to rage fueled by revenge.

When it comes to the filmmakers’ intent to convey a more realistic depiction of mental illness, Allison’s story is much more readily accessible. As her relationship with Freddie begins to deteriorate after Emily’s death, we witness an old, seemingly dormant case of kleptomania emerge once more, causing a downward spiral in her own life as a result of Freddie’s mental state constructing a wall between them. Unknown to Allison, another threat is building parallel to her hardship with Freddie as Paul (Eric Hanson), the chef at her favorite restaurant, begins to reveal an unhealthy and dangerous obsession. I found myself deeply intrigued by this arc of LAMBENT FUSE, partially as a result of the tension, but also partially because I found Paul reminded me a lot of a creepier version of Howie Mandel. This isn’t a knock on Eric’s performance… I actually really admire Howie.

LAMBENT FUSE certainly held my attention, and while it had my curiosity firing on a commendable level, I found that the suspense leading up to the various outcomes was somewhat lacking. In other words, some of the film plays out more predictably than I imagine was intended, but this isn’t enough to draw a death card for the film as a whole. The film’s pacing is spot on, never feeling slow nor rushed. In addition to directing the film, Matt Cici also served as the editor, which very likely played a role in this pacing accomplishment. The cinematography (Zachary Nelson) looks great from a lighting perspective, and there are frequently some great choices in framing and composition. However, I also found a number of moments when an erratic use unstable handheld shots, intrusive focus shifts and spontaneous zooms threatened to yank me from the story.

Unfortunately, I wasn’t able to locate detailed soundtrack information for LAMBENT FUSE, but I can say that the original music composed by Ross Hackenmiller and Blake Hosler is refreshing and lends greatly to the overall tone of the film, shifting with the mood of the characters and the implications of the events happening on screen. Once the multifaceted story comes full circle I found this make-believe world of human drama came to a natural, albeit creatively poignant conclusion. these characters all have their own, individual issues they must overcome, but at no point do any of them feel over-the-top or unrealistic. On that note, mission accomplished.

LAMBENT FUSE is directed by Matt Cici and co-written with David Marketon. The independent drama made it’s Minnesota premiere on March 18th, 2012. LAMBENT FUSE was awarded Best Minnesota Feature from Twin Cities Film Festival and Best Drama Feature from Highway 61 Film Festival.

“Like” LAMBENT FUSE on Facebook or follow @lambentfuse on Twitter.

We often say the strangest things to children without even realizing how odd it sounds. Children are full of questions, constantly confused by the world or misguided by falsehoods or exaggerations. When children bring these questions to us, as adults, we’re often unsure how to broach certain subjects, so in an effort to spin the answer in a way that will satisfy the child, but not lead on to disclosing too much information too soon, we create these elaborate, often ridiculous stories in place of the simple, honest truth.

For me, watching BEING BRADFORD DILLMAN is a wonderful exercise in recognizing this tendency to conjure up vivid yarns in place of offering a more straight-forward response. Directed by Emma Burch and co-written with Peter Williamson, this is the story of little Molly Flowers, a young girl who declares to her alcoholic mother that she hates boys and wishes they all die after being picked on one too many times. Either stunned by this statement, or driven by her vodka-induced state of mind, Molly’s Mum (voiced by Morwenna Banks) spills a story about how Molly was actually born a boy, named Bradford Dillman, but as she so wanted a little girl, asked the doctor to cut off his willy. Having done so, Molly’s mum now had the girl she wanted and even tells Molly she kept her willy inside a shoebox atop her wardrobe.

My instinctual reaction is one of “who does this?!?” Then I realize many a parent has probably woven a story or two for their children even more bizarre than this. Being a child with an active imagination, as most children do, Molly begins to contemplate what this all means on her terms, subject to her own limited knowledge and innocent perspective of the world. Enter Bradford Dillman… as Molly toys with the idea of retrieving her willy from the infamous shoebox atop the wardrobe, she meets Bradford, a boy of her age who becomes her friend.

Both Molly and Bradford are voiced by Natasha Holberton with a wonderfully curious and playful, yet cynical beyond her years undertone that makes her adventure with Bradford that much more, shall we say… mature. BEING BRADFORD DILLMAN is a family film, of sorts. Holberton gives Molly an energy and innocence fitting of a young girl, but also conveys an inkling of forced maturity, most likely brought on by her single mother’s drinking, smoking and pill-popping habits. The subject matter is kept within bounds of being acceptable for a child’s eyes and ears, but just beneath the surface lies an adult sense of humor that cannot be ignored.

BEING BRADFORD DILLMAN is an animated film with a style that is part marionette and part paper cut-out. The color and texture of the film is gritty and earthy, conveying a sense of dingy darkness to to the story. The artwork features over-sized heads and massively cute yet imposing eyes on Molly and Bradford, while Mum’s face is never revealed, a la the Peanuts cartoons, or Tom & Jerry, whereas the adults are not emphasized as the crucial element of the story. The visual style of BEING BRADFORD DILLMAN reminds me slightly of a cross between Tim Burton and David Lynch, but ever so slightly more refined and traditional as to minimize the awkward weirdness of the Molly’s world without eliminating the uncomfortably bizarre nature of what is taking place in the film. Likewise, I am keen to the writing of the film, funny and cute while just mature enough to draw in the adult audience, especially given the tale Molly’s mum tells that sets Molly on her journey of misguided self-discovery. As for a message, I am certain there is one to be had, but I have yet to pinpoint exactly what it is meant to be, or even what I took the message away as, if I took one away at all.

This tan and sepia world in which Molly lives has a pleasant flavor as BEING BRADFORD DILLMAN is not a sad, downer film. On the contrary, I felt oddly uplifted and happy after watching the film. The closest thing I can compare this to would be Tim Burton’s flash animated series called THE WORLD OF STAINBOY, both in tone and in style, but do not mistake this as being a literal or direct comparison, rather more of an impressionistic similarity that falls within a broad tonal category.

‘Being Bradford Dillman’ Trailer from Being Bradford Dillman on Vimeo.

Check out BeingBradformDillman.com for more information, or “Like” the film on Facebook.

“What does it take to get America’s attention?”

The perfect tagline for an introspective short film about American politics and a skewed sense of morality. Written and directed by Rebecca Rojer, ASHLEY/AMBER is a 22-minute short film starring Diane Guerrero as Ashley, an attractive young woman who recently lost her boyfriend to the war. Heartbroken and conflicted by her loss, Ashley struggles to reconcile her boyfriend’s duty and commitment to fighting for his country with her pain and sadness, even a little anger over losing her loved one.

Ashley is also struggling financially, so following a current American trend (and let’s be honest, a global trend), Ashley responds to an ad to make some quick cash performing in a fly-by-night, amateur online sex video under the assumed name of Amber. Now, not only is Ashley conflicted by her boyfriend’s death, combined with the constant pressure from her anti-war activist friends to protest with them and speak publicly about her own experience of loss, she now has the added weight of having sold herself to pay the bills looming on her conscience. Ashley will soon discover just how volatile, fickle and hypocritical society can sometimes be about sex, war and free speech.

ASHLEY/AMBER is a small, independent project, as are most short films. This drama is gritty and honest, but the pacing is decidedly slow and methodical. At times, I do feel the editing lingers just the tiniest bit too long, leaving the camera to linger just beyond the point of comfortable observation, but I also feel that perhaps this is intentional, hoping to convey a sense of relentless voyeurism. In a society obsessed with reality TV and celebrity gossip, ASHLEY/AMBER also touches on these themes indirectly, even if unintentional. As Ashley comes to terms with her situation in life, with the circumstances she is both forced into and entered into by choice, she takes a chance and reaches out as an anti-war activist but finds that instead of her outspoken message of peace making a positive impact, the two-sided Internet proves to be the curse that subjects her life to further ridicule.

Diane Guerrero does a fascinating job, portraying an emotionally scarred woman stunted by her confusion and pulled apart by a society that deems sexual freedom far more morally reprehensible than a controversial war and the corrupted comfort we have developed for violence in general. Her emotions are reserved, but dwell just beneath the surface of her skin. ASHLEY/AMBER has some very minor production flaws, but the message and direction of the film on display from filmmaker Rebecca Rojer are of a respectably high caliber. This is an intelligent film, even subversively, darkly humorous film on a subconscious level. ASHLEY/AMBER plays as a smarter, far more poignant counterbalance to the trend of mindless, frivolous reality programming that clogs the bandwidth of television and the Internet. Rojer clearly has a strong vision for storytelling and encourage her to follow this path and discover in what direction this compass will lead her.

ASHLEY/AMBER was nominated for a Golden Berlin Bear award for Best Short Film in 2011 and can be purchased in Europe as part of a DVD compilation titled BACK TO POLITICS.

Filmmaker’s Background:

Originally from Maplewood, NJ, Rebecca produced her first short films and animations as a student at Columbia High School. In 2004 she was selected to participate in the William H. Cosby Future Filmmakers Workshop at NYU and the Innerspark-CSSA Animation Program at CalArts.

Rebecca currently studies film production in the Visual and Environmental Studies department at Harvard University. She also illustrates for the Harvard Lampoon. Her most recent film, Beauty Machine, received an Award of Merit in the Accolade Film Competition and has been selected to screen at Anthology Film Archives in New York as part of the New Filmmakers Program.

Background Information: ANNA was made as part of Project Twenty1, a 21 day film competition in Philadelphia where teams are given exactly 21 days to write, shoot, edit and deliver a short film up to 10 minutes in length on a secret element. The element for ANNA was: Start With A Crash. ANNA earned three awards from Project Twenty1, including Best Cinematography, Best Female Lead, and Best Acting.

The world is cruel. We all know that, whether we want to admit it or not. We make our own way, either by choice or by circumstance, but we all cut our own slice out of this life. The size and shape of that slice is entirely up to us, but what happens if you’ve already taken your slice and you’re not satisfied?

ANNA is an 8-minute short film about a young woman, unhappy with the slice of life she’s been served. Directed and co-written by Daniel Brown, the film’s title character is played by Amanda Colianni. The film begins with Anna studying herself in the mirror, starring into herself with a loathsome disgust. What she sees is a woman not in charge, a woman uncertain, a woman who wants more out of this life.

This long, static opening shot is abruptly broken when the film cuts to Anna choosing to take control of her life. Structured like cinematic sandwich, ANNA contains colorful, anti-establishment dramedy between two hardy pieces of reflective camera shots depicting Anna’s epiphany. Her character rises from the gray of her life and becomes a vibrant, outgoing and confident woman. Anna’s transformation is captured with vivid cinematography by Matt Duffy, a vibrantly colored wardrobe and direction that puts the character’s new-found confidence in the forefront.

Mindy Hixson plays Anna’s coworker Callie, who plays a more integral role than initially expected. Anna squares off against typical societal barriers and burns the broken down, bottomed out bridges she no longer holds any desire to keep aloft. ANNA is an inspired story, but in other ways is also a more feminine combination of OFFICE SPACE and FERRIS BUELLER’S DAY OFF.

To view the trailer for ANNA, go to annamovie.com

To learn more about the filmmakers, go to wideeyedpictures.com

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…

Travis Keune: Your primary role is as producer, but you’ve also done some editing. Making movies is no easy task and requires a team of people with a broad range of talents. Is there a particular part of the filmmaking process that you love the most? Is there one part that you absolutely hate?

Zach Green: I love producing which is my primary hat and what I do best I feel. FAMILIAR is the first film I didn’t end up editing myself or with Richard. We hired an editor who did a fabulous job with the film. I wouldn’t say there is really a part of the process that I don’t enjoy that I’ve come across thus far, everything I do for Fatal Pictures is gratifying to me. It definitely does require a proper team of professionals to make a quality film there’s no question. Between myself and Richard we cover a great deal of range with our abilities when it comes to filmmaking.

TK: Fatal Pictures is the name of your production company. This seems to have a connection with the type of films you choose to make. What can you tell us about your vision for Fatal Pictures as it continues to grow into a successful endeavor?

ZG: The vision for Fatal Pictures is really to produce films that really make a statement and have an impact on you. They have been real stories and you can really relate and or feel what the characters deliver and portray. Our first film, entitled CONSUMPTION, was based on a true event about a cannibal from Germany.

TK: FAMILIAR is a short film you produced, which wrapped just last year, if I’m not mistaken. You seem to have a very tight working relationship with writer and director Richard Powell and actor Robert Nolan. Paint a mental picture for us illustrating how this creative trio comes up with such intriguingly dark tales.

ZG: Writer and director Richard Powell, one half of Fatal Pictures, Inc., was the writer on both WORM and FAMILIAR and would naturally be the one to come up with the incredible stories, and I set out to cast the film(s). An actress we had worked with in the past had referred me to Robert [Nolan]. I immediately contacted him to set up an audition. Through all the rehearsals and blocking we would go on to make some great short film(s) together.

TK: FAMILIAR features some pretty impressive special effects makeup, but it also reminds me some of certain early David Cronenberg films I love, which we’ve seen influence other films as well. Is there any connection there, or is it just happenstance?

Richard Powell: The term body horror has been brought up a lot in regards to Familiar but to be honest I didn’t really make the connection between our film and body horror until others started making the comparisons. I wouldn’t say Cronenberg was an influence on this film or that I was attempting to make body horror but after the fact I can understand the reaction viewers are having when making those connections. That said I have a deep respect for Cronenberg and consider him one of the more important directors in film, genre or otherwise. If I take any influence from him, it is his intellectual approach to horror, his ability to treat the genre as a mature art form capable of stimulating an audience mentally as well as viscerally.

TK: The thoughts of the main character in FAMILIAR, as is the case in WORM as well, are far more prevalent than spoken dialogue, but it works well. Clearly this is a conscious decision, but can you shed some light on the philosophy behind this decision?

RP: In WORM, the audible thoughts serve as a window into a man’s dark inner self which works against the calm, kind exterior he shows the world. This differentiation between the internal and external creates an unsettling contrast which hopefully instills a bit of fear, reflection and imagination in the audience. The horror dwells within in WORM, figuratively, in FAMILIAR literally. Each film is in essence a slightly skewed reflection of the other. In FAMILIAR the voice over isn’t simply a characters shattered psyche, it is a character, a truth which is revealed in horrifying fashion later.

TK: How can the general public view these films?

RP: WORM can be seen on the uncut genre channel American Horrors as well as at various festivals and screenings. Short films are more difficult to distribute and show as you can’t really sell them in the same manner you would a feature. The best we can do is keep people updated about screenings and festivals which we always do! At some point it would be great to release the shorts as a package but that’s still a ways off. As for FAMILIAR, it will begin its screenings/festival run in March 2012 in Toronto as part of Fangoria’s Fright Nights screening series where it will play along side BATTLE ROYALE. After that we hope the film has a long and healthy run on the festival circuit and everyone who wants to gets a chance to check it out.

TK: I understand there is a feature film, your first, being developed. What can you tell us about this?

RP: Having recently completed a feature screenplay version of WORM, we will begin to try and raise interest and funds for what will hopefully be Fatal Pictures foray in feature filmmaking. The story will again follow WORM‘s deranged high school teacher Geoffrey Dodd as he tackles the obstacles of a school day and more importantly the dark and dangerous ruminations of his mind. I’m excited to be able to really explore the depths and depravity of this character in a feature run time. The results will be a supercharged version of the short and an altogether more searing and suspenseful experience as we have the time to really toy with the possibilities of the character.

TK: If there was one specific film, in development or entirely off the radar, what one project would you love to be producing right now in your career?

RP: Aside from a WORM feature film I’d love to begin developing my scripts that don’t feature the Dodd characters and the internal monologue approach. That is ultimately the direction I aim to follow but it will be fun to always have these characters around to toy with. I am very interested in doing a Dodd family thanksgiving weekend film, who knows, maybe down the line. First is WORM, that’s my obsession.

TK: What sparked your interest in making movies?

RP: Like most filmmakers I grew up watching a ton of movies and those experiences shaped me and informed my passions. I wanted to be creative and tried my hand at everything, writing, drawing, painting, sculpting etc. I found myself drawn to illustration mostly, illustrations inspired by stories and characters I had written about previously. I loved to create narratives for my artwork but I was never really talented enough as an artist to capture in its entirety what I imagined. I discovered this when I met real artists. I kept writing and drawing and one day it clicked, I didn’t need to be the best painter, illustrator and so forth, I could use filmmaking to capture my narratives and stories and that’s how it began. I’ve come to realize there is no more expressive, imaginative art than filmmaking and I’m glad that is how I came to express my creativity.

Matthew Perry, Dean Cain, Kristy Swanson and Dominique Swain have joined Kevin Sorbo, Stelio Savante and Jeffrey Vincent Parise in the cast of THE WHOLE BANANA, a romantic comedy based on Deb Norton’s play which was last performed in Los Angeles at the Court Theater in 2003.

Perry and Cain will largely play cameo roles in the film which begins lensing in Los Angeles in late February. The plot revolves around struggling artist Fran (Kristy Swanson) who is so discouraged by the men in her life, that she frequently prays to Greek god Hermes(Kevin Sorbo).

Taken by her faithful appeal, Hermes ventures into Fran’s life and sweeps her off her feet. Unfortunately for Fran there is a two week limit on Hermes earthly vacation. Swain plays Swanson’s best friend and confidant and Savante portrays Swain’s long suffering husband.

Brought to the screen by Magik Shoppe Pictures, Stephen Wallis (Rain from Stars, The Wicked Within) directs and produces along with John Bennett Perry, Stelio Savante and Tom Fox.

Swanson, the original Buffy recently appeared in the indie What If. She is repped by David Shapira and Inphenate. Sorbo is one of the stars of last year’s biographical drama Soul Surfer and is repped by Innovative Artists and Marsh Entertainment. Swain, repped by Buchwald /Fortitude and Leverage is best known for her well received roles in Lolita and Face Off. SAG nominee Savante recently appeared in the play 110 Stories and South African film A Million Colours. He is repped by Buchwald-Fortitude and Elevate Entertainment.

“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

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

We all know what happens when aliens show up in the rural backwoods of the Midwest, but why have aliens only been interested in probing Americans? Writer and director Joe Cornish decided that needs to change. ATTACK THE BLOCK presents one idea of what it would be like if aliens arrived in an urban, inner city setting in London, but it’s not the typical fare you might expect.

Cornish, who has recently made his mark as a screenwriter of upcoming films THE ADVENTURES OF TINTIN and ANT-MAN, now makes a substantial mark on the science-fiction genre with this little alien film that could… could possibly make you laugh and cheer, that is. ATTACK THE BLOCK has the makings of a cult sensation, a nostalgic good time film to be revisited year after year, like that of THE MONSTER SQUAD or GOONIES.

The story follows a small gang of teenagers in South London as they discover an alien. Quick to react with youthful curiosity and recklessness, the teens beat the floppy-limbed, big-headed alien creature – oddly resembling a disproportionately skewed Muppet – to its inevitable death, dragging it back to their building to show it off. This ultimately proves to be a big mistake.

ATTACK THE BLOCK is a film with multiple layers. The obvious layer, we’ll call this the frosting, is the alien invasion layer, whereas extraterrestrial creatures on Earth terrorize the inhabitants of one apartment building in South London. From this, we get the beginnings of a science-fiction story and the underpinnings of a fun-filled scary movie with plenty of jumps and startles, chases and man versus creature violence. But, just beneath the frosting is the cake, a richly flavored social commentary that is light and palatable.

While the premise of a film tackling the plight of inner city teens, gang culture and race relations may sound too dense to swallow, Cornish manages to construct this in a way that keeps ATTACK THE BLOCK fluffy and refreshing, while still satisfyingly spicy with a combination of terror and humor. The moral message remains hidden in the shadows, lurking around the corners, overshadowed by the intensely black, shadowy alien beasts that are hunting down anyone who came in contact with the less intimidating alien the teens pummeled to death.

The biggest name in the cast of ATTACK THE BLOCK is Nick Frost (SHAUN OF THE DEAD, PAUL) who has a relatively small but enjoyable supporting role as Ron, a somewhat out of place co-inhabitant of the local drug dealer Hi-Hatz’ crib, whom the main character of the film are friendly with. Hi-Hatz, on the other hand, serves primarily as another obstacle in the road for Moses (John Boyega) and his teen gang as they struggle to survive and find a way to defeat the alien creatures. Having two antagonists in the film gives the story more depth.

ATTACK THE BLOCK is unique, but draws on familiarity. For me, the film takes all that made THE MONSTER SQUAD and GOONIES fun and exciting, then combined it with the dark, frightening charm of Jim Henson, a la LABYRINTH. The alien beasts hunting the teens are pitch black, covered in long spiky quill-like hairs and intimidate the viewer with luminescent eyes and massive sharp teeth that glow in the dark. Sounds creepy, right? Add to this the fascination I had with the fact that these creatures were not computer generated, but rather old school guys in monster suits, and you have one very happy genre fan!

Cornish enlists the well-respected movement coach Terry Notary (PLANET OF THE APES, AVATAR) as the creature, making the effects come to life on screen. Its refreshing to see a well-made creature feature, notably influenced by John Carpenter’s THE THING and the ALIEN films, that intentionally avoids CGI. The effect is an entirely more intimate and spine-chilling atmosphere, a better sense of actually being there, in the moment, and a textural void that is filled that the excessive detail of most CGI creature design rarely manages to properly fill.

The language of ATTACK THE BLOCK may seem intimidating on the surface, not from an overuse of profanity, but from the incorporation of actual dialect and slang used in South London, giving the film a bit of authenticity and added cultural relevance. If you find yourself experiencing this difficulty early in the film, stick with it and allow yourself to be fully immersed in the story. Surprisingly, this will pass. Much like watching A CLOCKWORK ORANGE for the first time, while in English, the foreign dialect and slang can be confusing if you try and read too much into it, but ultimately all makes sense. Remember that movies are primarily a visual medium, so when a film is well-made, the dialogue is supported by what we see on screen. Cornish proves that he is clearly aware of this.

ATTACK THE BLOCK has thrills, great old school creature effects and humor, but the character development is possibly the most accomplished aspect of the film. Cornish allows his cast of teen characters to evolve from immature, typical teenagers into responsible, heroic figures. This is not just a genre film for fans of science-fiction and horror, but also a reasonably accessible family film, in the sense that the entire span of the teenage spectrum can relate to and appreciate the story while having a good time in the process.

Overall Rating: 4 out of 5 stars

Who is Francis “Pat” Fitzpatrick? The answer will surely differ greatly, depending on who you ask, but one thing everyone will agree upon is that he’s persistent and passionate. These two character traits are what create the controversy surrounding Pat, an aging man who has spent a significant chunk of his life fighting for the rights of the homeless residents of Gainesville, Florida.

“Why can’t number 131 be fed?” You’ll hear it repeatedly throughout CIVIL INDIGENT, a 55-minute short documentary collaboration from filmmakers Nicholas Corrao, David Hafter and Peter Salomone. The number 131 is significant, because that is the first person each and every day that must be turned away from a free meal at the St. Francis House.

You may ask why this is, which is what Pat does repeatedly, pointing out the absurdity of the ordinance put in place by the Gainesville City Commission. If there is food to be served, and hungry mouths in need of it, why limit the daily distribution of this food to what amounts to a completely random and meaningless number? The battle between Pat and the City Commission goes on, and on, and on, each of them trying to tire the other one into submission, but the heart of CIVIL INDIGENT is not in the outcome of this pursuit, but of the pursuit, and more importantly, the pursuer himself.

In good critical taste, I will refrain from revealing how CIVIL INDIGENT ends. Like any other film, there is still a narrative to good documentary filmmaking and, for the especially accomplished films, there is even suspense. Ever since the dawn of the first ostracized homeless man, the subject has been one of awkward, uncomfortable debate. Those who have usually are not interested in bothering themselves with those who have not, especially when those who have not are perceived as being lazy criminals who are burdens on civilized society.

CIVIL INDIGENT attempts to remain objective on this subject, but Pat is such a lively and sincere character, fighting so diligently, that the audience may have a hard time not siding with him. To be honest, I personally find it difficult to agree with the opposing viewpoints in the film, as minimal and inhumane as they are, but credit must be given to the filmmakers for allowing these voices to be heard. Amongst their concerns are the typical, yet understandable concerns that the homeless residents are potentially dangerous, are unruly and filthy, and are “eyesores” in the community. The problem with this sort of argument is that its an unfair generalization. Is this to suggest only homeless people fit this description?

Pat is a kind of more down-to-Earth, less fame-hungry version of Michael Moore. He is not interested in the spotlight, except as a means to further his cause. On several occasions, Pat has run for office, with no realistic expectations of winning, but as one more avenue for getting his message out to the masses. By the end of CIVIL INDIGENT, I was left feeling both uplifted that someone cares enough to go through what Pat endures, but also exhausted, having experienced just a taste of Pat’s endless efforts.

For more information on CIVIL INDIGENT, visit the website here.

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