Seeking Distribution: Us Sinners (part 2)

So, at long last, I give you the interview with George Snow, director of Us Sinners. For the record, I will say that he took this all with a lot of grace. I think that he is very capable of directing a good movie, maybe just not writing it.

Seeking Distribution [SD] – What were your intentions when you began the process of conceiving and creating “Us Sinners”?

George Snow [GS] – To see if I could actually make a movie.

Viewers believe that every writer and film-maker know exactly what their movie is going to turn out looking like. That every point they want to make will be crystal clear, that’s not even close to being true. You hope to make a good movie and pray a lot.

The idea of Us Sinners came from the action at the climax. That’s all I had. I built a story around that action. The original concept was 3 high school friends, one murders someone and the other two help him cover up his crime. Their relationships deteriorate and… The thought of working with teen-age actors made me scrap that idea. That’s when Tim was born.

The original script (even while into production) was the group working in a warehouse. A week before we were going to shoot, the location fell through. This is micro-budget so we were getting the space for free. What do we do now? I called Jhane Barnes whom I worked for years earlier. I asked if we could shoot at her office, and as you can see from the movie she agreed. She was kind enough to open the place for a weekend so we’d have quiet and privacy. But, every scene had to be rewritten to adapt to their new positions of maintenance workers.

Kevin Ford of Mo-Freek Productions once said to me (and it’s so true). There’s the script you write. The movie you shoot, and the eventual movie that’s released. When you compare the three, they don’t look anything alike.

[SD] – What is the audience meant to take away from the movie?

[GS] – It’s very hard on a first viewing of any horror movie to take away much. The best you can hope is to shock and scare people.

On a deeper level, when I was making the movie. I tried to show that no one is perfect. There’s two sides to every person. The person you show the world, and the person you see when you look in the mirror. They’re vastly different. My personal favorite is Patty. She’s loud, abusive, a know it all. Yet, she was alone, had a mother who was a crack head and a special needs brother that she deeply cared for.

[SD] – Some fiction is based on reality; did you use any real criminal cases or life experiences as inspiration for the movie?

[GS] – I overload on tru-crime TV. There’s bits and pieces of so many killers in this movie. For instance Joel Rifkin was stopped on LI with a dead hooker in the back of his pick-up. It made the nightly news every night, and Joel and Tim could be brothers. One kid that used to bully him at school told a reporter that he and his friends would steal Rifkin’s clothes during gym and lock him outside. That story is used in Us Sinners. But, he also wondered how much his bullying had to do with the things Rifkin did. That’s a great question. I can answer that, a lot.

The “normal” folks are people you work with everyday. I’ve known so many Patty’s, Louise’s, Andrew’s and Melissa’s.

[SD] – Who is the audience meant to feel sympathy for, why?

[GS] – If you analyze the characters you can sympathize with most, including Tim. Killers don’t come out of the womb predestined to murder. Tim never had a chance. There are more Tim’s out there, then anyone can possibly imagine. The only one to me that’s completely unsympathetic is Andrew. His cell phone shot of Louise proves he’s a piece of shit.

[SD] – Tell me about your writing process.

[GS] – I’ve always started with an ending. This way I know where my characters have to end up. Then I rewind back to where it all began. I get a character or two in my mind, and let them guide me through their lives.

For Us Sinners, I started with the ending, but I chose to go against the grain of U.S. film-making. Us Sinners is much more like a foreign film, it’s character driven not a straight narrative. There is no set goal, or question that needs to be answered for the movie to end. Though it is a wrap around. Which means the opening shot signals the climax is coming.

[SD] – What have you learned in the process of making “Us Sinners”?

[GS] – It’s extremely tough to make a movie with any standards. I could have gone the Ed Wood “one shot and run” method, but the movie would have been awful. But, we really took our time.

I’ve also learned that audiences need to be spoon fed. Even though I know that, I won’t. I’d rather many hate my movie, and let the people who see, hear and think enjoy them. I can say this, there are very few scenes (only the length of the driving scenes) that don’t have meaning.

I asked one reviewer (who disliked the movie) name a scene that he thought was useless. He mentioned the early bathroom scene. Tim flushes the toilet, goes to the sink, opens the cabinet and brushes his teeth. Within that useless scene, Tim does something a little weird, that has tremendous meaning and is explained later. Us Sinners is a movie that might ask too much from most viewers. But, that’s life.

[SD] – Is “Us Sinners” your first movie? If not, tell me about your other movies and what kind of things that you learned from making them.

[GS] – Us Sinners is my first time working with anyone other then myself. I’ve made a few cheap camcorder shorts to learn how to edit. I’ve always wanted to edit. Quite a few are on youtube. Just so you know, I can’t act. But, the editing is really good. I recommend Job Search.

There is one titled “Some Itches” that’s one minute long. It’s actually been tagged as being inappropriate for some viewers by youtube, and many people find it disturbing to watch. The method I used to create that short was used in one of the longest murder sequences in Us Sinners. It’s surprising how many people are really fooled by the technique.

[SD] – If you were not involved in the production of this movie and you were to see a copy on store shelves, what do you think would draw you to watch it? What aspects of the movie would make you stick around until the very end?

[GS] – I’d rent Us Sinners because I rent everything. The stupid blurb on the cover would force me to watch it till the end. Or I’d at least FF to see the climax. Which by the way, the cover blurb is actually true. But, I would watch Us Sinners from beginning to end, because it’s not like any other horror movie I’ve ever seen.

As a movie-maker, you should make a movie you yourself would want to watch. And I did. I’m an avid movie fan and I see things in movies (character wise) that many don’t. I’m the dork that when someone says “Why did he do that?” I can spurt out the scene and the message of the dialogue.

Does “Us Sinners” have it’s problems? Yes. But, it was made for less then catering costs on movies made in the 20s. You could barely buy a decent used car for the price tag of Us Sinners. The acting is way above anything in it’s price range. The gore and murder scenes are unique, original, shocking and reality based. There’s humor and some witty dialogue. Most importantly there’s a vast amount of characters, motivations and personalities. So, I’d be throughly pleased by Us Sinners.

If you’re a person you enjoys the kills, you’ll definitely have a good time. But there’s so much more going on.

[SD] – What do you think is the ideal way for someone to live their life and be happy?

[GS] – Do what you love. Treat others the way you want to be treated.

If you would like a full transcript of this interview (this is only half of it), or if you would like to have your own movie featured on the site, contact us at ptkruz@jojevis.com!

Microbudget Films: El Alambrista

The layman’s perception of the mystical martial arts of the Lucha Libre seems to be that they are silly men in masks who put on a pretty neat acrobatics show, but, to those of us in the know, Lucha Libre is one of the most honorable vocations that a true man can take on.  To be a Lucha Libre one must achieve brahmavidya, there must be a direct connection with the universe and all things weaved within it.

El Alambrista is a movie about not selling out, and not being anyone’s ho-ho.  The story itself is nothing special, it has it’s moments, but it serves the same purpose as the average Dragon Ball Z story, that is, it is just an excuse for some awesome, back-breaking beat downs.  That is not a complaint, however,  as I have often enjoyed story-less gore fests like The Story of Ricky.

The movie’s sense of humor is, sadly, pretty dry, but some of the actors, such as Julio Garcia, really get into their roles and steal their scenes, injecting a little humor into the proceedings.

Most of the technical  work here is great, the sound, somehow, was wonderful, the color palette was well-chosen, and the locations were perfect.  However, the editing was a bit jumpy, it seemed like there was a cut every five seconds or so.  This technique can sometimes be applied effectively to a film to speed up the pace, such as in Dark City, but it becomes jarring here.  The editing in the wrestling scenes is so jumpy, in fact, that it  seems like scenes are too disconnected, leaving me a bit confused until one man is declared the winner. Sometimes, though, the editing does properly showcase the acrobatics of the Lucha Libre dudes as  they throw eachother around the ring.

The best thing about this movie, though, is that, even without understanding Spanish, you could follow this movie without subtitles.  Not to say that the story is overly simplistic, this movie actually just effectively communicates it’s story visually.

I did respect this movie’s moxie, and I really enjoyed the ending.  My only true gripe is that it could have used a few more jokes.

I enjoyed myself.

Interview with Alfonso Sahagun Casaus:

Microbudget Films [MF] How long did it take you to make ‘El Alambrista’ and how did you fund the production?

Alfonso Sahagun Casaus [AC] The film took me and the cast about two and half years to complete. I lucked out because the cast worked for free.  My biggest expense was post production computer stuff and sound effects. All the cash came out of my pocket but I have some cool friends that lent me a camera and computer.

[MF] How long have you been involved with film production and what kind of future do you see for yourself in it?

[AC] I have been working on no budget films with my friend Angelo Lopes for about eleven years. I work in local tv as a cameraman so that is where I learned to shoot.  I think I can have a career in film if I can just come up with a budget, every filmmakers handicap. I am not saying you need money to make good movie but it doesn’t hurt. Cameras and computers cost money.

[MF] What is the philosophy behind ‘El Alambrista’?

[AC] The philosophy of Alambrista is a hero can come from anywhere.

[MF] What problems did you encounter while making ‘El Alambrista,’ and what did you learn from them?

[AC] The biggest problem was getting extras to come out and film.  What I learned is that it will probably happen again.

[MF] What’s your favorite?

- Ice Cream?

[AC] I am lactose intolerant, but I love mint chocolate

- Dog?

[AC] I like Appenphinser, the devil face dog, little and doesn’t bark a lot and looks like a ewak, you know the star wars hairy guys that live in the forest.

- Film Genre, why?

[AC] I like drama, I want learn about people.  I am interested in their lives, their faults.

[MF] What, if anything, would you have changed in ‘El Alambrista’ if resources were not a problem? Why?

[AC] I would change certain scenes that I feel just came out cheesy and rushed.  Technically speaking I would of shot it hd 24p.

[MF] If you could change one scene in any film, what would it be and why?

[AC] The scene where Alambrista fights off the coyote, it just came off cheesy. I wished I would of filmed the fight scene with more angles and a lot faster.  This is a lucha libre film and I didn’t hit anyone with a folding chair.

[MF] Any upcoming projects?

[AC] I am looking for money to make one more Alambrista lucha libre film. The script is done and filled with nothing but action action action.

[MF] Where can I go to see/buy your movies?

[AC] Brink.com, Bestbuy.com,Target.com,Netflixs.com Blockbuster.com

[MF] Any tips or hints on making a more effective film?

[AC] I am a shooter so I learned by shooting other people’s projects. You are going to make tons of mistakes just watch my first feature “Alambrista The Fence Jumper”.

If you would like your film to participate in the Microbudget Films Series, email us at ptkruz@jojevis.com. No submissions ignored!

Seeking Distribution: Us Sinners (part 1)

This episode of Seeking Distribution will be a two-parter.  The first will be my review of the movie Us Sinners, the second part will be my attempt at an interview with the film’s director.  Please to enjoy!

Us Sinners is, apparently, a George Snow DV (digital video).  At first I thought that this was a movie made by a sick weirdo, but, as it trudged forward, it became clear that it is just a really crap version of Henry: Portrait of a Serial Killer.

The problems that I have with this movie almost exclusively lie in the script.  There is nothing to keep the movie interesting throughout because there is no story.  I discovered while watching this move that without a character to provide  balance, the audience is simply left to watch the misadventures of a completely unlikable character.  It is as if it were written by someone who fast forwarded to all of the “Buffalo Bill” scenes in The Silence of the Lambs.

This is not to say that the movie Henry was about a guy that I would hang out with, but that movie had a character that provided the previously mentioned balance.  Without someone for the audience to relate to, the movie becomes an excuse to watch softcore rape scenes where women have foreign objeects (like used maxi pads) shoved in their mouths while they are molested by a man who turns to show his dirty underwear to the camera.  Twice.

My or anyone’s natural response to watching fictionalized rape or incest is, usually, to cringe.  To include these things in a movie and call it horror is a misconception because of how cheap a scare it is.  Even to the point of it being a scare, it is not exactly utilizing suspense or any other film techniques involved in creating terror to make an audience member tense.  What it is, really, is the equivalent of inserting a clip of a person deffocating on another person to generate a natural and predictable response: shock.  Shock is cheap and morally offensive, good horror is patient and psychologically offensive.

From here, as the movie has been distilled down into  the shock category, it all becomes a mater of taste.  When you are watching a movie, do you generally enjoy a feeling of uncomfortable boredom?  I don’t.

Strangely enough, though, this movie had great audio work, save for the one horrible song played throughout the entire movie.

I did not enjoy myself.

Next week I am going to give George Snow a chance to defend his movie, because I feel like it would be useful  to see what kind of person a movie like this actually comes from.  So until then, kids, always remember:

If you would like your film to be a part of the Microbudget Films series, contact us at ptkruz@jojevis.com. No submissions ignored!

Cat Shit One. Yes please!

What do you get when you cross cute, cuddly, furry bunnies and camels with the War on Terror? The answer: Cat Shit One: The Animated Series. It’s based on a manga called Apocalypse Meow which was published in 1998. I can’t find much more info on the movie/mini series, not even on IMDB. If any of our loyal readers can dig anything up, please feel free to comment.

Microbudget Films: Gunheavy

It’s pronounced DOSS-EE-YAY.

Gunheavy is, visually, the kind of movie that hasn’t been made since the 1990′s.  Watching it brought to mind scifi trash greats like Screamers and the wonderfully gory anime M.D. Geist.  Even the title evokes some sort of mistranslated Japanese movie, but it’s not, it’s just Gunheavy.

It’s useless to discuss the story of Gunheavy, it is incoherent even upon a fourth viewing (however, a story that barely makes sense is better than a predictable story [sometimes]). The real reason to watch this one is the visuals.  It’s pretty obvious that the only reason that this movie was made was to show off their skill in special effects.

They show it all off so well, though.  The CG is sparse, which is excellent, but the little things like the dilapidated structures in the backgrounds of wide shots complete the atmosphere.  Miniature work such as the big black jet ascending into the clouds and the “Orbital Cannon” (seen above) are amazing.  The locations that they chose all look like the ruins of some military-industrial future, and no set or place felt inappropriate for this movie.

Sadly, the sound is awful, the music, sometimes, drowns the dialogue out, and I found myself having to constantly adjust the volume during gunfights.  Seriously, I’m not going to say it again, please refer to every review I have written for this site to see my opinion on poor sound quality.

Despite Gunheavy’s structural pockmarks, it’s hard not to love it for it’s visual ambition.  It may seem hypocritical to excuse a movie for the same sins that I revile in bigger budget movies that sacrifice story for special effects, but there is something special in this movie.  It finds a wonderful comprimise between computer generated and practical special effects that I last saw in (the excellent) Starship Troopers. Don’t miss this one.

I thoroughly enjoyed myself.

Interview with Angelo Lopes, writer/director of Gunheavy.

Angelo Lopes (AL) – Took just under 4 years. We had no idea of what we were doing with certain things so lots of it was trial and error. There were a few long hiatuses where we did nothing, so we probably could of finished it faster. We got some start up funds from a friend who owned restaurants, then the rest we spend out of pocket and incurred debt.

AL – I started shooting with VHS cameras when I was about 16 (1992), but none of that was serious. My first real film was finished in 2003, called Armas.45.  I will continue to make films and try to market them, see where it takes me.

- Type of transportation?

AL – Anything beats walking.

– Character, why?

AL – Solid Snake from Metal Gear Solid. He was around since I was a kid and now he’s Old Snake. Bad ass.

Tech Stuff: Quartz Composer

Whether or not you have a PC or Mac (or Linux) machine, this section will be devoted to bringing you neat programs, tips, and tricks from the outer limits of tech. This week, I have an app for the Mac that can make videos both creepy and fun.

The program’s called Quartz Composer and regardless of whether you have Tiger (Mac OSX v10.4) or Leopard (Mac OSX v10.5) the program can be found in your OS boot disc. Its basically a visual programming language where in you literally connect different programming elements in a sort of web-like design as seen here:

The neat thing with the program is the ability it has to replicate strange and interesting video effects that you could only find in more expensive programs (Quartz Composer is free so there’s no cost worry). There are also tons of plug-ins for the program that you can find online that are essentially pre-made programs meant to recreate different effects. Here’s a video made with the Rutt Etra plug-in for Quartz:

The possibilities are endless, especially if you’re a video artist or just like fucking around on your (Mac) computer. Check it out!

Game Center CX a.k.a. Retro Games Challenge

Why are you not watching this when you could be watching this!?

Game Center CX, the basis for XSeed’s “Retro Game Challenge” for the Nintendo DS, is awesome! This is a wonderful concept for a television show!  The formula is as follows:

1. A man (Arino) is given an obscure or legendarily difficult game to beat.

2. The man talks to people with personal knowledge of the game’s development process, as well as to people that design strategy guides for said games.

3. The man sits in a room  and doesn’t leave until he beats the challenge set forth.

This is episode 1, here in both parts for your viewing experience.  Enjoy, share, Digg.

Part 1: Arino is challenged by the King of RPG’s

Part 2: Sing with Ferocity and Love, Arino!

!Muy beano!

-Joj

Seeking Distribution: Geek Mythology

Geek Mythology is a film with an unfortunately lame title, enough to make me ignore the movie if I saw it in the store, but I am pleased to say that it is actually a very funny film.

There are a lot of things to love here: the editing is very tight, the  jokes are all very well delivered, and the casting is great.  What was especially surprising was how rediculous the movie would get sometimes, dream sequences of cowboy fetish sex, a crazy black cop whose dialogue appears on-screen sometimes, and a spazzy main character that resembles a greasy Jerry Seinfeld.  Even when the writing falters, the spot-on over the top acting pulls it all together.

Nothing is perfect, however, and this one has it’s share of flaws.  The first noticable problem is the horrendous sound quality, it definitely damages the feel of the film.  Sometimes, such as in the elevator sequence, the sound cracks so much that you can hear the microphone feedback.  It doesn’t hurt to dub over a scene if the sound is bad.  The main plot device, a magical statue that makes this guy sexy, doesn’t work out at all.  It is such a little part of the film that I forgot about it halfway through.

The final greivance I’d like to bring up for this movie is so awful that it deserves it’s own paragraph.  Artificially padding out the run time of a film is a sin, and it should be punishable by death (or maybe an extended time-out).  This film is guilty of the (begin hyperbole) worst montage scene I have ever had to watch.  It recaps the entire film over the course of five minutes and almost destroyed an otherwise good picture. Despite these flaws, though, this film is an ambitious and really funny comedy.

I thoroughly enjoyed myself.

Interview with Phil Hwang, Director of Geek Mythology

Seeking Distribution (SD) – How long did it take you to make ‘Geek Mythology’ and how did you fund the production?

Phil Hwang (PH) – It took about a year to make the movie which I funded myself. It only cost eight thousand dollars.

SD – How long have you been involved with film production and what kind of future do you see for yourself in it?

PH – I’ve been writing screenplays for almost fifteen years and I made a another movie called The Corpse That Wouldn’t Leave in 2000. I have a couple of projects which would require bigger budgets that I would like to get off the ground.

SD – What is your favorite:

- Poem?

PH – Emily Dickinson’s “Hope is That Thing With Feathers.”

- Country?

PH – United States of America

- Historical Figure, why?

PH – Joaquin Murrieta. He was basically a Mexican Robin Hood whose story is very romantic.

SD – If you  could change one scene in any film, which would it be and why?

PH – I’d triple the length of Halle Berry’s lovemaking scene in Monster’s Ball. Who wouldn’t want to see more of her?

SD – Where should we go to see the movie or contact you?

PH – Geek Mythology is available at Netflix and at on-line retailers such as DVD Empire, Best Buy, and Barnes & Noble. In a few months, it should be available in Europe as a VOD item. People can email me at: payperfilm@yahoo.com.

SD – Any tips for those novice filmmakers out there?

PH – The biggest tip I have for a novice filmmaker is to hire or team up with a producer whose has successfully made a film similar to the one he or she is attempting. There are so many mistakes that will make make post production hell or create a situation where you can’t get meaningful distribution. Even hiring a recent film school grad might not be the way to go since they tend to be hardwired into thinking you need a crew of ten with a giant grip truck to get any type of film made. Also it’s great to have a designated bad guy. People have all sorts of requests. It’s nice to be able to turn them down by blaming the evil producer.

If you would like your film to be a part of the Seeking Distribution series, contact us at ptkruz@jojevis.com. No submissions ignored!

Julia Louis-Dreyfus, Still Hot!

Not much to say here, other than that I’ve had a secret crush on Elaine for a long time, and, just recently, I was in a small debate over whether she is still hot with one of my fellow Japanese Vacationers.

So, here’s my proof that she’s still got it goin’ on:

48?

-Joj

Seeking Distribution: Zombie Cheerleading Camp

Sorry for the delay on this article, you know how it gets sometimes, moving on:

I hear that if you can’t say anything nice, you shouldn’t say anything at all, but I feel like I would be doing the internet a disservice if I did not speak my mind about J. Fabris’ Zombie Cheerleading Camp.

It all starts off rather nicely, with an excellent storyboard montage detailing the creation of Nazi zombie goo, but, then, it quickly turns into a sort of malaise that isn’t boring,  just mediocre. Without giving anything about the movie away, I will say that it has more Cheerleader in the movie than Zombie, and only two boobs.

While lack of nudity isn’t really a fundamental issue in other movies, because of the supposed exploitative nature of this movie, it really is.  For over an hour, the audience is left to wonder where the hell the boobs and the zombies are before the first of either appears.  All of that being said, the Nazi montage at the beginning and the squirrel fight were both really well done.

Sadly, this movie did not live up to the  promise of it’s premise, but, with a little more rediculousness, it could definitely be better.

I sort of enjoyed myself here.

Interview with Jon Fabris, Director of ZCC

Seeking Distribution (SD) – How long did it take you to make ‘Zombie Cheerleading Camp’ and how did you fund the production?

Jon Fabris (JF) – The shoot was about 10 days. From start to finish the project took about 1 1/2 years. It was self funded.

SD – How long have you been involved with film production and what kind of future do you see for yourself in it?

JF – A few years. I started out doing animated films. I hope to continue to write and direct my own films.

JF – I hate sitcoms

-Noise?

JF – eh?

-Band, why?

JF – 16 Horsepower. Talk about intense.

SD – If you could change one scene in any film, what scene would it be and why?

JF – I hate the Raindrops Falling On My Head scene in Butch Cassidy and the Sundance Kid

JF – Not that I can tell you about

JF - best place is direct from out website www.zombiecheerleadingcamp.com

JF – [no response]

If you would like your film to be a part of the Seeking Distribution series, contact us at ptkruz@jojevis.com. No submissions ignored!