I am currently co-producing the short film “The Best of Betty” through the MDIA 419 Advanced Production class in the School of Media Arts & Studies. I have helped to organize the crew, shoots, and locations. In addition, I have organized the printing of our most important props – newspapers – through The Athens Messenger. Our budget is $6,000. After we premiere it at our college in June, we plan to submit it to film festivals and distribute it on DVD. Past MDIA 419 productions (including “Trailerpark” and “The Dying Western”) have won numerous awards at national film festivals.

Last summer, I interned at Principato-Young Entertainment, a major talent management agency in Beverly Hills, California.

During the ’09-’10 school year, I served as Marketing Manager for AVW Productions, a student-run video production house at OU. Their 150 members produce 13 local television programs for Internet and public broadcasting channel WOUB-II.

The summer before that, I shot and edited interviews/b-roll for AkronNewsNow.com, the daily news blog in Akron, OH.

From 2008-2009, I produced and co-wrote the  mockumentary show “Life in Adams” at OU. It tells the “true” story of RAs in Adams Hall.

In the spring of ’08, I was an assistant producer of the 30-minute short film, “Jim.” Produced for the MDIA 419 class mentioned above, the film is about a thirtysomething Sears employee named Jim who prepares for the birth of his first child.

You might not be able to guess who directed this childhood classic.

GEORGE LUCAS – American Graffiti… The man behind the Star Wars saga took us to a land of drag races and soda shops before Luke Skywalker even graced the silver screen. In 1973, he premiered American Graffiti, a nostalgic look at the early ’60s in Southern California. The film was made up of short segments involving teens over the course of one night. To say it was the perfect lead-in to Happy Days, which premiered the following year, is an understatement. Ron Howard starred in both, although he didn’t play the same character. The film also marks the first time Harrison Ford worked with Lucas. Graffiti garnered the director his first Oscar nominations…

TIM BURTON – Pee-wee’s Big Adventure… Yeah, that’s right. The first feature film from the Modern Master of the Macabre starred everyone’s favorite manic, bow-tied manchild. While many of Burton’s films are wild, creepy mindtrips, Adventure is not. Sure it has a psychic and a crazy truck driver but in the end, it’s just about a goofy guy trying to recover his shiny red bike. The film followed a stage show/HBO special that introduced us to Herman. Paul Reubens went on to play the character in the national show Pee-wee’s Playhouse, and recently returned to the stage. Up next? A big-screen adaptation of the show due next year, and another film similar to Big Adventure, in which he is working with 40-Year-Old Virgin director Judd Apatow. (Sounds fitting, right?) Okay, so this clip is actually a little creepy…

MICHAEL MOORE – Canadian Bacon… Before he became the most popular face (and Michigan State hat) in documentary filmmaking, Moore directed, wrote, and produced a comedy. But not one made up of sarcastic jabs at conservative politicians – rather, a screwball flick about an American President who starts a war with his country’s “hat” – Canada. In his last role before his death, veteran funnyman John Candy is up to his usual antics when he plays a U.S. Sheriff who leads the fight. The film also stars Alan Alda, Rhea Perlman, and Moore as a gun-wielding anti-Canuck. Despite his monumental success in the past decade, Moore bombed with this movie, which cost $11 million and made $178 THOUSAND – yes, THOUSAND – in the U.S…

DAVID LYNCH – The Straight Story… This one’s a full 180°. Since 1976, Lynch has been twisting viewers’ minds with tales of disfigured people and surreal happenings. Viewers can expect one thing with his films: they don’t know what to expect. Even critics debate what they mean, and Lynch isn’t one to divulge anything deeper than the surface. So you wouldn’t expect him to direct a Disney yarn. But that’s exactly what he did in 1999 with this TRUE tale of a WWII vet who rides 250 miles on his John Deere tractor to visit his dying brother.

I was 11 when I saw it in theaters with my friend and his parents. Probably my first independent film experience. I was touched by its real-life drama and it opened my eyes to cinema like that. I must admit I haven’t seen any of Lynch’s other work. (They’re on my endless “to-watch” list.) It’s ironic though that his least-known work was so influential to me, ten years before I even knew about him…

On his attraction to the story…

But maybe Lynch’s most surprising credit is as the voice of, and inspiration for, Gus the bartender on the Family Guy-spinoff, The Cleveland Show. Even David Lynch’s truth is stranger than his fiction. Watch it to believe it (start at the ’1:05 remaining’ mark)…

http://www.amazon.com/gp/product/B0039HWM84

In the United States, there are few dreams as sought-after as making it big with your rock band. The genre is firmly rooted in the last 60 years of American culture. Four high school buddies pick-up guitars, drums, and a mike, line a garage with sheets, and shake the house until their parents threaten to ship them off to military school. The trend continues until the wannabe-Beatles play their first gig in front of a dozen adoring fans (their friends) in a local backyard at a graduation party. The quartet starts a MySpace, plasters gig flyers on every wall imaginable, and starts a street team composed of said fans. They play and play and play, hoping to score that record deal that will sell-out stadiums and provide for enough sex, drugs, and chicks to actually kill Mötley Crüe’s Nikki Sixx for longer than two minutes.

But few ever make it that big. The ones who do succeed – they’re the heroes of the decade. The rest – well, they resort to plans B-Z.

One from the former category is Metallica. They’ve played on six continents, sold 100 million records, and endured more drama than General Hospital. Sounds like a great story for a feature-length documentary, right?

For every Metallica, though, there are thousands of Anvils. What may sound like a statement of jibberish is actually the theme of two unrelated rock-documentaries. The goals of the bands are the same, but the stories behind them couldn’t be any more different. The results of the films might just surprise you…

I watched Some Kind of Monster in a contempory doc class. I was eager to take a more personal look into the band that made me love metal, Metallica.

What I watched was an unabashed attempt at further stardom that was more akin for a VH1 “Celebreality” show. The doc follows the band into the recording studio as it records its first album in six years – all while it searches for a replacement for its newly departed bassist. Then frontman James Hetfield suddenly leaves the band and checks into rehab for alcoholism. He returns to the band, but is allowed to work only four hours a day. What ensues is a childish feud between Hetfield and drummer Lars Ulrich about their sounds, attitudes, and everything in between. The management company hires a pseudo-therapist to try to quell the fire between the only two original members of the band.

As a budding documentarian, I appreciate the directors’¹ attempts to show the lives of one of the most successful bands ever. It’s interesting to see how the members act outside of public events, including in their roles as fathers and sons. There hasn’t been such an unflinching account of rock stars behind the scenes since Gimme Shelter.

As my professor and classmates agreed, though, the casting is questionable. For those who are not well-versed in the church of “The Mighty Met,” the look into the crazy life of a rocker is enjoyable and intriguing. However, these same viewers also broke into laughter on several occasions at the explosive bickering between two multi-millionaries. We’re supposed to feel empathy for human beings who have mansions and custom-built cars, when they’re fighting like small children? Why Tipper Gore might have to call a Senate hearing for that one.

And for “Alcoholica” fans such as myself, we must criticize the issue of intended audience. If we are indeed the prime viewers, then we also will laugh at the group – but for another reason. Most of us lost our respect for it 14 years ago. Metalheads across the country were outraged when James and the boys chopped off their hair. It must have contained their metal awesomeness. Since then, the band has slowed down their tracks, shyed-away from face-melting solos, and sued Napster. St. Anger, the album they recorded in the film, is not even respected by fans of the “new” Metallica.²

I was further disappointed that the doc just touches on the tragic death of former bassist Cliff Burton and the feud with ex-member Dave Mustaine. Obviously these issues are not the focus of the movie, but they could have been included more as influences into how the band was at the time of filming.

The second part of the series will be posted soon.

¹ Joe Berlinger and Bruce Sinofsky used Metallica songs throughout their three-part documentary series, Paradise Lost. The teens accused of murder in the films are fans of the band.

² The band did regain much of its critical and consumer support when it fired that album’s producer and retooled for its 2008 release, Death Magnetic. Diehards, however, are still not convinced.

1. A horror film was made in the director’s home in ten days with a Sony FX1 for $15,000. It has grossed an estimated $107.5 million in the U.S. alone. Paranormal Activity was distributed by Paramount and DreamWorks. It ranked #48 in its limited opening weekend release of 12 theaters. Two weeks later, in its wide release, it ranked third. We were again reminded of the benefits of the “Blair Witch” approach. Now to see if Hollywood will apply it to movies of other genres.
2. …Well they did. The #4 grossing movie of the past year is a comedy. The Hangover starred lovable losers Ed Helms and Zach Galifianakis and was made for “a mere” $35 million. The average budget for a Hollywood feature is $107.7, so a $277 million gross is easy money in the bank. Director Todd Phillips even deferred his usual salary and received part ownership of the movie instead. And to think they didn’t even need to use a pro-sumer camera to make it is a sign of promise.
3. But it all comes down to the success of the most expensive movie ever made. I’m talking, of course, about Avatar. The $237 million blockbuster to end/continue all blockbusters will open in 3D this Friday. It’s the film version of GNR’s Chinese Democracy – anticipated for a decade, delayed numerous times for various reasons, and finally released (hopefully to worldwide acclaim). But it’s not just money at stake. The movie was the first to motion-capture its actors into the animated background, instead of that ominous green screen. And this will definitely be the movie to determine the use of 3D in the coming years. So will the magnum opus from the director who made the highest-grossing picture in Hollywood history, do it again? We’ll see in only two days.

copyright 2009, Dan Stroble

copyright 2009, Dan Stroble

copyright 2009, Dan Stroble

Definition of ‘catharsis.’ (See my previous post)…

1.	the purging of the emotions or relieving of emotional tensions, esp. through certain kinds of art, as tragedy or music.

2.	Medicine/Medical. purgation.

3.	Psychiatry. a. psychotherapy that encourages or permits the discharge of pent-up, socially unacceptable affects. b. discharge of pent-up emotions so as to result in the alleviation of symptoms or the permanent relief of the condition.

It’s a shame that the term “reality” is applied to shows in which posh, vain, and filthy rich prototypes of how we are “supposed” to act vie for that “down-to-earth” “perfect someone” or for further riches. This may be the reality of Hollywood’s elite (and sometimes its has-beens), but it is definitely not the reality of the masses.

Thus, it’s a shame that more reality shows can’t be as raw, real, and powerful as one of TV’s most important shows, Intervention.

Nestled amongst other A&E reality shows such as Gene Simmons Family Jewels and Dog the Bounty Hunter, Intervention is the network’s underrated gem. Airing Monday nights at 9 p.m., the show transcends entertainment to become inspiration.

Each episode features one or two Americans whom suffer from addictions. The addicts agree to have a documentary crew capture their struggles. The program not only shows the addict’s personal conflicts, but also those experienced between him and his loved ones. Scenes of the sufferer’s substance abuse are juxtaposed between interviews with extremely concerned loved ones.

In every episode, the loved ones express how the addict could be a hit or drink away from death. In a desperate attempt for help, they plan an intervention. By sharing their written concerns for the addict, they make an ultimatum with him: either attend a treatment facility or they cut all financial and emotional support.

This scenario may seem indicative of only slums like Skid Row, but that is not the case. Most of the addicts on the show live in rural or suburban areas. As children, they were talented and happy. But, as they entered their adolescent and adult lives, they encountered common problems such as physical abuse, parents’ divorce, and alcohol abuse.

Intervention has taught me more about addiction than any health class or waiting room pamphlet. It has helped me to express my concern with loved ones’ mental illness or substance use. By watching this show, it is possible to help each other before an intervention is even necessary. Yes, I have used only alcohol and hookah in my life. So I am not an expert on the topic. But the show has helped even me to understand and treat my own depression and anxiety, both of which can be precursors to substance use.

Now it’s our choice as to whether we watch the umpteenth spin-off show about washed-up celebrities, or a show that helps average Americans.

It’s time to tune-out the “celebreality,” and turn on the “reality.”

And I enjoyed every minute of it.

As much as I want it to reap the successes seen by Trailerpark or The Dying Western, I am content if it doesn’t. I’ve already accomplished what I wanted to do.

Listening to “Schism” by (my favorite band) Tool allowed me to share some very deep beliefs that were stirring inside me for quite some time…

(Lyrics from band homepage)…

These were my thoughts upon listening to it several more times…

This song is about the lack of communication that can tear up any American and the society around him. Many of life’s problems can be traced back to our nation’s inability to open its mouth, free its mind, and help one another. Millions live with the pain and sorrow that surround mental illness, addiction, and the like, only to keep it hidden from those around them. This problem is intensified for adult males, who must fight the image placed upon them.

Americans are raised to be independent in their problem solving. By adolescence, many are weaned from their parents’ control. Within these years, they go from being children dependent on their parents, to being adults dependent on no one. At the beginning of their adult lives, many are thrust into their own world, often away from those who have helped to shape them.

Adult males are especially vulnerable. For thousands of years, they have been forced into the role of strong, fearless, emotionless fighting and working machines. They are the ones to protect the family from peril. Be it a burglary or a shipwreck, the man is expected to step in front of loved ones and take the brunt of the blow. Modern American men may not face these dangers often, but they maintain the same role. The kids primarily rely on Dad’s financial support to get them through college and into independent adult life. Even Mom is listed as a dependent on the annual tax form. And if crisis strikes the family, it is the man’s name that is soiled.

The media dictates much of the way an American male is “supposed” to act. Buff, heroic movie stars save the country from aliens, terrorists, and, hell, even transfiguring cars. Dimwitted hunks vie for the love of trashy airheads on many television shows – and the disturbing part is, most of it isn’t even scripted. This is the way many American males believe they should act. And if one does not fit this archetype, then, well, he’s often labeled as “weird” or even “gay.”

The silencing stigma experienced by Americans, including Tool singer/lyricist Maynard James Keenan, is not uncommon. The fact that he sings about it is. He lived through his parents’ divorce and, when he was eleven, his mother’s aneurysm and stroke. (She was paralyzed for about 27 years until she died in 2003.) In “Schism,” it is likely he writes about the lack of communication between he and his mother, Judith. She was a devout Christian, something Keenan did not understand nor want to replicate in his life. (In “Judith,” a 2000 song with his side project, A Perfect Circle, Keenan questions why she was stricken when she did no wrong, and also why she still believed in Him.) His criticisms against religion in several other songs represent those of thousands of Americans. “To bring the pieces back together,” he even desires to “point the finger, blame the other, [and] watch the temple topple over.” He is looking to release decades of anguish, and “Schism” does just that. But he doesn’t do so without facing stigma. In a 2008 interview with Revolver, he expresses regret for publicizing so much of himself in “Wings,” a 2006 two-song tribute to his mother. Self-expression rears its ugly head.

An individual from another culture would view this song as angry. Most other cultures prefer pop or classical to rock, much less hard rock. For almost sixty years, rock music has been a method of dissent, and Tool is no different. Negative thoughts are glossed-over in other cultures – maybe they’re even virtually non-existent? Europeans, for example, are supposedly more laid back than Americans. When Europeans are taking siestas and months of vacation, Americans are working overtime to put their children through college.

After listening to the song multiple times, I was able to identify with a sense of optimism I hadn’t originally noticed. Keenan does not just say the pieces are “mildewed and smoldering;” he also desires to reconnect them and communication as a whole. All is not lost, and he is able to speak once again.

—–

This is the most influential song of my life. I plan to use it as the backbone of an allegorical film that expresses these thoughts and more. It will take many years for it to see fruition, but, as MJK said, “the circling is worth it.”

I plan to post about the more influential docs I have watched. But, until then, here is a list of ideas I hope to produce someday (some are longer than others, some are for TV, etc):

1. Ways to limit the profit made by prescription drug companies.
2. Motivating Americans to communicate on a deeper, more personal level.
3. The cultural impact of The Simpsons.
4. The therapeutic capabilities of comedy. (I wrote a proposal for this for my Film 203 class.)
5. The eccentricities of Stanley Kubrick.
6. A biography of comedian Eddie Izzard.
7. A biography of comedian Steven Wright.
8. A biography of Tool lead singer Maynard James Keenan.

You can definitely see where my inspirations lie.

If you steal these ideas, I’ll threaten to sue you …or maybe just help you produce them.

You’re fooling yourself
You’re kidding yourself
What you don’t want to do
Is that which is done

Your mind’s always with you
Your troubles are clear
The relief, though inviting,
Is fleeting, if there

This expresses my feelings about illicit drug abuse. I believe that a single hit of a drug can be a cry for help. Thus, a simple pill or syringe is actually the components of a metaphorical gun which can be used to harm. I think addiction is too often treated as just that – a physical and mental attachment to a substance. In my amateur opinion, however, addiction should also be treated as a manifestation of personal insecurities. I’ve never read about an illicit drug addict who hasn’t been a victim of abuse or broken home. Although he might not admit it, an addict uses drugs to end the pain – perhaps forever. Illicit drug use is really a pseudo-su(icide).