DANGER Ms. Kleefisch!!!

Friends and Family,

Most folks know I'm not very political. They also know I'm usually pretty opposed to (and annoyed with) sending out political messages So the fact that I'm doing this I hope shows you this is something I desperately need you to know.

Please take into consideration, if you're voting in Wisconsin next week, the dangers Rep. LT. Gov candidate Rebecca Kleefisch poses to people like me and Mike. Verbatim, regarding Domestic Partnership, Kleefisch has just said on air "...at what point are we going to OK marrying inanimate objects? Can I marry this table, or this, you know, clock? Can we marry dogs? This is ridiculous."

I listened to it myself for facts before posting this. Her comments are not taken out of context. She completely dehumanized people like us. Please think of me and Mike when making your voting decisions. We are celebrating 1 year as Domestic Partners Dec 29th, and 6 years as a couple that same day.

- Jason

P.S. I'll return to blogging more entertaining fare soon. ;-)

That Indie Spirit!!!

Looking at these pictures, it seems a horror movie had a bloody orgasm all over my face. Yes, my indie spirit was renewed this past weekend as I played the role of kind- hearted punk "Matthew," doomed to have dirt crammed down his throat and his head kicked in by an incestuous brother/sister duo in Cory J. Udler's INCEST DEATH SQUAD 2... yes, Part 2. Even with a resume containing such eye catching titles as HELL ASYLUM, BAD MOVIE POLICE, and DEADLY STINGERS, I'd put money down betting this title is going to be the one everyone raises an eyebrow to. So why would I attach myself to something of this nature?

Indie spirit, baby! There's nothing quite like it. A (usually) young group of passionate filmmakers pulling together their limited resources and friends to unite in one simple goal... make a movie. There's little money involved - neither in making the feature, nor once it's been released to the public. Just that element of satisfaction that you had a group of people get behind you and create a story. Even if only 100 people ever see the damned thing, you've seriously accomplished something.

Now, when I say "Indie Spirit," I'm not talking movies even at the level of being produced by "indie" studios like Full Moon, Concorde, Troma, et al. These thriving creators don't have any sort of studio behind them. The director is usually the guy who works a full-time day job and is pouring every extra cent he can muster up into the minimal budget. Said monies don't go to the cast and crew - those dedicated folks work for free. Paying for locations and lawyers and big craft service (food) tables? Nope. The cash generally flows into the make up FX and occasionally the wardrobe, unless the cast is (preferably) willing to wear their own clothes they don't mind possibly getting soaked in gore. Filming takes FOREVER - not days or even weeks. It's more like filming what you can with who you can on weekends for the better part of a year, or longer. (Mike & Amy Watt of Happy Cloud Pictures spent the better part of this past decade completing their zombie flick THE RESURRECTION GAME.)

Making movies at this level is about true dedication. There is often a stigma about movies at this no-budget level. Poor acting, writing, production appearance, FX, editing, sound effects... Usually you'll hear critics, and viewers, bitch that the film "looked like it was shot in someones backyard." Well, yeah, it was... but to that I say "Did YOU give up 52 weekends of drinking and laying on your fat ass watching reality TV to pull together an actual movie?" Whether the product turned out watchable isn't the issue. It's all about the effort put forth by a tiny band of thieves to make one particular person's dream come to life. These productions are about friendship and love, because the people in front of the camera and lending their time behind it often aren't film professionals in any way. They're simply excited to see a friend succeed and maybe have something to show the grandkids 40 years from now... to have the novelty of saying "I was in a movie."

INCEST DEATH SQUAD 2 is the ideal example of this. Obviously I can't say if the movie is watchable at this point... it's not even done filming yet. But I knew going in this was something from Udler's heart. I arrived to find his crew consisted of himself (directing and operating the camera) and Annie Cliff (FX girl and boom mic operator). The fact that a boom microphone existed at all on the production threw me! So I knew Udler at least had and knows how to operate film equipment. The wonderful actors, Greg Johnson and Carmela Wiese (a.k.a. the incestuous killers) aren't actors by trade... Carmela is into holistic medicine. I'm not sure what Greg does, but I'm pretty sure killing people onscreen isn't in his daily routine. But as Carmela stripped down on camera right on a public road (with cars going bye every few minutes), I knew she was game. I joined right in. I was grabbed by the hair, had "mud" (i.e. some very tasty brownies) crammed in my mouth, was tossed to the ground, and "kicked" in the head repeatedly. My pants got muddy, I landed in a rose bush (resulting in some pretty irritating scrapes on my arms and near my right eye), had grass stuck in my teeth, bugs tormented me, and the fake blood SERIOUSLY burned my eyes. You know what? I LOVED every second of it.

There is such an energy to doing this sort of thing... being a part of something that so many believe in. My part of the shoot lasted just about 2 hours, and it seemed like 15 minutes. I didn't want it to end. While it may seem insignificant, I should note that when I left that morning for my two-hour drive to Evansville, WI for the shoot, my Diabetes blood sugar count was at an unhealthy 298. I ate a bad lunch (McDonalds) and had a HUGE dinner (steak, pasta), yet my numbers later read 186... now THAT shows a day of high energy and healthy movement.

Shooting IDS 2 also made me remember, and respect, where I came from. The productions I typically work on these days have investors, budgets, crews, a post crew and professional actors. That's not where I started out though. My days making movies for Moore Video (MARK OF THE DEVIL 666, 5 DARK SOULS, 5 DARK SOULS - PART II) were exactly the same kind of productions. Paying it back (or would that be forward?) for all the help and dedication I received from my own friends in the mid-90s to give up their free time to assist me in achieving my dream - that joined with that hunger and need for the kind of energy you find on a film set of any budget level was my main reason for being a part of this production.

It's that natural instinct, that Spirit I was born with, that feeds my passion to tell a story (or be a part of someone else's) and bring anyone else interested along for the ride.

Why I Worship at the altar of J.R. Bookwalter

A happy thing showed up in my mailbox the other day... my final paycheck from Shout! Factory for the SLEEPLESS NIGHTS documentary I recently directed for them. Last night, as I shared my joy (and bought some cocktails) with friends and family, I realized that having received that check was more than just thanks for a job well done. I was happy that the check had been received at all.

Last week, I had dinner with my dear friend, actress Tina Ona Paukstelis (ASWANG). After bitching to her about all the money I haven't received for past productions, she commented "You just keep getting ripped off, don't you?!" Tina has known me from college through my entire professional career. And she's right. I received one royalty check (a small one, I might add), for the films I did for Moore Video back in the 90s, even though they continued to sell copies after that. I sold a bulk of my movies to a distributor in the late 90s... never got my payment. Throughout the early/mid-2000's, I published dozens of articles. For one particular magazine, I'm still owed nearly $3,000. More recently, I'm over a full year past getting paid for NOVEMBER SON (2008) by distributor Ariztical. Looking back, one of the few people I have been able to trust in this industry, is my friend, mentor, distributor J.R. Bookwalter.

Bookwalter, like myself, has spent his career striving to be the best in low-budget cinema. He gained notoriety for directing the cult-classic zombie flick THE DEAD NEXT DOOR back in 1985 at the tender age of 18. (It's a poorly kept secret the film was financed by none other than Sam Raimi of THE EVIL DEAD and SPIDER-MAN fame.) Forming his own indie production /distribution company Tempe Entertainment / Tempe Video and the magazine "The B's Nest" (later remonikered "Alternative Cinema") in the late 80s, Bookwalter quickly became the demi-god to all kids who wanted to pick up their dad's camcorder and make a movie for $100.

Understanding that all-consuming need to make cinema, Bookwalter was among the first to take other people's homegrown products and put them out onto the market. Initially through his zines and mailings, then through the internet. He promoted those titles with all the gusto and pride of a proud papa and his newborn baby. Even when the movies sucked (some so poorly you could smell their rott), he stood behind them. He has treated his directors, casts, and crews with such respect its remains a difficult task to find anyone with nary a bitter word about the man.

After actress Brinke Stevens (whom I also owe my career to) introduced me to Bookwalter at one of her famous back-yard BBQs, Bookwalter took many more steps than he needed to in introducing me to David DeCoteau. His efforts resulted in many years of work with the cult director and inspired me to direct my own short film, JULIA WEPT (2000). The idea was to create a feature to get additional work from other producers. The first person to hire me? J.R. Bookwalter.

SOMETHING TO SCREAM ABOUT beget a series of wonderful working experiences with Bookwalter and his associates. Taking on various roles in front of and behind the camera, productions such as HELL ASYLUM, DEADLY STINGERS, and the BAD MOVIE POLICE franchise quickly filled my resume. He stood behind me on OCTOBER MOON - an item no one else wanted to touch because of its combo gay/thriller-theme. Nobody else was making films like this at the time, and while every other producer I approached ran screaming, Bookwalter felt I had something special.

Even though he's long referred to me as a publicity whore (a title I wear loud and proud), Bookwalter has had my back more than anyone else in the industry. He's attempted to steer me down the right avenues (even though I don't always listen), gotten me in touch with many other folks who would lead to additional film and journalism work, and always been honest and right -on-time with statements and payments. When money was lost in a bankruptcy scenario with a joint distribution company, Bookwalter was direct up front and has proven his worth in trying to earn the money back. He has forewarned me of the highs and lows of the business, respected with great intent my "coming out" and domestic partnership (though I'm still waiting for that wedding gift), and even honored me with being the godfather of his handsome little fella, Benji.

So why do I worship at the altar of J.R. Bookwalter? Simply put, he's a kick-ass guy, a great trustworthy friend, and has long offered the guiding hand of a big brother. Get to know him, and his work.

Trying Something New

So I've been a bit lazy when it comes to the publicity end of my career. In the late 1990s and throughout most of the 2000s I was, as indie guerrilla god J.R. Bookwalter called me, a "media whore." Admittedly, I threw my name and products (Something To Scream About, October Moon, November Son to name my more "popular" titles) to anyone who would listen and print them. I frequently updated my personal website, and additional sites for each of my more recent films. Then I just... got bored, I guess.

I let all the sites slip (only www.octobermoonthefilm.com remains active). My experience with November Son (a.k.a. October Moon 2) was such a negative one (especially once it was in the hands of distributor Ariztical Entertainment) I lost interest. No more photo shoots, very few convention appearances, and practically no interviews... the "whore" had settled into just being a husband. Then a call came in...

So in November 2009, exactly 10 years to the month - almost the day! - I sold my first professional piece of journalism (a retrospective on The Slumber Party Massacre film franchise) to Femme Fatales Magazine, I was contacted by Shout! Factory. Company exec Cliff MacMillan was in charge of producing new material for the Roger Corman library Shout! had just licensed. Turns out the SPM trilogy was a part of this package, and while Googling the titles for general info, my name kept popping up (thanks to the retro FF piece and STSA). Cliff had seen STSA years ago, and wanted to know if I'd be interested in producing/directing/writing a new documentary on the SPM films. Not only was this a full-circle moment for my career, but it marks the first time I've been sought out as a director without my having to do all the footwork first. A big moment.

Now that production on the documentary Sleepless Nights: Revisiting The Slumber Party Massacres has wrapped (and is due on DVD October 5, 2010), I'm inspired to let the "whore" back out. Not really interested in the photo shoots and extensive convention appearances of this past decade. Would like, instead, to share my thoughts and experiences for those interested in how life is working as an indie filmmaker - with his foot now officially in the corporate film-making door. Also, how the industry is changing from being an individual "guerrilla" filmmaking kid with little competition and his camcorder in the late 90s to now having to accept that any 15 year old can make a professional-looking movie in his bedroom over the course of a weekend - while I'm forced to pull together a paid crew and 6 months of work to keep "relevant."

Blogging is something new to me. I'm not sure just yet how much attention I'll give it. Daily? Weekly? Monthly? At all? My thought is to not just comment on myself (yes, J.R., Hell has frozen over), but indie films I've seen, other folks I work with, and just the industry as a whole. I hope what you read here will bring you back for more.

Best,
Jason

FILMOGRAPHY:
Shy of Normal (2010, director/writer/producer)
Sleepless Nights: Revisting The Slumber Party Massacres (2010, director/writer)
Incest Death Sqaud 2 (2010, actor)
Dozers (2010, actor)
I Made My Own Damned Movie (2010, interview subject)
Unearthed: The Hellraiser Saga (2010, interview subject)
The 50 Scarriest Movies You've Never Seen (2010, interview subject)
November Son: October Moon 2 (2008, writer/director/producer)
The Legend Trip (2007, actor)
Halloween: 25 Years of Terror (2006, interview subject)
October Moon (2005, director/writer/producer)
Something To Scream About (2004, director/writer/producer)
Bad Movie Police, Case #3: Humanoids From Atlantis (2004, Assistant Director)
Bad Movie Police, Case #2: Chickboxer (2004, Assistant Director)
Bad Movie Police, Case #1: Galaxy of the Dinosaurs (2003, actor/Assistant Director)
Deadly Stingers (2003, actor/Assistant Director)
5 Dark Souls, Part III: Retribution (2003, director/writer)
Hell Asylum (2002, actor/supplements director)
Final Stab (2001, Assistant Director/Production Coordinator)
The Frightening (2001, Assistant Director/Production Coordinator)
The Brotherhood II: Young Warlocks (2001, Assistant Director/Production Coordinator)
The Brotherhood (2000, Assistant Director/Production Coordinator)
Ancient Evil: Scream of the Mummy (2000, Assistant Director)
Julia Wept (2000, director/writer/producer)
Voodoo Academy (1999, publicist)
5 Dark Souls, Part II: Roots of Evil (1998, writer/director)
5 Dark Souls (1996, writer/director)
Mark of the Devil 666: The Moralist (1995, writer/director)
Sacrifices (1994 - short - director)
America's Deadliest Home Video (1991, publicist)
Havoc (1991 - short - director/writer)