Posted in: by Richard T. Jameson, Directors, Interviews

William Richert on ‘Winter Kills’

[Originally published in The Weekly, September 15-21, 1982]

Bill Richert and Tony Perkins were standing on top of the world when somebody cut the power. From this eyrie, banked by vast computers and embraced by a luminous diorama of the solar system, John Cerruti (Perkins) could monitor every salient fact on the face of the globe, catalogue it, and consider its implications for the financial and political future of the Keegan dynasty—the Kennedyesque family and megaconglomerate whose ins and outs define the texture of modern reality in Richard Condon’s dazzling novel Winter Kills. Richert had whipped this kaleidoscopic narrative into a fluid screenplay and was halfway through the process of realizing the film itself. But in the giddy orbits of other, less reliably monitored galaxies, the source money twinkled away. Now, on the soundstage floor far below, studio representatives with no sense of irony were killing the lights, shutting his picture down. It stayed shut down for a year and a half.

It’s been like that throughout the history of this brilliant film. The $6.5-million project was announced in 1976: a major production to be shot on locations round the globe, and literally all-star at every level. Jeff Bridges and John Huston headed a cast that also included Perkins, Richard Boone, Toshiro Mifune, Sterling Hayden, Eli Wallach, Dorothy Malone, Tomas Milian, Ralph Meeker, and an unbilled Elizabeth Taylor. The production designer was Hitchcock mainstay Robert Boyle; the cameraman, Vilmos Zsigmond. Maurice Jarre would compose the score. And the story! Just as Richard Condon had anticipated the assassination era with his Manchurian Candidate, so in Winter Kills had he supplied the perfect metaphor for life after Watergate—a surrealistic study of Power from an incestuous inside view, with lashings of assassination conspiracy arcana and roman à clef titillation. A more unlikely candidate for shelving would be hard to imagine.

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Posted in: by Sean Axmaker, Contributors, Industry, Interviews, Science Fiction, Technology

“Breaking new ground has always been in the medium itself” – An Interview With Douglas Trumbull

On Saturday, February 11, Douglas Trumbull received the Gordon E. Sawyer Award from the Academy of Motion Picture Arts and Sciences for his contributions to the technology of the industry. Trumbull has over a dozen patents in his name, and developed or improved upon many of the filmmaking techniques that are standard in today’s industry, among them miniature compositing, high frame rate photography and motion control photography. This is his second special Oscar—though nominated for his special effects work on Close Encounters of the Third Kind, Star Trek: The Motion Picture and Blade Runner, his only previous Oscar a Scientific and Engineering Award from 1993, for his work developing the 65mm Showscan Camera System.

Revived and expanded from an interview I conducted with Douglas Trumbull in 2005, originally published in shorter form on Greencine in January, 2006.

Douglas Trumbull is unique among American filmmakers. At age 23, he was part of the team that pioneered the next generation of cinema special effects in Stanley Kubrick’s visionary 2001: A Space Odyssey. It was education you couldn’t get in film school and he continued to expand his skills and techniques in such films as The Andromeda Strain, Close Encounters of the Third Kind and Star Trek: The Motion Picture. He made his debut as a director on the ecologically minded Silent Running, where his special effects crew included John Dyksra (who went on to become the Oscar-winning special effects supervisor of Star Wars and many other films) and Richard Yuricich (who partnered with Trumbull on many subsequent projects).

Trumbull’s second feature as a director, Brainstorm, was all but orphaned by MGM and his directorial efforts since have been outside the Hollywood system, including short films in his own high-definition Showscan process (a large-frame film format that runs at 60 frames a second) and Back to the Future… The Ride,” a multi-media mix of film, sound, and simulator ride. More recently, Trumbull worked with Terrence Malick (another maverick director who commands complete control over this films) to create the birth of life sequences for The Tree of Life. Yet to this day, Trumbull’s name is still most closely linked with 2001 and his special effects work on the cult science fiction classic Blade Runner.

Trumbull continues to explore the boundaries of what he calls “immersive media”–3-D, interactive media, virtual reality–and has been partnering with Professor Tom Furness of University of Washington’s HITLab (the Human Interface Technology Lab) with some of his projects.

In November 2005, while in Seattle to meet with Furness, he made an appearance at the Science Fiction Museum for a special showing of Silent Running. In the midst of his multi-media presentation – using still and video footage launched from his lap-top to accompany his talk – he brought some of the working props form the film and donated a drone arm: his gift to the Science Fiction Museum.

At the end of the very long day (after his exhaustive presentation, Trumbull gamely spent over an hour answering questions from the audience), he agreed to sit down for an interview over a late dinner, where we talked about his work with Stanley Kubrick, his own films as a director, and why he hasn’t directed a Hollywood film in over 20 years.

Douglas Trumbull at the Museum of Pop Culture in Seattle, 2005

Sean Axmaker: You had trained as an illustrator. How did you wind up in filmmaking and special effects?

Douglas Trumbull: The story goes something like this. I was going to school at this community college in L.A., kind of learning illustration. I started out studying architecture and this was the pre-architecture curriculum, which was drawing, painting, water colors, graphic design. In that very first year I realized that I’m not specifically interested in architecture, I’m interested in this other thing. I started painting and illustrating and I had an air brush and I was trying to learn the skills of illustration, but I was a science fiction guy so I had my little portfolio that was full of sci-fi, Analog magazine cover kind of stuff, and I went into Hollywood looking for a job because I had no money, I couldn’t afford to stay in school. I took my portfolio around to animation studios, because that was my first inclination, animation and somehow making illustrations move,. I would talk to these really nice guys and they would look at my portfolio and say “You’re not in the right place. It’s great to have you here but you should try out this place across town called Graphic Films because they’re doing space films.” So I went over there and met Con Patterson, who worked on 2001, and Ben Jackson, and they were both mentors to me. They said “Yeah, we might could use somebody like you. We’ll give you a task. Paint this satellite and come back tomorrow morning,” which I did, and I got a job immediately and worked at Graphic Films for a couple years. I did some obscure films for the Air Force about the space program and then there was this one film about the Apollo program that was kind of interesting. I was painting lunar modules and lunar surfaces and the vertical assembly building on Saturn 5 rockets and animated this space stuff. And then Graphic Films got a couple of contracts to do films for the New York World’s Fair in ’64, it was a two year fair in 1964 and 65, and one of them was this dome thing called To The Moon And Beyond, which was kind of a Powers of Ten movie. It went from the big bang to inside an atom in ten minutes.

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Posted in: by Sean Axmaker, Contributors, Interviews

Monte Hellman on “Road to Nowhere”

[originally published August 11, 2011]

Road to Nowhere is Monte Hellman’s first feature in 21 years. The director of The Shooting and Two-Lane Blacktop, a resolutely personal director who turned out drive-in pictures for Roger Corman and spent his career largely transforming work-for-hire productions into distinctive and mysterious films, spent years taking jobs as editor and second-unit director while one project after another failed to come together. Among his projects during that time was working with the Sundance institute, where he helped a young filmmaker named Quentin Tarantino workshop a film called Reservoir Dogs. Hellman signed on as executive producer and helped Tarantino get his film made. The role of educator and mentor eventually took him to CalArts, the private arts college where he has been teaching for the past six years.

Road to Nowhere is a welcome return by a master filmmaker. It’s a film about making a film and a film within a film, with an unknown actress (played by Shannyn Sossamon) hired to play a role in a film based on a murky true story about a politician who embezzled $100 million and disappeared with a young woman. She may or may not in fact be the very woman she is portraying on film. The mystery may be real or a fiction within the film. This film’s director, Mitchell Haven (Tygh Runyan), shares the same initials as Monte Hellman, and the echoes don’t end there.

This is a film aware of its existence as a film, constantly pushing against the nature of representation and storytelling. It’s a mystery where part of the mystery is what the mystery is really about. It’s the best film about the nature of filmmaking since The Stunt Man but with a very different approach to the blurring of life and art. Its name could serve as the alternate title to Hellman’s 1971 masterpiece Two-Lane Blacktop and its play with doubles and characters in reflection recalls The Shooting, his starkly abstract 1968 western. It is a film with imagery as rich as paintings and characters roiling with anxiety even as they appear frozen in space. And it is a film in love with the mystery of cinema, a film about characters playing characters, about stories that shift as they are put on film, shift again as they are placed beside other stories in the editing, and once again shift as the audience pieces together the elements of the narrative. American filmmakers seem unable to stop and watch a character be. Hellman finds the most revealing moments between the beats of action, where characters at rest let their facades down. Or do they simply put on a different character for us to see?

Road to Nowhere opens Friday, August 19, for a week at Grand Illusion in Seattle’s U-District. I had the opportunity to speak with Monte Hellman by phone and discuss the film, his return to filmmaking and his unique take on cinematic storytelling.

Road to Nowhere opens with a character taking a DVD that has “Road to Nowhere” written across it in black marker, dropping it into a laptop DVD-ROM tray and watching a film called “Road to Nowhere” with its own credits sequence of fictional names. Why do you foreground the act of watching a movie at the beginning of us watching your movie?

Because it is a movie within a movie, or if you like, it’s all the movie within the movie. Maybe everything we’re watching is what he puts into that laptop.

I see a director making a film based on a “real life event” and getting father and farther from the event itself because he was finding the story that he wanted to tell, which didn’t necessarily have anything to do with the event. He is searching for a story true to him, not true to the foggy facts of the mystery that inspired the script.

I think this is not untypical of making all movies. I think we start out with an idea and the movie, certainly this one, took over and it let us know what it wanted to be. It was a very interesting process. It was a process for me of letting go, of giving up on some of my concepts of being a control freak.

You’ve know Steve Gaydos, who wrote the screenplay, for years. He worked on Cockfighter almost 40 years ago and wrote the scripts to a number of your films. Did he write this original script specifically for you?

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Posted in: by Sean Axmaker, Contributors, Interviews, Lynn Shelton

Lynn Shelton Goes Way Back

Fandor co-founder Jonathan Marlow and director Lynn Shelton are in attendance at Northwest Film Forum’s Local Sightings Film Festival on Saturday, September 26 to present a 35mm screenings of Shelton’s debut feature, We Go Way Back, the same day it makes its streaming debut on Fandor. It’s a preview of the tenth anniversary theatrical release that’ll occur early in 2016, presented by Fandor and Factory 25. – Ed.

Lynn Shelton made her debut feature, We Go Way Back, after a decade of honing her skills. With a master’s degree in photography and years of experience as a stage actress, the Seattle-based artist taught herself filmmaking by making experimental films and documentaries and editing the features of other local filmmakers. She credits Claire Denis with inspiring her, at the age of thirty-seven, to have the faith to follow her muse and make a feature film. With financing from a Seattle non-profit production company, she made We Go Way Back on a tiny budget and with a cast and crew of professionals from her Seattle home. It won the Jury Prize at Slamdance in 2006 and launched a career that, to date, has remained defiantly independent. Her budgets have since gotten bigger and her casts more famous (Emily Blunt and Rosemary DeWitt in Your Sister’s Sister, Keira Knightley and Chloë Grace Moretz in Laggies) yet she has remained not only independent but local, shooting in Seattle with area crews. At least for her features. Between movies she, like many fellow indie filmmakers, directs episodes of TV shows, from Mad Men to The Mindy Project andFresh Off the Boat.

We Go Way Back is the story of a young actress in her twenties (Amber Hubert) who is in a kind of emotional stupor as she struggles to make her way as a professional actress at the expense of her own sense of self. But Shelton tosses in a high concept twist: her thirteen-year-old self, present in letters full of confidence and creativity and ambition that she wrote to her future self, arrives in the flesh. What could be a Lynch-ian bend in time and space and identity, however, is played with naturalistic calm. She’s not here to judge, only to heal and center her emotionally fractured older self.

I first interviewed Shelton in 2008, soon after her second feature, My Effortless Brilliance, premiered at SXSW. I had just seen We Go Way Back and was excited to discuss it with her. We’ve talked many times since but this is the only time we really delved into her first film.

Sean Axmaker: You came out of theater, and you had edited some features before you directed We Go Way Back, including Hedda Gabler. In We Go Way Back, the main character, Kate (Amber Hubert), is cast in the lead of ‘Hedda Gabler’ and it’s a production that is going right off the rails. Is there anything autobiographical in that, or is this just your nightmare of the worst possible theater experience that you could think of?

Lynn Shelton: [Laughs.] The director is an amalgamation of many acting teachers and directors that I’ve encountered. I started acting when I was about eleven and kept on acting through my twenties and it was like an addiction. I was always in a show, so I encountered lots and lots of different personalities through the years. None of them were quite as misguided as poor Bob’s character but there is also some practicality to it. I needed a role in western classic theater that might be recognizable to a certain set so that it would be a big deal—because this is her first big role, so she needs to be offered this great part, and I needed to write the script in five weeks and I knew that play really, really well. I knew the lines by heart, so it was expedient. But there are a lot of interesting challenges to playing Hedda anyway. This is obviously very condensed and exaggerated but the kernel of the story is totally autobiographical.

Continue reading at Keyframe

Posted in: Directors, Interviews, Lynn Shelton

Interview: Lynn Shelton on “My Effortless Brilliance”

[I interviewed Lynn Shelton in Seattle on May 17, 2008, to talk about her then new film, My Effortless Brilliance, and her debut feature, We Go Way Back. This interview was originally published on GreenCine on May 24, 2008. Since this interview, Shelton made Humpday, which was chosen to play in the exclusive competition at Sundance 2009 and was quickly scooped up as the festival’s first film sale, and won the Acura Someone to Watch Award for My Effortless Brilliance at the 2009 Spirit Awards. I revisited the interview for Parallax View in 2009.].

Lynn Shelton
Lynn Shelton

Lynn Shelton is part of a hardy breed: the regional filmmaker who creates feature films within a community far outside the L.A.-centered base. That means casts, crews, locations, post-production and even financing is all locally based. Her debut feature, We Go Way Back, made after a decade of honing her skills on experimental films and documentaries and editing the features of other local filmmakers, won the Jury Prize at Slamdance in 2006. Her second film, My Effortless Brilliance premiered at SXSW in 2008 and gets it hometown premiere during the opening weekend of the Seattle International Film Festival.

Both of these films are small, intimate, character-based pictures. We Go Way Back, the story of a young actress in a kind of emotional stupor as she struggles to make her way as an actress at the expense of her own sense of self, tosses in a high concept twist – her 13-year-old self, present in letters written to her future self full of confidence and creativity and ambition, arrives in the flesh. What could be a Lynchian bend in time and space and identity, however, is played with naturalistic calm. She’s not here to judge, only to heal and center her emotionally fractured older self. My Effortless Brilliance shifts to male relationships, specifically the “break-up” of old friends and the desperation with which one man (played by Sean Nelson – singer, songwriter, former frontman for Harvey Danger and, in the interest of disclosure, my friend and colleague), a novelist struggling to repeat the success of his first book, attempts to reconnect. His motivations are less out of affection than ego – dude, he was dumped! The film’s reception was mixed, which may have as much to do with the seeming lack of narrative drive and plotting and its undeniable similarities to Old Joy as with the discomforting portrait of male relationships. Yet I found the texture of the relationships and the sly humor winning and was impressed with the performances, especially Nelson, who’s a natural in the role, subtly establishing the sense of ego and vulnerability and self-aggrandizement in the character with brave intimacy. Shelton’s observations of male relationships and the rhythms of old friends falling into old patterns are spot on, helped immensely, surely, by the collaboration of the cast, who played the scenes without a script, only an outline.

I met Lynn Shelton for breakfast at Mae’s on Phinney Ridge (a great little breakfast spot near both of us) and, starting out over cups of green tea (“I love it,” she said – our first connection made), she launched into the history of how she started making features and where My Effortless Brilliance came from.

We Go Way Back is the quintessential chick flick and My Effortless Brilliance really is the quintessential guy flick,” she began. “I’ve yet to meet a guy who does not like my new movie. And there are a lot of people who like it, but there are some who just can’t find a way into it. They just can’t relate to it, basically. And We Go Way Back is the exact opposite. Every woman has a very homogeneous sense of love for this movie. A lot of men love it too, but sometimes men are just like, ‘Whatever.’ It’s really, really interesting. So I like that dichotomy.”

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Posted in: Horror, Interviews

George Romero Surveys the Dead

[I conducted this phone interview with George Romero on October 5, 2005, in anticipation of the DVD release of Land of the Dead. It was originally published on GreenCine on October 18, 2005.]

36 years after shocking audiences with the unprecedented Night of the Living Dead and changing the face of American horror for good, and 20 years after his ambitious but budget-starved third installment Day of the Dead, George A. Romero returned to the genre with the fourth film in his epic series of society as we know it devoured by the hungry dead: Land of the Dead.

Though Night of the Living Dead and the sequel Dawn of the Dead are best know for pushing the boundaries of onscreen gore and reducing the body human into so much meat, gristle, and blood to be devoured by the hungry hordes, Night also connected with audiences when the horrors of Vietnam were first being seen on TV and Dawn evolved into a biting satire of consumer culture. In other hands, a zombie movie is just a zombie movie, but Land of the Dead, a horror film laced with rife with social commentary, political satire, and black humor, is not just a return to the genre he practically single-handedly created (or at least definitively redefined), but a return to form.

Romero’s commentary is pointed, to say the least. He sets the film in a literal gated community called Fiddler’s Green, a veritable feudal kingdom where class structure is strictly enforced and businessman warlord Kaufman (Dennis Hopper) rules. Brutal games and circuses are provided to distract the disenfranchised in the slums around the glowing glass tower where the rich and powerful live in luxury, and a militia keeps the poor contained as well as the city protected from the stenches. You can only take the metaphors so far, but loaded dialogue like “We don’t negotiate with terrorists” (bellowed by Kaufman when he’s extorted by a former thug that he’s just fired for daring to step up in class) keeps the satirical edge front and center. It may not be subtle, but how then how subtle can you be in a film that features scenes of mankind devouring itself?

In an all-too-brief phone interview, arranged in conjunction with the DVD release of Land of the Dead, we discussed his new film, the origins of his epic zombie series, and the marriage of horror and political commentary.

What’s different about the new “Director’s Cut” of Land of the Dead on DVD?

It’s not that remarkable, I’d have to see. I think the fans will be pleased because there are obviously a couple of gore effects that Greg [Nicotero] threw in there that I wouldn’t even have tried to get past the MPAA with an R. But mostly it’s the same film. I think that what’s the most fun about it are the extras. The guys from Shaun of the Dead came and shot a little film while they were on the set and Leguizamo made a little film of his own while he was on the set. I think that’s really the most fun, getting a glimpse behind the scenes. The intention of the film itself hasn’t changed. There are a couple of scenes that run a little longer, a couple of gore effects that we had to trim to get the R—the MPAA will never tell you to cut a scene, they’ll only say to cut some framage—and there are couple of scenes that we didn’t even try to put in the R because we knew they would never get through. But the intention of the film hasn’t changed. I was actually very happy. I keep saying I think I got away with murder. We defied the MPAA this time. The film was pretty much what I wanted it to be even in the theatrical release.

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Posted in: by Sean Axmaker, Contributors, Interviews

Interview: Linas Phillips, Nonthreatening Triple Threat

Linas Phillips is probably better known to fans of American indie cinema as an actor than as a filmmaker. A graduate of New York University’s Experimental Theatre Wing, he co-starred with Jay Duplass in Manson Family Vacation (2015) as the Charles Manson-obsessed character who drags his estranged brother on a tour of Mason murder sites. Phillips has supporting roles in Craig Johnson’s True Adolescents (2009, starring Mark Duplass) and his buddy Todd Rohal‘s Uncle Kent 2 (2015), and he appeared in the HBO shows Togetherness, working again with the Duplass brothers, and Eastbound and Down, with director David Gordon Green.

In 2006, after moving from the East Coast to Seattle, Phillips directed his first film, the non-fiction feature Walking to Werner. He became an active member of the Seattle independent scene, constantly developing projects and working with other local filmmakers trying to get their films made. “I originally came here because I wanted to change my life,” he explained. “I just checked out, I stopped everything I was doing in my life, like babysitting work and performing, and I decided I was going to learn to be a filmmaker. It was great to be in a whole new city while you are re-identifying yourself.”

Continue reading at Keyframe

Posted in: by Sean Axmaker, Contributors, Interviews

Interview: Megan Griffiths takes ‘The Night Stalker’ to Lifetime

Bellamy Young in ‘The Night Stalker’

The Night Stalker, the fourth feature by Seattle-based filmmaker Megan Griffiths, is skipping theaters almost entirely to premiere on the Lifetime Network and stream on Lifetime Movies, their online subscription service.

That wasn’t always the plan. The film was made as an independent feature with the intention of a theatrical release. “You like the idea of having it on a large screen,” says Griffiths, a Seattle-based filmmaker who grew up in Southern California during the reign of terror of Richard Ramirez. But increasingly audiences are turning to cable, and VOD and streaming services, for their new movies. Many independent films arrive on VOD day-and-date with their theatrical debut.

The Night Stalker made its world debut at the Seattle International Film Festival on June 4 and began a limited theatrical run in Southern California theaters a week later, but for the rest of the country it debuts at 9pm on Sunday, June 12 on the Lifetime Channel and then becomes the newest addition to Lifetime Movies.

Griffiths discusses the trade-off, including the benefits, of releasing her new film to Lifetime, a channel with a great track record for supporting women filmmakers, in the second part of my interview with Megan Griffiths (part one is here).

Sean Axmaker: Tell me about the brief theatrical release for The Night Stalker. Is it only on Southern California?

Megan Griffiths: Yes. It’s opening in Orange County, which is an area where Ramirez had a lot of impact, and there’s a legacy to that there where a lot of people are familiar with him and interested in his story and we figured it made sense to bring the story back there for this limited theatrical release. We always wanted to get some sort of theatrical run but it is getting trickier these days.

SA: You shot this as an independent feature and I assume you always had your eye on a theatrical release.

MG: It’s funny because I always say that there isn’t anybody who got into film to have their movies watched on a phone or an iPad. You like the idea of having it on a large screen where it’s so immersive and you’re in the dark and no one’s on their phones or checking their E-mails during the movie. That’s really the way you want people to watch, where they’re focused and into it, and as soon as you leave the theater all that goes out the window and people watch in this half-registered way. Ideal world scenario is that everybody is riveted, you have their undivided attention, and we’re naturally moving away from that, which is kind of sad. I’ve been going to a lot of screenings at SIFF and marveling at how full every screening has been and how much there is still an audience that at least comes out once a year to fill theaters and watch movies. It doesn’t happen very often. I’ve had those experiences at festivals but I’ve almost never had the experience of a full theater even on an opening weekend for a movie just because of the nature of all the different competition for people’s attention.

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Posted in: by Sean Axmaker, Contributors, Interviews

Megan Griffiths: A fascination with ‘The Night Stalker’

Lou Diamond Phillips is Richard Ramirez in ‘The Night Stalker’

Megan Griffiths debuts her fourth feature, The Night Stalker, at the Seattle International film Festival on Saturday, June 4. It’s the story of Richard Ramirez, who was branded The Night Stalker during his 14 month reign of terror in Los Angeles and San Francisco in 1984 and 1985, but it’s just as much about how his actions reverberated through the culture of Southern California.

“Everyone who I’ve encountered who lived in California at all in the eighties have these visceral memories of that summer,” recalls Griffiths. “I lived in Riverside and he never came to Riverside but it felt like he could.” The story made national headlines but he the effect on those living in Southern California was immediate and powerful “I didn’t remember seeing that explored and I was interested in that and wanted to explore it.”

Lou Diamond Phillips plays Ramirez at age 53, after spending 23 years on death row, and he looks eerily like the real-life Ramirez, and Bellamy Young (Scandal) is a lawyer named Kit, a fictional character created for the film who interviews Ramirez in the hopes of getting a confession to murder he was never prosecuted for. Ramirez demands a trade, that she spill her own secrets, and the film becomes as much if not more about her. Chelle Sherrill plays the young Kit and Benjamin Barrett is the 26-year-old Richard Ramirez.

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Posted in: by Sean Axmaker, Contributors, Interviews, Seattle Screens

Lost—and Found—Ark: ‘Raiders’ Revisited

Raiders! The Story of the Greatest Fan Film Ever Made

Their story is now legend. In 1982, twelve-year-old friends Chris Strompolos, Eric Zala, and Jayson Lamb started shooting a shot-for-shot remake of Raiders of the Lost Ark on a borrowed VHS camcorder in their small Mississippi town. Chris played Indiana Jones, Eric directed and played Belloq, and Jayson manned the camera, edited the footage, and brainstormed the special effects. They spent every summer vacation for seven years completing the film (every scene except one: the fight around the airplane with spinning propellers), by which time they had fallen out and weren’t even speaking to one another. Completed in 1989, it was practically forgotten until VHS copies started making their way to film buffs and movie collectors. Filmmaker Eli Roth brought a copy for an unannounced screening at the 2002 Butt-Numb-a-Thon and the underground legend exploded. In the years since, Chris and Eric traveled around the country for special screenings of their fan film.

Raiders! The Story of the Greatest Fan Film Ever Made, directed by Jeremy Coon and Tim Skousen and inspired by the book by Alan Eisenstock, will be the closest most people will get to seeing that astounding piece of DIY spectacle—the film was never meant to be seen outside of the friends who made it and what twelve-year-old thinks to get a waiver from the creators of the original film? It features clips from the film and outtakes from the production that show not only the spirit of the endeavor but the potentially life-threatening situations the boys put themselves through to do the shoot, as well as new interviews with the Chris, Eric, Jayson, their parents (God bless the mothers of these kids, who believed in their dreams, even if they worried about their methods), and other members of the cast and crew. And it’s built around the crazy impulse to finish the film decades later. Chris and Eric raised money in a Kickstarter campaign to get that last scene. It turned out to be just as dangerous an undertaking as the most reckless things they did as kids.

Continue reading at Keyframe