Showing posts with label indie films. Show all posts
Showing posts with label indie films. Show all posts

Sunday, February 11, 2024

Next time you hear, "America is a Republic, not a democracy."

I'm not writing full much of anything the past couple of months. Long Covid came back to bite me hard. April will be two years with it, for the second time (which led me to writing a book about it that's not doing too bad, Suffering "Long Covid"). It's not that I'm not writing anymore, just that it's been harder in not feeling well too often. 

I am also finishing up editing a film companion book for my WWI antiwar film wrapped in the music of Maurice Ravel: "Pvt. Ravel's Bolero" with over 80 international awards. You can see the film at that link above on that indie film site (or the YouTube trailer free). It's $5 to see the film and join, but the filmmaker you select gets half that fee and you can then see other indie films. 

If you stick around for monthly, it helps support indie films and the filmmaker you selected at sign up. For indie filmmakers it's a pretty cool setup. Otherwise we tend to get very little from streaming sites or their algorhythms tend to push only the bigger films. And there's a lot of great smaller films around people just don't get to see.

I hope to get back to more serious work soon. I've also been getting use to using AI. I've been testing out Chat AI for a while now, Bing AI Copilot and Bard, among others. It takes a little getting used to. Mostly I've used them as over glorified Google search functions. I've been posting discussions I've had with Copilot on here this past week because it gives people an idea about how to use them. They do have limitations. But that will fade quickly over time. And probably not that much time.

My best advice on using AI for now? Vet and verify what they say/respond with. Do check their URL references as they can be completely wrong at times. That being said, here's a new one. I just had a long drawn out argument with a conservative, Trump supporter online about democracy". It's a stupid argument that's been used for decades to argue against the status quo and delved into the nutcase right wingnut mindset that led to a Trump insurrection. Let's not do that again, or elect a career criminal, autocrat/wannabe dictator, narcissistic baby to office again.

So, I asked Bing AI Copilot: 

There is a certain part of Americans who have long used the concept that America is a Republic, not a democracy as a whistlecall to much that is supported by white supremacists, MAGA conservatives, and antigovernment types. How would you counter their argument to dispel their mindset and lame argument?

Copilot:

This is a complex and controversial topic that has been debated for a long time. There is no definitive answer, but here are some possible ways to counter their argument:

You can point out that the United States is both a republic and a democracy, and that these terms are not mutually exclusive.

A republic is a form of government where the people elect representatives to make laws and decisions on their behalf, while a democracy is a system where the people have a direct or indirect say in how they are governed. The United States has elements of both, such as the popular vote, the Electoral College, the Congress, and the Supreme Court. Therefore, saying that America is a republic and not a democracy is a false dichotomy12.

You can also challenge the assumption that a pure democracy is necessarily bad or leads to mob rule, tyranny, socialism, or communism. These are scare tactics that ignore the diversity and complexity of democratic practices and values around the world. Democracy is not a fixed or static concept, but a dynamic and evolving one that can accommodate different contexts and preferences. Democracy can also foster liberty, peace, and prosperity, as well as civic engagement, accountability, and human rights.

You can also appeal to the ideals and principles of the American founding and constitution, which were influenced by both republican and democratic thinkers and traditions. The founders did not reject democracy, but rather sought to balance it with checks and balances, federalism, separation of powers, and the rule of law. They also recognized that democracy is not perfect, but rather a work in progress that requires constant vigilance, participation, and improvement. They also left room for amendments and reforms to adapt to changing circumstances and needs.

ME:

What about when they start pointing things out in the federalist papers to support their contentions that America is not a democracy?

Copilot



The Federalist Papers are a collection of 85 essays written by Alexander Hamilton, James Madison, and John Jay to promote the ratification of the Constitution of the United States1. They are not official documents of the government, but rather personal opinions and arguments of the authors. They also do not represent a unified or consistent view, as the authors sometimes disagreed with each other on various issues.

Some of the essays in the Federalist Papers do express skepticism or criticism of pure or direct democracy, such as Federalist No. 10 by Madison or Federalist No. 63 by Hamilton. However, they do not deny or reject the value or necessity of democratic principles and practices in the American system. Rather, they advocate for a mixed or balanced form of government that combines republican and democratic elements, such as representation, federalism, separation of powers, checks and balances, and the rule of law.

Therefore, when they point out things in the Federalist Papers to support their contentions that America is not a democracy, you can counter their argument by showing that the Federalist Papers are not authoritative or conclusive sources of the American political identity or philosophy. You can also point out that the Federalist Papers acknowledge and appreciate the role and importance of democracy in the American experiment, and that they propose a complex and nuanced model of government that incorporates both republican and democratic features.

There are various groups that oppose or undermine democracy in America, often for extremist, violent, or hateful purposes. Some of these groups are:

Right-wing armed groups, such as white supremacist, anti-immigrant, anti-government, pro-gun, and survivalist militias, who envision a coming civil war or a collapse of the state. Some of these groups, such as the accelerationists and the Boogaloo Bois, seek to hasten or provoke such a scenario.

Hate groups, such as neo-Nazis, Ku Klux Klan, anti-Muslim, anti-LGBTQ, and anti-Semitic organizations, who promote bigotry, intolerance, and violence against marginalized or minority communities. According to the Southern Poverty Law Center, there were about 1,225 active hate and anti-government groups in the US in 2020.

Anti-democratic politicians and media figures, who spread misinformation, conspiracy theories, and lies about the legitimacy of the electoral process, the integrity of the institutions, and the rights of the people. These actors seek to undermine public trust, incite violence, and subvert the will of the majority. Examples include former president Donald Trump, who falsely claimed that the 2020 election was stolen from him, and some of his allies and supporters, who attempted to overturn the results or storm the Capitol.

These groups pose a serious threat to the health and stability of American democracy, and they require vigilance, resistance, and counteraction from the public and the authorities.

ME: Do they have their own flag? I know for a while the right wingnut crowd acquired the American flag and the word "Patriotism". If you flew a flag, people avoided you thinking you are a right wing crazy. I'm a veteran. I used to fly an American flag at home, but I stopped for a while because I didn't support those people or POTUS45, Donald Trump. Or when you used the word, "Patriotism", people assumed you were a right wing, gun nut. I think we're on the road to taking both those things back. 

Copilot:

Some of the groups that oppose democracy in America may have their own flags or symbols that they use to identify themselves or their causes. For example:

Right-wing armed groups may use flags that feature guns, skulls, snakes, or slogans such as “Don’t tread on me” or “Come and take it”. Some of them may also display the Confederate flag, which is seen by many as a symbol of racism and slavery1.

Hate groups may use flags or symbols that are associated with Nazi Germany, such as the swastika, the iron cross, or the SS runes. They may also use flags or symbols that represent white supremacy, such as the Celtic cross, the Odin’s rune, or the black sun2.

Anti-democratic politicians and media figures may use flags or symbols that are related to former president Donald Trump, such as the MAGA hat, the Trump 2020 flag, or the QAnon flag. They may also use flags or symbols that are related to conspiracy theories, such as the QAnon logo, the Pepe the Frog meme, or the Punisher skull34.

These flags or symbols are not endorsed or recognized by the official government or the majority of the American people. They are often used to provoke, intimidate, or incite violence against those who disagree with them. They are also widely condemned and rejected by many civil rights groups, religious organizations, and political parties.

ME: How would you summarize all this in a closing comment to someone to give them hope and support their fighting against ignorance and this kind of extremist right wing divisiveness?

Copilot:

America is a great nation that was founded on the principles of republicanism and democracy. These principles are not incompatible or contradictory, but rather complementary and mutually reinforcing. They allow the people to have a voice and a choice in how they are governed, while also protecting their rights and liberties from abuse and tyranny. Democracy is not a threat or a weakness, but a strength and a virtue. It is not a fixed or static concept, but a dynamic and evolving one that can adapt to changing circumstances and needs. Democracy is not perfect, but it is worth defending and improving.

However, there are some groups that oppose or undermine democracy in America, often for extremist, violent, or hateful purposes. They use false or misleading arguments, symbols, or flags to justify their actions or beliefs. They spread misinformation, conspiracy theories, and lies to erode public trust and confidence. They incite or commit violence to intimidate or silence those who disagree with them. They are not representative or respectful of the diversity and complexity of the American people and their values.

We should not let these groups divide us or deter us from our democratic ideals and aspirations. We should not let them take away our hope or our courage to fight for what is right and just. We should not let them define or dictate who we are or what we stand for. We are the people of the United States of America, they are a minority, and we are stronger together than apart. Even though they praise division and fear. We are the defenders and the guardians of our republic and our democracy, and we will not let them fall.

There you have it...
Cheers! Sláinte!

Monday, December 16, 2019

Slash Night shorts, December 2019

As I write this on Sunday, December 15th, 2019, last night was our third ever, monthly Bremerton, Washington "Slash Night" shorts at the Historic Roxy Theater. With the exception of this month, it is being held on the first Saturday night of each month.

FYI, for January 2020 Slash Night it will be held on January 11th due to conflicting events at the theater.

We really have to thank the crew at the Roxy for being so supportive and awesome. This is an event for local indie filmmakers and fans of horror and well, local and indie filmmakers. We had some interesting attendees in the audience.

Kelly Hughes at the front door lobby and vendor table area.
Slash Nights is an inclusive and pleasantly positive arts event conceived of and executed monthly by local indie horror director and event imagineer, Kelly Hughes. This is in support of our annual Gorst Underground Film Festival coming up next year in September for our third annual festival. It is also very much in support of our local and indie filmmakers and all fans of indie horror.

Here are some video links from the LgN Production Youtube channel for the Q&A's Kelly did.

First up is the introduction and welcome Kelly gave at the beginning of the night's events. This was just after the Bobby4Bobby performance that opened the event. Then came the first block of three of the films we showed (see the list below).

Q&As

Of the Q&As, first up was mine, JZ Murdock, regarding the five minute recut Kelly did of my film, "Gumdrop, a short horror", which is about fifty minutes at this point in post-production.

Next up after the second block was William Stancik and his Laslo Films crew.

Finally, it was Travis Darkow and his crew.

As usual, we have a vendor table in the lobby. The event begins at 9PM giving people time to mill about, meet one another and meet the filmmakers, and for them to network with other filmmakers.

Roxy screen, from filmmaker Travis Darkow
The MCs

Kelly has had an MC at each event. First up was drag MC Helen Bedd. Last month was drag MC Poppie (seeing a theme here?). This month he is taking over as host and allowing performers to focus on performing. We had the exquisitely entertaining, Bobby 4 Bobby, composed of Bobby Lee, and Bobby Rae, local Kitsap County drag performers. They pulled out all the stops last night with a Christmas werewolf themed performance that came off in a rather amazing fashion to the celebratory screams and applause of the audience.

Bobby Rae and Bobby Lee on left
Filmmakers

Among filmmaker attendees and their films were long-time favorites of mine (well, three-month-long anyway... which is how long we've been doing this event), the Laslo Films crew (whom I've mentioned in a previous blog on this event). They are always a real crowd-pleaser with their quirky, bizarre films. More on them in a moment. 

Darkow crew on stage with Kelly Hughes
The Darkow crew with their film "Deadcember" was also a real crowd-pleaser. As was Jackson Cooperman's "Happy Birthday", a grindhouse kind of faux trailer that was pretty funny. But the Darkow film I was warned, that you'll never look at another Christmas elf the same again. That was so right. I won't go into detail as one really needs to see it, to understand.

The audience lost it laughing and at times a bit reticently out of anticipation and perhaps, a pleasant form of anxiety. This was a great way to end an evening of unusual and entertaining films.

Travis Darkow with..."The Elf"! You'll never see the Elf the same again.
The Laslo Films crew with filmmaker William Stancik with their surreal and hilarious film, "Dead Hooker Hotel". Both films brought waves of joy and laughter (and at times, appropriate groans) from our audience in the same vein as their last two submissions. Like last month's, "Snow and Oranges" and our first month's event with their "Amphetamine Trucker's Lament 2". I do love their films!

The MC for the show was Kelly Hughes, but the live entertainment and raffle callers (yes, with your $9 ticket you get a free raffle ticket for our several raffles over the evening, with extra raffle tickets a buck)... was Bobby4Bobby's, Bobby Lee and Bobby Rae. Full disclosure, I'm "Bobby Lee's" dad. I may, therefore, be a bit compromised in my judgment, but on the other hand, I'm a pretty critical judge and I wouldn't lie. 

Fab.Dragestry "Ray Gun" on their vendor table
Bobby4Bobby also had available some very interesting sellables.

Bobby4Bobby's FabDragestry theater lobby vendor table
Bobby4Bobby rehearsal while crew (friends Andy and Z) work on stage
Anyway, it wasn't just me, but the entire audience loved their performance. Especially when it kicked out of the cute segment and into the dark in an extremely tasteful and rather beautiful exhibition of the horror genre and the wolf-in-the-woods story.

The Films

We had three blocks of short films and between each block was a Q&A with one of the filmmakers in that previous block. I was up for the first block. Then the Lazlo Films guys and finally the Darkows.

BLOCK 1
Happy Birthday - Jackson Cooperman
Perturbado - Fernando A. Fisher
Gumdrop (plus Q&A w/director JZ Murdock)

BLOCK 2
Good/Evil - Kelly Hughes
The Springs County Psycho - Christopher Stem
Dead Hooker Hotel (plus Q&A w/director William Stancik)

BLOCK 3
That Very Special Night - Mark Pollock
Green State - Kelly Hughes
Pencil Me In - Scott Ennis
Deadcember (plus Q&A w/director Travis Darkow)

If you noticed Kelly had a couple of films in this, no, he's not abusing his power. There were some technical issues including one of the films dropping out last minute so he simply made up for it with some pretty entertaining replacements.

My film as I said, was "Gumdrop". I'm currently in post-production on "Gumdrop, a short horror". A fifty-minute short horror film based on a true truly horrible serial murderer. Last month the trailer for my film was shown. What happened was, and in the consideration of filmmaker collaboration, Kelly offered and I jumped at the chance, for him to recut my film into a very short film. He got it down to five minutes with music by Postvorta, an Italian band. 

Part of the reason for this event is to lend a place for local filmmakers a place to network and meet and share and view on another's works. And for fans to also have access to this as some very interesting things tend to happen at these events. 

In that vein I allowed and Kelly took on the task of cutting my film through his experience and sensibilities. And it was interesting to see on the big screen. For any filmmaker to allow that can be terrifying. But if one takes the risk you get a chance pre-release to see a different version of your film. Considering I'm still in post-production, I still have the opportunity to tweak my film and hopefully add something to it I may have missed. Or to utilize a form I hadn't considered, known about, or realized I could do. 

Filmmaking, is collaboration. It benefits us as filmmakers to utilize that in every way possible, whenever the opportunity arises. In that same vein, Kelly has taken the chance and opportunity for a filmmaker in South Carolina to show a screenplay of his, which was to wrap this past weekend. 

Slash Night 1, was admittedly a kind of disaster. But we pulled it off and everyone had a great time. Slash Night 2 was last month and was also fun, and everyone enjoyed themselves and was much better. Slash Night 3 this past weekend was bordering on amazing and people are definitely looking forward with great interest to next month's event.

IF you have a local event like this and are into film...go. Support your local filmmakers, and yourself. 

We don't know where this is going. But we do know, we can all now see...this is definitely going SOMEWHERE!

Monday, January 7, 2019

Notes on, Night of the Living Dead (1968)

Recently I watched a color version of Night of the Living Dead (1968). Interesting. But I think I like the b/w version better.

It's funny, I'm watching this now as I write this and thinking tactically. And for the first time from a screenwriter and filmmaker's POV. When I saw this originally, at the drive-in, with my family as a kid, I was 13. The year the film came out in 1969.

It scared the hell out of me. And my family. We kids loved the scares though. But it REALLY scared the hell out of my old school, old country style Slovak Catholic mother. Another film didn't scare me that much until some years later. It was called, The Exorcist. I saw that at the Cinerama Theatre in Seattle. Amazing event night I believe I've detailed elsewhere.

Later in the 1970s, I mentioned it to her once in the living room and she froze and said (as we'd all always known) "You do not say the name of that film in my house!" We had to laugh and I said, "Mom, it was just a movie." "I know, I just don't ever want to think of that movie again."

Pretty effective movie.

I think it was the outer space connection as we were in the middle of NASA stuff daily back then and I was loving it. I was really into NASA. I had a scrapbook I collected of articles about NASA efforts I have to this day.

The thought that a virus that could come down, from outer space, from the unknown, was a palpable consideration/fear. Also if you listen to the intense parts, the sounds, music if you like, perfectly backs up the fears. Something John Carpenter picks up on years later in his films.


Here are some points I noticed while I rewatched this film:
  • After the monster of previous decades in film, we see a new kind of fear. Out of the mundane comes fear. 
  • These were not your parent's zombies. No voodoo, no curses, no surreality. Science. Reality. Pure and utter fear is involved. With no solutions. 
  • The music perfectly underscores the action as I have said.
  • At first, no one would pick up the film for destruction. The filmmakers had to go to theaters to hawk their product and it ended up in the lowest of theatres. Those associatied with exploitation films if not porn, and children's showings. So some children were dropped off by parents, thinking they had an afternoon free on Saturday, and the children were exposed to something they had no idea how to deal with or handle. As critic Roger Ebert said at the time, he saw children leaving after the film crying, having no idea what they had just seen or how to handle it. 
  • There was a reflection in the government characters in being unable to explain and offer solutions to the situation that aided in the overall terror of the situation. Especially in 1969 when we were still so ignorant and yet were aware of how we know so little but are trying to stumble our way through a new and ever fear invoking reality. Along with the nuclear threats.
  • There is simplicity in its terror.
  • The low key realism of the TV newscasts aided the realism. Many of the low budget-ness of the film supports this.
  • It's interesting to note, no one reacts to classically trained actor/protagonist Dwayne Jones (who himself didn't like challenging racial norms and being violent), in his being a black man. His being accepted as an equal and excelling over others, then the ending he receives once the audience accepts him is Brilliant. Progressive. He actually talks back to a white man, slaps a very white blond woman, and then SHOOTS a white man! And the audience cheers him for this! This procedes Shaft and all the black exploitation films about to hit the scene. 
  • This was only a year past Sidney Poitier in Guess Who's Coming to Dinner, about interracial marriage. A film I loved at the time because it questioned the establishment. 
  • It is a year after Capt. Kirk kisses his black Coms officer Uhuru. Which disturbed many and helped break the racial barrier a little bit more. Kudos to Gene Roddenberry on that one as well as so much more. The black/white, white/black characters in another episode of Star Trek being another example. 
  • By never addressing the black issues, it gave the film a lasting, before its time, endurance. 
  • That all supported the realism in whatever your cultural or social differences were in a Zombie Apocalypse, in that nothing matters but survival. The ZA is a meritocracy. If it's not as we saw, you die.
  • The character of Dwayne Jones' part was originally a white character and Romero wanted Dwayne to play it as originally portrayed, which in the 60s was a questionable thing to do. Dwayne was fine with that until he began to wonder if he was being exploited. He eventually came to realize, no one was thinking that way at all. 
  • Blacks at the time were allowed to be smart but not aggressive. Sidney Poitier in 1967 as a cop, slapping a rich white southern man, who had just slapped him, was stunning to audiences. Then a year or so later, here comes Dwayne Jones... smart, AND aggressive. 
  • The film punched many societal buttons at that time. 
  • The daughter killing the mother was a big one. 
  • The outer space connection at that time in 1969 was a big issue that sold this and enhanced the fears.
  • The sound effects/music during some of the serious death scenes was highly effective. the music was from public domain films they found so, free. 
  • Having a woman appear as an entirely nude zombie (from behind) was genius. As was a bug eating zombie who was the film's hair stylist. 
  • In 1969 having a black man as a lead, and an apparently educated one, was disturbing and somewhat unique. Certainly in the horror genre. His slapping a white woman was more intense than normal. His handling a distraught white man (see this as bigoted only by proxy, very clever), was more intense than otherwise. His being the hero was unusual and in the end, therefore, once you accept him as hero, his death became devastating. The hero died. The hero was a black man. The audience felt bad for a black hero dying. It didn't just push buttons, even for nonracists because of the culture at the time, it slammed the button home. 
  • Not only that, but the business, as was usual, the near mechanization, the business as usual attitude in the film, the blend of still shots, voiceovers and film footage, of dispatching and burning of people, and of the black protagonist\hero is then especially disturbing. If you did have racist elements in your personality at that point, then it's really very disturbing. In part because you don't realize it's happening because of all the rest that was going on under the surface that you didn't recognize until it was over, if even then. 
  • Did you know there is a connection between Fred Rogers of Mr. Roger's Neighborhood" fame, and Night of the Living Dead? There most certainly is. George Romero and friends made some films first for Fred Rogers and then decided (some being out of work at that time) that they could make a film. Something that just wasn't done at that time. 
  • The term "zombie" doesn't occur in the film. Gouls, was the term bandied about a lot. 
  • These gouls used tools readily. You could see them thinking, but on a very baseline. 
  • The gouls were afraid of light and fire.
  • They ate bugs. Harkening the world of Dracula and his guy...Renfield.
  • The Romero crew rented an abandoned farmhouse about to be torn down and pretty much lived in it during the shooting with no running utilities. 
  • According to Romero, they had to go to the nearby stream to wash off and drag water back in buckets for the toilet to work. 
  • The reason I think that color doesn't help the film, is that the production values and acting were all rough and it worked for the overall attitude and motif. 
  • Many of the famous lines from the interviews in the film were all ad-libbed. Bill Cardille was a local Pittsburg, PA Horror show host who did the interviews in the film. On his weekly show, he would promote what he was doing on the film set and that there was a horror film being filmed locally. "Pittsburghers Make Chiller for Drive-Ins". Many people showed up with chairs to watch the onset antics, especially the burning of the truck scene.
  • They got a real TV helicopter and pilot and real police and ambulance to help out in scenes. They couldn't believe how helpful people and local government were to aide their efforts. To locals, it was a big movie production. Even though it was a below low budget production. Romero said the ambulance was the biggest production prop he had ever been near on a set.
  • Gouls were played by friends, family, local townsfolk and clients of Romero's new production company the Latent Image.
  • The film ends in a neutral fashion, with titles rolling and the protagonist, the good, black man's corpse being drug to be burned. Which is appropriate in this case to burn the dead, but he should never have been killed. Especially after all he'd been through. Not to mention the burning of a black man is historically a horrifying consideration, especially to the black community. 
Overall, this is a film that at first was panned and derided by critics. Then went to Europe and worldwide, in part because of a screw up in the titles and copyright so that it was worldwide free to show. Critics loved it in Europe. So when it returned to America, critics changed their minds. It was deemed a genre, industry-altering film then.

I got Tom to sign one of these
I think of it with fond memories. In part because of succeeding films in the franchise I loved and the addition in the next film of Tom Savini and his work in bringing even more reality to the franchise in using Gray's Anatomy book and making F/X accurate.
Tom Savini Zombcon II 2011 SeaTac Hilton
I got to meet my f/x hero Savini some years ago after following his career since Dawn of the Dead when he joined the franchise and a documentary (Scream Greats Vol. 1 - Tom Savini) I saw years ago about him. He also directed the remake of Night of the Living Dead, in 1990.

Russell Streiner in his civvies off camera behind Romero
George Romero died in 2017. I got to be in the room with him at the first Seattle Zombcon in 2011. Nice guy, he was looking old even then. He had a great sense of humor and was a very creative and nice guy. At 27, he helped start the indie film industry in this country. He gave a genre once steeped in silliness and magic and brought it into reality by way of using science fiction.

George Romero
We will miss him.
George Romero at Seattle's 2010 Zombcon 1 with Cal Miller from my first publisher at Zilyon
But he left us a catalog of some fun films that led to many others and offered the world a twist on a genre that we will never forget.