Name: Pastor Deb Grant
E-mail: revdeb@compuserve.com
Dear Josh:
After watching "Deja Vu" the Xena episode which was directed by Renee
O'Connor, I realized I don't know squat about how to judge the work
of a director versus the work of an actor or a film editor. Got any
tips for movie watching for someone like me who would like to know how
to critique a film a little more intelligently before I inevitably reveal
my stupidity?
Thanks,
Deb |
Dear Deb:
That's an interesting question without a readily available answer.
It would be a lot more difficult to judge such a thing on a TV show
since there is a format in place and the same crew working on all the
episodes. But for instance, on both Herc and Xena a director named T.J
Scott has directed many episodes and they are pretty apparent in that
T.J. likes cock-eyed angles and tilting the camera back and forth. Sam
Raimi is known for his moving P.O.V. shots. Jim Jarmusch is known for
his lack of cutting and flat tone. Robert Altman is known for having
all the actors talk at the same time. As I said in my recent essay,
"An Ode to William Wyler," what I admire so much about Wyler is that
the connection between his films is that they are all intelligent, well-done,
good movies, and that's pretty apparent, too. The answer comes down
to, how much did you like (or, conversely, hate) the movie or episode?
It's because the director was holding all the elements -- the acting,
the cinematography, the editing -- in place or not.
Josh |
Name: Hung So Lo
E-mail: Hung@hotmail.com
Dear Josh:
Josh, I have a question for you: why not get into directing pornos?
With todays adult entairtainment budgets, the skys the limit. You could
use your expertise to set up some interesting angles and money shots.
You will make a profit. You can than use this profit for your legit
projects. No more povery, no more worrying about raising dough. it sounds
like your work on Misquito would make you a natural for such projects.
So what do you say?
Hung |
Dear Hung:
I bet that's not your real name. I don't watch pornography, why would
I want to make it? If my point was simply making money I'd go into real
estate.
Josh |
Name: Drew
E-mail: SuperDrew123@webtv.com
Dear Josh:
Hi. I was wondering if you could give me some infrmation on the Canon
Scoopic and Bell & Howell 16mm cameras. Are these good types of cameras.
Thanks. |
Dear Drew:
Bell & Howells are cheap, though durable cameras. I think the Canon
Scoopic is a terrific camera. I shot two films with it -- including
quite a lot of single-frame -- and everything looked great. Although
you can't change lenses, the 10 to 1 zoom is a darn good lens. It sort
of like a Super-8 camera on stearoids.
Josh |
Name: Kristy Bodin
E-mail: kristybodin@hotmail.com
Dear Josh:
Is Hercules and Xena going off the air? |
Dear Kristy:
Definitely not Xena. I don't know what the deal is with Hercules.
Josh |
Name: Patty Whitworth
E-mail: pattyjo@netdoor.com
Dear Josh:
No question, just compliments. I recently bought Running Time (thanks
for the autograph), and have decided to make watching it mandatory for
admittance into my circle of friends. Thanks for making something worth
watching and for writing stories worth reading. Both are difficult to
find these days.
-patty |
Dear Patty:
Thanks, I do try.
Josh |
Name: Joe Ball
E-mail: surgebot@hotmail.com
Dear Josh:
Josh-- Is it alright if my newsletter (The Circuit, portland, oregon)
runs an ad for your film RUNNING TIME? We think it is a great film and
want it to be seen. Bruce Campbell sent me here. Can you help? |
Dear Joe:
You can run an ad, but I'm not selling it anymore on the internet.
Anchor Bay Ent. will be distributing it on video and DVD and it will
be available at a fine store near you.
Josh |
Name: Peter Moore
E-mail: pvmoore@syr.edu
Dear Josh:
Hello, I'm a film student at SU and as I near my senior year, I realize
the opportunities to make films may be few in far between from here
on out. The fact that you can go several years between features is inspiring.
What is that down time like? Are you in a perpetual state of pre-production?
Thanks for your time, and don't forget to autograph my copy of your
latest meisterwerk!
-Pete
ps- Your production notes for Evil Dead were bitchin and ring quite
familiar. :) |
Dear Pete:
The downtime between "Running Time" and my new film, "If I Had a Hammer,"
wasn't bad because I've been doing Xena. The downtime between "Lunatics"
and "RT" was horrifying. I left L.A. in 1992, went back to Michigan
and worked in a furniture store for a year. The day that I was laid-off
from the furniture store I got hired to direct the re-enactments on
the first season of "Real Stories of the Highway Patrol," which led
directly into Hercules. The downtime between "TSNKE" and "Lunatics"
was the worst period of my life. As the Beatles said, "It's getting
better all the time." And no, I'm not in state of pre-production all
the time. I am writing all the time, though. I only shoot one out of
seven scripts that I write.
Josh |
Name: Drew
E-mail: SuperDrew123@webtv.com
Dear Josh:
I just wanted to tell you that my friend and I rented a really awful
movie called "The Dead Next Door", and saw that your associate Scott
Spiegel was in the cast. Have you ever seen this movie before? Also,
is your new film in 35mm. Thanks. |
Dear Drew:
Not only was Scott in it, but I was in it, too. None of mine or Scott's
footage turned out and Scott went back for re-shoots, but I did not.
Yes I did see it and yes, it's a piece of crap. Also, yes, I am shooting
35mm.
Josh |
Name: Campbell Cooley
E-mail: shihtzuman@hotmail.com
Dear Josh:
'Euryalis' here from IN SICKNESS & IN HELL. Wanted to know what your
next major film project was and how you're doing in general? Hope you're
well.
Kindest regards,
Campbell Cooley a.k.a 'Junior Evil' |
Dear Campbell:
Odd, I was thinking about that episode today, specifically when Gaby
drools in your face. I like when she goes to whistle later on and spits
all over her hand. As for me, I begin shooting my next film, "If I Had
a Hammer," on Aug. 2. As to it being "major," that remains to be seen.
Good hearing from you, dude.
Josh |
Name: Christine
E-mail: bcimiar@aol.com
Hey Josh,
I just saw Thou Shalt Not Kill...Except last night. And I just wanted
to tell you that it was really cool....i'm very proud to say that I
have now seen Running Time, Lunatics, and TSNKE, and I can't wait for
your latest projects :) No questions, sorry.
- Christine |
Dear Christine:
I can live with only praise and no questions.
Josh |
Name: Bryant Duncan
E-mail: grecoduncan@yahoo.com
Dear Josh:
Just perusing your list and had a question. You have Monty Python's
Meaning of Life and Life of Brian, but what about the Holy Grail? I'm
not a huge Python fan, yet I always find time to watch the Holy Grail.
Just curious. I also really enjoyed your "making of" Running Time letter.
Any chance I can order a copy? And lastly, Bruce Campbell will be in
my town of Austin at the Alamo Drafthouse sometime this June '99, anything
you want me to pass on to him? |
Dear Bryant:
I like "The Holy Grail," and I also like "And Now For Something Completely
Different," but not as much as the two films listed. My favorite stuff
is in "Meaning of Life," like Mr. Creosote and "Every Sperm is Sacred."
"Life of Brian" holds together as a movie the best of the bunch. I really,
really love when Jesus is giving the sermon on the mount and we zoom
way back to the edge of the crowd where no one can here him. "The Greek
shall inherit the Earth?" "Blessed are the cheesemakers?" And someone
else adds, "I'm sure he means the makers of all dairy products."
As for ordering a copy of "Running Time," there are ten left. Just
enter your credit card number and push "Order Now." But I'd say these
last ten will only last another week or two at best. And as for Bruce
Campbell, tell him to pay me the money he owes me or I'll be compelled
to beat him up.
Josh |
Name: Tony
E-mail: Chakram71201@sprynet.com
Hey Josh.
I was wondering, does the time constraints involved in directing episodic
television(Xena) make it more difficult than directing a film. I know
you only have like seven or eight days to shoot an episode of Xena so
you have get on set, shoot the scene and move on. For films you have
more time and may be able to go into more detail and take longet to
get a scene just right(or so it would seem). So does the quicker pace
make it more difficult in any way, or is the same and you just deal
with what you got.
Thanks.
Tony |
Dear Tony:
I've never worked on any other kind of schedule. I'm about to shoot
my new film in 18 days, which puts me at just about the same rate as
a TV show, which is 6-7 script pages a day. A friend of mine is working
on "Flintstones 2" right now and it's a 68-day shoot. If it's a 120-page
script, then they aren't covering 2 pages a day. Is what we do on Xena,
or any 1-hour TV show, more difficult? By a fucking mile. If you don't
have your shit totally wired you cannot make it through 7 pages a day,
particularly if, as you always do on Xena, there are fight scenes and
other action and effects scenes in those 7 pages. I could very easily
go in and get 2 pages a day on "The Flintstones," I doubt that Brian
Levant (the director) could come in and do well on Xena, or even get
through a day.
Josh |
Name: jamie syme
E-mail: jamie_syme@hotmail.com
Dear Josh:
Josh... I have approached Bruce about doing a surreal psycho-drama
called 'Preacher,' he seems interested, I am currently trying to get
funding, but we'll need an accomplished director.
Could you please contact Bruce, to talk it over, then e-mail me if
you are interested in finding out some more.
Thank you for your time! |
Dear Jamie:
Thank you very much, but I only direct my own scripts. Good luck.
Josh |
Name: Drew
E-mail: SuperDrew123@webtv.com
Dear Josh:
I was wondering if you would clear something up for me. I was just
on the Internet Movie Database, looking up trivia on The Evil Dead,
and they said that the voice on the tape recorder is American Movie
Classics host Bob Dorian. Is this true? Thanks alot. |
Dear Drew:
I forget the guy's name now, but it's not Bob Dorian. He's a friend
of Joel and Ethan Coen's and he's done some work for them on their pictures
(Joel was the assistant editor on "ED"). He always gets the credit that
begins with "The Amazing Voice of . . ." but I can't recall his name.
["...William Preston Robertson" -webmaster]
Josh |
Name: Michael Middleton
E-mail: Mikey1281@aol.com
Dear Josh:
I emailed Bruce awhile back and asked him how did he get that scare
on the left side of his face. He told me that he'd never tell. Did he
by any chance tell you how he got it? |
Dear Michael:
I expose one of Bruce's deepest secrets -- he got hit in the face with
a swing when he was a little kid.
Josh |
Name: Tony
E-mail: Chakram71201@sprynet.com
Hey JB.
Thanks for you answer to my previous question. About Lonesome Dove,
I can't really compare the book to the movie since I've yet to read
the book. Honestly from all the books I've read that have been made
to movies I've yet to see one where the movie outdid the book. I'm curious
if you have.
Anyway my main question is in all the time you've worked behind the
camera whether for a film or an episode of Xena, have you ever had instances
where in your opinion you made mistakes. Or I should say after making
a film or a Xena, after sitting back and seeing the finished product
have you had times where you said to yourself "I should have did that
differently" or "I should have shot that scene differenly." And if so
do you feel realizing these mistakes have in some way made you a better
director. My dad always said, and I've found it to be true, that sometimes
the best way to learn and get better at something is to make mistakes.
Have you found this to be the case in your profession.
Also if you don't mind me asking, since I'm a huge Xena fan, are there
any scenes in any of your Xena projects that you would do differently
if you could do it over.
Thanks for your time, and also thanks for your blunt honesty in all
your answers. I really appreciate honesty opposed to answers that cater
to what some may feel fans want to here.
Tony |
Dear Tony:
If you liked the mini-series of "Lonesome Dove" then you really ought
to read the book, it's easily twice as good. Oddly, sticking with the
same author, Larry McMurtry believes that the film is better than his
book of "The Last Picture Show." I disagree. I think they are both equally
as good. The same goes for his book "Horseman, Pass By." The film version,
"Hud," is equally as good as the book. I think that the film version
of "The Godfather" is better than the book.
In regard to mistakes, that's exactly how I learned to make films--I
made every mistake imaginable and vowed never to make THAT mistake again.
Luckily, I think I got most of my big mistakes out of the way in Super-8.
There are some particularly lousy cuts in TSNKE, as well as a number
of poorly staged scenes. That's life, but with released feature films
the evidence is there for everyone to see forever. Honestly, there's
stuff in all my films that annoys me. In the Xena eps I have done, given
the constrictions of how they're made, I'm pretty pleased with all of
them.
Josh |
Name: cliff
E-mail: screemerzz@yahoo.com
Dear Josh:
I'm writing a transcription of the Evil Dead. It's pretty good and
I want to put it on my site. Am I breaking any laws or anything by doing
that? I'm not making any money off it, it's all for entertainment. |
Dear Cliff:
I'm not a lawyer, but if you're not charging anything then I don't
think it's a problem.
Josh |
Name: Mike White
E-mail: mwhite@impossiblefunky.com
Dear Josh:
Can I get a copy of Running Time for review for my zine, Cashiers du
Cinemart?
- Mike White
http://www.cashiersducinemart.com |
Dear Mike:
Sure, just send $49.95, plus $4.00 shipping & handling. There are 20
copies left.
Josh |
Name: Tony
E-mail: Chakram71201@sprynet.com
Hey JB.
I was wondering what your opinion is on the making of follow-up movies
to those that are considered classics.
An example is Lonesome Dove. I'm using this because I consider Lonesome
Dove one of the finest epics ever made, with great performances from
Tommy Lee Jones and Robert Duvall. It seems to me that making several
follow-up movies based on the original was a no win situation. No matter
how good Return To Lonesome Dove was, and I thought it was pretty good,
it was going to be compared to the original and would undoubtedly fall
short. Also Jon Voight seemed to be in a no win situation because even
though I feel he did a great job, he was going to be compared to Tommy
Lee Jones in the original.
It just seems to me that if you have a movie that most consider a classic
you should leave well enough alone and not try to continually follow
it up. Just wondering how you felt about it.
Thanks
Tony |
Dear Tony:
That makes perfect sense, but it hasn't got anything to do with Hollywood.
Since the bean-counters have taken over the film business and would
like to produce films the way they make cars, if muscle cars sold last
year then muscle cars are what you'll get this year--and next year,
too. Regarding "Lonesome Dove," which I quite enjoyed, it's still a
pale imitation of the book. Larry McMurtry began writing it as a screenplay
in the early 70s for Henry Fonda and James Stewart. Since it took him
over 15 years to write the book, Fonda and Stewart became too old for
the parts of the Texas Rangers in their mid-sixties. When I read the
book I envisioned Kirk Douglas and Burt Lancaster in the parts. Even
though Tommy Lee Jones and Robert Duvall are both terrific actors, they're
both miscast because neither one is old enough. Giving Tommy Lee Jones
white hair and a white beard made him look albino, not old. Casting
Fredric Forrest as the renegade Indian, Blue Duck, is just plain old
awful casting. Anyway, it's still darn good TV. Nevertheless, the book
is MUCH better.
Josh |
Name: Keith Hawkins
E-mail: keith15@inreach.com
Dear Mr. Becker,
A while back I happened to catch the major portion of "Lunatics..."
on Encore's Love Stories Channel (of all places) and I noticed Bruce
Campbell's character had a line, "Dames, Sheesh!" which was also a line
spoken by Jack Stryker in TSNKE. Is there some significance to this
or do you just like that line?
Also any plans for "Lunatics..." on DVD? What I saw I really enjoyed.
I haven't seen "Running Time" yet but 2 of my fellow Stockton TSNKE
meisters have and enjoyed it. Any plans for "Running..." on DVD? I would
just assume not buy any of these films on VHS (they deserve better).
Never touch the sacrificial fluids, okey dokey?
Keith |
Dear Keith:
Very observant of you. When I first got out to L.A. in 1976 I became
friends with Sheldon Lettich, who has since gone on to write "Rambo
3" and write and direct Jean Claude Van Damme's films "Lionheart" and
"Double Impact." Anyway, "Dames, sheesh!" was an expression we had between
us. It amused me, so worked it into two films. As far as "Lunatics"
coming out on DVD, I can't say. Sony owns the film and will do what
they want with it. "Running Time" will be on DVD in September through
Anchor Bay Ent. Bruce and I will be doing the commentary track in a
few weeks.
Josh |
Name: John Forde
E-mail: jforde@wppost.depaul.edu
Howdy Josh,
How's life on the edge? Stay focused (pun intended).
My question involves blocking. I 've heard that word/term used often,
what does it mean?
!Adios Amigo! |
Howdy John:
Blocking is how you move the actors.
Josh |
Name: Jo-Jo
E-mail: snoogans@hotmail.com
Hey Josh:
whats your opinion on independant filmmaker/photographer Larry Clark?
p.s.-what are those 5 tab settings needed for screenplays? I think
you mentioned these twice but I'm not sure. Thanks. |
Dear Jo-Jo:
I couldn't finish watching "Kids." That which I did watch has completely
vanished from my mind. The five tab settings that I use for writing
screenplays are, from the left margin: 20 spaces to the beginning of
dialog, 25 spaces for the parenthetical emotional description (angry)
(frowning), 35 spaces to the character's name, 65 or 70 to the transitional
description, such as DISSOLVE or FADE IN. As a note, dialog should not
go all the way out to the right margin, but should not be more than
35-40 charcters wide.
Josh |
Name: Annie Parmenter
E-mail: subzero@iaa.com.au
Dear Josh:
No question's here, just a note of Thannks for all the wonderful episodes.
The off beat left of centre attitude is wonderful, and best of all it
brings a smile to my mother's face, even a fully fledged *Snort*n*Chuckle*.
So on behalf of mum and I... Thank-You!
Annie & Jen |
Dear Annie & Jen:
I do appreciate getting nice notes from halfway around the world. Thanks.
Josh |
Name: Drew
E-mail: SuperDrew123@webtv.com
Dear Josh:
Does black and white filmstock come in 400 speed. If not, can you still
light with ordinary practicals? Thanks |
Dear Drew:
Yes, black & white film stock does come in 400 speed. I believe it's
called 4X negative. Although any black & white probably has to be special
ordered at this point. Call Kodak and check. Practicals, meaning regular
old lamps, can only take so big of a bulb before you fry out the socket
and set the shade on fire. You really do need a few bright movie lights,
but try not to aim them directly into anyone's face--light from the
side or above or below because it looks better. You might consider investing
in a light meter. I picked up a cool old light meter at a garage sale
30 years ago for a quarter that I've been using ever since. Another
very worthwhile item to have is an American Cinematographer Manual,
which can be purchased from Samuel French bookstore here in L.A. or
through the ASC, which is the American Society of Cinematographers.
Josh |
Name: Sean Cornett
E-mail: scornett@yahoo.com
Dear Josh:
I have read the making of "Running Time" and "Lunatics" posted on this
web-site, and am very interested. Are these readily available for rental,
or only available to purchase?
Also, regarding TSNKE: What exactly is a dilly dog?
Thanks for your time, sir!
Sincerely,
-Sean "How Was I Supposed to Know" Cornett -West Coast TSNKE Fanclub |
Dear Sean:
"Running Time" will be out in September. As far as "Lunatics" goes,
I'd say "readily available" isn't the best description. It is out there,
though. A Dilly Dog is a fictiously named hotdog from A&W.
Josh |
Name: Eva Bauche-Eppers
E-mail: Eva.Bauche-Eppers@t-online.de
Dear Mr. Becker,
Sometime ago I asked for permission to translate your Evil Dead Journal
-thanks for granting it. However, there was first some other job to
finish but now I've turned to it and - being not an expert in the realm
of filmmaking - come across some problems. When you say "...'Book of
the Dead' is theoretically one-ninth shot...", what does that mean?
And the reviews you were going to have to read to Rick over the phone
- did they pertain to the books you read at that time or the movies
you went to? Apparently it got very cold during shooting - are the temperatures
you give Fahrenheit oder Celsius or just a means to express it was VERY
cold: "40 degrees"?
I hope I'm not bothering you too much and that you can find the time
to answer my questions.
All the best,
Eva |
Dear Eva:
Thanks for buying a tape, it's packaged and ready to go out. Let's
see, what's to not understand about the phrase, "'Book of the Dead'
is theoretically one-ninth shot?" Well, "Book of the Dead" was the original
title of "Evil Dead" and if the script were 90 pages long, we'd have
shot 10 pages--although we never did have a finished script. In regard
to the reviews I had to write, they were movies reviews for a defunct
local Detroit newspaper, oddly called Magazine. The Rick I made reference
to is my sister who was the newspaper's editor (I had my job first).
The movies I reviewed at the time, in case you're interested, were:
"The Black Hole," "1941" and "Going in Style." Also, all American references
to temperature are always in Fahrenheit--we never went metric and never
switched to Celcius. Good luck on the rest of the translation. I hope
you like the film.
Josh |
Name: Tony
E-mail: Chakram71201@sprynet.com
Hey JB.
I have a question about the production of "If The She Fits." It's a
known fact that Renee cut her hair soon after filming this episode.
Knowing this I noticed one scene in the episode where Renee's hair didn't
look exactly right. It was a scene where Xena was sitting and talking
and we saw Renee walking back and forth then sat down behind Xena with
her back facing us and started rumaging thru her pack. Her hair looked
a bit redder than it did in the rest of the episode, and I noticed it
looked very similar to the wigs many body doubles wear.
The reason I'm asking is I've read before where there have been times
before where there were problems and they had to go back and shoot scenes
a few weeks after finishing production of an episode. I was wondering
if this was the case here and she had cut her hair and had to wear a
wig to reshoot a scene. I figure it had to be one of three things; either
it was Renee in a wig, or maybe the light was reflecting differently
on her hair, or maybe it wasn't Renee at all and a double since her
back was turned to us.
I have been wondering about this for a while and figured I would go
ahead and ask since you should know the answer.
Also with all the rain problems in New Zealand, how do you film scenes
outdoors while it's raining and have the actresses remain dry. I noticed
a scene in "ITSF" where I could see the rain coming down but Renee was
totally dry thru the whole scene. Do you film under a tent ar some other
sort of contraption.
Take care.
Tony |
Dear Tony:
You were right the first time, it's Renee in a wig. That little scene
was picked up several weeks after the main shoot. To keep the actors
dry while shooting in the rain they set up an item called a silk, which
is a big piece of parachute silk stretched out in a frame--it keeps
the rain off, but lets the light through.
Josh |
Name: Bobbie Willes
E-mail: willesb@n-link.com
Dear Mr. Becker:
This is just a short comment, and one that i really do not expect a
reply to. Thank goodness there is someone else out there who works with
the typewriter. All those fancy, smancy programs makes what should be
a simple task(that of writing a script) into a most tedious and oft
traumatic experience. Writing with the typewriter also keeps eyestrain
away as well as being much easier on ye olde checkbook.
I wish you well and may you have great success.
Bobbie Willes |
Dear Bobbie:
I'm sorry, but you are mistaken. I do not write on a typewriter. I
used to, way back when. My first typewriter was manual. But I switched
to computers almost as soon as they came out. My first computer was
an Apple 2C with 128K of memory, no hardrive and one floppy drive. Anyway,
what I said was that one does not need any special software to write
a screenplay, the entire form is five tab stops.
Josh |
Name: Bobbie Willes
E-mail: willesb@n-link.com
Dear Josh:
I must say that your comments on cigarettes were most appealing and
to live in California with all the barriers is appalling to another
smoker, one who was born and raised on a tobacco farm in North Carolina.
Keep on smoking and a pox on the non-smokers!
I have downloaded some of your commentaries and found them to be full
of intelligent, logical advice so one question and it may appear to
be a bit dumb...BUT is there a place for a woman over forty in the field
of horror/supernatural thrillers nowadays. I have written two books
and found naught in the way of a publisher and have completed two screenplays
but was unable to follow through due to blindness which has recently
been corrected so I want to really get back into the writing of scripts.
Any advice would be much appreciated. Have a grand and glorious day.
Bobbie Willes |
Dear Bobbie:
You make your own place, you don't ask permission. As Virgil said in
the Aeneid, "They are able because they think they are able." Was there
a place in horror for a goggle-eyed screwball like Stephen King until
he made a place for himself? Nobody in the film business gives a damn
whether I stay in the film business, or TV for that matter, I just won't
give up. If you have a story to tell, then you'll tell it no matter
what anyone else thinks.
Josh |
Name: I would prefer not to say
E-mail: I would prefer not to say
Dear sir,
While trying to decide what to do one night, I said to myself, "why
not go onto the internet and see what other fans of Batman think about
the Batman movies?" I expected to find a devoted following to this classic
2-movie series (I don't concider either FOREVER or BATMAN & ROBIN part
of the series, since they are incredibly stupid). But no, instead I
find people who are not satisfied with anything but perfection. I admit,
no movies are perfect, but how can you think that the first Batman movie
"sucked"? It was a classic movie, made back in the time when not everyone
was obsessed with sex and just wanted to see a good movie with good
acting and a good plot. However, it appears that God has not delt farely
with you in the area of wisdom. Nicholson WAS the Joker, and Keaton
WAS Batman, not Kilmer or Clooney. And as for the second movie, which
is the best of the entire series, I find The Penguin to be the best
character, not Catwoman. Your review of this movie is another sad addition
to the people who only mention how good Catwoman looked, instead of
how good the movie was.
I must say that this sight is a grave dissapointment to me, and that
whenever I think of a person who obviously needs to get his head out
of the gutter and quit griping, I shall think of you. |
Dear I Would Prefer Not to Say:
"Batman" is a "classic movie with good acting and a good plot?" For
the low, low price of $19.95 I'll teach you how to bend a paper clip
so that you can use it as a toothpick. Don't wait, send before midnight
tonight.
Josh |
Name: Shirley
E-mail: nocturna@iname.com
Dear Josh:
About your favorite sport: have you ever done any boxing yourself?
--Shirley |
Dear Shirley:
Yes I have. I made a boxing movie called "The Final Round" in 1977
and to get the use of the boxing ring I had to join their boxing club.
I convinced Bruce, his brother Don, and Tim Philo, cameraman from "Evil
Dead," to join with me. We were the only white people in the club and
I'm convinced the coach told all the other kids to not kill us. After
about four or five weeks we gave it up as we had all gotten hurt at
one point or another. I got creamed a few times.
Josh |
Name: Keith Hawkins
E-mail: keith15@inreach.com
Dear Mr. Becker,
I know it's been 15 years, but since my last dog lived to be 17 I have
to ask: Is Dandy still around? On a side note my current dog Whiskey
is named after Dandy's character in TSNKE and the significance of this
is not diminished by the fact that my last dog was named after the German
captain stuck on the Japanese submarine in Spielberg's "1941". "I can't
get out of this maze!"
Thank you very much. |
Dear Keith:
I'm sorry to tell you that Dandy is long dead. My older sister got
Dandy when we were in high school, in the early 70s. By 1984 Dandy was
already rather old.
Josh |
Name: John Forde
E-mail: jforde@wppost.depaul.edu
Howdy Josh,
How's the search going for your instrument playing authentic teen aged
actors? What instruments do you want played? Thanks for your webpage,
I check it daily and find a ton of useful info. |
Howdy Pard:
They must be able to sing, too. We've begun the casting process by
engaging a casting agent and getting the word out. Our casting sessions
are June 22, 23, 24, that's when I'll see what's what. I really have
no doubt that I'll find the people I need here in L.A., the place is
lousy with talent.
Josh |
Name: Sean Cornett
E-mail: scornett@yahoo.com
Dear Josh:
Just wondering: was Michele Poulik in charge of all the costume work
for TSNKE? I couldn't help but notice the pants on the "secondary Jart
tosser". Was that her idea, or was it just what the actor happened to
be wearing? Oh, do you know if Dandy has played other characters besides
"Whiskey"?
One more thing (if you don't mind me asking): what was the extent of
Bruce's influence in TSNKE? Please, don't ever stop doing what you do,
baby!
Sincerely,
-Sean "Die Slow" Cornett |
Dear Sean:
Michele was in charge of the costumes, so either the guy wore those
and she OKed them or she put them on him. It's been 15 years, so I don't
recall. Dandy, which was my sister's dog, played Whiskey twice, once
in the Super-8 version and once in the feature. I believe that was the
extent of Dandy's acting career. As I explain in "The Making of TSNKE,"
Bruce and I rewrote the story. I knew where I wanted to go with it,
but Bruce helped me get it there.
Josh |
Name: MQBlank
E-mail: Starion106@aol.com
Hey Josh,
I've got screenwriting (and heck, even directing) type question here.
How important do you think it is to include homages/references to other
films? I'm still working on developing my storytelling ability, and
for the most part haven't considered referring to other films in my
treatments for scripts. It seems to me that stealing elements from other
films is the lazy way out of coming up with my own original ideas. What
is your opinion on this? It seems like the horror genre of films is
rooted in winks and references to other films. Sam is certainly no stranger
to this type of filmmaking ;-) But I just don't see how incorporating
elements from other films is BETTER than coming up your own solutions.
And I'm not really talking about popular devices of the genre, like
noir formula or anything. I'm talking about the specific references
to (sometimes classic) scenes in other films. The worst guys now seem
to be Devlin/Emmerich in this department. Their method has basically
become cut&paste, not a single creative idea of their own other than
how to string everything together. But at the same time I see it being
used in critically praised, successful films. Is it a good thing? And
if so, when would you recommend incorporating these elements? I figure
if I ever bothered it would be in the final draft stage, dropping in
a couple references when everything else is in place, rather than relying
on other's elements to build my own script.
MQBlank |
Dear MQ:
I think that homage for the sake of homage is bullshit; I absolutely
hate that stuff. However, the old expression goes something like this:
If you're not directly inspired by something then you're stealing. But
inspiration is not the same thing as homage.
For instance, with my new film, "If I Had a Hammer," I am directly
inspired by "The Magnificent Ambersons," although if I didn't tell you
that you'd never know it. There is not a single reference or homage
to Welles and "Ambersons." On the other hand, in "Lunatics" I have one
shot that is most definitely an homage to director Michael Curtiz. I
didn't steal a shot from Curtiz, I used his style to tell my story at
one point because it seemed like the best, most visual way to do it.
Now that I think about it a bit, I drop in little homages all the time,
but they're so obscure generally that no one knows they're there but
me. An easy one is that I named my lead character in TSNKE Sgt. Stryker,
which is John Wayne's name in "The Sands of Iwo Jima." Bruce's charcter
name in "Running Time," Carl Matushka, is Shirley MacLaine's brother-in-law's
name in "The Apartment." I really just liked the sound of the name.
However, if your homage distracts from your story, then it's being misused.
Josh |
Name: Sean Cornett
E-mail: scornett@yahoo.com
Dear Mr. Becker
Regarding TSNKE: While glancing through the script for Stryker's War
(I haven't had a chance to read the whole thing, yet) I noticed some
differences between what was printed, and what actually was used in
TSNKE. Was the script changed for TSNKE specifically, or were there
just improvisational changes done during the making of TSNKE... or something
else entirely? Let me know!
Sincerely,
-Sean (of the West Coast TSNKE Fans)
*TSNKE for all mankind* |
Dear Sean:
We improvised a bit here and there in the attempt to enliven the proceedings
somewhat. When we were shooting the big scene where all the marines
return and tell what they've seen and Stryker says, "Let's go cleam
'em up!" in the middle of winter in Bruce Campbell's garage in Southfield,
Michigan, I just couldn't get that scene to come to life. After five
or six takes I was almost ready to throw in the towel--it was cold and
late and nobody really seemed to want to be doing this. I asked the
actors, "What do you suppose the problem with this scene is?" Robert
Rickman pointed in Brian Schulz's face and said, "He's the problem!"
Schulz became furious, hollering into Rickman's face, "Oh Yeah?" And
Rickman said, "Yeah!" and I said, "Let's go again," and that's the take
that's in the film. You do what you have to do to get something happening.
In this case, thank God for Robert Rickman.
Josh |
Name: the hank and ray show
E-mail: sbertheaud@vaxb.woodbury.edu
Dear Josh:
We have always wanted to know what you think of editors. Is it better
to have a male editor because you can "bond" with him or do you think
that a female editor is the way to go? Indeed the female editress is
a more mature, nurturing type of employee but is this an important issue
in this crazy business?
also, what's your favorite sport? what's xena really like? can you
read my latest script?
Just Kidding. |
Dear Hank & Ray:
Those are the character names from "Lunatics." Anyway, I don't think
the sex of any crew member matters. I work with a female producer and
have worked several times with a female editor, as well as female 1st
and 2nd A.D.s, female 1st and 2nd A.C.s, female coordinators, etc, etc.
It's only an issue of who can do the job.
My favorite sport is boxing, particularly heavyweights (P.S. Lennox
Lewis won the fight with Evander Holyfield).
Josh |
Name: Patrick Eves
E-mail: the_one7@hotmail.com
Hey Josh:
Love web sites such as this one and Bruce Campbell's, they really offer
insight to the film making industry.
I have a quick question, I remember reading that the apartment at the
end of Running Time is, in fact, your apartment. If I were to go ahead
with my dream and film the script I'm working on, should I just go ahead
and shoot in my apartment or do I need to notify any officials, such
as the landlord? I understand that the laws could be different in California
than in New York (where I would be filming), but I just want to know
where I can look into this. The lease says nothing but the land lord
might try sticking something to me.
Thanks… |
Dear Patrick:
I told my landlord I was shooting here. The one thing I will not let
happen when I make a film is being thrown out of a location. If you
haven't got permission, then this can easily occur. However, when I
made many of my early films--including "Thou Shalt Not Kill . . .Except"--I
simply snuck onto a number of locations. I couldn't get permission to
shoot the exterior of the veteran's hospital in Detroit, so I went and
shot there anyway. No problem. Crazily enough, I snuck onto a military
base and shot, too, and didn't get caught. Ultimately, you must decide
what's right for you.
Josh |
Name: Kristin & Christine
E-mail: DARKTOWER14@yahoo.com, BCiMiAr@aol.com
Hey Josh:
In response to your question no they don't teach us anything in school
never mind things that we might actually need in life. We know that
you read a lot so we were wondering what your favorite book is? Well
thats it.
Love ya, you're the best,
Kristin & Christine |
Dear K&C:
That's a shame about school. I didn't learn much there, either. Since
I rarely re-read books--as opposed to movies which I watch over and
over again--I don't really have a favorite book. Instead, I have many
favorites. Lately, I have particularly enjoyed Colleen McCullough's
series of books on the fall of the Roman Republic, which begins with
"The First Man in Rome" which is the first of five books (there's supposed
to be two more coming). I also like the historians Robert Massie and
David McCullough (no relation). I am also a big fan of Willa Cather.
And, of course, any movie director autobiographies.
Josh |
Name: Drew
E-mail: SuperDrew123@webtv.com
Dear Josh:
I was wondering if 400 ASA color film is a good filmstock to use.
Thanks. |
Dear Drew:
It depends on what you're after. The ASA number refers to the film's
speed. The higher the number, the faster the speed, the less light you
need to expose the film. This is because the chemicals on the film are
thinner, thus light can get through easier. But, the faster the speed,
the grainier it is. If you are primarily shooting outside in the sun,
you can easily go with a slower speed film. If you don't have a lot
of lights and you're shooting inside, go with a faster film. A big part
of the choice, though, is how the film looks. If it's a gritty, inner-city
story you might want more grain, or if it's a pretty, panoramic western
you'd probably want to go with slower film to get more color. I personally
prefer slow film stocks because I like clarity and deep colors. On my
new film I'm going to shoot ASA 100. On "Running Time" I used black
& white ASA 64, which is sort of shockingly sharp. Also, if you intend
to blow the film up from 16mm to 35mm then it's a good idea to make
it as sharp as possible because it will lose clarity and definition
in the blow-up. Then again, on "Thou . . ." I shot ASA 400, knowing
I was going to blow up, but also knowing that I had very few lights,
no generator and I would be shooting a lot in the dark, shady woods.
I decided that it was a gritty-sort of story and the grain would asthetically
fit. I think it looks fine, too.
Josh |
Name: Kristin
E-mail: DARKTOWER14@yahoo.com
Hey Josh:
My friend Christine (BCiMiAr@aol.com) and I have a good Idea for a
script(well we think it's good) and we are going to write it but we
want to outline it first cause it seems that when you do that you get
better results...but the problem is we don't know how to out line a
script. I write all the time and have never written from an out line.
If you don't mind could you give us a brief overveiw of how to out line
a script. Thanks a lot.
Kristin |
Dear Kristin & Christine:
Haven't you guys ever had to write a paper for English class? Don't
they teach kids how to outline a theme paper anymore?
1. How to write a theme paper.
A. The many uses of a theme paper
B. How a theme paper will help you in further
life.
C. Origami that can be made from theme papers.
Etc.
All you're doing, really, is making a list. Your three headings are
the three acts and the list beneath each is the scenes in the act. You
can write it backward on toilet paper with disappearing ink if you'd
like. It's simply figuring out in advance what you intend to write as
opposed to winging it in front of the computer.
Josh |
Name: Danny Cork
E-mail: paulcork@swbell.net
Dear Mr Becker,
I (like everyone else) intend to go into making films. My parents seem
to think that going to college for four years will give me instant access
to a job in this. I however, think I'll have to spend time raising money
for a film whether I go to college or not. So my question for you is
this : Is it worth spending four years in some school being taught how
to make films (when you feel you already know how) to get some degree
that will supposedly do you a world of good? I mean I'll still have
to raise money for a movie anyway right??? So what reason have I to
go to college other than to appease my parents? I know ultimately only
I can make the decision, but I would appreciate your opinion on this.
Thanking you,
Danny Cork. |
Dear Danny:
I had to deal with exactly the same issue. I ended up going to seven
colleges and not graduating before throwing in the towel on school and
moving on to life. I honestly don't think a degree in filmmaking means
anything. As a friend once said, "You can teach the technical aspects
of filmmaking to monkies; it's all what you do with it." My parents
wanted me to get a degree in something other than film so that I would
"have something to fall back on." I realized pretty quickly that in
my case if I had something to fall back on, I'd fall back on it. As
a little note, neither myself nor Sam Raimi nor Bruce Campbell (nor
Steven Spielberg, for that matter) have a college degree. I think you're
right--get to the money-raising and make a movie.
Josh |
Name: Drew
E-mail: SuperDrew123@webtv.com
Dear Josh:
I have a question regarding sound.If I was to make a movie and I didn't
have enough money for a Nagra, what other alternatives might you suggest.
Thanks, and good luck on your next film. |
Dear Drew:
I'd say there are three choices: 1. Make a film with no dialog and
put in the sound effects afterward, 2. Make a film with minimal dialog
and loop (dub) it later -- if you do this make sure you know exactly
what the actors are saying so you'll know what to put back in later.
Improvising under these circumstances will kill you. Also, too many
dialog close-ups will mess you up. Try to stay back in at least a medium
shot so that the lips are not that visible, or 3. Run a decent tape
recorder with a decent microphone--make sure to use a slate or clap
your hands on camera at the beginning of each take for a synch mark--then
diddle the sound around in post until it fits, or fits as best as you
can make it. As long as there are no long lines of dialog, like say
over a sentence, you should be OK. I did this with one film and it's
fine, although it took a lot of diddling. Once again, staying further
back than close-up helps with slightly rubbery sound. Good luck.
Josh |
Name: Brian "Otis" Severin
E-mail: bseverin@hotmail.com
Dear Josh:
I am communicating on behalf of the West Coast TSNKE fan club. Since
1992 our small, yet loyal, band of cronies has been... Well, all but
obsessed with this little film of yours...
You may have a dificult time accepting this work as something significant,
but it has touched our lives in a very special way... Although some
of our aquaintences may not agree, there is one *simple* fact that must
be kept in mind...
Here it is: "Hollywood" craps out movies that cost exponentially more
to make than this film every day, and in reality, aren't any better...
"Ohhh!.. That Leonardo is Soooo Cute!..."," Tom Hanks gave his best
ever!...","The Special effects were Flawless!..."
Bull!... If there is ever a movie to appreciate it is TSNKE... There
is nothing wrong with it... TSNKE is warm and sincere... Like an old
pair of jeans, or socks...
One of our members owns an original Prisim (SP) release of TSNKE, while
all of us own Starmaker (EP) versions of TSNKE... Recently I purchased
several copies of the Anchor Bay release for distribution to some of
our members...
In Short: We Demand *more* TSNKE!... We don't need music clearances
for display in a private, non-profit organization... Do we?... 16 MM
Stryker's War... Give... Will pay for a copy or VHS transfer... Long
Live TSNKE!...
"Oh little one... There is much for you to learn..." |
Dear Brian (or Otis, that is):
You're absolutely correct in saying that you and your cronies have
the God-given right to find significance where I don't necessarily see
it. What I can say at this late date (I wrote the first draft of that
script 20 years ago), is that I gave the film everything I had at the
time. You must also keep in mind in regard to me and my reaction to
the film, that no one would buy the damn film for a very long time,
nor would anyone give me a decent price for the film, then I got a lot
of bad reviews. I do very much appreciate that there are folks out there
that like the film. It does represent for me, however, a fair amount
of heartache. The film still hasn't made its money back. I also sued
and got four judgements against the distributor and still got no money
out of him.
Regarding "Stryker's War," which was shot in Super-8 (TSNKE was shot
in 16mm and blown-up to 35mm), it's not an issue of what you do with
it once you have it, it's about me selling it to you. I'm very easy
to find and if you found me then the music publishers will find me,
too. I don't need any judgements against me, thank you very much. Maybe
someday when I'm rich I'll work all this crap out.
Josh |
Name: Drew
E-mail: SuperDrew123@webtv.com
Dear Josh:
How much does a Bolex usually cost, and are they of good quality?
Thanks. |
Dear Drew:
The Bolex is almost the standard of low-budget and student 16mm filmmaking.
They generally work very well (if they're in decent shape). You can't
shoot synch sound with them, though, since they wind up and don't run
off electricity. I paid $1000 for the camera itself, along with a 25mm
lens and a big mother zoom with an electric motor (I think I said 3
lenses in the previous answer--sorry). I picked up two more lenses on
the internet from a place in Las Vegas called Cameras-Pro. I paid $75
for a 75mm (a great deal) and $50 for a somewhat trashed 10mm lens.
Josh |
Name: Tony
E-mail: Chakram71201@sprynet.com
Hey Josh:
I have a question about Renee O'Connor who I'm a huge fan of. I've
noticed in some of her TV interviews she seems a bit quieter and more
laid back than Lucy. She has also said that she can be shy when around
people she doesn't know and she is very modest.
My question is since you've worked with her several times, is she more
laid back on set than Lucy. Also when doing scenes that show a little
more skin than normal(I know they don't do actual nudity) like the showering
scene at the beginning of "If The Show Fits" does she seem to be modest
or a little shy when doing this.
Thanks.
Tony |
Dear Tony:
As I've said before, I haven't hung around very much with Renee beyond
work. On the Xena set, however, she is very much at home and quite forthright.
Renee is definitely a quieter sort of person than Lucy (not that Lucy
is loud, mind you). Since the two of them fake nudity so frequently
on the show, neither of them has ever seemed particularly bothered about
getting into the flesh-colored outfits they wear for doing this. They
are both very easy actors to work with because they're both bright.
Josh |
Name: Nubert Glean
E-mail: nubert58@hotmail.com
Dear Josh:
I have an idea of making a film, where can i find a used camera(16
arriflex) to shoot? what advice would you give me if I have done any
film or direct it. |
Dear Nubert:
I bought my 16mm Bolex through Java.com in Atlanta. It's a reflex model
(which means you can just barely see through the lens) and I got three
lenses for a grand.
If you want more choices just put "Bolex movie camera" in a search
engine. You can't afford a decent a Arriflex camera, even used. My main
suggestion would be, don't spend too much money on your first film since
you will make every mistake imaginable and your second film will be
much better, if you have some money to make it with.
Josh |
Name: P.E.
E-mail: mcgonz0@yahoo.com
Dear Josh:
Hey I only have one comment about your Big Lebowski review. When you
said the running joke through the film was just an excuse to avoid developing
Steve Buscemi's character, that was kind of the point. It was set up
so when he died, we didn't really care too much because we never knew
him. This ends the movie on a mutual note and we continue on, just like
the Dude. By the way, what did you think of the movie Gummo by Harmony
Korine? |
Dear P.E.:
Not having a point is not a point and not developing a character so
I won't care is not a good reason for not developing a character. Getting
the viewer to not care is the world's easiest goal, and the worst filmmakers
in the world can just as easily achieve it. No, I haven't seen "Gummo"
(but I did see Groucho, Chico and Harpo).
Josh |
Name: Amber
E-mail: warriorbabe79@hotmail.com
Dear Josh:
I really really enjoy watching your work on "Xena". You are my favorite
director!!! Are you going to be at any up coming Hercules and Xena conventions??
You're the Greatest!!!!!
Amber |
Dear Amber:
Jeez, thanks a lot. Since I didn't go to the Herc/Xena convention right
here in my hometown of Santa Monica I doubt that I'll go to any others.
Bruce and Ted and Renee and Bob Trebor all get paid to go to them, I
don't.
Josh |
Name: Keith Hawkins
E-mail: keith15@inreach.com
Dear Josh:
I really enjoyed your Spielberg diatribe but I do have one comment
on Amistad. To me, the "Give me free!" sequence with the over-the-top
John Williams music blaring out was hilariously entertaining. Granted,
that's not the reaction Mr. Spielberg was trying to evoke* but that
does lead me to my question for you.
You seemed uncomfortable with Tim Burkman's e-mail assessment of TSNKE
being a "great American film". I, myself, enjoyed TSNKE and apparently
got a lot more out of the film than you seem to think is actually there
(it truly is a tale of morality with the "bad-ass" Marines getting their
ass's kicked for killing where they "Shalt Not" (Viet-Nam) but successfully
killing where it is "...Except" (at home vs. the bloodbath cult). So
I am curious as to what your thoughts are on what is more important,
the director's intent or the viewer's reaction?
PS: I am looking forward to TSNKE on DVD. (Sucker's confirmed...)
*(I want to be clear that I found humor in that Amistad scene because
of its execution and not its content). |
Dear Keith:
I am not trying to infringe on either you or Tim's enjoyment of my
movie, but being a very big movie fan it's rather difficult for me to
envision this film in the ranks of "Great American Movies." I just discussed
some of the aspects of the script for "Thou . . ." in my newest essay,
"The Need For Structure, Part 3." As I say in the essay, I think the
script, it's intentions and it's subtext are the best aspects of the
film. The production itself was so painfully low-budget that quite a
bit of it still makes me wince. Keep in mind that the house where I
grew up in Michigan is just out of frame for much of the film, so it's
still not possible for me to suspend my disbelief enough to not believe
this is all occuring in my parents' backyard. I am pleased with a number
of sequences: the encounter between Stryker and Miller in the bunker,
the Manson family's initial attack, the fight outside the bar, Jackson
and the fat biker fighting with the garden shears. In regard to your
question about the filmmaker's intent versus the viewer's reaction,
I don't think it matters. If you create something, then toss it out
into public view, people can make out of it whatever they'd like.
Josh |
Name: Drew
E-mail: SuperDrew123@webtv.com
Dear Josh:
I was wondering if you have heard of the Walchowski Brothers, directors
of Bound and the Matrix. If so, what do you think about them and their
work. |
Dear Drew:
I haven't seen any of the pictures. The trailer for "The Matrix" was
sufficient for me. As Bruce Campbell summed up the film, "You can't
believe for a second that you're making an original film if it's loaded
with automatic weapon fire and martial arts," and I must agree.
Josh |
Name: Drew
E-mail: SuperDrew123@hotmail.com
Dear Josh:
Thanks for answering my question. You have a very good point.But now
I have a question about film. I've been making shorts for awhile now,
and I love being behind the camera.So much in fact that I don't like
anyone else filming my shots. I love being my own Director of Photography,
and I was wondering if you felt the same way. Thanks. |
Dear Drew:
I like operating camera, but not when I'm directing. I operated camera
on "Thou Shalt Not Kill . . . Except," and I found that I was paying
more attention to that than directing. As I was shooting an important
scene, the film seemed to be having some difficulty passing through
the gate. I was listening very carefully to make sure it wasn't completely
screwing up, when suddenly all of the actors in the scene turned and
looked at me. I thought, "What the hell is everybody looking at me for?"
Then I realized that the scene was over and not only had I not called
cut, I hadn't paid the slightest attention to the scene. "How was it?"
they wanted to know. Not having a clue, I made them do it again. Anyway,
to be a good camera operator you have to pay so much attention to that
job that you cannot give sufficient attention to directing. That's my
view.
Josh |
Name: Kristin
E-mail: DARKTOWER14@yahoo.com
Dear Josh:
hey Josh how are ya? I have read every article and Short story on your
site. I think that you are a very very talented writer. I was wondering
about your Short Stories though...they are so good. Have you ever had
any of your short stories published anywhere? Well thats it from me
You Rule!
Kristin |
Dear Kristin:
Nope, I've never had a short story published anywhere. I began sending
my short stories out to magazines when I was about 14 years old. I have
rejection slips from many, many magazines. I have, however, had articles
and movie reviews published.
Josh |
Name: Drew
E-mail: SuperDrew123@webtv.com
Dear Josh:
I was just wondering if you had any views about the shootings in colorado
that took place last week. I'm just interested in what you have to say.
Thanks. |
Dear Drew:
This isn't a movie question, but in a way it is. We live in a society
that constantly attempts to convince it's citizens that violence is
not only good, but the obvious answer to all problems. If the answer
to all problems in the movies to to spray the bad guys with automatic
weapon fire, then the only real question is--where do I get an automatic
weapon? Those kids in Colorado had to use single-shot weapons, which
must have been a great let-down for them. Most people can watch all
of that killing and maiming and let it go as "entertainment." With 260
million people in the country, some people are not going to take it
as mere entertainment, but as a blueprint to answer their own problems.
However, with 260 million of anything-- people, ants, butterflies, potatoes--some
percentage are going to come out aberrant deformities, as were the assailants
in Colorado. If one lives in a society where weapons are as easy to
get as candy and violence is extolled as a virtue, then no one ought
to be surprised by such events. They will undoubtedly just become more
and more commonplace.
Josh |
Name: Christine
E-mail: bcimiar@aol.com
Howdy Josh,
What's up? Not much here....My friend's and I while reading a Fangoria
today, were wondering what exactly is Karo (sp?) syrup? And where the
hell we can get it? You are the expert on everything so I thought maybe
you would know...if not, no sweat. :)
Luv ya lots,
Chrstine |
Dear Christine:
You get Karo syrup at the grocery store. The stuff is like clear liquid
sugar and I guess you bake with it or something. You will also need
red and blue food coloring. Add red coloring to the Karo syrup until
it looks bloody enough, then add one or two drops of blue for depth.
I was a blood-blower on "Evil Dead," so I do know all about it.
Josh |
Name: Chelsea Ryan
E-mail: marie_rjd@yahoo.com
Mr. Becker,
I was wondering if you knew anybody who is accepting scripts. If you
know anybody who might be interested please contact me. I apprecite
your time and consideration. Thank You.
Thanks again,
Chelsea |
Dear Chelsea:
I'm sorry to tell you that nobody wants unsolicited scripts, not even
me.
Josh |
Name: Jean Valjean
E-mail: khank@rcsn.nb.ca
Dear Josh:
You did not like thin red line? man...you need to earm more about spirituality
in life..then youll get it..try watching this movie when youre 80..i
bet your point of view will be different |
Dear Jean:
I'll be 80 in 2038. I'll send you an e-mail.
Josh |
Name: Tim "Any Brand" Burkman
E-mail: scornett@yahoo.com
Dear Josh:
Hi. Would you buy for us?
...I have a Thou Shalt Not Kill...Except (T.S.N.K.E.) related question.
Has Perry Mallette done any other films besides "Going Back"? More importantly,
is he still alive?
Otis is one of my favorite characters of the American cinema.
I have watched T.S.N.K.E. at least 200 times in its entirety since
1992 and I was pleasantly stunned to receive a copy of its re-release
from a fellow T.S.N.K.E. fan.
No, I am not interested in comics or Star Trek conventions either...just
great American films like Thou Shalt Not Kill...Except. I was going
to use the phrase "B-movie", but really, it has been in the front of
my video collection for 5 years now.
Congradulations, Mr. Becker. Viva la T.S.N.K.E., baby. There it is
G.I. - Yeah, there it is. |
Dear Tim:
One of the "great American films?" Wow! Anyway, I haven't seen or heard
from Perry Mallette in about 15 years. Bruce Campbell and his first
wife used to live in the same house as Perry. I certainly hope he's
still alive, he wasn't all that old.
Josh |
Name: Christine
E-mail: bcimiar@aol.com
Howdy Josh:
How are you? My friend Kristin (darktower14) and I are making a film
(as we've told you before) and we'd like to know if you have any tips
for script writing. If you have any info it'd be a big help, since you're
the best :)
Thanks a lot,
Christine |
Dear Christine:
Please read my series of Structure essays, everything I know is in
them. The bottom line, though, is tell a story that's worth telling.
If you can't verbally tell your story to someone else and keep them
interested while telling it, it needs fixing or changing. Take a character
through an important change.
Josh |
Name: Kristin
E-mail: DARKTOWER14@yahoo.com
Dear Josh:
I just got done reading the Running Time script and i have a question...In
the begining it says the Carl was in prison for 5 years but then through
out the rest of the script it says he was in prison for 10 years which
one is correct? It was really confusing and I figured who better to
tell me wich is correct then the writer himself.
Thanks a lot,
Kristin |
Dear Kristin:
Yes, this discrepancy came up while shooting. It's 5 years. I ought
to have fixed in the script, but forgot. Whoops!
Josh |
Name: Dana Hlusko
E-mail: dhlusko@series2000.com
Dear Josh:
I read in Suite101.com the information concerning JRR Tolkien's books
coming to film and the possible need for outside actors. I am very much
interested in working on X:WP. What would I need to do to make this
happen? I acquired the work permit papers but of course need a job before
they'll even consider them. Could you give me some leads on what types
of skills you need for X:WP that you are having trouble getting in NZ? |
Dear Dana:
Considering that they have now done over 100 Hercules episodes, 75
Xena eps, and 50 Young Hercs, do you feel there's something they're
specifically lacking? Some specialty that only you can fill? Go convince
them.
Josh |
Name: Lenny Bruce
E-mail: LennyBruce@aol.com
Dear Josh:
Do you ever hang out with Renee O'Connor on a personal level? How would
you describe her personality? And lastly, do you have a favorite directing
moment with her that you can share?
Thanks,
Lenny B. |
Dear Lenny:
No, I've never really hung out with Renee. I've gotten together with
her and several other people for coffee on Sunday morning once or twice,
but that was back when she had an apartment in Auckland. She now lives
out of town.
Renee is a sweet, nice, bright, wonderful person and a hell of a good
actor. I absolutely love working with her.
One amusing moment that comes to mind was in "In Sickness & in Hell."
Both Lucy and Renee and very good at knowing when a line reading didn't
come off so well and will just pick back up a line earlier and do it
again. Lucy was having trouble with a line--she gets the most difficult,
expository dialog--and had done it a few times. Lucy got through her
third try and was moving on, but Renee stopped her and gave her the
cue line again. Lucy began to deliver the line for the fourth time,
then stopped and turned to Renee, "What's the matter, you didn't like
the last one?" Renee was embarrassed and blushed, "Well, no, that is,
I . . ." Everyone burst out laughing.
Josh |
Name: Kristin
E-mail: DARKTOWER14@yahoo.com
Hey Josh,
Ok I'll keep it quick... While I was watching Running Time yesterday
(I've seen it 8 times so now I have to ponder the little details)I was
wondering if The white car that Patrick has at the end of the movie
belongs to someone working on the movie or if you just borrowed it from
someone just for the film? I know it's a dumb question and that most
people could care less but I need something to keep my intrest now that
I've seen the movie so many times I can practicly recite the entire
film with the movie.
Thanks again,
Kristin |
Dear Kristin:
That happens to be my car and I still have it. It's a 1989 Chrysler
LeBaron. Good car, too. I suggest for your own sanity that you purchase
another movie to watch. For me, "Lawrence of Arabia" has withstood about
100 viewings.
Josh |
Name: Christine
E-mail: bcimiar@aol.com
Hi Josh!
How are you? I hope you're doing great :) After watching Running Time
again, I was wondering what character Craig Sanborn plays as a fake
shemp?.. I know all about him working for Bruce, and was just curious.
Thanks a lot,
Christine |
Dear Christine:
Craig is the drug dealer whom Donny, the junkie, scores from. That
is not Craig's voice, however, it is me.
Josh |
Name: Tony Brooks
E-mail:
Hey Josh.
I read down below where you were talking about Xena and mentioned a
"read-thru" done the night before you started shooting. I was just curious
what exactly is the purpose of the read-thru and what takes place. Also
since it's done before shooting where does this take place and who is
needed to be present.
Just curious about all aspects that goes into directing one of these
shows.
Thanks.
Tony |
Dear Tony:
It's the closest thing we get to a rehearsal. All of the actors are
there, the director, the producer and the script supervisor. You read
through the script scene by scene and any problems are voiced and hopefully
addressed. This occurs either at the Pacific Renaissance office or at
the Carlton Hotel, where most vistors stay.
Josh |
Name: Heath Opper
E-mail: heo96001@uconnvm.uconn.edu
Dear Josh:
Hi. Are you going to try and cast Ted Raimi in your next movie? You
and Ted seem to work so well together judging from 'Lunatics:A Love
Story', 'Thou Shalt Not Kill ... Except', and 'Xena'.
Thanks,
Heath |
Dear Heath:
I'm shooting with non-SAG (Screen Actor's Guild) actors this time,
so I can't use Ted or Bruce.
Josh |
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