When he's not watching, with beads of sweat, his fellow, legally blind, senior citizens parallel park, Frank Palmcoast is catching seven dollar movies at the local multiplex from sunny Pompano Beach, Florida. He's retired, he's angry at the world, he can't spell to save his life, and he hates Hollywood almost as much as Hillary Clinton, but that will not stop our irreverent, dementia fightin', AARP card carrying everyman from giving us a fresh take on all things Hollyweird. Besides, how can he pass up that marvelous senior citizen discount?
*********************************************************
Frank Palmcoast RETURNS from agonizing knee replacement surgery to cast his vote on Kevin Coster's latest flick Swing Vote
*********************************************************
As usual, nothing much happening at the movies. So instead of watching Matlock reruns, we saw Kevin Costner's newest picture and Costner's newest toupee! Many stars in this one: Dennis Hopper, Nathan Lane, Kelsey Grammer,Tucci, George Lopez, Judge Reinhold and many guest appearances like Willie Nelson, Richard Petty and by the way Petty looked like he died and they forgot to bury him! Without a doubt Madeline Carrol stole the entire movie! Governor Bill Richardson can't be to happy the way the movie shows that everyone in New Mexico lives in Mobile homes and that's not completely true, they also live in tents! It's hard to believe hollyweird allowed no violence, no sex, no nudity and no real vulgar language! I suppose this flick is a satire about our political system. Typically hollyweird presents the presumption that only liberals want world peace, a clean environment and a better economy for the poor. I believe this is a delightful movie and it should be seen by our current presidential candidates. The character that Costner plays, Bud is a felon and felons don't vote and also one man cannot determine the end results, only the electoral college can determine the outcome. This film does projects certain themes: drunkenness, child abuse and neglect, political waste, a sad commentary about America but true! We think we, America lead the free world and we have on of the lowest voter turnouts. We have been invaded by Mexico, we allowed an illegal war, our useless congress and government is running up the national debt by trillions of dollars, a very weeken dollar, stupid health care, the dumbing down of our education system and this movie was making fun of America and rightly so! This is a must if you want to see how George Bush got elected.If you are part of this dumbing down in America, don't go to see this picture---you may have to think! Swing Vote got my vote!
Palmcoast Returns
Monday, August 11, 2008
SWING VOTE by Frank Palmcoast
Dems Da Brakes (Episode 6)
Minimalist situation comedy/radio play.
Episode 6 "The Mole"
Cast:
Samantha: Melissa King
George: Peter Rinaldi
Setting:
The Upper West Side of Manhattan
Sunday, August 10, 2008
The Boxpress Music Time Show with Brian Hughes
Show# 10: Songs from Woody Allen's Films. Brian plays a handful of songs from three Woody Allen films.
If you think you might want to listen to some more of my podcasts - please click below:
Friday, August 8, 2008
Bedbugs XLIV
Bedbugs XLIV
Click here for an explanation of how Bedbugs is created.
Click here for last week's Bedbugs.
Nail gun surgery was the wisest alternative. Powder
found on trial again when all thoughts are scattered
and narrative fractured four black dresses match what
people we never dated were wearing and no matter
never mind it's snowing black ash inside and
out; get the children inside! Nobody reads this
or anything else. Will it be found by I volunteer to
take it even if I lose everything. Who is making
that sound? Shouldn't people be here? What on
earth is on my doorstep scratching at the wood?
Stay downstairs! Fractured thoughts you can still splinter
your hand on. Between the cracks, people shouldn't be here.
Pretentious run-ons won't fit on a business card. It's improving
in small increments.
Next week's seven phrases/groups of words:
-put the camera away
-sandpaper memories ingrained
-love between 1 and 2pm
-shells found outside
-keep him away from my family
-grow a pair and show me
-that place is miles away but I can see it
-Adam Barnick
Wednesday, August 6, 2008
Better Living Through Absurdity
Today’s Topic: So You Think You Can Intimidate Me?!
*Warning: This post contains a gratuitous use of outdated slang, obscure patois and random insults that will likely confuse more than outrage…proceed with caution!
So I have this neighbor –she lives in the building next to ours. Now I’d draw you a diagram to illustrate the way our buildings are sort of connected but I can’t so I’ll just say that the back part of their building is about ten feet away from the back part of our building, though we have this small concrete gangway path that our porches lead down to and it goes out to the alley. Now this woman –as I said, she is in the OTHER building –and simply put, she’s a cunt. Ever since she moved in, she has this habit of screaming at anyone who happens to be out on their porch or on the gangway if they are making any noise at all. A lot of people will go outside to smoke or they’ll have a quiet conversation or they’ll barbecue or any number of other things that normally occur on back porches.
Apparently, she doesn’t feel that socialization and/or conversation should be allowed to occur past the hour of
Now –I live there. I know how much you can hear from apartment to apartment –and yes, sometimes it can be a bit irritating but really, it’s part and parcel of apartment and big city living. And given that our building has mostly younger people in it, there’s going to be some socializing going on. There’s going to be couples having sex. There’s going to be arguments, perhaps an overloud cell phone conversation, music drifting in and out of windows –things of that nature. To my way of thinking, provided any of those things isn’t gratuitous, you just kind of live and let live. Most people try to be considerate –and exceptions are of course made for holidays and weekends as far as how late these activities go on. My thing has always been just let me know if you’re going to be having a shindig so I’m not caught unprepared –and minus the one inconsiderate fuck that got kicked out of the building –everyone has been pretty awesome about it. Yeah, I still have the chick who practices opera and the one girl who sounds like a cat being tortured while having sex –but those things are so laughably bad that I don’t ever say anything. Neither does anyone else…though of course we snicker about it in the hallways.
So fast forward to the other night. It was really late –like
We just kind of snicker and in a louder, totally conversational tone of voice Jory says to me, “You know one night you were taking a shower and you were listening to music and she yelled at you for an hour and you couldn’t hear her and we just laughed.” I nearly choked, trying not to bust up and I said, “Oh I heard her –I just chose to ignore her.” We of course know she’s listening now, and we don’t care. We continue our conversation and then we both head in for sleep. The wee raccoon is still squawking but there’s nothing we can do so we just have to leave it.
The following day, she does it again. Only this time, she wakes me up out of a sound sleep, screaming at these two people who were apparently disturbing her –even though I couldn’t hear so much as a murmur of conversation. I decided that I had had more than enough. I got out of bed, went over to the window and pushed up the screen and stuck my head out…and let loose a stream of invective the likes of which that building had never heard. It goes something like the following:
Me: Excuse me!
Woman: What?!
Me: Look you vitriolic, pestilential harpy –I am sick and tired of being woken up by your ceaseless nagging.
Woman: I have…
Me: Shut yer cakehole you fishwife!
Woman…
Me: You’re going to listen to what I have to say, you misbegotten muck snipe spawn of a tubercular trollop or by all that’s holy I’m going to make it a point to set my alarm every night for 3:47am and I’m going to wake you up by banging a big stainless steel pot and playing polka music while reciting very bad poetry.
Woman: *Gasps a little*
Me: First of all, I live here. I can hear pretty much everything that goes on that makes a sound above a whisper. I can hear people piss, shit, puke, fuck, fight, talk, I can identify the music they’re listening to, the movies they watch and what sporting events happen to be on television. Hell I even know what food they’re ordering sometimes. It’s part of living in an apartment building –it’s part of living in a big city. People are close by you and there’s not a lot of privacy –if you don’t like this, then bugger off to the suburbs.
Second! If you insist upon spewing such a pointless amount of puckering, you glocky haybag, you could do us all a favor and inject a bit of variety into it. Nobody likes a lazy meddler, and you seem to think that hurling the same three repetitive sentences at us will be enough to send us running for cover. In actuality, you’re merely proving that you lack imagination as well as restraint and tact. You might want to think about that…
Third! As I mentioned previously, it is YOU who wake people up when you scream at them for having a whispered conversation or for playing music within their own homes. If anyone has woken up your daughter it’s YOU madam, with your excessive nattering and cursing –and YOU’RE going to be the reason she’s in therapy in a few years and probably with a fondness for a nip! You might want to consider how your ill-mannered verbiage is affecting her –you know, kids have run away for less! And might I also point out that you don’t seem to bother screaming at people who are having very loud intercourse or a loud verbal dispute –because god forbid you interrupt carnal rutting or a domestic disagreement –instead you save your chastisement up for those people enjoying a quieter moment and generally minding their P’s and Q’s.
And finally, Madam Shrew, consider this: I know something of the law and I know that we have every right to talk on our porches, listen to music and generally live our lives in OUR building provided we are not being unduly disruptive –and considering that no one in OUR building has filed a complaint against any of the tenants, an officer of the law is going to find it hard to believe that they were doing anything all that terrible. And also consider this - you should be grateful that conversation and socialization are all that occur –no one is dealing drugs, getting into physical fights, breaking bottles, or generally being delinquent and dangerous. But…all of that aside –we can call the law on YOU for harassment –and don’t think for one second that we won’t if your cunty blathering persists! Goodnight!
Woman:………………………..
Suddenly I hear a mix of snickering, giggling and clapping. Then the sound of a window being slammed down.
Three nights and counting…nary a peep.
*buffs nails*
Six Word Theater
Six Word Theater
Click here for last week's entry.
Inspired by the challenge Hemingway undertook to tell a story
in six words("For Sale: baby shoes. Never worn."), I attempt
to polish my skills by telling a six-word story or phrase each
Wednesday.
Feel free to "continue the story" or start your own.
Today's Entry:
Am I undecided?
Yes and no..
-Adam
Six Word Theater will be taking a short vacation..
see you end of September!
Monday, August 4, 2008
Dems Da Brakes (Episode 5)
Minimalist situation comedy/radio play.
Episode 5 "Space Nerd"
Cast:
Samantha: Melissa King
George: Peter Rinaldi
Setting:
The Upper East Side of Manhattan
The BBF Interview: Writer/Director Nick Gaglia (part II)
The BBF Interview: Writer/Director Nick Gaglia (part II) what we usually hear in low/no budget indies. The music department was headed by John Presnell. He was a supporter from very early on and brought on his crew of talented musicians. Dale Chase was solely responsible for the sound design. He's a one man army. Was 2007 your first time at Slamdance? How was the film received and that festival experience overall? 2007 was my first time at Slamdance and I gotta say it was you have to know someone to get into a big festival and it's all political, that's bs when it comes to Slamdance. We submitted a rough cut without knowing anyone on staff there and they chose us based on the merit of our film. After our first screening they had to stop our q & a because it went on so long. And afterward I had a line out the door of industry and various people wanting to speak with me. And that's where we got approached for theatrical distribution from Seventh Art. Afterward, I spoke with Dan Mirvish (one of the festival founders) and he said that we were the first 'under-the-radar' narrative feature in the festival's 13-year history to get offered a distribution deal after our very first screening. it probably took about a year until we had picture lock. That's mainly because we didn't shoot this in the traditional way. We were very guerilla style in the sense that we shot any free moment we had - nights, weekends, whenever, until we finished. you endured, or had you made piece with what had happened to you before shooting? I found the film surprisingly objective while still extremely personal. The process was probably the most cathartic thing I've ever done. least biased way possible and have the audience decide. The details in the film were as it actually happened. Tell us about the upcoming DVD release.
click here for part one of this interview.
Nick Gaglia knew he wanted to be a filmmaker since he was 11,
when he picked up a camera for the first time and wrote,
directed, and acted in his first short film. He was the
youngest kid in his theatre group and studied acting
at Professional Performing Arts School in Manhattan.
His personal life, however, started to deteriorate
when he got into drugs at age 13. Subsequently, his mother
checked him into an unregulated “tough love”
drug rehab(KIDS of North Jersey) that would change
his life forever. The rehab boasted of being the only place
in the world that could keep kids safe and sober, but what
really went on behind closed doors was quite the contrary;
corporal punishment, humiliation tactics, sleep and food
deprivation, false imprisonment, and mind control were
daily routines for Gaglia and group members.
After enduring the abuse for 2 ½ years, Gaglia escaped
the rehab and went on to study filmmaking at Hunter College.
After honing his skills with several short films, Gaglia made his first
narrative feature, Over the GW, based on his unique experience
in rehab. GW premiered at the 2007 Slamdance Film Festival,
where it was the first “under the radar” feature in the festival’s
13-year history to get a distribution deal after its first screening.
The film went on to play theatrically in New York, Los Angeles,
Chicago, and Maryland and was received with enthusiastic praise.
Click HERE for part one of this interview.
AB: How did you get released? And when/how
was the program stopped?
Nick Gaglia: The program got shut down in '98 I believe, then
went underground and still took place illegally in people's houses.
I escaped one day on the GW bridge on the way to a host home.
When did you reveal to people working on this that the film
was based in truth?
Besides Kether, I never told anyone it was based on me.
I wanted the work to be about the subject and the text
and not exactly about me. After the film came out I made a decision
to make it public that it was based on me because I wanted
audiences to know that this is a real issue that's going on
and not just some movie I made up. So I think when the cast read
all the press on the film that's when they actually found out
it was based on my story.
What has been the reaction at festivals and during your
theatrical run been like, for general audiences
and survivors who have come to see it?
The film has been incredibly well received, especially by survivors.
It's really interesting though, when a general audience member
sees the film they're like, 'wow, this must be the severely dramatized
version of what went on.' And when survivors see it they're like,
'I really love the film but that's the watered down version.'
So I always laugh. I did water it down because I felt it would be too
tough to watch if I went all the way with it.
Especially for survivors, with PTSD and all.
Private screening of GW in New York;
many survivors in attendance:
Who did your music and sound design? They’re heads above
one of the best experiences of my life! First off, when they say
How long did it take you to edit the film?
The editing was on-going as we shot the film. So, all in all,
Was the filmmaking process cathartic for the experience
On the 'objective' comment, I wanted to tell the story in the
Kether, George, and myself did a really fun commentary
together. It'll be available later on this year. And the soundtrack will
be available on iTunes this Fall.
What’s next for you as a director and/or writer?
I'm working on developing several projects right now.
One in particular is a documentary putting the teen
'tough-love' industry in context.
Please give us some words of wisdom.
All I can say is follow your passions no matter what.
That's all we have in this life.
"Over the GW" gets cited in a Congressional Hearing
on "Child Abuse and Deceptive Marketing by
Residential Programs for Teens."
-Adam Barnick
Sunday, August 3, 2008
The Story Slice by Brian Hughes
The masseuse ducked her head back in and smiled:
“Okay … yes?”
“Yes, come in. I’m ready,” Arlen said, then exhaled, watching the masseuse’s feet moving to and fro from the face cutout in the bench. She placed a full-length towel over the backside of his body and began loosening his muscles by rubbing him from his feet to his calves to his ribs, on up to his shoulders and neck. After mustering up the proper chi, the masseuse unfurled the towel to just above his ass. Arlen closed his eyes as tranquil new age music emanated softly from two speakers sitting high above the room on shelves. The masseuse squeezed out massage oil into her hands then hovered her palms just below Arlen’s face in the cutout so that he might catch some aromatherapy. He liked it – a musky, tropical banana smell. Arlen liked bananas. He also liked the heat that existed between her hands and his body as she rubbed the back of his neck and shoulders. And with every tissue pressed and knot untied, he liked to imagine all the metaphoric cancers and muscle diseases and tumors being squeezed out of him. That with every session a force field of peace and goodness was taking reign over his body, a realm where no diseases could ever penetrate. It was the power of positive reinforcement and healing. Arlen couldn’t prove that it worked, but to his way of thinking, the mind was capable of so many powers as yet unknown to humans, that this was as good a technique as any in fighting the failures and frailties of the body. In his mind’s eye, he could see cancer cells wafting to the ceiling and popping like a child’s bubbles.
He groaned as the masseuse kneed a shoulder joint with her elbow. She giggled just then. Arlen thought that was cute. He wasn’t familiar with this particular gal. Her name was Mary. Yeah, right … if her name is Mary, then mine is Ming, he thought. “Ugggghhhh,” went Arlen as she giggled again. “Why are you giggling?” Mary just laughed again and said something under her breath in broken English that he couldn’t quite understand. She was a small woman, but the deep tissue massage she was dishing out, the strength and glorious force, made Arlen think that perhaps she was a goddess – the goddess “Masseuse” or something. Leaving him was the kidney failure, the arthritis, the Lou Gherig’s disease, the pancreatic cancer.
“You have nice, strong body,” Mary said.
“Thank you. I work out.”
“Yes, I can tell.” Mary laughed again as she began rubbing Arlen’s legs, moving up the thigh and skimming his ball sack. Arlen’s cock woke up. He didn’t like to get a hardon during a massage, though he was perfectly fine with it; but he liked to avoid it, so he began thinking about the company wide layoffs due in the spring, about his life insurance, about who would catch for the Yankees now that Posada was on the DL. Arlen kept the little guy at bay until she began working the other leg, continuing to giggle as she was moving up and down it. Why was she giggling so much? Can she see that I’m getting a woody? Maybe I didn’t wipe my ass well enough, he thought in a panic. No, that wasn’t it he thought – he had showered before he arrived.
“You’re so good! I’m really enjoying this.”
“Ummm, yeah … I can tell,” Mary said with a laugh.
Okay, she definitely knows I’m hard, Arlen thought. No doubt. All her giggling reminded him of one of those blooper shows where they show outtakes of an actress who keeps cracking up during a scene. It’s not very professional, he thought, but it’s making me more and more hard. She began working Arlen’s fingers.
“You married?”
“Yes I am.”
“Hum.”
“Are you married?”
“Oh no! I would love to be married, but you taken.”
“Now, now … I know you must have lots of boyfriends with those magical hands of yours.”
“No … no… I wish, but no…” Mary continued to giggle.
As she lifted his leg up and stretched it, his penis began to swish against the table, causing it to stiffen slightly. Arlen tried to continue to stay focused on the massage, not that he was getting excited - concentrating further on his body, on his immune system, on his survival.
“You have nice build. Yes.”
“You have an attractive body as well. Why haven’t you found a nice man yet?”
She let out a guffaw, slapping her hands down on Arlen’s ass in exasperation.
“I not been lucky to find white collar man like yourself.”
“You don’t want a white collar man like myself. Oh, no … I’m no good.”
“Oh, yes … like you… yes…” she giggled again as she switched legs – his hardening cock pressing against his abdomen. Arlen would moan now and again – especially as she worked his thighs and calves, the last set of squats at the gym having really tore them up pretty good.
“You’re so good my Chinese flower … so good.”
“Ummm … yes, I can tell…” said Mary with a grin.
After she walked on his back, pressing her toes deep into his spine, after she had elbowed everything into pure bliss, it was time for Mary to work the front of his torso. Arlen happily turned over – hardly shy to expose his large erection. Mary snuck a look and placed the towel over his center region. She started scrubbing his head, digging her fingernails into his scalp – it was his least liked part of the session, but there was a glutton for punishment deep inside Arleb that prevented him from telling her to stop: He just squeezed his teeth together and imagined brain cancer being rubbed out like a Brillo pad working out the grease on a stove. After a thorough massage of his feet, arms and legs, she ran her hands across his hairless, muscular chest, and moved down his torso just far enough to knick the head of his penis. Arlen was tenser now that the session was near completion than when he had entered the room.
“You know Mary, it’s tough … and, you know, I’m sorry that I’m, you know,” Arlen said gesturing to his erect shaft. She giggled once more, throwing her hands in front of her eyes in a playful motion. “And you know,” Arlen continued, “it’s a muscle and all, and it is left to just … to just be there, ya know.” He shook his head and sighed. The massage was over and Mary handed Arlen his robe. Arlen slowly put it on, making sure to give Mary one last look before she exited the room. She did look again, and smiled.
Arlen and his wife, Doris, sat on large comfy chairs in the rest area, eating fruit and enjoying the ambiance of lit candles and small, manmade waterfalls. Arlen needed terribly to go home and fuck Doris – he was frustrated, chewing up pineapple – brooding on his massage.
“I’m more tense now that the massage is over than when I went in.”
“Why?”
Doris was a former Houston, Texas beauty pageant runner up. Her body was still firm, but her face was collapsing under a canopy of large blonde hair.
“Because she was touching me near my penis and she was giggling.”
“I bet you enjoyed it. There is such a double standard in this world.”
“Actually … I didn’t enjoy it.”
“If a guy had done something like that to me, you would have gotten angry at the guy and probably at me!”
“I didn’t like it, I said.”
“You should say something, that’s very unprofessional AND I think illegal.”
“Yeah, well …”
Mary the massager brought a tray of juices over to Arlen and Doris, smiling.” They gave her a dirty look. “I’m not thirsty,” Arlen said.
“Say something,” Doris said. Arlen remained mum. Mary walked away – confused.
“I knew you wouldn’t say something – just like you. You probably loved it, that’s why you won’t say anything.”
“I tell you, that is not true. It made me very uncomfortable.”
“So uncomfortable that you won’t say anything.”
After Arlen and Doris had dressed, they walked up to the front to pay for their massages. Doris began putting her shoes on. Arlen looked frustrated as he handed his credit card to the squeaky clean Asian boy manning the front desk.
“Will you be paying for both, sir?”
“Yes – and … let me tell you, I find this establishment to be very unprofessional and highly distasteful. My massager, ‘Mary’ I believe her name was, kept massaging near my private area, making me very uncomfortable. I don’t know what she was expecting, but I asked her repeatedly to stop and she wouldn’t hear it. I don’t know if she could understand English or something, but I was very put off.”
“That is terrible Sir. I can assure you, we are not one of those establishments.”
“Well, I think you had better have a talk with ‘Mary’ – or can her ass, because she can get arrested for stuff like that? If she thinks I’m a ‘John’ – she has another thing coming.”
“Please fell free to write our Manager, she is not working today, and I’m sure she will take care of the situation. I am very sorry sir; we will not charge you for your session. I am very, very sorry.”
Arlen continued on like that for another minute or two as he put on his three hundred dollar pair of shoes.
“I’m very proud of you,” Doris said, hugging Arlen around as they left.
Friday, August 1, 2008
Bedbugs XLIII
Bedbugs XLIII
Click here for an explanation of how Bedbugs is created.
Click here for last week's Bedbugs.
"I'm disappointed in you," the artificial box says, attached to
the machine pretending to be my wife. I'd turn it off but
what's the use? Another distraction is at the door; the decay
has left three holes in the floor; none of which anyone can fit through.
The moment has been prepared for. I'm giving up on you.
And this time I mean it. No matter man in white on the top of it
must be pretending to be God; well, SOMEBODY has to.. I'll
shut it out. Anything that could change us into what we should
or want to be. 44 years of denial- one day, who's going
to reach this and lay in the field, as they add color and sirens
of the aural and flesh-covered kind. I need one to lie down here.
Make me wait for anything real? Sadly someone, if not the entire
population, will. The phone in her head won't stop ringing.
I snicker at the potential punchline.
Exactly four years ago things sucked but were proclaimed 'the good
old days.' Breaking a glass, the third man carves 'this is all
a waste of time' into the wall. It oozes sap, bleeding like he can't.
Turning, smiling, two rows of teeth on top and bottom. Knowing
Dad's health is improving is a fine wish. But even if everyone gets it
together, she might not. Can't wait for you forever.
Next week's seven phrases/groups of words:
-on trial again
-four black dresses
-nobody reads this or anything else
-I volunteer to take it
-shouldn't people be here
-people shouldn't be here
-it's improving in small increments
-adam
Wednesday, July 30, 2008
Six Word Theater
Six Word Theater
Click here for last week's entry.
Inspired by the challenge Hemingway undertook to tell a story
in six words("For Sale: baby shoes. Never worn."), I attempt
to polish my skills by telling a six-word story or phrase each
Wednesday.
Feel free to "continue the story" or start your own.
Today's Entry:
Two gentlemen entered...
only one left.
Monday, July 28, 2008
The BBF interview: Writer/Director Nick Gaglia (part 1)
The BBF interview: Writer/Director Nick Gaglia (part 1) George Gallagher on BACKSTAGE with Barry Nolan He’s too human for me to hate him and yet I wanted to kill him at points in the story. and you're justified. So, that's what I discussed with Albert in terms of character.
Nick Gaglia knew he wanted to be a filmmaker since he was 11,
when he picked up a camera for the first time and wrote, directed,
and acted in his first short film. He was the youngest kid in his
theatre group and studied acting at Professional
Performing Arts School in Manhattan.
His personal life, however, started to deteriorate
when he got into drugs at age 13. Subsequently, his mother
checked him into an unregulated “tough love” drug rehab
(KIDS of North Jersey) that would change his life forever.
The rehab boasted of being the only place in the world that
could keep kids safe and sober, but what really went on
behind closed doors was quite the contrary;
corporal punishment, humiliation tactics, sleep and
food deprivation, false imprisonment, and mind control
were daily routines for Gaglia and group members.
After enduring the abuse for 2 ½ years,
Gaglia escaped the rehab and went on to study filmmaking
at Hunter College.
After honing his skills with several short films, Gaglia made his first
narrative feature, Over the GW, based on his unique experience
in rehab. GW premiered at the 2007 Slamdance Film Festival,
where it was the first “under the radar” feature in the festival’s
13-year history to get a distribution deal after its first screening.
The film went on to play theatrically in New York, Los Angeles,
Chicago, and Maryland and was received with enthusiastic praise:
“…Mr. Gaglia has produced a work that’s as much an act of emesis
as of filmmaking…the rehab drama is here to stay.”
– Jeannette Catsoulis, New York Times
“‘Over the GW” is an assured first feature by 25-year-old
writer-director Nick Gaglia.” – V.A. Musetto, New York Post
“Not to be missed” – Chicago Sun-Times
“shocking…the film accrues a learned sense of what it feels like to have
the very fibers of one’s soul placed under a magnifying glass.”
– Rob Humanick, Slant Magazine
“…emotionally potent…” – Joe Leydon, Variety
Trailer for "Over the GW"
AB: Tell me about the inspiration behind this film.
Nick Gaglia: When I was a teenager, unbeknownst to my mother,
I was admitted into an abusive cult-like drug rehab. I was on drugs
and needed help but this place wasn't helping anyone. It was actually
more traumatizing than anything else. Eventually after 2 1/2 years
of brainwashing and abuse I was able to successfully escape.
This topic of abusive 'tough-love' drug rehabs has been the
best kept secret for decades now. No film has really been done
on this topic in an honest manner before Over the GW.
You had always intended to go into filmmaking and
tell various stories, was a variation on your experience
always the obvious choice for a debut film?
Even when I was in the program I would look around and say
to myself, 'this would make for a great movie!' So I always had
it swirling around in the back of my head.
In your writing process, how did you decide what
to dramatize and what to leave out, what to heighten, etc.?
I knew there were signature aspects to the institution that
needed to be in the film. Other than that, the scenes and characters
were largely composites of real stuff in order to make the narrative work.
There was a short film version of this shot before the feature,
right?
Yes. I shot a short film on Super 16mm film based on the brutal
intake scene from the feature.
Was your decision to shoot on 24p motivated by budget
or keeping in like with the aesthetic you were interested
in for the film?
Well, after I watched the short film I felt it looked too beautiful or
too 'Hollywood.' Because it was shot on super 16 it looked
very polished which was not exactly what I was going for.
I needed a look that felt like you were watching something real
go on before your very eyes. With the s16 what you got was
the feeling as if you were looking into a world, and
not necessarily as if you were a part of that world. The look I got
with the 24p was that rugged, documentary-like, real life feeling
I was looking for.
It didn't hurt either that it cost a fraction of the price to shoot
on 24p versus s16. But if I felt that s16 was the way to go
and there were no other options, then I would've held out
'till I had the opportunity to shoot on it.
Did you always intend to shoot on such an intimate scale,
or did you intend originally to look for investors
and go ‘bigger’?
Before I shot the short I intended to shoot it on a much bigger level
and look for investors. But, as I just described I quickly realized that
there was a more efficient and effective way of telling this story.
Was your visual style in terms of camerawork/coverage
largely planned in advance or improvised?
I'm very vérité terms of the way I work. I like to see spontaneous
and real things happen before my very eyes. I encourage my actors
to improvise within the text. That way nobody knows
where they're going, not even them. That's how you get the real stuff.
I'm same way with my camera work. Let's face it, when someone's
filming a documentary they don't know what's going to happen
from moment to moment so why should I. Or why
should the actors for that matter, either.
That's the way real life is. If you want to create
a real moment you have to treat it like real life.
How far before shooting did you cast your leads?
They had amazing chemistry; every family dynamic
felt authentic; and I noticed one or two of your
family members actually appear in the film.
We found George (Gallagher) first. I learned that he was
a very talented actor and originally conceived of him for
a different role - one of the staff members. I introduced
him to to my sister, who was a producer on the project,
and she said, 'what about him for the lead.'
I said, 'no way. He's too old to play Tony.' In the original screenplay
Tony was supposed to be a 14-year-old. George could do 17 but not 14.
My sister said if he could bring the audience on an emotional journey,
then that's all that really matters. And you know what, she was right.
I revised the screenplay and tailored it to George. All the rest
of the cast fell into place from there.
How did George and Kether come aboard as producers?
The most successful actors in the world are also producers and
I think these two realize that. They cared so much about the project
that they made themselves available in every way possible.
Tell me about working with Albert (Insinnia) in shaping
his character (leader of the rehab center). He’s the antagonist in a way, unless you count the entire center/system as the antagonist; yet he’s got so many layers to him.
It's easy for an actor to take a character like Albert's and play him evil.
But, it's much scarier and more realistic if you play the character
as if you believe what you're doing is the right thing
People in real life whether they're doing the right thing or the wrong one,
they always justify in their head that what they're doing is right for them.
One of the most disturbing aspects to the treatment center
in the film, personally, was the forbidding of reading.
Was that something that really happened?
What’s the reasoning behind that??
That was 100% true. The reasoning behind that was to not have
any distraction from the outside world and only be focused on
the information that they were supplying you.
Clever brainwashing technique.
actors/producers Kether Donohue and George Gallagher
Visit the film's website at http://www.overthegw.com/.
Part II of this interview can be found here.
-Adam Barnick
Sunday, July 27, 2008
The Boxpress "NEW" Music Time Show with Brian Hughes
Interview with Cold War Kids
Dems Da Brakes (Episode 4)
Minimalist situation comedy/radio play.
Epiosde 4 "The Guy with the Wooden Eye"
Cast:
Samantha: Melissa King
George: Peter Rinaldi
Setting:
The home of Mr. B, the cat, on the Upper East Side of Manhattan
Friday, July 25, 2008
Better Living Through Absurdity
The message on the back of the bus.
It read:
SYPHILIS IS BACK -SPREAD THE WORD!
Next to it was a picture of a cell phone with a text message reading "What's up? Have U gotten your test yet? I'm doing mine 2day!" or something like that.
I slammed on my brakes -stared for about 5 seconds and then busted up laughing. The guy in the car next to me looked over and I pointed at the bus -he cracked up and then held up his cell phone -we just drove off laughing.
Now, I'm all for getting the word out there that dangerous things such as diseases, illiteracy and poor clothing styles are running rampant and should be prevented at any cost. I understand that advertisers assume using one of 4 stock methods of advertising is a sure bet with audiences.
(The four stock methods are 1) Small child, usually African American or Hispanic with HUGE eyes -these ads are for anything from poverty to illiteracy to immunizations to stopping racism. Then there's 2) Asking you a question which at best is rhetorical and at worst is just offensive i.e. "Wouldn't you like to be debt free?" -no shit -who wouldn't? or "How does it feel to know that every piece of paper you throw away is killing an acre of rainforest?" -all they need to do is add the word "asshole" afterwards and the sentiment would be perfect. Even the dating ones which say something like, "Do you want to meet attractive, intelligent singles?" Nah -I'll settle for homely and simple thanks. (You can see where I'm going with this...) Number 2 ties in closely with 3) Questions or statements designed to make you feel guilty -the ones for STD's are great...I saw one that said "Way to go...Killer" and underneath it said something about not disclosing you're HIV positive and therefore putting people at risk -which yes, of course I agree with it -but I don't know if the marketing strategy is exactly...decent? Other examples of guilt advertising -reminding you that "50 Cents a day would save this child's life" as they're holding a bowl of what you hope is rice -these ads are particularly fun when you're in a restaurant or somesuch and about to eat your nice helping of whatever (and yes, I'm a total insensitive cunt about that. I'm the one who can't read Grapes of Wrath or any other quintessential dust-bowl migrant/depression era farm novel because I get hungry. Scene after scene of dust and dry and parched and starvation -and then behold! A turnip! Rejoice and let us have soup! Take that single turnip and add it to 10 gallons of water and we have a feast. Strain it through underpants to get flavor...and while reading this I'm on the phone ordering pizza or fried chicken because dammit, I'm hungry and I'm not going to get a complex about it either -just call me Scarlett O'Hara)....and then of course, good old 4) BIG BOLD WORDS DESIGNED TO GRAB YOUR ATTENTION IN AN ANNOYING FASHION AND MAKE YOU THINK THAT SOMETHING IMPORTANT MIGHT BE BEING SAID!!!!! followed by loud color schemes, glitter, bad attempts at modern "slang" and if at all possible, an endorsement from some washed up has been sports star/musician/actor/model or whatever.)
Still, I do have to thank the advertising world for giving me a good laugh.
Now, I have to go get my syphilis test -R U getting yours?
Bedbugs XLII
Bedbugs XLII
Click here for an explanation of how Bedbugs is created.
Click here for last week's Bedbugs.
She tells me the news by writing it on the back
of her hand which is now made of stitched patchwork
parchment and my jaw cracks the wood finish next
to my shoe. They promised they'd heal her but nothing
is real unless you put up 50% on deposit it seems.
I dig at the walls and leave nail bits and the best parts
of my fingerprint for history to clean up.
Another pretty lady steps up to the microphone-
both are from the 20's. Where is the light coming from?
She sings and all of us pretend she's singing to us.
Lying to ourselves is the way to fill in the parts of your story
that never came true. Multiple copies of me in the field, it's winter
but mists and light rains dance on them. They're upset too. Noises
outside our door; it's the past. I was hoping it'd be
delivered sooner. Waiting through the rest pattern and I jump
up at the prospect that I've gone back to when it all seemed
like it was going in our favor. But it's still today. The wood in
the walls is damp and decaying and rusting in the same pattern
I am. Secrets told; hear it only in my left ear, the right one is ringing
with excuses for why we didn't prosper. Knowing embrace they
paid for, the lost audience turns back as she struggles
to be heard over the violins. The drugs make it
sound beautiful. Maybe it is. This body is
getting in the way of real experience; the hallways are covered
in it.
next week's seven phrases/groups of words:
-the moment has been prepared for
-man in white on the top of it
-44 years of denial
-make me wait for anything real
-exactly four years ago
-Dad's health is improving
-can't wait for you forever
-Adam