Gorman Bechard's Blog, page 12

Yes, I am thankful…

First off, for The Village Voice (the newspaper I bought as a teen to find out where bands like The Replacements were playing) and FilmMaker Magazine doing pieces within a week of one another.

Not to mention still living off a rock high from those two Mats tribute shows thrown by Jesse Malin, Todd Youth, and company after the two sold out Color Me Obsessed screenings in NYC last week.

But even more than that. It's been a great year for so many reasons. To shoot the Archers of Loaf live, and have three of my favorite people in the world (Jan Radder, Sarah Hajtol, and Adrian Correia) by my side as I'm doing it. Is there anyone I'd prefer to make a film with? No. These are the guys that make my life easy.

To have so many other films that excite me in developement. To be working with Lynn Mancinelli again. And the new people on the crew (Taryn, Andrew, and Cory) who are such rising stars.

For the acquaintances who became good friends over this past year: Diane Welsh, Katie Dickie. And the friend who became such an important part of my team: Dean Falcone.

For the attention lavished on CMO. It's been a nice surprise to have taken the risk, and have it pay off. I am humbled.

For the two stinky dogs who bring a smile, love, warmth to every day of my life.

And to be able to share all of this with the woman who's been by my side for 19 years as my wife, 24 years as my best friend. The partner who still cries when she feels I've done something really well. And who has no problem telling me when I haven't. I love you, Kris.

I have a lot to be thankful for…

Why YouTube sucks ass

Ok…so I write to YouTube because someone posted an old film of mine without permission. And after jumping through hoops of fire to get my content taken down (content with was uploaded without a single hoop), what do they post on the old link page? This:

"This video is no longer available due to a copyright claim by Gorman Bechard. Sorry about that."

REALLY?

"Sorry about that!!!!"

Shouldn't it be more along the lines of: "The person who posted this was a thieving asshole who had no right to post it in the first place. His account has been canceled."

I mean, seriously, who's side is YouTube on? The illegal poster's? Or the person getting raped by their service by people who can post whatever they want?

YouTube needs to get a grip on reality, grow a pair of balls, and stand up for the people getting ripped off, instead of kissing the asses of the illegal posters.

Either that or one of these fucking pirates needs to have their head beaten in with a baseball bat, just as we would if we caught them breaking into our home. No difference.

Except pirates are enabled by YouTube and their like.

It's bullshit.

A few rules on how not to be a filmmaking douche bag…

I've been on the festival circuit now on and off since YOU ARE ALONE broke in 2005. Lately even more so because I seem to have hit a nerve with COLOR ME OBSESSED. And I've realized that a lot of my fellow filmmakers are, well, douche bags. Plain and simple.

"What makes them so douchy?" you ask. Well, two things in particular in regards to festivals.

1. Most festival are limited in the amount they can spend on bringing filmmakers to their weekend of film. So, it'll usually be a handful of us mingling. Now, I will always try and see everyone's film. Attend the Q&A's. Even ask questions. I try to get involved. I'm there to work. Festivals might seem like a vacation. Ask my wife, they're anything but. You have to be on, you have to schmooze, you have to be selling yourself and your film every moment. Part of that involves seeing other films, supporting other filmmakers. I've even been told by fest directors that every time they turn around they see me walking into a screening. And nothing makes them happier. But what pisses me off (and even more so fest directors) are the filmmakers who take all the travel perks, come into town, screen their film, do a half-assed Q&A (you can always tell the douche bags by their Q&A's), then sleep, drink, sightsee…basically do anything BUT watch other films. They expect you to watch their masterpieces. But can they return the favor? No. Of course not. (And these are usually the same film school assholes who at their Q&A expound on how filmmaking is such a collaborative art form, and how great it is to be involved in the filmmaking community. HORSESHIT!) These filmmakers annoy the piss out of me because they don't realize filmmaking is a job. Instead of being thankful for being flown and put up in a strange town, they believe it's deserved. Such is their sense of entitlement. Of course these are always the one "hit" wonders who soon discover filmmaking isn't for them, and are soon making bad cappuccinos at Starbucks. Karma is a beautiful thing!

2. The other inexcusably douchy thing filmmakers do all the time: cancel on festivals at the last minute. I know one fest director who paid for flights and rooms for three members of a specific filmmaking team, only to have them not show. And look, I know shit happens. But fellow filmmakers, unless someone VERY close to you is dead or in the hospital dying, likewise for yourself, or unless you house burned to the ground, THERE IS NO EXCUSE. You're fucking over not only a fest director who liked your work enough to invite it to their fest (and remember the director of a small fest today, is often running a much larger fest tomorrow), but also the audience who might have wanted to ask you a few questions. And mostly you're fucking yourself in so many unpleasant ways. The fest director has identified you as a douche, and will never go near one of your films again. They'll spread the word to other fest directors that you are Douche of the Year on their short list. Plus you lose the chance to mingle with potential fans, potential buyers of DVDs and VOD. And you miss out on sleeping through the screenings of the other filmmakers, which you would have skipped anyway.

Actually the more I think about it. The festival, the other filmmakers, and even the patrons, are better off without you there. Stay home. Practice your barista skills. They're going to come in handy for you one day.

My saddest anniversary.

This is now the three year anniversary of one of my saddest days. The day my dog Kilgore Trout died.

Time doesn't seem to erase how much I still miss him. And as I said last year, I don't think a day has passed since in which I haven't missed the way he always made me laugh. What follows (below the photo of my tattoo, and the shot of Kilgore which inspired it) is one of the best thing I feel I've ever written…certainly the most heartfelt. I present it again as originally written. Hug your pet, grab a box of tissues and read on…

A tumor the size of a grapefruit. I saw it on the x-ray, filling the space between his liver, his spleen, and his stomach. Perhaps encroaching on his lungs as well. Suffocating Kilgore Trout from the inside out.

At first we thought it was a reaction to Previcox. A drug given to him just about four weeks ago to help with his hips. He was having the worst time walking, this glorious pup who would jump, would bounce, like on a trampoline whenever he saw me.

(watch the clip that now opens my website as proof…it's 45 seconds that will make you smile.)

At first the drug did wonders, until he stopped eating, starting vomiting. Side effects all, so many serious side effects. How could this fucking killer pill be on the market?

I am angry. I am seething. I know Previcox did not kill my dog, but it certainly didn't help there in the end. A shot of Pepcid did for a while. But still the appetite nowhere near the vacuum cleaner-like enthusiasm with which he used to eat. Less and less every day. And the vomiting returned. Bile, from his mostly empty stomach.

More Pepcid. But it didn't seem to help this time. Finally a trip to the vet. You could see it in her face as she checked him stomach. Perhaps we should get him x-rayed…now. The normally busy hospital would take us NOW.

So I dropped my wife at home so she could tend to our other dog, and drove Kilgore down to Central Hospital in New Haven. It was quick. He sat by my feet afterwards as I waited on word. The receptionist said the vet wanted to speak with me. She gave me the news. None of it good.

How long does he have? I asked. A few days, was the response. Or perhaps to the beginning of next week. (This was a Thursday.) The x-ray technician showed me the tumor. It was massive. All encompassing. There was nothing to do but make him comfortable during his last few days.

But a small meal of Kentucky Fried Chicken pulled from a breast was all he could manage. A few strips of it really. And a little water to follow. That would be his last meal. My dog who could eat anything and everything, from a full edition of the Sunday New York Times to financial magazines (he especially loved to "tear into" MONEY and KIPLINGER'S) to, well…anything he could find in the yard., gross or not.

Whenever I put a 12-pack of beer away, he'd wait patiently, then snatch the empty box as I pulled out the last beer and put it into the fridge. Then he'd play keep-away with it, or tug-of war. Or he'd lie right down and start ripping it to confetti. He especially loved Rolling Rock boxes.

But he could eat anything and everything, always without repercussion. Now, nothing…

He walked around on his own on Friday. Venturing out into the yard, up on the couch with a little help. He wagged his tail, but mostly slept a lot.

That night, Friday, what would be his last night (october 24), I slept on the couch with Mr. Trout. Well, he slept on the couch. I was mostly on the coffee table, but that was ok. He rested his chin on my leg, I scratched him behind his ear.

My wife and I kept asking anyone we knew…how would we know when it was time to put him to rest? Well, he told us.

Kilgore got up twice that night, went out into the yard, slowly, but surely. But then came the morning. Almost two days now without food or water. And when it came time for him to go outside, he made it through the door, but had to lie down after only a few steps. He couldn't get up. We knew…

We had already made an appointment at the vet for Saturday morning. Originally for a check up to see if there was anything else we could do. But now I needed to call them, and change the appointment until late in the day. The last appointment of the day.

He couldn't really walk, so I carried my friend out to my Jeep and laid him down in the back. And, the three of us took his final ride. My wife sat in the back with him, as I went into the vet office to make sure everything was ready. Then I carried him in and laid him on the table.

After a while the vet came in an asked if we were ready. No, how could anyone ever be ready? But I knew he was in pain, I knew he was so tired, and I certainly didn't want that thing inside of him to burst.

He lay, as he always did at night, two paws straight out in front, his chin resting perfectly centered between them. I squatted down so that I was nose-to-nose with my friend. He never took his eyes off me as the doctor administered the drug that would put him to sleep.

When his eyes finally closed, I kissed his head. Something he so hated until a few weeks ago. I'd always do it at night, and he rub at the top of his head with his paws as if I'd given him cooties, or something. It was a ritual. But he was wagging tail. And in my heart I always believed he was perhaps embarrassed in front of the other dogs, like why was I kissing his head in public?

But this would be the last time I'd get to kiss the top of Kilgore's head.

Goodnight, my sweet prince, perhaps one day we'll meet up on the other side.

(i.miss.you.)

(so.fucking.much.)

nerves

I've never been nervous about work before. But I am…about shooting the Archers Of Loaf live concert film WHAT DID YOU EXPECT? this week. I love this band. I truly do. And I want to make them the greatest fucking in-your-face kick-ass concert film of all time. I just have to make sure I do…

What Did You Expect? (And 3 other features!)

FOR IMMEDIATE RELEASE:

August 2, 2011

Archers of Loaf Concert Film Announced.

What Were We Thinking Films Receives Funding For Three Features.

CHAPEL HILL, NORTH CAROLINA & NEW HAVEN, CONNECTICUT: Director Gorman Bechard, whose current feature, COLOR ME OBSESSED, A FILM ABOUT THE REPLACEMENTS, was named one of "The Seven Best New Music Documentaries of the Year," by Rolling Stone, takes on another iconic indie rock band with WHAT DID YOU EXPECT?, a feature film capturing the excitement and raw energy of the Archers of Loaf reunion tour.

Filming in August at the legendary Cat's Cradle in Chapel Hill, North Carolina, the film will bring to the small screen the explosive nature of an Archers' show. "I believe the Archers of Loaf were the greatest rock band of the 90's, and certainly one of the greatest live bands of all time," Bechard explains. "The sheer power of their live shows needs to be preserved so future generations can know what a rock a band is supposed to do on stage."

Bechard's New Haven based What Were We Thinking Films has also just received backing for three feature film projects:

PIZZA, A LOVE STORY, a documentary that delves into the phenomenon that is New Haven brick oven pizza and the trifecta of Sally's, Pepe's, and Modern Apizza. With perpetual lines around the block and customers that include everyone from presidents to rock stars, these three legendary restaurants come rich with history and spark passionate debates. Beginning with the Italian migration to New Haven in the late 1800's through the urban renewal debacle of the 50's and 60's, and into today when a two hour wait in line for a pie is not uncommon, Pizza, A Love Story is about family, passion, and of course one of the world's favorite foods, pizza. Filming is currently taking place in the New Haven area.

ONE NIGHT STAND, is part two of Bechard's planned "Alone Trilogy," which began with his award-winning YOU ARE ALONE. Starring Lynn Mancinelli and Alex Brown, two leads from Bechard's indie rom-com FRIENDS (WITH BENEFITS), the horror film explores what happens when you take the wrong girl home. "It's completely twisted and claustrophobic," Bechard explains, "the entire film takes place in one small studio apartment, with mainly the two lead characters. It isn't until the end of the first act that you realize what's happening, and by the time you get to the third act, you realize you were wrong about that too." Filming is scheduled for January 2012.

the temporary poster for BROKEN SIDE OF TIME

BROKEN SIDE OF TIME, also starring Mancinelli, is the first film set in the world of internet modeling. A dark road trip of slow redemption, the film takes a look at a woman who realizes her lifestyle is a death sentence. "She decides to give it all up, and go home," the director explains, "but not before one last taste of the vices which are killing her." BROKEN SIDE OF TIME is filming now, and is scheduled to be part of a filmmaking panel for the Hell's Half Mile Film & Music Festival in Bay City, Michigan in late September. Attendees can watch Bechard and company as they shoot the closing scene of the film.

The making of COLOR ME OBSESSED – part 31 (I NEVER WANTED MUSIC!)

A perfectly over-rated example of the rock doc genre is the Ramones flick END OF THE CENTURY. Yes, it's better that the average VH1 special. But not by that much. In every frame you know that Joey is already passed onto the other side. Had the filmmaker begun the project two years earlier, I wouldn't be making this criticism. But the film feels wrong to me. As do most rock docs made after a band is longer with us (for whatever reason). Whether that band be X, the Beatles, or anyone in between. Something is missing.

Which is why I never ("NEVER!" I screamed) wanted for a moment to give my favorite band of all time such treatment. I truly believe that any "traditional" doc on The Replacements will play like one of these VH1 specials. So, when the opportunity to make this film fell into my lap, I knew I had to come up with something as daring, as unique as my subject. That fuck-you to tradition that The Replacements so deserved.

I knew some would have issue with my approach. That, like the band at so many junctures in their career, I risked falling flat on my face. But, and anyone who knows my career knows this to be true, is was a risk I was more than willing to take.

What probably surprises me most is that some people insist I'm lying. That I couldn't afford the rights to the Mats music. I have to think those people just can't comprehend risk taking, or doing something different. They're so caught up in tradition, they see the world through blinders and are unable to accept originality. How they ever became Mats fans is beyond me. Perhaps they grew jaded and crusty as they got old. Or perhaps they're just jealous that it worked. As I know it does. As the dozens of IMDB reviews from people who's seen the film at festivals have confirmed. Many of whom who entered with their arms folded against my no-music nuttiness, only to leave with a satisfied grin plastered to their face. Originality can do that. It can make you feel alive again. (If you give it a chance.) Sort of like The Replacements did the first time we all heard them.