Two weeks ago we completed work on our newest project, Other Fish. The 4:39 movie was animated/co-directed by Josh Stifter, produced by my wife Olivia Roush, and features sounds by Mike Hallenbeck. It follows a recently divorced woman who attempts to swim a channel of shark infested water in order to prove to herself that she is now truly independent. We were incredibly fortunate to score an amazing cast for this project including Michael Parks, Harley Quinn Smith, and Jacqui Duncan. Since the movie is now stuck in film fest submission hell (the process of submitting to film festivals means that you must sit on your hands for the better part of 6-9 months before you can release it) I wanted to take a little time to talk about what the project is, who was involved, and the lengthy process of bringing an animated project into fruition.
Deleted scene in Tusk
I first heard of Josh Stifter while working on the set of Tusk. Kevin Smith is a one in a million filmmaker who is such a work-hard nutcase on set that his rough cut of a project is typically assembled before principal photography is even over. One day about 3/4 into production in North Carolina, Kevin put Mewes and I in charge of assembling a TV and sound system in order to screen the rough edit of Tusk to the cast and crew during lunch. There is something truly magical about watching a crew actually see a version of the art that they are currently working on. It was this cut that included a few select animated sequences, one of which included the backstory of Michael Parks' character Howard Howe done by Josh Stifter. I was taken aback by the visceral animated visuals on screen. I'm not sure whether he or I reached out to one-another first, but ultimately less than a year later we were looking for a project to collaborate on together.
In February 2015 my Mother-in-law was about to swim a race that actually took place in shark-infested water. This lead to my wife waking me out of sleep one night, telling me about a nightmare of her mother actually getting attacked while in the water. The next morning I wrote a 7 page script inspired by the story she told me. However, I wanted to tell something bigger, something with a moral, a very twisted moral. One about the dangers of following your dreams.
James Gunn once wrote a blog about the dangers of following your dreams in Hollywood. It is a genius and thought-provoking article that should be considered mandated reading to anyone wishing to become a master in any career. The fact of the matter is that it is extremely irresponsible for people that have "made it" to blindly regurgitate the phrase "follow your dreams" when talking to those contemplating attempting to make art for a living.
The film, TV, and music industries are extremely over-crowded by people who are attempting to break into it thinking they are special. If you are in fact one of the people truly dedicated to making it, you have to be so absorbed and obsessed with your craft that there is nothing else that matters. In many cases, this leads not only to the breaking of hearts, but the decline of relationships, finances, and even your own health. My point is that if you are so hell-bent that you are willing to sacrifice everything in pursuit of your dream, there are deep, horrible ramifications that may come along as a result. I'm only using my own experience here as an example. I'm sure if you ask a painter, sculptor, carpenter, luthier, or those that have mastered any other trade, the same applies to some degree. This film is my little fable about the dangers of following your dreams.
Parks and I
Once I had the script finalized and sent it off to Stifter, we were off and rolling. We floated around some casting ideas but I knew exactly who I wanted. Though I traveled to North Carolina for Tusk as a behind the scenes videographer, Kevin immediately assigned me to Michael Parks as his assistant. During that time I'd drive him to set, go out to lunch, and the things one typically does in the role. However, the time I'll always value is sitting on the steps of his trailer with him in the doorway as we both shared cigarettes and he regaled me of tales of his days hanging with Elvis, Lenny Bruce, Johnny Cash, Richard Pryor, Miles Davis, etc. While talking about his music career, Parks would even occasionally break into song. So of course, when it came time to approach someone to play Grandpa in Other Fish, he was my natural choice and just like the class act he is, he immediately said yes.
HQ as Sandy
After we wrapped on Tusk I went back to my humdrum life at Sony (working 20 hour days and sleeping under my desk for the other 4... but that's another story). One night, out of the blue I got a call from Jen Schwalbach who invited me to come work for her family as a driver/bodyguard of sorts. That one call saved me from my cubical bound life and I will always be indebted for it. For the next year and a half I drove around the youngest of the Smith clan. I'd drive Harley and her friends to malls, parties, the movies, all sorts of teenage girl stuff. This allowed me ample downtime while waiting on them to concentrate on my writing and allowed me the flexibility to complete my movie Rodney Redbottom, write, shoot, and edit The Mission, as well as finish my first full screenplay (an adaptation of an F. Scott Fitzgerald short story). One day while driving the family to the set of Yoga Hosers, I approached Jen about asking Harley to star in Other Fish and she was incredibly supportive. I recorded Harley Quinn the next week and she of course knocked it out of the park.
Jacqui on TV
That only leaved the role of the mother to be cast. We mulled over many options, but it was Liv who mentioned her good friend Jacqui Duncan. She had met the aspiring actress in Sydney while working for a wine dispensary and the two moved to Los Angeles at damn near the same time. I of course was offish about an Australian playing such a dominant role in an American, animated movie, but Liv was confident she could handle it. After reviewing several productions Jacqui had been involved in, I was sold as well and we recorded the following week. She is one of the most professional actresses I've ever witnessed.* While recording sounds of being attacked, she almost hyperventilated three times due to giving it all she had. Looking back there is no one that I would have rather had in the role. It saddens me that our friend has returned to Australia, but she's now on to bigger and better roles for doing so.
*Side note: She played all three witches voices in Kevin's short Hallow-Ian, his contribution to the movie Holidays.
Josh Stifter,
Self Portrait
Having the voices in the can, Stifter took the next few months nailing down the look of the animation. This was a trying time, after all, this wasn't your typical comical cartoon, this was a dark, dramatic animation. The style he eventually settled on is an amazing take on the look of the 1990's Liquid Television while adding incredibly refined texture, colors, and shading. This project is unlike any cartoon I've ever seen and I genuinely say Stifter's name in the same sentence with the greats like Bill Plympton, Don Hertzfeldt, and Mike Judge. As he started delivering me these gorgeous scenes, we began the talk about who was to do sound.
Mike Hallenbeck
As with all of the projects I've done thus far, I am a control freak. Normally I am actively involved with every single aspect of every project I do. So when Stifter suggested that Mike Hallenbeck, not I, do not only the sound-design, but the actual score to the movie, I freaked out. Being the insane asshole that I am, the concept of not having an active role in a movie after I have wrote and directed the actors is not something I'm comfortable with. However, Stifter assured me of Mike's work and I eventually relented.
I'm happy to say that Mike Hallenbeck turned in an auditory experience that I couldn't come close to approximating on my best damn day. The dude is an absolute genius with sound. Listen to the trailer. Hear the waves, the splashing, the dog, the grumbles, the little nuances in just that trailer alone are perfect. You're going to have your mind blown by what he did with the actual score, it's pure perfection.
Olivia Roush
But that's not the only people that helped make this project what it is. Much of the tension derived from the movie is largely thanks to the editing work of Jeremy Wanek. The score wouldn't be nearly the same without the lap-steel guitar of Ben Connelly and the electric guitar of Ben Glaros. Even our good friend Matt Rowbottom kicked ass as co-producer in the final stages of this project. However, as always, the biggest reason that this was made is due to the support of my amazing wife and partner Olivia Roush. If it wasn't for her, none of the projects I make from the podcast, to the shorts, to the writing, to the scripts would ever be possible.
So until film festival submission-hell ends, this is as much as I can show/tell you about our new little project. Check out the trailer below, check out Stifter's work at FlushStudios.com, hear Mike's auditory asskickery at JuniorBirdman.com, and watch AntiCurrent.com for all things me.
My buddy Nick Dellaposta and I go back, way back. Matter of fact we were in our first band together, *Adorn. Before the dawn of the internet, you either had to sink money into a proper 4-track recording system, or you had to get inventive... we chose the latter. Desperate to record, I discovered that if I cut apart my guitar cable and twisted the ends together with an RCA cable that I was able to record the instrument with my mothers Aiwa cassette deck. Moreover, if I did this while "dubbing" a previously recorded cassette, I could effectively create a makeshift multi-track recording. About three times a week Nick would make the three mile walk to my house and we would record demos together into the homemade system. I cannot overly-express the genuine happiness that arises in me by bragging that despite two thousand, one hundred and eighty miles between us and fifteen years having passed, we're still collaborating on art with one another.
*I use the term band loosely as we never played a single show... or even had a drummer.
Nick and I
About a year ago I got a drunken text message from Nick as I was watching a movie. I ignored it and several thereafter, but upon my phone beeping for the 6th time I read it. He had just written a new song and wanted me to listen to it. Fine. I walked into the kitchen and listened to the song he had just recorded directly into his phone. There is no other way to put it, I cried. My longtime friend had written a song about my life and the craziness I have been through and it moved me to no end. Flash forward to a year later and Nick again hit me up. This time it was to direct the music video for the song based on my life. At first I laughed, after all, the idea of someone directing a song about themselves is pretty far up it's own ass, but after some thought, I agreed on one condition: We had to kill the main character in the music video. We all die, but how many of us have had the chance to direct our own death? When Nick asked who we could get to play such a role, I immediately thought of my good friend, Michael Parks.
Nick, Parks, and I.
I first met Michael Parks (from Kill Bill, Dusk Till Dawn, Then Came Bronson, etc) during the shooting of Kevin Smith's film Tusk. After a few days on set, it became evident that Parks needed an assistant to help him on set with mundane tasks and Kevin assigned me to be that person. Believe it or not, the first few interactions between the green-haired punk-rocker and the grumpy old man were a bit awkward. However, over the course of a few days we discovered a mutual admiration of cinema and music and formed a kinship that continues to this day.
Matt's account of the music
video is great.
So with the concept and the talent taken care of, I needed a crew. I'm lucky enough in this life to have a group of insanely talented folks in the same industry who all share common interests, thus I hit up my friends Andrew Heaberlin and Matt Rowbottom. Andrew is a badass cinematographer from Kentucky who has done everything from his own short-film Let It Be War to being an Executive-Producer on Yoga Hosers. Matt on the other hand is the behind-the-scenes producing talent who just finished his new project Going Dark: A Sith Story, starring Darren Hayes and Tim Stanton (from the He Said, He Said Podcast) . My wife agreed to assistant-direct (shes a saint for dealing with me on set) and with the essential building blocks in place, the rest was just a matter of "getting the band back together" as the kids say. I called up my friends J.C, Erik, Mitch, Joey, Shaun, and Cam and we were off to the races.
I cannot thank all of my amazing friends enough for all they have done for me and my stupid projects. I would fight and die for each of them.
Andrew Shooting Babies
We shot and edited the project in 4k, but the problem with the newly budding format is that there is next to no downloadable content for it. The long term solution to this seems to be highly effective encoding codecs like h265,which gives you ample quality with very small format size. The only issue with these is that it takes an incredible amount of processing power and a very good video card to reap the benefits of it, otherwise you're just staring at moving macro-blocks.
So here's our little contribution to the world of 4k, on the provided link below you can either download the highly efficient 4k, h265 video via my website (I suggest playing it in VLC), or if you follow the Vimeo link and click download, it will provide you with the 4k, h264 (easier on your computer to process, but larger filesize) download for free. It also provides you with 1080p, 2k, and other formats as well.
Two weeks ago we completed work on our newest project, Other Fish. The 4:39 movie was animated/co-directed by Josh Stifter, produced by my wife Olivia Roush, and features sounds by Mike Hallenbeck. It follows a recently divorced woman who attempts to swim a channel of shark infested water in order to prove to herself that she is now truly independent. We were incredibly fortunate to score an amazing cast for this project including Michael Parks, Harley Quinn Smith, and Jacqui Duncan. Since the movie is now stuck in film fest submission hell (the process of submitting to film festivals means that you must sit on your hands for the better part of 6-9 months before you can release it) I wanted to take a little time to talk about what the project is, who was involved, and the lengthy process of bringing an animated project into fruition.
James Gunn once wrote a blog about the dangers of following your dreams in Hollywood. It is a genius and thought-provoking article that should be considered mandated reading to anyone wishing to become a master in any career. The fact of the matter is that it is extremely irresponsible for people that have "made it" to blindly regurgitate the phrase "follow your dreams" when talking to those contemplating attempting to make art for a living. 
