NO ALTERNATIVE: Project Semicolon

The issue of mental illness must be destigmatized. This is what compelled me to make “No Alternative” into a movie. My sister, Briana, was a victim of mental illness, and she fought against her illness with aplomb. She fought against it through her art—both painting and music. This battle in which she waged is something I wrote about in my novel, which was a love letter to my sister, a plea for her survival. I wish I could tell you that plea was successful. But, I can’t. While she lost her battle, I’m hopeful we can win the war—and we can do it in honor of her and other sufferers like her. It’s my sister’s story; her story isn’t over, because I’ve made it my mission to tell it.

I made this point clear when I got my semicolon tattoo in support of both my film and Project Semicolon’s campaign to end the stigma. It is a tattoo of a semicolon as part of an early typewriter’s type-bar.

I’m a writer, first and foremost. While it is difficult to label any aspect of my sister’s death a gift, I believe that my sister, through this tragedy, gave me a gift. In the ensuing weeks after she died, I came across a journal of hers, which she kept as a patient in a long-term rehabilitation program for drug addiction. There was quite a bit of writing in its pages, but the only mention of me was a single line that read: “My brother says I shouldn’t waste my talent.” The context had to do with channeling her turbulent emotion into her art, as a way of leaking some hope through that din of despair. It wasn’t until several months later, as the grief was exponentially worsening and my productivity hit a standstill, that I thought that, perhaps, I was meant to read those words, and furthermore that she wasn’t talking about me, about what I said, but that she was talking to me. Her words were staring back at me from the page: she was telling me that I shouldn’t waste my talent.

The type-bar semicolon tattoo on my arm is there to remind me of this realization, this post-mortem message from my sister to keep writing, to keep making movies, to keep creating art. My sister’s struggle should not be limited to the confines of her illness, not when her experience could potentially help other sufferers and immortalize her spirit on screen.

I’m thrilled to mention that my semicolon tattoo is featured Harper Collins’ best-selling book “PROJECT SEMICOLON: Your Story Isn’t Over.” The photo of the ink is on page 253.

The book was released this month and chronicles the global phenomenon of the semicolon tattoo, combining photos of individuals’ tattoos with their stories about struggling with suicide and mental illness.

NO ALTERNATIVE: “…And That’s A Wrap!”

The last time I updated my blog, we had yet to begin production on “No Alternative.” Perhaps it’s a testament to the all-consuming nature of production that you have not heard from me since! I am therefore extremely pleased to write that we’ve finished principal photography and the film is in the proverbial “can.”

On the set of “No Alternative.” Photograph by Joshua Sarner.

It want to reiterate that I would not have been able to get this far without the help and support of everyone who contributed to our crowdfunding campaign on Indiegogo. Because of the strength of the Indiegogo campaign and your stalwart support of the cause, this project has gained the attention of magazine, newspaper and television outlets around the country. It also attracted the interest of investors who also believed in the film — both in its message, and in its commercial viability.

I can honestly say that everyone involved in the filming, from the actors to each and every crew member, was emotionally connected to the material and brought their A-Games to the set:

It was an absolute pleasure to work amidst such a passionate and talented group of people. The leads, Michaela Cavazos and Conor Proft, impressed me more and more each passing day. They were outstanding as Bridget and Thomas Harrison and I can’t wait for viewers to see just how outstanding their performances are on screen. I was also thrilled to work with veteran actors, Kathryn Erbe (“Law & Order: Criminal Intent”) and Harry Hamlin (“Mad Men”), who played the Harrison parents. I can’t thank them enough for their passion, generosity and faith in me as their director. Coming-of-age movies about families are hard to make in Hollywood, but I truly feel this movie was meant to be made — it was a near-impossible task, but everyone’s contributions made it possible. And it was not only monetary contributions: people donated their time, their 90’s era vehicles, their wardrobe, their food, their houses (as locations and for lodging), their instruments, their band logos and music, among many, many other valuable goods and services. My hometown, the City of Yonkers, could not have been more accommodating throughout the process — it has always bee a dream of mine to shoot this film there. This project was about as grassroots as it gets; and you know what, each and every step of it was invigorating!

Left to right: Conor Proft, Kathryn Erbe, William Dickerson, Harry Hamlin, Michaela Cavazos.

I’m extremely excited to be heading into the next phase of the film: the editing phase. We have a wonderful editor, Natasha Bedu, who has spent a lot of her time recently cutting the Emmy Award-winning series “Intervention” on A&E. Natasha couldn’t be more excited to be part of the team, and I’m thrilled to have her on board!

As we venture into post-production, our fiscal sponsor, From the Heart Productions, has encouraged us to continue raising money for this final, and crucial, part of the process. Those looking for end-of-the-year tax deductions, all contributions remain fully tax-deductible. Please share the project, if you haven’t done so already, and consider adding to your contribution if you feel compelled to do so — we’ve already done so much with a relatively small amount of money (by Hollywood’s standards), a little bit more will assure we get the best post-production sound and color correction we can swing. Here is a link to our current campaign:

https://bitly.com/noalternativefilm

Thank you so much for your support! I wish you all the best this holiday season!!

 

“No Alternative”: Pre-Production Begins

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Lions and tigers and bears, oh my! Or, more precisely, casting and locations and storyboards, oh my! Lately, my days have been a triptych of both beautiful and nightmarish imagery, all in service of the pre-production of “No Alternative.” Pre-production has even infected my dreams: the latest one was an elongated hike, alone in the mountains, but thanks to the inexplicable logic of the dream medium, the terrain was the movie itself, and I wasn’t even halfway to the precipice.

However, the most turbulent time for me, with respect to my subconscious, is after filming ends: 3-4 weeks after wrap, I begin directing in my sleep. My wife gets woken up to find me sitting up in bed, pointing at things in the room while calling “action” and “cut” and shouting my DP’s name “Rob” a lot. It makes for some interesting evenings.

If you’ve ever directed a film, you understand how it consumes your life. That’s why pre-production is such a critical part of the process. You can’t go into battle without a battle plan, right? I can’t stress enough, the Hitchcockian goal of striving for boredom on set; he often remarked that he was bored on set, because he had already made the movie before he got there. He was simply witnessing the execution of his vision.

Striving for this is a great thing. Will you be bored on set? Unlikely. However, you will stress a lot less if you’ve already broken down the script, done your beat sheets, and storyboarded the whole damn thing.

That’s where I’m at. I’ve broken down the script, I’ve beat out all the scenes—I know each and every character’s objectives, obstacles, action verbs, adjustments, circumstances, physical life, backstory, and perhaps most importantly, I know the subtext of each scene. In a perfectly constructed scene, the camera films the subtext—the subtext that is translated from the page into a visual metaphor on the screen. I’m smack in the middle of storyboarding. I would love to sit in a secluded corner and visualize the film in such detail that I will have tested and troubleshot every possible shot in my mind. But I have casting and location scouting to do!

In all seriousness, if you’ve done your beat sheets properly, you shouldn’t have to test and troubleshoot every possible shot imaginable—if you know what the scene is about, and you’ve identified the subtext, there is only one way to shoot it.

We’ve been able to recruit a wonderful casting director in Judy Bowman, who is based in New York. We are shooting the film in Yonkers, NY, the fourth largest city in the state, which sits just north of the Bronx. I believe Elia Kazan once said that casting the right actors is 85 to 90 percent of directing a successful film. Woody Allen also said that 80 percent of success is showing up. So, I figure if I cast the film mostly right and show up most of the time, the film will be gangbusters.

Casting is its own art form. This is a very small, independent movie; however, in my experience, actors want to work, and if they see themselves in a part, your chances of booking them for the role are high. We are dealing with a cast primarily of teenagers, which means we’ll be auditioning a lot of people for the majority of the roles. The roles of the parents, however, are such that we might attract bigger name cast members—they’re big parts that can be shot out in a relatively short period of time. You obviously want to find the right people for the roles, but “names” typically don’t audition for independent films. It’s understood that an offer (money, backend points, etc.) is made to an actor before that actor will read the script. That might strike some as snobby, but if you think about it, if name actors (they’re classified as “name” because they’re in demand) responded to every request to audition for an independent film, their days would be completely occupied with them.

From my standpoint, it’s a bit of a gamble. If you’re going to make an offer to an actor, you want to do your due diligence and become as familiar with that person’s work as possible. You should also, if possible, contact those who have worked with that actor before. Most other directors, producers, actors, will extend you the courtesy of sharing their experience with said actor. This courtesy was extended to me once in the past, and it saved my film (and sanity): I ended up choosing not to work with an actor who was problematic on other people’s sets.

We are in the midst of making a few offers and lining up auditions. It’s exciting, but can also be anxiety inducing. While Kazan’s statement regarding actors is sound, logically; actors are also just one part of many parts of the filmmaking process. If you put all your stock in them, you are doing your story, and vision for that story, a disservice.

I will be getting back to my storyboards momentarily; while some directors don’t like to do them, I find they’re essential. You are basically making the movie (sketching every shot of it) before you make the movie, and that would tickle Alfred Hitchcock. And if it would tickle Alfred Hitchcock, I must be doing something right. The sooner I can see my movie in its entirety spread out in front of me, the easier it will be to breathe.

[This piece was originally published in Film Slate Magazine]

An Inside Look Into the Making of “No Alternative”

I’m thrilled to announce that Film Slate Magazine will be publishing a series of real time updates on the pre-production, production and post-production of my film, “No Alternative.”

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“No Alternative” is a personal film that, these days, is near impossible to get made in Hollywood. I’ve written a great deal about how the decline of the middle space of filmmaking has essentially mirrored the decline of the middle class in this country—the chasm between the one percent of filmmaking—tent-pole blockbusters—and the ninety-nine percent—indie films, which have been relegated to shrinking microbudget levels—has never been greater, or more stark.

I’ve directed a few features and never really considered crowdfunding as an option, but Hollywood’s rather myopic focus on the “biggest” and “broadest” has led indie filmmakers like me to welcome such an avenue—we’ve always had to beg, borrow and steal, but such an ethos has never been more germane to independent filmmaking as it is right now. Inspired by my sister’s real-life struggles with mental illness, “No Alternative” couldn’t be more personal to me, and therefore it made for a good project to attempt to crowdfund. Through my research, I’ve found that people are more likely to contribute to a person with a personal story, with a cause, than to simply a story itself.

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We raised over $50,000 through Indiegogo and continue to raise funds through our non-profit sponsor, From The Heart Productions here: https://bitly.com/noalternativefilm. The campaign attracted a lot of attention and drew support from a great deal of people, including Amazon Studio’s own Ted Hope. We’ve been able to raise eighty-five percent of our budget from outside investors who were also drawn to the project and its accompanying crowdfunding campaign. It’s important to remember that crowdfunding campaigns are not only about raising money, they’re also about establishing, and subsequently building, your base. This base includes supporters, fans and potential business partners like investors, producers and keys of departments. The crowdfunding page for your film serves as its “go-to” hub for people interested in it. The best part of it is: if they like what they see and hear, they can be a part of making the movie a reality!

I’ve been open and honest not only about my personal connection to the material, but also about the filmmaking process itself. I’ve written a book on microbudget filmmaking and plan to put my experience and theories on the subject to the test on this film, and I will be keeping a journal of sorts of the process and publishing it in Film Slate Magazine over these next few months as we make “No Alternative.” Stay tuned!

NO ALTERNATIVE: To Be Continued…

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It has been an incredibly rewarding, and equally exhausting, few months. I launched my first crowdfunding effort for “No Alternative” on Indiegogo, which succeeded in raising over $50,000 for the project. While it missed the mark of my goal, this is a big chunk of the budget that will, no doubt, help the film get off the ground.

I have so many people to thank for their stalwart support. People I went to school with—every school I’ve ever attended: grammar school, high school, college, graduate school—were there for me. My filmmaking mentors in those schools, like Steve Vineberg, Ed Isser, D.C. Fontana and Jim McBride, all threw into the pot. People who I’ve known all my life, people who I’ve only met once or twice, came to my aid. There were total strangers, who took time out of their days to watch the crowdfunding video and read up on the project, that contributed, some of whom contributed very large sums. There was even some celebrity love from the likes of Greg Poehler (“You, Me, Her”), Cassidy Freeman (“Longmire,” “Smallville”) and Kimmy Robertson (“Twin Peaks”). Perhaps most inspiring was a donation from the head of film production at Amazon Studios, Ted Hope, a renowned producer and studio head who prides himself on supporting indie film and director-driven, personal movies.

Ted Hope - No Alternative - Tweet

The campaign for “No Alternative” struck a nerve, as evidenced by our 500+ backers, features in publications like Filmmaker Magazine, Film Slate Magazine, Indiewire and Moviemaker, and the countless messages I’ve received from people affected by mental illness on a daily basis.

As many of you know, the character of  Bri Da B in “No Alternative” is inspired by my sister, Briana, who suffered from Borderline Personality Disorder. One of the ways she was able to cope with it was through rapping. When the character of Bridget becomes Bri Da B, that transformation into someone else helps lessen her pain. “No Alternative” has always been a love letter to my sister, a plea for her survival. That’s why I wrote the novel that the film is based on. I wish I could tell you that plea was successful. But, unfortunately, I can’t. The majority of my sister’s life was a battle fought against her mental illness, drug addiction and suicidal behavior. A battle she ultimately succumbed to.

While she may have lost her battle, I’m hopeful we can win the war—and after talking to so many other sufferers out there throughout this process, I’m confident we can. The issue of mental illness must, and will, be destigmatized and “No Alternative” is just one step in that direction.

I also must thank From The Heart Productions, who sponsored us as a 501(c)3 non-profit organization that supports films that contribute to society. Each donation pledged to “No Alternative” not only helps our film, but also helps other socially conscious films get made. From The Heart has encouraged us to continue raising money for “No Alternative,” and is hosting an extension of our crowdfunding campaign on Network For Good.

What we’ve raised thus far will help us through pre-production and lead us into production. But, we aren’t quite done. This second campaign through From The Heart is meant to build on the momentum we’ve gained and get us through production and into post-production. Remember: EVERY DOLLAR COUNTS. The more we can raise, the higher quality we can achieve—whether it means we can pay for one or two extra crew members, secure an additional day of shooting, or be able to afford the rights to the perfect 90s soundtrack—quite literally, each and every cent matters.

The link to the new campaign is here: http://bit.ly/1qmwc1A

The spirit of “No Alternative” is DIY—do-it-yourself, punk rock, an ethos I truly believe in. But I can’t make this movie alone—I need your help to make it. Please share, contribute and help us continue to build on this momentum into production! In doing so, we can keep the very important conversation about ending the stigma of mental illness alive. I am extremely grateful for the support thus far. Thank you so very much.

All Writing Should Be Eulogies

I’m the go-to guy in my family for eulogies. Someone dies, I’m you’re man. In one respect, this may seem flattering, if not comforting; in every other respect, it’s quite the opposite.

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I remember being in the hospital, sitting next to my sister while she was on life support. She had stopped breathing and was without oxygen to her brain for approximately 40 minutes before the fire department eventually broke down the door and paramedics got a ripple of a pulse back in her.

She was pronounced brain dead. She was going to die. In many respects, she already was.

I sat next to her the day before we were to take her off the breathing machine and the drugs that were stimulating her heart with my laptop open. My parents asked me to write the eulogy, and of course, I would; I was expecting to—Briana would have wanted me to, that I know, without a doubt—but I wasn’t expecting to write it with her in the room. She was still alive, technically, and I began writing her eulogy. I never dreamed that I would be doing such a thing. I had to ask my father “Do I refer to her in the past or present tense?” Again, a question I never thought I would have to ask in a million years. When I say I was writing, what I mean is I stared. Unable to bring myself to start writing, I stared at that blank page for longer than I’ve ever stared at any other before or since.

In that moment, that blank page was my sister. On one hand, her life was taken from her at far too young an age; on the other hand, her life had been mercifully relieved of the burden of her demons. Both sides were ostensibly a blank page; both the beginning and the end, the end and the beginning. For me to write on this page, a page that was pure, that represented both life and death, seemed beyond the scope of my expertise. I felt ill-suited for such a task, a task that was unfair for me to undertake, but also a task unto which I was the only person suited.

I was reminded of Ernest Hemingway when he purportedly said, “There’s nothing to writing. All you do is sit down at a typewriter and bleed.”

Every story has been told before. I recoil from the thought of how many people have sat next to a loved one who was dying—one who was unable to be helped no matter how much you wanted to and were willing to help. What hasn’t been told before is the way I, or you in this similar situation, experienced it. To be compelled to write about it is thoroughly human, because the act itself extends beyond us—and beyond the limitations of our expertise—and touches others. The act itself provides both a sense of solace and mutual mourning, which will ultimately provide a sense of hope and unified catharsis as the weight of the tragedy is redistributed to the shoulders of others.

It was once the consensus of the mainstream that the best kinds of art come from the worst kinds of tragedy. The idea of the tortured artist was accepted, and in some cases, the path considered noble. In recent years, this idea is considered unnecessary and pretentious. If you haven’t experienced this type of tragedy, how can you possibly write about it? The answer is: you can’t. You can fake a lot of things, but you can’t fake emotion. If you haven’t experienced this type of tragedy, you haven’t been scarred by it, then you should enjoy the life that you have. I cannot enjoy my life the way I used to, because I am permanently scarred. However, art can help, art can manage, art can guide me to rediscovering how to live again, because learning to live again is exactly what needs to occur, or frankly suicide is as rational an option as any other.

Eventually, I began writing; and it was the best fucking writing I’ve ever done:

http://williamdickersonfilmmaker.com/eulogy-for-my-sister/

While it strains reality to label anything inside this tragedy as a gift, I believe that my sister, in this moment, was giving me a gift. In the ensuing weeks, I went through her things and came across a journal of hers, which she wrote while in a six-month inpatient rehabilitation program for drug addiction. There was quite a bit of writing, and the only mention of me in her journals was a single line that said: “My brother says I shouldn’t waste my talent.” The context had to do with channeling her emotion into her art, as a way of leaking some hope through that din of despair. It wasn’t until several months later, as the grief was exponentially worsening and my productivity hit a standstill, that I thought that, perhaps, I was meant to read those words, and furthermore that she wasn’t talking about me, about what I said, but that she was talking to me, addressing me. Her words were staring back at me from the page: she was telling me that I shouldn’t waste my talent.

Funeral

Hemingway wrote: “When writing a novel a writer should create living people; people not characters.” Living people die, characters do not—characters live on in the eternal mediums they’ve been brought to life within. Perhaps, paradoxically, writing good characters means writing about death, for death is the precipice upon which life precariously leans over, for to stare over that edge is the only way to truly experience life. This is why all writing should be eulogies. To understand death is to understand oneself, one’s fellow man, which is to say, man can never really be understood. Man is an unknown—to treat man as anything else but an unknown, is to ignore our monumental insignificance amidst the unfathomable scope of our universe.

What we can do, as writers, as filmmakers, as artists, is allow another person into the unfathomable existence of another—of one of Hemingway’s “characters.” To do so brings solace, a sense that we’re not alone in this collective struggle, and the act of doing exactly that is art’s sole, and often noble, purpose. To do so makes certain that others know they are not alone at the bedside of their dying kin; there are others there, too. There are others who know.

If Briana’s talent as an artist was her gift to me, then my film, “No Alternative,” will be my gift to her, and to those who both knew her and didn’t get the chance to know her. Bridget, aka Bri Da B, is the best character I’ve ever written, and that’s because I barely had to write it—it wrote itself; this role inhabits the soul of my sister.

Please help me bring this role to life; help me keep the flame of my sister’s life aglow. Check out the campaign to do just that here: http://bit.ly/1qmwc1A

Suicide: The End, and the Beginning

I think a lot of people who say they don’t think about suicide, think about suicide.

I’m not saying they think about committing suicide, but the idea, the notion, the concept, is pervasive in our culture, and frankly, our DNA. It’s there, bubbling underneath the surface. As I write in the opening lines of my book, “No Alternative”:

Suicide is a universally human phenomenon. It’s what separates us from the animals, despite the fact that people shun it and cloak it in taboo. Animals do not commit suicide, at least that’s the common wisdom. It is this received wisdom that reveals something about our attitudes on the subject, as suicide is most always painted in the light of shame and pity, something we reserve for lesser beings than ourselves. In actuality, suicide is a refined and selfless act, usually a result of many thoughtful hours, days, months, or years of meticulous and steadfast preparation. Suicide is not thoughtless; it’s precisely the opposite.

Perhaps I think about suicide more than others—I wrote an entire novel on the theme, in an attempt to prevent others from succumbing to self-harm. My idol killed himself when I was 15 years old. His death was the reason I picked up a guitar, because I wanted to learn all of his songs, perhaps in an attempt to somehow keep his spirit alive. His suicide not only united many alienated teens in 1994, but it also led tragically to a number of copycat suicides. In retrospect, every song on his band’s album, “In Utero,” reads like a suicide note. We didn’t realize it before—we rarely do realize it before—it’s only after one commits suicide that everything that came before, that led up to it, seems so patently obvious.

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While my parents and I believe the overdose that led to my sister’s death was accidental in nature, she had attempted suicide several times in the past. Two of those times were, seemingly, in direct response to me.

I live in Los Angeles, California, though my family still resides in Yonkers, New York—as did my sister while she was alive. One of the symptoms of Borderline Personality Disorder is a constant need, and consequent demand, for attention. Pay attention to me! in its most severe incarnation. If the sufferer of BPD perceives a lack of attention, it often leads to a concentrated feeling of abandonment, which can then metastasize into rage and recklessness, or worse, self-hate and self-harm. I only get to visit New York about twice a year; so understandably, my parents spend a lot of time with me while I’m there. Two of those times, in attempts to redirect their attention back to her, my sister tried to kill herself.

When she did try to kill herself, she always managed to do a pretty good job. She put herself into a coma on more than one occasion. I was by her side one of those times. When she awoke, the drugs having been eliminated from her system, I asked her, “Why are you doing this?” In one of her most sober of moments, she looked up at me and said: “I don’t want to live anymore.”

Suicide is the thing; the goal; the beginning and the end; the next big thing; the be all, end all; the eye in the sky – it’s the Tylenol bottle with the 20 bonus pills, because swallowing an entire bottle of Tylenol can kill you.

Suicide is an option; it’s an alternative; it’s aqua seafoam shame; it’s dead of a shotgun blast to the head.

Suicide is the lyric of a song; packaged inside a gold record.
Spinning.
Spinning.
Spinning.
Spin the black circle.

While I might be able to rationalize that my sister is in a better place—that she is finally free from the terrible yoke of mental illness and addiction around her neck—it is still impossible to accept. I alluded to this in a letter I wrote to her while she was in one of her comas, and within inches of her death, a letter that I also included in my novel. Here is an excerpt:

Dear Briana,

The moment I’m writing this, you’re unconscious in the hospital, a stomach full of charcoal, and you’re on a ventilator because you cannot breathe. They say you might not make it. I don’t know what I’d do if you don’t, because I can’t bear to think about living in this world without you in it.

You’re my little sister, and big brothers are supposed to protect their little sisters. And I’m weeping right now because of how incredibly helpless I feel—I’m right next to you, but still a thousand miles away. It tears me apart to think that I somehow failed you as a brother. Out of anyone else on this planet, you’re the person that most resembles me; genetically, we have the same make-up. By killing yourself, you would be, literally, killing a part of me. For you to leave this Earth is an abstraction my mind simply cannot accept.

Right now, I’m hoping for one thing, that you will be able to read this letter. I can’t bear the thought that you might not be able to—that you might not make it. That can’t happen. I love you so much, Bri, more than anything, much more than myself. I might not have ever said those words, but I’m writing them right now.

If you need a reason to live, and all you need is one, here it is: I want you to live.

I’ll be with you forever, whether you know it or not.

Love,
William

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One thing that I am grateful for is that my sister did awaken from that coma, and she did get to read that letter. In fact, she apparently read it often at times when feeling the siren call of suicide reach out to her.

It did give me some consolation, in my grieving—a grieving that will continue until I, myself, am in the ground—to know that Briana read how much I loved her. There are many people who, for one reason or another, never get to convey their personal feelings to those who they love most. Then it’s often too late. At least it wasn’t too late for me. Not that time.

However, regret looms, and it looms large and it looms heavy.

Regret is a theme that weaves its way into all of my work, and that’s because it’s a theme that weaves its way through my life. I would often avoid communicating with my sister—when she called, I wouldn’t answer; when she texted or messaged me, my responses would be terse and included the phrase, “I’m really busy.” My dime store psychoanalysis of my behavior might be that I wanted to keep my interactions with her brief and dispassionate, for fear of saying the wrong thing and potentially setting her off, something siblings are experts at doing.

What I wouldn’t give to go back in time and pick up that phone, or write an overly verbose and emotional response, but I can’t go back in time. I ignored my sister; I ignored her while pursuing my often quixotic attempts of getting my movies made out here in Hollywood. Putting my work ahead of my family is something that concerns me greatly; it concerns me, because I’m sure I’m guilty of it. If I regret anything, I want to use that regret for the good. I don’t want to ignore it, I want to reroute its impact on me. The truth is the regrets will never go away. I can use it in my writing, and my filmmaking—that I can do. Does this make me feel better? I think in a lot of ways it does; even though I know it won’t erase them. It exposes me to the pain of these regrets; it forces me to relive them, since ignoring things doesn’t make those things go away. Those things must be dealt with.

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I honestly don’t know if my grief is changing. And I shouldn’t use the word honestly because that implies that other things I’ve written aren’t honest. I’m trying to be honest. Somehow, though, this inevitably leads to me beating up on myself. It’s easy to blame, and feels good to blame, because it makes things black and white, and it’s easiest to blame myself. Because I’m still here, I can hold myself accountable—there’s no need to issue a warrant for my arrest, I can lock myself up whenever I see fit.

My sister is gone, and in many ways I grieved for her before she died. I was told on two occasions that she wouldn’t make it through the comas she put herself in, when she tried to take her own life. I was told to be prepared for the worst. I grieved then, even though she ended up surviving; I also knew that as each day passed, there was a distinct possibility that she would not be there. Every call I received from my parents, just seeing their names on my phone, filled me with dread. Were they calling to tell me something had happened to Briana? This was always the first thought in my mind.

When my parents call now, that thought is no longer there. While that knee-jerk dread is gone, I wish it were still there, because that would mean that Briana was still there.

Perhaps this film is my way of giving her the attention I should have given her before; the attention she deserved as my sister. Perhaps it will do some good for those thinking about committing suicide, to see how suicide affects a family in this story. That is certainly my hope. Perhaps this will help alleviate some of the regret that weighs me down, that shames me on almost a daily basis.

One thing goes without question: I will regret not making this film. There is “No Alternative” but to make it.

And I need your help to make this film a reality: http://bit.ly/1qmwc1A

Top Ten 90’s Misfires

10. LASERDISCS

While an earnest attempt to satiate cinephiles’ appetite for a higher quality home viewing experience of their favorite movies, the laserdisc was a clunky, impractical product. They weighed into the pounds, were very noisy to operate (due to the weight and speed it had to be spun) and not all the analog information could be stored on one side, necessitating the flipping of the disc every 30-60 minutes, and in some cases, the removal of the disc and loading of an additional disc for movies that were especially long.

10.Laserdisc

I admit to having a laserdisc player back in the day, and still sing its praises when it comes to “Star Wars”: it still remains the only medium in which a high quality version of the STAR WARS TRILOGY was released in its original state, before it was permanently altered by George Lucas. Yes, I still have the trilogy on laserdisc…and I continue to treasure it today.

9. BEEPERS

Also known as a “pager,” this simple communications device allowed someone to call it and leave a return phone number on its digital display.

9.Beeper

Teenagers in the 90’s seemed to want to have one, and actually thought it was cool to wear—backwards, with beeper inside the pocket and clip displayed proudly on the outside of the pocket. This didn’t last long, not only because the beeper was soon to be overshadowed by the cellular phone, but also because everyone realized that there was no good reason to have one of these damned things unless you were a doctor, drug dealer or a teenager who enjoyed having their parents beep them every half-an-hour.

8. THE LEXICON OF GRUNGE

In November 1992, The New York Times ran an article that cracked the code of “grunge speak.” The newspaper listed a number of slang terms that they claimed to be uniquely associated with the Seattle grunge scene.

8.LexiconOfGrunge

Turns out, the list was a hoax, a practical joke pulled on the esteemed newspaper by Megan Jasper, a receptionist for Caroline Records. By not adequately scrutinizing the article before running it, The New York Times proved itself the cob-nobbler [loser] in this particular instance.

7. “WATERWORLD”

This movie starring Kevin Costner was the most expensive film ever made at the time. It was released in 1995 to terrible reviews and is still considered one of the biggest box-office bombs of all time. Dennis Hopper also won the Razzie for Worst Supporting Actor.

7.Waterworld

Having said all that, I don’t think WATERWORLD is as bad as everyone thinks it is. It’s a cool concept and visually enthralling. And, come on, a Razzie for Dennis Hopper? For playing Deacon, the leader of the “Smokers,” a ragtag group of post-apocalyptic outlaws who ride haphazardly around on spiked jet skis and armored boats? Did I mention Deacon is a futuristic pirate who has one eye? A pirate who chain-smokes; notwithstanding the conceit that the world in which the movie takes place has been covered in water for generations and the last tobacco plant to have grown anywhere is not even within the scope of anyone’s memory. A Razzie for an actor forced to smoke such old, stale cigarettes? This is more like an Oscar-snub.

6. CRYSTAL PEPSI

Crystal Pepsi was marketed on the shelves as a “clear alternative” to normal colas, insufficiently equating clearness with purity and health.

6.Crystal-pepsi

Its slogan was: “You’ve never seen a taste like this.” While it was interesting to look at, no doubt, the fact remained: sodas are meant to be swallowed. And this soda, in addition to being caffeine-free and not at all resembling the flavor of a cola, tasted…bad.

5. THE “RACHEL” HAIRCUT

The “Rachel” haircut is a short, choppy, layered ‘do, square-like around the face, which was made famous by Jennifer Aniston in season one of the hit television show FRIENDS and named after her character, Rachel Green.

5.Rachel-friends

Despite her association with the cut, Aniston disliked the hairstyle:

“Have there been disasters? I think that’s a very relative term with hair. Let’s say there have been moments I’d rather not relive, like that whole Rachel thing. I love Chris [McMillan, her hairstylist], and he’s the bane of my existence at the same time because he started that damn Rachel, which was not my best look. How do I say this? I think it was the ugliest haircut I’ve ever seen. What I really want to know is, how did that thing have legs? Let’s just say I’m not a fan of short, layered cuts on me personally, so I don’t love revisiting that particular era.”

4. CANDLEBOX

Okay, maybe there were worse crimes perpetrated against music in the 90’s by the likes of Vanilla Ice, Billy Ray Cyrus, The Crash Test Dummies, Snow, and Los Del Rio and their godforsaken “Macarena,” but the trouble with Candlebox was that they were often directly associated with the grunge movement—at least that’s what major radio stations had you believe at the time, due to their relentless playing and replaying of “Far Behind” at the top of every hour and between much better songs from bands like Alice In Chains, Nirvana and Pearl Jam.

4.Candlebox

The other above-referenced songs were at least excluded from what was labeled “alternative;” it’s the distinction that Candlebox was included among that which was deemed “alternative,” when in actuality their music didn’t really aspire to be anything greater than the perfect music for an elevator or radio in a dentist’s office, that qualifies them as a “misfire.”

“Now maybe/

I didn’t mean to treat you oh so bad/

But I did it anyway”

Yes, you did, Candlebox…yes, you did.

3. DIAL-UP INTERNET

We all remember the days of dial-up internet, and those are days we would surely like to forget.

3.Dial-up-Internet

Dial-up connections require nothing more than a computer, a telephone network and an honorable amount of patience (it could take up to an hour or more to download a few megabytes). These days, dial-up is virtually obsolete; especially considering that most of the things we do online now—stream videos, skype, game, file share, download music—are impossible to do with such a slow, and archaic, connection to the net. That didn’t prevent people from trying, just as long as you didn’t use up all of your 1000 free hours you got on CD.

For many, AOL is synonymous with dial-up, and the mere mention of the acronym still frustrates a lot of people and brings back memories of the piercing static sounds one had to sit through while waiting for a connection and praying for the words, “You’ve Got Mail.”

2. “NOT!”

Not: for the purpose of this list, a word made popular in the early 90’s by the movie “Wayne’s World.” A user adds “not” to the end of a sentence to overtly highlight the sarcasm in the sentence itself.

Example: “What a totally amazing, excellent discovery… NOT!!!” -Wayne Campbell

2.Not

There’s a reason why no one uses this word in this way anymore, and I’m positive most of us would like to keep it that way.

1. Y2K

The Year 2000 problem (aka the Y2K problem, the Millennium bug, the Y2K bug, or just Y2K) was a problem for both computer and non-computer documentation and data storage that resulted from abbreviating a four-digit year to two digits.

1.Y2K

Concern swept the world—the apocalypse was about to arrive, and it was going to be caused by the inability of computer systems to process that changeover in dates from the year 1999 to the year 2000. Without corrective action, long-working systems were suspected to break down when the pattern of ascending numbers […97, 98, 99, 00…] suddenly became invalid. And this catastrophe would, of course, lead to the end of the world as we knew it: infrastructure dependent on computer data and management, like subways, phone service, and financial transactions, would implode.

John Hamre, the United States Secretary of Defense under President Clinton, was quoted as saying: “The Y2K problem is the electronic equivalent of the El Nino and there will be nasty surprises around the globe.”

Needless to say, we survived.

For a whole lot more on the nineties, check out my new film “No Alternative”: http://igg.me/at/noalternative

 

“No Alternative” – The Crowdfunding Campaign

No Alternative - Indiegogo - Card -4

I launched my first crowdfunding campaign this week.

Crowdfunding is its own art form—an art form I’m no expert at, I’m sure—but indie film is at a point where grassroots funding is becoming more and more critical to sustaining its viability. It’s almost impossible to get Hollywood to fund something that’s not a thriller, or a horror movie, or a comic book movie—and they rarely ever fund coming-of-age films. The filmmaking community, and their audiences, have been left with tent-poles (studio movies made for 150 million and up) and microbudgets (movies made for under a million, often far less than a million).

The middle class space of filmmaking has disappeared. This is something I’ve written a lot about for Indiewire over the past few months. I’m hoping we can rebuild this artistically important space, one movie at a time—and right now I’m attempting to fight the good fight with my new film: “No Alternative.”

The character of “Bri Da B” is inspired by my sister, who for most of her life suffered from mental illness. One of the ways she was able to cope and enjoy her life was through rapping. When the character of Bridget becomes “Bri Da B,” that transformation into someone else helps lessen the pain she is feeling in her life.

I have always thought of “No Alternative” as a love letter to my sister, a plea for her survival. That’s why I originally wrote the novel this film is based on. I wish I could tell you that plea was successful. But, I can’t. The majority of my sister’s life was a battle fought against borderline personality disorder, drug addiction and suicidal behavior. A battle she ultimately succumbed to on July 1, 2014.

While she may have lost her battle, I’m hopeful we can win the war—and we can do it in honor of her, and others who have suffered like she did. The issue of mental illness needs to be destigmatized and “No Alternative” seeks to do just that.

The campaign for “No Alternative” is officially being sponsored by From the Heart Productions, a 501(c)3 non-profit organization that supports films that make a contribution to society. By contributing to this film, you are not only helping other socially conscious films get made, but your donation is also tax-deductible.

This campaign encompasses the entire process—from pre-production, to production to finishing the film in post. I encourage you to check it out on Indiegogo: http://igg.me/at/noalternative

There are some amazing perks/rewards for contributors. Here is a list of just some of them: Signed editions of my books, Parental Advisory “Bri Da B” official movie T-Shirts, filmmaking mentorships with both myself and my co-screenwriter, Dwight Moody, opportunities to be a part of the movie as featured extras, as a band, or having supporting characters named after you, and we’re even offering major “hero” props from my previous films like “Detour” and “Don’t Look Back.”

Please check out the campaign page for all the other cool rewards you can redeem when you make a contribution.

“No Alternative” probes the lives of rebellious kids who transition into adulthood via the distortion pedals of their lives in an era when the “Sex, Drugs & Rock’n’Roll” ethos was amended to include “Suicide” in its phrase. Help destigmatize mental illness, addiction and suicide: there is no alternative.

Thank you so much for your support.

The Beginning of a Movement: THE FIFTH WALL

TheFifthWall-InternetPic

“The Fifth Wall” is a response to the modality of contemporary Hollywood. The origins of its manifesto are attributed to my time at the AFI and its message developed along with some of my fellow filmmaking classmates:

While we were at the AFI a few of us conceived of a movement we called “The Fifth Wall.” Whether through the use of surrealism or through meta-fictional truth, we conspired to tell a story that would not only leave the audience resonating with some sort of transcendent beauty, but also, because each of us in “The Fifth Wall” has experienced severe trauma and loss first hand, we endeavor to subconsciously imbue them with a feeling of solace. To send the viewer a message in a bottle, from one empathetic being to another, a communiqué of hope: you’re not alone in your pain. It will get better and you will derive much beauty from the world in the future…

While this movement has been largely theoretical until now, the time is now to put this theory into practice. Hollywood is a business that continues to eclipse the art, originality and storytelling that used to be—and should be—the core of what movies are. The most common justification movie executives give for the broad and banal blockbusters that dominate the box office week after week is: audiences want to escape the troubles of their lives; they don’t want to see something that “hits too close to home.”

This escapist ideology is shortsighted and, in many respects, erroneous.

The idea that human beings turn to art and entertainment as a way to alleviate life’s strain and pressures is accurate. But what is it about art and entertainment that actually provides relief, beyond the temporary escapism? While being transported to cinematic worlds in galaxies far, far away may seem like departures from reality, it doesn’t necessarily benefit your life outside of those two hours; in fact, it might do more harm than good. The science seems to indicate that confronting our emotions, rather than ignoring them, however troubling these emotions might be, is a more effective means through which to purge the pain, anxiety and trauma we encounter day to day. Let’s take a result of such a purge for example: the physical act of crying. The biochemist William H. Frey II purports that the reason people feel better after crying is that it decreases the level of adrenocorticotropic hormones in the blood, hormones associated with the detection of, and response to, threat or other stress-inducing stimuli. It also promotes the production of cortisol, which lowers stress in these types of situations. Putting the science aside, experiencing emotion as a way to cleanse oneself of it is nothing new. Aristotle posited the notion of catharsis in ancient Greece. He believed tragedy, with respect to drama, is the imitation of action arousing pity and fear, the purpose of which is to achieve the purgation of those emotions. The act of being a spectator of dramatic tragedy has a tangible, and ultimately positive, effect on the mind and body.

Comedy-Tragedy-1

Catharsis is the basis of psychoanalysis. The expression of the original emotion, one that has been repressed or ignored, is the method through which the healing of trauma can only begin to take place. While movies are not psychoanalysis sessions, the idea that people go to the movies to “escape” means they must be escaping from something. Furthermore—and this is the problem—this same something that is being ignored for a couple hours will only return later and will have become greater and more overwhelming than before. The very origin of dramatic storytelling, predating Greek tragedy, goes back to Egypt around 2800 BC in the form of pyramid texts that depict the dramatic journeys of dead pharaohs entering the underworld.

The earliest dramas all have one thing in common: death. The whole purpose of the invention of drama was realizing a type of catharsis or emotional resolution through confrontation, not some desire for vapid escapism.

Co-founder of “The Fifth Wall,” Paul Sanchez Yates, explains: “I find it difficult to separate my personal life from my art. In fact, I refuse to separate them. These films, these emotion-pictures reveal my inner affections, passions, humors, beliefs and traumas and scars. Unlike the usual Hollywood escapism, these films are extremely personal, sometimes horrible, but always exquisitely real.” Yates continues, “’The Fifth Wall’ is the state I find myself in when I have revealed so much personal truth that I no longer know where I end and the canvas/film begins. In this work I reveal so much about my inner-self that my perspective is lost.”

movie projector2

Most people tend to look toward the past with regret or to the future with dread. Hollywood provides entertainment that sacrifices emotion for spectacle, spectacle it thinks will allow viewers a respite from the regret and dread behind and in front of them. “The Fifth Wall” provides the regret and the dread, which allows for exactly the kind of respite the audience desires—one that extends beyond those two hours and into their lives after the film.

Middle Class Filmmakers: Do you want to make Hollywood films or Fifth Wall films? Your answer may very well impact the future sustainability of an art form that matters to us a great deal.

#Hollywood99 #MiddleClassFilm #TheFifthWall

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