A Filmmaker on Film

What Today’s Police Could Learn from Jack Webb


Recently, inspired by police being in the news, I used my Netflix subscription to watch some first-season episodes of Dragnet 1967 and 1968′s Adam 12, both of them created. produced and directed by Dragnet‘s Sgt Joe Friday, Jack Webb.

If you’re not old enough to remember, these two cop shows are classic episodic dramas. Dragnet, which started in 1949 as a radio drama and ran for nine years on black-and-white 1950′s TV before this late-60′s “in color” return, follows two LAPD detectives, Joe Friday and Bill Gannon (Harry Morgan, later Col. Sherman Potter on M*A*S*H).

A Dragnet spin-off co-created by Webb, Adam 12, follows two LAPD patrol officers, Officer Pete Malloy played by Martin Milner (who’d earlier starred as the hip drifter Tod Stiles on Sterling Silliphant’s Jack Kerouac-inspired Route 66) and Officer Jim Reed, played by Kent McCord, his first starring role.

Dragnet & Adam 12 Posters

Jack Webb was a cold-war liberal, which in the 1960′s meant that he was a hard-drinking, chain-smoking social conservative equally against communists, racists, and drug-using hippies. He believed in law-and-order, and was both pro-police and pro-military, though he never served as either (unlike Star Trek‘s very liberal creator, Gene Roddenberry, who served as both a World War II combat pilot and an LAPD officer).

To say that Jack Webb was “by the book” described both the philosophy he imparted to his loquacious police characters and his own production methods, which were Roger-Cormanesque in their efficiency, with a lot of standing sets, minimal takes, and a stock company of character actors often re-used.

As a libertarian I find the anti-drug (especially marijuana) propaganda in Dragnet 1967 ludicrous.

Jack Webb was a drug-warrior in the tradition of Harry J. Anslinger, who headed up the U.S. Treasury Department’s Federal Bureau of Narcotics from 1930 to 1962. But when Jack Webb said he was for law and order he meant it. His shows had zero tolerance of police corruption, grandstanding, criminality under color of law, or incompetence, and when he showed police doing their job “by the book” it meant not even bending the law. In the very first episode of Dragnet 1967, “The LSD Story,” Webb’s script (credited as John Randolph), broadcast 48 years ago this week, portrays the LAPD detectives unable to make an arrest for possession or use of the drug because it was not on a schedule of illegal substances. Sgt. Friday bemoans his inability to “save” underage kids from this menace — but, ultimately, he obeys the law which says it’s legal.

Adam 12‘s Officers Malloy and Reed won’t even make an arrest when the law says it’s a misdemeanor they haven’t personally witnessed but ask the female witness to make a citizen’s arrest.

Everyone gets read their Miranda rights.

That utopian view of police wasn’t true in 1967. It’s not true today.

But, from a perspective of half a century, Jack Webb’s squeaky-clean LAPD — which doesn’t tolerate shooting unarmed children, strip-searching the elderly, or torturing a neo-Nazi suspect even when his stolen dynamite is about to go off in an elementary school about to be integrated — is a model for how police should look at their jobs.

The framers of our form of government had had quite enough of officers occupying their cities, and today’s paramilitary police departments were never what they had in mind for crime control. They literally believed that the police power was in the hands of a vigilant population who took enforcing the law into their own hands. Most police powers until recently were still in the hands of the civilian population.

But if we’re going to have occupying armies roaming our streets, I’d much rather they be honest and professional officers not scared of their own shadows, rather than the psychotic uniformed and never-liable thugs we’ve recently seen in Ferguson, Missouri, New York City, and Cleveland, Ohio.

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The Cyberattack on Alongside Night


The last showing of Alongside Night was Oct. 23, 2014 in Spokane, WA. The movie is not yet available on Blu-Ray, DVD, VOD or streaming. As of now the movie is two-and-a-half months past its last public availability, awaiting general release via wider theatrical and the above-mentioned home-entertainment media later this year.

So how is it that within the last ten days — two-and-a-half months after its last screening — there have been 75 IMDb ratings for the movie, a dozen of them posted in the last 24 hours, 22 of them from non-U.S. users — and 59 — 78.7 — of these votes are the lowest possible rating of 1 out of 10? This gives Alongside Night an IMDb rating of 2.4 out of a possible 10 and gives a false-flag impression that an audience that has seen the movie has rejected it. The intent is an attempt to discourage further distribution by giving potential vendors the impression there’s no market for it.

Alongside Night Official Movie Poster

This trolling of Alongside Night on IMDb is nothing new for the movie’s writer/producer/director — me. It follows from the same action against my previous movie, Lady Magdalene’s, by anonymous attackers with multiple sock-puppet accounts.

I haven’t been subject to lethal terrorism such as the firebombing then shootings at the offices of Charlie Hebdo, but there are Internet-based opponents to my libertarian-themed film-making who have had me in their sights for years and they’re still at work.

I don’t have the resources to penetrate their anonymity and stop them as was done with the cyberattacks on Sony for producing The Interview.

Alongside Night portrays the Dark Net as an asset for free speech and free communications. Is there no one at Anonymous to out these anti-libertarian trolls?

Addendum January 15, 2015:

I wrote to IMDb’s Help Desk:

Spoofed IMDb ratings for Alongside Night (2014)

by – jneil@pulpless.com (5 Jan 2015 12:52:16 PM)

URL: http://www.imdb.com/title/tt1667061/ratings

Alongside Night is not yet in general release and has only had limited screenings via TUGG, the last of which was October 23, 2014. The movie has never been available on DVD or VOD or any streaming service. Yet, in the last week, 56 IMDb ratings have appeared, 41 of them a rating of “1″, and 8 of them from outside the United States where the movie has never been seen.

These IMDb ratings have appeared at the same time trolling of the IMDb message board for Alongside Night has resumed

If IMDb has any interest in making sure its ratings are by individuals who have seen the movie these ratings are clearly from anonymous spoof accounts from trolls who wish to launch a cyberattack on the movie to create an artificially low rating that can be quoted across the Internet.

I request that IMDb investigate the accounts posting these spoofed ratings and remove any rating that can not be linked to a real person.

J. Neil Schulman
Managing Member, Alongside Night LLC

IMDb’s Help Desk responded:

Re: Spoofed IMDb ratings for Alongside Night (2014)

by – IMDb Help Desk (7 Jan 2015 01:52:15 PM)

Thank you for contacting us.

Once we determine that a film has been completed and released (or screened at least once) we allow users to vote on it.

Based on our information, the film has been screened at least once. Therefore we can’t remove or block votes for it.

Please be aware that individual votes have different weight on the user rating, and that our voting system is design to detect attempts to stuff the ballot and adjust the rating accordingly when generating the weighted average for a title.

For more information, please refer to http://www.imdb.com/help/show_leaf?votestopfaq

—-
Regards,

The IMDb Help Desk

IMDb has zero interest in honest user ratings for movies. They defend anonymous sock-puppet trolling of their ratings. Nobody interested in accuracy in media should give IMDb’s ratings any credibility whatsoever.
– J. Neil Schulman, January 15, 2015

See my earlier articles here:

“Je Suis Charlie”

Become An IMDb Troll in Ten Easy Steps!

A Warning to Indie Filmmakers About IMDb

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“Je Suis Charlie”


Reason Magazine editor Matt Welch, also one of the regulars on Fox Business Network’s libertarian-themed evening show The Independents, writes at Reason‘s Hit & Run Blog about those using the Twitter hashtag #JeSuisCharlie, “So no, we’re all not Charlie—few of us are that good, and none of us are that brave.”

Lady Magdalene's Poster #5

I wrote, produced, directed, and played a comical jihadi in a suspense comedy feature film titled Lady Magdalene’s, starring Nichelle Nichols who played Lt. Uhura on Star Trek: The Original Series.

Lady Magdalene’s won three film-festival awards: “Best Cutting Edge Film” at the 2008 San Diego Black Film Festival, “Audience Choice – Feature-Length Narrative Film” at the 2008 Cinema City International Film Festival held on the Universal Hollywood Citywalk, and “Special Jury Prize for Libertarian Ideals” at the 2011 Anthem Film Festival/FreedomFest held at Bally’s Las Vegas. I accepted this last award with Rand Paul in the audience.

The movie tells the story of federal agents on the trail of a domestic al-Qaeda plot thought by Homeland Security agents as a potential nuclear attack on Hoover Dam and centered around a Nevada Brothel. In addition to Nichelle Nichols in the title role, characters in the movie include the Director of al-Qaeda, a young American jihadi working for him, and one of his agents, a beautiful Persian woman embedded as a prostitute at the brothel. The character I play, Ali the American, is played as a convert to Islam who’s a comical dupe.

Anyone think this movie might possibly be offensive to Muslims?

The movie has been trolled so badly it has an IMDb rating of 1.8 out of 10. The trolls engineered a cyberattack that trashed all Wikipedia articles about me and the movie. When Lady Magdalene’s was on sale as a DVD and streaming video on Amazon.com the user reviews were so badly trolled by sock-puppet accounts that I decided to pull the movie from sale and posted it for free on YouTube, where as of this writing it’s received 85,832 views.

The cyberattacks on me have slopped over to my new movie, Alongside Night, where sock-puppet accounts are now giving the movie lowest-possible spammed ratings with the hope of preempting the movie’s pending general release. News flash: it won’t work.

Of course Matt Welch doesn’t hold up Lady Magdalene’s as a shining example of a libertarian filmmaker not allowing himself to be daunted by possible retribution and standing up for free artistic expression, even though Nick Gillespie interviewed me at FreedomFest about the movie in 2011.

Matt Welch: I’ve been “Charlie” for years. When will the so-called libertarian media notice?

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The Interview: Good Political Satire, Not Kosher for Christmas

The Interview
Sony Pictures Entertainment/Columbia Pictures
Directors: Evan Goldberg and Seth Rogen
Writers: Dan Sterling (Screenplay) (Story) | Seth Rogen (Story) | Evan Goldberg (Story)
Producers: Evan Goldberg | Seth Rogen | James Weaver
Starring James Franco, Seth Rogen, Aaron Rapaport, Lizzy Caplan, Randall Park, Diana Bang

There’s a joke supposedly told in the Soviet Union during the Cold War in which an American is trying to explain to a Russian about freedom of speech. “Here in the United States,” says the American to the Russian, “I can freely denounce the President of the United States, the U.S. Congress, and the Supreme Court of the United States, and no one will arrest me, send me to prison, or threaten my family.”

“We have the exact same freedom of speech in the USSR,” replies the Russian proudly. “I can also freely denounce the President of the United States, the U.S. Congress, and the Supreme Court of the United States, and no one will arrest me, send me to prison, or threaten my family.”

Apparently, though, making a comedy satirizing a foreign dictator is not as simple as that, as Sony Pictures Entertainment/Columbia Pictures discovered when, following official denunciations from North Korean officials, a secret organization styling itself Guardians of Peace, after hacking Sony’s corporate computers releasing embarrassing interoffice emails and capturing file copies of unreleased movies, threatened terrorism against movie theaters showing The Interview, a Sony/Columbia Pictures comedy about a CIA-driven assassination attempt on the real-world dictator of North Korea, Kim Jong-un.

The Interview poster

Sony took the threat seriously enough first to re-edit the movie making it marginally less offensive to North Korea. Then Sony delayed the movie’s theatrical release from fall to Christmas Day. (I suggested in a tweet that as a Christmas release a movie about a political assassination would have been better titled It’s A Wonderful Death). Sony next notified the major theater chains that it would allow them to cancel the movie’s exhibition in their theaters without contractual penalties to Sony.

An outcry from free-speech advocates (my own during a December 18th interview on Russia Today’s “In the Now” program), including President Obama and George Clooney, caused Sony to make unprecedented efforts to reverse their decision, releasing the movie both on over 200 domestic theatrical screens on December 25th, as well as for rent or sale via online platforms including YouTube a day earlier.

Today I found the movie on YouTube and bought it for streaming, and after hooking up my YouTube access with the Roku box that allows me to watch Internet videos on my big plasma screen I watched it — a day before its theatrical release.

The Interview begins with a satire on the shallowness of current day American news programs that avoid hard news in favor of scandal and entertainment. I don’t think any North Korean critics noticed that. The plot then proceeds to a slapstick comedy that is more in the tradition of The Three Stooges’ short 1939 Columbia Pictures parody of Adolf Hitler, “You Nazty Spy,” than it is of Charles Chaplin’s far more elegant The Great Dictator.


You Nazty Spy

The Interview is good comedy and good political satire. In between obligatory jokes based on scatalogical bodily functions the action is actually motivated by intelligent dialogue and nuances of character. While not touching the exalted status of Stanley Kubrick masterpieces like Dr. Strangelove or A Clockwork Orange I wouldn’t hesitate to put it up with movies like Wag the Dog, Thank You for Smoking, or Team America: World Police.

It’s not a Christmas movie, but neither are other dissonant releases for the holiday season including American Sniper — but given the odd releasing pattern of this major studio film I suspect most of its views should and will continue well past its Christmas opening.

If you’re looking for a movie that aims its jabs at our own government — what the Russian during the Soviet Union era would not have been able to do without dire consequence — my own new movie Alongside Night can be booked for individual theatrical screenings right now but awaits wider release in 2015. If you want to encourage that sign this petition started before Sony reversed its decision not to release The Interview.

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Alongside Night World Premiere Interview with Kevin Sorbo & J. Neil Schulman


On July 14, 2014 — the day of the movie’s world premiere — Alongside Night star and executive producer Kevin Sorbo and author/filmmaker J. Neil Schulman sat down with Reason.TV’s Alexis Garcia for an interview. Kevin Sorbo discusses his acting career, his views on the new wave of Christian-oriented movies, and his personal beliefs. J. Neil Schulman talks about his rare opportunity as a novelist then getting the opportunity to adapt, direct, produce, and act in a movie based on his novel, and the history and ideas behind Alongside Night.



Thanks to Alexis Garcia, Reason.TV, and Nick Gillespie for providing us this unaired interview.

Alongside Night Short Videos on YouTube

Full info on Alongside Night:
Official website: http://AlongsideNightMovie.com
Official Facebook: http://www.Facebook.com/AlongsideNightMovie
Official Twitter: http://www.Twitter.com/AlongsideNight



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The Chair: Much Ado About Nothing

As an indie filmmaker I found it irresistible to watch The Chair, a ten-episode Starz series about two indie films being made from the same script by two first-time feature directors. Here’s why the series and the two resulting films were worth watching even though by my standards both directors were stuck with a script that required comedy geniuses to succeed.

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The Chair poster
The Chair

Here’s the storyline, such as it is. A popular high-school student returns home for Thanksgiving from his first semester at college and the first thing that happens is his high-school girlfriend breaks up with him. Romance and hilarity ensues.

Here’s the storyline of Shakespeare’s play Much Ado About Nothing: Soldiers return home from battle. Romance and hilarity ensues.

Here’s the usual description of the long-running sitcom Seinfeld: A comedy about nothing.

Get the pattern? Comedy can be successful making people laugh by frequent gags alone. It doesn’t require Hitchcock level intrigue or plot.


‘The Chair's’ Shane Dawson on ‘Hollidaysburg’ Producers’ ‘Hate Campaign': ‘It Became Really Personal’

YouTube star Shane Dawson, given writer Dan Schoffer’s formulaic comedy screenplay to direct, understood this instinctively and chose to make a formulaic teen comedy frontloading poop, puke, and dick jokes. He succeeded and won the $250,000 competition.


Why I Couldn’t Turn Down Starz’s Filmmaking Experiment ‘The Chair’By Anna Martemucci

The more serious screenwriter/actress Anna Martemucci when given the Dan Schoffer formulaic comedy as her first directing job decided to make a quality character movie. But because it was much ado about nothing, there was no plot or distinctive characters for her to work with. So even though she made a far better movie by all technical standards, she lost the competition.

What do I know. I’ve made two plot-heavy indie feature films with distinctly memorable characters, neither of which has made back its production money.

Yet.


Alongside Night Teaser Trailer

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Kevin Sorbo talks about his movie Alongside Night with Ed Morrissey

Alongside Night star and executive producer, Kevin Sorbo, talks with Hot Air talk show host Ed Morrissey about Alongside Night.

“This is a movie that hopefully will wake up a few people. Once again I hope it’s not just preaching to the choir. I hope people go there and try to have an open mind and look at it and have a discussion open up after they do it.”
Alongside Night star and executive producer, Kevin Sorbo
The Ed Morrissey Show, May 22, 2014

Kevin Sorbo on Ed Morrissey Show
Kevin Sorbo on Ed Morrissey Show

Note:

The “Low Budget” Alongside Night Movie has:

Executive Producer and star Kevin Sorbo, (“Dr. Martin Vreeland”) star of the #1 worldwide TV series for seven years, Hercules the Legendary Journeys; star of Gene Roddenberry’s Andromeda (five-year-run and #1 in first-run syndications); star of the 2014 opening week #3 domestic box office movie hit (top 5 for 6 weeks and top 10 for 9 weeks and still in theaters at 11 weeks), God’s Not Dead; and real-life wife, actress, talk-show-host & author, Sam Sorbo, as Dr. Vreeland’s wife, Cathryn Vreeland.

Jake Busey (“President Charles Crane”), star of Contact opposite Jodie Foster and star of Starship Troopers opposite Neil Patrick Harris.

Said Faraj (“FEMA Agent Sam Shalhoub”) previous film appearance opposite Matt Damon in Green Zone; The Seige; Ghost; TV includes NCIS: Los Angeles, 24.

Tim Russ (“General Jack Guerdon”), previous film appearances in Live Free or Die Hard opposite Bruce Willis, Spaceballs opposite Mel Brooks; Star Trek: Generations; on TV star of Star Trek: Voyager (“Tuvok”) and Samantha Who? opposite Christina Applegate.

Garrett Wang (“Major Benjamin Franklin Chin”) Star Trek: Voyager (“Ensign Harry Kim”)

Gary Graham (“FEMA Director Lawrence Powers”) previously starring as Detective Matthew Sikes in five Fox Network TV films Alien Nation: The Udara Legacy; Alien Nation: The Enemy Within; Alien Nation: Millennium; Alien Nation: Body and Soul; Alien Nation: Dark Horizon; and Fox TV series, Alien Nation; Star Trek Enterprise (“Ambassador Soval”); plus episodes of numerous other network series.

Mara Marini (“Sgt. Eve Kropotkin AKA ‘Candy’”) previous film Lady Magdalene’s (“Nurse Gretchen”) opposite Nichelle Nichols; recurring on Parks & Recreation as “Brandi Maxxxx” opposite Amy Poehler and Rob Lowe.

Valence Thomas (“Major Benjamin Harper AKA ‘The Tzigane’”) Men in Black 3; Notorious; Cadillac Records; TV appearances include Blue Bloods and Law & Order: Special Victims Unit

Appearing as themselves: Dr. Ron Paul; Adam Kokesh; Jordan Page; Dr. David D. Friedman as the King of Sweden

Produced, Written, and Directed by J. Neil Schulman, author of 12 books with endorsements from Nobel-laureate Milton Friedman, Anthony Burgess, Dr. Ron Paul, Glenn Beck, Michael Medved (Alongside Night, 1979); Charlton Heston, Dennis Prager (Stopping Power, 1994); Robert A. Heinlein, Colin Wilson, Gregory Benford, Michael Medved (The Rainbow Cadenza, 1983); David Brin, Colin Wilson (Escape from Heaven, 2002); screenwriter of 1986 CBS Twilight Zone episode “Profile in Silver”); producer/writer/director of 2008 triple- film-festival award-winning independent feature film Lady Magdalene’s starring Nichelle Nichols; Schulman’s articles and essays have appeared in magazines and newspapers including Reader’s Digest, National Review, the Los Angeles Times Book Review, the Los Angeles Times Op-Ed page, Cult Movies, Locus, Reason Magazine, Mondo Cult, Liberty, Prometheus, and OC Weekly. Not counting the many reviews of his books, Mr. Schulman has been written about in magazines and newspapers including USA Today, The Wall Street Journal, Esquire, and the New York Times.

Musical film score by Daniel May with composing and performing credits in Saving Mr. Banks, Mr. Poppers Penguins, Midnight in Paris, Limitless, MacGruber, The Blind Side, Fast & Furious, Alvin and the Chipmunks, American Gangster, Borat, and many more feature films and TV series.

Film score recorded by the National Symphony Orchestra of Ukraine in Kiev, Ukraine, conducted by Daniel May.

CGI/VFX by Chris Dawson, previous film credits include Her, Green Lantern, The Chronicles of Narnia: Voyage of the Dawn Treader, Alice in Wonderland, Titanic, and many more feature films and TV series

CGI/VFX by Thomas R. Dickens, previous film credits include 300, The Dukes of Hazzard, The Spongebob Squarepants Movie, The Chronicles of Riddick, Scooby-Doo 2: Monsters Unleashed, Harry Potter and the Sorcerers Stone, Cast Away, Stargate, Army of Darkness and many more feature films and TV series

Aerial Cinematography Unit:
A helicopter and two-remote-control-drone aerial cinematography unit used for action sequences filmed at Front Sight, Nevada and rally sequence filmed at Clark County Regional Justice Center

Live Nighttime Las Vegas Chase Sequence:
A three-vehicle nighttime chase sequence on the live-traffic streets of Las Vegas, NV

Live Fire and Action Sequences:
Live-fire pistol, tunnel, climbing, rope, and commando action sequences filmed at Front Sight, Nevada and full-auto firing range sequence filmed at The Gun Store, Nevada

Real Las Vegas Public School location
Classroom sequence, hallways, office, and exteriors filmed at Las Vegas Academy using student actors from the acting and film programs

Real shopping mall location
Underground shopping center sequences filmed at closed-off section of Boulevard Mall, Las Vegas

Live outdoor rally sequence with aerial unit
A rally sequence with 200 extras and volunteers filmed at the Clark County Regional Justice Center in Las Vegas, NV

Fremont Street Experience live action sequence
Nighttime action sequence with dialogue and multiple extras filmed at Fremont Street Experience, Las Vegas, NV

Expansive Exteriors at Homeland Security Facility
“Al Gore /Utopia Prison” live vehicle and actor sequences filmed at the Southern Nevada Water Treatment Facility

Country Club used for Kevin Sorbo speech
Kevin Sorbo speech as Dr. Vreeland filmed at DragonRidge Country Club

Real bookstore used
Rabelais Bookstore sequence filmed at Dead Poets Books, Las Vegas

Organizations providing props, footage, and other promotional consideration include AntiWar.com, The Advocates for Self Government, The Heartland Institute, the Cato Institute, Reason.TV

Full credits and thanks at http://www.dujpepperman.com/jesulu/alongsidenight/AN_Credits.html

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Who’s Not Behind Alongside Night?


Since I got my Netflix subscription two months ago I’ve been immersing myself in documentaries. I’ve watched documentaries suggesting a partisan Republican agenda Rupert Murdoch allegedly has for Fox News (Outfoxed: Rupert Murdoch’s War on Journalism), two documentaries on Sarah Palin — one pro, one con (The Undefeated, Sarah Palin: You Betcha!)– one looking at the late Andrew Breitbart (Hating Breitbart), one on Wikileaks (We Steal Secrets: The Story of Wikileaks), and — right now — one called The Billionaires’ Tea Party, suggesting that the Tea Party movement is “Astroturf” — recruiting dupes unknowingly to support the financial interests of the billionaire Koch brothers, Charles and David.

Charles and David Koch
Charles and David Koch

My old friend and mentor, Samuel Edward Konkin III, was hostile to the Koch brothers because they promoted the Libertarian Party, which Sam — an anti-political movementist — opposed. He invented the term “Kochtopus” to attack the Kochs for what he saw as their politicization of the anti-political libertarian movement, decades before segments of the American left decided on the Koch brothers as their nemesis.

I appreciate Sam’s reasons for purist anti-politics, but I never agreed with him that participation in politics as a form of harm-minimization is always counter-productive. I often cited Lysander Spooner’s arguments in No Treason: The Constitution of No Authority that participation in politics could be a form of self-defense, and later reversed the anti-political argument that ballots were just another form of bullets to argue that if I could carry a gun in self defense I could mark a ballot in self defense.

Sam and I used to have long discussions in which he would invoke the strategy of encouraging crisis as a form of catalyzing revolution, and Taylor Caldwell’s 1952 novel, The Devil’s Advocate, often came up in these discussions, since in that novel conscious acceleration of totalitarian controls beyond the rate a public could be convinced to accept is a conscious strategy of fomenting rebellion. I guess, compared to my old friend, I’m just a wuss when it comes to revolution. I want merely to convince people using sweet reason and exposing villainy, not manipulate people by fomenting outrage and fear. I want to shock the conscience, not the adrenal glands.

The Billionaires’ Tea Party, if accurate at all, shows Koch money being invested in many foundations, think tanks, and political action groups that would not have thrived or been as effective without their money. I can’t see how this is evil. I have never received a dime of Koch money yet I agree with them that the so-called scientific “consensus” that anthropogenic global warming is a worldwide crisis-in-making is a politically-cobbled megafraud at the level of Soviet Lamarckism or Nazi racial theories. So if Koch Oil is funding political opposition to this fraud because policies based on this horseshit impacts their business negatively, I agree with the Kochs not because they’re paying me to agree but because this poor artist thinks the oil billionaires are correct.

I wrote my novel, Alongside Night, in the 1970′s and it was published in 1979. The only financing I got from anyone other than my parents was a $300 gift from family friends, Herman and Molly Geller, which paid my Long Beach, California rent for the three months I needed to complete my first-draft manuscript. To the best of my knowledge the Gellers were communists — whether or not “card carrying” I never knew. But I do know that historically communists have supported novelists, musicians, and filmmakers a lot more than conservatives and libertarians. David Koch, who provided millions of dollars to refurbish New York City’s performing-arts mecca, Lincoln Center, is a high-profile exception.

Over the past three years I wrote, produced, and directed my feature-film adaptation of my novel Alongside Night and it’s now available for play in American movie theaters. The movie was mostly financed by Patrick A. Heller, an ideological libertarian who heads up Liberty Coin Service.

Before I ran into Pat Heller I separately asked both of the Koch brothers, Charles and David, for financing to make the movie; Charles ignored my email and David turned me down.

Neither has any of the institutions shown in a chart in The Billionaires’ Tea Party supported the production or so-far the distribution of my movie. I’ve sent out emails to Matt Kibbe at FreedomWorks and Joel Cheatwood at Glenn-Beck’s TheBlaze asking for strategic marketing partnerships between their organizations and my pro-liberty movie and I’ve been ignored. I’ve gotten nowhere with the Campaign for Liberty and its youth wing, Young Americans for Liberty; nor with Students for Liberty. I thought — and still think — that Alongside Night is uniquely focused in dramatizing a pro-freedom worldview that these organizations say they also hold, so the empty echoes of my own voice asking to join forces is surprising to me.

But then why do I also have to listen to voices to my left that class me with a right-wing that evidently wants nothing to do with me either?

Is being a truly anti-political libertarian so far off out of the Talking Points War between conservatives and liberals that there’s no place for my voice?

This is not a theoretical question for me. It’s a pressing matter of whether there is any organization out there that will embrace Alongside Night as a means of coalescing a vibrant libertarian movement in the future.

But in the meantime, at least know that if you think I made Alongside Night to advance a profit agenda of some oil billionaires, the oil billionaires aren’t having any of it.

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Libertarian Success versus the Academic Mindset


In lengthy conversations I’ve been having recently with fellow libertarian Brad Linaweaver — whose novel Moon of Ice you see my character reading in the Alongside Night movie coming to a theater near you in a few months — we’ve been discussing the single-most important reason libertarians do worse than statists in gaining popular support for libertarianism as an overall approach to human relations.

Not to put too fine a point on it, way too many libertarians have their heads stuck up their asses.

Moon of Ice in Alongside Night
Moon of Ice in Alongside Night

It’s not that libertarians are unintelligent or anti-intellectual. Quite the contrary. Libertarians are readers. A lot of the time they’ve even read what C.S. Lewis would call “the right books” — books by great libertarian economists like Ludwig von Mises, F.A. Hayek, or Murray Rothbard; revisionist historians like James J. Martin; journalists like H.L. Mencken; and proto-libertarians like Frédéric Bastiat, Lysander Spooner, or Benjamin Tucker. Merely by giving this short list of examples a lot of libertarians would chide me for all the names that they think should be on this list, in addition or instead.

But – with one obvious exception that I’ll get to in a moment — the culture of libertarians reminds me of the 2009 Ricky Gervais comedy The Invention of Lying, where the idea of a popular movie is some guy in a chair narrating an historical event to the movie camera. Historically, libertarians are academic in their intellectual pursuits to the exclusion of most anything else.

The one prominent exception over the last half century has been the fiction of Ayn Rand, and that only because she gives her characters lengthy speeches that could pass as non-fiction in between the bodice-ripping sex scenes.

Yes, yes, yes. There are exceptions. There are libertarians who love science fiction — particularly by authors like Robert A. Heinlein, A.E. Van Vogt, Ray Bradbury, and more recently L. Neil Smith, Neal Stephenson, Brad Linaweaver and myself.

But being on the mainstream English lit department classic reading lists — authors including George Orwell, Aldous Huxley, or Kurt Vonnegut — would tend to attract many libertarians far more than any libertarian who made his reputation in pulp magazines, paperback anthologies, or — Galt forbid — writing primarily for commercial movies or network television.

Brad Linaweaver
Brad Linaweaver

Libertarians are too often academic snobs, and that’s true even of many of the auto-didacts.

This doesn’t mean there aren’t academics who are popular writers themselves.. Brad, for example, has a Masters degree from an ivy-league college and has taught high-school English; but Brad is as comfortable watching a monster movie or reading a comic book — and publishing the magazine Mondo Cult, devoted to pop culture — as he is on a panel at a scholar’s conference.

But academic snobbery is the death of libertarianism. I can’t tell you how many libertarian conferences I’ve been at where an economist has a room busting at the doors but a room featuring an award-winning novelist or filmmaker is lucky to fill the front row.

Back when the Laissez Faire Books catalog hadn’t been overwhelmed by Amazon.com and was still a primary source of libertarian books, non-fiction was regularly on the catalog’s cover. Unless you were Ayn Rand, a libertarian novel wasn’t — and the catalog didn’t even favor science fiction by libertarians over popular non-libertarian works by authors like Marion Zimmer Bradley.

This is a mistake the left never made, including the Communist Party, itself. They thought the Writers Guild — the men and women who wrote movies for the major Hollywood studios — was a union worth taking over because they knew — as Hitler’s Minister of Propaganda, Joseph Goebbels knew — movies were just as important as books or rallies when it came to reaching the “masses.”

Libertarians, like conservatives, spend their time bitching and moaning about the statist content in movies and TV shows — but when a libertarian who has studied the great libertarian thinkers and learned the issues presents these ideas in art rather than treatise or speech — the academic snob pretending to place libertarian values at a pinnacle is more likely either to ignore the libertarian artist entirely or attack the artwork as not sufficiently exalted. It’s a form of aristocratic establishmentarianism that shows up many so-called libertarians as movement scabs.

Most people reading this need to know that Brad Linaweaver and I are libertarian authors and filmmakers who have decades of success pushing libertarian ideas into the mainstream — most recently, me with my new movie Alongside Night, and most recently Brad with his web series, Silicon Assassin. We’ve made our entertainment products using professional crews and name actors. Between us we have over a century of experience studying our crafts, first as consumers, later as producers. We have received fulsome praise for our work from world class superstars. So neither us is going to suffer fools gladly who take a dump on our entertainment products because they’re too cloistered — and with the hubris of the solipsist — to know what’s good.

I have high hopes of using existing libertarian organizations and institutions as an opening market for my movie, but if the libertarian movement acts as it has done so for most of my career — and sticks its nose in their air — you can expect that the long list of Special Thanks to movement libertarians and organizations that I’ve put into the end credits of Alongside Night will be the last you hear from me. I just watched a documentary on J.D. Salinger. I know as well as he did how to disappear.

Now is the time for all good libertarians to come to the aid of their Movies.

In a few months — in Spring, 2014 — you’ll be invited to use your talents as entrepreneurs and organizers to set up movie-theater screenings for Alongside Night also showing episodes of Silicon Assassin and either make a profit for yourself by selling movie tickets, or using the ticket sales as fund raisers for your groups, campaigns, and causes.

This is your best hope in the near future to learn what your enemies have known forever: well-told stories presented in popular media are what change people’s lives and pivot the world.

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Movies: Mind Over Money


A recent article referring to my forthcoming in 2014 movie, Alongside Night, as a “low budget film” frustrates me, knowing that the major studio blockbuster creates in both movie-going audiences and film writers expectations regarding film quality. Labeling an indie film such as mine “low budget” before an audience has even seen it in a movie theater perpetuates prejudices against independent films, and gives the establishment movie studios a powerful weapon against an entire industry of indie filmmakers like me in competition with them for theater venues, retail display space, and — ultimately — the gray matter behind the eyes of its audiences.

It’s been an ongoing trend that the major movie studios now produce only a few ultra-high-budget movies each year. This works to reduce entertainment choices available to movie patrons — a gap we indie filmmakers try to fill in.

The studio blockbusters that dominate movie multiplexes have production costs in nine figures including “A-List” actors being paid in eight figures, plus armies of visual and special effects artists, stunt teams, art departments, and locations. With virtually unlimited resources available to one of these productions the only practical limit of what can be shown to an audience is in the imagination of the filmmakers — and unlimited resources forecloses the market on a whole lot of talent.

The running joke is today’s independent filmmaker’s total production budget is about the same as the catering budget for one of these studio films. It may not be a joke.

There’s no question that some tremendously entertaining movies can be made with these megabudgets. Just to mention two of recent memory that I enjoyed are the science-fiction movie Gravity and the latest installment of J.R.R. Tolkien’s The Hobbit trilogy.

Gravity Movie Poster

Studio produced blockbusters like these have the upside for a movie audience that when all elements come together a unique work of art and entertainment gives an audience an unforgettable experience, like drinking a 50-year-old single-malt scotch, or a night in bed with a $100,000 call girl, or a visit to the International Space Station.

The downside for an audience is that it threatens to ruin any movie experience less breathtaking and eliminates diversity of artistic vision and individual dissent. Movies are a form of theater — an incarnation of storytelling — and what the blockbuster often does is replace character-driven storytelling and performance-driven plots with minimal intellectual content that can only be brought out through the use of words.

Gravity kept me on the edge of my seat. It engaged me with the plight of its characters. But I left the movie theater with no ideas I hadn’t had when I first sat down, and had no meaningful questions left to resolve — or to talk about with anyone else — when I walked out.

Instead of appealing to our minds the infinite-budget movies feed us only every form of adrenaline-releasing action that stunt coordinators and computer artists can engineer — relentlessly. The trade-off of action moments replacing tboughtful moments deletes what the dramatic arts most needfully do: nourish our intellectual imagination and our moral sense of how to contemplate the human condition. It turns a nutritionally rich culture into the equivalent of empty calories — a high fed on snacks.

Not that independent film hasn’t tried to emulate the action blockbuster by crossing a technological threshold where a film made for a small fraction of a blockbuster’s budget can’t on occasion produce a movie with spectacular production values competitive with the studio blockbuster. The crowd-funded 2012 independent feature, Iron Sky, is as visually stunning as a studio-produced blockbuster like Steven Spielberg’s 2005 remake of H.G. Wells’ The War of the Worlds — and with a comparable level of story-telling intensity.

My Big Fat Greek Wedding, with a 2002 opening weekend of less than $600,000 on 108 movie theater screens, was made for about $5 million. It had no A-list stars in its cast. Yet, on the basis of great writing, great directing, and great acting it earned blockbuster revenues in its theatrical distribution — well over $350 million in its worldwide box office take. The audience for this movie wasn’t looking for a rollercoaster ride. It was looking to meet characters who we wouldn’t mind spending some time with in real life, and whose struggles informed our own life challenges. It was a movie that inspired us.

My Big Fat Greek Wedding Movie Poster

Napoleon Dynamite (2004) was made for about $400,000 — the blockbuster movie’s catering budget — but with quirky writing, directing, and acting also engaged movie theater audiences with a respectable domestic box office of over $44 million. With a production cost of about ten percent of the low-budget My Big Fat Greek Wedding Napoleon Dynamite worked its magic with no known movie stars and even more severe production challenges.

Napoleon Dynamite Movie Poster

And, perhaps, the all-time champion of production cost to box-office success — beating out even The Blair Witch Project — is 2007′s Paranormal Activity, produced at a cost of $15,000 and which not only earned $195 million in worldwide box-office receipts but which has spawned a series of high-earning sequels.

Paranormal Activity Movie Poster

The legend of how this microbudget video got major theatrical distribution from Dreamworks SKG / Paramount is that it was purchased only so Steven Spielberg could remake it at a studio budget but when Spielberg screened it he decided he couldn’t remake it any better and arranged for its theatrical release.

Every time a microbudget-produced indie like The Blair Witch Project, Paranormal Activity, or Napoleon Dynamite is mentioned around an establishment movie executive or critic, they will duckspeak the same talking point: these movies are as rare as a casino jackpot. They’re the lotto exception, and can’t be figured into any rational business plan.

That may be true. But what is equally true is that there is no money to pay expensive production salaries and expenses — overheaded as thousands of individual budget line items — on a low-budget independent film. These ultralow-budget nonetheless box-office-blockbuster movies are more frightening to BMW-driving, expense-account holding, Belair-home-owning movie executives than all the Zombies, alien-invading monsters, and global-warming meltdowns put together.

If movies like my own Alongside Night can win movie audiences in meganumbers without spending megabucks, the days of studio execs’ caviar lifestyle are numbered.

We indie filmmakers can give you a richer choice and a diversity of boutique movies — not the Albertson’s selection but maybe the Trader Joe’s or Whole Foods choice.

But — people — you gotta stop using the phase “low-budget” when talking about movies that give you something different, or all that you’ll ever get to see are the movies Monsanto would feed you.

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