Grab your yellow pills!
Boppin' at The Glue Factory (aka JUNKIE NURSE) is playing Sacramento at the historic restored Crest Theater downtown. It plays Friday, July 31st at 9pm.
Here's the trailer for Boppin' at The Glue Factory: http://www.youtube.com/boppinmovie
Here's a little bit about the Crest Theater: http://en.wikipedia.org/wiki/Crest_Theatre
And here's a lot about Sacramento: http://en.wikipedia.org/wiki/Sacramento
See you in Sacramento!
Yours truly, Jeff
Tuesday, July 28, 2009
Wednesday, July 8, 2009
Boppin' wins Best Film, Best Director and Best Supporting Actress
Boppin' at The Glue Factory won Best Film, Best Director went to Jeff Orgill and Best Supporting Actress went to Mews Small at the Tregor Film Festival held July 3 - 5 in Lannion, France presented by Christine and Sophie Scott (also presenting Strasbourg Film Festival).
Congrats Mews! On top of her great performance on screen multi-talented Ms. Small also sang and co-wrote the song playing with the film's end credits - "Boppin' Money Honey" !
Boppin' at The Glue Factory was also nominated in the following categories:
Best Actor - Henry Dittman
Best Supporting Actor - Conrad Roberts
Best Screenplay - B. Scott O'Malley and Jeff Orgill
Best Cinematography - Alicia Robbins
Best Score - Dean Harada and Jason Moss
This was our French Premiere for Boppin' at The Glue Factory. With translating from Sophie Scott and subtitling assistance from Noretta Morales and Samantha Cornwell we were able to subtitle the film in French for the this screening.
Here is a listing of all the winners and nominees:
TREGOR FILM FESTIVAL 2009 - Winners and Nominees!
* denotes category winner
Best Film
Boppin' at the Glue Factory*
Morenita
Remarkable Power
The Cake Eaters
Best Screenplay
Rigged - Ian Shorr*
Boppin' at the Glue Factory - B. Scott O'Malley, Jeff Orgill
Best Director
Boppin' at the Glue Factory - Jeff Orgill*
Morentina - Alan Jonsson Gavica (1st Feature)
The Cake Eaters - Mary Stuart Masterson
Best Short
The Last Confession of Alexander Pearce*
Nodutgang/Emergency Exit - Øyvind Krusedokken
Compact Only (1st Project)
Liminal - Stephen Keep Mills
Best Short Screenplay
Compact Only - Pamela Green (1st Project)
The Last Confession of Alexander Pearce - Michael James Rowland
Who is the Executioner?
Nodutgang/Emergency Exit - Øyvind Krusedokken*
Best Short Director
Compact Only - Pamela Green (1st Project)
Nodutgang/Emergency Exit - Øyvind Krusedokken
The Last Confession of Alexander Pearce
Liminal - Stephen Keep Mills*
Best Actor in a Short
Compact Only - John Polous
The Last Confession of Alexander Pearce - Adrian Dunbar
Sahara - Jelle de Jong*
La Tangente - Aurélien Wiik*
Best Actress in a Short
Shannyn Sossamon - The Double
Yiliana Chong - Domestic Animals
Liminal - Alejandra Gollas*
Best Cinematography
Locked Out - Tetsuya Takahashi*
Boppin' at the Glue Factory - Alicia Robbins
Liminal - Michael Alba
Best Editing
Liminal - Tamera Martin
Tell - Laura Brocken & Chris Blaine*
Nous Deux Encore - Jacob Pander
Best Actor
Boppin' at the Glue Factory - Henry Ditman
Morenita - Ignacio Lopez Tarso*
Remarkable Power - Tom Arnold
Best Supporting Actor
Boppin' at the Glue Factory - Conrad Roberts
Remarkable Power - Jack Plotnick*
Locked Out - Takeru Shimada
Best Supporting Actress
Boppin' at the Glue Factory - Mews Small*
Remarkable Power - Nora Zehetner
Best Score
Boppin' at the Glue Factory (1st Project)
Remarkable Power
Corridors of Echoes*
Best Documentary
Gare d'Austerlitz (1st Project)*
Nous Deux Encore (1st Project)
Victoria (1st Project)
Best Experimental
Corridors of Echoes
Liminal
Who is the Executioner?*
Animation
Skylight*
NEO-CONS GONE WILD
Driveway
Musically-Inclined
My America
Sands in the Glass (1st Project)*
You Act Like a Baby
Student Films
Cataract - University of Washington
The Double - UCLA School of Film & TV
Who is the Executioner? - Escuela Internacional de Cine y Televisión de San Antonio de los Baños
Domestic Animals - Escuela Internacional de Cine y Televisión de San Antonio de los Baños
Victoria - San Francisco School of Digital Filmmaking*
Friday, June 26, 2009
“Boppin’ at The Glue Factory” wins Best Feature award
Seattle, Washington – June 14, 2009
Brooklyn Reptyle Films feature “Boppin’ at The Glue Factory” recently won the Best Feature award from Seattle True Independent Film Festival.
The winners of the Seattle True Independent Film Festival (STIFF) 2009 Awards
2009 Grand Jury Award Winner - Bad Kung Fu (Finalists: Yesterday and Eve's Necklace)
2009 Best Feature Film Winner - Boppin at the Glue Factory (Finalists: The Death of Alice Blue and Jackson)
2009 Audience Award - I speak soccer
2009 Most Kickass Award Winner - Bronx Paradise
(Finalists: Frat House Massacre and Walking to the Cage)
2009 Film Challenge Award Winner - Zarkan: Son of Mahnphar, The Musical
link to the press release:
http://www.facebook.com/ext/share.php?sid=93245983649&h=SlDIt&u=wr6Ep&ref=mf
Sunday, May 31, 2009
Movie review: Boppin' at Buffalo
here's the review link, please re-post to your facebook, myspace or blog:
http://tinyurl.com/nffqmf
Thanks! :-)
BNFF 09: I locked myself out of my bathroom … Boppin’ at the Glue Factory
May 8, 2009 in buffalo niagara film festival, comedy, film festival, film review
I should have known from the moment I sat down for my second screening at the Buffalo Niagara Film Festival that I was in for a good time. Three of the filmmakers were seated behind me, conducting an impromptu interview about the creative process that drove them to make Boppin’ at the Glue Factory. With good-natured quips, funny jabs at each other, and an overall jovial demeanor—at one point it was asked how the title was decided on and Hector Maldonado couldn’t remember the notebook with hundreds of ideas, just the alcohol and late night, where upon the interviewer refreshed his memory and said to tell that story once he reloaded the film, even though Hector still didn’t recall it—I should have expected the humor injected craziness about to occur at the convalescent home onscreen. Revolving around a junkie nurse who had just gotten away with boxes of Dilaudid from the city’s County Hospital to be injected into his arm, we experience his slow deception at his new place of work. Taking over the night shift to “care” for the elderly, he bides his time in order to get the medicine room key, all while making a deal with an old jazz saxophonist, allowing him to play and smoke his Mary Jane in exchange for the patient’s extra Dilaudid every evening.
Henry Dittman’s Eric is pure gold. He is a conman above all else with a smile that no one can resist. Quick on his feet to turn any event to his favor, Eric cons his way into the home with a vague resume and awkward sayings such as wanting “the reward of caring for the elderly because it is just so … rewarding”. Everyone eats his story up save for the Russian taskmaster and head nurse Vladimir, (a funny turn from Charles Santore with perfect facial stoicism and Soviet coldness), and old Mary LeDoux, (Mews Small), a perceptive resident that uses her shrill voice whenever possible to get her way and make sure she and her friends are not being taken advantage of. Hospital manager Shirlee, played by Jossie Thacker, is the most gullible, creating an Employee of the Month award for her new “star” employee, despite the residents dying on his watch and the fact that he gets high, watches TV, and sleeps each night, ignoring every patient’s buzzer.
It is a role that reminded me of Ron Livingston in Office Space. So cool and stress-free, Eric just goes with the punches, always improvising and conniving to get one step closer to the mother-load of barbiturates. At first I wasn’t quite sure if I should be laughing as hard as I was, whether the intent of the film was to show his antics or his downfall. All those reservations disappeared once Rance Howard’s Walker Bill makes his second appearance. Out of sorts and confused in his first scene, he becomes more coherent and progresses his joke telling skills after receiving a bottle of water from Eric. Water has been rationed to the point of non-existence by Vladimir to try and stop the many “accidents” causing slipping and messy cleanups on the floor. All it takes is a little H2O to win over the residents, (as well as a little senior porn on the television for Mary), and make them turn a blind eye towards his obvious junkie tendencies—they all know. In exchange for the fun they have each night, they don’t mind Eric’s lax behavior or take notice of the death every night due to his ambivalence and drug induced slumber. Well, all except Walker Bill who writes “Who’s Next” on the dry erase board as the new quote as well as telling the joke, “Why did the old man cross the road? … To get away”.
There are a lot of supporting roles that add levity and charm to the proceedings. I especially enjoyed Ski Carr’s Zen using—and what we can only assume ex-con—nurse, Santore’s Vladimir, and Stephon Fuller’s Joe Tones the security guard. Fuller is the only person at the home late night besides the residents, and could ruin Eric’s plans except for the fact he brings his wife in to have sex while on the clock. What then starts as an innocuous quip from the paramedics, who are always asking how his “pretty young wife” is, becomes the blackmail line that quiets him down when a midnight birthday bash is thrown. Even the paramedics are great in limited roles. They recognize Eric from his County days and ask if the guy ever got caught, (for which we can only assume is him, having stolen the meds and high-tailed it out), and tell him they will give a reference if he needs one. My favorite line by them was upon a bogus call of distress, after they had picked up dead bodies the last two nights, where once they declare the old man fine, say “It must have just been a panic attack; he’ll think twice about doing it again once he gets the bill”.
Director Jeff Orgill infuses some nice style as well with a well-orchestrated dissolve from a men’s room sign to Eric on the toilet after an injection among others. I also liked the color transition from muted colors when our lead is without a means for drugs to the vibrant palette when the opportunity for free Dilaudid crops up. But you really have to credit Dittman’s handle on the script as well as the words themselves crafted by Orgill, Maldonado, and B. Scott O’Malley. This is a very funny screenplay that adds humor to a world you would generally only see onscreen as a subdued downer, the elderly being neglected and left to die. Instead, Eric and Conrad Roberts’ jazz man Tharin Sanders inject some much needed fun and excitement, deciding to throw the rules out the window, get high, do as little as possible, and somehow get rewarded for it every time. Slackers around the world would be proud.
Boppin’ at the Glue Factory 7/10
photography:
[1] Eric LaBudde (Henry Dittman) talks the escaping Tharin Sanders (Conrad Roberts) back into the car. photo by Christian Miglio.
[2] Vladimir (Charlie Santore) looks for Eric when he finds a patient dead and the nurse log empty. photo by Cynthia Petrovic.
http://tinyurl.com/nffqmf
Thanks! :-)
BNFF 09: I locked myself out of my bathroom … Boppin’ at the Glue Factory
May 8, 2009 in buffalo niagara film festival, comedy, film festival, film review
I should have known from the moment I sat down for my second screening at the Buffalo Niagara Film Festival that I was in for a good time. Three of the filmmakers were seated behind me, conducting an impromptu interview about the creative process that drove them to make Boppin’ at the Glue Factory. With good-natured quips, funny jabs at each other, and an overall jovial demeanor—at one point it was asked how the title was decided on and Hector Maldonado couldn’t remember the notebook with hundreds of ideas, just the alcohol and late night, where upon the interviewer refreshed his memory and said to tell that story once he reloaded the film, even though Hector still didn’t recall it—I should have expected the humor injected craziness about to occur at the convalescent home onscreen. Revolving around a junkie nurse who had just gotten away with boxes of Dilaudid from the city’s County Hospital to be injected into his arm, we experience his slow deception at his new place of work. Taking over the night shift to “care” for the elderly, he bides his time in order to get the medicine room key, all while making a deal with an old jazz saxophonist, allowing him to play and smoke his Mary Jane in exchange for the patient’s extra Dilaudid every evening.Henry Dittman’s Eric is pure gold. He is a conman above all else with a smile that no one can resist. Quick on his feet to turn any event to his favor, Eric cons his way into the home with a vague resume and awkward sayings such as wanting “the reward of caring for the elderly because it is just so … rewarding”. Everyone eats his story up save for the Russian taskmaster and head nurse Vladimir, (a funny turn from Charles Santore with perfect facial stoicism and Soviet coldness), and old Mary LeDoux, (Mews Small), a perceptive resident that uses her shrill voice whenever possible to get her way and make sure she and her friends are not being taken advantage of. Hospital manager Shirlee, played by Jossie Thacker, is the most gullible, creating an Employee of the Month award for her new “star” employee, despite the residents dying on his watch and the fact that he gets high, watches TV, and sleeps each night, ignoring every patient’s buzzer.
It is a role that reminded me of Ron Livingston in Office Space. So cool and stress-free, Eric just goes with the punches, always improvising and conniving to get one step closer to the mother-load of barbiturates. At first I wasn’t quite sure if I should be laughing as hard as I was, whether the intent of the film was to show his antics or his downfall. All those reservations disappeared once Rance Howard’s Walker Bill makes his second appearance. Out of sorts and confused in his first scene, he becomes more coherent and progresses his joke telling skills after receiving a bottle of water from Eric. Water has been rationed to the point of non-existence by Vladimir to try and stop the many “accidents” causing slipping and messy cleanups on the floor. All it takes is a little H2O to win over the residents, (as well as a little senior porn on the television for Mary), and make them turn a blind eye towards his obvious junkie tendencies—they all know. In exchange for the fun they have each night, they don’t mind Eric’s lax behavior or take notice of the death every night due to his ambivalence and drug induced slumber. Well, all except Walker Bill who writes “Who’s Next” on the dry erase board as the new quote as well as telling the joke, “Why did the old man cross the road? … To get away”.
There are a lot of supporting roles that add levity and charm to the proceedings. I especially enjoyed Ski Carr’s Zen using—and what we can only assume ex-con—nurse, Santore’s Vladimir, and Stephon Fuller’s Joe Tones the security guard. Fuller is the only person at the home late night besides the residents, and could ruin Eric’s plans except for the fact he brings his wife in to have sex while on the clock. What then starts as an innocuous quip from the paramedics, who are always asking how his “pretty young wife” is, becomes the blackmail line that quiets him down when a midnight birthday bash is thrown. Even the paramedics are great in limited roles. They recognize Eric from his County days and ask if the guy ever got caught, (for which we can only assume is him, having stolen the meds and high-tailed it out), and tell him they will give a reference if he needs one. My favorite line by them was upon a bogus call of distress, after they had picked up dead bodies the last two nights, where once they declare the old man fine, say “It must have just been a panic attack; he’ll think twice about doing it again once he gets the bill”.
Director Jeff Orgill infuses some nice style as well with a well-orchestrated dissolve from a men’s room sign to Eric on the toilet after an injection among others. I also liked the color transition from muted colors when our lead is without a means for drugs to the vibrant palette when the opportunity for free Dilaudid crops up. But you really have to credit Dittman’s handle on the script as well as the words themselves crafted by Orgill, Maldonado, and B. Scott O’Malley. This is a very funny screenplay that adds humor to a world you would generally only see onscreen as a subdued downer, the elderly being neglected and left to die. Instead, Eric and Conrad Roberts’ jazz man Tharin Sanders inject some much needed fun and excitement, deciding to throw the rules out the window, get high, do as little as possible, and somehow get rewarded for it every time. Slackers around the world would be proud.
Boppin’ at the Glue Factory 7/10
photography:
[1] Eric LaBudde (Henry Dittman) talks the escaping Tharin Sanders (Conrad Roberts) back into the car. photo by Christian Miglio.
[2] Vladimir (Charlie Santore) looks for Eric when he finds a patient dead and the nurse log empty. photo by Cynthia Petrovic.
Friday, May 29, 2009
Monaco ! ! !
"Boppin' at The Glue Factory" played at the Monaco Charity Film Festival last Wednesday, May 13. Charlie Santore, who plays Ukrainian Nurse, Vladimir, in Boppin', joined me for the festival and some relaxing fun in the Nice, FR sun. And once in Monaco we met up with Boppin' producer Karol Ballard and her partner Cathy. (see photo)
We got a great apartment in Nice and took the train / bus out to Monaco or Cannes each day. Saw some great films, met some cool cats, more to come including pics and video. Stay tuned.
Boppin' on the Euro-Tour
Boppin' at The Glue Factory had two screenings the past two weeks: One at Buffalo-Niagara Film Festival and one at Monaco Charity Film Festival.
Buffalo- Niagara was a blast! Stayed in the Youth Hostel which was perfectly in line with our budget. Co-writer Hector Maldonado and producer Roger Mayer joined me in Buffalo to help promote our screenings.
You can check out the videos I posted form Buffalo on the Facebook page for "Boppin' at The Glue Factory." This was a lot of fun as I was able to edit and post them while having a coffee in the local cafe: Spot Coffee. Great food, coffee and free Wi-fi!
Thursday, February 19, 2009
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