Buick to the Future: 10 Years Later

It can be difficult to look back at past work and think about what you would've done differently or how it could've been better. That's not really the case with Buick to the Future, a series of short episodes I made a decade ago with my friend Tyler. They were obviously loosely inspired by the Back to the Future films, but really they were their own kind of weird.

10 years ago I was taking some classes over the summer at film school and had just started the Editing Luke website. It was around this time in 2007 that YouTube had really started to explode, however there wasn't nearly as much strategy behind putting videos online back then. There was also nothing particularly surprising about two film students, however amateur, wanting to experiment with our own content on this brand new platform.  

Let me just say that my friend Tyler and I knew from the start how ridiculous the idea was, but with my old '89 Buick and a love for Back to the Future, we at least had a great title! YouTube was really the wild west back then, and it was pretty clear that it was transforming the kinds of content that people were watching. Ironically, I'm not sure we mused much about the future when making these videos, we just wanted to give it a go!



That summer the Buick to the Future episodes were watched over 10,000 times, which in my 2007 mind probably felt like the whole world. I know the videos circulated with our friends around the university and I remember people telling me at dorm parties that fall that they thought they were hilarious. It all seems so innocent now.

I can't help but be nostalgic for these cheesy videos, not because they're all that great themselves, but because the experience of making them and sharing them online radically influenced the direction my career took. In the decade that I've shared my film related experiences on this site, it's kind of amazing to look back at such a humble beginning and see the thread of how it lead to my media company, numerous, bigger projects, and the ability to reach wider audiences.

I sometimes have to remind myself just how quickly the online video world has changed - YouTube wasn't HD or widescreen in 2007. Facebook videos were barely even a thing yet, and cell phones shooting video was cutting edge. The technology has come a long way, and naturally so have we in how we use it. As it turns out, the only time traveling we'd be doing with Buick to the Future would be while reflecting on how much time has gone past since it was made.

 

Dream Chasing 101: Some Simple Advice

This month is one of personal milestones. Three years ago in February 2014, Editing Luke transitioned from being a glorified side gig to my full-time business and media production company. In that seemingly brief time my reach has increased by actual millions, the scale of my projects has grown, and I've been humbled to receive a bit of recognition along the way. Perhaps most meaningful however, is the realization that twenty years ago in February 1997, at the age of 12, I bought a used video camera with what little money I was able to accumulate and decided then and there that I was going to make "movies" for a living.

I couldn't have known then what the next two decades of my life were going to look like, but through teenage ambitions, a film school education, and the growth of Editing Luke, it's fascinating to look back on the thread of this dream that has linked so many formative moments. While I could rehash many of these chapters in detail, I thought it might be more valuable to share a bit of advice that I've come to embody in this pursuit. These are a few things that I found crucial in turning my dream at 12 years old into a reality at 32.

1. Hold yourself accountable to what you really want to accomplish. 

I realized early on that the main thing that separates success and failure is a willingness to accept challenges. It's easy to quit. It's easy to not follow through. It's even easy to start, but then give up when the rewards aren't immediate. If you really want something, and have a desire to succeed, you have to put in the work knowing that achieving a dream is just that - work. Tell yourself otherwise and your efforts will always be half-assed.

As a student I understood that starting this website was an easy way to share a few of my goals. In the beginning my audience was really just friends and family, but by putting my ambitions in writing I felt like I'd made a promise that I wanted to hold myself to. Even to this day, especially with a much larger audience, I now feel more dedicated than ever when it comes to what I share and create. It can be a lot of self-imposed pressure at times, but there's no doubt that holding myself accountable has kept me improving and building on past accomplishments. 

2. Fail forward.

Failure is to be expected along the way, but it's also guaranteed if you never take action at all. Some of the greatest lessons come from not quite succeeding, striving for something you weren't quite ready for, or stepping outside of your comfort zone. These kinds of failures are actually badges of honor that will make you reconsider your mistakes moving forward. Embrace them. You won't learn anything if your fear of failure keeps you from trying.  

Some of my biggest failures, specifically during my film school years, became huge character building opportunities. When projects didn't go to plan, it was often the limitations that made moving forward easier. Limitless choices can be paralyzing, but when backed into a corner you realize how many solutions come from being forced to make a move - any move at all. It doesn't mean things always work out perfectly, but it does keep you from stagnating in a bad spot.  

3. Find your niche.

It's only natural to take inspiration from others that you aspire to be like. In film school I spent a lot of time experimenting with different styles and approaches to media that I saw from a variety of directors, visual artists, etc. that I admired. When it came to shooting my own work it quickly became apparent that while I had a lot to learn, there wasn't much value in just being a cheap knock off of other filmmakers. Experimenting was an easy way to start developing a style that felt more personal. The more I recognized a gap in the types of content and styles that I wanted to see, the more my own work felt authentic.   

This lesson became especially true as Editing Luke (as a production company) began expanding. I knew I didn't want to be a wedding photographer / videographer or be entirely focused on creating ads, so I made a concerted effort to take on (and promote myself as a creator of) more culturally / travel / narrative based projects that I felt would differentiate my business from what I saw others doing in my region. It was really difficult in the beginning to establish this where I was located, but even after just a few projects I could see how it set my business apart. Nowadays it's much easier to just browse a few of my project highlights and get a quick sense of what my niche is. Being different worked.  

4. Work harder.

This is an unpopular piece of advice, but it's the most obvious truth about how I've managed to become my own boss and build a company where I get to do what I love for a living. As much as I enjoy photography and video, the success of the business only came when I learned how to market myself, network, work with other teams, and push for bigger and better projects. In a nutshell, I had to work harder than those who wanted to do this casually just to prove that my business could even exist.

As a teenager I already knew that it was going to be difficult to make a career out of something that a lot of people considered a fun hobby. This only became emphasized as YouTube and social media exploded and anyone with access to a cheap camera became an instant filmmaker and photographer. On one hand it was great, because I wouldn't be where I am now had this not happened. However, it also reaffirmed that working harder was the only thing I could actually rely on to get further ahead. The energy I've put into the development of this website (which will turn 10 this year) is just one example of the effort I've made to grow.

5. Forge your own path.

The beauty in taking any advice is that there are numerous ways to make it suit your own ambitions. Your success is not determined by how well you follow instructions. Your success is determined by how well you can adapt, evolve, and roll with the punches.

The idea that I'd be back in Medicine Hat, Alberta running an independent production company, that I'd be travelling all over North America to create content, that my work would appear in international film festivals or reach millions online, etc. etc. was not a reality that anyone sold to me or instructed me on how to achieve. It's not even something that I knew I was specifically heading towards or looking for. Frankly, this could all change again in a year. And who knows what I'll be sharing in another two decades from now. 

The point is that as unpredictable as the journey is, finding your own way is a million times more exciting than chasing a stereotype of what you thought your dream was supposed to look like. I struggled with this a lot after university, but continued to redefine what it was that I really wanted. You have more control than you think. Achieving your dream requires action, a bit of bravery, and persistence. Stop waiting for permission. Go and make it happen!   

Heritage Hall at SAIT | Calgary, Alberta

Built between 1921 to 1922, Heritage Hall at the Southern Alberta Institute of Technology (SAIT) in Calgary, Alberta is a prime example of Collegiate Gothic architecture and the province's early development and expansion in post-secondary education. Originally known as the Provincial Institute of Technology Building, the school was established to help retrain World War I veterans and provide specialized technical training for Alberta's growing industries. Today, Heritage Hall is the central structure on the SAIT campus and a National Historic Site of Canada.

The Framed Letter On My Wall

I have had this letter framed and hanging on my wall for ten years. Admittedly, there's been some moving around in that time so it hasn't always been the same wall, but the letter is dated July 7, 2006 - exactly ten years ago to the day that I'm writing this. I'll explain exactly what it is and who it's from, but allow me to provide a bit of context.

Ten years ago I was a film student at the University of Regina in Regina, Saskatchewan. At that point in my education I'd become a bit apathetic towards my production classes. With the added stress of feeling like I might not find meaningful work when all was said and done, I began looking for validation in the "real world". For me, I found this in film festivals.

In the months preceding the arrival of this letter I had participated in a handful of high-profile film festivals and competitions. I had a short film screen at the Youngcuts International Film Festival in Toronto. I beat out 280 other global entries and was officially selected to screen at Budi2006 (an international digital media festival) in Busan, South Korea. I also participated in a National Film Board of Canada competition where I was selected into the English Top 10. Following weeks of public voting I finished 2nd in the popular vote. 

All of these experiences in the span of a few months completely changed my outlook. I still felt I had a lot to prove, but getting some attention on the back of doing what I loved was hugely motivating. I remember doing a little bit of press, sharing stories for different publications relating to the festivals, and making lots of new contacts in the process. That was the point everything shifted. I wasn't just a film student after that, I'd become a film maker.

A photo posted by Luke Fandrich (@editingluke) on Apr 21, 2016 at 6:49pm PDT

In retrospect this all seems crazier because of how limited the platforms for personal promotion were at the time. Facebook wasn't a big thing yet, Instagram didn't exist, and YouTube was just emerging as a place to post short videos. It wasn't until the following year that I even started Editing Luke. In a way it was a great learning experience, because having to apply and submit my work to festivals forced me to be even more critical just to get it seen in the first place. 

In the several months following these festivals things died down again, and in the summer of 2006 I was driving a forklift and counting the days before I went back to film school in the fall. Then out of the blue this letter came in the mail, forwarded by the university to my home in Medicine Hat, Alberta. It read:

Dear Luke,

On behalf of the Government of Saskatchewan, I am pleased to congratulate you on your recent success with your student film. 

Through your studies, you have demonstrated outstanding dedication and commitment to media production and studies. This is a significant and well-deserved honour, and you must feel a great sense of pride in seeing your work recognized in such a way. Saskatchewan has a vibrant, exceptionally active TV and film industry, and young achievers such as you will be among the leaders who help grow the industry to even greater heights. 

Once again, congratulations, and best wishes in all your future endeavours. 

Yours sincerely,

Lorne Calvert 

Premier 

Hand-signed and typed on the official letterhead of the Premier of Saskatchewan, it was pretty humbling for someone like myself who was just starting out to get a letter like that. I had received a lot of congratulations and messages surrounding those projects, but none had seemed this formal or succinct. The student film he was referring to was the short I had created for the National Film Board of Canada, and I guess someone picked up on the small bit of national attention I received following the competition. This was also around the same time that Corner Gas was thriving, so the industry in Saskatchewan was booming.

In the end, I've kept this letter on my wall because it felt symbolic from the moment I received it. Proof that you never know who might be paying attention, and validation that the rewards for pursuing your passions can not only be great, but unexpected in the best ways. 

I'm now running my own media production company in Alberta and have come a long way in the last decade. I've also been so fortunate to work on a number of incredible projects with some amazing people. The growth never stops. Curious to know more about what I'm up to now? Explore more here.

Goodbye Student Loans

Seeing as I began this website in film school as an outlet to share my projects, experiences, and student life frustrations, this particular update has been a long time coming. As of the first of this month I have officially repaid 100% of my student loans.

 

It's a great feeling to tackle something that at one time seemed so overwhelming. Although new debt has replaced old debt, financially I'm in a significantly better position than I was after university. In total it took me 6.5 years to pay back my national student loan, although I paid back the provincial portion in just over a year. Was university and the debt worth it? I'm still trying to answer that one. Right now I'm just happy that this chapter has finally come to a close. All things considered, I made it out alright. 

 

University of Regina / Film School (2002-2008)

Spliced: Charlie Chaplin

The following comes from my column, Spliced from Volume 47 - Issue 23 of the Carillon (the University of Regina newspaper) from April 2005.

In film history, or just entertainment in general, there are few artists or projects that are able to bridge generations and that warrant a position in the collective consciousness of a society made up of people that can barely remember the name of a movie they saw a few weeks ago.  

With this in mind, I’d like to shed some light on a figure who acted, directed, wrote, produced, and composed the score for many of his films.  A character who you've no doubt seen mimicked, and a man who even if you've never seen one of his films, you’d likely recognize from a picture of early Hollywood big wigs.  Of course I'm speaking of, Charles Chaplin.

Born in London, England on April 16, 1889 Charlie faced extreme poverty, only made worse by his father‘s early death and his sickly mother.  By the age of 21 he became part of a travelling music-hall company and found himself in the United States where he was well-received by audiences. 

Charlie’s ambition and resounding talent led him to a film contract in 1913 with the Keystone Film Company for $150 per week. 

In 1914 Chaplin made over 30 short films, and by the end of that year had signed a new contract for $1250 per week.  Needless to say, audiences loved Chaplin, especially his cane twirling, bowler hat wearing, little tramp character who would later skyrocket Chaplin‘s name and career internationally. 

On a side note, one German dictator was such a fan of the tramp character that he actually styled his moustache after Chaplin’s.  True story.

What I’ve always found fascinating about Charlie Chaplin is that his own rags to riches lifestyle was made possible by a poverty stricken character, who aside from making people laugh, shed light on social issues such as homelessness and unemployment.  This was something Chaplin took great pride in throughout his life having faced these issues head on.

Chaplin, who began feeling restricted by the studio system, gained independence in 1917 when he teamed with Mary Pickford, Douglas Fairbanks, and D.W. Griffith in forming the United Artists Corporation.  Artist’s under the label essentially became their own bosses, and when your career can’t go any higher, that’s a big deal.

As for Chaplin‘s brilliant films, if you‘re not familiar with his work, I recommend Gold Rush (1925), City Lights (1931) or Modern Times (1936) to get you started.  Each one of these films is a shining example of Chaplin’s spot-on routines and the tramp’s infectious lovability that extends from situations he mistakenly becomes involved in.

Modern Times is my favourite film of Chaplin’s.  Some may remember a scene where Charlie slides through the cogs and gears of a factory, or his repetitious fidgeting caused from screwing in bolts on an assembly line, or his hilarious mishaps with an automatic eating machine used to save time on lunch breaks.  I’m laughing as I write it because it really is that funny.

Charlie Chaplin’s significance and staying power is no accident, and you’ll understand why when you watch any of his films.  For the record, all of his major works are out on re-mastered DVDs so there’s no excuse.  I guarantee laughs will be had. 

More Film School Slides

It's been a decade now since my first ever film school production class in the winter semester of 2003.  We did a lot with slides that year and used them as an introduction to visual storytelling.  Several years ago I actually shared a bunch of these images as a glimpse into what I'd come up with.  See that here.

I pulled out these slides again as a bit of a reminder of some of my early photo work, and stumbled onto a few shots I didn't remember.  There was one of Ward, who I did a lot of touring around Regina with during this project, and various shots of Regina landmarks that I hadn't remembered shooting.  It's not really that my style of photography has changed that dramatically over the years, but looking back at things like this is a nice reminder of how much you've improved and matured.  It's just a nice flashback really.  

Spliced: Movies About Movies

The following comes from my column, Spliced from Volume 47 - Issue 19 of the Carillon (the University of Regina newspaper) from March 2005.

Nowadays it seems that there is a sizable amount of behind the scenes knowledge, made possible through deluxe limited special collector's edition DVDs, that the average person feels no guilt in skimming over.

You have to question when watching some of these features (the lengthy Lord of the Rings box sets come to mind). Why would we want to know about the make-up artist who worked on extra number 11 on whatever deleted scene?

Honestly, I’m all for special features, and I did enjoy the Lord of the Rings, but so many DVD bundles seem to have ignored the “quality before quantity” rule.

Special features are popular for obvious reasons; We enjoy seeing more of a film that we love. It seems sometimes that features are essential to understanding a film, and sometimes they’re purely promotional to convince people that the DVD is actually worth that new release $30 price tag.

I think we all roll our eyes though, when we click on a production featurette that is simply a mash up of the film’s trailer and the lead actors spewing about how this is a film you have to see. Perhaps it would hold some significance, had we not just watched the movie.

I find the best of both worlds in movies about movies, and filmmaking.

For instance, I love the opening of Who Framed Roger Rabbit (1988) and how Robert Zemeckis melds animation and live action as though filming a cartoon is just a matter of getting all of your characters to show up at the same time.

It’s clever and good storytelling, but in its own right, it’s groundbreaking cinema.

Barry Sonnenfeld’s Get Shorty (1995) is another great movie about movies. Chili Palmer (John Travolta) comes to Los Angeles to collect on a debt, and ends up pitching a movie idea about the job he’s doing. Playing on the “everyone wants to be in the movies” bit, Get Shorty is great fun that anyone accustomed to following the entertainment industry will latch onto.

Other great movies about movies to check out include L.A. Confidential (1997), Ed Wood (1994), and Woody Allen's Hollywood Ending (2002).

And Starring Pancho Villa as Himself (2003) directed by Bruce Beresford, is a story about how filmmaker’s were hired to film Pancho Villa and the Mexican revolution.

What’s astounding about this film is its historical context, and how the hired filmmakers created a legend out of such an infamous character. It's an entertaining movie made even better by the history of what they were doing.  Pancho Villa even agreed to a clause in his contract for the film that stated he could only fight during the day so that there was ample light for filming.

Learning about film can be a lot more fun, and even more educational when it’s dramatized (at least they have to hit plot points). Who is kidding who anyway?  Most of the special features are orchestrated pretty well on DVDs to make the experience of making the movie come across as awe-inspiring and life-changing.

I’ve yet to see a director or actor completely broken and confessing to the camera that it was all a mistake, but my fingers are crossed.  Use a few of these recommendations as a sampler to get into movies that go behind the scenes.  You obviously have some features to catch up on, so pop in a movie, and like me, use it as an excuse to study.

Spliced: Pixar Animation

The following comes from my column, Spliced from Volume 47 - Issue 22 of the Carillon (the University of Regina newspaper) from March 2005.

The year was 1995, and I was eleven years old.  My tastes in movies were just being discovered, and needless to say they had not ventured far from the Teenage Mutant Ninja Turtles (1990) or Aladdin (1992).  

This of course was all about to change thanks to a little known company at the time called, Pixar Animation, who that year released the first feature length computer animated film known as Toy Story.

I think we all know where this is heading, since chances are you’ve seen at least one of the six smash hit animations Pixar has released in it’s 10 year feature animation relationship with Disney.

What’s exciting about computer animation, is not only the attention to detail and the mimicry of all of the subtleties that reality entails, but it’s a new art form and style of making movies that has really just taken off in our lifetimes. 

Surprisingly, or maybe not to some, George Lucas was responsible for the initial development of the company.  Long story short, the small division that would become Pixar was in its infancy when it was sold.  Had Lucas known how successful it would’ve been, or had it had a bigger purpose at the time, perhaps Lucas wouldn‘t have let it go.

When Toy Story burst into theatres it came to gross nearly $192 million in the US alone.  Clearly, the team at Pixar was on to something and their attention to detail and story was something that audiences were prepared to open their wallets for.

The team continued with the same formula (gasp).  Since there was an unbelievable amount of work being done, much of it being the attention to small details, the Pixar team took their time, and rightfully so, to turn out quality features and stories.

John Lasseter, who had directed Toy Story, then worked with Andrew Stanton in shifting the focus from toys to ants and grasshoppers in the 1998 movie A Bug’s Life.

These new movies were so beautiful to look at, so witty, and so genius that the studio was soon growing at an incredible rate.  Yet, they never lost their focus for telling well thought out stories with an impressive standard of quality.  Each time they pushed their skills further, and have now really become the masters of the computer animation market.

Dreamworks was busy with it’s own animation department at this time, and had Pixar Animation not been so successful, it’s doubtful that Dreamworks would have worked so feverishly to develop competitive films.  They’ve recently shown their abilities, and made history with the tremendously popular Shrek (2001) and Shrek 2 (2004).

Meanwhile, the hits kept on rolling out for the Pixar team with Toy Story 2 (1999), Monsters, Inc. (2001), Finding Nemo (2003), and most recently The Incredibles (2004).  What I find I can’t emphasize enough is that these are truly amazing movies about unique subjects and events that are only bettered by the vibrant cartoon colours and the physical depth that the computer animators create in these fictional worlds.

Pixar Animation has slated Cars for 2006, and using the previous films as a guide I have a hunch that it’s going to be awesome.  This film is also going to mark the completion of Pixar’s contractual bindings to Disney, but interestingly, Toy Story 3 has already been announced as a potential project.  Only time will tell how that will unfold.

Things are heating in the computer animation world, but it sure seems likes things are getting better and better.

                

Spliced: Steven Spielberg

The following comes from my column, Spliced from Volume 47 - Issue 21 of the Carillon (the University of Regina newspaper) from March 2005.

I’ve known since I started writing this column that it was an inevitability that eventually I’d be writing about Steven Spielberg. 

I certainly feel no regret in doing this, but you have to understand that it almost feels to easy.  Spielberg is a brand name synonymous with big budget blockbusters, heartfelt storytelling, and in no understatement of the word, success.

My personal DVD collection fashions more of his movies than of any other director.  Twelve to be exact.  And as a film major, to disregard the work of Spielberg is to disregard the Empire State Building in the New York skyline.  It’s tough to miss, and why would you want to?

The longevity of Spielberg’s career is undoubtedly because of his knack for great stories that often push the envelope, and his understanding of a medium that he wisely uses to inform and entertain. 

If you’re wracking your brain to think of Steven Spielberg films you’re crazy.  His real breakthrough film was Jaws in 1975, and please don‘t admit to anyone that you‘ve never heard of it.

Then there was Close Encounters of the Third Kind (1977), The Indiana Jones Trilogy (1981-1989), The Color Purple (1985), Hook (1991), Jurassic Park (1993), Saving Private Ryan (1998), Minority Report (2002), and The Terminal (2004).  And yes, I have omitted a few for the sake of not filling up the entire article with titles.

However, I did omit three films purely for the sake of pointing them out as my favourites, and arguably Spielberg‘s best work.  I’m speaking, of course, about E.T. the Extra-Terrestrial (1984), Schindler’s List (1993), and Catch Me If You Can (2002).  These are three very different films, that each accentuate the talents and control Spielberg has over his craft.

E.T. is a shining example of the family drama that Spielberg is so good at constructing.  Can you honestly admit that you didn’t get the chills when Elliot’s bike took off, or when you thought E.T. might be dead?  I can’t even handle it, it’s just such a good movie.  Excuse me, I suddenly have a craving for Reese’s Pieces.

On a completely opposite end of the spectrum, Schindler’s List is probably one of the most shocking, emotional and powerful films that through its performances, horror, and beauty, captures the frailty, the inexcusable cruelty, and the hope that resides within humanity.  This film about the Holocaust and the work of Oskar Schindler is one narrative that can’t be underestimated.  It's one of the must see films in modern American cinema.

Catch Me If You Can (2002) is again another shift in Spielberg’s range.  This film embraces the best of popcorn entertainment.  It’s colourful, exciting, funny, and a great heist film that follows Frank Abagnale Jr. (Leonardo DiCaprio) as he takes to forging checks and living out the best of 1960’s pop culture.  If you‘re looking for a fun cat and mouse caper, this is it.

War of the Worlds is the next picture to grace Steven Spielberg’s illustrious filmography this summer, but in the meantime, there are more than enough of his previous works to enjoy. 

I hope throughout these weekly articles, you’ve been reminded about some of the movies that you haven’t watched in years, and feel encouraged to go out and pick some of them up.  If you want an easy choice at the video store, few people are going to criticize your taste in Spielberg.

Spliced: Mockumentaries

The following comes from my column, Spliced from Volume 47 - Issue 18 of the Carillon (the University of Regina newspaper) from February 2005.  In it I discuss my love of mockumentaries, and why I think others should drink the Kool-Aid too.

The fake documentary, or mockumentary, is something I could talk about, or not talk about for hours. And still, I’d find things to not talk about.

How I’d love to claim that joke, but it’s spoken by Sheri Ann Ward Cabot, a character in the brilliant mockumentary, Best in Show (2000). A comedy about the Mayflower dog show, and the fanatical, but hysterical characters that pamper their dogs in pursuit of a blue ribbon.

Eugene Levy, Catherine O’Hara, and Jennifer Coolidge, are just a handful who star as dog owners who bring new meaning to the words eccentric and witty. The cast is exceptional, and although they’re all outrageous, the semblance of reality is never far off.   The movie is so successful at breeding laughter from seemingly commonplace occurrences that you’ll come to find yourself saying, “I know someone like that” or at least you'll think you do.

Whether I’m talking about Corky St. Clair, Nigel Tufnel, Harlan Pepper, Alan Barrows, or the modern father of the mockumentary (I thought I‘d exaggerate a bit to keep with the style of the genre), I’m talking about one funny man: Christopher Guest.

His first big induction into the genre was in Marty DiBergi’s (aka Rob Reiner’s) rockumentary This is Spinal Tap (1984). For any music fan, this is a must see. Picture every stereotype, every unconventional act, and every nuance of the big haired, spandex wearing, heavy metal band culture of the 1980’s, and therein lies the endless comedic foundation of this film.

Guest plays Nigel Tufnel, one of the band’s leading members who is torn by the lead singer’s girlfriend, and the declining popularity of the group. The information and critical comment that this, seemingly ditsy, film provides is both inspiring and memorable. It’s a challenge, but try not to quote something from the film after watching it, I dare you.

Later in his career, Guest turned to directing and starring in his own mockumentaries starting in 1996 with Waiting for Guffman. His flamboyant Corky St. Clair, decides to direct a pageant for the 150^th anniversary of the small Missouri town of Blaine. The cast established in this film transcended into his future films, Best in Show (2000) and A Mighty Wind (2003), a mockumentary about the folk music scene.

In my experience, people either seem to love these films or hate them, however the tide seems to be changing with this style becoming more mainstream.  In many ways the genre is like a scripted blooper reel, which often makes you feel like you're in on the joke in that moment and not necessarily being played to.  You’ll quickly find out for yourself if you like them, and chances are if you‘re watching with someone who doesn‘t, the experience will be ruined.

Documentaries have gotten a bad reputation for being boring, or too dry, which in itself is a huge myth. But, if you’re having your doubts about watching a comedy posing as a documentary, don’t.

Christopher Guest’s films aren’t out to trick you, they’re out to entertain and make you laugh. See Spinal Tap or Best in Show if you want to get your first taste of this genre and style, because if you’re going to become a believer in the mockumentary, these are the films that are going to do it. And, if you’re already hooked, I'm glad you're in the club!

I feel there is nothing more I can say to get you to see these films, for I think Spinal Tap summed up the mockumentary genre best when they mused, “there’s such a fine line between stupid and clever”. 

Spliced: The Muppets

The following comes from my column, Spliced from Volume 47 - Issue 17 of the Carillon (the University of Regina newspaper) from February 2005.  In it, I muse about the influence and brilliance of the Muppets and how they're due for a proper revival.  Of course, all of this came before the 2011 Muppet movie that did just that.  It's like they knew exactly what I was thinking. 

Not too long ago I found myself gazing out the window at the lightly falling snow. It was remarkable how the wind carried and shifted the millions of snowflakes like a flock of birds darting out of traffic. If only I had had my video camera at that moment I would have recorded it and watched it over and over again in true American Beauty fashion, for I felt my heart welling up from the endless beauty that lay just outside my window. By no stroke of chance I began to question what likely every person questions at some point in their existence. What the hell happened to the Muppets?

Ok, so the Muppets never really left, but the likes of Fraggle Rock, The Muppet Show, and feature length films featuring the odd bunch have either been left by the wayside or have faced poor attempts at revival. So until they (meaning the new owners, Disney) can make the Muppets better, I think it’s best to embrace the movies that made them such household names in the first place.

The Muppet Movie (1979) starring Kermit the Frog and Fozzie Bear, was the first feature length picture for the Muppets and was released during the syndication of Henson’s The Muppet Show (1976-1981). With hopes of hitting it big in Hollywood, Kermit and Fozzie head cross country and run into all the characters you’d expect from Gonzo to Miss Piggy. The usual sprinkling of celebrity cameos ensues, including Milton Berle, Steve Martin, Bob Hope and many more.

The idea for the film supposedly came from Jim Henson’s own rise to stardom. Cameos by characters such as Big Bird, who’s heading to New York to break into television, are obvious references to Henson’s multiple endeavors at the time like Sesame Street. Any fan would do themselves good to see this and all of Henson’s other films again.

Other pictures such as The Great Muppet Caper (1981) and The Muppets Take Manhattan (1984) continue to comment on the down and out luck that the group has, but the films follow the same formula with catchy songs, outrageous slapstick, and with a like-ability that appeals to almost everyone (and I say almost everyone, but I’m hard pressed to think of someone who hasn’t enjoyed something Jim Henson has done).

What is amazing about the films besides the original characters and talent is the technical aspect of it all. The fact that sets have to be constructed to allow a Muppet handler to move freely while interacting with a human character poses numerous problems, yet each film makes it look easy - like a live action cartoon. Keep this in mind when watching, and I guarantee you’ll ask “how’d they do that?” a few times.

Literary tales have been the inspiration for the latest Muppet films such as Muppet’s Christmas Carol (1992) and Muppet’s Treasure Island (1996). The same is true for the latest project to come from the now Disney owned Muppet cast. Muppet Wizard of Oz is a made for TV movie slated to air on ABC in the spring of 2005.

Get out there and relive the zany antics of the Muppets.  Just walka, walka, walka to the video store (groan) and if you didn’t get that, your need for the Muppets is far more serious than I thought.