Monthly Archives: June 2012
Guess the quotes. Place your answers in the comments section.
1) the title of this post
2) “Find me in the future!”
3) “Son, you got a panty on your head.”
4) “Dyin’ ain’t much of a livin’, boy.”
5) “Rosebud.” (If you can’t get this one, I will cry!)
BONUS: “Obviously, Doctor, you’ve never been a 13-year-old girl.”
And please, do this without Google. Anyone can Google movie quotes. Reach into your brain and dig these out. I know you got this!
Have you ever tried food from Laos? If you’re in Albuquerque, drop in Sakura Sushi Thai and Laos Cuisine in the Northeast Heights for lunch or dinner. They offer homey cuisine in a relaxed atmosphere and the service is impeccable!
Start with some sake. They have quite a few varieties listed. Here, we have TyKu’s Super Premium sake in a sleek black bottle:
After you’ve had a few cups of sake, nibble on some appetizers. Sakura Sushi offers Japanese, Thai, and Laos dishes on their menu so you’ll have plenty of choices.
Next, you move on to the real deal. You absolutely must try this handmade pork sausage. It’s a little spicy but not over-powering. It’s the best thing on the menu!
If you’re in the mood for sushi, try the specialty rolls and wash it all down with some hot sake. The price is affordable and the family running this restaurant make sure you enjoy your visit.
Sakura Sushi Thai and Laos Cuisine
4200 Wyoming Blvd. NE (C-2)
ABQ, NM 87111
Does anyone remember Chickenman? I listened to this radio show when I was a wee girl in the 70s and I’m quite sure it shaped my sense of humor. I don’t recall exact plotlines but I have never forgotten the theme music and opening, which you can hear for yourself in this clip from This American Life.
Which brings me to the title of this post. Chickenman’s theme ends with panicked voices chanting, “He’s everywhere! He’s everywhere!” And so is Film & Food. Don’t forget to check our Facebook, Twitter, and Pinterest to have access to trailers, articles, movie stills, and much much more (said in cheesy overly dramatic radio host voice).
The director of Fugue State, Tim McClelland, was kind enough to answer some questions for us via email.
F&F: First, I have some specific questions about Fugue State.
In that fab scene where Luis moves one zombie’s arm and finds that another
nearby moves her arm as well, does this mean that the zombies have a sort
of hive mind? And later, when “Daddy” mentally calls to the zombie horde,
how is he able to control them? Is this something that is inconsequential,
simply a mystery and part of that “fugue state” you wanted to develop in
the viewer or perhaps there wasn’t enough time to visit this idea further?
I enjoy reading zombie books and have encountered the idea of a zombie
collective mind. I find it very interesting and so this part of Fugue
State had me intrigued.
Tim McC: Yes, it certainly seems that the “zombies” are connected by some sort of mental link, but I can only guess what the mechanism for such would be. It’s as if by removing the conscious mind/memories, other forms of thought/communication are able to fill in the void. The first example you see is the “wolf pack” of aggressive males that attack the woman and children in the alley. Later, the amnesiacs form into larger, more complex organizations. And then they are finally united by Daddy, who appears to have been granted special abilities by the “Shiner.”
In earlier (longer) cuts of Fugue State, there is more speculation among the characters as to possible explanations for the causes of the Amnesia Plague, but I find that the movie flows better without these conversations.
F&F: I think it is amazing what you were able to do with such a low budget.
I’ve heard the saying, “the film itself is the most expensive” part of
making movies. Was this true for Fugue State?
Tim McC: Since Fugue State was shot on video, the production costs were very low. The majority of the budget was spent on food for the cast, costumes and props, and gas for going to and from location. The downside to this method is that everything takes a lot longer, scheduling actors and crew with regular jobs is difficult, and the director ends up doing a lot of producer’s jobs, as well as editing, sound design, music, color correction, etc.
F&F: What drew you to making your own film? Is there another in the making?
What advice would you give to someone getting into the indie film
industry? How are you handling the press for your film other than film
Tim McC: Like many people, I’ve always wanted to make a movie, so it was something I had to do sooner or later. I’m a fan of many genres of movie, but making a zombie movie actually seemed doable given the resources I had available.
I’m looking forward to starting another project soon, most likely in the horror
genre, but I don’t want to go into detail quite yet.
My advice is to get a camera and start making movies. Start with short ones and move up to longer ones. Do what you can with what you have available. The more skillful you become at this very difficult art form, the more resources will become available to you.
F&F: Thank you so much for taking the time to answer our questions! Looking forward to your next project.
Tim McClelland’s Fugue State reaches outside the typical low-budget zombie film arena to give us a glimpse of the “unsettling psychological horror of identity loss and the unreliability of memory and even reality itself.”
Luis, a security guard, is thrust head-on into the aftermath of, what the press called, an “amnesia plague.” Victims react in various ways, with some exhibiting zombie behavior while others exist in a state of confusion, sliding back and forth in memory, unsure of even their own identity.
Luis soon finds himself with a strange group of survivors, one of whom is his wife Cassandra whose “fugue state” also involves flashes of the future.
I had read in the past that movement such as walking across the screen is typically shown moving from West (left) to East (right), and that the opposite could portend some involvement with time travel or flashbacks. So when I saw Luis and Cassandra walking the empty New Mexican desert, I perked up, thinking this choice of the director could be more than a simple pleasing to the eye visual. When it happened again later in the film, I wondered if the director had made a conscious choice there to imply we weren’t involved in a linear narrative.
I don’t want to spoil the plot too much because I believe it’s best going into this film cold. Lots of local talent here, including quite fitting closing credits by Le Chat Lunatique. The viewer will quickly become entranced, falling into your own fugue state and floating along with the inhabitants of McClelland’s masterful first effort.