“I started writing when I was eleven. I didn’t start writing at age eleven because I thought I was going to become a movie director. I did it because I enjoyed it. I fed off the movies I was watching and the comic books I was reading.”
–Spencer F. Lee, writer/director of FROM THE BRIDGE
FROM THE BRIDGE is a documentary that looks at the career of Kerry O’Quinn, one of the leading figures in fandom, and explores in depth the rich and exciting world of science fiction, comic books, and horror–and the fans who love it. At this point, those fans include a vast number. But it wasn’t always that evident. With this new documentary, due out in 2017, writer/director Spencer F. Lee shares with you his childhood passion that has blossomed into a deep understanding of some of today’s leading forms of entertainment.
FROM THE BRIDGE, directed and written by Spencer F. Lee, executive producers George Noe and Spencer F. Lee, produced by Philip Nelson, and hosted on-screen by George Takei, is a feature film documentary that tells the story of how fans worldwide have “come out of geekdom’s closet” in the last 40 years, largely nurtured and encouraged by Kerry O’Quinn. Having the opportunity to interview both Spencer F. Lee as well as Kerry O’Quinn, I’ve come away with a great appreciation for what this film will mean to an audience. The film features interviews with Stan Lee, Bryan Singer, Gene Simmons, Joe Dante, Nichelle Nichols, Tom DeSanto, Bryan Fuller, Rod Roddenberry, Howard Roffman and many more.
The full podcast interview with Spencer F. Lee is right below. Just click the link:
Up next is my interview with Kerry O’Quinn, co-founder of such landmark magazines as Starlog and Fangoria.
Brian De Palma is a wonderful conversationalist. In this new documentary, “De Palma,” which appears to have taken place in one sit-down interview, De Palma shares with you everything about his career and, by extension, his life. You feel a great director is passing his hand over it all, setting the record straight. This is Brian De Palma, after all, and he has had to endure a formidable amount of attack on his work. Either he was ridiculed for daring to reference Alfred Hitchcock, or his films were deemed to have too much sex, too much violence, and too much blood. The key to what makes this documentary truly worthwhile is that De Palma is a great storyteller and he sure wasn’t going to hold back on his own life’s story. He doesn’t control as much as he reveals.
What you learn about Brian De Palma in this documentary will undoubtedly enrich your viewing of his work. Let the master confess to you. As it turns out, the much discussed voyeurism in De Palma’s films is quite personal. There is certainly the Hitchcock influence, which De Palma addresses early on. How often does “Vertigo” alone get referenced in his work? Well, a lot. That is involved with a fascination in what the viewer gets to see. Later, we find out a deeper motivation. De Palma, as a young boy, was outraged to discover his father’s infidelity. He took it upon himself to follow his father and document on film his activities. De Palma, detective, gathering evidence. Finally, he confronts his father and flushes out his mistress who was attempting to hide in a closet. De Palma furiously chastises his father. De Palma, avenger, administering punishment.
At age 75, Brian De Palma has earned many times over a re-evaluation. This is a guy who definitely knows how to push buttons. Arguably, he has painted himself into something of a corner smeared in blood, mostly women’s blood. His level of suspense can be said to be over the top. However, it is something else when you have him there on the screen thoughtfully articulating his work alternating with various compelling clips and footage from a lifetime in cinema. He’s not there to persuade you. He’s there to let you in on things. You end up feeling that, yes, it is really in your best interest to put away any past preconceived ideas and listen. As for the relaxed candor running throughout, we can also give a lot of credit to the film’s directors, Noah Baumbach and Jake Paltrow.
SIFF Cinema Uptown in Seattle showing “De Palma”
Ultimately, this is a master class in filmmaking. De Palma does not say anything without it having a reason, followed by other reasons. At one point, he claims to not care for car chases. He says that “The French Connection” put that to rest with the greatest car chase ever. Besides, he’s not a car guy. Later, he admits he really prefers walking scenes as they lend themselves to great nuance and mystery. He loves the way a woman moves. And, more to the point, constructing a walking scene plays into his need for pictorial structure. And don’t get him started on his split-screen technique. Well, actually, do and you get some fascinating observations. For one thing, yes, it can be overdone and it won’t work for an action sequence. But allow someone with vision to modulate it, and it works. Brian De Palma was part of a golden age and contributed too much to ever be dismissed. This documentary proves to be a great companion to his work.
“De Palma” is currently enjoying a limited run. Catch it in theaters while you can. I had the pleasure of viewing it at one of our Seattle International Film Festival theaters that provide SIFF members and the general public with quality content year-round. “De Palma” is showing at SIFF Cinema Uptown along with a selection of De Palma films. Find out more about SIFF right here.
Rep. Katherine Clark of Massachusetts was fed up with the ritual in Congress of a moment of silence followed by no further response to the latest mass shooting in America. She approached civil rights icon Rep. John Lewis of Georgia. Lewis responded with organizing a classic sit-in. This time it would be inside the well of the House of Representatives, something never done before. And so history is being made. The Democrats are now galvanized and vow to continue the fight. Moving forward, spreading the word about the issues involved is crucial and Brave New Films is one great resource.
Rep. Katherine Clark teamed up with Rep. John Lewis for the sit-in. –Katherine Clark / Twitter
Brave New Films is doing its part to spread awareness with its own Gun Safety campaign running since 2014. You may think you know the story but the facts will speak for themselves:
On January 5, 2016, President Obama announced executive actions aimed at expanding background checks. That same day, Smith & Wesson’s share prices rose to a record high of $25.86* a share.
Eleven days ago, 49 people died and 53 were injured in Orlando Florida, the 133rd mass shooting this year. As of yesterday, Smith & Wesson shares are up 19%** since Orlando.
Smith & Wesson is MAKING A KILLING, and they are not the only ones. The NRA, gun manufacturers and the politicians they pay are all guilty of greed.
Since launching our Gun Safety campaign in 2014, we have reached millions of people with our content. Because of your support and the thousands of supporters like you sharing and contributing, the narrative of our work is developing the connection for the mainstream media to see how greed is making us all less safe.
Will you donate $25 right now so we can continue to create content that activates millions? With every donation, big or small, you make an impact.
Content like this piece released yesterday and already reaching 210,000 people and counting. #NoBillNoBreak
The mainstream coverage of #NoBillNoBreak is promising. Now is the time to keep making the connection between the business of selling guns and the politics that allow an industry that fuels 133 mass shootings in less than half a year to keep making billions in profits. Together, we are reframing the gun debate because the right to safety should always triumph over greed.
Extras on the set of “Star Wars,” 1976 from the documentary, “Elstree 1976”
I was an extra in a big movie and it was no fun at all. I got a lot of face time with the director but, since he chose to only speak in German, we never spoke, even when I tried to ask him a simple question. He just stared at me as I steadily baked in the sun. The only time he dropped his refusal to speak in English was when I had inadvertently left the set. Someone came over to tell me to get back into costume and report to the set. And that’s when the director let me have it, in English, “No one, but no one, walks off my set!” Now, he’s talking to me, in an abusive tone no less! So, I would not recommend being an extra. However, what if that movie was really something else? What if it was 1976 and you were one of the lucky bunch of extras on the set of “Star Wars”? That is the subject of a new documentary, “Elstree 1976.” And, if you’re wondering, Elstree Studios are commonly known to all Brits as that entertainment studio that can be relied upon for something good on the telly. In fact, as far as these extras knew, the sci-fi adventure flick they were a part of was assumed to be some sort of TV movie.
Filmmaker Jon Spira does a great job of having you get to know these individuals who would go on to be part of cinema history. We have ten portraits and each person is a gem with wonderful bits of observations. I especially like Paul, a classically trained Shakespearian actor. He recounts how he was led into this giant warehouse where he was left alone with a magnificent looking aircraft, which turned out to be the Millennium Falcon. Paul walked around it and noticed a man sitting off to one corner. He approached the man and asked if he knew where he might get some coffee. The man offered to get him some. Paul got his coffee and thanked the man. Then he asked his new friend if he might know where he could find the director, George Lucas. The man nodded and admitted that he was George Lucas. Paul got to experience the greatest possible experience any extra could ever dream of!
If you enjoy DVD bonus features, then think of this documentary as the ultimate in extras–on the subject of extras. This is for the Star Wars fan who thought he’d seen it all. No one in this film will bowl you over with their star power and that’s the point of this film. These are just nice everyday people who just happened to have a small role to play in the biggest blockbuster movie of them all. What is truly compelling about this film are the individual portraits. You’re going to like this especially if you like the Up Series, the Granada Television series that’s been following the lives of fourteen British children since 1964. Yes, the whole endeavor does ring a bit bittersweet but it’s also quite fascinating. And it’s Star Wars we’re talking about, so that adds another level of quirk to the whole thing.
ELSTREE 1976 has a US theatrical run as of May 6th in select cities including Los Angeles and New York City. For the full list of theaters and ticket information, go here. This movie will be available on DVD on June 28th via MVD Entertainment Group. The DVD can be pre-ordered now at the MVD Shop or on Amazon. You can also find ELSTREE 1976 on iTunes right here.
“A compelling, provocative and enlightening glimpse into the complex and sometimes contrary world of cannabis legalization in the United States. All of the controversy, infighting and emotion that is inherent in democracy is included in this fast moving example of what it takes to exact reform under the iron fist of pot prohibition. Any serious reformer, cannabis enthusiast or student of history will want to take the time to view this historic time capsule of a film.” – Vivian McPeak, Seattle Hempfest
Seattle’s annual Hempfest is this weekend, August 14 thru 16. It’s an exciting time for Hempfest as history continues to be made on the road to one day fully bringing to an end the prohibition of cannabis in the United States. With that in mind, there’s a great documentary on the initiative that made recreational marijuana legal in Washington state.
EVERGREEN: THE ROAD TO LEGALIZATION is an essential documentary on the tangled road to legalized recreational marijuana in Washington state. We follow the key players and get an in depth look at the campaign for, and against, Washington Initiative 502 (I-502) “on marijuana reform,” an initiative to the Washington State Legislature, which appeared on the November 2012 general ballot.
Keep in mind that medical marijuana is a different issue. There are 23 states in the U.S. that have legalized it starting with California in 1996. Washington state legalized it in 1998. The distinction is all the more significant given that the push to legalize recreational marijuana would end up threatening the position of medical marijuana. This is where the conflict arises among folks who would seem to be on the same side. A great focus for the opposition to I-502 was its nearly zero tolerance provision regarding driving under the influence of marijuana. This placed medical marijuana users in a no-win situation no matter how well they might argue against it.
This is a lesson in politics as much as marijuana. In order to make this initiative palatable to the average voter, the creators of I-502 believed that sacrifices and compromises had to be offered up. What the documentary makes clear in various segments is that the I-502 machine was geared to be the best possible chance to pass reform. This means victories by increments. And it also means making a case that will appeal to the widest audience.
Now with the stage set, there are three main figures that keep this political drama interestng. On the I-502 side, we have two charismatic leaders: Alison Holcomb who represents the legal work behind crafting the intiative; and Rick Steves who helps the campaign by taking from his capital as a well-known travel expert and allows himself to be the face of I-502. If the opposition had a face, it was definitely that of John McKay, a longtime advocate of medical marijuana.
We find Mckay is a somewhat disagreeable personality but consistent and quite reasonable. What he has is an authentic connection to the subject. Both Holcomb and Steves make no bones about not being cannabis users. Only in a documentary like this do you have the luxury of being able to scrutinize that disconnect. In one segment, we see Steves playing to a conservative crowd in Eastern Washington. He caters to their prejudices by saying in a mocking way, “Hey, if I want to hit my bong and stare at the fireplace for the next three hours, that’s my right.” This gets hearty applause. The damage continues to be done in regards to any real education on marijuana. However, a number of vital votes may have been won that night.
We see Holcomb in another segment in a similar mocking way suggesting she should create a marijuana leaf design on the top of her latte. If she knew anything about marijuana, she would have been able to speak to marijuana’s sativa strain being a great alternative to caffeine. No, instead, the lattes she regularly consumes are quad shots with considerably jittery results as opposed to the clean and non-jittery high of cannabis.
And so it goes, we find that the I-502 supporters are not there to fully embrace weed. But that is, oddly enough, perhaps all for the best to get things done. The motivation for change is simple and compelling: the tragic number of people in jail for simply possessing small amounts of marijuana. And these numbers are significantly African-American. I-502 would prove to be a less than perfect solution. But, after it won voter approval, it immediately helped in changing how we make criminals, and ruin the lives, of many people. Prior to the effective date for the new referendum, 220 marijuana cases were dismissed in King and Pierce counties. No one can argue with that kind of progress. However, the imperfections and compromises of I-502 will lead to the end of medical marijuana dispensaries by 2016. Not a small price to pay for the sake of progress.
How do you stand on the issue of marijuana? This documentary will help in getting a better sense of the legal fight still ahead. For now, we can take some solace on progress being made. I will provide you with coverage of this year’s Seattle Hempfest. So, come back for that and a whole lot more. After viewing this documentary, it adds to the enthusiasm to witness and be part of the social change all around us here in Seattle.
EVERGREEN: THE ROAD TO LEGALIZATION is available now on DVD with plenty of bonus material including a resource guide for helping support the fight for marijuana’s legitimacy. Go to the official website right here.
Historian James Carrott poses with Cherie Priest. Photo by Ben Z. Mund
“Vintage Tomorrows” has got to be the best title you could give a documentary on the steampunk movement and it lives up to it. This is a much-needed comprehensive look, both informative and quite a lot of fun. The documentary made its world premiere at the Comic-Con Int’l Independent Film Festival this last weekend.
Produced and directed by Byrd McDonald, this documentary is based on the book, “Vintage Tomorrows,” by James Carrott and Brian David Johnson. They’re in the doc and so are many other notable figures. Interviews and appearances include authors William Gibson and Bruce Sterling (The Difference Engine), Cherie Priest (Boneshaker), China Miéville (Perdido Street Station), Cory Doctorow (Makers), Gail Carriger (The Parasol Protectorate series), Paul Guinan and Anina Bennett (Boilerplate: History’s Mechanical Marvel), Ann and Jeff VanderMeer (Steampunk, The Steampunk Bible), Nisi Shawl (Everfair) and Phil and Kaja Foglio (Girl Genius), and founder of Steampunk Magazine Margaret ‘Magpie’ Killjoy.
What’s all the fuss about, you ask? The story of steampunk, followers will tell you, is for everyone. To give a sense of the many voices and answers to the question, “What is steampunk?” we begin with a whirlwind of responses from many of the participants. Initial segments are sliced together with one person seeming to complete another’s sentence. “Steampunk is…” leads to answers such as “based upon science fiction of the 19th century” and on down to line to rallying cries such as, “you show up in a top hat and spats and you’re there to cause a riot!”
For an ostensibly literary movement, you would expect a rather low-key and subtle vibe running throughout. And, darn it, that is basically what you have and there’s nothing wrong with that. However, what people who are involved with steampunk would have you know is that there’s a strong sense of wonder, adventure, and excitement attached as well. And things are evolving. What may have begun as a quirky meeting of minds, circa 2005, has found formidable and creative leaders in the last ten years.
Steampunk today takes itself more seriously. The irreverence has been tempered a bit with a higher level of self-scrutiny. For instance, as the documentary explains, in order to be more inclusive, steampunk needed to confront the Victorian era’s colonialism and elitism. While history is what it is, attempts are made to address the past. For instance, you hear one participant say she no longer wears a pith helmet, an obvious symbol to her of colonialism.
Attempts to bring the Victorian era into the 21st century are likely to always be weird but that is part of steampunk. Enthusiasts will tell you that a big method to the madness is an attempt to get back to something tactile and real. While a steampunk follower may own an iPhone or iPad, that doesn’t mean he or she doesn’t do it grudgingly. A recurring battle cry is that we’ve lost something vital with today’s technology. There is no steampunk smart phone or laptop. However, we have each other. We have community. Steampunk encourages you to not be afraid to look backward as you find your way forward.
Be sure to visit the official Vintage Tomorrows website right here.
Jack is a journalist in search of a story. It’s 2003 and Iraq is grabbing all the headlines. However, a set of circumstances finds him considering a story set in the Middle East that does not involve conflict. Enter Mike’s Place, a haven for the young and young-at-heart to unwind and enjoy good spirits and great rhythm and blues right off the beach in Tel Aviv. It will be a decidedly odd twist of fate that places Jack in what proves a most compelling story of conflict, and unbridled optimism.
Building upon their work on the documentary, “Blues by the Beach,” Jack Baxter and Joshua Faudem have taken what they placed on the screen and reworked it for the comics medium. Along with the thoughtful and energetic art of Koren Shadmi, you have a narrative that naturally flows with a life of its own. Shadmi has carefully developed believable characters that the reader hooks into. This is a story, as the cover makes clear, about a bombing. But not only about a bombing.
With countless acts of violence and terror in the world, it can all seem a blur. As the characters in this story often say, you have to create your own way of coping amid terror. Throughout, the regulars at Mike’s Place are being interviewed for a documentary exploring the real Israel. One standout is Dominique, a beautiful and lively waitress. Her story, on and off camera, is pivotal. When asked about how she copes with bombings, she says that you need short-term memory as an “immune system.” You deal with it at the time and then move on. She proudly states, “That’s the Israeli way.”
But, how then do you make sense of it all if you’re constantly moving on? Well, you don’t completely forget. It seems that a story like the one about Mike’s Place becomes more powerful with each revisit. It seems that Baxter and Faudem had to process what they experienced and recorded into two separate mediums, as a documentary and then as a graphic novel. You sift through the details and sharpen the focus. What happens, once you have a graphic novel of this caliber, is that you find a greater truth.
You have here a straightforward cadence as the story is presented in comics. The layout foundation on the page is two panels on three rows with variations as needed. This is classic comics storytelling and it works quite well. You don’t need much else in many cases. For this story, this framework sort of mimics the camera in a documentary and evokes reportage in general. In fact, you don’t really notice the panel structure as you are immersed into action. Again, Shadmi does a remarkable job with bringing to life these characters. And, as you’ll see yourself, this graphic novel does a remarkable job of clearing away the clutter and getting to the heart of the matter.
You see here Mike’s Place become the center of conflict. A happy-go-lucky gathering spot, seemingly existing out of time and place, comes crashing down. This is the story of such a place. And how people come together once the unthinkable has happened.
“Mikes’ Place” is a 192-page hardcover published by First Second Books. For more details, visit our friends at First Second right here. You can also find this book here, here, and here.
If you are in the Seattle area, be sure to stop by Fantagraphics Bookstore and Gallery this Saturday, June 13, and meet the book’s cartoonist, Koren Shadmi. This will be a fun event which includes the debut of a new book by local cartoonist, Greg Stump, “Disillusioned Illusions,” published by Fantagraphics. For more details, go right here.
Don Wildman, host of Travel Channel’s “Mysteries at the Museum”
Don Wildman leads an active life. Among his many adventures in documentary television, he’s explored hundreds of mysterious tunnels, catacombs, crypts and bunker systems for HISTORY’s hit adventure series, “Cities of the Underworld.” As the host of Travel Channel’s “Mysteries at the Museum,” he brings that same spirited determination. Don was gracious enough to chat for an interview where we talk about the show’s own history and what you can expect as it enters its 8th season with its premiere episode this Friday, April 3, 9/8 central. You can find details at Travel Channel right here.
The Mystery of the King in the Parking Lot
Each episode of “Mysteries at the Museum” presents six stories coming to you from a wide variety of places. Each is a mystery of one kind or another. And each has an unexpected twist. It is the sort of program that you can relax and enjoy and come away with intriguing facts. It may very well inspire you to read further, explore further, or create your own adventure. If you’re a fan of Ripley’s Believe It Or Not, this will appeal to you. One interesting aspect to the show is how you can connect the dots with the past and the current scene. Do you think the Tea Party movement is something entirely new? Well, for example, you’ll want to see what the State of Jefferson movement was all about.
The Mysterious State of Jefferson
In this interview, Don gives us an exclusive as he describes the early days of the show with a very funny story involving the best use of props. And we talk about history and museums in general and, of course, about the show’s unique take on creating exciting content. As I’m in Seattle, we talk a bit on the vibrant Seattle museum scene which includes the new Museum of History & Industry and Living Computer Museum. Don clearly has a love for history and adventure. It’s a fun interview and I know it will add to your enjoyment of the show. Just click the link below to listen to the podcast interview:
You can watch “Mysteries at the Museum” on Fridays on Travel Channel, starting this Friday, April 3, 9/8 central. For more details, and clips to the show, be sure to visit Travel Channel right here.
Jason V Brock is an author, artist, and filmmaker who finds himself in a very interesting place in pop culture. For starters, he has created two well-regarded documentaries that focus on two very different men, both great contributors to science fiction, horror, movies, television, and the arts in general. One is Charles Beaumont. The other is Forrest J Ackerman. We chat about them and the creative process. How do you create art? One rule of thumb: Do it yourself! We begin with a look back at Brock’s childhood and how he, a child of the ’80s, grew up with the DIY ethos. In Charlotte, North Carolina. That’s where Brock cut his teeth on comics, retro cinema, vintage LPs, pulp fiction, and Playboy. Brock began working at his local comic book shop at the age of 13. His dad was a writer and graphic designer. It sounds like an idyllic way to grow up, right out of a Ray Bradbury story.
Charles Beaumont and Robin Hughes on the set of “The Howling Man”
Speaking of stories,there are so many stories to cover just in Brock’s documentary on Beaumont. Take the case of the short story, “The Crooked Man,” by Charles Beaumont. It is a classic today that was highly controversial for the time, circa 1955. It imagined a society where homosexuality was predominant while hetrosexuality was outlawed. The story was bought by Esquire but subsequently was not published. It turned out to also be too hot for the pages of The Magazine of Fantasy & Science Fiction. But when Playboy published it in 1955, then that same story became okay, more than okay. Charles Beaumont sold his first science fiction story, “The Devil You Say,” to Amazing Stories in 1950. By 1954, he had written the first work of fiction, the landmark work, “Dark Country,” to appear in Playboy in 1954. This kicked off over a decade of Beaumont stories in Playboy. Writing for movies and televison soon followed including some of the best episodes of “The Twilight Zone.” All this, and so much more, before his life was cut short at 38 by a mysterious illness.
And, that gives you some sense of what to expect in Brock’s “Charles Beaumont: Short Life of Twilight Zone’s Magic Man.” You can find that documentary as well as Brock’s documentary on Famous Monsters of Filmland’s former editor, Forrest J Ackerman (Uncle Forry), “The AckerMonster Chronicles!” right here.
We also chat about Brock’s work in editing and writing his own stories. This led us to discussing a unique pairing of talents. In the course of working on the Beaumont documentary, Brock got to know one of the members of the Southern California Writer’s Group, William F. Nolan. They struck up a solid friendship. When Nolan was at a turning point on where he wanted to live next, it was a reasonable choice for him to move a bit further north from Bend, Oregon to Brock’s neighborhood in Vancouver, Washington. It turned out to be a natural fit and Brock and his wife, Sunni, could not be happier to share meals but not only that. Bill Nolan became family and you look out for family.
Among Brock’s impressive editorial work, there’s the recent anthology, from 2014, “A Darke Phantastique.” This is a 730-page lushly illustrated collection of some of the best dark horror fiction around with more than fifty stories, poems, and one teleplay. This includes Joe R. Lansdale’s “The Case of the Four-Acre Haunt”; Paul Kane’s “Michael the Monster”; William F. Nolan’s “The Last Witch”; Nathaniel Lee’s “The Wisest Stone and the Zoo”; Derek Künsken’s “The Buddha Circus”; E.E. King’s “Three Fables”; Jason Maurer’s “In Your Dark: Differing Strategies in Subhuman Integration Through Monster Academies” and S.T. Joshi’s “You’ll Reach There in Time.” “A Darke Phantastique” is published by Cicatrix Press and you can find it here.
And another recent anthology, out this year, is “Disorders of Magnitude.” This is a 336-page overview of the genres of horror, science fiction, and the supernatural. It will prove useful to anyone who wants a better understanding of the roots of one of today’s dominant forms of entertainment and art. Included in this collection are essays, reviews, and interviews. Brock studies such dynamic figures as H. P. Lovecraft, Forrest J Ackerman, Harlan Ellison, Ray Bradbury, Charles Beaumont, Richard Matheson, Rod Serling, and William F. Nolan. This collection also includes filmmakers Roger Corman, George Romero, and Dan O’Bannon, and such fantasy artists as H. R. Giger. “Disorders of Magnitude” is published by Rowman & Littlefield Publishers. You can find it as Amazon right here.
You can listen to our conversation by clicking the link below. For anyone interested in writing, filmmaking, and creativity in general, there’s something here for you. Enjoy.
And be sure to visit Jason and Sunni Brock at JaSunni Productions to find out more about their products and services right here.
We learn a lot from Dan Stafford’s documentary on cartoonist John Porcellino. “Root Hog or Die” provides us with some basic truths that resonate as we explore the life of someone both unique and, by his own account, just an average guy trying to make a life. The whole point here is to embrace the average. As Porcellino states at one point, he’s concerned to see an erosion of “the middle ground, when a person can live without an elaborate ambition and yet not be sleeping by some dumpster.”