RASHnotes is a new series that marks a new beginning for RASHfilms. Sam and Josh pledge to briefly read the plot synopsis from Cliff's Notes to classical literature while hanging out in the coffee shops inside bookstores. We also pledge to make short films based off of this brief single reading, and if we forget anything on the trip home, we pledge to just make shit up. That is a pledge we can honor.
Without further adieu, I present the first adaptation of the RASHnotes series: 1984 by George Orwell (which is actually above this block of text, not below).
This one was filmed back during the 2007 Kino Louisville Spring Kabaret. Tom Waits Was Right...about that devil thing he was talking about in Heartattack and Vine. Our friend John Mirsberger makes a brief appearance.
So a week after the Wis-Kino Spring Kabaret, the folks down in KinoLouisville were having their Kabaret. As has became tradition for these trips, we make a completely fictional telling of our trip and or it's plans. This, I should mention, is the penultimate Go to Louisville sketch. We will only do one more, and it will be when we return for their Fall Kabaret.
We had plans to come to this screening in costume and insist that we were not Sam and Josh (see the film). We planned to actually have a few lines exchanged in character during parts of the film as well, however, none of these plans worked out due to car troubles. We arrived in Louisville just as they finished up their screening.
So basically, the Wis-Kino 2007 Spring Kabaret rolled around and the theme was announced as "Complicated". We all had 48-Hours to come up with a film. Sam and Josh, having been enamored with the movie Grindhouse, decided to make our own double feature. Sam wrote a piece about his mischeivious kids, and Josh teamed up with Steve VanHarren to write a story about terrorism and divorce. Two fake trailers were whipped up to fit in between, each one being a longtime pet idea of Sam and Josh's respectively.
So basically, Josh thought this one up during a lunch break on the day of Wis-Kino 2007 Spring Kabaret kickoff screening. He wrote up a breif storyboard and grabbed a coworker (Reid Simonson) to film this one mear hours before the screening. It was edited, and ready just in the nick of time. It's basically just a political statement about media oversaturation/pacification.
The much awaited continuation of I'm A Cop. This was acctually shot relatively shortly after the first I'm A Cop. During witch time we reshot much of the first episode (there were plans to make the first episode look better for submission to Channel 101). The project stalled when it came time to do some reshoots and voice redubbing. However, almost a year later, the Wis-Kino theme of "Explosions" proved to great to resist, and the project got put back on track.
Much of this episode was directed by Rob Matsushita, who is the master of gunplay. Basically, the plotline of this episode can be summed up in one word: Fight!
This one was written by Josh. It basically takes a bunch of his own sexual anxieties and hangups and exorcises them by making a story about the most absurd and extreme case of said hangups. Trust me though, he is not that much of a mess.
And with this film we kick off RASH Take3 Productions, this year (our third year) we have decided to make an effort to make some non-comedy films. This films will be branded as RASH Take3 Productions rather than RASHfilms.
This film was written by Sam, and is a story of love that just misses it's connection. Pretty much a story about not following through with your heart.
It was the 2006 WisKino Fall Kabaret 48 hour film challenge, and the secret theme had been announced: Counterfit. Right away, Josh said to Sam , "Counterfit Condoms". Later he took back the statement to replace it with "Film Noir". In the morning, Josh awoke to find that Sam had written a script combining both. It was filmed that evening and part of the following morning. It was edited just hours before being shown at The Orpheum Theatre.
This one is based off of a true story some guy told me at a bar. He told me that two of his friends, one was a bass player and the other was "very well dressed", ran into Shirley Manson of the band Garbage. She invited the "very well dressed" guy to bring his friend up to her hotel room after the show, but being so very well dressed, he didn't really care. The other friend found out sometime later, too late. So Sam and I decided to do a "what if" and tell the story of what would have happened if they went up to that hotel room.
This one was done with virtually no preparation at all. It was done for the KinoLouisville Kabaret (theme: Breeze). Thus, as a Kabaret film, we were only given 48 hours to make the movie in. We originally were going to make a short film about Testicle Imaging, but right before leaving to shoot we scapped that plan (for now) and decided to do an impromptu perfume commercial. We ran to The Mercury Lounge and gathered as many people as we could to look sexy for the camera. Given the last minute, no script, nature of this film, it has no right to look as good as it does. However, it does.
So here is the sequel we made to Sam and Josh go to Louisville. In this one, we discover that the man we accidentally killed in the previous film has a long lost twin brother which we can exploit for an alibi. However, when he manages to die on us, a Weekend at Bernie's situation occurs, leading to a film-within-a-film that harkens Shakespeare's Comedy of Errors in it's scope and magnificence.
D&D geekery meets reality TV bickering in this short film about a elimination style reality TV show based around Dungeons and Dragons. However, the sketch goes deeper than that. Can you figure out the secret connotation behind the characters names and lines? If you can't than join to handfull of others we witnessed somehow not noticing the blatent Beetles references strewn throughout this short.
So Sam and I were eating dinner at the Olive Garden (because they had free salad and breadsticks) and shooting ideas at each other. One of them was to make a bunch of faux Republican PSA's where we would show two scenes, one that was something republicans seemed to fear or opress, followed by a more real threat set up with the same setting, angles, characters, etc. Like a slow zoom on the wife worn out from sex in the first one, and a slow zoom on wife in same position, but this time dead from being strangled. Well, that was the attempt at least. This was one that I sort of shat out on my own, so the quality is a bit lacking. The guy in first one wanted his name left off the project and the guy in the second one wanted his PSA left out all together (but his girlfriend told me to put it up anyway). All and all, people don't want to admit association with this one. Strangely, the guys (both straight by the way) in the last one are the only one's not ashamed of this film.
The first in a series about a police officer who trades faces with a young woman in order to get close to a mob bosses son. Despite the obvious refernces to a certain movie, this takes a turn for the surreal, as secrets about each character are revealed.
This one was edited and partially directed by Sam as he worked with other filmmakers at Kino Adelaide. It is the story of a man who visits a porno theater, only to be interrupted. Even though his trip has been cut short, he still leaves his mark, a mark he must erase before he leaves.
The thrilling conclusion to The SA Episode 1. The characters endure resolution, conflict, development, and reversion. The story building to the climax, where one of the characters dies in a tragic accident. His death brings them all together, the story reaches a tear jerking close.
This is part one of a two part series. What is the common ground between a man who wants to have an abortion, a couple stuggling with water bottle addiction, a love sick loser, a ladies man, a starving artist, and a man who's knowledge could change everything? They are all characters in this parody of prime time soap operas like The OC.
This is a short that we did when we went down to Louisville, KY to participate in their KinoLouisville 48-hour Kaberet. The theme was 'Parody' (though 'Phobia' was a close second). We were originally going to do a parody of The Office, but then as we were walking away from the screening it hit Sam like a ton of bricks: a phobia of parody, thus encapsulating both themes. We were able to get a couple great actors from KinoLouisville and some great locations. We then proceeded to have an amazing weekend of filming and Louisville fun. The screenings took place at The Rudyard Kipling and most of the planning took place at The Old Louisville Coffeehouse. Enjoy! This is probably the best work we have done thus far, the tightest editing, and the experience we had, as well as the people we experienced, made it all the more amazing.
This was a video we shot as we drove down from Madison, WI to Louisville, KY to attend and participate in the Kino Louisville Kabaret. We shot a film detailing the trip, and all that we encountered along the way. The Kino Louisville people were thrilled that we were making a film on the way there and wanted to show it first thing at their monthly screening. We think that might not be the best idea, or at least not the best first impression, but you be the judge.
This is the final episode of Die Traurigen Deutchen. The story line gets closed up and the mobius of oral pleasure is explained. This episode will blow your minds. There is a confrontation with some old enemies, so old that they predate any of the other episodes. Time machines are aquired with supreme difficulty and at great personal risk. Everyone gets put in the right place (and time). The truth behind the most recent iteration of the Deutchens is reveiled. All and all, this episode is hot.
Yeah, this one is depressing. I am not kidding you, or faking you out when I say that this one is not a comedy.
This video is what happens when you leave Sam alone for a day with nothing but his Donnie Darko soundtrack to keep him company. Not a happy film, and not either of our's styles. This one is a bit of a departure:
This here is a film about a man with a plan. Dr. BS Jawbender, master of the mad art of mad scientistry. He has an offer for you that you can not refuse. And who would refuse such a great offer, being made available to the public at such a low low price of $AWholeBunch.
So go ahead, download the goodness. Click below for your free informational video about the telemarketing WAVE OF THE FUTURE:
Fall 2005 Kabaret. The rules were that the film had to be under 5 minutes, and it had to use a theme. Once the theme was announced, we were given 48 hours to make the film. The theme ended up being "Impossible Dream", which led us to make a strange, creepy, surreal dream sequence that went for an incohearent 5 minutes. It features RASH crew, including the long estranged Frank, an original RASH member who has not been involoved with rash for years. We also got on board Jess, who added pretty much all the darker elements of this piece. It was a blast doing the 48 hour Kabaret, and we ended up learning alot during that time frame. We have now learned how to use blue screen effects, which opens up all kind's of doors, FX-wise.
This film involves a rather difficult to follow story involving three distinct dreams that the main character shifts through and starts to mix up. One involving a mixture of milk and wool, one involving a strange man, and the other involving a ninja. Enjoy!
(Note, this project was exceptionally well documented, so you will see a number of special features listed below as well) ***NOTE THAT MOST OF THESE FEATURES ARE CURRENTLY NOT ONLINE***
This particular short film was written by Josh while bored at a bar. The intial premise was one that originated from a drunken phone call from a lost friend at 3:00am one night.
The filming of this short was doomed from the beginning but okay in the end. Time went by, actors could not be coordinated, and then, with only a few days before the planned showing date, everything sort of aligned. This became Josh's directing debut, and also saw the graduation of Cam from assistant to on-camera-actor. Also brought on board was Pete, a friend of Josh's, to co-direct the first day of filming. This film also stars another completely seperate Pete who seems to be often typecasted as a certain underworldly prince of darkness (it wouldn't happen if he weren't so damn good at it). Also new to the RASHfilms roster was Leann, who stared as Pandora. Some RASH regulars are, of course, involved in this one as well.
The Mercury Lounge was kind enough to allow us to film in their establishment, and should, in fact, be patronaged, as it has good food, good spirits (the alcohol-based kind, not the soul-based kind) and bad spirits (these ones are the soul based kind, and also angry drunks). See the credits page for more info.
Also noteworthy is the music playing in the bar scenes. It was the work of a friend of mine by the name of Nick who writes music under the name of Angelfire. Also see the credits page for more info.
This film was very much created on the seat of our pants. It stemmed from a conversation outside of Best Buy about how the movie "House of 1000 Corpses" didn't acctually involve 1000 corpses at all, and how much of a letdown that would be for would-be tourists. Well that eventually evolved into a monologe that only Sam can properly give, and we decided that we could quickly film him saying to somebody in first person perspective (much like a certain Saturday Night Live sketch starring Christopher Walken).
A short film that was our version of the "Aristocrats" joke. If you don't know the nature of that joke, google it if ye dare. Our version is vulger and possibly slanderous if it were not for the fact that we are only suggesting that we audition the mentioned actors for the described parts. Now if we stated that they did the things we describe in this clip, well, we would be hearing from the laywers of many a B-Grade actor.
This is the first episode of a four part series. It is about a pair of sad sad Germans. They are Klaus and Fritz, and they have a few things to say about the state of American beirs. And pants, this show has a lot to do with pants as well.
This is a bigger undertaking than SETI in that we have started to employ special effects (see if you can spot them!). We also created a few props for the characters to use, a container of ice cream and a bottle of fabric softener. We made use of grayscale and color filming, and used a few pretentious camera angles. Check it out.
SETI is the third real project we put out. Granted I did a documentary on Blitz and a wedding, but those don’t count. So, here we go, SETI as shown at Wis-Kino where the rule was 5 minutes and The Directors Cut (and script of course).
SETI was shot mostly on Sat, July 16th. We started a bit late at 3:30 in Amanda’s apartment without Josh (he was working on the title music which made for a beautiful opening shot that I still love each time I see it). So, Borman, John, and Amanda were there to act (and help hold a boom if not in shot) and Marina was there to watch and ended up being a wonderful help. Holding the boom, moving the fan, turning lights on and off. She doesn’t believe she did much but without her it not only would have been a pain but impossible (it’s very hard to man a camera AND mic, especially when you want to zoom in on Borman hitting on my girl.) So, thank you Marina… that’s why you got the PA credit.
Then, a bit late, we headed to Affordable Computer Help to shoot the first part (Marina and Amanda when shopping and generally having fun instead of hanging out with 6 dudes in a computer shop for 3 hours – that’s not a complaint BTW) at 5:30. Brian from AFH was helpful as well. He got into shot now and again but that’s my bad. I’m the friggin director who spent so much time looking at the actors I forgot the rest of the frame. Heck the first short edit of the shot had him standing completely in frame and I didn’t notice until we previewed to Bobby Mat (Rob Matsushita).
Then, a bit late, we pick up Amanda and Marina and head home for the final bit of shooting upstairs. Light ain’ that great and the ceiling removes the ability to use a boom. So, Josh holds the shotgun and I do all the shots hand held. It doesn’t help that John is in the doghouse and trying to get out of there. After covering him with beer, we send him home and the rest of us go out to Perkins for a wrap party.. hey, it was 11 and most of us don’t really drink that much and we were hungry.
So, done right? Nope. Edited the thing on Sunday and had Bobby Mat come over for a preview. He made some suggestions (the numbers, the car, zooms, and get rid of the POV shot of John’s where Borman’s foot is clearly visable). The next day I had to stay home with the boy, and in between reading the new Harry Potter, I shot those car shots, added the numbers, oh yeah, and the cocaine insert (yes, that’s my hair in the reflection). Josh got home and we did one more insert of the car pulling out of the MATC parking lot and his hand shifting (which was fun since he has no idea how to operate a clutch) The only other insert, my hand grabbing the papers, was shot by Amanda the day of the screening. So that’s the story of SETI. Now watch it folks. (there’s more to tell, but you’ll have to wait for the commentary when we release a RASH DVD one of these days) Hey, I just realized that I tried writing this site in the third person… fuck that.
PS. This is Josh speaking, I have included the full version of the song that played during the "party" scene. It's called Conduit, and I wrote it recently, and it is a big booty shaker, so download it and listen to it.
The second project came a week later and introduced our shotgun mic. and boom pole. Also, we got John to act and Sam operated the sound and camera. The job required two people, but there you have it, an improvement none the less. Again, scripts were handed out, but not studied. Due to unforeseen circumstances filming began late and we just ran with it. The exercise was more about technical that acting.
It was RASH’s first use of a standard shoot with a 2 shot and close up of each actor. Due to phone calls, inexperience, and that fact that we’re natural goof offs, the original footage hit 45 minutes for about 2 minutes of final run. Shot in one night and edited the next, Johnny 5 has some great improvements (most noticeably in sound), a few things that worked well, and a few things that didn’t. A planned re-shoot is on the table.
New work commenced in early April 2005 with the purchase of a Panasonic DVX100a camcorder. More was added to the studio as time when on. The first test footage of course was not kept, but the first sketch was. Unlike the original RASH we used cuts, scripts, and takes. Crazy concepts. We did not, however, have good sound; or someone behind the camera. It was a very aim and run kind of production that took one evening to film and edit. Based on Sam’s obsession with Rubik’s cubes, we present: Cubed