CRASH MY FUNERAL (75 MIN., ©1999). A CRAZED COMEDY – World Premiered at FIGUEIRA DA FOZ INTL. , Portugal. https://vimeo.com/ondemand/crashmyfuneral

More Feature Workshops collaborations from the "double-trilogy" of actor/writer/director Yahn soon/John Balquist, 1998-2003.

CRASH MY FUNERAL

Lead actor/co-writer/co-director collaborator yahn soon/John Balquist.

List of actor/writer/director “yahn soon”/John Balquist’s Feature Workshops collaborations:

Loneliness is Soul ©1998

Maisy’s Garden ©1998

Crash My Funeral ©1999

Sun and Moon ©1999

The fifth Wall ©2000

It’s Not About the Shawerma ©2003

SYNOPSIS

CRASH MY FUNERAL is a surreal comedy about a scriptwriter's block. In an attempt to pull his movie back on track, the filmmaker, played by veteran actor yahn soon/John Balquist, employs drastic measures; he tries out dialog on a pizza delivery man, wanders around the neighborhood to scare up new characters and scenes, and hopes for inspiration from every pretty girl that passes his way. In the end, he realizes that the creation of art, for him, isn't fictional at all, but merely a collage of real-life moments in which he finds meaning and delight.
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Co-writer/co-directors: Paul Baker, Morgan Schmidt-Feng, Mandeep Khera, Dave Nold, Michael Rogers, Meeka Schmalle, yahn soon, Michael Trzaskowski and Rick Schmidt. CAST: yahn soon, Willie Boy Walker, Jessica Heidt, Meeka Schmalle, Doreen Alexander Child, Mike Trzaslowski. DP: Morgan Schmidt-Feng. ©1999 Feature Workshops.

Statement about the making of CRASH MY FUNERAL, a collaborative Pro-DVCAM DIGITAL VIDEO FEATURE by Rick Schmidt, Co-Writer, Co-Director, Co-Producer, Executive Producer, and founder of Feature Workshops.

CRASH MY FUNERAL was a crazy production.  We quickly got in over our heads because we stared shooting with what we imagined to be a workable story concept instead of just letting our movie grow out of the surroundings (locations) and real-life stories of our actors.   We begun by thinking that we were making a movie about a street person (played by yahn soon/John Balquist, who performed the fantastic “Magic Mushroom” story in LONELINESS IS SOUL) who lives up in the Berkeley, California hills. So for a while we had fallen into the typical “indie’ trap of actually trying to forge a story in the impossibly short period of six shooting days, and playing “catch-up.”  On day-3 we rejected this notion, and searched for a fun concept that could add meaning to all the great stuff we had already shot.   Morgan, yahn/John and I sat together over breakfast wondering if any one of us could possibly figure out a way to pull the movie into usable fashion.

Thankfully our great Director of Photography (and my son) Morgan Schmidt-Feng came up with the concept that we make the lead character A SCRIPTWRITER... someone trying scripting a movie inspite of a writer’s bloc...in search of his inspiration.  That meant that everything we had previously shot could now be incorporated into the cut.   Scenes could be regarded as either real or imagined.   And the connections could all be made in his head (the editing could show this...).  So that character—what yahn/John Balquist was playing—could learn new things as he searched for his story.    He could deal with the creative angst, worry about story and plot, moulding characters, all in the name of “art.”  Suddenly it was appropriate to discuss moviemaking issues, like “selling out”   We were fortunate to have the use of a large Oakland hills mansion where Bellas Curve band members Knox Ziegler and Matt Calkins lived, and we worked hard to include their music and scenes in the movie. 

The brain surgeon who owned the house reluctantly gave us permission to shoot there, but the day after we finished the movie he evicted the musicians from their low-cost apartments at the basement floor level (their fabulous views/rehearsing space gone!).  It wasn’t enough, it seems, that we were careful in our work, didn’t disturb the room-wide gymnasium the doctor had created for his adult “playpen.” Our error had most likely been that we gave his tenants too much focus, rendered them as less than invisible in their downstairs rehearsal cubicles, made him jealous on some level (that’s what I heard back, at least).  Fortunately they are proud of the movie and loved their particular scenes, especially the music-videoesque sequence of live band rehearsal, and believe that it was their fate to move on.

Actor, co-writer, co-director Meeka Schmalle and Matt Calkins (drummer, Bellas Curve band).

Our AVID editor/co-writer/co-director Mike Rogers (who cut LONELINESS IS SOUL so beautifully) was happy to stop tearing out his hair and make scenes fit together.  He could finally make it understandable when a melodramatic scene was over-played (it was him, yahn soon,  the scriptwriter, searching for the truth of the scene in his mind).    And other editing miracles were possible!  A woman who yahn sat next to momentarily on a park bench (Meeka Schmalle from LONELINESS IS SOUL), could instantaneously become his muse, a lead character in his story.  From barely a glance at her pretty face, his fertile mind was now capable of creating an array of scenes starring “the woman on the bench” (which we get to see as his script comes alive...):   “Cassanrda” is a ghost-like presence as she sits silently on a bed watching videos. 

Then, at the musician’s house, she is seen again, now as a drugged-out groupie girlfriend of one of the band members.  Later, she shades another part of the story, becomes an old man’s suicidial daughter (Willie Boy Walker who has starred in several of my past features, including 1988-THE REMAKE, EMERALD CITIES, MORGAN’S CAKE, AMERICAN ORPHEUS, THE FIFTH WALL, BEAR DANCE, plays the father, and tells a hilarious real-life story about “going to camp as a kid, for the first time“).

So our out-of-control production suddenly became a little more stable.  The editor called for scenes he needed to complete the cut as the ten days of shooting/editing were winding down.  Musician Paul Baker (who created almost all the original musical scores for over six features) once again delivered his special brand of songs for our soundtrack, and our comedic crazy-quilt movie was completed by the deadline.  

We’ve learned once again that the best parameters for our 10-day start-to-finish FEATURE WORKSHOPS productions are when we follow trails and directions as yet unknown (as we did with past features BLUES FOR THE AVATAR,   LONELINESS IS SOUL, MAISY’S GARDEN, other workshop movies..), letting the story emerge from the truth of our journey.  It’s through that process of personal discovery that we ultimately do our best work.