Name: Jean
E-mail: jthompson77@adelphia.net

Hi Josh!

How much do you think "The Biological Clock" would cost from start to finish? It seems as though it could be made on a modest budget. Do you have any actors in mind for the two leads?

Thanks!
Jean

At this point I don't think I want to make any films for less than half a million, since I'd want it to be both SAG and DGA. I've discussed the lead part with Ted Raimi, who would love to play it. Or you could go with someone like Kevin Pollack. I've always had Penelope Ann Miller in mind for Kate.

Josh

Name: Saul Trabal
E-mail: ghost_kingdom@yahoo.com

Hi Josh,

I enjoy your site; I log onto it regularly, along with Wordplay (which was recommended to me by Steve Sears). Although I'm not a film-maker, I am a writer. I'm trying to get myself published. Still, I happen to enjoy anything creative, and I enjoy films a lot. It's always refershing to see a different perspective, and you certainly offer food for thought.

It's great to see folks like you and Bruce Campbell offering a realistic perspective on film making, as opposed to the glamour and glitz bullshit.

From what I've read, this business has not exactly been kind to you (to put it mildly!). Forgive me if this question has been asked before-but if you knew starting out what you know now about the business, would you have even gotten involved with it? If you still decided to get involved in film, what would you have done differently?

Last thing-I read the script for RUNNING TIME, and I like it a lot. I'm going to try and see if I can order a VHS copy in a couple of weeks. And who knows? I may even order HAMMER after that.

Take care-and good luck with whatever projects you take on. I look forward to seeing more of your work.

Saul Trabal

Thanks for the nice letter. Good question, actually. Would I still go into the film business knowing how things have turned out? I don't think I had a choice. Nothing interests me as much as film. What would I do differently? Maybe be nicer to Sam Raimi. Just kidding. I don't know. This seems like my destiny, I don't really question it.

Josh

Name: XenaHerc
E-mail: XLWH@aol.com

Hi Josh.

I watched “If I Had a Hammer” last night.

I liked it.

Although I am a female, I identified with Phil.

When I was a teenager, I was a huge fan of Sonny and Cher and wouldn’t miss their TV show for anything. I wanted to be Cher although I can’t sing a note. In my bedroom, I used to sing Cher songs into an unplugged old microphone that I found in my grandfather’s belongings after he had died.

My family went on vacation to Wisconsin Dells. The family was going to an amusement park one night. I refused to leave the motel room that night because the Sonny and Cher show was on and my mom had a fit. She said, “You can see that show any other week.” and I informed her that I never missed an episode and would rather watch Sonny and Cher than go to the amusement park. She then cancelled the plans to go to the amusement park because she didn’t want me staying alone at the motel. The rest of my family was mad at me.

So when Phil stood in his living room thinking about his choices, I thought “That’s me 30 years ago.”

“On Sunday, February 9, 1964, the world changed forever…” I thought something happens at that meeting that will change the world forever. It surprised me what the event actually was that changed the world forever. I thought that was “cool”, I mean “tuff”.

In the credits you thank, Visa, MasterCard and American Express. Is that because you maxed out your cards making the film?

Take care,

XenaHerc

Yes, I too spent a fair amount of time in front of my bedroom mirror pretending I was on TV, singing songs, doing commercials, and imitations. And yes, I thanked the credit card companies for allowing me to max out ten cards, an American Express card, two MasterCards, and seven Visas, all with $10,000 limits.

Josh

Name: Jean
E-mail:

Sorry Josh,

One more thing before I forget. Was Phil's last name a homage to Tim Buckley? Just wondering, I'm a fan of both Tim and Jeff Buckley.

Thanks,
Jean

I suppose it was there in my mind, but it wasn't really an homage.

Josh

Name: Jean
E-mail: jthompson77@adelphia.net

Hi Josh!

I just finished watching "Hammer" and I enjoyed it as a whole. How's that for an opening line! Forgive me, but I do think it has it's problems, but what movie doesn't. I have seen TSNKE, "Running Time" and "Lunatics" and I think that "Hammer" is the weakest one of the lot. In the sense that it is not as tight as your other films. The pacing really threw me off. I think it may have been a combination of the editing and the dialogue. It's not that the pacing was slow, it just felt awkward. I will have to watch it again but upon first viewing I felt that the transitions from scene to scene were just a little off. The lead actor (Phil) seemed as though he was trying a little too hard. I had a very difficult time believing his performance so in turn I had a hard time caring about his character. In my opinion he spent a lot of time mugging for the camera. I think his performance needed to be a bit more subtle. I could have seen Ted Raimi doing a great job as Phil but I know that he is not the right age.

The actress that played Lorraine turned in a fine performance. I could buy her as the rich white girl activist. I felt sorry for her. She really wanted to make a difference but in the end no one really cared. The strongest performances came from the bit players. Terry was great! He had a great look and a great speaking voice. Mustafa was very effective as was Bobby Lee Baker. These two characters represented some of the intensity that seemed to surround the 60's. I felt that Bobby Lee Baker's entrance, performance and exit was one of the strongest aspects of the film. It was very nicely executed. The scene with Phil and Terry getting high behind the club was great. Very funny and very true to that first smoking experience.

The photography and the production value were impressive. The cars the clothes and the sets seemed (from what I know about the 60's, I'm only 25) very realistic. I've seen other films that take place in the 60's which cost more money and they did not look nearly as good as "Hammer". The detail in this film was a great accomplishment. The shots were composed beautifully. I've noticed this about all of your films. It's a wonder why you did not become a cinematographer! The look of the film and the composition are hands down the strongest aspects of "Hammer", in my opinion. You have a gift for setting up a shot.

I felt as though some of the dialogue was too much telling and not enough showing. In the beginning right before Phil's parents are trying to get him out of bed Phil's Mom tells the audience that he has done nothing since he got out of High School and that he doesn't care about anything etc. She told me everything that I needed to know about Phil in the span of 10 seconds. It felt forced. I could have figured all of that stuff out about Phil in the scenes that followed. So much information at once took me out of the picture

The musical performances were very good. I liked the choice of songs, the performers and the way that the performances were filmed. The musical numbers are what made the film unique. You showed the entire performance of each artist (for the most part) and I really appreciated that as a viewer. I loved how Phil got more and more nervous as each act finished. It was a nice juxtaposition to what was going on on stage. Very well done. I cared about what was going on in The Purple Onion. Although I think that the film should have finished before it did. I think it may have gone on a bit too long after they all left the club. But I know that you had to show The Beatles on Ed Sullivan which was awesome! Great stuff! Who in their right mind would have missed The Beatles on Ed Sullivan for some stupid meeting? That is a fantastic idea to build a story around. "Hammer" was a great commentary on how we all claim to care about "important" things but in the end we only really care about ourselves and our own interests. It's human nature I suppose.

In the end the thing that I liked the best about "Hammer" was the fact that it was a true independent film. You tackled a risky subject with unknown actors and a small amount of money. I'm not sure if there are many people out there who would want to see this film but that's not your fault. You made the film that you wanted to make and it has integrity. For lack of a better term this film has balls and that's a rare thing these days. I'm glad I kicked in the $20 for the copy. Keep up the good work!

sincerely,
Jean

P.S. I still think you need to make "The Biological Clock"

Thank you for the interesting, thoughtful review, and also for buying the tape. I'd love to make "Bio," go put the money together and we'll do it.

Josh

Name: Keith Robinson
E-mail: Keithrobinson@krobin.freeisp.co.uk

Hi Mr Becker,

I hope you are still fighting away at making your movies your way, I am a big fan of your films Thou Shalt not kill and Cleveland Smith . Its heartening to hear that youve not given up for 25 years, Ive only been trying to get into this game for 15 and theres been many hard knocks on the way, but reading your journals has really given me new strength to pursue my endeavers. i just quit my job, much to everyones disgust, but i dont care, i want to make my movie and my dream come come just a little closer to fruitation. Thankyou for your wise words and support. Keep it up. Never say Die!!!

Keith

Die. Just kidding. If I offer a tiny bit of inspiration, then I'm pleased. Order my film "Hammer" and see what a real indie film looks like.

Josh

Name: Darryl Mesaros
E-mail: simonferrer@hotmail.com

Dear Josh,

I'm looking forward to seeing HAMMER when it shows up.
I just finished watching the EVIL DEAD II special edition DVD, and I saw that you were listed as one of the Fake Shemps in the end credits. Just curious, but what was your role?

Yours truly,
Darryl

P.S. I just saw another example of the way that we who carry the name of Darryl are slandered in the movies. In ERASER, Vanessa Williams' idiot boyfriend (the one who doesn't get the hint, and is subsequently blown away with that weird rail gun) is named Darryl. Will this persecution never cease?
D.J.M.

When Ash falls into 1300 AD, it cuts to his POV shot looking up, and four knight's face's look down, as well as a wizard. I'm one of those knights, as is Sam, Rob, Scott Spiegel, and the wizard is Sam's uncle Sid. I'm then one of the armored knights all over the 1300 sequence, culminating in the very last shot of the film, when everyone hails Ash "he who fell from the sky," Ash falls to his knees screaming, "NO!", the camera pulls back as swords are raised, and my hand is the very final hand and sword that fills the frame before it cuts to black.

Josh

Name: Aaron
E-mail: agraham83@hotmail.com

Hey Josh,

I'm very interested in obtaining a copy of "If I Had A Hammer", but i'm in Canada, anything we can work out?

Thanks!

Click on the main page where it says "International Customers" and you'll get a United States Postal Service calculator, put in your locale, and a 12 ounce package, you'll get the postal rate, then include it with your $19.95, and either pay with a credit card with PayPal, or send it to me. It's probably about $4.00-5.00 US to Canada.

Josh

Name: John Hunt
E-mail: Chowkidar@aol.com

Josh,

I just finished watching "Hammer". What the hell are festivals showing that they won't show this? Out of curiosity I turned to the Independent Movie Channel when "Hammer" finished. It was showing "Boxing Helena", a movie which bores the living crap out of me.

I'll have to watch "Hammer" again to critique with any precision, but I'd like to give my initial impressions. I know you're going to be inundated with postings for a while and I won't be offended if your replies are to comments in general rather than to individuals. So, on with the show.

I enjoyed the movie. There's an awful lot in it. The scenes with the Buckley family reminded me of the skits on the old SCTV show with John Candy and company. As I ponder themes I think of the paradox of childhood's end. Disillusion is an inevitable part of growing up; painful but necessary. I like the lack of final resolution. The film said, "Well, that didn't work" without a pat answer as to what would.

I loved the can opener. I had actually forgotten that little detail. The opening archival film makes a lot more sense after having seen the movie (I'm watching it again). Both Phil and Lorraine are established well. I appreciate how they have dual motivations; one to which they cling and one they refuse to acknowledge. That is true of a great number of the characters. I suppose Max and Terry are the closest thing to self-aware. I considered Moustafa, but for all his complaints about tokens, he's still there. Anyway, the characters grow but not to an improbable degree.

The performances are good, both from the actors and the musicians. I think the pacing is best in the Purple Onion. The family scenes were slower, somehow. I did wonder about the title explaining the significance of the Beatles' performance on Sullivan. It seemed like a step outside of the story; maybe a superimposed newspaper or something like that. Obviously, the result of Beatles performance on the story is pivotal and must be understood before the following scene with Lorraine.

I'm going to have to think some more to give anything coherent. I can't believe nobody wants to show this. This obviously is not "blockbuster" material but it is interesting (characters to care about), well made and speaks to the human condition. Weren't we just discussing this? Let me give some thought to the pacing. It seemed, in places, uneven in a way that might put off some viewers. I don't like being vague so I'll leave it there until I can better express what I mean.

I saw Anita Barone listed in the "Special Thanks". I'm glad that association remains. You've mentioned doubts about "Hammer" several times which I suppose is natural given the lack of a distributor. But if blind men don't care for your paintings, who the hell cares?

John

Thanks for the very first review of the film. And thanks for not slamming me into the dirt. Regarding the superimposed title about the Ed Sullivan Show, I realize it's a step back out of the story, but there wouldn't be a newspaper headline that fast. It was a weird decision, but I went with it. I'm glad you mentioned the main title sequence, and how it comes to have meaning over the course of the film, which was the point. I think possibly one of the film's problems at this point in time is that it's working in forms that aren't really in use in America anymore (although they still are in foreign films), which is allegory and metaphor. I think maybe no one wants to have to dig a little bit for the meaning of things, they want it right there in front of them, which bores me. Anyway, I'm interested to hear more of your comments. Thanks for buying it.

Josh

Name: bianca
E-mail: biancavolkov@hotmail.com

HI!!

i REALLY enjoyed reading your screen plays and i was
curious to know if you have any 10-20 min.comedy scripts for 1 male and 1 female? as i am currently doin my year 12 drama production and my partner and i are finding it difficult to find the right one..many thanks and keep up the fantastic work =)

Thanks. Try pulling a few scenes out of "The Biological Clock," there are a number of one male and one female scenes that I think might be fun to perform.

Josh

Name: August
E-mail: joxerfan@hotmail.com

Dear Josh,

Or should I say "Mr. Pecker?" Huh huh huh heh heh heh......

Sorry, had to get that out of my system. ;)

OK - I read "Hyderabad." *Exactly* the same reaction as I had to "Warpath," although I liked "Warpath" better. Good, old-fashioned yarn. Again, I didn't completely buy the attraction between the nun and the kidnapper, but some good close-ups of lingering glances, some more backstory on her conflicted view of the church, some good dialogue where they discover they have so much in common, and all would be resolved. I do still like the characters in "Warpath" better though, simply because the bounty hunter and the wife tracking down the errant husband are technically "good guys" regardless of their flaws, while the bandit and the nun who's falling from grace are much less sympathetic, although as you've mentioned before, one does care about them. Interestingly, "Warpath" still conjures up Kerr and Mitchum more, simply because Kerr's nun was a tough girl as I recall, like the heroine of "Warpath."

One thing that struck me was that "Hyderabad" is really a timeless, placeless story. Perhaps the idolizing of the fading star, and certainly the little touches like the cow in the window, are uniquely Indian, but I kept on thinking that the story could just as easily be set in the early 1930's in the American Depression. Same nun helping the poor, same gangsters, same everything except the Indian location. I'm thinking this is a really good thing.

And.... believe it or not - the ending once again surprised me. The ruse was spelled out, with the gang leader realizing he could use the church/ransom thing to his advantage, but I swear I was caught up in the characters, thinking "will they be able to sustain their relationship?" when the obvious happened. Not so obvious, I guess. Both that and "Warpath" made me smack my head and say "Oh my god! Why didn't I see that? It was so obvious!" Again, I'm thinking this is a good thing.

(Although what's up with the outhouse? Ewww!)

Now. THANK YOU for posting those old Xena/Herc treatments. Both would have fit nicely into the first seasons of each show, especially the Herc one. *Such* a cool, but simple, but cool notion. I was picturing someone like Kim Michaelis or Angie Dotchin as Iolaus's girlfriend of the day. And your initial version of "Shark Island" was infinitely better than the final version, although I did like the whole sequence of Xena in the rain burying the dead girl. (I swear, that scene was a 60-second version of the whole Xena finale. I kept on thinking "durn - this ep is like the old rain scene from Locked Up!")

So - any chance of seeing "Hercules vs. Atlas?"

Regards,

August

I'll take it as a compliment that you didn't see the ending coming on either "Warpath" or "Hyderabad," yet I believe they're both perfect logical endings that fit the stories. And don't call me Pecker. I only have "Hercules vs. Atlas" as a notepad file, and it will only open filled with garbage. I can't seem to find a hard copy. I have a few more Hercules outlines here, the original, very first Hercules outline, that ended up somewhat as "The Journey Begins," and I have "Hercules and the Slave Girl," which ended up as "Path to Freedom" with Lucy Lu. Anyway, I'm glad you enjoyed the ones posted. Shirley said you would.

Josh

Name: Brian
E-mail: KumiteENT@aol.com

Dear Josh:

Just outta curiosity, what is your favorite line from a comedy film. Mine's got to be Leslie Nelson in Airplane; "Shirly you can't be serious!"
"I am serious. And don't call me shirly."
Just the way he says it with such ease is still hilarious every viewing. Nelson was by far one of the funniest physical comical actors of the time. It's too bad he's stuck with direct-to-video Disney schlock-it's just a waste of talent.
By the way, do all copies of IIHAH come signed by the great Josh Becker himself??

Yes, they do. However, since I was unable to get the great Josh Becker to do it, I'm doing it myself. The comedy lines that jump to my mind immediately is the prayer Michael Palin gives in the boy's school in "Meaning of Life"--"Oh God, you are so big, so absolutely huge, you're super. All we can say, God, is we're really impressed down here."

Josh

Name: XenaHerc
E-mail: XLWH@aol.com

Hi Josh.

Got my copy of "If I Had a Hammer" today; and you signed it. Cool!

I will watch it this weekend.

Take care,

XenaHerc

We at Beckerfilms deliver for you.

Josh

Name: Darryl Mesaros
E-mail: simonferrer@hotmail.com

Dear Josh,

I've been out of the loop for a few days, having gone to Kentucky on a road trip (and I now owe $179 to the Commonwealth of Pennsylvania; they disagreed with my view that 87 mph in a 55 zone is not excessive). We went to Fort Knox to see the General Patton Armor museum (my buddy Derek is a wee bit obsessed with tanks). Kind of like your story "Fear and Loathing on I-10" without the cocaine (I did develop a strange addiction to White Castle cheeseburgers while I was there, though).
Anyway, I just wanted to let you know that I ordered "If I had a Hammer," and that the check and SASE should be reaching you shortly (I sent them priority mail). One more for the cause.

Yours truly,
Darryl

Excellent, although I've moved beyond the SASE concept and for a mere $3.00 P&H I'll send them out. I hope you like it.

Josh

Name: Daniel Neumann
E-mail: neumann@hellseals.de

Dear Josh,

I´m very interested in ordering "If I had a hammer". As the other guy from Sweden I live overseas (Germany). Could you please tell me how much the shipping will be (airmail preferred)? I cannot wait watching "Hammer" since I enjoyed all the other movies you made!

Thanks!
Daniel

Shirley, the webmaster, has a method for calculating overseas postage, and she will assist you in this endeavor. It's NTSC, so I hope that's not a problem in your neck of the woods. [follow this link --webmaster]

Josh

Name: John Hunt
E-mail: Chowkidar@aol.com

Josh,

Parent's credit card, huh? And I used my own. At least I laughed once today.

John

We strive to amuse.

Josh

Name: Nagi
E-mail:

Hello Mr. Pecker,

I have some questions for you. I dont understand how you make such dull films. I mean I hear TSNKE is not to bad but making movies like "I had a hammer" I mean no offense but dont you think you could come up with something a little more creative than that. I mean you have worked with Sam Raimi and he made The Evil Dead so I would think some of his creativity would wear off on you. I sure hope that in the future as you slowly become more expierienced that you will eventually have a succesfull movie. Good luck Joshua.

How can you comment on a film you clearly haven't seen? That's pretty foolish.

Josh

Name: Sian
E-mail:

Hi Josh,

I am considering a career in film making or directing when I'm slightly older, I'm only 17 at the moment, and I was curious to know if you have any advice to how I could pursuit my chosen career.
Love Sian
xxx

Yes I do. Borrow your parents' credit card and buy a copy of "If I Had a Hammer," then study it very carefully. Report back.

Josh

Name: David
E-mail: david@dustdevil.com

Josh,

Okay, this has me completely appaled. Guy Ritchie is making a remake of "Swept Away". I've never seen this movie, so that's not why I'm appalled. What gets me is why he's remaking the movie. Here's what he said:

"By the time the film had finished, I said, 'Someone's got to remake this movie.' I liked the edge of it. The passion. And Madonna said, 'Why don't you remake it?' I said, 'Well, why don't you be in it?' She went, 'All right,' and that was that."

I don't like remakes in the first place, but when people are remaking movies they already consider good, what's the point? Well, okay. The point is most probably a bigger bank account.

But seriously, what is this world coming to when a writer/director sees something he likes and decides the next step is to blatantly rip it off? It just boggles my mind wondering how that's even a legitimate option.

That's not really a question for you, I just had to vent, and none of my friends seem to want to discuss movies anymore. So here's a question:

Do you think there's ever a good reason to remake a movie? My thought is that once it's in a visual medium already, it's off limits. That leaves open books, and short stories, but other movies and televsion shows are off limits.

David

I'm with you. I hate remakes. If someone decides to do a remake they've automatically thrown in the towel on originality, and once you begin with such a bogus intention, it can only get worse from there on out. As William Goldman said, and I enjoy the coarseness of the observation, remakes and sequels are "whore's films," madely strictly for money and no other reason.

Josh

Name: John Hunt
E-mail: Chowkidar@aol.com

Josh,

I'm just a little puzzled. In reading your responses to various movie titles ("What did you think about ...") you often list the objection that you didn't care about the main character(s). Yet in your own work you make extensive use of characters who are apathetic or anti-social or self-destructive. I just read "Oh, Really" and the young man, whose name has escaped me, was a character with whom it is very difficult to sympathize. Ravi and the nun (I can't think of her name just now either) acted upon fairly base, ill-considered motives; again not individuals to care much about. Their circumstances, however, were interesting. I can't really think of any of your characters who would make good neighbors.

Of course, good neighbors generally make lousy characters, and where character flaws impel the story they are certainly appropriate. We are, after all, most human in our flaws and all good stories speak to our humanity. But your writings seem to confirm that one need not sympathize with a character in order to empathize with him. Again, I wouldn't mention it except for your own recurring objections to characters about whom you do not care. I was just wanting your thoughts on this, seeming, contradiction between your reviews and your own work.

Thanks as always,

John

Dear John:

I think it's a good question. Let's use "Monster's Ball" as an example. I didn't really like Halle Berry or Billy Bob Thornton's characters -- both of them have somewhat crappy relationships with their sons and don't treat them well -- but I cared about both of them. I think there's a world of difference between liking characters and caring about them. Hollywood is very concerned that characters be "likable," and it comes up all the time. I shot a variety of scenes for the Hercules front titles, that were thankfully not used, of him picking up cute children and hugging them because the producers were desperate that he be likable. I don't think it matters at all. The key concerns to me are believability and do I care. If I can believe the situation, and care about the characters, I can have fun. As another example, I just watched "Mulholland Dr." and I didn't care about any of the characters, and therefore I didn't care about the movie. I think the lead girl was supposed to be likable, but I neither cared nor believed her. This is probably the most difficult aspect of screenwriting.

Josh