|
Das Büs Version 2.0 Analog, the interdependent guerilla captured DV-Cam film is the multi-language, English subtitled picaresque dream adventure of a corporate somnambulist who drives a big red World War II era amphibious vehicle a la Chitty Chitty Bang Bang! through the almost always vacant streets and waterways of Boston, "France" waylaying stylized villains and triumphing in surreal sporting events. Das Büs shall be released to the global community. It is only fitting that that group of individuals be able to understand the film in their native languages. In turn, Das Büs is "For Promotional Use Only" in Japanese, Portuguese, German, Hebrew, French, Chinese and Inuit with English subtitles. Fortunately, the demographic which Das Büs should most appeal to (ages 16-26) are accustomed to reading and viewing action at the same time. Das Büs, the dream where everything is for sale starts in the mind of the film's fictitious director, CL Henri as Micheal Engleman. He attempts to change the direction of the actions within Das Büs by yelling and pointing. He instructs who he believes to be the "only cameraman," Lieu(f)tenant how to shoot. CL Henri comes in and out of consciousness through audio cues; his boss leaves a message on an answering machine demanding his presence and later, during Das Büs' Interruption, the boss reprimands him for attempting to make the film and not to expand upon Judd Nelson (of The Breakfast Club) states that he "..can not make it to the shoot.." Underneath the seamless surface of Das Büs, The Questionable Man and his doppelganger Golem creation, Azul try to stop the antics to no avail. In turn, an impartial character officiates this beautiful, unique and absurd adventure; The Justice of the Piece (sic), an Elizabethan Prologue who degenerates from his clean tuxedoed state to a splotchy painted frantic. He attempts to control the mishigas along with the man dreaming up the story, CL Henri. Pacing the action is a professional tap-dancer, trapped like Repunzel, who taps her way up to the top of the Bunker Hill Monument. Moving the emotions, Auf dem Wasser zu singen, set to a (re-written for Das Büs) Schubert aria is sung through operatic dryness while Le Petit Fleur travels sans obstructions. The look of Das Büs reflects the way it was shot, on small (one and three chip) cameras, primarily hand-held, guerrilla style. The footage was shot by crack of dawn early morning light in autumn 2003. As many as twelve camera people were stationed about the cobbled or hilly streets, in the protected treetops, along three shores, under the Commons and crammed into the (Bunker Hill) Monuments to capture the action. All action captured in Das Büs shall fall under the MPAA ratings system of "G" ratings. There is no violence, no profanity, and no innuendo of anything to the latest regulations which could possibly enable Das Büs to be given an "E" for Everybody rating under the upcoming MPAA ratings system. Das Büs is consistently proof positive that where there is a will, there is a legal way to make a film with the collaborative forces and professionalism of over two hundred and fifty cast and crewmembers. Das Büs was shot without permits. Massachusetts State Police Troopers, US Navy Captains, MDC Officials, MassPort Authorities, Historical Society (Board) Members, Parents, National Park Service Technicians, Boston Duck Tour Owners, Boston and Cambridge Police Officers, and numerous Security Companies were not too keen on Das Büs being made, but in the end, everyone acquiesced and some were evenly featured as characters. In the pre-edit, the current stage of production of this "found film," differing points of view and shooting styles ranging from the calculated professional to the experimental amateur, are inter-cut to evoke a dreamlike state. More akin to veritae than trad narrative or scripted drama, Das Büs is cartoon-esque science non-fiction. Events are stretched, compressed and repeated. Each viewer is elevated to the role of participant, drawn to and receding from obtuse vantage points to ultimately explore his/her own dreamscape within the ongoing journey that is Das Büs. Whilst under the tutelage of (insert your name here), we anticipate being ensconced in the rough assembly stage of our feature's production. Our tentative schedule is as follows: Logging and Capturing through February 2014 + Rough Editing and Assembling Trailer through March 2014 + Fund Raising through the End + Shop for an Editor with Trailer through July 2014 + Edit Rough Assembly July - October 2014 + Edit and Completely - December 2014 + Add Sound - January 2015 Finalize - February 2015 + Submit to Cannes by March 14, 2015 +++ We would appreciate networking constructive criticism, helpful hints, comprehensively correct writing, editing and narrative suggestions in addition to professional guidance towards our final rounds of fund raising, film festival applications and possible national and international distribution avenues. Although 165 hours of footage is available, we have succinctly widdled down the raw footage to just under seventeen hours of in-character beauty. For the comprehensive cast listing and themed sequence of emotions, please visit www.theeducated.com In this conclusion, Das Büs is an experiment in found/created community, a product of the collaboration of underground/outsider artists from a wide range of backgrounds and experiences, and the project's chief value is in the adaptive reuse of broken genres in non-traditional venues. Always Sincere, Michael D. Andelman says, "There is no way to anticipate that a film as unusual and about as obscure a subject as Das Büs would actually catch on and be received with any sort of affection or support. Then again Das Büs just seemed like the kind of cult film we (I) would like to have exist in the world." something like this Das Büs Version 2.0 Analog'synopsis Das Büs Version 2.0 Analog is a dream within a dream within a dream. Das Büs is not what it was set out to be. Therefore Das Büs is not yet what it can be. Das Büs is a collage like The Beatles' "HELP," "Amelie," or "Les Triplettes de Belleville" as much as it is a narrative. Multiple camera angles and repetition of events will characterize the non-linear dream-time the movie is intended to evoke. Corporate logos and geographic markations are obscured by analog "green dots" and/or "multi-coloured poster boards" to add to the generic dream. In the beginning, a French man sleeps. He dreams of a woman trapped in an obelisk. She is a tap dancing carnation of Rapunzel. He is awakened by his boss via a telephone answering machine and berated into work. And yet, the man returns to sleep. A German academic sits in her study, observing the man (and his dream) on small television screens. The academic disseminates lucid dreaming in her German tongue and inaccurately predicts the actions of/within the sleeping man's dreams. A new, clearer dream commences. A Yiddish voice over narrator tells this tale of the faceless somnambulant protagonist, a race car driver relegated to the Captaining of an Amphibious World War II vessel (DUKW) driving through the streets, into the waters of Boston, encountering all sorts of ambiguities and stumbling into a revolutionary plot. Along the way, an archetypal villain, The Questionable Man, replete with teletubbie-esque hair formed into a question mark, attempts to hinder the progress of the protagonist like Wile E. Coyote vs. The Road Runner. The Justice of the Piece (sic), an antiquated bureaucrat who wishes to garden and cultivate playground balls (to be used in Croket) attempts to keep the peace between the protagonist and the villain(s). The stakes are set as three surreal sporting contests decreed by The Justice of the Piece from his Brick State House; a marathon, a sailing race, and Croket (the absurdly large version of Croquet played out in mid-construction Big Dig locales). In another location, the German academic relays her new assessment on depth psychology of the dreamer. At this point, the dreamer is not content with his dream. Characters degenerate, sets dissolve, and we hear a Nextell conversation with the aforementioned boss not being amenable to the film itself. Occasionally, Das Büs AKA Le Petit Fleur (on land) or MS Universe (in water) - as all mechanical things do - breaks down. Here enter MIC, the Impartial Mechanic who aids and fixes Das Büs. Dozens of other characters get caught up in the Pied Piper mishigas. They join forces with either the protagonist or are swindled by The Questionable Man. Chases ensue. The Questionable Man creates a Golem and a life sized remote control automobile to pester the somnambulist and obtain Das Büs for himself. Plots are foiled. Mayhem breaks loose. The German academic gets beyond frustrated and exits stage left. Croket begins. A nuclear blast blasts. The film ends. The French man awakens and he finally goes to work as a non-quacking Boston Duck Tour conDUCKto(u)r.
|
