We’re excited to announce that we’re closing KeanuCon 2019 with the UK premiere of Destination Wedding. Keanu Reeves stars alongside Winona Ryder in Victor Levin’s romantic comedy. KeanuCon, Europe’s first Keanu Reeves film festival, takes place at CCA, Glasgow, on Saturday 27th and Sunday 28th April, 2019.
Frank and Lindsay have a lot in common: they both hate the bride, the groom, the wedding, themselves, and most especially each other. For 72 hours, they are trespassers in paradise. But the weekend’s relentless events continually force them together, and if you fight with someone long enough, anything can happen. When the instinct to love proves very difficult to kill, they must decide which is stronger: their hearts or their common sense.
Destination Wedding is Keanu and Winona’s fourth onscreen coupling since filming 1992’s Bram Stoker’s Dracula – during which Ryder insists the two were married for real (director Francis Ford Coppola confirms the wedding scene he filmed could be legally binding).
Of his character, Keanu says, “I liked his wit and his suffering. You root for Frank. I root for Frank. He’s trying to overcome his past when he meets Lindsay and finds himself attracted to her.” But, on the other hand, “Love is good for other people, but he knows it will just end in disaster for him. So, why bother? Save yourself the pain.”
Producer Lyon says, “Keanu has a natural sense of timing and delivery. He is a hilariously funny person with a dry sense of humour and just a pleasure to work with. I think it was fun for him to demonstrate a side that hasn’t been seen before and allows him to show a piece of who he is as a person.”
However, while we’re happy that KeanuCon will end well, we’re not sure Destination Wedding will, especially if we take into account this poster capitalising on Keanu’s recent John Wick success, which purports to be for the Thai release of the film…
Matchbox Cineclub’s KeanuCon features ten and a half films over two days, including My Own Private Idaho, Speed, The Matrix, Constantine, Keanu’s directorial debut, Man of Tai Chi, and John Wick. There will be a rare screening of Keanu’s first lead role in a Hollywood feature, Permanent Record, accompanied by an even rarer outing for his film debut in the National Film Board of Canada short, One Step Away.
Day two closes with a double bill of Bill & Ted’s Excellent Adventure and Bill & Ted’s Bogus Journey, followed by a live performance from Wyld Stallyns, before KeanuCon 2019 closes with the UK premiere of Destination Wedding.
Weekend Passes for KeanuCon are sold out; very limited single tickets are on sale via our online shop.
The £250, semi-psychedelic musical made in Amsterdam, London and Knockentiber
In 2012, I had been asked to contribute a chapter to the book World Film Locations: Glasgow on underground filmmaking in the city, of which whatever there was was not particularly well documented. Luckily, Billy Samson, who died last week, had just co-directed, with Gavin Mitchell, Death Of The Mod Dream. In the book, I likened their film to “a Scottish no-wave film directed by Roy Andersson,” but really there’s not much like it.
Purportedly based on a 1980 novella – Death Of The Mod Dream, by Edna Barnstaple – Billy and Gavin’s film concerns “a young man out of time who considers himself to be the last Mod on Earth. He lives in the City Of Scotland, a depressed, paranoid, curfew-controlled community with his mother and sister, who all fail to understand each other.” The synopsis continues:
“One day, this humdrum existence is disrupted when he uncovers what he has been led to believe is a mysterious ‘Mod time capsule’ buried on the beach. He takes it home, hoping for at best a wallow through a glorious mythical past he never knew. Little does he know the contents of the capsule are not what they seem and his reality is about to be turned upside down…”
Anyone will tell you making a feature-length film is a very particular achievement, requiring equal measures of talent, inspiration and determination. To make an episodic, blackly comic, semi-psychedelic musical in Scotland, for £250, also takes admirable perversity. Death Of The Mod Dream, like Billy, is a little extraordinary.
The questions I asked Billy in 2012, via Facebook message, were mostly for background research. This interview is published here for the first time, unedited. RIP Billy x
How much and what was shot in Glasgow/where?
All of the indoor scenes at the mod’s house were shot between 2 friends’ flats in Glasgow. The indoor parts of the dream/horror sequences were shot in Glasgow or Knockentiber, depending on where the actor lived, with black bin-liners/green screens taped to the ceiling to give it continuity. The beginning and climactic scenes at the beach were filmed between Irvine beach and an embankment in Crosshouse (for the scooter plummet). The cop sequences were done in a pub in Kilmarnock that was halfway through being redecorated. Extra bits were filmed by ourselves and others in Edinburgh, London and Amsterdam. All the special effects/animation sequences were done at home.
How did you go about picking the locations and did you have any problem getting permission to film/did you even have to ask?
Just had to ask to use people’s houses, which was handiest for all concerned so they all agreed to it. The beach stuff we just turned up and filmed. Only minor problem was concealing the camera so passers-by didn’t keep jumping in front of it.
Can you give me some technical details – budget, casting, equipment used, how long the production took?
Budget worked out at around £250 (probably), which mostly went towards transport costs and endless AA batteries swallowed up by the camera. All actors and contributors gave their services for free, on the condition they’d get something out if it in the event it went global 😉. The bulk of the film was shot on a 1st generation Flip camera a friend ‘borrowed’ from her work. When that had to be discreetly returned, the last few bits were filmed on actors’ own cameras. Casting was straightforward- Adam Smith was such an obvious choice to play the main character we barely had to think about it! Most roles were like that, didn’t have the time or budget to train up ‘proper’ actors (and didn’t it want to seem ‘stagey’) so just used friends for their obvious attributes that would suit the role. Although we did chop and change between cast and crew- some actors were originally to be soundtrackers/effects people and vice versa. Filming started early June and the final edit was around early October. The editing + effects (and waiting for other parties’ contributions) took substantially longer than the live-action filming.
Did you have any support or advice from institutions/individuals or funding at all?
We never approached anyone for funding, mostly through not knowing how to go about it, but also because we thought it probably wouldn’t be necessary (and a worry it may involve compromises to get access to that funding) considering it would always be low-budget (we had no intention of casting any megastars, or real actors come to that). Various people advised us on certain effects, for example my dad suggested filming a glass of Resolve in close-up for the underwater sequences. Ended up using it for blood cells and cloudy wispiness in the horror + dream sequences (by utilising different filters) too.
What was the inspiration to make the film and do you see it as part of any kind of continuum in Scottish/contemporary filmmaking?
It arose from a drunken night with Gav, the co-creator. We imagined a film billed as the ultimate mod sci-fi experience, but with loads of Phil Daniels/Leslie Ash types storming out the cinema when they discovered all it involved was 3 boring hours of a guy playing My Generation at every speed on his record player then jumping off his bed. But other ideas arose, and gradually we realised the story had a deeper resonance which we could flesh out. Once we took it seriously, it rapidly began writing itself. While of course, remaining faithful to Edna Barnstaple’s original novel 😉. I’m not sure where it fits in, historically. I liked the idea of an ambiguous story which the viewer could interpret as merely having been a figment of the central character’s warped imagination, like Once Upon A Time In America or JG Ballards’ Unlimited Dream Company (the Keith Moon/Rolls Royce/fish tank sequence was subconsciously inspired by the cover of my edition of that book). Plus of course it’s a musical where no-one literally bursts into song, like Dirty Dancing!
Have you heard about any similar projects taking place? I.e. other independent or DIY features getting made?
Heard about quite a few short films, which friends and friends-of-friends have been involved in. I read something about a feature length film in Scotland recently, looking to attract some big names, but I can’t remember much about it.
What’s the plan for releasing and distributing it?
I honestly don’t have much of a clue! There’ll be a premiere at the Old Hairdressers on 3rd Feb, and it’ll probably be made available online at some point. Still to work out how one goes about having it on iTunes and suchlike. Promotion will probably be just the usual haphazard spammy way I plug any records I’ve been involved with!
Will you do another and what if any are your plans?
No plans as such, I never consciously set out to be a director of feature-length films, this one just kind of ‘demanded’ to be made. Particularly once we recruited Adam in the lead role, he insisted we should start ASAP and it rapidly grew legs from there, interrupting a Paraffins promo video I’d half-filmed and have still to resume! But who knows, I’ve had plenty other addled conversations with friends about imaginary films, so there’s every chance another one might demand to be made 🙂.
Buy or rent Death Of The Mod Dream on Amazon here (or watch it on YouTube below)
Brothers In Arms Scotland offer support to men in Scotland, of any age, who are down or in crisis and empower them to ask for help when they need it, without feeling a failure if they do.
Matchbox Cineclub follow up the sold out Cage-a-rama 2 with KeanuCon…the world’s first Keanu Reeves film festival?
On Saturday 27th and Sunday 28th April, we’re bringing 9.5 Keanu Reeves classics to Centre for Contemporary Arts, Glasgow for the inaugural KeanuCon. Our broad theme is following Keanu’s career from babe to baba yaga, and we have an eclectic programme that takes us from his earliest Canadian roles to his latest world-smashing franchise.
Along the way, we have cult classic My Own Private Idaho, the “criminally underappreciated” Permanent Record and an extremely rare screening of Keanu’s first film role, the National Film Board of Canada short One Step Away. We have his action classics Speed, The Matrix, John Wick and his directorial debut, Man of Tai Chi. We have Constantine, where Keanu is weirdly suited to playing a Liverpudlian occult detective originally modeled on Sting. And – best till last? – a most non-heinous double of Bill & Ted’s Excellent Adventure and Bill & Ted’s Bogus Journey, followed by a very special Keanu-themed closing party.
Guests and other bonus content will be announced at a later date, but suffice to say we’re working very hard to make this inaugural KeanuCon as stellar as humanly possible. We have weekend passes, day passes and a Bill & Ted double bill ticket, as well as limited single tickets – all on sale via our online shop, here.
The film schedule is as follows:
Saturday 27th April
Permanent Record (screening with One Step Away) My Own Private Idaho Speed The Matrix John Wick
Sunday 28th April
Man of Tai Chi Constantine Bill & Ted’s Excellent Adventure Bill & Ted’s Bogus Journey
Keep up to date with our Facebook event page here, or join our mailing list here.
We’re thrilled to be teaming up with Glasgow Short Film Festival for the first time with Two Weirds Is Too Weird: The Jackal Films of Alice Lowe and Jacqueline Wright. As huge fans of Alice, British comedy and GSFF, this is a very exciting development.
Before Alice Lowe wrote, directed and starred in Prevenge, the triple-threat-to-be teamed with director Jacqueline Wright on a series of strange and hilarious shorts. As Lowe has explained, “Being a woman is weird, and you’re allowed one weird. Being surreal is two weirds, and you’re not allowed two weirds… Two weirds is too weird.” With feline erotica, courtly necrophilia and aspiring mermaids, under their Jackal Films banner the two struck a path for themselves through a restrictive culture.
If we only knew Alice from her cameo as David Bowie in Snuff Box (“man was built but from clay”), we’d be over the moon to be programming this feature-length retrospective of rarely-screened shorts (mostly from 2005-2010). But then there’s her roles in Garth Marenghi’s Darkplace, Black Mountain Poets, Adult Life Skills, Sightseers, the latter of which she also co-wrote, innumerable cameo appearances (including, most recently, Black Mirror: Bandersnatch) and two series of her BBC Radio 4 sketch show, Alice’s Wunderland. And, of course, that incredible directorial debut, Prevenge.
The shorts made in collaboration with Jacqueline Wright are typically Loweian. There’s parody music videos, melodramatic pastiche and character-based vignettes, where Lowe and her cavalcade of co-stars (plenty of familiar faces) really get to shine. In tone, performance and quality these shorts do prefigure Prevenge and of course they’re part of a rich lineage of short form and sketch comedy. But they also stand alone as exemplars of women-driven creativity, ingenuity and productivity – and glorious, multi-faceted weirdness.
Two Weirds Is Too Weird: The Jackal Films of Alice Lowe and Jacqueline Wright takes place at Centre for Contemporary Arts, Glasgow, Friday 15th March at 9pm. Tickets are on sale here.
GSFF have launched their full 2019 programme – read all about it here, or browse their brochure here.
At its best, it captured the hilarity and horror of human existence in six second intervals. With Auld Lang Vine, we mourned the passing of a short-form video hosting service.
On Sunday 27th January, 2018, we gathered 150 mourners in the Centre for Contemporary Arts, Glasgow, to remember and celebrate Vine, “a short-form video hosting service where users could share six-second-long looping video clips.” As the audience filed in, every seat in CCA’s theatre was laid out with an order of service, and the screen displayed the classic DVD player screensaver. After local band Joyce Delaney, all decked out in Victorian mouring attire, struck up Chopin’s funeral march, Matchbox Cineclub offered a brief eulogy.
At its best, we suggested, Vine captured the hilarity and horror of human existence in six seconds. Its main tools were angry animals, children in jeopardy and basic human stupidity. Its primary modes were lip syncing, shade and screaming. After Vine, of course, you can still loop weird videos and share them. But Vine celebrated being weird, being creative and being funny. Most of all, it celebrated brevity, so perhaps it’s fitting that, in the end, its life was cut so short.
After a six-second silence in honour of the passing of this legend, we introduced the first of two 45-minute compilations of the best Vines, originally curated by Pilot Light TV Festival, debuted in Manchester and also showcased at the BFI Southbank. The Glasgow audience spontaneously recited their favourite Vines, before holding their phone torches aloft for Puke’s interval rendition of Lady Gaga’s I’ll Never [Vine] Again.
Then, after a second 45-minute compilation passed in the blink of an eye, Joyce Delaney once more took the stage for a short but typically wonderful set, unfortunately curtailed by a broken guitar string (please do check them out at the earliest available opportunity).
Matchbox Cineclub would like to say a solemn thank you to Greg Walker and Pilot Light TV Festival, Live Cinema UK, BFI, Film Hub Midlands, CCA, Joyce Delaney, Puke, the ever estimable John Pooley and our stalwart volunteers (who couldn’t make it). Most of all, we’d like to say thank you to the audience and all the Vine fans who made the event so very special. 🙏
ONE LAST THING! We’d like to note tickets for this event were sold on a sliding scale, which we would recommend to anyone with a similar screening or event. We believe in full accessibility in principle and always try to keep tickets as low as possible (or free, when we can) but the support of BFI emboldened us to try the sliding scale for the first time. Normally we’d fret about that since, as an independent exhibitor with no institutional support (barring CCA’s in-kind venue support), we have to cover costs. Making a profit, however small, allows us to keep programming films and producing events, while losing money clearly jeopardises that. However, this event proved a sliding scale approach can also be economically viable, even without support, since the uptake on £6 and £8 tickets covered any potential loss from the cheaper tickets. It won’t always be possible for us to employ a sliding scale for ticket sales, but whenever we can, we will. If you have any questions about it, please get in touch: firstname.lastname@example.org.
Matchbox Cineclub present a funeral tribute to Vine, the dearly departed platform for 6-second comedy genius
Dearly beloved, join us to mourn the passing of the 6-second wonder that was Vine. Expect a funeral-turned-party featuring over 500 of the greatest Vines and a very special eulogy. Full guest line-up to be announced soon (follow our Facebook event page here for announcements and up-to-date details)
Auld Lang Vine is a tribute to the 6-second icons that have given so much joy to millions the world over. The event centres around two big-screen compilations of the all-time greatest Vine loops, curated by our friends at Pilot Light TV Festival.
Join us as we celebrate the life of one of the biggest comedy phenomenons of recent times and move along to the final stage of grief: acceptance.
FREE or £2
• I frequently stress about meeting basic* needs and don’t always achieve them.
• I have debt and it sometimes prohibits me from meeting my basic needs.
• I rent lower-end properties or have unstable housing.
• I sometimes can’t afford public or private transport. If I own a car/have access to a car, I am not always able to afford petrol.
• I am unemployed or underemployed.
• I qualify for government and/or voluntary assistance including: food banks and benefits.
• I have no access to savings.
• I have no or very limited expendable** income.
• I rarely buy new items because I am unable to afford them.
• I cannot afford a holiday or have the ability to take time off without financial burden.
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• I may stress about meeting my basic needs but still regularly achieve them.
• I may have some debt but it does not prohibit attainment of basic needs.
• I can afford public transport and often private transport. If I have a car/access to a car I can afford petrol.
• I am employed.
• I have access to health care.
• I might have access to financial savings.
• I have some expendable income.
• I am able to buy some new items and I buy others second hand.
• I can take a holiday annually or every few years without financial burden.
• I am comfortably able to meet all of my basic needs.
• I may have some debt but it does not prohibit attainment of basic needs.
• I own my home or property or I rent a higher end property.
• I can afford public and private transport. If I have a car/access to a car I can afford petrol. • I have regular access to healthcare.
• I have access to financial savings.
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• I can always buy new items.
• I can afford an annual holiday or take time off.
*BASIC NEEDS include food, housing, clothing and transportation.
**EXPENDABLE INCOME might mean you are able to buy coffee or tea at a shop, go to the cinema or a concert, buy new clothes, books and similar items each month, etc.
Albert Pyun is the prolific director of films such as The Sword and the Sorcerer, Dollman, Cyborg, Brainsmasher…a Love Story, and the 1990 Captain America. Matchbox Cineclub once screened a film of his, called Radioactive Dreams, and he graciously recorded us a short and charming intro for it, on his phone. Pyun is a sweetheart and a total workhorse who’s made many, many films, mostly low budget or direct-to-video. He’s one of those guys who’s always working, often wherever budgets and sometimes tax credits take him. And in the summer of 1997, between a film called Mean Guns (starring Ice T and Christopher Lambert) and another called Sorcerers, he made a wee movie called Postmortem, AKA Obit, which was filmed in Glasgow.
How many people know Charlie Sheen made a film in Glasgow? It’s been suggested he took the role in Postmortem to attempt to get more serious roles, and that might explain why he’s billed as “Charles” Sheen. But of the four films he made as Charles Sheen, one was directed by Bret Michaels, lead singer of Poison, and collectively they don’t make a persuasive case for that argument.
Postmortem was filmed in Glasgow, but also set in Glasgow – unusual even now – with a mostly local supporting cast. Joining Charles was a just-pre-Rushmore Stephen McCole (later of Orphans, Neds and River City), Gary Lewis (Billy Elliot, Neds) and Ivana Milicevic, a Sarajevo-born actress with a flawless Scots-Irish-American-Yugoslavian accent. Here’s the blurb:
The only way to trap a serial killer is to know what he thinks, what he feels and… when he’ll strike again! James MacGregor (Charles Sheen) is a brilliant but burned-out forensic detective who travels to Scotland in a desperate attempt to put his life back together. However, his best-selling book detailing his experience tracking serial killers in the US brings him immediate and unwanted notoriety. When a woman’s body is found in his garden following a mysterious faxed obituary, MacGregor is unwillingly pulled into the investigation to find her killer. As more faxes are received and the brutal murders increase, can he track down the man responsible?
It was filmed in around 10 days (maybe 9, maybe 11), and Sheen’s work was done in six. As Pyun has explained elsewhere, “Charlie really made Postmortem the success it was with his talent and heroism. He worked only six days and had to do eighteen to twenty pages and fifteen to sixteen scenes per day! Wow!” And if you work that hard, it’s understandable – predictable, even – if you need to blow off a little steam. So, one day, Charles clocked out and Charlie took the night off.
The resulting stramash reads like an odyssey – let’s call it the Charliad – across Greater Glasgow. Mr Sheen started in the infamous city centre club Archaos, enjoying a little cocaine while rubbing shoulders with Paul “Gazza” Gascoigne and other footballers spending a small fortune on VIP lounge drinks. It’s claimed Charlie also fell afoul of a number of prospective drug deals, leaving him wary enough of the locals to later look for the reassurance of a locally-purloined gun (the cocaine brain can house such contradictions).
Charlie and his minder left the club at 2am, taking a taxi to the Hilton in Anderston, where he was staying. Sheen, however, refused to disembark, despite the protestations of his guardian. The star was determined instead to patronise the West End nightclub Cleopatra’s (affectionately known as Clatty Pat’s, but most recently as Viper), but – alas – it was closed.
Eventually, Sheen persuaded his minder to accompany him back out into the night, instructing the cabbie to “take us to the hookers”. He tried and failed to pick up several prostitutes, who refused him either because he was too drunk or because his abusive reputation preceded him. Finally, one of the women he accosted, Lorraine Brown, agreed to go with him, but brought her boyfriend (and alleged pimp), Billy McGeachin along. Sheen gave Brown £300, with a promise of three times that if she could get him cocaine.
They drove on to Easterhouse (which Sheen decided looked “like the Bronx”), where McGeachin had primed a local drug dealer for their arrival. Unfortunately, McGeachin later recollected, he’d let slip who was coming. “They wanted to get Charlie out the taxi and tie him up,” he told the Daily Record. And, worse, there were no drugs. Brown and McGeachin, both addicts in need of the promised cash, ground £30 worth of speed into sugar from a bowl. “We acted fast,” McGeachin remembered, “because the guys in the house were building up the courage to go down and kidnap him.”
Back in the taxi, Charlie handed them a mix of currency amounting to around £4,000 in 2018 money. Charlie then asked McGeachin to get him a gun. Sheen explained he’d feel safer with one, while his bodyguard ruefully shook his head. According to Brown, Charlie “kept calling everyone ‘n****r’ and saying he didn’t care if he got shot, and didn’t take any ‘n****r shit’ from anyone.”
Sheen and his entourage then voyaged to a 24-hour shop on Argyle Street (the now-closed Mo’s), intending to buy baking powder, spoon and tinfoil to make crack. Thwarted, Charlie grabbed a packet of biscuits and walked the aisles eating them. Asked to pay, he reportedly retorted, “Where we come from, we kick the shit out of guys like you.” If you’re struggling for a visual, the taxi driver remembers Sheen wearing a green baseball cap and a Hawaiian shirt under a beige tweed jacket. They returned to the hotel.
What happened next is lost to history, though we can assume Charles was back in charge the next day, and production on Postmortem concluded without further incident.
As a Hollywood film that lets Glasgow play itself (albeit with some imaginative geography), Postmortem remains a rare curiosity and completely enjoyable on its own terms. Albert Pyun is still making films, often taking on several crew roles at once, a vocation which helps offset his early onset dementia. Billy McGeachin, at last notice, was sober and a full-time carer. Lorraine Brown sadly died in 2002. Charlie…well, it’s very easy to find out what Charlie did next. He’s never returned to Scotland, though. Not yet.