Danny Plotnick
MY BIO
Tour Tips is Danny Plotnick's 18th film. For the past fourteen
years Plotnick has been an integral part of the San Francisco film community,
as well as the underground film scene nationally. In addition to making
18 films, he has released three videotape compilations which have garnered
international distribution, embarked on five national film tours, two European
film tour and has taught numerous seminars on a variety of film topics.
The past several years have been particularly busy. In addition
to completing Tour Tips, Plotnick undertook a film tour of Europe, projected
films at The Terrastock West music festival, put on free film shows in S.F.
at Bloodshot Cafe, The House of Low Self-Esteem, curated a show of teen
films at Yerba Buena Center for The Arts, a show of experimental work at
El Rio Outdoor Cinema, an all night screening at the Minneapolis College
of Art & Design, taught numerous film classes at Film Arts Foundation,
San Francisco State University, University High School, California State
Summer School For the Arts (an acclaimed high school arts program in Southern
California), programmed several hundred film classes as part of his full-time
job at Film Arts Foundation and made Swingers' Serenade, a 24 minute 16mm
short. Swingers' Serenade has had over 40 screenings in the past year, receiving
numerous festival awards.
Like Swingers' Serenade, many of Plotnick's other films continue
to show at various festivals and nationally curated screenings around the
country.
In addition to his latest European jaunt, he has undertaken
three tours of the Pacific Northwest, one of the Southland, one of the East
Coast and one of Holland, showing his films along with works by other Bay
Area and Midwest filmmakers. The tours have been quite successful, featuring
screenings at traditional independent film venues like New York's Knitting
Factory, Seattle's 911 Media Arts Center and Olympia's Capitol Theatre,
as well as more alternative spaces like Portland's Howling Frog Cafe and
Baltimore's Mansion Theater. Plotnick is a fervent supporter of short independent
films and through projects like compilation tapes and film tours hopes to
broaden the audience for independent filmmaking. Such endeavors help bring
alternative cinema to people who might not normally have the opportunity
to see these types of films.
Also, as one of this country's biggest super 8 advocates,
he is constantly fielding calls about the technical and aesthetic questions
regarding low-budget filmmkaing. In 1996 Plotnick presented a collection
of American small gauge films for a visiting group of Dutch journalists
and filmmakers. His film Pillow Talk played at the MOMA in New York as part
of the Big As Life series which focuses on the history of super 8. In addition,
Plotnick often speaks at festivals and film organizations on alternative
distribution and touring.
For More Information contact: Danny Plotnick, PO BOX 460472,
SF, CA 94146
(415) 452-9323, dannyplotnick@sbcglobal.net
MY RANT ( circa1994)
Gimme Super 8 or
Gimme Death!
Super 8 gets a bum rap in the film community. The perception that it looks
brown and sounds crappy is maddening. Granted, the medium does have its idiosyncrasies
and limitations, but no questions asked, one can make a kick-ass, sharp looking
and pristine sounding piece in no time for no money.
There are several keys to working effectively in super 8. First off, one has
to treat it as its own unique medium, not as a mini-16mm. Super 8 has its own
strengths and limitations that don’t necessarily correlate to 16mm. Once you
gets a grasp of these, you’re on your way to producing work that looks as good
and, technically speaking, sounds better than its 16mm counterpart.
Another important thing to keep in mind with 8mm is the need to mentally have
your chops up when you’re making a film. The toughest thing about s/8 is there’s
little room for error. Unlike 16mm, where the lab can save your ass in any number
of ways, s/8 is a very unforgiving medium. If you record your image poorly or
you mess up your sync sound in the production phase, you’re in deep shit. Basically,
you’re not allowed any mental lapses in production or pre-production, which
ultimately is a good thing— It makes editing a relative cake walk.
When people do tout s/8, it usually revolves around the money issue—that it’s
cheaper to work in s/8 than 16. To me, that’s not the main advantage of super
8, because ultimately, all film formats are expensive these days. Super 8 is
less expensive, but it’s still expensive. There’s nothing cheap about it.
To my mind, the main advantage of s/8 is the immediacy that comes from working
with reversal stocks and single system sound. Though less hearty filmmakers
blanche at the notion of cutting camera original, I think that one gets to know
and appreciate their film a lot more when they put their fingerprints on it.
I’m sure that sounds pretty hippie dippie, but I know that one’s methodology
of creating art manifests itself in the artwork and, that said, the immediacy
and intimacy that comes from super 8’s methods of production do make for more
vital and exciting works.
Also, and maybe more importantly, you could, if you wanted, make an entire
film, start to finish in two weeks. No edge codes to keep track of, no conforming,
no pesky negative to cut, no dealing with syncing mag and picture, no answer
prints, no waiting around for months to find a spare $2,000 to finish your 12
minute film. None of those headaches. Just plug your mic directly into your
camera, send the film to the lab, get it back, edit it on your kitchen table,
grab your projector and go have a show.
It’s that simple....really.
...Well...Uh...(Addendum to rant, circa 1999)
All right, in theory I still agree with my vitriolic championing of super 8,
but times have changed. Kodak has scrapped sound super 8 stocks—a devastating
blow to sync sound filmmakers like myself. Strangely, Kodak’s moves helped put
a hot iron in the butts of many a marginalized filmmaker and the hue and cry
to save super 8 was heard loudly. Kodak even introduced a new silent super 8
stock. So sure, we can all pat ourselves on the back, but the unfortunate reality
is there are still no sound stocks, thus severely limiting what one can accomplish
with super 8. One can still tackle subjects with a wide variety of techniques
and styles, but sync sound is gone from the palette and that sucks. If you ever
want to hear some rip-roaring dialogue, you’re pretty much out of luck...unless
you want to shoot 16mm or DV. In the past year, I shot two films. I, Socky
is a short film which I accomplished with my tried and true ways on super 8.
The film didn’t call for sync, so I was able to shoot silently and add sound
in post (quite expeditiously I might add by utilizing a digital sampler). The
other film Swingers’ Serenade necessitated sync sound. The film was also
a b&w period piece. Since b&w super 8 print stocks don’t exist in the
States and sync sound doesn’t exist in super 8, there was no choice but to use
16mm. In super 8, the film simply wouldn’t be up to snuff. Don’t worry though,
I just tell people I’m embracing a new dying medium.
SOME OF MY FILMS AND RELATED UNDERTAKINGS
TOUR TIPS: LESSON #14
Beware The Day Off In New Orleans
Length: 1:30
Year: 2001
Original Format: Postcards and Photographs
Screening Format: Mini DV, vhs
Ever wonder what it's like to go on tour with your film, band, poetry or art?
Well it's not all glad-handing, schmoozing, free drink tickets and adoring audiences.
Along the way there are some dark, dank and humiliating moments. The Tour Tips
series will address some of these pitfalls to better prepare the travelling
artiste for his or her journey down the wrong side of the road.
Tour Tips can be viewed on-line at: http://www.kqed.org/tv/productions/intensitytv/films/tourtips.html#
Swingers’ Serenade,1999,
24 minutes, 16mm, black & white, sound
A tawdry tale of suburban sexual malaise plus a lesson in arcane
film history rolled into one sin-tillating package!
In the late 1950s and throughout the 1960s, when home movie making was at its
peak, this nation’s newsstands were filled with amateur movie making magazines.
The majority of the articles contained therein focused on the technical concerns
of filmmaking. Some magazines, however, would actually provide their subscribers
with scripts to shoot—scripts on which these would-be cineastes could hone their
filmic chops. In and of itself, there was nothing unseemly about such a service.
But upon closer inspection, some of these scripts were, to say the least, rather
randy.
One such script, entitled Swingers’ Serenade, was published in the July/August
1960 issue of Better Movie Making. The script seems quite ahead of its
time, replete with lurid sexual dynamics, hints of loose sexual mores, swinging
couples, lecherous Fuller Brush salesmen, voyeuristic suburbanites and more.
The film you’re about to see, Swingers’ Serenade, offers up both a history
of the amateur movie magazine world and a rendering of the original script of
Swingers’ Serenade, shot, to the best of our knowledge, as the publishers
of the July/August 1960 issue of Better Movie Making had intended.
The film stars singer/songwriter and Loud Family keyboardist Alison Faith Levy
(who also happens to be the wife of the director), Jay Hinman (publisher of
Superdope magazine), Miles Montalbano (bass player of Black Kali Ma)
and actor extrordinaire Chris Enright (Tom from Sarah Jacobson’s Mary Jane’s
Not A Virgin Anymore).
The film’s sleazy soundtrack was written and performed by local supergroup
The Snugglers. The band features the aforementioned Levy and Montalbano, in
addition to Gil Ray (drummer, Loud Family), John Moremen (John Moremen band)
and Jon Birdsong (Beck, Mushroom).
Swingers' Serenade can be seen periodically on the Independent Film Channel.
Check their program guide for times.
Written, Directed, Edited, Produced by Danny Plotnick.
Cinematography: Danny Plotnick & Kurt Keppeler
Starring: Alison Faith Levy (Wife), Miles Montalbano (Salesman), Jay
Hinman (Husband), Chris Enright (Professor)
Music by: The Snugglers (Alison Levy, Miles Montalbano, Gil Ray, Jon
Birdsong, John Moremen)
Sound Design & Composition: Alison Faith Levy
I, Socky
film by Danny Plotnick & Alison Levy
1998, color, sound, 7 min. 30 sec.
A rogue sock monkey hits the town on a big day out. I, Socky was shot
and edited on super 8. The film showcases super 8’s rich Kodachrome palette
and its guerrilla aesthetic.
Alison Levy is a musician who has released three solo records. She
also plays in a number of San Francisco bands including the Loud Family, Mushroom
and Sonoptic. She has scored a number of films including Danny Plotnick’s PIPSQUEAK
PfOLLIES and Swingers’ Serenade. The SF Jewish Film Festival commissioned
her to write and perform a score for The Yellow Ticket starring Pola
Negri. In addition to the SF festival, she has performed the score at the San
Diego, Toronto and Boston Jewish Film Festivals. She has also performed and
written a score for The Golem which was performed at SF’s Other Cinema
program which is curated by Craig Baldwin.
Levy has also acted in the films of SF filmmakers Plotnick, Sarah Jacobson
and Kurt Keppeler.
I, Socky is her directorial debut.
Written & Directed by Danny Plotnick & Alison Levy
Edited & Shot by Danny Plotnick
Starring, Socky, Anthony Bedard, Lisa Recker
Sound Mix by Ray Wilcox
Also see the I, Socky
website.
I'm Not Fascinating--The Movie!
1996, 50:00 minutes
I'm Not Fascinating--The Movie! chronicles the pointless shenanigans
of rock 'n' roll ne'er-do-wells The Icky Boyfriendsand their futile
quest for rock 'n' roll stardom. Undaunted by the universal hatred of both
their music and their look, the band perseveres, netting themselves a hefty
major label contract. But stardom proves elusive as they descend into a
world of murder, intrigue, nepotism, consumer research groups, excessive
use of caffeine-laden soda pop and death. Who kills the Ickys? You'll wish
you had! One of the most resplendent footnotes of rock 'n' roll anti-history
ever to grace the silver screen.
Produced and written with Anthony Bedard.
Starring: Chris Enright (Steel Belted Romeos, Pillow Talk),
Claudia Vlasak, Ray Wilcox (Steel Belted Romeos, PIPSQUEAK PfOLLIES)
and a veritable who's who of S.F. rock 'n' roll scenesters including Dave
Nudelman (Three Stoned Men, Garbage Knight) Eric Grotke (Starpimp), Scott
Derr (Blackjack Records, Monoshock), Kelly Green (Pee), Alison Faith Levy
(Alison Faith Levy), Terri Weist (Seasaw), Leslie Q. (Olympia's Leslie Q.),
Kurt Keppeler (Hank Stram), Dominique Lowell (poet), Ovarian Trolley (drum
kit only), the ubiquitous L'il Mike (Kommotion) and more.
PIPSQUEAK PfOLLIES
1994, 24:00 minutes
A twisted tale wherein lots of little kids with metal teeth and bad ideas
terrorize an unsuspecting ne'er-do-well. Painstakingly details all the crap
little kids can get away with. Young at heart and mean in spirit it's a
24 minute joy ride. Score by Alison Faith Levy
Pillow Talk
1991, 18:00 minutes
film by Danny Plotnick/Laura Rosow
Extreme manipulation of filmic time and space combined with an impressionistic
lighting scheme help create an urban spaces nightmare. They're fighting
downstairs, they're fucking next door, they're stealing your clothes in
the laundry room, and you're no better than the rest. Loquacious & lugubrious.
Sorta like Jeanne Dielmanmeets Laverne and Shirley.
Death Sled II: Steel Belted Romeos
1990, 10:00 minutes
A tale of backwoods blacktop mayhem--Two dim-witted, lead-footed guidos
from Bayonne, New Jersey bust through stoplight after stoplight in their
turbo-charged, bad-assed, jet-black Pontiac Grand Prix until their mean
machine nearly eighty-sixes another hunk of American steel. And that's just
the start of it...A confrontation, an assault, fists-a-flying, and traffic
violations.
Dumbass From Dundas
1988, 6:40 min
In the middle of the Nevada desert, two lunkheads get tossed out of separate
cars by their so-called friends. One guy is wearing a Twisted Sister t-shirt
and one is wearing a Kiss t-shirt. They don't like each other. They have
problems.
Shot on location in Dayton, Nevada. A relatively enjoyable experience
other than the camera breaking down three rolls of film into production
forcing us to drive home (400 miles) and come back some other time which
was just as pleasurable thanks to the car breaking down, the boom person
passing out from the heat, the lead actress getting plastered, the camera
breaking down again, and the weird old man at the gas station proudly shining
his ancient Michigan State Police badge and saying things like, "Ha!
Drug store? Son, you're in Dayton, Nevada; there ain't nothin' in Dayton,
Nevada."
Skate Witches
1986, 3:00
A gang of female Skate Boarders and their pet rats terrorize all the
boy skate boarders in town.
Small Gauge Shotgun
(1992)
video compilation by Danny Plotnick & Jim Sikora
In an effort to find a greater audience than just the standard festival
audience, Jim (a Chicago-based filmmaker) and myself released this compilation
of our work. 8 films, 87 minutes. My films on the tape include Flip About
Flip, Steel Belted Romes, Dumbass From Dundas, Pillow
Talk. Jim's include Stagefright Chameleon, Bring Me the Head
of Geraldo Rivera, Terminal Hotel, Love, After the Walls Close
In.
We sold a bunch of these and got a decent amount of distribution both
from film distributors and indie record distributors which seemed impressive
since none of these films have anything to do with music.
Fancy cover artwork from graphic artiste Mark Dancey of MOTORBOOTY
Magazine.
The original boxes were printed by me and my friend J.M. who works at
a print shop. We couldn't find a die cut for video boxes, so we decided
to do it ourselves. Biggest mistake of my life. To make these on your own,
the flat piece of cardboard that ultimately becomes the box has to be scored
6 times in order to make smooth folds. Unfortunately for us, the automatic
scorer made only one score very smoothly. The other five scores went against
the grain of the cardboard and we therefore had to score 200 boxes by hand
with five scores per box. That's 1,000 score marks by hand. It sucked. Then
I had to fold, sand and glue the boxes by hand. Thankfully, a friend had
just moved in from out of town and she crashed at my house for a month in
the midst of all this and she felt guilty enough to do most of the work
for me.
Still Available from Danny Plotnick. $20.
Fat City Death Sled
(1988)
video compilation by Danny Plotnick, Philip Guilbeau, Laura Rosow, Dana
Mendelssohn.
Same principal as above except we didn't sell that many. Contains my
first film (see above) so in retrospect, I'm kinda glad we didn't sell that
many.
Box Art by Dancey once again. Not as much of nightmare re: boxes as Small
Gauge, however, not easy. I worked at a video house and was able, for free,
to take those plastic, hard bound boxes. I would then cut and glue individual
fronts, backs and binders onto each box.
Thankfully Out of Print!
Wild Kingdom Northwest Tour
1994
SF FIlmmaker Kurt Keppeler (Leash Men, Fisherman, Clementine)
and myself hit the road and took our films to the Northwest for shows in
Eugene, Olympia, Seattle, Portland and Bellingham. Based on our car breakdown
and the groupie that followed us from Seattle to Bellingham the tour is
considered a success. Highlight: People stopped playing pool and watched
our films in Eugene.
Spread the gospel by doing a bunch of super 8 demos along the way.
Kings of Super 8 Northwest Tour 1993
This time through I showed my films, Jim Sikora's and Philip Guilbeau's.
No groupies or car trouble, but still a success. Highlight: Visited the
Olympia Beer Factory. It was a free tour.
MY FILMOGRAPHY
|
Title
|
Date
|
Gauge
|
Length
|
| TOUR TIPS: LESSON #14 |
2001 |
mini-DV, VHS |
1:30 minutes |
|
Swingers' Serenade
|
8/99
|
16mm
|
24:00 minutes
|
|
I, Socky
|
4/98
|
Super 8
|
7:00 minutes
|
|
I'm Not Fascinating-The
Movie!
|
2/96
|
Super 8
|
49:00 minutes
|
|
PIPSQUEAK PfOLLIES
|
5/94
|
Super 8
|
23:40 minutes
|
|
Small Gauge Shotgun (video
compilation)
|
4/92
|
super 8 on video
|
87:00 minutes
|
|
Pillow Talk
|
4/91
|
Super 8
|
17:30 minutes
|
|
Flip About Flip
|
9/90
|
Super 8
|
3:30 minutes
|
|
Dumkoff From Dusseldorf
|
7/90
|
Super 8
|
6:40 minutes
|
|
Death Sled II: Steel Belted
Romeos
|
1/90
|
Super 8
|
10:00 minutes
|
|
CREEP
|
5/89
|
16mm
|
2:20 minutes
|
|
The 3 Kennedys of Ypsilanti
|
12/88
|
Super 8
|
4:20 minutes
|
|
Drunk #9 Dramamine #5 or
Angel & Geno's Wedding
|
10/88
|
Super 8
|
4:20 minutes
|
|
Dumbass From Dundas
|
7/88
|
Super 8
|
6:40 minutes
|
|
Sugarbutts
|
7/87
|
Super 8
|
3:30 minutes
|
|
Skate Witches
|
6/86
|
Super 8
|
2:30 minutes
|
|
Fat City Death Sled
|
5/86
|
Super 8
|
8:30 minutes
|
|
Bowling For Motorbooty
|
4/86
|
Super 8
|
3:00 minutes
|
|
Film About Libraries
|
4/85
|
Super 83:30 minutes
|
|
Awards and Screenings:
Swingers’ Serenade: Recipient
Alexander Payne Award @ 2000 Humboldt International Film Fest, 2nd Place (Narrative
Category) @ 2000 Athens International Film Fest, 1999 Chicago Underground Film
Fund Grant, Judges Commendation @ 1999 MicroCine Festival (Baltimore), Best
Music & Best Props @ 1999 Ed Wood Memorial Film Fest. 2000 Screenings: Ann
Arbor Film Fest, BBC Short Film Fest, Swiss Underground, ExGround Film Fest
(Wiesbaden), One Reel Fest (Seattle), Seattle Underground Film Fest, AntiMatter
Film Fest (Victoria), REVelation Independent Film Festival (Australia), New
York Underground Film Fest, Brighton Cinemateque (Brighton, England), Incredibly
Strange Film Fest (New Zealand), Anthology Film Archive (NYC), Boston Underground
Film Fest, Cucalorus Film Fest (Wilmington, NC), Hi Mom Fest (Chapel Hill),
East Lansing Film Fest, NoisePop Film Fest (SF), Golden Shower Film Fest (San
Antonio), Nowhere X Nowhere Fest (Chico), Sick Puppy Film Fest (San Rafael).
1999 Screenings: Independent Feature Film Market (NYC), Mill Valley Film Festival,
Chicago Underground Film Fest, Film Arts Festival (SF), Manchester International
Film Fest, Euro Underground Film Fest (Krakow, Toronto), Freaky Film Fest (Champaign-Urbana),
Vera (Groningen, Holland), Flicker (L.A.), Agniel Gallery (Providence), Artists’
Television Access (SF), The Pagent Theater (Chico).
I, Socky: 2nd prize @ 1999 Brainwash
Movie Fest (SF), Honorable Mention @ 1999 US Super 8 Film Fest (Rutgers).
2000 Screenings: REVelation Independent Film
Fest (Australia), Incredibly Strange Film Fest (New Zealand), Boston Underground
Film Fest. 1999 Screenings: Splice This! Film Fest (Toronto), Athens Film Fest,
Chicago Underground Film Fest, Seattle Underground Film Fest, Golden Shower
Film Fest (San Antonio), Freaky Film Fest (Champaign-Urbana), MicroCine Fest
(Baltimore), Independent Exposure (Seattle), Peripheral Produce (Portland),
Blinding Light Cinema (Vancouver), Blue Room (Chico). 1998 Screenings: Film
Arts Foundation’s "Wild Kingdom" show (SF), Other Cinema (SF).
I’m Not Fascinating: 1999: Boston Underground
Film Fest. 1997: Mid-Atlantic Skate & Sound Fest (North Carolina).
1996: Film Arts Festival (SF), Chicago Underground
Film Fest, Festival On The Lake (Oakland), Yerba Buena Center For the Arts (SF),
911 Media Arts Center (Seattle), Clinton St. Theater (Portland), Edison Electric
(Vancouver BC), Artist Television Access (SF), Image (Atlanta), The Casbah (SD),
The Jabberjaw, The Viper Room & Midnight Special (LA), The Khyber Pass (Phil.),
The Mansion Theater (Balt.), Limbo & The Knitting Factory (NYC), The Test
Strip (Auckland, NZ), High Street Project (Christchurch, NZ).
Pipsqueak Pfollies: Banana Slug Award
for Surrealism @ 1995 Humboldt International Film Fest. 3rd Prize (Student Category)
@ 1995 Marin County National Short Film Festival. 1997: Atlanta Arts Festival.
1996: Slamdance Film Fest, Olympia Film Fest, Rough & Ruined Fest (Vancouver).
1995: Circle of Confusion Film Fest (Berlin), Athens International Film Fest,
NY Underground Film Fest, Metropolitan Film Festival (Detroit). 1994: Chicago
Underground Film Festival, 911 Media Arts Center (Seattle), Olympia Film Society,
Clinton Street Theater (Portland), Western Washington University (Bellingham),
John Henry’s (Eugene), Red Victorian Theater (SF), Eye Gallery (SF), Art Explosion
Gallery (SF), San Francisco State University, Psychoanalytic Institute (Minneapolis).
Pillow Talk: 2000: Big As
Life series, Museum of Modern Art, New York, Global Super 8 Day Screening
(Portland). 1999: Boston Underground Fest. 1998: 3001 Kino (Hamburg). 1997:
Freaky Film Fest (Champaign-Urbana ). 1993: Onion City Film Fest. 1992: Athens
Internat’l Film Fest. 1991: Montreal Fest du Jeaune Cinema. 1991: Film Arts
Fest (SF). 1990: Recipient Film Arts Production Grant.
Flip About Flip: 2000: Global Super
8 Day Screening (Seattle). 1999: Yerba Buena Center For the Arts (SF), Boston
Underground Film Fest. 1996: Super Super 8 Fest (San Diego). 1991: Film Arts
Festival (SF).
Death Sled II: Steel Belted Romeos:
Best Experimental Film @ 1990 Ann Arbor Super 8+ Film Festival. Honorable Mention
@ 1992 USA Super 8 Film Festival (Rutgers). 2000: Global Super 8 Day Screening
(Portland). 1999: Boston Underground Film Festival. 1997: Hawaii Underground
Film Festival, Cinematexas Short Film Festival, Champaign-Urbana Freaky Film
Festival, Mid Atlantic Skate & Sound Fest. 1996: Old & New Masters of
Super 8 program (NYC), Rough & Ruined Festival (Vancouver), Anti-Film Festival
(Miami). 1995: Circle of Confusion Film Fest (Berlin), NY Underground Film Festival.
1991: Athens International Film Fest. 1990: Film Arts Festival (SF).
CREEP: 1991: Athens International Film
Festival.
Dumbass From Dundas: Honorable Mention
@ 1989 Ann Arbor Super 8+ Film Festival. 2000: Global Super 8 Day Screening
(Switzerland). 1998: Splice This! Festival (Toronto). 1997: Australian REVelation
Fest (Melbourne, Sydney, Perth, Canberra, Adelaide, Wellington), Hawaii Underground
Fest. 1996: Old & New Masters of Super 8 program (NYC, Germany, Austria,
Italy), Rough & Ruined Festival (Vancouver). 1991: Humboldt International
Film Festival. 1990: Athens International Film Festival. 1989: Film Arts Festival
(SF).
Skate Witches: 1997: Mid-Atlantic Skate
& Sound Fest, SF Arts Commission exhibition "SwitchStance". 1989:
Film Arts Festival.
Fat City Death Sled: 1999: Splice This!
Festival. 1997: Pacific Film Archive’s "The Automobile and American Cinema:
" (Berkeley).
Retrospective of work screened in 2000:
Maryland Film Fest, Zeitgeist (New Orleans). 1999: ’Zeum Museum (SF), Minneapolis
College of Art & Design, American Underground Film Fest (Manchester, England).
1998: Göteborg Film Festival (Sweeden), tour of Holland (Eindhoven, Groningen,
Nijmegen, Enschede, Den Haag, Rotterdam).1997: MicroCine Festival (Baltimore),
Mini Cine (Shrevport).
Contacts • Distributors • Merchandise
Danny Plotnick, BOX 460472, SF, CA 94146
Videos for Home Sale
Swingers’ Serenade, $10 ppd. Available October 1999.
I, Socky, $10, ppd. Groovy color cover design by San Francisco fine
artists Sharon Jue.
I’m Not Fascinating—The Movie!, $13 ppd.
PIPSQUEAK PfOLLIES, $10 ppd.
Small Gauge Shotgun, $13 ppd. Limited supplies left of this one.
Mondo Edu-Tainment, $15 ppd. Compilation of educational films and the
like. You must be 18 to get this one (send a signed age statement). Sex and
drugs and education. Available November 1999.
Small Gauge Shotgun and I’m Not Fascinating are available in
many alternative video stores in the U.S., Canada and Holland. They also rent
or sell at many Tower Videos. If you’re interested in seeing the films, check
those locales.
Those with video stores of their own can order tapes direct from me or contact
my video distributors: Facets, Vanguard, Kinofist, Surefire or Franklin.
All tapes available in NTSC format. Some titles available in PAL (email me
to find out which ones those are).
T-Shirts
Very snazzy Super 8 Mayhem t-shirt. Contains a fly bursting out of a starburst
surrounded by the phrase super 8 mayhem. $15 ppd. Currently only available in
white (L, XL). Orange shirts, which proved quite popular, may be reprinted one
day soon. Contact me for an update.
All merchandise can be purchased with checks or money orders
made payable to Danny Plotnick.
Film Distribution In America.
Me
I rent all titles. Most titles are available in 16mm. Contact for specific
gauge information.
Canyon Cinema
Canyon rents the following films in 16mm:
Pillow Talk
Flip About Flip
Death Sled II: Steel Belted Romeos
Dumbass From Dundas
PIPSQUEAK PfOLLIES
Sugarbutts
Skate Witches
In Europe
Jack Stevenson Film Distribution, Uglevang 88 .2.TH, 3450 Allerod Denmark.
email pust.jack@get2net.dk
Jack rents a 80-90 minute program of my short films in 16mm.
You can contact D. Plotnick at above address. If you feel a need to communicate
via email, my address is s8romeo@aol.com.
However, I check my PO BOX more frequently than my computer.
