By Alex Distefano
By Scott Snowden
By Anna Merlan
By Steve Almond
By Jena Ardell
By Jon Campbell
By Alan Scherstuhl
By Tessa Stuart
I did throw up once, but only in my mouth. Let me comment that, even with your apparent dog's breakfast of intentions, and all the abounding mayhem, the overall trajectory of the picture is so sensitively suggestedsuch a gentle takeoff, flight, and landing. This certainly isn't off-the-rack camp. Are you trying to sucker-slap what's left of the camp crowd? Just who is your real or imagined audience?
Very naively I designed this movie for the fevered suburban multiplex of my imagination, thinking that Spanky and Sabu would be great role models for truants who play pinball in the local mall, dodging security guards. Of course the film buyers at Sundance didn't see it that way, and alas this movie will be taking a very circuitous trip into bedroom communities, hopefully inspiring clandestine basement circle jerks around DVD players. We're just blowing the heads off old dandelions, and wherever the spores land we hope they take root.
I love the movie's rave scenes. It's nice to see break dancing made it to Winnipeg before the end of the centuryat least according to your mythic view of the city. How important is mythmaking?
I look at Hey, Happy! as a big future-tense creation myth. In the end, the DJ is adrift alone on a flooded planet, spinning cabalistic charts on turntables, pregnant with an alien love child, which might repopulate the planet. Sort of a new Book of Genesis.
A new boner-filled Bible?
With cum-stuck pages.
A brief history of Canadian Cinema by Mark Peranson