movies
3 /8
BY RICK LEVIN
for March 8-15
THU
Dylan Keim (left) and Aaron
Sullivan at work on Tectonic Jelly
ACADEMY AWARD WINNER! BEST FOREIGN FILM
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The fi rst time I saw it, I tuned into the
middle, on late night TV. A scene at the
derelict mansion, Norma with her stilted
grandiose expressions, the melancholy,
ominous butler and William Holden, the
straight man. It was surreal, came off like
Abbot and Costello Meet Dracula, without
Abbot and Costello. I was hooked. I got the
title, turned it off and rented it the next day.
Sunset Boulevard was conceived as a
comedy and mutated into a noir narrated
by a dead man. The hero is down-and-
out, on the run from repo men, not above
conning a rich old lady. The victim is cannily
manipulative and not shy about using her
money as a bludgeon when subtler means
fail her. She’s sustained, like Gatsby, by the
strength of her illusions. The butler’s fate is
already played out, as haunting as anything
you’ll see on fi lm.
It’s a gritty noir of petty deceptions,
including self-deception, a lacerating satire
of Hollywood culture, a meditation on
celebrity and fi ckle fame, a masterpiece
by Billy Wilder, who was there when the
pictures got small.
— Jamie Hosler
Jamie Hosler is co-owner of the Bijou Art Cinemas,
which screens Sunset Boulevard March 8-15 as part of
UO’s Cinema Studies program; times at bijou-cinemas.
com or 686-2458, free with UO student ID.
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Enter the Jelly
Sunset Boulevard
3/ 14
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Tectonic Jelly, the trailer, can be viewed at tectonicjelly.
com
3/ 13
6:25 6:25 6:25 6:25 6:25 6:25 6:25
COMING SOON: IN DARKNESS, CRAZY HORSE
bijou-cinemas.com
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3/ 12
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CINEMA PACIFIC FILMMAKER DIALOGUES PRESENTS
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Q&A
686-2458
that looks like something out of Land of the
Lost.
“I think it looks good,” Keim says of the
Tectonic trailer, which was shot at locations
around town (including my backyard) this
past summer using a digital camera and
then edited on a laptop with new-fangled
software. “That was part of the plan, too,”
Keim continues, pointing out “the joke of
having this high-production DVD menu for
a video that’s more amateur-looking and
sounding. I’m inspired by the accessibility of
the tools. It’s a great medium and a terrifi c
way to punish yourself.”
Keim says he found the fi lmmaking
process to be somewhat Promethean. “On the
one hand, godly transcendence,” he jokes.
“On the other, brutal and regular mutilation.”
As for the practical side of making movies
from scratch, Keim says “the setbacks to
doing something this grassroots” — lack
of funds, experience, equipment, “you
name it” — are balanced out by complete
artistic control. “We didn’t have to answer
to anybody,” he explains. “We had total
freedom and fi nal cut. That was the trade.”
So what, exactly, is the deal with Tectonic
Jelly? Originally, Keim explains, it was a term
Sullivan used for his various art projects, and
since Sullivan is the lead actor, the title just
made sense. “Sully loves fame and I hate it,”
he says.
“It’s tough,” Keim says, “because in a
way, the whole thing is sort of an inside joke
that takes a whole spiel to set up. So it might
be easier to just say: ‘Fuck you, it’s an art
movie.’
“Huge farce is probably the best way to
describe it,” he adds.
ew
3/ 11
LATENITE PASSES ACCEPTED!
492 East 13 th
ery likely not coming any time
soon, if ever, to a theater near you
is a locally produced work-in-
progress of guerilla moviemaking that might
just qualify as the biggest farce and most
extravagantly produced anti-event since
Geraldo Rivera cracked open Al Capone’s
vault to a big fart of dust.
Tectonic Jelly’s initial installment, now
available online, is a singularly odd cinematic
venture: a two-minute movie trailer for an
unfi nished 15-minute short fi lm that, in turn,
is nothing but the bombastic menu screen for
a live concert DVD that proves more low-
budget and artistically fl awed than the trailer
promoting it.
This is one of those things so borderline
stupid it’s sort of brilliant, a bit of subversive
nonsense that, like bad sex or bunk weed,
is all promise and no payoff — which, of
course, is exactly the point. Means and ends
meet in one big hoax, though the spirit of this
ongoing project is teasing and rambunctious
instead of cynical and mean.
Tectonic Jelly, the concept, is the
brainchild of Eugene graphic artist Aaron
Sullivan, whose work is regularly featured
in galleries around town. Tectonic Jelly,
the movie, is a collaborative effort between
Sullivan and budding auteur Dylan Keim. A
local dishwasher who reads Nietzsche in his
spare time, Keim is that rare breed of creative
slacker, the guy who actually, eventually,
follows through on his off-kilter ideas.
Keim, a chronic project hound, directed
the new trailer — offi cially titled Aaron
Sullivan’s Tectonic Jelly — posted just last
week on the internet. It’s a diffi cult fi lm to
categorize, much less explain, though I can
say it features a questing, post-apocalyptic
epic hero (Sullivan) who wages a grisly
Mesozoic battle with a hypertrophied iguana
3/ 10
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Local low-budget trailer takes hoax online
3/ 9
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JOHN CARTER IN REAL D 3D - EVENT PRICING (PG-13) ★
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EUGENE WEEKLY MARCH 8, 2012 25
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