And on the same disk, along with comments and an interview with me. Now that’s exciting (that the Blu-ray is available, not the interview with me. I don’t mean that an interview with me is exciting.)
Skip Tracer was my first feature, made in 1976. Somehow it seems to have survived in the cultural consciousness.Passion was made near the turn of the millennium, totally outside of the conventional movie industry or production structure (Like a return to the days of Antonioni) The antithesis of your factory made film.
What’s even more exciting is that I checked how many users this, my personal site, has (for the first time) and the answer surprised me. One thousand seven hundred and seventy-six!!! That is amazing, considering how few comments I get for any post, which is normally zero. Are you all just bots? Are you checking out my posts and just lurking? Or does nobody actually read what I write, which has always been my assumption.
Whatever the case, if you are reading this and happen to have a Blue-ray player (I don’t, but maybe I should get one.) please think about going to Gold Ninja Video and buying the “Skip Tracer” disc. You’ll find the Skip Tracer/Passion disc here. It’s a bargain for just $20. It’s also a limited edition of 800 and I know for a fact that there are already more than 400 sold, so good luck grabbing one.
And while you are there, take a look at some of the other Exclusive, Rare and Collectable Limited Edition Blu-rays on offer a Gold Ninja Video. There are a lot of interesting titles I’ve never heard of.
And if you do buy a disc (Skip Tracer/Passion or otherwise), please let me know in the comments whether your main reason was to see “Skip Tracer” or “Passion” or one of the other discs on offer at Gold Ninja.
Some time before the turn of the century, I was blessed with a rather large royalty payment for my television work, enough to settle my debts and give me some money to play with but not enough to buy me an early retirement. At any rate, I was in my fifties and not yet ready to retire. At the time, digital media was just coming available, bringing amateur film production closer to reality, but the resulting films generally had the camera mounted on the head of a poorly trained seal and sound quality that made the dialogue impossible to understand. Generally these productions made an excuse for the technical failings by pretending to be a college documentary found in the woods ( Remember the “Blaire Witch”) or footage from a security camera or a psychiatrist’s interviews.
My agent at the time had a client who was about to have a kidney transplant. He and his partner also happened to have a tiny miniDV camera with very limited controls. With that, and a flimsy tripod, I made a documentary on events leading up to the operation.
And I was hooked. I realized that with care and attention to the camera, focus, and shots plus good quality recording and a mix, this stuff could look like a movie. My first step toward bankruptcy.
That royalty money from the television work wasn’t enough to finance an industry style movie, which was just fine by me because I hate the way the industry makes movies. They are micro-managed in a style that originated with Frank Winslow Taylor and is absolutely antithetical to art. Television is a factory product. To a lesser extent, so are feature films. Money controls everything, from the script to the choices of locations, director, production personnel, and editing time. Every second on set is important. There is no room for experimentation, or for just trying things out. Not until a director gets to the A list, at which point things loosen up. But I never worked on a production that had time or money for re-shoots. Follow the script. Make a precise shot list. Get it right the first time or never work again. It’s a formula for formula film making and I chaffed under the restraints.
But here, with the availability of digital prosumer production gear, was a chance to make films completely outside of the industry. So I launched Volksmovie.com and set about revolutionizing film making. I teamed up with Beth Waldron, a local talent agent, and pitched the idea of a totally cooperative film production. I would provide the hard cash for equipment and MiniDV cassettes. Everybody else would do whatever they could to help make the movie, from manufacturing equipment to writing scenes. One of our actors was a welder. He turned a refrigerator dolly from Home Depot into a very serviceable camera dolly. Home Depot because our largest equipment supplier. We made diffusion filters out of furnace filters, and adapted work lights into set lights by adding barn doors.
I purchased three Canon GL1 miniDV cameras, three fluid head Manfroto tripods, a carbon fibre boom pole, a selection of mid range Audiotechnica microphones, and two Apple computers equipped with Final Cut Pro. I even purchased a light weight Cobra Crane.
It was very much a European style of film production, where a theme was chosen and threads explored. We had no completed script. We would shoot a scene. I would take a day or two to edit it. Then we would have a group screening and try to collectively figure out where the story was taking us. Artistically it was heaven. On the first shooting day, everybody stood around watching me put equipment together. After a week or two I could stand back while the van was unloaded and gear assembled. If an actor wasn’t in a scene, they might be operating a camera, or holding the boom pole. We had 64 shooting days, twice as many as I ever had on an industry production.
We kept track of everybody’s time, and the deal was that proceeds from the film would be split three ways, one third to pay back my capital investment, one third to be divided among the crew depending on time worked, and one third for the group to finance the next film. The problem was, there were no proceeds.
My business plan was extremely simple and obviously flawed: Make a zero budget film that looks good. Get invited to film festivals. Grab a couple of television sales that would more than recover the production costs. Rinse and repeat.
I had attended every Toronto Film Festival for about the past thirty years, ever since “Skip Tracer” was invited back in 1976. I felt certain that “Passion” would blow their minds. Two things I did not anticipate – an absolute tsunami of amateur short films, mostly made by teenagers, and the fact that we had achieved our objective. “Passion” looks like a movie. Right down to the poster.
It’s a shame that the ownership of volksmovie.com was lost when the fan I handed it off to neglected to renew it. It was a very complete record of making “Passion”, equipment used, and scene development. The film has recently been appended to a release of my first feature film, “Skip Tracer” by Gold Ninja Video on Blue-ray so it is finally available to an audience.
But now back to the problem with my business plan: A video maker I knew who had found a niche making “So Ya Wanna Fight” videos, lent his son his production gear. The kid shot a five minute video of himself French kissing the family Rottweiler. And got invited to three film festivals as soon as he submitted.
“Passion” was invited nowhere. The festivals could afford to give five minutes of screen time to a teenager’s production that would bring in an enthusiastic audience. But “Passion” was a full length feature. As such, it was competing for screen time with the latest “special” film that comes to Toronto with name stars and a whole promotions team and budget.
“Passion” plays best to a live audience where the laughter is contagious. It would die on a VCR in an office while a festival organizer takes phone calls.
Having failed to find attention on the festival circuit, I decided to try another route. I rented the Pacific Cinemateque in Vancouver and set up a private screening, inviting film workshop students and industry members and, most importantly, opinion makers from the press. I hired a publicist to bring in those opinion makers.
We had a full house, with laughs all the way through the screening. But none of the opinion makers showed up. For that matter, my press agent didn’t show up. We got not one inch of copy in any paper. I realized that tearing up a thousand dollar bill on the corner of Thurlow and Robson would have done just as much good for my movie.
So “Passion” worked well with a full audience, but nobody in the industry liked it. Maybe it’s a crappy film. Maybe I’m just a crappy director. I’ve given this possibility a lot of thought. Except I still love the movie, and there are others out there who love it too.
I can understand why “Passion” turns a lot of people off. At it’s heart, it’s about a stalker, Dwayne Fever, part owner of an antique store called Cabin Fever, a man obsessed with a younger woman, his business partner, who is already in a relationship. The thing is, I can forgive him for that. He’s very self aware, and doesn’t want to be obsessed. His wife is dying of terminal cancer, making him even more of a creep in the eyes of many people. But grief manifests in many unexpected ways. You haven’t lived if you’ve never been obsessed with somebody, and needed to control your behavior.
The actions and characters in “Passion” are absurd, but so is reality. Nothing can be more absurd than the human behavior we can read about every day. Just Google fetishes to see for yourself.
I can understand why many people who expect the normal romcom tropes would be turned off by “Passion”. Here’s one example. This is a letter I wrote in response a friend’s criticisms of the movie. I never sent it.
Dear _________: December 5, 2014
I was going through some old files the other day and came upon your remarks about my movie, “Passion” (dated March 27, 2002). I didn’t address them at the time, because I don’t really believe in defending my movies against criticism. People will think what they want, and I generally take their comments as just an indication of whether or not I have correctly predicted their reactions in order to give them a movie they enjoy. But one of your comments demands a response, late as it is.
You wrote:
“For me the incongruity is best encapsulated in the scene between Fever and his daughter Cloe when he remonstrates her for having sex in his car. Rather than taking issue with her morality, he is most concerned that she stay out of his car! His fatherly instincts are laughable.”
My friend, I think I understand and respect your concept of morality. But you should understand that I do not agree with it. I place no value on virginity or chastity before marriage. None at all. In fact, I believe that telling a girl to remain a virgin until she marries is foolish. It means that she will be marrying a stranger. In the case of my sister it resulted in her marrying a repressed homosexual.
I am a sex positive person. It is my belief that sex is a natural human activity and a source of great joy, but that this has been perverted by the demands of patriarchy which, in the past and still today, treats women as chattel.
The scene you found such a laughable example of poor parenting is actually my very favorite in the entire move. As he says to his daughter, “I know you are old enough to have sex.” His complaint about her having sex in his car is not about her having sex, it’s about his shear incredulity that she would come to his house, for which she obviously has a key, specifically to have sex in his car. His initial reaction to her having sex in his car is more one of surprise than anything else, and if she’d asked his permission in advance he quite probably would have given it.
You see, I feel that Dwayne Fever’s relationship with his daughter is a model for what a father’s relationship with a daughter should be. So far from seeing him as a bad parent, I see him as a role model.
I completely accept the fact that my daughter has sex with her boyfriend. I see no problem with this. I would much rather have her enjoying sex than being afraid of sex, or withholding sex through fear.
Our culture has had and still has a double standard about sex. Women are not supposed to want or enjoy it, and are only supposed to engage in sex for procreation. Men, on the other hand, are expected to “sow their wild oats” and get experience so that they can be lord and master in the marital relationship. I detest this aspect of our culture, and I’m very happy to see it changing. “Slut shaming”, now part of the lexicon, is an activity that belongs in the past.
My friend _______, I’m sorry if I sound like I am lecturing you. I really do appreciate the time you took to watch my movie, and your rather gentle response to it. I just couldn’t let your main criticism go unaddressed because it’s an issue that is very important to me.
Warmest regards and all the best for a very Merry Christmas
Zale
In writing this letter, I was very aware that my friend had grown up in a Dutch Calvinist culture, one in which the rooster is locked up on Sundays so he doesn’t do any “work”. I really can’t blame him for having values antithetical to mine.
So Dwane Fever’s creepy behavior is redeemed for me by his relationship with his daughter, by the self aware the way he tries to control his stalker behavior, and by the relationship his has with his dying wife, best illustrated in the scene where he is in heaven and confronted by her ghost, who at that point knows everything. Her lines, “So you thought you loved her. Don’t you get it. You don’t know the first thing about her. She doesn’t know where she was when Kennedy was shot. All that time you were looking into a mirror.” And his line after he acknowledges the truth of this, “You know you are the only woman I ever really loved.” To which she responds. “Of course I know that.” This is great, honest, relationship stuff.
There is a lot more than the social values I enjoy about the movie. One of our main actors, Tim Johnson, took on a key roll as a writer. Between us we created scenes that still make me laugh. Tim found us a lesbian advisor who helped shape the scenes between Fever’s female lawyer and her secretary. And Tim was capable of finding completely off the wall lines that somehow rang true.
For example, when his character, Bob, is caught trying on women’s clothing, he chases his girlfriend down the street crying “But I’m not gay. It empowers me.” And that line, written by Tim, always made me shake my head. Where did that come from? Well, recently I met a man who told me his first marriage had fallen apart. I asked him what happened and he said, with admirable candor, “I’m a heterosexual transvestite and my first wife couldn’t handle it.” Naturally I had to invite him and his second wife to dinner and show them my movie. I wanted to ask him about that line, did it have any validity? “Absolutely,” he responded. “My mother was a very dominant personality and a seamstress. Somehow women’s clothing and the fabrics they’re made from acquired an irresistible sexual frisson. I just had to wear them. They make me feel powerful”
My love for the “Passion” is not uncritical or unreserved. At times the performance wanders too far into Mr. Bean territory for my taste, and some of the acting is questionable. But overall, it gets at least an A for effort. And it deserves a place in movie history if only for the production method and technology used.
For me, the characters in “Passion” are absurd, but not repugnant. They are all human beings, some smarter and more enlightened than others, but all part of this amazingly absurd world we try to muddle our way through. Watch it it without judgement and you may find yourself appreciating it, if not loving it, as I do.
This is a question that is very hard to evaluate. I seem to have quite a few fans out there, both in the industry and in the greater audience. But I know there are many people who think my work sucks, and at least one Youtube troll who was very happy to tell me so.
On one metric I’m terribly deficient. A good movie director is a person who directs movies. I haven’t been on an industry film set for over twenty years. So maybe I was once a good director, but now I’m, at best, a has-been. A washed out old man reveling in past glories and successes while still tortured by the many moments that didn’t work out as I might wish.
So, in developing an evaluation, let me start with my deficiencies. I am a political idiot. I have never paid attention to power or money, or the people who control power and money, to the people who can give me work, or have influence with others to get me work. This is complemented by amazing arrogance. Just one example: On the day before our first shooting day on my second made for TV movie, “On Thin Ice, the Tai Babalonia Story”, the producer, Janet Faust, a highly experienced and quite brilliant woman, said, “I’ll ride to the set with you in the morning.” To which I said, “No you won’t. I ride to the set with my first AD. (Assistant Director, my main support on set.)” Can you imagine anything more stupid than that. Is my firsts AD ever going to give me a job? Hell no. I have worked with some truly supportive Assistant Directors, many of whom went on to have directing careers themselves. Including David Warrysmith, my AD on that picture. And that alone should tell you something. If any of them ever put my name up for a directing position, I didn’t hear about it.
Kenny Wahl in “Wiseguy – Marriage of Heaven and Hell”. Not happy with his director.
Another painful example. On the last day of shooting my episode of “Wise Guy”, the star woke up to the fact that it wasn’t his scene. Maybe he finally got around to reading the script. It was a wedding banquet scene which culminated in Ray Sharkey garotting an enemy while the undercover cop, surrounded by twenty or thirty armed goombas, looks on helplessly. Kenny Wahl came to me just before we started shooting the scene to complain that his character was a cop. He had to do something. I explained that the whole point of the scene was that he couldn’t do anything. “You’re surrounded by armed goons, Ken. Anything you do is going to blow your cover and get you killed.” Kenny was insistent. Telling him I’d been prepping the show for two weeks and would really like it if he let me just follow the script made no impression on him. So I called Ray Sharky over and said, “Ken says he has to do something in this scene. What do you think.” Ray asked Kenny, “What do you want to do?” a good logical question. Ken said, “I have to at least stand up.” I said, “Ray, Ken wants to stand up. What would you do?” Ray said, “I’d push him back down.” I said, “Ken, you’re going to look like an idiot. Please just let us go with the script as written.” Stephen Canal, owner of the studio, happened to be visiting the set for that scene. Kenny went to him and complained, and Stephen came to me and, very respectfully, asked, “Zale, can you shoot it two ways.” Now, a director with half a political brain, would have said something like, “He’s got a good point, Stephen. I’ll shoot it his way.” Because Kenny Wall is going to be back as the star of the show for however many shows the series runs. I’m just the director du jour, canon fodder, and they don’t need me to come back ever. So, what did I do? I wasted the expensive crew time and shot it two ways, pissing off the crew who just wanted to get the scene shot and go home for the day. Which version did came out of post production? Kenny’s version of course. It looked fine. I never directed another episode of “Wiseguy”. I’m an idiot.
One final example. I was the startup director on “The Edison Twins” at Nelvana in Toronto. The crew, actors, and I had all been breaking our hearts to turn out a good show. We were all proud of our work. But the producers had been showing us our rushes in the studio basement on a double system Siemens projector. The DOP (Director of Photography) had been complaining that the forty foot throw was washing out the images and his work looked terrible. The soundman had been complaining that the projector was adding wow and flutter as well as drowning out the sound. Then we were told that the executives from Disney were coming up to Toronto to see what we’d done. The producers were planning on showing our work on that crappy makeshift projection system. Both the camera crew and sound crew came to me and begged me to do something. Both said they weren’t going to come to the screening. So I told the producers that I wasn’t coming to the screening unless they held it in a proper screening room at the lab. I presented this as an ultimatum, rather than a polite request and suggestion. Idiot. Maybe this explains why, at a job interview for PBS in Seattle, I was told “I hear you are hard to work with.” Ya think?
Soon enough this kind of behavior was thinning down my work assignments. I was starting to get hungry. When the school district in Gibsons, after some lobbying by a parents group, APEC (Association for the Preservation of English in Canada, as if English was a threatened language in Gibsons, B.C.) voted to end early French Immersion in the public school system and bring in late French immersion, for grade threes, we French immersion parents decided to send our kids to Quebec for a few months in a French language school. This would qualify us for something called Program Cadre, which by law meant that they would get French immersion anywhere in Canada. We organized a fund raiser, a silent auction, to help cover this expense. One of the items donated for the auction was an hour of personal counseling by a friend of ours, a professional counselor. I knew her regular rate was $60 per hour, and nobody was bidding. So I bid $30 and won the hour. I had asked her previously what kind of a counselor she was, whether a Freudian or a Jungian or whatever. She told me she didn’t follow any particular style. She simply listened to her clients and told them what they had told her, to help them get a different perspective on their problems. This sounded good to me. So when I went for my hour of counseling, I gave her a “core dump” on my life and career. When I was finished she said, “So…you have told me that your failure to get as much work as you would like is a result of failing to form relationships with people who could give you work.” Well, duh. That was damned obvious. I know that….. Of course… I know that. The thing is, I came at directing from the film workshop at Simon Fraser University. My friends there were film makers, cameramen, editors, soundmen, all of us funding our own projects and working on each other’s little films. They are my kind of people, and I love working with actors, especially amateur actors. And none of these people could ever give me work. I do not relate well to producers, suits, clients, or money people. Truth is, I have authority issues. Those people intimidate me, and I tend to avoid them when I can. I decided right then that I can be friends with anybody, and without becoming a sycophant or compromising my personality, if I pay attention. I read “How to Make Friends and Influence People” as a teenager. I know how to do it. But by then it was a little late to get started. My reputation was well established.
So this is my biggest failure as a director, my failure to direct. Does this mean I’m a bad director? Not at all.
I have moments in my body of work, going all the way back to my very earliest films, that stand up favorably against the giants of the field. I have directed scenes that look as good as anything the big names of the A list have done. There’s a lot of stuff in my filmography that I’m very proud of.
But this is enough for one post. Maybe next time I will talk about those moments of triumph, the times when I organized chaos into something emotionally powerful, the moments when I made a silk purse out of a sow’s ear. That’s much more fun to talk about than this has been.
I got an email from my wife today with “Are You Ears Burning” in the subject line, directing me to this post by Kenneth George Godwin.
I tried to post a comment in response, but there’s a glitch in his site. There was no sign of a captcha, but an error message said I hadn’t filled it out correctly. So I sent him this in a email instead:
Hi Kenneth George Godwin:
I tried to post the following comment on your post, but got an error message saying I did not enter the correct captcha. Couldn’t find a captcha anywhere. Anyway, here’s what I tried to post in the comments:
Don’t know who it is at the editing bench, identified as Dale Zalen, but they bear no resemblance to me, Zale Dalen. Not an uncommon mistake. (This has been corrected, and the picture replaced with one I provided.)
Aside from that, this was a very fair and generous article. For a time I was the West Coast advisor to the Canadian Film Development Corporation, and spent many meetings pleading with them to expand on the special investment program, under which “Skip Tracer” was made, and fighting off the industry types championing big budget American style production. I was also pleading with them not to go into supporting television production, a move they made because they couldn’t justify the money they were losing supporting feature films. The name change to Telefilm Canada marked the final defeat of that battle. I wrote a post some time ago on why I believe “Passion” is an underappreciated and historically important film, but that post seems to have disappeared from https://www.artisanmovies.com/ pages. I guess I’ll have to write it again. My main pitch is that it was the first prosumer digital production made completely outside of the movie industry that made no excuses for the technology and actually managed to look like a movie. (the fact that you reviewed it as just a movie kind of makes this point.) Plus I just like its social statements. Check into http://www.zaledalen.com/zaledalen/ in a week or so and I should have it up there. Thanks for the ink and attention.
It couldn’t have been better, for me at least. Well, okay. It could have been a hell of a lot better if my father hadn’t died. But we all have to go sometime. As my father said, “Dying can’t be so bad or everybody wouldn’t do it.”
That was 1986, the year of Expo in Vancouver, and I’d been hired to make the film for the Saskatchewan Pavilion. That was a year of work, starting with rejecting the script that had been commissioned and paid for and instigating a search for a new writer. There was already a concept in place – a big screen anamorphic 35mm. film with an actress under the huge screen interacting with the film. I wasn’t sure that was going to work, so the Director of Photography, Richard Leiterman, and I flew down to L.A. to take the Universal Studio tour because we’d heard that the tour included a section during which the tour guide interacted with a Hollywood celebrity. That didn’t tell us much. Our concept was for the actor under the screen to talk to the audience and talk to characters in the film. The Universal Tour sequence simply handed the Master of Ceremonies job to the Hollywood celebrity and stood down while he talked. Did that mean what we wanted to do wouldn’t work? It was something to worry about.
There was also the question of eyelines. If the characters in the film were going to believably talk to our actor, where should we have them look to make us believe they were talking to her. Richard stood in various audience positions while I stood on a ladder under the screen, still just a framework, and pretended to look at the actor. Things were getting scary. It turned out that the actors would have to look down toward the base of the camera tripod, but looking left, right, or center depended on where the audience was sitting. Compromise would be required.
The script writer search found Carol Bolt, a Toronto writer who gave us the conflict that was missing in the original script. The actor would be a “girl next door” from the prairies who had been hired as a living narrator to tell us about her province. While she was very happy to have the job, she was also desperately homesick and missing friends and family back home. At the end of the film she would apologize to the audience, run off stage and reappear on the film running toward her boyfriend.
I won’t say too much about the actual production, other than it was fraught with personality conflicts and technical problems. There were politics involved. I was from B.C. and Saskatchewan had its own film community. I was getting attitude from my AD, my assistant director, who had been laid on by the client, and it took me some time to realize that he had made a very competent tourism movie for Saskatchewan the year before, and felt that they owed him the director position on this one. Richard Leiterman was getting attitude from his camera operator, who had been the director of photography on that same tourism movie. While they both did a good job for us, the subtle vibes on location made for a less than wonderful shoot. On at least one occasion, words were spoken.
We had a tiny budget compared to what was being spent on the B.C. film. This meant a very limited shooting schedule, and weather wasn’t cooperating. Saskatchewan was supposed to look beautiful, and it looked downright gloomy. The client wanted the people of Saskatchewan to seem hip and very modern, emphasizing that computers had to feature prominently. I tried to explain that everybody had computers. They didn’t make much of an impression. And a computer in the tractor connected to the futures market, a system that was still in the beta development phase, would seem a bit silly. An Expo film is a difficult film to make. In essence it’s a tourism movie, but it had to be somehow more than that. It had to have size, and big scenes with hundreds of extras, like the two hundred plus dancers in Rainbow Danceland in Watrous, and the big country wedding. But what would make it work was actually simplicity, the love and connection between the characters on the screen – the mother and father, grandfather, first nations uncle, the school friends, particularly the boyfriend – and the homesick girl presenting her province to the audience. What I was really making was a twenty minute romcom, though the clients and sponsors didn’t know that.
The good news in all of this was that the film was produced by an old friend of mine, Tony Westman, and he generally gave me a free hand and supported my decisions. I’ll never know what he had to do to protect me from the politicians, the clients. There must have been something, because they freaked out several times when they saw my rushes.
So… I was involved in the script development, the choice of music, client meetings, casting, and of course shooting. Then came months of editing. In those days I had a complete editing room with an Intercine flatbed editing machine, benches, rewinds, split reels, and all the other gack that editing a large format film required. Finally we had a rough cut, and a sound mix, and then we had casting for the five actors who would perform under that big screen. We found one key actor to lead, learn the lines and moves, and train the four other young women who would take turns performing. With a performance every twenty minutes for a ten hour day, one actor simply couldn’t do the work alone.
There were surprises. We were all worried that a tiny figure of an actress under that big screen would not be able to compete with the movie images. During rehearsals and staging of the actors, we discovered that the opposite was true. The only time the audience would look at the screen was when the actor gestured and directed their attention to it.
All of this had the tension level of a big budget feature. There could be no last minute revisions. No trial runs. It had to work, or fail miserably, right off the hop. The producers advertised for Saskatchewan ex-patriots and packed in a full audience for the first screening, and the lights came back up to a standing ovation. One of the ushers came to me with double handfuls of kleenex, soaked in tears. We had a hit.
It ran with long lineups, every twenty minutes for the duration of Expo ’86, with the actors suffering through repetitive strain injuries from looking up at the screen.
Through all this, my father was dying. We knew it was coming. Lung cancer. That’s what a lifetime of unfiltered Sportsman cigarettes will do to you. The tobacco industry said it was his choice, but I remember him trying to quit when I was eight, when I was ten, when I was twelve. He didn’t manage to kick the habit until his diagnosis, and by then it was too late. “If you want the whole world to say I told you so, get yourself in my position” he told me. I desperately wanted him to see my work, work that had taken over my life from concept and script development through casting, shooting, editing, and casting and directing the live performances. But I realized that he was never going to make it to Expo to see it.
My mother phoned me to tell me that I’d better come to see my father, because she felt he didn’t have long. She had a sixth sense about that kind of thing. I was afraid that I would forget to say something that needed to be said when I actually saw him, so I sat down and spent a few hours writing him a letter, which I took with me and read to him when I went to see him.
In the letter I told him what he had meant to me, that he had been my hero and role model, the most important man in my life. I asked him whether there was anything he wanted taken care of discretely after he was gone, or anything he needed done. I recounted a couple of time when he had set a standard for integrity and compassion I’ve always tried to live up to. For example, there was a time during one of our trips when he was fishing in a shallow river. While my father fished, I caught a tiny frog and showed it to him. He told me that some people would use a frog like that as live bate to catch a fish, but that we weren’t the kind of people who could do that.
I asked him whether there was anything that shouldn’t be left unsaid between us, because now was the time to say it. The only thing he could come up with was to express regret that his grandchildren were growing up in a drug environment. That made me laugh. “Dad, you’re twenty years behind the times with that. Laara (my first wife) won’t even take an aspirin any more. We don’t do drugs. So you can put your mind at ease about that.”
He had been sleeping in a hospital bed in the living room, but felt well enough to come out to the kitchen for a cup of tea, a key part of our family culture. Knowing that he would never see my movie, I decided to perform it for him. I told him every image, every sound cue, where the music swelled up or faded away, every line of dialogue, every action, and the audience response. By then I knew it all, and I did my very best to let him see it in his mind’s eye.
When I was finished he said, “Now I’ve heard from a real artist.” I helped him up and walked back to his bed with him.
I wanted to stay, but I had a wife and new baby girl back in Gibsons, a ferry ride away. Who could say how long this could go on. When I got home there was a message on my answering machine from my mother. My father was gone.
This, hopefully, is the first in a series. I got to thinking about Don Scagel. There’s a lot to write about with the guy, but one story comes to mind.
Back in the days of my youth, drinking and driving was more common than it is now. It’s hard to remember the joyfully irresponsible behavior that people got into, myself included, before so many of my friends started riding bicycles of necessity. MAD, Mothers Against Drunk Drivers, was just gaining traction. The new seat belt law was freshly on the books, resisted by many and a hard sell to much of the public.
Don and his buddies were out for a night of whooping it up. Beer was flowing because it was a mobile party. Don was at the wheel of a Volkswagen bug, with one good ol’ boy riding shotgun and three more zoomers in the back seat. One of the guys in the back seat thought it would be funny to give Don’s beer a good shake before handing it to him. The result was predictable. Don popped the tab and the can exploded all over him.
Beer was dripping from the headliner when Don pulled into a traffic check. Surprise. Don rolled down his window and with a big goofy grin on his face and a sheepish laugh said to the approaching officer: “Oh damn, officer. Ya got me. I’m not wearing my seat belt.”
“Ah ah.” says the cop, whipping out his ticket book. He hands Don a warning ticket, because they weren’t yet playing hardball over that issue. Don clicks his seat belt, nods to the cop, and drives on.
I don’t want you to think I’m condoning drinking and driving. I’m not. But I have to admire the craziness of life in those days. Consequences be damned.
