y y
ar ar
document document
october Country official rejection
USA
Against the autumnal backdrop of burnt orange leaves barely clinging
USA
After pulling together $750,000 to make their crime drama Ten ’Til
Directors: Michael Palmieri, to branches, an all-too-achingly familiar portrait of a working-class
Director: Paul Osborne
Noon, director Scott Storm and screenwriter Paul Osborne hoped for a
Donal Mosher
family in crisis emerges. Though inspired by the work of photographer little success on the film festival circuit (destination: Sundance), followed
Producers: Leslie Wimmer, Scott Storm,
Producers: Michael Palmieri,
Donal Mosher, Michael Palmieri stood behind the lens for their col-
Paul Osborne
maybe by a modest distribution deal. More than two years and a slew
Donal Mosher
laborative effort, which the pair codirected, coproduced, and even
Screenwriter: Paul Osborne
of frustrations later, what they wound up with instead is a second
Cinematographer: Michael Palmieri
co-composed (Palmieri also edited) in the course of exploring the film – one that documents the pains, pitfalls, and absurdities of the low-
MS: A to Z
Editor: Paul Osborne
Editor: Michael Palmieri
ghosts that haunt rural America in general and the Moshers in painful budget indie world.
MS: A to Z
il
Cast: Kevin Smith, Lloyd Kaufman,
2009 / color / 80 min. particular.
il
Bryan Singer, Jenna Fischer, Chris Gore,
Andy Dick, Scott Storm, Blayne Weaver
Salted with buoyant wit as well as grievance and a touch of bitterness,
E F
Matriarch Dottie says it all in the opening sequence: “If you don’t have Official Rejection shows how Osborne and Storm shopped Ten ’Til Noon
E F
h
2008 / color / 107 min.
h
T
MiChaEL PaLMiEri family, you don’t have anything.” The phrase echoes as their story around from Sundance and its offshoot, Slamdance, to Cannes, Tribeca,
T
An accomplished music video director,
unfolds, rife with war trauma, teenage pregnancy, domestic and sexual and other major film festivals, only to be left schlepping through the
Michael Palmieri has directed videos
abuse, and foster care. How can the debilitating cycle be broken? As
for such artists as Beck, The Strokes,
PauL oSBornE
minor leagues–where the swag bags for participants might contain a
The New Pornographers, and The
father Don asks, “Is this the real me, or is this what I’ve been created
Paul Osborne won Denver’s Gates
key chain and a drink coaster.
Foo Fighters. He has also done
as?” Spanning a year, from one October to the next, this bittersweet Planetarium statewide science-fiction
commercial work for Converse, Coke, documentary chronicles the attempts of his family to answer such
contest for his short script The Final
“Success?” Osborne, here serving as director/writer/editor/coproducer
MAC Cosmetics, and ESPN. He is an
questions, desperate but seemingly powerless as they are to break free
Exam while in high school. He then
(with Storm also coproducing), laments in voiceover. “You may as well
adjunct professor of film and video at
went on to the University of Miami,
of the poverty trap. The Mosher family courageously opens their lives
California College of the Arts in San
studying screenwriting and English.
believe in Santa Claus.” Interviews with top indie directors like Kevin
Francisco.
to us; as they bear their burden, we are in turn confronted with the
Osborne has since made a name for
Smith (Clerks) and Bryan Singer (The Usual Suspects) as well as with
unmistakable truth that, to quote Gandhi, we must all be the change we himself editing movie trailers. Troma Films’ outspoken founder Lloyd Kaufman (who calls the cash-
wish to see in the world. obsessed Sundance crowd “devil-worshippers”) shore up this revealing
DonaL MoShEr
look at the realities of a tough game.
Donal Mosher is a photographer,
musician, and writer. His documentary
photography has exhibited in Los
Angeles, New York, and San Francisco,
and his writings have appeared in SF
Camerawork, Instant City, Satellite, and
Life as We Show It: Writing on Film.
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