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I love KUFFS.
No, it’s not an ironic statement done out of some hipster love of Leon Rippy, although that’s a good enough reason, nor does it have anything to do with Christian Slater but taken as a whole KUFFS was a movie that was pretty good, pretty funny and had enough self-awareness that it was a film I still enjoy whenever it’s on.
And that brings us to Ross Partridge.
Seeing that he had a part in KUFFS was a good enough reason to give a shout-out to the guy (I would just as soon knight anyone involved in that production as worthy of my praise) and the fact he mentioned he hadn’t heard anyone bring that movie up in an interview as we talked about what we were really there to chat about, BAGHEAD, filled me with a little glee.
It’s not so much that Ross has obviously achieved the kind of success most actors never will, he’s been in the business for over 15 years, and is in one of the most talked about movies of the summer that doesn’t have anything to do with a gravely spoken hero of the night. BAGHEAD, Jay and Mark Duplass’ feature follow-up to the wonderfully produced THE PUFFY CHAIR, deals in a realm of comedy and horror that seamlessly blends the two in a wicked mix of thrills and laughs. After seeing this film you can’t help but wonder where Ross has been hiding amongst the soft bellied actors who wouldn’t have the wherewithal to deliver as convincing of a performance as Ross does. He understood what the part needed in order to make you think, first of all, this could happen and, secondly, how to bob and weave in between moments that have you laughing at one moment and abject horror the next. There’s a certain subtleness that Ross delivers in a movie where there are only four main people on the screen.
He took some time to talk about the film…and then about KUFFS.
BAGHEAD is now playing in limited release
ROSS PARTRIDGE: So, are you ready to do this?
CHRISTOPER STIPP: Absolutely, are you ready?
PARTRIDGE: Yeah. I’m actually in a pair of shorts walking in the ocean now so I couldn’t be more ready.
[Laughs]
It sounds more glamorous than it is. I’m actually dealing with something in my apartment because my toilet just broke. It’s not that glamorous, I assure you.
[Laughs]
CS: First question out of the gate, how pleased are you with the reception that BAGHEAD has received in the press?
PARTRIDGE: Man, I’m completely thrilled. It’s funny because you never really know who is going to enjoy it. We were up in Nantucket Film Festival a couple weeks ago and I swear the median age of the audience was probably 65 and I kept thinking to myself “I don’t know what about the description of this movie would make you want to come out and see this” but I have a feeling it has something to do with where people are at and they just want to have a good time and all the people just seem to love it ““ even at that age. It’s been pretty remarkable how people have taken to it.
CS: One of the nice things about the film was that the trailer does it so well that what I do on my side, in addition to doing interviews and pieces what have you, I also review movie trailers…
PARTRIDGE: Are you kidding me?
CS: I have not seen the movie. I’m in a podunk, backwater called Arizona and I haven’t seen it. It’s on it’s way, probably, by burro.
[Laughs]
CS: Seriously, we get things weeks after ““ first, it’s New York, LA and then at the bottom of that list, I think, is Arizona.
PARTRIDGE: Doing interviews with people sometimes people haven’t seen it – I did a Q&A with Leonard Maltin up in Nantucket ““ he hadn’t seen the movie either and it was just kind of funny to do a Q&A with him.
CS: And you’re like, “Has anybody seen the film??”
[Laughs]
PARTRIDGE: Exactly.
CS: But the trailer sets it up so well that I jumped at this opportunity because not only have I been reading the press on it but the film itself seems like it does a lot with very little and that’s exactly what I want to have you talk about. When you read the script for this ““ you essentially have only four players in this production ““ how did you take it when you read the script ““ what were your thoughts about it?
PARTRIDGE: When I first read the script I was probably 20 pages in and I was like, “Are you kidding? There’s no way they are going to sucker me into this.” Meaning, how can we pull the wool over the audience’s eyes at something so obvious as some guy running around with a bag over his eyes and make it work. And then by page 40 I was like, “Fuck, they got me. I’m completely in.” It’s so obvious that it becomes not obvious and it becomes something that you think would become something else. That was my initial reaction but then it got me.
CS: What about the film? How does it marry together a horror film and something that seems like the human drama of four people ““ it’s about relationships from what I can glean ““ the relationship of these four people together ““ how does it mix the two so well? Usually with horror you have some really one dimensional stupid teenage pot smoking kids and…
PARTRIDGE: I think just as far as the construct of the movie itself goes I give most of the credit to Mark and Jay and it’s their type of film making. Their other film, THE PUFFY CHAIR, was a road movie but it was a relationship movie and it’s basically they set up a structure, a combination of things but really it’s a character driven drama with a mix of subtleties, with real conflict and the contradiction of characters no matter what the situation is.
That’s what becomes really interesting.
It is a hard thing to accomplish doing a horror movie that is really a comedy mostly all the way through and becomes almost a humanistic kind of drama at the end. It keeps people guessing ““ you are laughing all the way through and then all of a sudden it takes this turn and your start to scream because you’re scared and then you are laughing because you are screaming and you don’t really know what to do with yourself. It’s very interactive.
CS: How did you take a look at that when you read the script? You are thinking to yourself that there is no way people are going to buy into this and then you see”¦
PARTRIDGE: It wasn’t that I didn’t think people would buy into it ““ I thought that if they did it is going to be really a remarkable thing. It’s just a hard thing to conquer. And, as I read it I too was skeptical but then found myself completely immersed and completely had by it and thought if I’m reading it and it’s working then we can make it happen.
CS: What was important for you when you read the script and you had your own interpretation of what this character would be like? The brothers themselves, did they offer any sort of insight how they wanted you to play it?
PARTRIDGE: Absolutely. I came in, as all actors do, you prepare certain things and you kind of build a character. And, my character is an actor and there are certain strong elements of myself that I bring to the film for my character ““ I bring in more character type of idea and Jay and Mark were very quick to strip that down and make them as real and honest as possible. So I think it was Mark and Jay’s keen understanding of ““ trying to create characters ““ them as writers they create and directors with an audience in mind, characters that they feel that they know or feel they would like at the end of the day. Most all their characters are people that you really like. For an audience, it makes it more palatable to go along on a ride like this.
CS: The odd thing is that I’ve seen THE PUFFY CHAIR which is a brilliant little film and to see them take one strong leap into another direction and mix drama, comedy and horror together ““ were the brothers at all wondering how they were going to make this a scary funny film when they got down to actually making it?
PARTRIDGE: There are always those moments where I think Jay and Mark are incredible ambitious and incredibly talented. When you watch PUFFY CHAIR ““ this is those guys and this is what they do. They put you in a situation and it’s the complexity that gives it almost a documentary feel.
CS: And a bit about the earlier notion, the idea of improvisation, especially on a movie where the name of the game is horror…do you think as the brothers were doing it was there anything that they said to the effect of “You don’t look scared enough!” or “You’re acting like you’re not really scared…” ““ Was it sort of”¦.
PARTRIDGE: Certainly. They are extremely generous filmmakers. They actually dive into the instincts of the actors as much as the actors themselves. They are just very generous and are keen on people’s instincts so. The line in the sand is what becomes too intense and falls short of keeping the humor alive and I think for the most part we were always opting to keep the audience in the palms of our hands with as much humor as possible and try even in the most precarious situations, albeit a man stalking you in the woods there is conflict of character and the characters’ intentions that end up being funny because there is such a situation that no one has ever experienced so everyone is experiencing it for the first time.
CS: And then having to marry that with the actual human drama and your character and everyone you are trying to relate to, was it odd for you to try and balance three different ““ the scary, the funny and the dramatic?
PARTRIDGE: No. There’s nothing I could say that was difficult about making this movie. The balancing of our intention ““ like I said we work in a way there were times when I was doing a scene and it was going in the wrong direction ““ my character breaks down in the beginning and I’ve done this shit, and I’m not doing anything with my life and I’m fooling myself to think that I’ll ever make it or be anything in the movie and it became very mellow dramatic and just wasn’t working. And, I came back and Mark and Jay they tend to take little walks on the set ““ that’s the luxury of producing the movie yourself to take the time in between to figure out what’s working and what’s not working and they came back to me and said, “OK, the same scene but you are not thinking about your own life, you are thinking about buying a hybrid car.”
[Laughs]
So they are always creating new ways to get the same results but playing with our intentions. Not rehearsed. We never rehearsed anything.
CS: Was there any sort of fear that the ““ and I won’t draw the comparison – but I’ll just sort of illustrate it as I try to ask the question is that you know M. Night Shyamalan’s big reveal at the end that the guy was dead all along. Did you ever, or the filmmakers, think along the way that “Maybe we are trying to become too gimmicky” or that “This is looking like one of these things where the last part is that ‘He woke up'”. Do you know what I mean?
PARTRIDGE: Oh absolutely. Look, all along we were concerned with the reveal at the end if people were going to feel ““ the big concern was that we know that people know we have this big reveal at the end but just as long as we are responsible about making the journey up to that point making it worthwhile for the audience, then we feel that we will be OK. I think that was always in the back of our minds. We are kind of playing with the audience, having fun with the audience but as long as they are having a good time too I think they’ll forgive us. And that’s working out very well, doing it that way. Since you haven’t seen it yet, I won’t spoil the ending.
CS: I appreciate that.
PARTRIDGE: People are like, “What the f”¦” and then it’s not about the ending really, it’s about the characters and how they relate to one another ““ that’s the most important thing. The presence of the Baghead is the backdrop of the relationships and dynamics of the characters and how that’s been resolved ““ the audience was rooting for that even more interested in that under the umbrella of this guy chasing around the woods with a bag over his head.
[Laughs]
CS: How is it for you anyway on a project like this? I think if the budget were more I don’t think a movie like this could be made because it seems that this is a film that rewards attentive viewing. If someone took this script and gave it to a Sony or Warner Bros. they might be a little gun shy because they are trying to mix genres and they like products that are easy to sell and easy to market ““ this bridges a lot different genres as it were.
PARTRIDGE: Yes, I understand. It’s kind of one of those things where everyone wants it cut and dried and fitting into a certain mold and then someone comes along and does something that doesn’t fit into that mold and no one pays any attention to it and then that becomes the mold. This is certainly not an easy movie to market. I understand people’s concerns and reservations in this business about how to market this movie, but in the end I think it’s a movie that is so unique, it’s worth taking the adventure of figuring out how to market it because that in itself becomes part of the uniqueness of the profits of what this movie could be. You come back to the old adage that sometimes studios don’t give the audience enough credit.
CS: What are your thoughts as a working actor as a viable way for you to make a living? In trying to do a little research before I talked to you I was surprised when it looks like you started off in a movie which is one of my favorites of all time: KUFFS.
PARTRIDGE: Get out of here!
CS: I love that movie and I’m damn well embarrassed almost to admit it.
PARTRIDGE: Oh my god. That’s hysterical. I never thought anyone would ever talk to me about KUFFS ever.
CS: I love it. It is ““ and I won’t even call it a guilty pleasure ““ I just enjoy ““ like you said you sell the audience short ““ for what it was you’ve got Leon Rippy, you’ve got Christian Slater…
PARTRIDGE: You got Bruce Boxleitner.
CS: Yes…
PARTRIDGE: You got Ashley Judd ““ it was her first job too by the way.
CS: Oh really? I didn’t know that.
PARTRIDGE: Yeah, she played a pregnant woman somewhere. I remember them auditioning her and her walking into the room at the time I was probably 25 and thought, “This girl is spectacular.”
CS: Really.
PARTRIDGE: And then she went on and became huge.
CS: Exactly. And I enjoy that film immensely. And it looks like you did some stuff until ’93 and then there’s a 3 year gap. Little things here and there ““ what have you been doing to fill the time?
PARTRIDGE: It’s been hit and miss for me. It hasn’t been an easy ““ I’m still struggling right now. But I took some time off from acting and did a little traveling. I wrote a screenplay that I was working on for a couple years. I ended up writing and directing a feature film back in 2000 for the Toronto Film Festival called INTERSTATE 94 staring Kevin Dillon and then I started a film website with a friend of mine with Kevin Spacey’s production company. Then I was working with those guys and produced a couple documentaries and I was working the producer end of the business so I kind of jumped in and out of the business and that’s kind of how I met Mark and Jay. I was at the Nantucket Film Festival producing a screen play for one of the screen plays that was on our website and met them when they were doing THE PUFFY CHAIR and then got completely blown away by what they were doing and how resourceful they are and we became friends and one thing led to another and we started to collaborate on ideas and they had this script and they said, “You know what, we want you to do this.” So, we ended up doing it. I’ve been kind of in and out and in all different aspects ““ just chugging away at it.
It’s a tough business, man.
CS: Absolutely. It’s a testament to honest to God dedication in sticking with it.
PARTRIDGE: I think when you start out in this business you have an idea of how you would like your career to go and you try to find yourself doing”“ I do a lot of theater – I have a theater company here in New York and we produced a couple shows in the last couple years so I always try to get back and do more theater but obviously that doesn’t pay anything so you try to do a movie and put money on the boards. But it’s definitely a long road and you can’t quit when you have something you want to say and roles that you haven’t really been able to accomplish. At this point, BAGHEAD has been the reward of many years ““ Mark and Jay are two of the most talented people I’ve ever met in this business. I just got back ““ I co-produced a project called The DO-DECA-PENTATHLON which they are editing right now and hope to get to Sundance next year.
CS: And good luck with that. I like talking to people who actually have to make a living doing this and not just reaping the reward of a fanciful career. You are absolutely an inspiration.
PARTRIDGE: Thank you, man. And if you met Jay and Mark ““ these guys are the realist guys you’ll ever come across. Their talented and so unaffected and just love what they do. They love movies and at the end of the day to be around guys who love it and hope to do it they way we want to do it ““ they love making movies their way.
Oh no! Just when you thought it was safe to hang out at the Quick Stop…
Jonathan Coulton on Jonathan Coulton: “In 2005 I left my day job writing software to pursue music full time. To keep myself busy I released a new song on this website every week for a year in a project called Thing a Week. A few of those songs became big internet hits (my folky cover of Sir Mix-a-Lot’s “Baby Got Back”, a funny video called “Flickr”, a song called “Code Monkey”), and I am now fortunate enough to make my living as a musician.
Paul and Storm are a comedy music duo, and they have been performing as a duo since 2004. Before that, they were one half of a cappella band Da Vinci’s Notebook for about 12 years. A Paul and Storm show is part music concert and part standup/improv comedy”“just enough of both to fit neatly in neither category. They like to engage the audience, and are known to award snack cakes and/or other prizes for good (and sometimes bad) behavior. Their show would be PERFECT as a cable special, and would make lots of money for whichever brave channel decides to air them first.
You know ’em as the RiffTrax trio, but here at Song Fu they are the mighty RiffTones…
Doc Hammer was born in 1626 in Hamar, Norway, under the name Erik VonHamer. Being the son of a humble cobbler, not much was expected of the young man, other than to cobble and to not complain about all the cobbling. But Doc was destined for greater things. At 17, with nothing more than really well made shoes and a dream, he made his way to Antwerp to study oil painting under the great Rubens. Within a year, the two were at odds. Rubens spoke (infrequently) of Doc as “that creepy skinny kid,” and Doc spoke of Rubens’s work as “kinda unattractive if you really look at it.” By 1648, Doc had relocated to Leiden, where he found his master in Rembrandt. It was there, in his 23rd year, that Doc met “She Who Was To Deliver The Kiss Of Eternal Youth.” After a spicy courtship, “She Who Was To Deliver The Kiss Of Eternal Youth” and Doc were married. By 1650 Doc had grown weary of immortality and committed an unsuccessful suicide by burying his never-corpse in the basement of a Dutch cottage. In 1870, Doc again resurfaced. Using the name Vilhelm Hammershoi, Doc resumed his painting career with mild success. After thanking his bride for “the immortality thing” and nicely reminding her that he had “heard every one of her stories like a billion times,” “She Who Was To Deliver The Kiss Of Eternal Youth” and Doc split up in 1916. Again, Doc literally went underground until, now using the name Armond Hammer, he resurfaced and made a whole mess of money selling overpriced meds to the Russians. Sick of all the baking soda jokes, Doc faked his death. Biding his time till the MC Hammer thing had blown over, Doc again resurfaced as “Doc Hammer.” Today, Doc still paints in oils and writes, voices, and does other crap for The Venture Bros. (a show you can watch on cable TV).
The Deal: After 20+ years making music as a hobby, I recently wrote and recorded a song for my daughter. I got a little taste of mild success (hey, my mom liked it). So now I’m taking my music out of the closet, dusting it off, and seeing how it does in the sunshine. Who knew there was so much work in just attempting to do music for a living. I feel like I am opening a Subway franchise (Only opening a Subway franchise seems more fulfilling in a creative way).
Run At The Dog are high energy, rock/pop, category-sluts with multi-gendered vocals and intricate arrangements. They are like Abba meets Faith No More meets Mos Def meets the Mormon Tabernacle Choir meets Steely Dan. The songs of this Minneapolis 5-piece are always written right away, with no respect for the calculating mind. Audience members are unsure whether to dance, laugh, or panic.
I suppose I am what you could call a “Multi-Instrumentalist”. That is a nice way of saying “Jack-of-all-trades, Master-of-none”. I began playing drums as a teenager and spent a great deal of energy during my 20’s trying to “make it” in the music biz. As a drummer, I have had the opportunity to play with some pretty incredible musicians, garnering literally DOZENS of fans over the years. In 2004 I joined the band Celestial Static, and spent several years melting some face with good friends Jeremy and Julie Elzerman. Once that ran its course, I decided to spend more time locked away in my studio, writing my own songs and learning to play guitar, bass and sing. It doesn’t pay the bills, but I have a good time doing it.
Edric has been writing music (off and on) for the past fifteen years. He wrote and directed a musical, The Pushcart War, based on Jean Merrill’s wonderful novel. He has written and/or arranged a number of songs for various friends – some commissioned, some as surprises. He loves acting in community theatre, and is inspired by the music of Stephen Sondheim, Jason Robert Brown, Adam Guettel, Lynn Ahrens and Stephen Flaherty – and yes, Jonathan Coulton, who in addition to writing wonderful songs, also served as a portal to finding out about the Song Fu competition.
“BucketHat” Bobby Matheson is an awkward teenage accordionist and multi-instrumentalist who specializes in superhero-themed and “Comedy” music, and who works for minimum wage in the fast food industry. With his style varying from polka to folk, punk to pop, and then again from rock to bluegrass, we’re left unsure what to expect. One thing for certain is that Bobby doesn’t like talking about himself in the third person, and therefore will stop this silliness right now.
Insane Ian is a comedian and writer from Baltimore, Maryland who specializes in all things nerdy, both in parody and original compositions. From Sci-fi TV shows and films, to video games, to comic books – no nerdy topic escapes his sardonic (and satiric) wit. Among his peers – such as Sudden Death, the great Luke Ski, Jonathan Coulton and, of course, “Weird Al” Yankovic – he is the only artist to have written this bio, and remains at the top of that list. Currently, his song “Guitar Hero” (from his upcoming album n3rds0ngs) is the number three most requested song on the Dr. Demento radio show for last month. Usually for a song, I.I. surrounds himself with talented people to make himself look better…and now is no exception, as friend and producer Mike S. helps on instrumental duties.
Hello everyone. I’m Bram Tant, a 19-year-old Belgian student who enjoys playing the electric/bass guitar, singing, and writing songs in his spare time. I’ve always dreamed of becoming a professional musician, and I’m psyched to have been selected for this awesome contest. Having greatly enjoyed the first edition, I want to test my humble songwriting Fu against other (hopefully) great artists. Unfortunately, I do not own decent recording equipment – all I have is a computer microphone. Still, I’ll try the best I can to record the best song I can write. About musical influences – lately I’ve been really awed at/inspired by the work of Jonathan Coulton, and I found out about this contest through his website/forum. Else, I enjoy a bit of everything. My musical style is a bit hard to define: I play a bunch of stuff like soft/hard/classic rock, punk, metal, folk, jazz, lots of improvisational stuff, and I seem to have a knack for writing love songs, probably because of a subconscious yearning for love… Anyway, I wish the best of luck to all the other competitors, and may the best win!
The phrase “jack of all trades, master of none” could almost have been invented to describe Mick Bordet’s musical existence. Writing and recording songs since the tender age of thirteen, a quarter of a century’s experience has failed to produce any music his family can relate to. This may be because he steadfastly insists on bouncing between and across genres at every opportunity like a hummingbird with ADD, or perhaps it’s the eclectic collection of instruments he utilises for his sonic palette, from guitar and ukulele to theremin, yobstick and electric harmonium. Mick is a founder member of “The Lunacy Board”, Scotland’s premier progressive avant-garde skiffle duo, and cites influences as diverse as Edgard Varèse, Ivor Cutler, Conlon Nancarrow, and Roy Harper, to name but four. The duo have recently released three debut albums, including one written, recorded, and mixed within a single day ““ perfect training for the Song Fu challenge.
Steve Chatterton is an independent musician living in the suburbs of Toronto. Known primarily for his jingle work on local television and his electronic project 11t1, he’s now putting all of his musical efforts into the ever-elusive self-titled singer-songwriter recording project he’s been wanting to get around to since he was 10-years-old and had just discovered The Beatles. Steve is an honors graduate of the jazz guitar program at Mohawk College, and has since performed in a wide array of bands that nobody has ever heard of. After retiring from performing to concentrate on raising his kids, he’s recently put together his own basement studio and has set a personal goal of producing at least one song a month.
Tom Rooney has participated under the band name Thomas F in the Record Production Month Challenge for the past two years, successfully completing an album of 10 new original songs within the month of February. The challenge provided a welcoming environment of diverse artists from around the globe all frantically striving to beat the end of the month deadline while encouraging and supporting each other. This experience has given Tom the confidence to put his music out there, for better or worse. Most feedback has been politely positive. Raving masses of fans still to come.
Fun, Zesty, Acoustic, Energetic, Crunchy. Some of these words describe the Baritone-Ukulele-wielding N8 Shivers (the others describe Taco Bell’s newest food-like invention). He began writing songs at the age of two, and taught himself to play the uke a mere 17 years later. N8’s Family members claim he’s the best uke-playing song writer they’re related to. He enjoys Stand-up Comedy, Coen Brothers movies, Chilly sandwiches, and Canadian sitcoms. His Turn-offs include Banana Flavored Things, Republicans, and Mountain Dew. N8 is currently employed as a Wizard in southern Ohio.
Jeremy Pierson is a struggling artist of that so-called RenGen crowd. His passion for music has run deep through his veins since his earliest days of hearing The Beatles, Led Zeppelin, Stevie wonder, and Marvin Gaye on his parent’s record player at home. As a songwriter, his influences cull from the likes of those legendary artists already mentioned, and include influences from Stevie Ray Vaughan, Jamiroquai, Earth, Wind & Fire, Curtis Mayfield, Waylon Jennings, Willie Nelson, Smokey Robinson, Bob Schneider, Bruce Springsteen, Bob Dylan, and Paul Simon. His greatest barrier as a commercially successful artist is clearly his lack of interest in limiting his musical creativity to any one genre. Jeremy also feeds his creative juices through his artistic work in photography, film, writing, illustration, and design.
Johannes “Jutze” Schult (from Germany) likes to make songs about weird stories and situations. It’s all about creating a musical scenario that is somewhat original, yet believable by some stretch of imagination. Jutze used to play drums in a heavy metal band, and then founded his own pop band where he played guitar. These days he’s mainly doing solo work for the fun of it.
Last year, Paramount released the first season of the remastered original Star Trek series as hybrid standard DVD/HD-DVD discs. As we all know, HD-DVD was roundly defeated in the high definition format wars by Blu-Ray, which left the future of the remastered releases a bit muddled. Well, 
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The Deal: After 20+ years making music as a hobby, I recently wrote and recorded a song for my daughter. I got a little taste of mild success (hey, my mom liked it). So now I’m taking my music out of the closet, dusting it off, and seeing how it does in the sunshine. Who knew there was so much work in just attempting to do music for a living. I feel like I am opening a Subway franchise (Only opening a Subway franchise seems more fulfilling in a creative way).