I made my first film in high school media class, after catching the bug from my association with Joe Fragetzeit’s little brother, Bill’s amateur film projects. Joe and I contributed scenarios involving battle and vehicle-less racing, using stop motion photography, while Bill ran the camera. Joe was one half of my first rock band, Brine. I’d been recording on cassette for years, and Joe naturally fell into the ongoing taping.
These videos are the continuation of what I’ve been doing since I was a kid.
Brent Turner entered my life when we were both cast in the musical “Little Abner” during the summer of 1979. He was Eagle Eye Fleegle, and I was one of two Pappy Yokums (the other dropped out, leaving me with twice the show time of the other dual-played lead roles). I have a vivid memory of Brent playing the backstage piano, performing “Nuclear Beaver” and “Black Man Circumcision.” I was instantly enthralled by him, and his creative genius has been an enduring inspiration to me over the years.
In the spirit of the 8mm films that Brent made in high school, one of which I was cast in as an oil-rich sheik, I cobbled together two videos using state-of-the-art Microsoft Movie Maker and extraordinarily high resolution AVI footage of Brent from a Fujifilm Finepix camera. The stills of him posing with his impressive collection of frozen convenience foods were Photoshopped in a clumsy, but sincere, homage to Warhol.
In this video, Brent Turner burns up the screen with his sexiest dance moves since “Battle Of The Network Stars” (1980). In this holotropic tribute to Celeste Pizza, Turner smokes and writhes to the techno track “March To The Leopard Seals” while a hot pizza pie bubbles in the microwave.
In this feature, this former bassist for seminal punk band The Vandals, stars in a gripping tale of birth and rebirth. Turner, as himself, micro-encapsulates the entirety of humanity’s struggle with the deepest questions of existence.