By Ed Huyck
By Melissa Wray
By Patrick Strait
By Jonathan McJunkin
By B Fresh Photography
By Ryan Siverson
By Kendra Sundvall
By Ed Huyck
SCENE 1: INT. OFFICE BUILDING, AFTERNOON
We open on JOHN ERVIN, filmmaker: 38 years old; blond hair, slightly thinning; squinty, permanently bemused smile. When we meet him, Ervin is preparing to shoot his third film,Proinhibition, which he describes as a "stark, but fun" marriage of Leaving Las Vegas and Blade Runner. Ervin is shooting on location, in a maze-like office building in north Minneapolis. At present, he is in the set's green room--a closet-sized space with puke-colored carpeting and a church-basement/burnt-coffee smell--where he is consulting with the film's cast and crew about the ferocious guard dogs rumored to be prowling the building's halls.
ERVIN: I'm worried that they've developed a taste for human flesh.
The cast--unpaid, mostly first-time actors who answered Ervin's open-casting call in the newspaper--glance nervously at the director, as though not sure whether to take him seriously. People often look at Ervin this way.
ERVIN: Oliver Stone always makes his actors suffer. That's the best way to do a film: Everybody's in intense pain, sleeping on a bed of nails and stuff. When he was shooting Apocalypse Now, Francis Ford Coppola wanted the jungle to be as bad as Vietnam. With the diarrhea and the tigers and stuff. Maybe we'll have some of that here.
SCENE 2: INT. FACTORY, NIGHT
NARRATOR'S VOICEOVER: Ervin is unbothered by adversity. His early ambition--to become a movie star--was frustrated by the fact that he couldn't really act. Since then, Ervin has adapted to the demands of no-budget, DIY filmmaking with admirable equanimity. During the filming of his last feature, a Russ Meyer tribute called Vixen Highway, the car he was using as a prop caught fire. On the present shoot, one of his actors, assigned to play a drunk, seems to be indulging in some Method acting.
Vixen Highway was Ervin's most ambitious effort to date: The film cost around $33,000, has screened once locally, and has recouped $700. Proinhibition is a comparatively modest enterprise: A three-weekend shoot, a cast and crew of around two dozen, and a budget in the neighborhood of $4,000, much of which is going to rent a video camera. Although Ervin keeps a temp job filing medical records at a local hospital, his principal source of financing for Vixen Highway was his parents, who have likewise agreed to help bankroll Proinhibition.
ERVIN: The condition of my getting the loan was that my parents didn't want their names in the credits. That's how much they hated the script. I guess they thought there was too much swearing or something.
NARRATOR: Ervin is presently preparing to shoot a sex scene in the cavernous semi-abandoned factory that stands in as the film's futuristic detoxification clinic. The tryst involves the clinic's head doctor and a buxom dominatrix, played by Jen Burleigh-Bentz. Ervin has a thing for dominatrices.
ERVIN: I thought they were sort of representative of popular culture, with people into piercings and tattoos and desecration of the flesh. Plus, I thought the dominatrix thing would be easy to do because people already have their own gear--club clothes and, you know. I myself don't have any club clothes, although I used to have a leather jacket.
While waiting for the crew to set up the lighting, Burleigh-Bentz approaches Ervin and opens her black leather trenchcoat to reveal a necklace that flows like a mountain rivulet into a valley of décolletage.
ERVIN: I like that necklace. We should keep that. I just want everything to be perfect for the humping scene.
Ervin's assistant director, a severe young man, shoots him a glare that suggests he's been hanging out with the scary guard dogs.
SCENE 3: INT. FACTORY, AFTERNOON
NARRATOR: The assistant director is gone--quit or fired, depending on whom you ask. This has not fazed Ervin, who has simply commissioned the film's caterers, teenage twin sisters named Anja and Ashford Kroll, to fill the position. Ervin himself did the catering on his first film, a German-expressionist homage called Made in Berlin, and he (less than half-seriously) regards the fact that he can now hire someone to run to McDonald's for the crew as evidence of his rise in the profession.
The Krolls are enthralled with the mechanics of filmmaking: They make a point of hanging around the set or working as extras whenever a Hollywood production comes through town. Though, like most of the cast and crew, they are unfamiliar with Ervin's previous work, they appear visibly thrilled to be spending a Sunday afternoon in a dirty factory with a crowd of people dressed in leather chaps and dog collars.
Kroll #1: I just like being around it, even if I never become successful.
Kroll #2: I'm going to win an Oscar someday. I know everyone says that. But you just have to have faith in yourself.
A freight train barrels through the rail yard directly behind the factory/set, momentarily suspending production. Ervin has been sleeping only a few hours a night, and, for the first time, he looks exasperated.
SCENE 4: INT. HALLWAY, AFTERNOON
NARRATOR:By the following week, the Kroll sisters have risen to a position of some authority on the Proinhibition set--signified by the fact that they are now carrying clipboards.
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