HERE IT IS! My first short film made with my dad’s Super 8. I shot this to get into filmschool, but it was much more than that. It was the culmination of 21 years of ingesting pop culture, and wanting to purge some of it onto film. HERE’S an expanded version of what’s on the YouTube description:                                                                                                                                                                                





THE STORY: It was 1994, I was living in Oceanside, NY, taking classes(dada and surrealist film, avent garde drama, etc.) at the New School of Social Research and thinking about making a portfolio film to get into film school. After watching Frankenheimer’s, SECONDS (dig this trailer and you’ll see) I started to focus my attention on the commute into the city on the Long Island Railroad. Who do we bring into the city with us? And aside from the layer of grime on your skin, who do we take home? This transformation doesn’t only happen during the day; it happens at night when the bridge and tunnel people come into live out whatever nighttime fantasy they’ve got. I was reading about Nihilism and the whole bag about the destruction of values - social, moral, and linguistic, how maybe that needs to ease the pressure all around us? Maybe, I thought, I should make the film about that? I took my dad’s Super 8 and started to film.


Though I’ve been to a couple of Party Monster parties during that time, we had our own secret place - my room. We called it the FUN DIP FACTORY. Dazed and Confuzed was popular, and we would “hang” out watching Scooby Doo while taping Land of the Lost, while consuming copious amounts of candy. For me, candy was my heroin, the colored bulbs would glow, the lava lamp would ooze, and the strobe light would blow our minds like we were at some kinda acid test party. But we didn’t even have to leave the burbs…or even my room…our Fun Dip Factory. We would name ourselves THE FUN DIP GENERATION.


I was still tripping on that band Green Jelly’s,and their Cereal Killers, because we had an idea of the same name, but slightly different premise. The Cereal Aisle was broken up into territories and space that would be controlled by one of the big “families.” The Kellog’s family, controlled by their Don, Tony the Tiger had Snap Crackle and Pop to do the enforcing. They whacked a brown elephant and then a brown monkey to take over their Cocoa Krispies box, and they branched out to strawberry, marshmallow, and other boxes. Not far behind is the General Mills family, but they’ve got internal problems of their own. For instance, why is Count Chocula always keeping Franken Berry down? And Boo Berry? They treated him like Fredo. Some of you may remember Boo Berry was hard to get in most places. It’s like, they dropped him. We wondered if they even made him anymore, but would still see him take shit in the commercials. Why would they include him in the commercials if they didn’t sell him on the shelves? Hmm. Keep in mind, I was a fan of Oliver Stone’s JFK, and he had just put out Natural Born Killers, so I was ready to do some absurd investigating.


First thing I did was ask the store, “Hey, why don’t you guys have Boo Berry?” They’d tell me that the General Mills don’t send it, and that I should call them to ask why? I called GM and the told me they didn’t send it because Foodtown didn’t order it, I called Foodtown and the said they don’t order it because it wasn’t poplar and that GM wouldn’t send a smaller amount. They suggested I call back GM and make encourage them to deliver Boo Berry. I called back GM and the told me that since there isn’t enough demand they won’t send any Boo Berry. NO DEMAND? I wanted to do something about it, but I didn’t know what. Maybe I could make a movie about that? How does that relate to my city story? Well, what other people don’t know about me, when they see me on the train, is that when I go home I’m gonna go cukoo for Cocoa Puffs (Boo Berry), and I’m not going to let suburbia rest until we get Boo Berry back for everybody…like it or not. My pop culture fixation would inspire social revolt, and activism, even…if I blew up the place I could always plead the Twinky Defense!                                                            

That night I went to bed and had a dream…No, it was much more than a dream…it was a VISION. YES! Boo Berry came to me and told me it was more than just Babylon’s tricks (not the L.I.R.R. stop) but a full on conspiracy…a rubbing out. I believed him. I had to do something.

I wrote my manifesto, Tales of the Yoo Hoo Kid: A Portrait of the Fun Dip Generation, and I  made this film and a T-Shirt line called…Fun Dip Generation…or FDG. I sold the line to PAT FIELDS and XL (Beastie Boys store) among others. I made a few canvases to express my concern, and I started a PETITION for BOO BERRY! If I got my nice neighbors, and a few of my alter ego’s, to sign, BOO BERRY would come back from the dead.

It was HALOWEEN of 94, Tim Burton’s ED WOOD had just come out, and I knew the world was ready for my tribute to a blue marshmallow done wrong!

I was planning to stay in NY, but NYU didn’t like me much. Luckily Cal Arts did. I’d like to give extra thanks to my model Orgal,and Ronald “Stozo theClown” Edwards (of P-funk and Zap) for providing me with my illustrations and for letting me inspire him to revive his FUZZY character…now FUZZY JR. Also thanks to Richard DiBernardo at Pro Graphix for help on the box art.


MUSIC by the Beastie Boys, Bing Crosby, and P-Funk.

Oh, this is a GENERAL THRILLS PRODUCTION, and it was edited in Hollis, Queens (Word to RUN DMC, and the rehab that Dee Dee Ramone went to)


 P.S.S. And Frank-Kay, where ever you went, thanks for the help and for finding a few boxes of Boo Berry for me.