ISSUE no. 26 [2016] / ANTAGONIST PIECE no.

369 / Cinema Frantic

Dear Reader,
It was hard for me as a kid. Doctors discovered I was

dyslexic at an early age. Around the same time my
parents were going through a divorce and my father
went into a depression. My mother had picked up an
asshole she called her boyfriend. My head was
swirling and the only thing to lift the fog was sitting in
the dark cinema. At age nine I would sneak off to the
theater a few blocks from my school and watch the
matinee. It became an obsession. The Stuntman, A
Christmas Story, Porkyʼs, The World According to
Garp, One Flew Over the Cuckoo's Nest, The Fisher
King and Harold and Maude. Once the Betamax
became available—soon followed by VHS—I started
renting three to six videos a day. It was my world.
Action, horror, sci-fi, titillating sex comedies targeted
at teen boys—I watched it all. At age seven my grandfather gave me his old Super 8 camera. My first films
were flashes of light and dark, unrecognizable
images, but once they were developed and threaded
through the projector I was hooked. The hum and
rhythmic sounds of the film moving through the projector, the light illuminating the dust—that dust exfoliated
skin cells, my own cells mixing with the light of my
films as we became one. I never stopped making
films. As a film student at SVA and then graduate
school at the New School I was acquainted with the
film movements like Dogma, Cinema Verité,
Avant-garde and New Wave. I wanted to start my
own. Cinema Frantic is what I title my own style, a
combination of a feedback loop where I screen rough

cuts to a group of about eight, re-cutting and screening again. This process continues even through the
film fest screenings and fast-paced editing, homemade
animation and effects. Itʼs frantic because that is how
I feel during the entire process, from start to end and
even after through promotion and release. On average my budgets are self-funded at about 2K. For this
issue I titled and made the theme Cinema Frantic but
the interviews and articles are truly just centered on
film as a whole. You can find out more about my films
at the end of this zine or by searching my name:
Ethan Minsker.

-Ethan Minsker






& Kristin




Antagonist Logo 2016
by Dima Drjuchin


mixture of fiction and nonfiction. We also cover news of the
art world, from street to gallery.
Back issues can be found at
“Psycho Moto Zine archives”
at To learn
more about the Antagonist
Movement, look us up on

MOVEMENT Why: We want to
change the art world by creating the next movement. How
will we do that? By casting a
large net—creating venues that
allow artists to experiment,
pulling artists out of their
solitary existence and creating
a community. By fostering
otherwise overlooked concepts
and individuals, and ignoring
an artistʼs background regardless of education, social class,
or location. By unlocking
hidden potential. What will this
do? Change everything. Art
changes the social fabric at
branch of the Antagonist Art
Movementʼs press and has been
in existence since 1988 under
the original title East Coast
Exchange. It acts as a venue for
our writers, artists and editors.
In an attempt to create new
forms of art and writing, we
highlight the obscure and
unknown artists, draw focus to
subjects passed over by the
mainstream media. This is a
not-for-profit publication.
Artists/writers donate their time
to create this. The content is a

So, if you enjoy what you have
read, please take a moment
and look up our films and
books. Find our catalog listed at
the end of this issue. There are
digital copies of each for $1.99
on Amazon. We believe the
price shouldnʼt hinder you, so
we do our best to have a cheap
alternative to the hard copies.
We are passionate about each
project, mixing love and attention to detail to create a unique
work of art. Our goal is to
make something the large
entertainment companies fail to
do, which is create inspired
works that cater to like-minded
individuals. All the money we
generate goes back to creating
new art projects and supports a
large community of struggling
Questions? Comments? Stories?
Suggestions? Contact us at, email us at or


follow/message us at

Ethan and his little girl doing
stupid shit you don't care about.


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Sid…she whined, tossing a lit cigarette onto the floor. Look at my legs!
I’ll never be Barbie! Barbie doesn’t have bruises!

Wearing a studded leather jacket over his leopard jockey
shorts, Sid bounced into the room, overturned the table,
ashtrays and bottles breaking, knocking Nancy off the couch.
Nancy ran to the bedroom, jumped up and down on the bed.
Sid punched her in the face and she tore down the street, Sid
following her, before stopping abruptly in front
of a mirror.
Sid! she screamed. AAGGGHH! I look like fuckin’ Stevie Nicks in hippie
clothes. They turned and went home.

We sat on my leopard couch, which matched Sid and Nancyʼs

bras and panties, watching
punk junkies shoot up, slash
tires and toys—bad two-year
olds in fishnets and vinyl,
stabbing each other with
knives and needles.

I donʼt sleep on the floor
anymore. Iʼm too old to
crash on moldy blankets,
bodies of strangers on either
side, sounds of wet fucking,
smells of beer, blood, and

I am not Nancy. Her black

roots will never match her bleached white hair. I am not even
Courtney Love, still alive and fighting courts and custody
battles. I am not Sid Vicious dancing on heroin in vacant lots,
singing “My Way” as he tries to remember if he really killed

Anarchy in the UK is as ancient as a lullaby. I canʼt scream at
boyfriends in the street anymore. I canʼt kill myself, I canʼt stick
needles in my arm, I canʼt kill myself, I canʼt kill you, I canʼt kill
myself, I canʼt walk in stilettos, I canʼt kill myself, I canʼt throw
whisky in your face, I canʼt kill myself, I canʼt kill myself, I canʼt
kill myself.

And I wonder—is it too late for me? Is it too late?
Is it too late to love anyone like Nancy loved Sid or like Sid
loved Nancy?

So I wonder and I keep my promises and I live.


You may know Rachel Gradyʼs work from her films The Boys of
Baraka, Jesus Camp, Freakonomics and Detropia.

PMZ: Can you give us a short statement about yourself and
your work?
RG: I have been making feature-length documentary films for
15 years and Iʼm based in New York City. I went to school to
be a print journalist and was uninspired by the limitations in the
medium. I feel that
documentaries are a
best-case scenario
for me: real people,
real situations,
edited and with
PMZ: Did you ever
have to do anything
risky to make your
films? Breaking the
rules or skirting the
RG: There are obviously shady environments that are necessary
to spend time in when you are making films that take place in
“hidden” worlds so that is somewhat implicit in the form. However, for me the most dangerous and exciting part of


the process is constantly facing questions of moral ambiguity
and ethics. There are no hard and fast “rules” so you are
constantly evaluating in real time if something is ok to film and
include. Are you are putting words in peopleʼs mouth? You
arenʼt a friend, therapist or reporter—what the hell are you?
PMZ: Do you have advice they didnʼt and wouldnʼt give out in
film school?
RG: I never went to film school! I got a job in my early 20s at a
documentary production company as an associate producer
and took it from there. As far as advice, I have a shit ton to
give out. Some examples: 1. Never chase a reluctant subject.
2. Be in love with a topic because you will live with it for a very
long time. 3. Empathy rules.
PMZ: What is the greatest lesson you have learned or personal
mantra related to filmmaking?
RG: Be true to thyself. Use your gut.
PMZ: Do you have any hidden talents? We find that you might
be surprised about the other things creatives are into outside of
how we know them.
RG: I can hula-hoop. And I can fall asleep anywhere and
really fast. This is a super power I wouldnʼt ever give up.


Grips are trained lighting and rigging technicians. Their main

responsibility is to work closely with the electrical department
to put in the non-electrical components of lighting set-ups
required for a shot, such as flags, overheads, and bounces.


Electricians assist the lighting crew but are not part of the
lighting crew. They are responsible for the execution of the
electrical distribution around the set from the lights to the
directorʼs coffee maker.

I did both jobs on independent productions over ten years
covering most of the ʼ90s in and around New York City. I
worked mostly on music videos. Starting times began around
6AM, going for only 12 hours if you were lucky. I worked once

on a music video that continued for 32 hours straight. It was
cost-effective for the production companies to power through
shooting rather than taking a break and renting gear, locations, permitting extensions and so on, even if that meant
paying out double, triple time and so on. Sometimes you would
make over $1,000 on a single shoot. But you paid a price too.
I often came down with colds from lack of sleep and pushing
my body to keep moving for so long. The work was hard; you
had to be in good physical shape in order to do things like
carrying feeder cables (“humping” they called carrying something heavy) which are thick copper cables used around the
set. When a production wanted to save money and not rent a
generator they tied in to the buildingʼs main power box. I was
taught that this was a two-man job in case you touched a hot

leg and got fried. When 120 amps of electricity surge through
you, your muscles contract, so whatever youʼre touching you
grab onto as tight as you can. Depending on if your heart is
open (meaning about to pump blood) or closed could be the
difference of whether it explodes or not. Fingers and toes melt
off and fuse with your gloves or shoes. You die, or are
crippled. If you are the second person (the safety) you have to
keep in mind that you cannot directly touch the person being
pulled into the box; if you do, the electricity will surge through
both of you. So you tie a rope around the other guy, or have a
long wooden stick ready (not a metal pole) to pry him off, or
(my favorite) run and jump like a hockey check on the ice to
push him off. But on smaller budgets sometimes there isnʼt a
second guy and I found myself tying in to the electrical grid
without a lifeguard. The buildings were always old, sometimes
with water on the basement floor, always with little light, even
if I had my mag light ready.

You worked outside on the worst days, high above the ground
in cherry-picker and scissor lifts (those are the cranes you most
often see on outdoor locations that have lights and crew in
them, high above the ground). If you were stuck up there you
had a bucket to pee in and a line of rope if you needed to
bring up a gel for changing the color temperature. I was once
stuck in one when the hydraulics crapped out and couldnʼt get
down for hours. I am afraid of heights and was the one who
had to crawl above sound stages, 10 stories high, hand over
hand, across a grid on pipes spread two feet apart. Grips and
electrics on sets are like the roughnecks, tough men and a few
women who were ready to crack a joke or your head depending on what side your last statement landed on. Good people
who think the above the board crew, directors/producers and
talent are a bunch of weak-ass twats (but camera department
was tolerable). I was part of a group that were the fix-it guys.

We would get called when something bad happened, a crew
walking off the set or people being frightened away for some
reason. You were never told over the phone but could pick up
the clues once on set. At Bar 2A in the East Village I got a
page (pagers were used before cell phones in the ʼ90s). I
called them back and they sent a car service to pick me up
without any of my gear. They drove me two hours to a film set
upstate in a
field. Other
than our crew
no one was
there. It was
strange, the
lights were on
stands and
everything; the
camera was
ready to go but powered off. We broke it all down and
packed it up. It was a Wu Tang video for “Priest Killer.” I never
found out what had happened. Wu Tang Clan at the time were
doing a good portion of their music videos around New York
and they had a bad reputation for throwing tantrums and
causing problems on their own shoots. The way music videos
worked was that the record companies paid for them out of the
artistsʼ record sales, so, in effect, the bands end up paying for
the productions. The record executives should be a little more
clear about this, since sometimes the artists got the impression
that the record label made these videos out of the goodness of
their hearts. Nobody likes going to Staten Island, not even
those who live there. Wu Tang is from there, so a lot of their
locations were there as well. It was a Ghostface Killer video
that had me out there at 6AM, humping feeder cables and
on-loading the truck.

The day before they had been shooting in Sir Ghostface
Killerʼs car. The key grip went over and asked Ghostface to
open the trunk and when he didnʼt the key grip opened the car
door to hit the trunk release and freaked out Mr Killer, who
was smoking weed with his pal. Ghostface Killer punched the
key grip in the face. Part of me understands Ghostface Killerʼs
issues. You shouldnʼt just pull open anyoneʼs door like that, and
now Ghostface Killer was embarrassed in front of his friend
and had to make a stand. No one was right in this situation.
The gaffer (gaffers are the head of the grips and electrics) let
the key grip make the choice, so we packed up everything and
went home. We still got paid for a full day. You donʼt fuck with
the grips and electrics. You donʼt like it, fuck you! Pay us! And
they did.

I worked a shoot where a homeless guy tossed gas on me and

Simon Harsent

another grip because he wanted us out of the warehouse
where we were shooting a low-budget music
video. In the ʼ90s there
was a group of empty
warehouses on the
waterfront in Brooklyn
and all you needed
was a permit to shoot
there. Full of graffiti,
they had a New York
City vibe to them. On
a Das EFX video I even
painted my name onto
one of the pillars in the
scenes. When the
homeless man threw
gas on us I was holdJORGE CHICAIZA MOLINA
ing a tall ladder over

his head and was about to crash it on top of him. The gaffer
signaled to me to hold off and talked the man down from
doing anything else. Snoop Dogg came to New York with low
riders and gangster buddies to make “New York, New York.”
This was a DJ Pooh production and everything was paid for in
cash. I was working art department on this one. The song was
meant to disrespect the East Coast rap scene (which would be
like Elvis disrespecting Memphis, since hip-hop came from New
York and the Bronx). The trouble started when someone shot
through one of the production trucks. Snoop Dogg then threatened a make-up girl, claiming she had let the locals know what
the song was about and he immediately got on a plane and
flew back to Long Beach. Not so brave when it really comes
down to it. Then they stiffed the production company, so they
talked to their lawyers who talked to lawyers in L.A. The L.A.
lawyers said, “Sure you can sue them and you would win but
the way these guys work is they would just have some kid walk
up to you and shoot you in the head.” The only guys I know
who got paid were the sound studio. The sound studio was
owned by two mobsters. They made one call and within 24
hours were paid in full, in cash. I never got paid. So fuck you
Snoop Dogg.

Other notable moments: Jodeci had sex with their girlfriends in
their cars while waiting to shoot. For the Notorious B.I.G./Faith
Evans “One More Chance” video, I painted the walls gold in
the Harlem townhouse that was supposed to be in Brooklyn.
With the Old Dirty Bastard “Shimmy Shimmy” video, he shut
down production when there wasnʼt 40 ounces ready for him
and his friends during the shoot. I help build the stands the
go-go dancers were on for that one. I was a grip on a Shabba
Ranks music video filmed in the East Village. He took the time
to sign every kidsʼ book and they loved him. A true gentleman.


Outside of music
videos I worked for
production companies
like The Shooting
Gallery. They would
make everything from
independent films to the pet
projects of the rich. One pet project
was a piece of crap film for the woman
whom I believe owned The New York Health and
Racquet clubs around Manhattan, or at least she was
friends with the writer. A film crew always knows when they
are working on crap. The writing makes that very clear. But as
long as we are getting paid we donʼt give a shit. For that shoot
we got to film in the same apartment in the Dakota that they
had filmed Hannah and Her Sisters by Woody Allen, the same
building John Lennon was murdered out front of. But most
noteworthy on that shoot was Brooke Smith, known for her role
on (20 years later) Greyʼs Anatomy and but I only knew her as
the lady in the pit for the Silence of the Lambs. Talent has a
tough job. Anyone who thinks itʼs easy, try performing in front
of a room full of strangers who want you to do your job so
they can move on to the next scene. They just want to get paid
and go home. For that reason talent is kept on a high pedestal
and everyone down the line knows not to upset them. I have
seen some divas in my time but Brooke Smith was a top-notch
asshole, barking at everyone and generally the most unpleasant person I have seen on a set. The producers finally had had
it and fired her. The next day Jane Krakowski, best known from
30 Rock and Ally McBeal, took over. She was a delight.

I am not a complete asshole. I used to donate my time to
charities I liked, such as Godʼs Love We Deliver, who used to

bring food to those in the late stages of AIDS and were homebound. That was in the ʼ90s, when AIDS was a death sentence.
Another was Camp Birch, a camp for kids and families affected
by AIDS. Every kid there was HIV-positive. Smiling, laughing,
bright, and beautiful children would all pass away from the
virus. I had a wonderful day working and playing with the
kids, yet thinking back on that day still breaks my heart. It was
their last day of camp and for the PSA the camp brought in
two sports celebrities. A New York Knicks basketball player
who was paid to be
there. He refused to
hug or even touch
any of the kids, even
after they reassured
him you canʼt catch
AIDS from touching
someone. He did his
time and left as soon
as he could. Fuck that
guy. I hope he broke
his ankle and never
played again. The
second was Muhammad Ali, the boxing
legend who was
considering starting
his own camp for kids
ROOT 222
with AIDS. He
refused to take the
pay. He picked up every kid, hugged, and kissed them, joked
with them even though his own Parkinsonʼs made talking and
moving difficult for him. He stayed just about as long as the
crew did. He was my hero as a kid; he will always be so.


The reason I stopped working in the lighting department is that
I was working on an AMC show and the crew got walked into
the union. That means that the show got big enough that they
had to make the entire crew union. Once you are in the union
itʼs hard to leapfrog into directing. I couldnʼt keep doing grip
and electric the rest of my life. I wanted to make my own films.
So I quit and started doing my own stuff. Sometimes I miss the
old days, especially when I see the guys I used to work
with—now I am an outsider. Am I making films? Fuck yes! I just
light them myself.

Want to have a laugh? Look up my film credits lighting soft
porn on IMDB under Eton Minsker; my legitimate IMDB is
Ethan Minsker, you should look up this one as well.


PMZ: Can you give us a short statement about yourself and
your work?
MC: Ever since the age of nine I wanted to be a filmmaker. I've
worked my ass off over the years to achieve that goal. In 2013,
my big break came with the release of my first feature-length
documentary, A Band Called Death. People seem to like it. I
think it's an okay film.

PMZ: Did you ever have to do anything risky to make your
film? Breaking the rules or skirting the law?
MC: All of my filmmaking over the years has been done guerrilla style, so, always breaking the law and whatever rules may
apply. I've done a lot of risky things, but one that comes to
mind was for my last film A Band Called Death. I was planning
on going to the ghettos of Detroit to film the plight of the city

for some extra B-Roll. To prepare, I told my co-director to make
me a list of the most dangerous parts of Detroit. Needless to
say, some of these locations turned out to be a little bit more
dangerous than I gave them credit for...
PMZ: Do you have advice they didnʼt or wouldnʼt give out in
film school?
MC: I wish my film school had taught us that we needed to
learn more about business and law than filmmaking. It wasn't
like they even did a good job teaching filmmaking anyway.
Everything I learned about filmmaking I learned on my own
utilizing the colleges film equipment. I went out and made stuff
and didn't wait for homework assignments. That said, I never
realized how important it was to understand the business side
of things when making films for distribution. Yes, my co-director
and I did get screwed a little with our first film. In the end it
was our own fault for being too naïve with the business side of
things. Lawyer up! Know the business before you make your
film and you'll be less shocked when you get fucked up the ass
later down the line.
PMZ: What is the greatest lesson you have learned or personal
mantra related to filmmaking?

MC: Never give up. You will most certainly hit roadblocks. You
will most certainly be dealing with assholes and sharks. If you
give up, they win. Chase your passion, live your life to its
fullest, ʻcause that life is a short motherfucker!
PMZ: Do you have any hidden talents? We find that we are
surprised by the other things creatives are into outside of how
we know them.
MC: I apparently have the same genes as my father, who is a
classical portrait artist. I painted my first portrait at the age of
13. It's something I may go back to in my later years, but for
now the moving image interests me the most.
PMZ: Parting words?
MC: I do what I do because I love the act of creation. I love art
in all its form. But most of all, I love filmmaking. I have yet to
make a penny on any of my films and it has been very rough
for me over the past 15 years. Still, I haven't let that hold me
back. I always look to my father, Frank Covino, for inspiration.
He decided to go after his dreams at an early age to become
one of the worlds greatest living classical portrait artists. He's
84 years old today and looks like he's in his 50s. I credit a lot
of that to not succumbing to the system and doing what he
wanted to do with his life. Fuck becoming part of the system,
go after your dreams and live life to its fullest. That's all I gotta
say about that!
PMZ: If there is something you think I missed or feel like adding
a question and answer do it here.
MC: When do they announce the winning Lotto numbers?



Hello dear reader. You donʼt know me, and yet, you do. If

youʼve held a copy of Psycho Moto Zine then youʼve touched
my stuff. For years Iʼve been behind the curtains, working on
various Antagonist projects, selling merch, hanging art, helping
events run smoothly, and co-running and doing the layout work
for these fine zines. This is my first written contribution.

Since I was a kid Iʼve been obsessed with monsters, the horror
genre, FX makeup and the cinema. I have even made a hobby
out of creating various types of fake blood and gore, so having
the opportunity to go to a studio like Prosthetics Renaissance to
meet with a brilliant creative mind like Mike Marino was a
dream. I was way past feeling like a kid in a candy store as he
took me on a tour of the studio and its glorious creatures,
limbs, and works in progress that hung everywhere. Doing this
interview was a real treat.
Here I sit with makeup artist Mike Marino, at a polished tree log sliced
table, in the lobby of Prosthetic Renaissance. The walls are covered with
intricate framed concept art of projects and creatures that sadly never
made it to film. To my left is a display case containing faces, two
massive hyena monsters, some very dead-looking bodies and a

disemboweled cat nailed to a cross doing his best Christ impersonation
for all eternity. To my right is an autographed Exorcist poster and a
shockingly realistic Rottweiler torso puppet waiting to be worn for some
face eating.
EW: Please explain what your job entails for someone with no
understanding of this industry.
MM: Iʼm a drug dealer from Mexico.
EW: Iʼm actually going to use that.
MM: No, I am a prosthetics makeup effects designer and we
do effects for film where itʼs not digital. Itʼs practical effects like
they used to do back in the old days. Some of the old guys are
Rick Baker, Rob Bottin, Dick Smith, and Stan Winston. They
pioneered this
industry, and me and
most of the people in
the shop that work
here or come in and
out of here, or are
here full time are
derivatives of some
form or another of
those people. So
weʼre carrying on the
tradition they started
with even newer and
weirder, crazier
materials that they
wish they had back
then, but we have
now, and a lot of the
time itʼs utilized, and
a lot of the time itʼs not. And thatʼs not due to us thatʼs due to the
lack of knowledge of filmmaker or the time given on set to build

and or design any of this stuff. So weʼre in a very strange time
period for effects but we follow in the tradition of an old
EW: What are a few of the movies that you guys have worked
MM: A few films weʼve done are I am Legend, The Wrestler,
Black Swan, Blue Valentine, The Place Beyond the Pines,
Deliver Us From Evil, and Night at the Museum. We just
finished one with Michael Fassbender with some subtle aging
stuff called The Light Between Oceans. Weʼre doing one now
called American Pastoral which Ewan McGregor is directing
and thereʼs a lot of actors that age through the film and weʼre
aging them realistically through the film. So we donʼt only do
crazy corpses and weird things, we also do hyper realistic
EW: What inspired you to get into this business and how did
you get into it?
MM: So, when I was a kid, about 4 or 5 years old, I was
practically an infant when HBO first came out and they showed
like 20 movies over and over again, and one of these movies
was The Elephant Man. It was this black and white movie that
David Lynch did but it was a really amazing film that was
completely based on a real story. If youʼre unfamiliar it has
some really cool makeup that Christopher Tucker did—a cool
English artist—and itʼs a really fucking disturbing movie that a
5-year-old should not be watching and it fucked my head up
and I was obsessed with avoiding that movie for years and it
sat in my subconscious for a while, and later on when I saw
Michael Jacksonʼs “Thriller” and they showed Rick Baker doing
the makeup for “Thriller” I was re-intrigued with faces and all
the aspects that went into making him a werewolf, and I was
fascinated with and obsessed with this.

I later went on to re-discover that The Elephant
Man was one of the
biggest influences of my
life as far as being
scared, disturbed, and
pathos. “Thriller,” not
just being a monster
movie, was a combination of something
psychological and
physical that I couldnʼt
really understand and I
was inquisitive about
what the fuck that shit
was and I taught myself how to do this stuff and it was my first
inspiration. I just learned who people were in the industry and
who the masters were, like Dick Smith and Rick Baker, and
taught myself to a point, then reached out to Dick Smith
through a letter. He wrote me back and we started corresponding. As a kid I spoke to him as much as I could whenever I had
a problem and that, thatʼs about it.
EW: You actually just eliminated one of my questions. I was
about to ask you where you went to school but that was much
more interesting.
MM: I can elaborate a little bit if you have room?
EW: Sure.
MM: My first experience with the real world, a confidence
booster really, was when I was 19 or 20 and I showed my
work to a few people that work at Saturday Night Live. I
worked for Saturday Night Live right out of high school. I was
a makeup artist there and learned a lot of stuff from working
with people there like working in an environment with actors
and the speed of things. Real life experience. That was my first

job in the early 90s. I was pretty young at that point.
EW: Any behind the scenes stories or dirt youʼd like to share?
And yes, whatever story you tell me will be printed so proceed
MM: I definitely know a lot of dirt, but will I mention it…maybe
not. But…letʼs see. After Earth, it was a valiant attempt but it
was a…miserable failure…thatʼs it. For After Earth we built all
these cool creatures and things that they couldnʼt figure out
what design they wanted and kept misleading us and then we
just said fuck you weʼre going to do what we want, what we
think looks cool and if you donʼt like it donʼt film it. It was a
shitty non-cooperative attitude, but it was from a production
standpoint a shitty production value. They couldnʼt make
decisions and werenʼt encouraging their team of people, they
were berating people and insulting people on set in all departments and I was basically one of the people that said fuck you
to everybody. I like M. Night Shyamalan, but the producers
are cocksuckers and you can print that. And they should all
Other than that there are definitely a bunch of crazy experiences, a lot of fun experiences and a lot of crazy things that
were filmed on the fly. A lot of times things are planned,
sometimes theyʼre not. We try to adapt this whole industry of
practical special effects, even filmmaking itself, itʼs adapting to
a set plan and then when it changes you have to figure shit
out. Itʼs like when youʼre a Boy Scout.
EW: Be prepared!
MM: You know, I have my pocket knife and shit and then grab
some fucking sticks and make a fire or I have to get out of this
trap or something. Itʼs like that. How do I avoid getting hit by
shrapnel and grenades and hiding in the explosion of a war
that is film?

EW: How has the rise and over-use of CGI in films over the
years affected your business?
MM: Well, weʼre still working you know. I think itʼs cool that it
exists but if it were up to a producer, a modern producer, we
would be eliminated completely because theyʼre so lazy and
they donʼt know how to plan effects or they just choose designs
that they can do in post at the last possible second. We still
exist due to directorʼs choice. Smart directors that want to
show something real and light something real. I donʼt have any
animosity towards computer effects. I think itʼs really an amazing thing. One of the best uses of it in terms of combining
practical and digital effects is the original Jurassic Park. Some
of the skins and lighting could have been a little better looking
back, but it is still a perfect use of practical effects and computer effects that still holds up. Also, Interview
with a Vampire that Stan Winston did
has some amazing practical effects
mixed with CG. I mean the practical
effects are better, but itʼs a good
combo of both. I think when people
overuse the CG aspects of things
where theyʼre just like, “We donʼt
have the time and weʼre just
going to do it in post and figure
it out,” it just looks like youʼre
watching, no matter how
realistic, an elaborate cartoon
and thereʼs no sense of validity
or depth or anything to it. Itʼs
like anything can happen now so
everything will happen now. It
doesnʼt have the limitations like
filming something in reality. Like how
Heidi Klum
can we put 7,000 alien spaceships in
Jessica Rabbit costume
Halloween 2015


the air and show that when in 1976 the fucking battle scenes in
Star Wars looked cooler because you can only fit a certain
amount of ships in frame, so that looks cooler to me than
having every single ship exploding and on fire. Just because
you can, doesnʼt mean you have to. Thatʼs the only thing that
bothers me about CG. And the problem is not the CG guys,
because those are super talented artists. Itʼs really all a director and producer choice, and itʼs really an inept decision now
that practical effects arenʼt used as much now because the new
generation of people making films almost donʼt know what to
do with practical effects. Itʼs all a magic trick and people are
spoiled with how things are made and they think everything is
CG, and they can just do it CG and then it just looks that way
sometimes. Thatʼs a really elaborate answer.
EW: I completely agree. Itʼs perfect if used properly but a lot
of people, like you said, get lazy and it feels like youʼre watching a video game. Youʼre just not emotionally involved. Youʼre
watching something that canʼt happen in reality being created
in a way that doesnʼt convince you it could.
MM: Right. Again, Iʼm not knocking the CG. I feel that thereʼs
some that is so fucking good, and some practical effects do
suck ass and some people do fucking garbage still and itʼs not
fair to say that practical effects are better. Itʼs just that having a
good designer making good choices with design, lighting and
going in with a plan is whatʼs really important. And time is
really important, if you can get it.
EW: One of the most painful changes for me was seeing The
Lord of the Rings series where you watch people in full creature make-up fighting actors in a way that is just so engaging.
MM: Right, in the original?
EW: Yeah, and then in The Hobbit series that was just completely eliminated. You were just watching CG animations fighting
real flesh and blood actors over and over.
MM: Right. In the end the point of making a movie is the fine

line of, “Are we making artistic choices or are we making
money?” From a producerʼs standpoint itʼs, “How much money
can we possibly make and hope itʼs a good movie?” and in the
artist practionerʼs realm itʼs, “How good can we possibly make
these things?” Itʼs a constant war of, “Well is it good enough
and is it cheap enough?” Thatʼs what it is now. Itʼs how good
can it possibly be with our budget? So itʼs a fine line thatʼs
ridden of artistic exploration and sensibilities and how do we
squeeze a square into a fucking circle. Heh you know, thereʼs
a little bitterness there.
EW: What are some of your current inspirations for the work
you do?
MM: Iʼm influenced by everyone. Martin Scorsese, Stanley
Kubrick filmmaking wise. I always liked the old stuff like Rick
Bakerʼs work and Dick Smith is a great inspiration. I always
look to other artists, especially older artists, sculptors, and
painters. Michelangelo is a huge influence, Lorenzo Bernini is
amazing. Thereʼs amazing painters like Giovanni Bellini, H.R.
Giger and thereʼs also a lot of new artists out there. Thereʼs

tons of amazing artists posting stuff on Instagram if you look
around. A lot of comic book artists, concept artists and illustrators are also incredible. I mean, nature is really the most
inspiring. Thereʼs a documentary called Moving Art which is a
bunch of slow motion footage of flowers and things moving
and forests and shit. There is so much inspiration in nature that
you donʼt really need anything more than that. There is unbelievable, explosive inspiration right there alone that really goes
unnoticed. Thatʼs a lot of what inspires us here, inspires me.
When you look at all the details and grains in a piece of wood
thatʼs the stuff we try to mimic while creating something false.
A wood table design could be a paint job for an alien. There is
unlimited inspiration right out there in real life.
EW: What are some of your other interests and creative outlets
outside of work?
MM: Well I love sculpting. I envision myself doing some fine art
thing at some point, some gallery thing or sculpture work. Also
Iʼm venturing out into filmmaking and I am really trying to
write, direct, and produce our own projects. Me and another
guy here, weʼre trying to make that a reality because we think
we can. Until our projects suck and people hate it then weʼll
stop doing it, but if people like it and we like it and are happy
with it and think that there is a chance to make them then weʼll
do movies ourselves.
EW: Iʼm so happy to see more brilliant effects artists getting
more into creating their own films because we are going to see
some crazy stuff.
MM: And I think thatʼs a really cool thing because if you go
back into film history the people making films were artists. They
were just using a camera and stuff. Renoir, the painterʼs son
was a filmmaker. Itʼs another outlet for an artist and with
whatʼs happening now and what the films are like now, being
very corporate and focused on creating franchises or a TV

series, itʼs like art critics running the art department. Itʼs time to
get a real group of fucking artists together making films and
making real decisions. I still think Martin Scorseseʼs films are
super valid and I think what he is doing is extremely original.
Iʼve worked with him a few times and I really like how he
directs. Itʼs like how when you do a sculpture, painting or
whatever it takes over your whole life in that way. He is a
filmmaker in that same way. Things like that are an inspiration
to me, a real old school artist still making valid films. Itʼs not an
old guy making old shit
that he already did
already. Itʼs an older
generation working with
a newer generation of
artists, a circle of artists
inspiring each other.
EW: What advice would
you have for someone
who wants to get in to
this career?
MM: Just try to do the
best you can, donʼt
half-ass it and donʼt copy
people. I feel that one of
the reasons I own a
studio and torture everyone that works here is because I
always tried to do original stuff. There is a lot of hard work
involved in any big project. It isnʼt easy. The process is super
long, but stick with it and learn something until you know it
backwards. Itʼs never going to get boring, every makeup is a
new challenge, every sculpture youʼre making is a new challenge, just never be satisfied. Try your best to do the best you
can and donʼt half-ass it. I guess thatʼs my only advice. Your

energy will make you
who you are. If your
work is shitty then
maybe youʼre not
paying attention
enough, if your work is
good then maybe you
are. Only you can tell
how good you can be.
EW: And finally, what is
your favorite movie
monster and why?
MM: That is a trick
question. I donʼt know,
there are so many
different genres of
different cool monsters.
I obviously love Creature from the Black Lagoon itʼs awesome, but I really love The
Thing. The creature is this fucking crazy artistic explosion of
weird shit, like fleshy Francis Bacon-y artwork thatʼs put on film
in a really amazing way. Rob Bottin sculpted and made a
bunch of cool shit with his crew and knew exactly how it was
going to be shot because it was elaborately storyboarded
which is not usually how itʼs done now. Itʼs this incredible,
ever-changing, amorphous monster thatʼs cooler each time. Itʼs
like a parrot trying to learn English or any other language.
They donʼt really know what theyʼre trying to say but theyʼre
just making noises that sound like English; itʼs a kind of mimicry.
The Thing is like that. Itʼs like a parrot trying to understand
flesh. You canʼt get much cooler than that and it should not be
re-made, even though it was. Itʼs a great concept.




Go Set a Watchmen
by Harper Lee
Paperback: 288 pages
July 14, 2015
Not all books should be movies, just this one. If
writers were fighters then Harper Lee would be
a heavyweight champion of the world. She has a subtle turn of
the characters that reveal themselves much the way you get to
know a close friend, lover, or family member. This is not just a
book, itʼs a time capsule of the South, racial inequality and a
deep examination of the mind of the southern whites having to
come to terms with the Civil Rights Movement and the end of
segregation. Add in there the realization that your parents are
not perfect—not even close.
Itʼs hard at times to hear the way black people and their
culture were treated in the past, heavily discussed in this novel.
However, itʼs a timely theme considering the Black Lives Matter
movement today. Imagine you could slip into the skin of one of
those cops who had killed an unarmed kid—fear of the other.
This needs to be examined and not shied away from. Pull the
scab. The book speaks truths in a way only Miss Lee could. You
canʼt help compare this to To Kill a Mockingbird. That is fair.
We have been waiting a long time, but if you could separate
the two, this is an amazing book written in a time of typewriter
keys striking the page, paper drafts, and handwritten edits.


No ease of the laptop and digital editing. The art of writing
was a physical act—you relived it as you wrote. Lee captures all
of the moments about the era with grace and tremendous

What is Punk
by Eric Morse, illustrated by Anny Yi
hardcover: 32 pages
October 6, 2015
This review is for ages 18 and up. We all know where “punk”
came from. Coined by Legs McNeil and John Holstrom from
Punk Magazine, it was a term kicked around the prison system
for a sex slave. So letʼs be clear: not the UK. What Is Punk? is
a primer for punks with kids. Its best function is to keep you, as
the parent, from getting bored out of your skull with all the
pink ponies you get to read about over and over. It was made
for me. And unlike other “punk for kids” books, like Punk From
A to Z, it leaves out the nasty words like “bollocks.” When
reading to your kid, sometimes you are just too tired to act as a
censor. You can read What Is Punk? on autopilot. There will be
plenty of time for your kids to learn about the bad stuff out
there like “piss off!” and “fucking hell!” This book references
The Misfits, The Germs, and even fanzines. The artwork—3D
clay characters and sets—brings me back to the claymation
shows like Santa Claus Is Coming To Town, and all that Christmas stuff they had on in the 70s. There is something pure and
innocent about the art, yet a little dirty at the same time—or
maybe I can just imagine the smells at these shows, a mix of
sweat, piss, stale cigarettes and spilled beer. How great it
would be if they turned What is Punk? into a show on Nick Jr.
so I could watch something other than pink ponies that talk? I
hate ponies, I love this book.

October 2015 we were in Sydney, Australia doing the latest Antagonist Movement/Citizens For the Arts show: the Dwelling Project (see
photos and videos on our fan pages on Facebook). During a few days
off from the project I stopped at three local record stores: Eye Ball
Records, Repressed Records, and Resist Records. I would either have
the clerk or Miss Hollie Black point out local bands I should listen to.
From those, I tested them out on the turntables at the stores. The list
below is the ones I picked, with the exception of Mandingo. That was
given to me. Again, the rule here is all records have to be on vinyl.
Vinyl records are an art form in themselves, so in our reviews I will
include details on how the albums were presented.

Electric Glitter Boogie
by Power
New York Dolls, MC5, Stooges—a dirty,
downtown Bowery rock ʻnʼ roll feel. This
makes me want to slither into a pair of old leather pants and
put on some pointed snakeskin boots and start a lengthy
addiction to hard drugs. I love this record. The album cover
itself has a texture of alligator skin and folds out with an inside
photo of the band across from the song list with lyrics. This
pressing is black, not sure if there are other colors. Overall it
has a ʼ70s hard-rock feel but not in a way that is an imitation—it
is genuine love for the era and its music.


Free Agent
by Angie
Alternative rock, woman singer, with a
sound that reminds me of Vice Squad,
Siouxsie and the Banshees or Madhouse (from DC). Raw,
hard-hitting rhythms and simple lyrics and melodies with vocals
that are sometimes off-tune. This is a fun pick to add to your
collection. I could picture this playing in the background of an
East Village coffee shop. I could be completely wrong as I am
most times when I make sweeping assumptions about someone
Iʼve never met, but Angie seems like a familiar figure without
pretension, down to earth, a soul you could have a decent
conversation with at the bar.

The Electric Guitars
by The Electric Guitars
Looking at the record cover at first I wasnʼt
thrilled with the design and layout. It had an
all-over-the-place Photoshop feel to it with references to ʼ60s
B-movies and psychedelic artwork. But placing the needle in
the cut I quickly realized that is a perfect reflection of the music
within. Wah-wah pedals and feedback mixed with heavy
guitars and a soothing voice that leads you through the
mayhem of echoing chords. Sometimes the singer sounds as if
he was just woken from a deep sleep and then sang into a fan.
In Sydney at dusk I watched the flying foxes swarm from the
Sydney Botanical Gardens and fan out from the city. Something like watching giant bats squeaking overhead and vanishing in the deep blue sky as night was about to fall. I think The
Electric Guitars would have been the perfect soundtrack to
something I found thrilling, odd, and beautiful at the same

The Primeval Rhythm of Life
by Mandingo
“This is something that everyoneʼs parents
(in Australia) had and put on when they
shagged,” said the person who handed it to me. Lots of heavy
drums mixed with what you would think of a porno soundtrack
from a time when porn had music. Lots of cowbells, slide
guitar, and no vocals. Not sure I like it but not sure I donʼt like
it. Itʼs hard to separate the image of sweaty parents riding
each other. I think I can smell the sex in the room when I play
it. I will have to play it more. Maybe I need to have sex to this
to give you a proper review? Now do you see the problem? If
you hear this you might think of me having sex. Sorry.

Jelly's Placenta
by Christina Conrad
28 min
Free on Vimeo
The thing about art films is that by design they step out of the
box by breaking all the rules for dialogue, acting, set design,
editing, camera angles—everything is just a little bit or dramatically different. If you are lucky you might find something that
can affect your own work. Let the film flow over you, through
This film is filled with Christinaʼs artwork and costume design.
The writing is hers as well, and poetic in nature. I had the
chance to meet Christina and her partner Billy Marshall


Stoneking when I was in Sydney. We had a lovely dinner at
her place, which is also the film set for Jelly's Placenta. The
conversations pinballed from hilarious to intensely personal
stories of life and art. There could have been a movie made
just about that dinner. Here is what Conrad wrote about the
film. She also has a new film titled Heretic. Keep an eye out for
“Leith—an obsessive transvestite
in her mid-30s—has been
involved in a ten-year relationship with her lover, Jelly, and
Jelly's dead mother, whose spirit
inhabits the fig tree in the
garden under which Jelly's
placenta is buried. Consumed by
jealousy for the mother, and by
a primordial urge to possess
Jelly—a slippery and seemingly
passive drama lecturer—Leith's
world is cracked wide open by
the arrival of Jelly's student—the exotic Chinese beauty, Hart
Sommerstein. When Jelly arrives home, Leith accuses him of
having an affair. In a shattering confrontation, they spill the
horror of their relationship, and in her frenzy to destroy the
mother's dominance, Leith slays the tree with an axe, which
unexpectedly frees Jelly.”

Citizens For the Arts (CFA) is a Non-Profit, 501c3
recognized organization. Its main function is to promote
unknown and overlooked artists. We aim to build communities
via workshops and other programming on a global and local
level. Our workshops typically target disadvantaged youth.

This past October we teamed up with local artists and art
organizations in Sydney, Australia. Co-coordinator and curator
Hollie Black acted alongside CFA as the overseer and liaison
between all artists, galleries, venues, and partners to ensure a
smooth and successful project. As part of the project Hollie
also assisted on event photography, filming, and workshops.
We worked with members of the POOL COLLECTIVE and the
non-profit organization I-Manifest in a series of workshops that
demonstrated varying forms of photography, printmaking, and
fanzine production. Materials were donated by members of
CFA, I-Manifest, and private donors. At the end of each workshop leftover supplies were given to students to continue what
they had learned. Each workshop was supplied with materials
that could be accessible in the neighborhood, so students could
replicate them with found or low-cost materials.
The students from Sydney ranged in age from 14 to 17 and
traveled up to two hours from several schools to meet us. It was
an honor and a privilege to work with each and every one of
For members of CFA, these workshops are the most important
element of our overseas art shows. For the kids involved, they

seemed to appreciate that artists traveled from around the
world to work with them. That said, we are always looking for
help. We are a working board, and do not get compensated
for these projects. Typically, board members and our artist
members use their own monies to fund these projects. It feels
more rewarding than anything else we have done to date, but
we do need help for future endeavors. With each project, we
aim to expand, influence, and help others develop their identity in a creative format. Your donation, big or small, is a vote to
continue this work. Itʼs a tax deduction and as easy as Paypal

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It all began for Jorge at school, when he was
kicked out of class for drawing on the desks,
so he decided to study something that would
let him draw freely. After graduating from
high school he enrolled in the art program at
Universidad Central del Ecuador where he studied graphic design.
After that he studied in continued education at La Metro amongst
other places, while roaming around design studios, companies and
ad agencies in Quito. Jorge currently works as a designer and
illustrator, collaborating on such projects as his own comic Lesparragusanada, which he both art directs and produces.


Self Medicated: A Film About Art - Whether you
are a successful artist, an unproven entity, or struggling to create
while working a 9-5, there is a common thread amongst most
creative types: a depression that is kept at bay by producing new
works. Art can serve an artist much in the same way any drug
might. Self Medicated is a new film about art, artists, and
their struggles to stay happy. Available on Amazon and iTunes.
The Dolls Of Lisbon - A movie about struggling artists
making work on the other side of the world. A DIY eyeball-busting bonanza. Available on Amazon, iTunes and on DVD. Also
available at St. Marks Book Shop 136 E 3rd St, New York, NY
10009. Money goes to making new overseas art projects.

This is Berlin, Not New York - See what trouble the
Antagonists can get into when you make art in abandoned
buildings in Berlin. Available on DVD and Amazon instant

Anything Boys Can Do - Female musicians are all too
often regarded as novelty acts, regularly shrugged off as
militant feminist or cutely entertaining. Overwhelmed by the
numbers of male bands, female bands of the scene are lumped
together in one category, "girl group", regardless of their vastly
different styles. Available on DVD and Amazon instant download.
The Soft Hustle - The story of a Lower East Side lowlife
who makes a bet for $1,000, which he promptly loses. After
getting kicked out of the apartment by his girlfriend, he finds
himself having sex with cheap barflies, robbing East Village
stores, and pathetically pretending he is gay just to have a place
to sleep. Available on Amazon instant download.


Rich Boy Cries For Momma - A first-hand account
of Washington, D.C.ʼs punk rock scene in the ʻ80s and ʻ90s as
told by a dyslexic punk. Available anywhere e-books and
paperbacks are sold. Also available at St. Marks Book Shop
136 E 3rd St, New York, NY 10009 and Generation Records at
210 Thompson St. between w. 3rd and Bleecker St. Money
goes to publishing new books.
Barstool Prophets - A book about the dirty secrets
every bartender in the Lower East Side knows. Before you
date a bartender, read this book. Available anywhere e-books
and paperbacks are sold. Also available at St. Marks Book
Shop 136 E 3rd St, New York, NY 10009. Money goes to
publishing new books.

Where can you get an
Antagonist shirt, button
or a buncha other stuff?
Head on over to and
visit our store


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