Editor’s note: The following was cross-posted from GlennBeck.com
We enter the second episode featuring our semi-finalists with a look at two vastly different filmmakers and subjects for their films. Joshua Ligairi, making the film “Plan 241,” is based in Utah, and will focus on a militia leader in Alaska who was arrested by the FBI for what he said, not what he did. Dan Quigley, who is directing the renamed-film “As Much Truth As One Can Bear,” is based in New York City, and will focus on the journey of a transgender heavy metal rocker.
Their task as semi-finalists is to complete a two-minute sizzle reel, giving the judges and the audience a taste of what would be to come. Will they make the cut to become finalists?
Ligairi had a tough task to find relevant subjects for his movie, especially in such a short amount of time. He had three prospective people to interview – but all were imprisoned around the country. WIth that challenge on the table, the major issue he encountered was separate but no less daunting – he ran out of gas while on the road.
Ligairi worked that out, and began shooting some recreation scenes in a decommissioned prison… The look and feel was important – Ligairi hoped it wouldn’t look like a “lame PBS thing.” Following the shot there, he spent some time with his wife and two young kids before heading out for Alaska.
Over in Brooklyn, Dan Quigley was working on his sizzle reel at a bar/performance space, with Mina Cuputo, his film subject. Mina was formerly Keith Cuputo, lead singer of the band “Life of Agony” – that once was so big it toured with Metallica.
Dealing first with sound issues, then with hopeful bar patrons and finally with dogs, it was tough to get through interview #1 of the day. But with one done, and another with noted rock producer and talent scout Michael Alago, it was time for a quick Mina performance. “I would have to die for this film not to get made,” said Quigley.
Will these two filmmakers make it to the finals? Find out after next week, featuring Chris Bell and his film on prescription drugs, and Kelvin Owens and his film on the economy.