Boppin’ At The Glue Factory (2005)


I co-wrote and produced this feature, about a junkie nurse at an old folks home, starting in 2000 when I teamed up with Jeff Orgill to help finish the script which he’d started with Hector Maldonado several years previous.

The film was the result of just saying “Fuck it, let’s go!” after years of hemming and hawing about name actors this, million dollar budget that, etc.

We shot at an abandoned mental hospital in Norwalk that had been the location for many Hollywood films. The film came within an inch of shut-down nearly every single day we were shooting, and, despite Orgill’s good-natured approach to filmmaking, was often rife with petty bullshit and drama, from jockeying jackoff grips on the crew whose egos outsized their abilities, to knuckledragger know-nothing art department people being promoted to producer for god-knows-why.

Of course, that’s not to say that the film didn’t have its share of awesome people aboard. From Geoff Chang, veteran AC who came aboard for a few days gratis in order to train up a number of our greenhorns, to the stellar soundguy Tom Curley, to whip-smart, intuitive production assistants like Ryan Jordan, and grips like the ever-handy Kevin “Penn” Williams.  It was folks like these who made the shoot fun, despite the pinheads.

As an optimist and the kind of guy who wants to hear many opinions before he finalizes a cut, Orgill spent, in my opinion, way too much time listening to folks who had suggestions on his or Editor Chris Miglio’s rough cuts.  One of Jeff’s biggest assets is his “big-tent” mentality, which is to say, he likes to get notes from whomever he can, because he’s of the opinion that “Hey, good ideas can come from anywhere.”  Unfortunately, in doing so with Boppin’, he often wasted a shitload of time taking notes from complete, insufferable dullards.

But despite a few initial delays in post, Orgill set aside the notes and the committees and made the film he wanted to make, and now it’s finally found its way to several great film festivals and other outlets.

The final result?  In my opinion?  A really solid, fun little indie feature which I’m hella proud of co-writing and producing.

More information and even the film itself can be found at the film’s website.

Director Jeff Orgill
Screenplay by Jeff Orgill and B. O’Malley
Producer B. O’Malley
http://boppinatthegluefactory.com/

Minimum Wage (2000)


I wrote this feature film in 1 week in 1997, decided to start making it on a shoestring budget in 1998 while still working for Roger Corman, gathered up a bunch of cool peeps I worked with to help me, including original DP Illya Friedman, Script Supervisor Sharon Kelly, 1st AD Jim Simone, Transpo/Sound Danny McNamara, and Soundman Jon Wolff, and then the script ended up on producer Steve Darancette’s father-in-law’s desk in NY, who decided he wanted to executive produce.

From there, we grafted a mercenary New York crew onto our cadre of ne’er-do-wells and started shooting in Jan 1999, in and around Los Angeles, in locations such as Roger Corman’s studios and offices (without his permission, which we ended up having to pay for, and for which numerous members of our crew that still worked for Corman were fired).

And the result? Total train wreck. As you can see from the director’s cut (above), which I cut from the VHS dailies in 2006, almost 6 years after the producers submitted the unfinished film to festivals all over the country.

I didn’t write a good film, and I didn’t direct a good film, but it has a few good moments, and I consider it my “graduate thesis” from Roger Corman’s “film school.”  The funny moments mostly from Patrick McCartney, playing the asshole agent, and the real moments mostly from Amber Phillips, who plays the goth girl.  Unfortunately, I wrote and directed the character of Noll into a complete retard, and there wasn’t much actor Peter Sean Maloney could do with the part, despite his talent.

Hollywood Agent Greg Philner (Patrick McCartney) broke a deal with devilish bum Zeke Bleak (Michael Anderson from Twin Peaks) and now he’s forced to take a series of menial jobs, slumming it with his high school sweetheart, the morose Milly Bright (Amber Phillips) and the hapless wage slave she has a unrequited crush on, the oblivious Noll Adler (Peter Sean Maloney) in this apoplectic black comedy.

81 Minutes | Writer/Director B. O’Malley | Producer Steven Darancette


“highly comical…great dialogue, interesting characters, and winning performances”
–Film Threat

Best Actress — Amber Phillips, No Dance Film Festival
Best Cinematography — Jonathan Furmanski, No Dance Film Festival

Bleak Future (1997)


Slangman, a travelling salesman of words and relics from the 21st century (like toiletpaper and Twinkies), teams up with a tongueless Scottish warrior and a semi-retarded blonde bimbo to cross the post-nuclear wastelands, battling savage mutants and the pathetic remnants of humanity in search of a legendary place called “The Source,” an oracle of ancient wisdom rumored to hold the power to enlighten the world… or destroy what’s left of it.

This low-brow, no-budget, off-beat, uber-cheesy, Super 8 B-movie science fiction satire in spirit of Mad Max, Monty Python, and A Polish Vampire in Burbank is sure to gross you out and leave you groaning.