By Gary M. Lumpp, John Oak Dalton, Heidi Martinuzzi, Pete Bauer

The microcinema scene is in constant flux; it would take just as many gigabytes to store all of the message board postings about its impending doom as it would to store all the posts about its coming revival. Take its temperature at any one time, and you’ll find flameouts, one-hit-wonders, also-rans, and never-will-bes. But then there are those who can make the microcinema pulse quicken. For this roundtable, our reviewers each pick three people who, at this moment, could deliver that needed shot in the arm. And the best thing about any list? It helps you think of your own.

John: I think J.R. Bookwalter is a modern microcinema pioneer who continues to reinvent himself and his company. He started as Sam Raimi’s disciple and has since spawned a legion of devoted followers, and spun off some pretty talented people from his stable. Among those I definitely like Danny Draven, who has the creative energy to be his own mogul in the next ten years after learning at Bookwalter’s knee. So far I think he has a solid body of work.

Gary: If there’s another director I’ve been waiting to see turn out another flick, it’s Hall of Mirrors’ Brad Osborne. I’d love to see what he’d be able to do with the kind of resources Tempe has to offer. Another would be Brian Clement of the Meat Market series. His latest Exhumed shows that he knows how to do the zombie flick, and I’d love to see him tackle another genre.

Heidi: Ryan Cavalline of Fourth Floor Pictures made a film called Dead Body Man, which, despite its odd title, was incredibly witty and innovative for the style it was emulating. The low budget didn’t seem to hold him back. He knows what his limits are when it comes to the budget, and he works with it, not against it. I think we’ll see good things from him as time goes on. Also, I’ve got to mention Andy Kumpon and Wayne Spitzer. Their short films Last Stop Station and Garden of Shadows are really artistic and creative. They really know how to direct and tell a story without the use of excessive dialogue or gaudy gore. Very artistic, those two. Mark Engle of CultCuts made a film called In the Loaming which was terribly good. I think that after watching all those bad movies, he’s learned what NOT to do.

Pete: My first thought was also Brad Osborne because Hall of Mirrors was the first microcinema effort at that time to spend a lot of time crafting an excellent story before gathering resources and shooting a project. I, too, am anxious to see his next film. After seeing Red Cockroaches, I’d have to say that Miguel Coyula exemplifies all that microcinema can be. Red Cockroaches is risky and inventive and fun and weird and visually stunning and, most of all, effective. All of the freedoms that microcinema has to offer Coyula utilized with that film.

John: From the starlet camp I’d have to take Tanya Dempsey, who I think has remarkable charisma and the potential to be a breakthrough talent. I know we only get three, but she is in a dead heat with Debbie Rochon, who has the uncanny ability to elevate any project she’s involved with.

Heidi: Debbie Rochon has so much innate talent it’s sick. I love how she steals every film she’s in, and I’m thrilled that she’s started taking on more “real” roles where she can actually show her abilities, and where they can be appreciated. She is a great low budget actress; it’s just a fluke that she ended up being so talented. I feel the same way about Angela Bettis of May. She’s too good for microcinema, and now she’s been snatched away by the higher-budgeted films.

Pete: Not as one of my top three, but Seduction Cinema grad Tina Krause in Mindscapes flicks has been very good. She’s got a natural beauty and a nice screen presence. I don’t know if she’s got the acting chops to take on more demanding roles, but I’d sure like to see her try.

Gary: I’d love to see some of the "scream queens" from Toe Tags actually get to do more than run around and get stabbed, and the same goes for the ladies of Dark Legend. But since there’s no way of knowing yet if they’ll have the acting chops, I’m going to have to be a homer and go with Emily Albright, who starred in my first feature When Heaven Comes Down Easily one of the best actors I’ve worked with, and I’d love to see what she can do with a real director and budget.

John: I’d like to turn this around and kick it old school; how ‘bout Kevin J. Lindenmuth? His feature Addicted to Murder is often pointed to as one of the cornerstone microcinema projects of the 90s (and one of the first SOV features accepted at the Holy Grail, Blockbuster), and he is still doing it and finding ways to get it out there.

Gary: If we’re going old school, I’d love to see what Tim Ritter would do with the latest in the digital revolution. His Truth or Dare kick-started the micro scene (I still remember the Fangoria ads), and he was doing that without the help of nonlinear editing and digital video. Considering his place in micro history, I’d be interested in seeing what he can do with all the new toys available now.

Heidi: Old School? Hmmmmm….How about Greg Araki? I was really into his films back in the day. Doom Generation sucked in such a compellingly great way, and he handled the gay/AIDS issue in film in a very tongue-in-cheek way. His films are filled with that “ironic bullshit” that worked so well in film back in the early 90’s, but that is painfully redundant now.

John: Araki reminds me of a Jim Jarmusch or Hal Hartley-type guy, or early John Sayles. I’d love to see more microcinema stuff that leaned toward Brother from Another Planet or Stranger Than Paradise, but the market sure doesn’t seem to be going that way.

Pete: Roger Corman is the definitive Old School microcinema master to me. J But, for my last pick I’d have to say Mike Amato, from Jodom Pictures. I’m a stickler for story more than anything else and Amato has quickly turned into an impressive screenwriter. I’ll be honest and say that I haven’t seen his visual talent as a director equal his natural talent as a writer, but if you want a good story, Amato seems to be the guy. I’m anxious to see if he nails it with A House Divided I hope so. And, an honorable mention of sorts goes to Marc and Michael Linn for being such staunch supporters of microcinema, even though their talents and projects seem to have moved beyond microcinema as a whole.

John: Pete, those are both good choices because you start to look at a “body of work,” as they say at the Oscars. We pimp Brad Osborne so much on this site he should start sending us ten percent commission, and Coyula’s not far behind. But those two, along with directors like Leif Jonker and Scooter McRae, need to keep building on what they began. I think they have the potential to really bust out if they keep going.

Pete: Yeah, we do bandy about Osborne and Coyula’s names quite a bit, but it’s so rare in microcinema to see a complete, or relatively complete, project. Coyula’s Red Cockroaches is supposed to be the first of a trilogy, so we’ll know soon enough if he’s ready to break out or not. And Osborne’s been quiet for a long time, so we’ll see if his next project Interstate makes him a one-shot wonder or not. Gary: I know this might seem like I’m pandering, but there’s a guy out there who’s made some terrific shorts and I’d really like to see his first feature: Jason Santo. Sure he’s the head honcho around here, but his Bent series proves that he knows his way around a set and could use the challenge of a full-length movie. I’d also love to see more women behind the camera, and I wonder if director of photography Jessica Gallant has thought about directing something of her own.

Pete: I thought of Jason right off the bat, but was reluctant to state it for the same reasons. He’s shown varying levels of brilliance at this level and I’d like to see him put it all together in one project.

Heidi: I’d like to see more women behind the camera too, Gary! This makes me want to mention Amy Lynn Best. She directed Severe Injuries, a microcinema horror comedy earlier this year. She’s got a great new perspective on things, and especially on comedy that is sorely needed in microcinema.

John: Hey, isn’t that more than twelve? The most interesting part of this discussion will be looking back at it next year and see where all these folks are!

THE B-12:

• Emily Albright
• Mike Amato
• Greg Araki
• J.R. Bookwalter
• Ryan Cavalline
• Miguel Coyula
• Tanya Dempsey
• Tina Krause
• Kevin J. Lindenmuth
• Brad Osborne
• Tim Ritter
• Debbie Rochon

NOT ONLY GOOD, BUT GOOD FOR YOU:

• Amy Lynn Best
• Angela Bettis
• Brian Clement
• Danny Draven
• Mark Engle
• Jessica Gallant
• Leif Jonker
• Andy Kumpon
• Marc and Michael Linn
• Scooter McRae
• Jason Santo
• Wayne Spitzer