OVERNIGHT 2003
RATED: NOT RATED / RUNNING TIME: 115 minutes
USA / Documentary
Director: Mark Brian Smith
Starring: Willem Dafoe , Billy Connolly , Jeffrey Baxter , Troy Duffy
OVERNIGHT centers around Troy Duffy, a vulgar and egocentric barman who, a few years ago, managed to sell Miramax head Harvey Weinstein the right to his script as well as a contract for his band and co-ownership of his pub. Duffy was surrounded by a posse of friends that included OVERNIGHT co-directors Mark Brian Smith and Tony Montana, one the manager of the band while the other one was supposed to document their "historic" simultaneous film and music rise to fame. Burdened by Duffy's extraordinary ego and lack of temper, the odyssey quickly turned to a debacle and the tandem Smith/Montana, repudiated in the process, stuck around, enduring Duffy's humiliation just for the sake of their film, which they knew at the time, would turn out as a great anti-fable on how to make it in Hollywood. Overnight is unique in its genre as it's at the same time a documentary that morphs into a real-life comedy, drama, a how-not-to-guide for debutant filmmakers and ultimately Smith and Montana's sweet revenge against the odious Troy Duffy.
trailer: http://www.themoviebox.net/movies/2004/NOPQR/Overnight/trailer.php
Success vanishes before night falls
Source: Los Angeles Times
Filmmakers Mark Brian Smith and Tony Montana met in Los Angeles in 1996, introduced by a mutual friend and drinking buddy: Troy Duffy. Soon the two were making a documentary of Duffy's seemingly unstoppable rise as he simultaneously landed a lucrative spec script sale and a major label record deal.
Before long, though, Montana and Smith got the feeling they might be in for a bumpy ride as they followed Duffy's bold declarations that he was on his way to becoming a legend and reaping a wheelbarrow full of awards for his feature debut.
From more than 350 hours of footage captured over the next four years, they created "Overnight," the harrowingly hilarious and cautionary tale of how to start at the top — and make a quick dash for the bottom. The movie suggests that Duffy's hard-driving egotism quickly alienated everyone around him: His film fell short of the initial high hopes, and the band career stalled as well.
Seeming at times like a cross between the self-immolating and self-loathing of "Curb Your Enthusiasm" and the blissfully unaware naivete of "This Is Spinal Tap," the thing to keep in mind while watching Duffy crash on the rocks of his own hubris, mismanagement and bad judgment is that "Overnight" actually happened. The documentary opened Friday in Los Angeles.
"You can't script a better character than Troy Duffy, in our opinion, for an antihero," Smith says.
"You can't write Troy Duffy. We would watch this material and say to each other, 'Look at the stuff we have, this is the making of both a great drama and a great comedy.' "
Perhaps simply proof that friends and business don't mix, the once-close relationship between the filmmakers and Duffy fell apart due to disputes over money. Though the truth of the matter is likely more complicated, Montana and Smith maintain that their motive in seeing "Overnight" to completion was not to get back at Duffy.
"Some people have suggested this is a revenge piece," Montana says, "but if it was it would have been a lot worse, far more scathing."
Defending himself against a charge of succeeding off the failure of another, Montana rationalizes bluntly: "Let's say his film had been a success, would people be interested in the rise to glory? Or do they prefer the fall? I don't know."
That is awesome, I hope this gets a wider release, to at least one of the art theaters around here.
I'm looking forward to this one. Wish it was released to more theatres, though.
Kurt Loder rules...
'Overnight': The Joy Of Watching A Jerk Crash And Burn, By Kurt Loder
The world-class flame-out 'Overnight' depicts actually happened, to an actual jerk.
Considering how many weaselly, self-important jerks one meets on an annual basis, it's surprising how rarely you get to see one of them crash and burn. The great gratification of the new movie "Overnight" is that it preserves such a spectacle in the form of a documentary — which is to say that the world-class flame-out it depicts actually happened, to an actual jerk. His name is Troy Duffy, a would-be genius who moved from Boston to Los Angeles to pursue his twin dreams of selling a script he'd written for a movie he wanted to direct, called "The Boondock Saints," and, at the same time, scoring a record deal for his band, the Brood, with which he played guitar. The movie begins in the spring of 1997. The 28-year-old Duffy is working as a bartender at a West Hollywood tavern called J. Sloan's, but his script has been making the rounds, and Harvey Weinstein, the powerful co-founder of Miramax Pictures, has offered him a dream deal for a first-timer: $300,000 for the script; a $15-million budget to make the movie (on which he'll also have final cut); and a soundtrack side-deal for the Brood with Maverick Records.
In an amazing instance of spontaneous inflation, Duffy's head immediately swells up to the size of a small planet, and he turns overnight into a raging egomaniac. "Everybody knows this is the best f---in' project in Hollywood," he rants to his cronies, in between chain-smoking cigarettes, knocking back drinks and bad-mouthing anyone who comes to mind (Keanu Reeves: "a talentless fool"). And it doesn't help that Weinstein — the man who discovered Quentin Tarantino! — has publicly called Duffy "a unique, exciting new voice in American movies," or that he's been written up in USA Today and The Hollywood Reporter, and featured on the cover of MovieMaker magazine. With his own personal film crew in tow to document his rise into the heavens of cinematic legend, Duffy (who has unwisely signed away any control he might have had over the resulting footage) is launched on an ego trip from which he may never return. All of this before he's shot a single foot of film.
Then Harvey Weinstein stops taking his calls, and by the fall of 1997, Miramax has put "The Boondock Saints" into turnaround, meaning the project is up for grabs by any other studio that might want it. None does. And with production continually being pushed back, Maverick Records eventually bails out of the soundtrack deal. (Duffy learns this when he tries to drop by the Maverick offices and is told he's not allowed in the building.) By now, the trade media are starting to look at the bartender-cum-director in a different light (headline: "Back Behind the Bar"). But then an independent production company picks up "The Boondock Saints," and Duffy finds his movie back in play, although on a much-reduced budget. He finally manages to assemble a cast that includes Willem Dafoe, Scottish comic Billy Connolly and porn star Ron Jeremy. Shooting begins in Duffy's hometown of Boston.
In addition to this cinematic resuscitation, the Brood have been offered a recording deal by Lava Records. This prompts the other members of the band, who have essentially been starving ever since they moved out to L.A. at Duffy's behest, to ask him to front them modest loans against the Lava advance money — not cash outright, just loans. Duffy swats them away. "I don't believe you deserve a thing," he tells them. (One of the bandmembers is his own brother.) Problems crop up quickly. Lava chief Jason Flom doesn't like what he's hearing from the Brood's initial sessions. But what does he know? In a meeting with the band, Duffy says that although Lava has put up a quarter-million dollars to make the album, "Look how Jewish they're being about it." In addition, it's been discovered that there's another band called the Brood — an all-girl group from Portland, Maine, that's been putting out records since 1992 — and they have no interest in selling the rights to their name. This doesn't sit well with Duffy (according to "Overnight" co-director Tony Montana, he castigated the rival Brood as "a bunch of talentless f---in' dykes"). But in the end, his Brood is compelled to release its album under another moniker — the Boondock Saints, what else? It sells a total of 690 copies. Lava quickly drops the band, and the band quickly breaks up.
One of the sweetest sequences in the annals of payback is the one in which Duffy and his retinue travel to France in the spring of 1999 to screen the finished "Boondock Saints" for distributors at the Cannes Film Festival. Ensconced in semi-swank digs on his talent agency's tab, Duffy swings wildly between his usual unfounded braggadocio ("I know I'm one of the best there is, and I'm gonna be the best") and — when distribution deals fail to materialize — clueless incomprehension. ("Where's the offer? What's going on?") The movie finally does get released — barely — in January of 2000. It plays for one week in five theaters, dies, and goes straight to video.
Wouldn't it be annoying if "The Boondock Saints" turned out to be a good movie, unjustly ignored? I recently picked it up on DVD (10 bucks), and can report that it's a film that almost certainly wouldn't exist if Quentin Tarantino hadn't made "Reservoir Dogs" and "Pulp Fiction" a decade ago. "Boondock" is a vigilante tale pitting two young Irish-American men against all manner of urban scum. In hapless thrall to Tarantino, director Duffy cooks up offbeat forms of torment (a fat mobster gets his butt set on fire) and makes sure that somebody says "f---" about every 20 seconds. Willem Dafoe, who appears not to have been given much in the way of direction, plays a gay FBI agent who listens to opera on his Discman while swanning around bloody crime scenes. There's none of Tarantino's jacked-up pop-cultural fizz to any of this, and none of his snappy way with dialogue. The movie opens with a beautiful color sequence shot in a Catholic church, but quickly begins to drift — you can feel the energy leaking out of it as it stumbles along. But if you stay with it ... well, I don't know what would happen if you stayed with it. I couldn't.
Man Loder would love this thread: http://www.xixax.com/viewtopic.php?t=1271&highlight=boondock
That's the best write-up I've read in a while. I cannot wait to see Overnight. Thanks Mutiny, I'm in love with Loder now.
Edit: Eeee! I love him more, he loved The Village
How do you know he likes the Village?
Quote from: meatballHow do you know he likes the Village?
He Just Knows, ok? Jeez, why do you need to pry sooo much into other people affairs...hehehehe :lol:
Quote from: SiliasRubyQuote from: meatballHow do you know he likes the Village?
He Just Knows, ok? Jeez, why do you need to pry sooo much into other people affairs...hehehehe :lol:
it's in my nature :evil:
He told me in bed. Actually, I woke up the next morning with this written on my ass in lipstick: http://www.mtv.com/movies/news/articles/1489816/07292004/story.jhtml?headlines=true
(Everything after /articles was on my right ass cheek)
i actually misread and thought that you were saying Duffy liked The Village. thanks though, gamblor's ass.
I think i read somewhere that Duffy is making a sequel to The Boondock Saints right now. Can anybody confirm this?
Maybe that means a sequel to Overnight....
Quote from: joebuckI think i read somewhere that Duffy is making a sequel to The Boondock Saints right now. Can anybody confirm this?
http://www.imdb.com/title/tt0330083/
I saw this today with Meatball and we thought it was great. Worth the ten bucks...It was soo sad (Spoiler begin Troy is soo gosh darn egotistical about everything and he gets angry sooo easily, it really was sad that he didn't get any of the Home Video sales and rental sales forThe Boondock Saints, but he kind of deserved it by being such a loud mouth jackass the whole timeSpoiler End) it brought a tear to my eye and yet really funny. Go see this flick if you can. [/b]
(https://xixax.com/images/avatars/157818376541a1509071623.jpg)
deliverance?
Quote from: SiliasRubyI saw this today with Meatball
Another Xixax couple is born! Congratulations! :love:
Quote from: SiliasRubyTroy is soo gosh darn egotistical
I really hate when people are soo gosh darn egotistical, don't you?
Quote from: wantautopia?Quote from: SiliasRubyI saw this today with Meatball
Another Xixax couple is born! Congratulations! :love:
does anyone want to go to a movie with me ??
but please be gentle with me....if you buy the ticket and a snickers bar i will give pretty decent oral sex to you :kiss:
Quote from: NEON MERCURYQuote from: wantautopia?Quote from: SiliasRubyI saw this today with Meatball
Another Xixax couple is born! Congratulations! :love:
does anyone want to go to a movie with me ??
but please be gentle with me....if you buy the ticket and a snickers bar i will give pretty decent oral sex to you :kiss:
Geez, what a deal.... :lol:
The movie was great, but what I remember most is how rude the ticket taker was... When SiliasRuby paid for his ticket, the guy said in the most annoying sarcastic tone, "Oooooookaaay..."
Quote from: meatballThe movie was great, but what I remember most is how rude the ticket taker was... When SiliasRuby paid for his ticket, the guy said in the most annoying sarcastic tone, "Oooooookaaay..."
Your right, he was a total jackass.
Saw it tonight, and have to say the directors have some sort of animal fetish. What the hell were with the cutaways to horses and dogs for god's sakes? Really well done, though. Great use of droney music to kick up the tension. Weinstein comes away looking very good here. Perfect companion piece to "Down and Dirty Pictures."
according to Netflix, this film will be released on dvd May 10th. i cant wait.
http://www.davisdvd.com/news/news.html
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The megalomaniacal rise and fall of filmmaker Troy Duffy is chronicled by one-time friends and colleagues in the lurid and revealing documentary Overnight. In 1996, the bartender was signed by Miramax president Harvey Weinstein to direct his killers-on-a-mission-from-God script "The Boondock Saints." He was given a $15 million budget, a recording contract and even a promise to buy the bar where he tended. Cameras followed Duffy's pre-production battles and out-of-control ego as he alienated everyone around him, resulting in Miramax pulling out of the production. This is a cautionary tale about how one director ultimately ruined a promising career that could have been from an overnight success.
The DVD, from ThinkFilm, arrives on June 28th with a 1.85 widescreen transfer and Dolby Digital Stereo audio track. Extras will include additional scenes, an alternate ending and cast bios. Retail is $29.99.
Quote from: Ravi(https://xixax.com/proxy.php?request=http%3A%2F%2Fwww.davisdvd.com%2Fimages%2Fcovers%2Fovernight.jpg&hash=0130ad06dbe55d2bf4a6f857abe8b51c1f479c11)
03, or anyone else who knows pictures, has this awesome image ever been done before? bolex suicide. brilliant.
Quote from: Pubrick03, or anyone else who knows pictures, has this awesome image ever been done before? bolex suicide. brilliant.
I think Filmmaker Magazine had the Bolex suicide with a guy screaming as their subscription advertisement. Or it was a cover of a book.
this is now available from Netflix from anyone who wanted to see it. i watched it tonight. he is unbelievable, and yet.... i still almost have to feel bad for the guy and everyone around him. its just a train wreck, and even though he probably deserves it for acting that way, damn. its rough cause somehow, even mostly ONLY showing him as an A-hole he still comes off as human. go figure. anyways, it reminded me a little bit of Dig! in the delusions/cluelessness/egomania of the people involved. the doc itself wasnt that great, but it does serve as a cautionary tale.
he came off as human to you? he came off as somone who desperately needs a beating and then to be institutionalized. seriously, how did that guy never get fucked up by someone during that whole process? he's a major douche who doesn't know how to treat people and he deserves nothing. the doc could've used more clarity when addressing EXACTLY why miramax put boondock saints in turnaround. was it JUST because duffy was an ass or they just changed their minds about it? is that a common occurrence?
Quote from: PubrickQuote from: Ravi(https://xixax.com/proxy.php?request=http%3A%2F%2Fwww.davisdvd.com%2Fimages%2Fcovers%2Fovernight.jpg&hash=0130ad06dbe55d2bf4a6f857abe8b51c1f479c11)
03, or anyone else who knows pictures, has this awesome image ever been done before? bolex suicide. brilliant.
(https://xixax.com/proxy.php?request=http%3A%2F%2Feur.yimg.com%2F%2Fxp%2Fallocine%2F20041112%2F16%2F455426531.jpg&hash=4d738ee71cd2f8fca42cd660442d49f1b573020d)
let's all do it!
For me, this is the feel-good-movie of the year! Wow! My jaw hung open through most of the film. Totally unreal. The joy I felt watching things go down the shitter-- just unbelievable. And it got worse and worse... I mean, Troy yelling at the students at BU, that's one of the most depressing things ever-- maybe more so, was the douche professor who nodded and seemed to agree with the insanity.
This should be required viewing at every film school.
FEATURE - An OVERNIGHT Cessation
The movie was a flop; the documentary about it was a flop. But filmmakers Tony Montana and Mark Brian Smith are hoping for better success this week on DVD.
By Annlee Ellingson, FilmStew.com
Back in the late 1990's, Marley Shelton was a rising actress coming off of Pleasantville, screenwriter Troy Duffy was the darling of Hollywood's latest mega-bucks spec deal, and pals Mark Brian Smith and Tony Montana were getting ready to chronicle the filmmaker's production of The Boondock Saints, which Miramax had promised to pay him upwards of $1 million for and had thrown in the West Hollywood bar Sloan's for good measure.
Eight years later, Shelton and Duffy are somewhat inexplicably partnered together on the 2005 sequel Boondock II: All Saints Day, while buddies Smith and Montana are still trying to pick up the pieces of their ill-fated non-fiction journey. Despite a huge build-up of Sundance buzz and media attention last year prior to the release of their documentary about Duffy, Overnight was a resounding theatrical flop and now comes to DVD this week with the hope that a few more people will finally catch up with Duffy's rags-to-glitches story.
Certainly, the DVD's Deleted Scenes will allow viewers to become that much better acquainted with Duffy's seemingly made-for-Hollywood MO. "If a manager of an actor wasn't working with him, if that person happened to be gay, well then he was a pedophile," Montana recalls during a recent interview with FilmStew. "If the studio head, who happens to be gay, wasn't cooperating with Troy the way he thought he should cooperate, meaning access to, well then he would suggest he was having a bad AIDS day because he had AIDS."
"Troy calling [Miramax executive] Meryl Poster a c*nt [in the film] was kind compared to the other things he said about her."
What distinguishes Overnight from the smear campaign Duffy has accused it of being is that it's clear that, while Smith and Montana do infuse a dramatic sense of foreboding early in the film and employ pointed juxtapositions in the latter acts, this damning portrait is solely Duffy's doing. And all these years later, emotions are still raw, as Smith and Montana are not only willing to share even more horror stories about their former friend that didn't make it into the film but come prepared with files of evidence that Duffy hasn't changed from the experience that has left him effectively blacklisted.
"Humor," says Montana, who with his head shaved is the more intense of the filmmaking team, when asked about Duffy's allure. "He just had a lot of charisma that he sort of wore on his sleeve."
"Another thing that attracted both Tony and I to Troy was his bed of knowledge on many different subjects," adds Smith, who with his casual matinee looks seems more laid back. "We shared the same musical tastes, we shared the same tastes in film, but also here's a kid who read a book a week growing up. His father was an English professor, and he would surprise us for being such a brass individual and being a chain smoker, alcohol-swigging, and he wore the same outfit everyday."
"He was ambitious, like a lot of people who come out here, like Mark and myself," Montana says. "We were attracted to the people who were like us."
Once Duffy began to attract attention for his script and his music (he and his band were also hired by Miramax to do the soundtrack for The Boondock Saints), however, that ambition manifested as a raging ego. There were red flags from the very beginning.
In November 1996, Montana says, "We were starting to document him pursuing both these mediums [film and music]. I said, 'Which one do you want to do, and how far do you want to go in both? Which one do you really want to do?' He goes, 'I want to both equally,' he goes, 'and I want to be a legend.' People don't generally talk that way about themselves when they haven't really done anything yet."
"Two weeks later, we're in Boston, and then he's like," interjects Smith, who graduated with degree in film production at NYU, "'Mark, do you think you can do this documentary on your own? You don't need Tony Montana. We need to get him out of here.'"
It wouldn't be the first time that Duffy would turn on his friends. In the movie he even turns on his brother Taylor in an emotional scene that serves as the climax of the film. The funny thing is, Smith and Montana say, that wasn't even the worst of it. Still, what does make the DVD cut explains why, on several occasions, Duffy tried to wrest control of Smith and Montana's documentary.
"Troy would do these sick things where we would have meetings where we were literally locked in the room for hours," Montana says. "On one of the occasions when we were locked in the room, he sent [his] drummer, who was rooming with [Mark]."
"He sent him with the keys to Mark's apartment to get the documentary footage and take it back," Montana continues. "This was within the first six months of the project, because we spoke our minds about something. He took all of that footage and put it in a filing cabinet in his f*cking office at Paramount where we were all sharing space."
"We had to go through leaps and bounds to get that material back," Smith says.
After that, Smith and Montana moved their footage to Hollywood Vaults, which in addition to being temperature- and humidity-controlled, was secure. "We wanted to make sure that there was no way that anybody could get to our material," Montana says.
Little changed once Smith and Montana began post-production on the film. "The four years following it, trying to get this thing to be a salable film, the legal struggles that we went through and the editing struggles that we went through and the financial struggles that we went through, were in some ways worse than having to tolerate his behavior for five years," Montana says.
"We had to go underground to cut this movie," Smith adds. "We had to lie to people on the street we ran into. Only our closest friends and family knew we were editing the movie in those couple of years we were editing, because we knew that he would do anything in his power to take control of this film and stop us."
"[But] not only did Troy sign the release," Montana says, "but we filmed him signing it." - so there was little Duffy could do once the film was finished.
And even though it soon became clear that Smith and Montana were not filming an overnight success story after all, they chose to persevere with what they felt was entertaining material. "We embraced the darkness," recalls Smith. "You have to embrace the film and change your way of thinking a little bit, that this is not an overnight success story, this is not going to be the next Quentin Tarantino, but there is something special about this story."
Without that belief in the material, Smith says, "We would have walked away about a year into it. I can say that for myself."
For Montana and Smith, what is ultimately most revealing about Overnight is that Duffy appears to have learned nothing from the experience. "Troy didn't have the personality tools to be successful as a businessperson," Montana says. "He wrote an A script, but he delivered really a B or B- movie by a lot of people's standards. The studios didn't like it, and they didn't buy it."
"Troy still hasn't learned anything from the process at least that he's doing behaviorally different," he continues. "Still chain-smoking, still going out and drinking every night, still being misogynistic, still pontificating. Even right here, a recent interview that he did: 'I'm never tired of fans recognizing me in public. You know they are true fans because if someone like Brad Pitt is in a bar, everyone knows who he is. But to know who I am would make you a true fan.'"
Just finished watching Overnight. I echo the positive comments written here. My main complaint about the film is that it didn't make clear what about the script made Harvey Weinstein go ga-ga over it in the first place. And am I correct in assuming that Duffy yelling at the William Morris guys was sort of the beginning of the end?
The DVD should have included more deleted scenes or interviews with the two filmmakers. What was included wasn't very good.
:shock:
Oh My God! What an asshole. I can't believe the band members put up with him for so long. Right off the bat his ego got inflated.
The doc shows in great detail all the bad moments, like his brother finally confronting him about how he's changed, but then it cuts to them shooting the CD cover. I would have liked more explaination about what happened inbetween moments like that. Him blowing up at the agents, casting, etc. then cutting to start of production on the film is another example.
As soon as I heard of the concept of this movie, it was on my must-see list. Having worked at a video store and hearing how great "boondock saints" was and still resisting pressure to see it, I figured this would be a good window into why people liked Boondock Saints.The thing is-everyone that tells me they love Boondock Saints that I know, usually have horrible taste in film from my viewpoint.
All I can say after watching Overnight is, all this good fortune couldn't have happend to a worser person. Troy Duffy is the epitome of everything I despise in a human being. Arrogance, ignorance, an overblown sense of self value, shitfaced mother fucking piece of shit (you can tell this film made me hate him). Of course, this is not the depiction of Duffy through the eyes of admirers (if there are any besides himself). However, I think that Smith and Montana depicted Duffy as well as they could given the material. Now this I witnessed this guys antics I vow never to view Boondock Saints. If the option was death by firing squad or watching Boondock Saints, bring on the firing squad.
Naturally, I'm using a bit of hyperbole. Self-aggrandizment is Duffy's trade. Don't tell Duffy otherwise, though, he might rip his overall's off and rip your head off.
Quote from: Free Form WeirdoThe thing is-everyone that tells me they love Boondock Saints that I know, usually have horrible taste in film from my viewpoint.
welcome to xixax, the following threads may be of interest to u..
movies assholes dig (http://xixax.com/viewtopic.php?t=6852&start=0)
Why does anyone like the Boondock Saints? (http://xixax.com/viewtopic.php?t=1271&start=0)
Quote from: PubrickQuote from: Free Form WeirdoThe thing is-everyone that tells me they love Boondock Saints that I know, usually have horrible taste in film from my viewpoint.
welcome to xixax, the following threads may be of interest to u..
movies assholes dig (http://xixax.com/viewtopic.php?t=6852&start=0)
Why does anyone like the Boondock Saints? (http://xixax.com/viewtopic.php?t=1271&start=0)
Edit: Fixed :yabbse-wink:
your boondock saints observation is not new if you have read xixax before. it's actually a cinematic rule.
Quote from: MacGuffin on October 13, 2005, 10:06:26 PM
The doc shows in great detail all the bad moments, like his brother finally confronting him about how he's changed, but then it cuts to them shooting the CD cover. I would have liked more explaination about what happened inbetween moments like that. Him blowing up at the agents, casting, etc. then cutting to start of production on the film is another example.
Cutting from something with the text "10 minutes earlier" on it to a black screen that reads "five months later" was great. Maybe we're supposed to assume that in those five months there was just more insanity? That's what I got out of it anyway...
This really is a fantastic documentary. I just don't understand how Duffy could say all the shit that he did or how all those people could worship him like they did. "Troy walks into a room and he brings everyone down to his level.. or up to his level, however you perceive it" And as the film goes on the really funny moments dissolve into these incredibly intense confrontations and disgusting displays of attitude. But aside from the "i can't believe this is real he's such a jerk" comments that most (understandably) focus on, I have to say that the way the film was edited impressed me. It could've been longer; a bit more complete, but I don't think I could've handled anymore. It packs so much material into 80 minutes, and its full of off-putting cuts like what i mentioned above. I was thoroughly engaged.