- April 30 , 2006 - Manzana Rotisserie Grill - Portland, OR
- I first met Cullen Hoback, the young film auteur, at the Cinequest 16 Film Festival in San Jose, CA in early March 2006. We chatted for a bit about his works and what we thought about other films and such. He is funny, driven, and opinionated in a savvy, confident sort of way. Cullen is a creator who enjoys thinking, and wants others to think as well. There is a bit of psychoanalysis to his approach to both filmmaking and when talking with people. We made sure that we would keep in contact again.
We met again in the Pearl District in downtown Portland, OR later the next month to chat a bit about his past and present, his approach to his projects, and to discuss his latest film Freedom State. What we ended up talking about was the above and a lot more. There was some definite analytical diatribe along with subjective reasoning for who and how people are, and how that fits in with acting and creating. To some, Cullen might come off as someone who just goes with a thought on a rant, while others might get the depth in which he dwells, eager to pull up thoughts and ideals to challenge others to view life just a bit differently. In any respect, it was an interesting late Sunday afternoon chat over pasta and salad.
As a bit of background, Cullen was hails from Southern California, but moved to Portland, Oregon to get a different feel, and thats where he felt his creative juices flowing the best.
We had ordered food while outside at the sidewalk tables on a rather warm day, and had already begun talking when it occurred to me that this was the proper place to begin the interview chat process.
K2K: As we were just talking about actors and what you are looking for, describe it in your own words. What are the actors that you fear the most?
CH: I think when people go into acting for a few different reasons... Im most afraid of the actors who go into it to try to escape themselves. I generally think that if you dont know how to play yourself, you wouldnt know how to play someone else either. You have to understand yourself first. Im more interested in working with actors who are playing extensions of themselves, or drawing on their own life experiences, who arent afraid to play themselves. I think that theres a misunderstanding or something in terms of the ease of playing ones self. I dont think that its easy to play ones self necessarily. There are certain actors who learn how to play themselves first. Im more interested in that.
K2K: From my point of view, thats where Hollywood has gone wrong these days in that most actors are hired to play themselves, in a way. Christopher Walken is always Christopher Walken, Jim Carrey is always Jim Carrey. No matter what roles you put them in, the personalities always come through in that certain way.
CH: Thats the difference between an actor and a star. A star is someone who you go to the movies to see them play variations on a theme, variations of themselves. Whereas an actor, in a traditional sense - your Johnny Depp, your Edward Norton - these are people who are out there trying to learn what it is to be someone else, and to play that other person. Thats not to say that they couldnt play themselves, maybe even started there... but what Im interested in... particularly in a place like Portland, where you dont have the perfect person to play the perfect part... you have to take into account what your talent pool is and work with that. I think that finding people who have those life experiences that relate to a character within the script itself, is advantageous to a place like this. Then I think that when you get to a bigger acting pool, its important that that person still be able to play themself, but can go beyond that and get into the minds and hearts of other people as well. So has Hollywood gone wrong then? No. I think that there will always be a place for the star. Theres also a place for the actor.
The thing is, Im not looking for beautiful people who play themselves. As an example, I am looking for people who have that something about them that is captivating to watch, and is themself, but can grow from that to play other characters, other versions of that... But I guess if you were to compare that to the Hollywood star prototype, I am looking for local stars. But not beautiful people. People who really know what they are.
When I say beauty... beauty is a complicated word. I dont think that was the right word to use in the first place. When I say beautiful, Im thinking more in the context of what people perceive as being a beautiful star. Where do you find beauty? Do you find it infinite and in death, or in a flower? Theres two different types. There is that which is finite and that which is infinite. I think thats why a lot of people go into acting in the first place. They want to have that infinite beauty. You have your classic stars, and when you capture them on film, theyre beautiful throughout time... so long as you keep the prints alive.
K2K: So, how long have you been taking psychology? (laughs) You have a psychological view of the film industry.
CH: Maybe. I dont know. I have too much time to think about those things, and not enough money coming in to make projects. (laughs)
K2K: Next question... quick, while your mouth is full...
CH: (As Cullen chews his salad.) Thats the best way to answer anything.
K2K: How long have you been involved in filmmaking?
CH: In filmmaking? For a long time I thought I wanted to be an actor, like when I was in junior high and high school. By the end of my high school, I had my own local access show. It was called the Somewhat Late Show. I was the host and we did sketch comedy. It was kind of a cross between Conan [OBrien] and Tom Green, at that time. I think that was the mixture, except not as good. But we had at least 5,000 viewers at that time, which is great for public access. It was just highschoolers doing a bizarre show. I guess Ive been doing [filmmaking] for about eight years, in making and working on film.
K2K: How old are you now?
CH: I dont answer that question.
K2K: Youre not an actor, so youre safe.
CH: Oh fine. Im 24. Thats it. I would say that freshman year in college was the first time that Id ever produced anything that would have substantial quality or won festivals or anything like that.
K2K: So you werent going to tell me that youre 24?
CH: It didnt take much to get that out of me. I dont answer that question, then it turns and I quickly answer the question. This is what we were talking about [earlier], youre persuasive. With age, people have this very specific idea of where you should be in life. Like, Oh, youre too young. You shouldnt be making that kind of work. Or, Youre too old and youre past your prime. It doesnt matter what the age is, people can throw that kind of rhetoric at it either way. Thats why Im reticent to say it. Put it in your head whatever age you want to think that I am. I just want to forget how old I am. I think that theres this whole march towards becoming more mature, more adult-like. I think that theres that sense of age where, Im 34 now. I should act 34. If you look at what that means... by virtue of not saying it, then youre not that. Then you can be a kid or as mature as you need to be in any given situation.
K2K: Whats your background - schooling or whatnot?
CH: Background? I grew up in the town that surrounds where [director] Tim Burton was inspired to make Edward Scissorhands. When he made Edward Scissorhands, he was ridiculing the nature of repetition and the multicolored pastel-like boxes that lined the streets. The castle on the hill was Cal Arts, and the surrounding neighborhood was were I grew up. Valencia, California.
K2K: Really? Valencia?
CH: I grew up in Valencia. I couldnt wait to get out. We dont really have a choice in the places we grow up in, but it does influence what you end up rebelling against later in life. So I certainly dont regret it. Anytime Im in [Los Angeles], Im very motivated to make art, just because Im reminded of the reasons I got into it in the first place.
K2K: Are you thinking about moving back to LA?
CH: Theres a small part of me thats thinking of that. I dont mean to compare myself, but I think its similar to that James Joyce complex where you have to be in that place where the art came from in the first place, even if you dont like it there. I usually think its best to go where its not [happening], or at least not the main thing thats happening. The same reason that I went to Whitman College. When I went there initially, a great English program and great Liberal Arts program. Small school, but film just wasnt being done there. A great theater program. I thought, This is a great place to make movies. because I would find a support group, because not everyone was doing it. Its like that marketing thing... Would you rather sell shoes in a place where people dont know what shoes are, as clearly theyll need them, or would you rather have 40 competitors but everyone knows what shoes are.
Thats why I went to Whitman, and thats why I cam to Portland. Now Portland is just this blossoming place for independent film. I was looking at all of these independent theaters, venues, infrastructure... People can afford to live here and not go broke working on projects for little or no money. The same thing if you want to shoot on location in Portland... If you go to a bagel shop in LA and ask, Hey can we shoot here?, they say, Wait... how much are you going to pay us? Universal was here last week and they put a hole in our wall. You go to a bagel shop here and its, Oh sure. Well shut it down. How many days do you need it for? Here, have a bagel. If we put a hole in their wall, then... well, you want to help them out, but hopefully you dont put a hole in their wall. You be careful. Thats the major difference - Where do you find the support for making [a film]? Yeah, its a lot harder to find money here, but you can make those connections and rally people behind the art rather than the industry. I think Portland is a great place to say, Yeah, theres the entertainment industry, but theres also film as art.
I think thats like saying are you making ad copy or are you making a paper. Then this in combination with the rise of cheap digital technology that allows you to make something that emulates a multi-million dollar budget for under one million, or a million dollar budget for under a hundred thousand. Theres just more possibilities. One of the problems Ive run into in Portland is, if you need a black actor, youve got three to choose from. Or you go to Seattle or something like that. Thats probably not true, but every time Ive done a casting call where theres been a part thats not white, its hard to find someone to fill that role. Its just not a big city. Theres a difference when you have a city of one million that incorporates all the suburbs.
K2K: In our earlier conversations, I notice that you pick out nuances and stereotypes the same as I do in people and things. Do you also get called judgmental like I do?
CH: Judgmental? Um... you know, (pause) I think its important to not be afraid of coming out and saying things to push peoples limits. I think that its important to not be afraid of not being liked. What I mean is, someone who is always striving to be the pleaser, striving to always be liked, then all you are is a reflection of what you think other people want you to be. So where are you in that equation? Judgmental? I think I was called that more a few years ago. I dont think I get that very much anymore. I think Ive gotten better at retaining some of those thoughts. It depends on who youre speaking with, and youre relationship to the person your discussing. Even when youre citing that individual, thats the surface level of that archetype. Then there are a million different individual characteristics that go down, and a whole history thats led to that point. Theres a lot more there to a person.
K2K: Sherlock Holmes was actually based on Sir Arthur Conan Doyles best friend, a Dr. Joe Bell. This was a real person who could meet someone for two minutes, maybe speak with them or shake their hand, and size them up immediately - family history, past and current activities, even what they had for previous meals.
CH: You know what it is... I wouldnt say judgmental. I would probably go more with perceptive, observant, something like that. I find that people who Im more judgmental of are those who are closer to that point of normal, on a spectrum. I find that I have a tendency to be more judgmental of that just because I dont feel that they have explored themselves at all. Someone who is far more extreme, like... I was talking to this polygamist - a gay polygamist, a 60 year old woman - shes the mother of a kid who is involved with live-action role playing. I asked, Why wouldnt you ever do live-action role playing? She said, Honey, when I poke something, I want to make sure that it bleeds. Im kinky enough now. We were talking about the nature of community and a few other things, and I have a feeling that someone like that... a lot of people would be very... thats where judgmental really comes into my mind. I was far less judgmental of it, and more just curious. Its great, in my mind, who has found a community where, if they all want to poke each other and have their S&M things, then good for them. Its not for me, but its interesting to see something like that. Im not judgmental of something like that.
K2K: I got told Im judgmental as Oh, you were judging that person by what you said or saw about them, like its a bad thing.
CH: Thats subjectivity. Thats like, can you really ever subtract yourself from a situation? I see the media news going more in that direction anyway. I dont want someone who is pretending to be objective. There is no way you can completely subtract yourself. And if you are... thats the same thing as selflessness, which scares the shit out of me. So fine, alright. You want to go full circle? I guess that, weve just coined that term... We say that judgmental is a negative thing. I think that so long as you be judgmental, but I think you have to weigh things out.
I think that people have a tendency to become whatever they do. The thing that you do most in your life, you want people to perceive you in that way. When I teach film over the summers, or I talk with actors, I say were all acting all the time, in one degree or another. You may not think that you are, but try putting on a completely different outfit - call it a costume - and see how people react to you differently on that day. Youll find that so much of who you are is shaped by the other peoples perceptions of you, and your costume is closely associated with that. Like when youre in a play and you put on a different outfit, or you wear different shoes, suddenly you feel like an entirely different person because the clothing... the way that people look at you, and the way that you are used to looking at someone in that clothing, changes how you think of yourself.
(At this point, as I had to catch a plane home, and we had yet to walk to the car at Cullens abode, we decided to continue chatting on the run - me with bags in tow, tape recorder held up, while Cullen continued his stream of consciousness delivery of what makes good actors and how Freedom State came to be. As we weaved our way through the streets, we both soon realized that Cullen was aimlessly following me - who had no idea where I was going - while lost in thought. We went back to talking about the role-playing kids mother... )
CH: His mother was just another person I was interviewing about what was her perception was of the community and how the participants there had shaped themselves. Thats when she started to talk about, Well, Ive been involved with alternative lifestyles all my life. She had some term for her [community], Gay Poly something, Im not really sure. Its not true polygamy. Its relationships with multiple... I dont know.
K2K: What was the first movie that youve made?
CH: The first movie was a 10 minute short called, Giving Day. It was kind of a cross between a 1984 type of society with a visual aesthetic akin to a black and white Wrinkle In Time. It was silent and was about someone breaking free of the conformity and repetition of the world around them. Its just all of these visually repetitive images of people going through rote tasks in society, and then The Lottery. You know that short story The Lottery, where one person is kicked out every 365 days. They take out all of their aggressions and emotions on that one person by killing him. It was these three things combined that make up this short.
K2K: Did that win anything?
CH: Yeah, yeah. It won a couple of festivals.
K2K: What was the first feature film that youve made?
CH: Im going to say Freedom State. I shot something that was feature length, that was student work. It was more of an education. It was me saying, Can I make something that is using a comedy formula and be successful. It did fine in a couple of festivals. I was 18 when I wrote it.
K2K: How did you get around to making Freedom State?
CH: Well, it was an evolutionary process. I actually responded to a Craigs List posting by the producer, Aaron Douglas. He had a short script. It was about a fat woman who was trailer park oriented. She had a little dog and come to a condo complex and break a lot of rules. But then the old lady whos been giving her all of these fines dies, and she becomes head of the condo complex. Thats what it was about and he was looking for a DP. I showed him some of my past work, and he asked if I wanted to direct. I said if he really wanted me to direct, I need to understand more of what it was about. We needed to have the script evolve from that point. We kept looking at the script, revising it. It changed a lot, but it stayed in the condo complex. Then I stepped away and said, Heres five different ideas using this great actress I know up in Seattle, Megan Murphy. She ended up playing Krystal in the film. The original name of the character was Krystal and that was the one thing that stuck. [Aaron] said he really liked the cult classic thing, and I wanted to make something that combined... Two of the things that Im always interested in when seeing films is apocalypses and people in mental institutions. But I wanted to try a variance on that. It wasnt really an apocalypse, and it wasnt really a mental institution. More of the ideas of the two things. Thats where we went. I wrote about 30 drafts of the script from there, and a lot of it was regenerated through improv in rehearsal and things like that, using stories from the lives of the actors who are playing the characters.
K2K: The people in the film - Do they really believe that the apocalypse happened, or are they role-playing?
CH: It depends on the character. Some of them are just playing along. Some of them really want to invest themselves in it. And some of them absolutely believe in it. Denises character absolutely believes it, but shes believed it many times in the past. I think its more like when you were a kid and you believe that when you were standing on a rock in a field, that you were surrounded by lava. You completely invest yourself in this. You bring your brother onto the rock with you. Then you have to make a bridge out of sticks, even though theoretically sticks would be burning by the lava, but you have to jump on them very quickly. I think its more like that. Its really more of a throwback to childhood pretending where you truly believe that this thing is happening. Also letting that imagination take form in such a way that it can help Krystals life evolve and to see beyond her husband. It also facilitates the growth of the relationship between her character and Dex.
K2K: What was the deal with those two? Is Krystal going to get a divorce and go for Dex?
CH: I dont think it really matters.
K2K: Was Krystal unhappy with her husband to the point of leaving, or did she check herself into the clinic to fix herself?
CH: I think that shes completely dissatisfied with her life and she went to learn what is the opposite of what shes experienced for so long. I dont think she was going there with the assumption that she would never see her husband again. In my mind and the direction it wasnt that relevant. She was going there as an autonomous body to figure herself out. I think that was one of the things she learned at the end, she said, What I realized I wanted was crazy love. She wanted love. She didnt know that when she went there. That was her self-discovery.
K2K: So what about her and Dex? Falling for each other?
CH: Oh, yeah. Dexs character, he has this line where he saw this prostitute on Sunset Blvd., and it was horrifying. I think this is an impression that was left on him, is that hes afraid of sex or anything that relates to that. Hes never had a relationship of any form, outside of what you might experience in fourth grade. Yes, they are falling for each other, but its very prepubescent, almost like fourth-graders pinching each other in a flirting kind of way. I dont imagine them going back and having sex any time soon.
K2K: Are you planning a full-feature version of this film? This one is one hour.
CH: This film is done. Its as long as it should be. There were other elements, other points to the plot that could assumably be shot and added. I feel like the piece is self-sustaining. Ive heard a lot of peoples comments that it feels longer than it is, but it doesnt feel too long, but just right. Im not shooting any more. Its done.
K2K: What are your next projects?
CH: Well, Im doing the documentary on live-action role players. It interests me as people finding fantasies in life, and cultivating a sense of community in a world that is moving away from it. The next project... there are a couple of scripts. Ive been working on this project for a while, called Transitions. Its a collection of characters...
(After we had made a bit of a circle through the district, we ended up in front of his apartment building. Entering through the front doors of a rather modestly modern building, we immediately were transported into a room representing an 80s disco - replete with multicolored (in primary tones) squared large lights on the walls. Ten seconds later, when opening a door on the far side of this room, we now entered an underground parking garage of standard style. To the right, Cullens vehicle, parked precariously at an almost 45 degree angle, in which I had to enter from the lower side up into the passenger seat and pull the door up to shut. Interesting experience it was. And... we continued talking the whole time.)
K2K: Through the disco and into the garage. Interesting. How did you assemble the cast for Freedom State?
CH: Well, we had a few open calls. I knew that Id wanted Megan to play the lead. Id worked with her in the past, in a couple of shorts. Her roles were getting progressively larger as I learned how to work with her.
K2K: Is she hard to work with?
CH: No. Shes incredible to work with. I just had never been able to use her in any lead capacity. It had always been short bit parts. Thats all I had access to. The cast... [We did] open casting calls at the Hollywood Theater. Basically I had pooled about 15 people who I was really interested in doing some improv exersizes with. Then having them read from the script, but I was more interested in who they were and what theyre life experiences had been, than I was in how great of a performance they were able to do on the stage. Improv actually has more... I was putting more weight on their improv abilities than I was on their cold read abilities. I knew that whatever their improv abilities were, at least I could get that from them. So I met with about 15 people from that point, 20 people... I sat down with each actor for two hours and sort of went through a therapy session with each of them. Literally, just breaking down their history, where theyve come from, why they act... The psychology thing. What was useful about that was that it gave me a chance to learn who they were, and also find out some of their stories to see if these were people who - at some point in their lives - could have taken a different path and ended up in a place like this (referring to Lost Acres in the film), for their own mental health. From that, I siphoned it down to the cast that is there now.
K2K: But Megan was always your first choice.
CH: She was always the first choice. I wrote her part specifically to be played by her.
K2K: What about Agrippa Williams?
CH: Agrippa is also from Seattle. He has this sort of Samuel L. Jackson feel to him. I think he doubles for him. I think he doubled for him last month.
K2K: Watching him in the film, it was like watching Samuel L. Jackson driving the bus, without saying the motherfuckers at every opportune time.
CH: Yeah. He says, Damn! [in that way]. Theres that in there. Agrippa is a sweetheart. He has to be loosened up a little bit. He has a tendency, when he moves, to sit kind of straightened back, or something like that, where he is leaning forward to deliver the lines. Once you get Agrippa loosened up, hes great.
K2K: Aah. And that takes how many drinks?
CH: No, were talking about marijuana. Were not talking about alcohol.
K2K: So, heavy pot smoking on the set of Freedom State.
CH: (laughing) That is not the case.
K2K: Its unfortunate that you couldnt have used an advertisement of (mocking the old Freedom Rock CD television commercial), Is that Freedom State, man? Turn it up! You might be too young to remember that commercial.
CH: I was never actually sure if he was rolling tobacco, or what he was rolling. But he had self-rolled cigarettes. [Although Im sure Cullen meant hand-rolled, as cigarettes rarely can roll themselves. - ed.] I wasnt sure what it was exactly. His character says, Im not smoking anymore. And hes out there as a security guard. There is that question of what he was actually smoking. Hes sort of there half as a patient, half as a security guard.
K2K: Youre idea of mental facilitating, or mental help, is certainly different from the norm. These people can come and go as they please. Staff takes off en masse for an entire day or so. Theres no actual doctor to be seen anywhere. There is no real control over any situation. And theres a bus available, free for the taking.
CH: Were only talking about a facility that manages 10 or 12 people, or something like that. Its not a literal facility in that sense. Its something you find in a book. Its trying to make an aim at a sense of reality, but I would consider it a rest home for trust fund babies. You look at all the people there, and they all just happened to have a lot of money to be in this place. You spend a lot of money to hang out with people who are kind of out there. This is not a mental institution. This is not a place for people who are literally insane in any debilitating way. This is a place for people who are outside the social norm, and it puts them all inside one box to explore the world together.
K2K: Where did you find the location that is the Lost Acres home?
CH: I was driving around. I had been looking forever. We had gone to the most horrifying mental institutions, places that had been shut down 10 years ago. One of them, where we actually shot one room, we shot in one of those old institutions. There was a book left on the floor from 1992. It had all of the patients names broken down, dates, and a code - 1 through 10 - based on, depending on what the number was, a two could have been molestation, a five could have been an inmate beating or something like that. These were things that had happened. This book had been left at the end in this giant warehouse of an institution - something around 500,000 square feet. Just absolutely massive. Theyre knocking it down and building a planned community on it. We were the last film crew to be allowed to shoot there. There were some Navy SEALS doing bombing exersizes there. Very creepy stuff. Thrilled to be shooting there at four in the morning. We had grip guys hugging the lights - a) for warmth, and b) because it was fucking scary.
But we shot the actual home for Lost Acres, it was a home that had been passed down for generations. There used to be a windmill in the tower thats there. The windmill was blown away in a storm in the late 1800s. Theyre still thinking about rebuilding it when they get the money. I was just driving around, and thats how I came across it. I drove up to the home and talked with the family who was there and thats how we found it.
K2K: Within the beginning of the film, as Krystal is taking the cab to Lost Acres, the scenery shown is awesome. Its lush with colors and depth on the ground and in the sky. It was almost three dimensional. How did you get that look?
CH: Yeah. That is at the same location. Im just going to give that one up to God on that day. The light was actually changing on a rapid basis. We were shooting in the middle of spring. In Oregon, if you dont like the weather, just wait a minute. It was beautiful at that time. Sean and I had talked a lot about emphasizing the greens in the film. We actually didnt saturate that image as much as we did with most of the fantasy material later in the film. We did some saturation levels throughout the film, depicting how much... It was relating to how much fantasy, how much vibrance, how much light is going on within any given scene.
K2K: The whole film is very nicely shot.
CH: Sean perfectly, technically executed the film. Sometimes it would take a little longer than I would expect, but in retrospect, it took exactly as long as it should have. Whereas I might have allowed something to be blown out in the corner, just so we could get a bit more material, he would make sure that we would put a gradient on it until it looked right. And thats why I love working with Sean.
K2K: Out of this particular film, what are you hoping for?
CH: Well, anyone who makes a film would like to see it in theaters. I think that theres a place for it. When I initially came in, the design was such that we said, Heres something that would really have a market who would be interested in seeing something like this. I would love to see it in art house theaters. Its not the type of film that could be anything more than that. Then, a good DVD distribution would be excellent. I would be thrilled to see that. The other thing I would love to see from this is that it makes enough money to make another movie. Thats always the hope that you can continue improving your craft and making more work. Hopefully someone will see this, or several someones, and say, Hey, thats a guy who deserves a bigger budget.
K2K: Speaking of budget... What do you do for a day job?
CH: Thats a terrific question. I apply for credit cards. Ive done some music videos, and Ive done some commercials. The day job is doing things for the TV that I dont watch. Then also doing these films. The documentary takes me about 28 hours per weekly basis. I dont consider myself a documentarian necessarily. Im more interested in the story that is underneath, and finding that narration.
K2K: Any words for upcoming filmmakers?
CH: If you want to be a director, dont waste your money on grad school, or undergrad school. Go learn about something else. Dont learn about film in school. Learn about something else, and then apply that knowledge to film. Go work on movies. Thats what I would say. Save your $100,000. from grad school and go make a movie.
K2K: So, be a maverick.
CH: A maverick. (laughs) Go out and do it.
(Cullen then switched thoughts back to upcoming projects.)
CH: I dont know what the next project is. Ive been talking more about that shroom film. Im still very interested in that and looking for variations on that. I think its going to revolve around this start-up company with guys in their 20s. The start-up is all about helping... the company is designed to help people overcome their fears. Its largely spinning off of the media and the government in trying to make people so afraid. They guys are saying, If people are going to overcome their fears, thats how they will truly be free. So I see the film being a combination between The Game (with Michael Douglas) and I Love Huckabees. Something like that. That one was called Transitions. Thats the working title. It might be called Fear, Inc. I dont know.
At this point, Cullen had come to a screeching halt in front of the Portland Airport as I had about 20 minutes to catch a flight out of town. As we unloaded my bags, we both agreed that doing interviews on the run was quite bizarre, but yet an apparently necessary evil. Sometimes cohesive thoughts come from motion than from just sitting around thinking. And so with that, we ended our chat for this time around. Freedom State should hopefully be picked up by a distributor before too long, so look for it at your local rental store.
- Written by Philip Anderson