TrustMovies has been away of late, and in any case is trying to shift his blog over to covering mainly what's good (or not) on Netflix streaming, he had to miss many of the press screenings for these films. One movie he did manage to see -- and revel in -- is the documentary titled MISFIRE: The Rise and Fall of The Shooting Gallery from director Whitney Ransick, shown below, a fellow who was actually a part of The Shooting Gallery when that much-loved, much-lauded and early New York-based "independent film studio" came into being-- mostly by chance and due to the work of a group filmmakers who had met while studying at the State University of New York, Purchase -- back in the early 1990s.
Ransick uses a plethora of talking heads here, but fortunately they all talk well, smartly and honestly, about what TSG meant to them, what happened from their perspective, and why. We hear from everyone from actors like Robin Tunney (we also see the early Edie Falco, below, left, with Adam Trese) to directors (one of the founders, Bob Gosse), the casting director, the guy in charge of music, accountants, marketing mavens and so many more.
Sling Blade. (TSG also released You Can Count on Me, but I'm not sure how overall profitable that one actually was.) Film buffs will have heard of other of TSG's output --- Laws of Gravity and Niagara Niagara for two -- but even someone like TrustMovies, who closely followed independent film, managed to miss other TSG movies such as Hand Gun (below) and New Jersey Drive.
Chris Blackwell of Island Records & Films: "Stay true to yourself and stay true to each other because, collectively, you'll be much stronger than you can be as individuals." Smart words, but hard to do when, from the outset, founder Gosse and co-founder Larry Meistrich had diametrically opposed views of what was important. (Meistrich and his friend Steve Carlis, TSG's CFO refused to be interviewed for the film, and while it is difficult not to see them as the villains here, Ransick and the others don't demonize the pair. They're viewed more in sorrow than in anger.)