Rick Patton

Failed hockey player-turned-golf whiz Happy Gilmore -- whose unconventional approach and antics on the grass courts the ire of rival Shooter McGavin -- is determined to win a PGA tournament so he can save his granny's house with the prize money. Meanwhile, an attractive tour publicist tries to soften Happy's image.

クリスとビルの凸凹刑事コンビに下った今回の仕事は、犯罪組織から命を狙われ雲隠れした裁判の証人が連絡を入れるであろう豪華別荘住まいのオハラ夫妻宅を張り込んで証人を保護すること。しかし張り込み早々、夫妻と“お近付き”になってしまい、夕食に二人を招待しその真っ最中にビルがオハラ宅に盗聴器を仕掛けるはずが何者かに襲われ、捕らわれの身になってしまう。

敏腕女性弁護士マリアンヌはある日、死んだはずの婚約者リックとそっくりな男に出会う。戸惑う彼女がその男の素性を知った時、2人を狙う組織の影があった。メル・ギブソンとゴールディ・ホーンの共演で送るアクション。

After the turbulent 60s Patton embraced the back-to-the-land movement. As presaged in his earlier film, Blue Mountain, he was drawn to a simpler rural life, close to nature. In 1969 he threw in with a group of people to form the Jones Farm on Quadra Island in British Columbia. He lived in a small cabin with no electricity or running water for 3 years. He supported himself as a welder and carpenter. These were good times. During this period basically gave up filmmaking, yet he still managed to shoot bits and pieces of the landscape and characters around him. This footage sat in a box for several years. He moved to Vancouver in 1974 to resume his filmmaking career, In 1976 he returned to Quadra Island with better gear and enough film stock to shoot additional footage. The result is a quirky personal journal in documentary form.

Night of Samhain is a humorous look at Halloween, the holiday with no redeeming social value. A holiday that values outrageous behaviour. A holiday that has been a thorn in the side of organized religion for centuries and one that many wish would disappear.

This is a film made without a camera. The images are painted directly onto 16mm clear leader. Patton was particularly interested in the organic shapes that resulted from mixing chemically dissimilar spray paints.

Patton reflects on his inner city life in psychedelic San Francisco, contrasting that with his attraction to solitude and remote mountain landscapes. An underlying Buddhist perspective attempts to mediate these very different realities.

This is Rick Patton’s first film, made when he was a student at Antioch college. The stylistic premise was that the film would be a self-portrait, like a still photograph, that changed and grew through time. It is not a story, but it does revolve around a love affair gone wrong and a broken heart. Patton did not show this film for 40 years. He found it embarrassing. Now in his 60s, he is OK with it. All filmmakers have a first film.

A montage from the films of Michael Mideke.