Wesley Dilligas and the Dorm Aesthetic

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This is a video produced by, for, and about Detlingites. Actually that isn't entirely true. It was for Com Arts 355: Introduction to Video Production, and was entirely fictional. I am pleased to say, however, that each part was played by a Detling resident, and all of the taping took place in Sellery Hall. Aziz Poonawalla was gracious enough to allow me to show the finished product at the final movie night of spring semester 1995, the last one either of us would attend as a Detling resident. I though of this project as a sort of farewell to Detling, and I think it worked out pretty well. I realize this isn't exactly written in proper screenplay format, but I hope you can forgive me. 



CAST

(In order of appearance)



Bill Koyanisqaatsi			Ingvar Bey

Wesley Dilligas				Aziz Poonawalla

Mischievious Man                        Brad Wagner

House Fellow #1				David Bietla

House Fellow #2				Christine Geisheker

Decadent Youth				Christina Beecher

Frightened Youths			Kristin Kent

                                	Rachel Farley

                         	        Jason Gohlke

Ramrax	                     	        Aziz Poonawalla

Mischievous Man          		Chris Hollman

Sellery Man                	        Himself 

Lance                          		Chris Hollman

Darla                           	Meredith Geller

Cathy                           	Rachel Farley

Sally                           	Kristin Kent

Anthony                     		Jason Gohlke

Samantha                   		Christine Geisheker




* * * * *
SCENE 1
INTERVIEWER
Hello, I'm Bill Koyanisqaatsi. In recent months the video production world has been rocked by several pieces from an undergraduate filmmaker. These works have utilized a minimal budget, production techniques the mainstream would consider 'amateurish', such as this poorly-concealed microphone; and a single location--a university residence hall--to pioneer what is generally becoming known as the 'dorm aesthetic'. This artistic innovation is quickly being embraced by other filmmakers and is changing the face of video narrative as we know it. With me today is this pioneer, Wesley Dilligas. Welcome.

VIDEO GUY
Uh, yeah. Thanks.

INTERVIEWER
Your style evolved out of your earlier work, namely video art pieces.

VIDEO GUY
Art?

INTERVIEWER
Well, let's start with what I believe is your first residence-hall based piece, 'Man Going into One Door and Coming out of Another Like in Scooby Doo.'

SCENE 2: HALLWAY
Man goes into one door and comes out of another, like in Scooby Doo, repeatedly.

SCENE 3
VIDEO GUY
Yeah, well, it's a guy going through one door and coming out another, like in Scooby Doo. I don't know, I thought it was cool.

INTERVIEWER
It wasn't long before you abandoned the video art form.

VIDEO GUY
Yeah, well, I don't really like that stuff.

INTERVIEWER
So, you feel that today's art does not fulfill its potential?

VIDEO GUY
It's pretty lame.

INTERVIEWER
Interesting. Well, before your narrative work, you made the gritty documentary series 'House Fellows'.

SCENE 4: STAIRWELL
Camera follows HOUSE FELLOW 1 & 2 as they climb a stairway. They enter a hallway, where loud music is heard. HF1 knocks on door.

HF1
House fellow! Open up!

DECADENT YOUTH answers
DY
Yeah?

HF1
It's quiet hours, punk!

DY
Huh?

HF2
Don't you know what quite hours mean? You're supposed to be quiet!

SCENE 5

VIDEO GUY
Well, like, you always see these shows where they follow cops around or something, and I figured I could do the same thing.

INTERVIEWER
You, however, brought your unique style to this form of documentary.

VIDEO GUY
Thanks.

INTERVIEWER
You quickly moved on to your now-famous narrative style, beginning with Ramrax: the Evil Space Monster.

SCENE 6
A group of young people are standing in front of an elevator, laughing and talking. When the doors open, Ramrax: the evil space monster is seen. The young people run away, and Ramrax gives chase.

SCENE 7
VIDEO GUY
Oh, yeah! Man, that was so much fun to do!

INTERVIEWER
It was here that some of the conventions of the dorm aesthetic, such as limited costumes and use of non-lighting, were introduced.

VIDEO GUY
Yeah, I guess.

INTERVIEWER
The 'Ramrax' piece brought you to the attention of the local cable access station.

VIDEO GUY
Yeah, a bunch of guys there thought it was cool.

INTERVIEWER
This prominence allowed you to create the popular children's special, 'Sellery Man.'

SCENE 8
A man is seen approaching a fire alarm, his mischievous intent apparent.

SELLERY MAN
Hold it!

MAN
Sellery Man!

SCENE 9
VIDEO GUY
Yeah, that was kinda fun.

INTERVIEWER
There was evidently some friction between you and the programming personnel.

VIDEO GUY
Yeah, well, they were giving me all this crap about deadlines and content and stuff.

INTERVIEWER
A tale told all too often.

VIDEO GUY
Yeah, it sucks.

INTERVIEWER
The 'Sellery Man' piece is also famous for its daring, seemingly unmotivated violations of the 180-degree rule.

VIDEO GUY
Oh yeah. That.

INTERVIEWER
Well, let's move on to your most famous work, the one which brought you to the forefront of the video world: 'Honors Society Chicks Unchained'

SCENE 10
LANCE sits at a table, writing. DARLA approaches.

DARLA
Hey Lance.

LANCE
Oh, hey Darla. I'm sure having some trouble with this essay on John Keats.

DARLA
Oh yeah? I'm pretty good at Keats. But why don't I help you...get a handle on Longfellow?

SCENE 11
VIDEO GUY
Oh yeah! That video was autobiographical in nature, based on my personal college experiences.

INTERVIEWER
What prompted you to make this video?

VIDEO GUY
Um...I wanted to...convey...a....portrayal...of....

INTERVIEWER
Was it pure inspiration?

VIDEO GUY
Yeah. Can't put it into words, y'know?

INTERVIEWER
Of course. Needless to say, this work has had its share of controversy.

VIDEO GUY
Oh, right. All these, like, feminists gave me crap about it. Not that I cared.

INTERVIEWER
Quite courageous.

VIDEO GUY
Yeah, well, y'know.

INTERVIEWER
Well, that brings us up to the present, and your work on what is becoming a phenomenon among college students, the prime-time soap opera known as 'Detling House'. This program is also artistically significant in its integration of sound equipment and narrative.

SCENE 12
SALLY exits room. CATHY approaches

CATHY
Hey Sally, look at this microphone I found! Hey, what's wrong?

SALLY
I can't find my chemistry notes, Cathy!

CATHY
Oh no! What are you going to do?

SALLY
I...don't...know!

SCENE 13
VIDEO GUY
Yeah, I help write...I think I directed a couple of episodes.

INTERVIEWER
The premiere episode didn't bode too well.

VIDEO GUY
Oh, man! It sucked! Nobody took my ideas!

INTERVIEWER
But as everyone knows, things picked up with the addition of the scheming, deceitful Samantha.

SCENE 14
SAMANTHA walks down hall. ANTHONY approaches

ANTHONY
Hey Samantha, have you seen my English notes?

SAMANTHA
Why, no I haven't, Anthony!

ANTHONY
Oh, well.

ANTHONY walks away. SAMANTHA smiles sinisterly.

SCENE 15
VIDEO GUY
Yeah. The chick that plays her...what's her name... she's cool.

INTERVIEWER
Well, the season finale certainly left a great deal of questions among viewers.

SCENE 16
People are seen standing in a circle, shouting. The camera moves in a circle, zooming in on some faces and moving erratically.

SCENE 17
VIDEO GUY
Oh, yeah. You know how, like, in movies, they always have this scene where people are, like arguing, and the camera moves in a circle? I was like, 'Hey! We should do that!'

INTERVIEWER
Fascinating. So in this case, the visuals drove the narrative, and not the other way around. Does this indicate a new deconstructionist approach to your work?

VIDEO GUY
Um, it might.

INTERVIEWER
Do you have any specific projects for the future?

VIDEO GUY
Something violent! Lots of action and blood and stuff!

INTERVIEWER
You are an admirer of such artists as John Woo and Quentin Tarantino?

VIDEO GUY
Pulp Fiction rocked!

INTERVIEWER
Intriguing. Well, it's been a pleasure speaking with you.

VIDEO GUY
Any time.

Added to Detnet October 4th, 1995