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A Letter From the Culprit Director

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Why We Had To Kill Bitch Press Kit
P r e s s -

A Letter From the Director--------------------Log Line & Short Synopsis----------------------

Why We Had To Kill Bitch - not another Clerks
(Long Synopsis) -------------------------Statistics----------------------------------Cast---------------------------------------Crew--------------------------------------Killing Bitch (The Production Behind The Production) Production Bios-------------------------------Cast Bios-----------------------------------Press Releases-------------------------------is John-Paul Nickel and Five Cent Productions 4804 Baum Blvd. Pittsburgh, PA 15213 (412) 719-9999 jp@fivecentproductions.com www.killbitch.com

Why We Had To Kill Bitch

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--------------So, why exactly did we have to kill Bitch?---------

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A Letter From the Culprit Director
I‟ve noticed that there seems to be two different types of directors. There‟re the kind who know what they want from their actors, the shot and the script down to the finest detail. This requires an amazing amount of vision and the
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ability to command unquestionable trust and respect. These are the directors who know exactly what their finished film will look like frame by frame. God bless „em, „cause I wish I could be like that. Coming from a background primarily in theater, I tend to be the other type of director: I like the process to be organic. I like being surprised by the final result. While many talented writer/directors can do it, I cannot in good conscience put a script into production without having thoroughly workshopped it with the actors. (In fact, our four week workshop process was longer than our rehearsal process.) I cannot plan out every single frame of the movie without letting my DP give me suggestions when I‟m stuck for a way to make an idea translate into the frame. I cannot help but let every final take be the “fun take”, where the script and blocking and choreographed camera movement go right out the window. Not only is this extremely collaborative way of filmmaking a great way for the cast and crew to feel that the project is unique and in a large part theirs, it also allows for wondrous moments of discovery and genius that I can steal and pervert or use as is and take credit for. Conversely, it allows for others to take the blame with you. It‟s hard for a lot of filmmakers to work this way. It requires humility, the ability to admit that you might wrong. It requires a mind open enough to realize that someone might have a better idea than yours. It helps if you have very low self-esteem. This is in no way a slight to always-in-control directors where it‟s their way or no way. It‟s simply not my way. I like it when my cast and crew will take a scene in a way I never thought possible. I like it when I‟m able to use a scene that was entirely improved in the final edit. But ultimately this is a more stressful way to direct because you never know what your final product will be exactly. It‟s a pleasant surprise if it comes out wonderfully (like this movie has). But there‟s always that lingering fear that it could all just blow up in your face. What‟s my point? It‟s simply that I hope you like what you see. But if you don‟t, please remember that this was as much everyone else‟s fault as it is mine.

John-Paul Nickel Writer/Director

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Why We Had To Kill Bitch

log line & short synopsis

LOG LINE
Has Kevin Spilker made the funniest student film of all time, or has he made a truthful documentary about the night he and his pals had to kill their best friend‟s abusive ex-girlfriend, Bitch?

SHORT SYNOPSIS
Nothing says feel good comedy like a dead hooker, running afoul of the mafia and lynch mobs… and those‟re just the flashbacks. In a half-assed attempt to pass his film class, Kevin Spilker is doing a documentary on his best buddy Eugene (the only one of Kevin‟s friends to say “yes.”). Kevin wants to document a day in the life of a normal guy but there‟s one big problem. Eugene‟s not normal; he‟s a loser. Sure, we catch him getting his manager fired and giving dissertations on the latest Travolta flick, but for the most part all he does is whine about his ex-girlfriend, Bitch. But all that changes when the girl of Eugene‟s dreams walks into his life and then quickly out of it. With the aid of Kevin and their friends Stanley & Quentin (not losers, just morons), Eugene spends the rest of the documentary trying to re-connect with her. It‟s a shame that this new girl works at a bar and, for reasons that have to be seen to be believed, none of these twenty-somethings have their ID. Luckily they have a favor to call in from their friend George, the world‟s worst drug dealer. The gang once lied to the Grand Jury to keep George out of jail after he was busted for putting a musical horn in his car and selling ice cream laced with marijuana to kids to expand his client base. Getting convoluted? It‟s all right. Kevin‟s had his camera for a while now and he doesn‟t hesitate to put in reference footage of he and his friends‟ wacky escapades from the last seven years. So, not only to we get to see Eugene try to get the girl, we also get to bear witness to George‟s Doobies „n Cream fiasco, the three-legged race from hell and the time Eugene caught his imaginary girlfriend cheating on him.
Why We Had To Kill Bitch

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Why We Had To Kill Bitch - not another Clerks
It seems the new challenge of independent filmmaking is to make an innovative, imaginative movie the likes of which no one has ever seen and then find a way to describe it in one (long) sentence. With independent films, this hefty feat is most often accomplished by comparing the new movie to one already known and liked: specifically, Clerks [in fact, some indies are automatically disqualified from film festivals if they are not compared to Clerks repeatedly in their press packets]. Why We Had To Kill Bitch is a mock-documentary that may best be described as the bastard child from a drug induced three-way between Swingers, Wayne's World and The Blair Witch Project…but funnier. However, if a comparison to Clerks isn‟t at least attempted, the enclosed VHS will probably be taped over with this week‟s episode of Scrubs (even if it‟s a repeat). Clerks was directed by some guy named Kevin Smith. In Why We Had To Kill Bitch, the main character‟s name also is Kevin S. (for Spilker), although the audience never sees him. Kevin carries around a video camera all day and the movie is seen from his perspective. Unlike the real world Kevin Smith, the Why We Had To Kill Bitch Kevin S. is failing his film class. In a half-assed attempt to pass, he‟s decided to follow his best buddy, Eugene, with his camera all day and call it a documentary. Clerks has lots of people talking with lots of words about lots of things. Why We Had To Kill Bitch has lots of people talking in it, too. The difference is that Eugene tends to talk about one thing incessantly: his exgirlfriend Bitch. Eugene‟s friends Stanley & Quentin blame her for Eugene‟s creation of Nicole, an imaginary girlfriend (who cheated on him). Like the characters in Clerks, Eugene has a job. He works at a movie theater. For fun, the characters in Clerks play hockey at work. Eugene passes the time by getting his manager fired and assuming his job, systematically dismissing all his idiot co-workers and browbeating his customers. This helps wile away the hours until the girl of his dreams comes
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to see a movie [girls are featured prominently in Clerks]. To Eugene‟s great dismay, Kevin and their friend Stanley scare off this dream girl.

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In an effort to keep him from falling into a funk and creating another imaginary girlfriend, Kevin, Stanley & their other friend Quentin resolve to help Eugene get the girl, (Heather). The only problem is that Heather works at a bar and none of the gang has I.D. (Eugene busted his trying to rob the manager‟s office; Stanley‟s wallet was stolen last week; Quentin burned his after he got drunk and killed a hooker.) The solution is to call in a favor and get fake IDs from George, the local drug dealer [Clerks has a drug dealer in it named Jay]. Unfortunately for the gang, George, whose new genius scheme is smuggling Canadians into the country, decides to join them as they go to Heather‟s bar (where they don‟t get carded) and eventually the Improv, where Eugene makes plans to meet Heather. In bizarre plot twist [almost but not really like the ones in Clerks], while Eugene is waiting for Heather, Bitch and Big Dick (Eugene‟s manager who he fired earlier in the day) show up at the Improv. Bitch has decided that she loves Eugene; Big Dick wants to kill him. When Heather catches Bitch and Eugene together, he must convince Heather of his sincerity while simultaneously dodging Bitch and avoiding the katana-wielding Big Dick. It doesn‟t end the way you‟d think it would [just like Clerks]. Confused? Don‟t worry. Kevin always has his camera with him. When things stop making sense, he edits in some reference footage of Eugene and the gang. So, not only do we get to watch Eugene try to get the girl, we get to see what happened when he caught his imaginary girlfriend cheating on him, when the gang crossed the mob and when they lied to the grand jury.

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STATISTICS
Genre: Romantic Comedy Running time: 82 min. 0 sec. Shot on: DVCAM Production budget: $10,000 Length of script: 137 pages Draft of shooting script: 5 Camera: Sony PD-150 (attached to a Glide Cam 2000 Pro) Total number of the permanent crew (including director): 5 Total number of the part-time, volunteer crew: 6 Total number of the cast: 23 (+extras) Number of crewmembers with roles (including director): 4 Dates of pre-production: March 5, 2002 – May 31, 2002 Number of pre-production crew: 4 Dates of production: May 31, 2002 – June 30, 2002 Actual number of days shooting: 13 Shot in: Pittsburgh, PA Number of locations: 10 Dates of post-production: July 1, 2002 – March 1, 2003 Edited on: Macintosh G4 w/ Final Cut Pro 3 and Pro-Tools LE

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Alternate titles that were seriously considered: W.I.M.P. (White

Intelligent Male People); The Wimps; Stupid Monkeys; Karen Slap; Kevin Spilker‟s Amazing, Fabulous, A+++ Documentary

CAST
Eugene Kevin Stanley Quentin George Bitch Heather Rachel Richard Ben Monica Todd Bill Chad Jonny Travolta Lou Becky Professor Cheap Guy Late Guy Eric Kristin Mime Sherry Dead Hooker

GREG CARIDI ANTHONY J. BISHOP JOHN YOST GREG JOHNSTONE JASON STEELE KRISTIN PFEIFER ALISON McATEE DIANA IFFT JAMES WELDON PETE BUSH GINA CAMPBELL JP NICKEL JASON A. FLEECE JASON A. FLEECE HIMSELF JOE PAULEY BRIDGET STEELE BRYAN BESSOR SHAUN ROLLY

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ANTHONY J. BISHOP EDD FAIRMAN KIM ZELONIS JASON JOHNSON MICHELLE WEISSGERBER JENNIFER OBED

CREW
Director of Photography/ Camera Man Sound Designer Sound Recordist Make-up Props Costumes Fight Choreographer Extras Coordinator Editor Assistant Editor Best Boy Associate Producer Executive Producer Writer/Producer/ Director JAMES MANLEY JASON JOHNSON CHRIS BROWN KIRK OWEN TOM HOOSE LEAH KLOCKO SHAUN ROLLY KIM ZELONIS JP NICKEL SHAUN BANN BILL DRISCHLER JAMES MANLEY RAYMOND NICKEL

JOHN-PAUL NICKEL

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Killing Bitch (The Production Behind The Production)
The story behind Why We Had to Kill Bitch is really about the regeneration of a previous film: the almost as offensively titled W.I.M.P. (White Intelligent Male People). W.I.M.P. was the brainchild of John-Paul Nickel who wrote, produced and starred in the film that contained strange echoes from his life. The only problem was that JP didn‟t direct the movie, so he was unaware of key problems with sound and picture quality. After spending more than a year in post-production attempting to fix the flaws in W.I.M.P., JP decided to re-shoot the entire movie, this time with a new script, crew and actors, and a smaller budget and timetable. Hence, Why We Had to Kill Bitch was born. This reincarnation of the first film was both excruciating and depressing for JP. He was involved in a lawsuit with his former director, who had stolen thousands of dollars worth of equipment and years of irreplaceable production time. And he was faced with starting from scratch after having wasted, in his eyes, two years of his life. However, there were payoffs: the current script was tighter and funnier; JP was directing this time, not starring; a talented new D.P. and sound crew were brought in; an outside editor was hired during final stages of post-production; and the result was a markedly improved finished product. Shooting was scheduled for 13 days in June. However, an ominous event occurred on the first day of filming. Just as the cast and crew were on their way to the first location, a devastating storm (a macro-burst it was later pronounced) blasted Pittsburgh with dark, swirling clouds, phenomenal winds, torrential, almost horizontal, rains, sizable hailstones and vicious lightning. The gusts uprooted forests of trees, flooded streams, streets and basements, blew bricks off of
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buildings and collapsed a roof at a famous local amusement park, killing two visitors. The super-storm also caused next-to-nil visibility and vast power outages that blacked out half the city, including, of course, the location of that evening‟s shoot. The cast and crew persevered and filmed what few outdoor shots they could after the skies cleared. A few wondered, though, if this was a sign that the film was doomed. It was an interesting beginning to the five noteworthy weekends of production. One late night everyone was on location waiting for an actor to show up. They waited for hours, concluding that the actor had either a.) quit and

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not bothered to tell anyone, b.) had been in a horrible, maiming car accident, c.) had been the victim of some violent crime, or d.) had completely forgotten about the shoot. People were calling his friends, co-workers, family, anybody who even remotely knew him. Eventually, during one of his pacing sessions outside the theatre, JP noticed a car that looked similar to this M.I.A. actor‟s car. He found the actor on his reclined front seat, sound asleep. He had been a stone‟s throw away the whole time. The cast and crew also discovered that one actor had a dark alter ego. John Yost, who portrays Stanley in the movie, was often given some leeway during the last few takes of a scene. After the scripted, rehearsed scene was caught on film enough times, JP would tell John and the other actors, “Okay guys, this is the fun take. John, let the Bad Man out.” And let him out he did. Whenever John “let the Bad Man out,” he‟d improvise hysterical, crude, sexually overtoned dialogue and provide JP with some of the funniest takes he‟d shot that night. In fact, much of John‟s Bad Man improvisations made it into the final cut of WWHTKB. The other actors held their own against this perverted Bad Man, and the crew just had to contain their laughter until JP yelled “Cut!” That was usually the point when Chris Brown, boom operator, would turn to the camera, point to his eyes and state, “These are real tears here, real tears.” The alter egos of actors you never needed to know about – that‟s part of what was discovered during production. Greg Caridi portrayed Eugene poignantly and exquisitely, but he also suffered during the month of shooting. Greg didn‟t know how to fall, so during the myriad takes of the Bitch-beating-up-Eugene scene, he got bloodier and bloodier. Refusing to quit shooting until he “got it right”, he finished the shoot with his hands and knees thoroughly scraped and bleeding. In another scene, the mailbox stuffing scene, Greg somehow managed to hit the mailbox so hard with his forearm that it swelled within hours and turned a shade of plum. He was so sore and beat
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up that by the time filming was finished at the end of June, he was only just starting to heal. The making of WWHTKB was a unique experience for all involved: painful, scarring, demented, exhausting and demanding. But most of all, it was fun and memorable. Everyone involved feels they have contributed a piece of themselves to this movie and are proud to have been a part of it. One of the best decisions JP made was to remake W.I.M.P., because this time around everybody became a little family, dysfunctional of course, but there was a bonding that never existed in the first film and that made the production of Why We Had to Kill Bitch such a positive experience.

PRODUCTION BIOS
John-Paul Nickel (Writer/Director/Producer) is a native of Pittsburgh, PA where he graduated from Point Park College in 2000 with a degree in theater. In 2000, JP started Five Cent Productions, LLC to produce his first screenplay W.I.M.P. which was completed in 2001. While Why We Had to Kill Bitch is only his second screenplay, JP has had numerous stage plays produced. In the first nine months of 2002 alone, three of JP‟s plays (Comic Book Love, Family, and The Sign) were produced by Pittsburgh theater companies. In 2000, his ten-minute play, (The Interview), was given a stage reading at The Kennedy Center in Washington, DC. As an actor, JP has worked for some of Pittsburgh‟s most renowned theaters including The Pittsburgh Public Theater, The Playhouse Conservatory Co. and Kuntu Rep. JP is currently working on his next two stage plays (Dibs! and Monkeys) and next screenplay (Three Guys).

James Manley (Director of Photography/Associate Producer) is originally from Lancaster PA, but moved to Pittsburgh to study Computer Science at Duquesne University. Immediately after graduation, Jim began his study of film and video at Pittsburgh Filmmakers. He began his career as a grip/electric on numerous independent short and feature length films. Working his way up mostly on the lighting aspect of film, Jim finally began directing photography on many short films in 2002. WWHTKB is both his first full-length feature as Director of Photography and first try at directing photography for the video format. He continues to direct photography on many low/no budget films in the Pittsburgh area. Shawn Bann (Assistant Editor) started making movies at the age of 15 for BMG productions. Now 22 years old, he studies at The Art Institute of Pittsburgh, which has awarded him several scholarships. Shawn is currently editing for A&B Digital Productions and plans to relocate to the West Coast sometime in the near future. Leah Klocko (Costume Designer) has a degree in Journalism-Communications from Point Park College. However, she has known how to sew practically since she can remember and has developed a reputation as a costumer for many theater companies in Pittsburgh, costuming plays and musicals
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ranging from "Man of La Mancha" to "Madwoman of Chaillot". Leah is also an actress and photographer and has over 20 years experience on-air as a local radio disc jockey. Kirk Owen (Makeup Designer) is a member of the Special Effects Makeup Artists Guild and trained at The Art Institute of Pittsburgh where he studied Special Effects Make-Up, Set Design, Prop Design, and Television & Video Production. A jack-of-all-trades, Kirk‟s skills include: Makeup Design, Construction and Application: For Film, Theater & Television; Cosmetic Makeup; Wig Sewing; Sculpting; Mold Making; Props and Model Construction; Set Design and Construction; Mechanical/Electrical Animation; and Rendering.

CAST BIOS

Gregory Caridi (Eugene) is a lifelong native of Pittsburgh, PA where he graduated from Point Park College with a BA in Theater Arts. In the five years since his graduation, Greg has been constantly working, appearing in over thirty productions in Pittsburgh area alone. Of those, his favorite shows include: Equus, Bus Stop, Biloxi Blues, All in the Timing, The Heidi Chronicles, Visiting Mr. Green, Italian American Reconciliation, Dancing at Lughnasa, Don‟t Drink the Water, and The Philadelphia Story. Greg also originated roles of Jack, Nathan, Trey and Rob in the world premieres of The Hermit, Transitional Girl, Housewarming Brunch with Two Door Frames, and The Sign, respectively. Anthony J. Bishop (Kevin) is a senior at Point Park College‟s Conservatory of Performing Arts where he is pursuing a degree in Musical Theatre. Anthony has been seen in New York City where he played Chuck III in Confluence Theatre‟s Off-Broadway production of Fourplay. Other stage credits include Andrew in Corpus Christe and Lemur (originated the role) in the world premiere of 32ft Per Second Per Second. Why We Had To Kill Bitch is his feature film debut. Kristin Pfeifer (Bitch) is an eighth grade English teacher who has appeared professionally in numerous plays, a few independent films and commercials, and many industrials. Her professional theater credits include productions for some of Pittsburgh‟s most renowned theater companies: The City Theatre, Starlight Productions, and Kuntu Repertory Theatre. Kristin‟s favorite roles include Kate Keller in The Miracle Worker, Bear in Zoo (originated role), Heidi in The Heidi Chronicles, Sarah Day in Family (originated role), and Catherine in And Miss Reardon Drinks a Little. Kristin‟s independent film experience includes playing Dr. Emily Zarkoff in The Resurrection Game, Julia Miller in Biophage, and a movie customer in W.I.M.P. Allison McAtee (Heather) is a recent graduate of the University of Pittsburgh and holds a degree in Theatre. Alison recently made her Off-Broadway debut originating the role of Wonderbabe in The Project's Confessions of a Wonderbabe. Other recent credits include Nicole in Sonic Pictures' Recollection Rag and Rasa in Pittsburgh Civic Light Opera's In the Colony. John Yost (Stanley) is an accomplished film, television, and stage actor. His film credits include: Inspector Gadget (Disney), The Temptations (NBC), Children of The Living Dead (Westwood Artists), The Playhouse (Yeti Bros.), and Last Call (Sonic Pictures). His television credits include: West Wing (NBC), Guardian Angel (Warner Bros.), Lighten Up After Dark (Pilot), National Shopping
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Network (NSN) as well as numerous commercials and industrial films. John‟s theatre credits include: Portia Coughlan, Much Ado About Nothing & You Can't Take it with You (Pittsburgh Public Theatre), Street Scene (Pittsburgh Opera), Woyzeck, and The Caine Mutiny.

FOR IMMEDIATE RELEASE: Upon Receipt

Contacts:
Eric Haines 412.613.4895 John-Paul Nickel 412.362.7046

Local “indie” movie to have world premiere in Pittsburgh
Pittsburgh --- Five Cent Productions, LLC, a local independent film production company, is proud to announce the world premiere of its first movie, the zany comedy, Why We Had To Kill Bitch. The movie’s first public screening will be presented on Tuesday, June 10th, 2003 at 8pm at the Loews Movie Theater located in The Waterfront in Homestead.

A mock documentary, Why We Had To Kill Bitch is a comedy that both adheres to and defies all the rules of the contrived, Hollywood romantic comedies. To keep from failing his film class, Kevin (the cameraman) is following his best friend Eugene (the subject) with a video camera to document a day in the life of an average guy.

During the course of the day, Eugene briefly encounters a young woman with whom he falls madly in love at first sight. As he spends the rest of his day trying to find her again, the documentary transforms into a full-blown narrative comedy. The love interest is the motif that spins Why We Had To Kill Bitch into a send-up of formula romantic comedies. “We shot Why We Had To Kill Bitch digitally, as most of the world’s major film festivals now accept entries shot on tape,” says director and screenwriter John-Paul Nickel. “If we get positive responses from them, we’ll blow it up to 35-mm so we can have a print to send to the festivals that don’t accept digital formats.”
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is John-Paul Nickel and Five Cent Productions 4804 Baum Blvd. Pittsburgh, PA 15213 (412) 719-9999 jp@fivecentproductions.com www.killbitch.com

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In addition to utilizing 10 local settings, Five Cent Productions employed an allPittsburgh cast and crew in shooting Why We Had To Kill Bitch. The cast of 23 (with extras) included veteran, professional actors John Yost, Greg Caridi, and Kristin Pfeifer and all of the movie’s music was provided by the local bands Salena Catalina, Voodoo Babies, Crisis Car and Simon.

Why We Had To Kill Bitch was shot in thirteen days in June of 2002 and postproduction ran from July 2002 through February 2003. Why We Had To Kill Bitch was shot on DVCAM with a Sony PD-150 attached to a Glide Cam 2000 Pro and was edited on Macintosh G4 with Final Cut Pro 3 and Pro-Tools LE.

John-Paul Nickel, who also served as producer, is a May 2000 Theatre major graduate from the Conservatory of Performing Arts (COPA) at Point Park College. He won the Regional Ten-Minute Play award at the Region II 2000 American College Theatre Festival held in January at Clarion University. As a regional winner, John-Paul was a guest of the Kennedy Center in Washington, D.C., at the National 2000 American College Theatre Festival held in April, where all the regional winning plays were given staged readings. In 2002, Nickel had stage plays produced by The Unseam’d Shakespeare Company, The Gemini Theater and The Penn Avenue Theatre.

More information about Why We Had To Kill Bitch and Five Cent Productions, LLC is available by phoning 412.362.7046 or by visiting the web site at ww.killbitch.com.

### FOR IMMEDIATE RELEASE: Upon Receipt
Contacts:
Eric Haines 412.613.4895 John-Paul Nickel 412.362.7046

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Why We Had To Kill Bitch premieres to record Pittsburgh crowds; largest-ever world premiere in Pittsburgh movie theater
Pittsburgh --- Why We Had To Kill Bitch, the first movie from local independent film production company Five Cent Productions, LLC, premiered to a record crowd on Tuesday, June 10th, at the Loews Movie Theater located in The Waterfront in Homestead. “We rented Loews’ largest theatre,” said producer, director and screenwriter John-Paul Nickel, “and it still wasn’t big enough.” The theatre seated 580 and only the people in the first half of the queue were able to get in. “With a crowd of at least 1,000 people, a pre- and after-party, local sponsorship, and the need for an encore showing, the world premiere of Why We Had To Kill Bitch was the biggest world premiere of a movie in Pittsburgh movie theatre. Ever.” says Nickel.

The event began at 6:00 pm with a pre-premiere meet and greet cast, crew, and sponsor buffet while disc jockey Ravey from the X at 105.9 greeted patrons at a display table outside the theatre with give-aways of merchandise from the X and passes to see Why We Had To Kill Bitch.

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Inside the theatre, Pittsburgh rock band Zentai performed an acoustic set at 7:30 as seating began. At 8:00, the newly formed Motion Picture Commission of Pittsburgh was announced. Then, Pittsburgh comic Buzz Nutley warmed up the crowd with stand-up comedy and more give-aways until the 8:20 world premiere began, complete with previews from other local independent movies.
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After the movie, the crowd crossed the street to Bar Louie for the post-movie after-party. “Nobody believed that this would be a landmark event until it actually happened.” says Nickel. “No one in Pittsburgh has ever done anything like this only because they never tried to, not because it was impossible. People just couldn’t wrap their minds around having a spectacular Hollywood-type premiere here in Pittsburgh and that’s a shame.”

The sold-out premiere necessitated an encore premiere on June 17 at The Rex Theater on Carson Street in Pittsburgh’s South Side.

A mock documentary, Why We Had To Kill Bitch is a comedy that both adheres to and defies all the rules of the contrived, Hollywood romantic comedies. To keep from failing his film class, Kevin (the cameraman) is following his best friend Eugene (the subject) with a video camera to document a day in the life of an average guy.

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During the course of the day, Eugene briefly encounters a young woman with whom he falls madly in love at first sight. As he spends the rest of his day trying to find her again, the documentary transforms into a full-blown narrative comedy. The love interest is the motif that spins Why We Had To Kill Bitch into a send-up of formula romantic comedies. “We shot Why We Had To Kill Bitch digitally, as most of the world’s major film festivals now accept entries shot on tape,” says director and screenwriter John-Paul Nickel. “If we get

is John-Paul Nickel and Five Cent Productions 4804 Baum Blvd. Pittsburgh, PA 15213 (412) 719-9999 jp@fivecentproductions.com www.killbitch.com

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positive responses from them, we’ll blow it up to 35-mm so we can have a print to send to the festivals that don’t accept digital formats.”

In addition to utilizing 10 local settings, Five Cent Productions employed an allPittsburgh cast and crew in shooting Why We Had To Kill Bitch. The cast of 23 (with extras) included veteran, professional actors John Yost, Greg Caridi, and Kristin Pfeifer and all of the movie’s music was provided by the local bands Salena Catalina, Voodoo Babies, Crisis Car and Simon.

Why We Had To Kill Bitch was shot in thirteen days in June of 2002 and postproduction ran from July 2002 through February 2003. Why We Had To Kill Bitch was shot on DVCAM with a Sony PD-150 attached to a Glide Cam 2000 Pro and was edited on Macintosh G4 with Final Cut Pro 3 and Pro-Tools LE.

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John-Paul Nickel, who also served as producer, is a May 2000 Theatre major graduate from the Conservatory of Performing Arts (COPA) at Point Park College. He won the Regional Ten-Minute Play award at the Region II 2000 American College Theatre Festival held in January at Clarion University. As a regional winner, John-Paul was a guest of the Kennedy Center in Washington, D.C., at the National 2000 American College Theatre Festival held in April, where all the regional winning plays were given staged readings. In 2002, Nickel had stage plays produced by The Unseam’d Shakespeare Company, The Gemini Theater and The Penn Avenue Theatre.

More information about Why We Had To Kill Bitch and Five Cent Productions, LLC is available by phoning 412.362.7046 or by visiting the web site at ww.killbitch.com .
is John-Paul Nickel and Five Cent Productions 4804 Baum Blvd. Pittsburgh, PA 15213 (412) 719-9999 jp@fivecentproductions.com www.killbitch.com

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Press
From Pulp: June 5th, 2003, “Bitching Comedy” by Wayne Wise To view the article directly, go to: http://www.pittsburghpulp.com/content/2003/06_05/arts_filmpreview.shtml

Bitching Comedy
Five Cent Productions Premieres Why We Had to Kill Bitch WHY WE HAD TO KILL BITCH With comedian Buzz Nutley, the band Zentai and trailers for other locally produced films The Murder, Project Valkyrie and Last Call Tuesday, June 10, 8 p.m. Loews Theater, Homestead 412.462.6384 By Wayne Wise In spite of the title, Why We Had to Kill Bitch is not just another Pittsburgh-made independent horror film. In fact, it's not a horror film at all. No matter what the title leads
is John-Paul Nickel and Five Cent Productions 4804 Baum Blvd. Pittsburgh, PA 15213 (412) 719-9999 jp@fivecentproductions.com www.killbitch.com

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you to believe, director/screenwriter John-Paul Nickel insists that Bitch is a romantic comedy. "Actually, it's a romantic comedy without the romance," he says. "One of the actors, Jason Fleece, says that it adheres to, yet defies, the conventions of the romantic comedy." Even for the director, it seems that Bitch doesn't lend itself to easy description. The press kit compares it to Clerks, then goes on, tongue obviously in cheek, to say that a comparison to Clerks is almost a requirement for independent film projects these days. Similarities to Wayne's World and The Blair Witch Project are also mentioned. It includes a character called Bitch, and she is killed. Though her existence serves as a motivator for much of the action of the film, her death is a minor, off-screen incident in a sprawling series of misadventures. It goes something like this: Film student Kevin Spilker's final project is due in class on Monday. It's Friday as the film starts, and he has done nothing. He cooks up a half-assed plan to follow a friend around, film his life for the weekend

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and call it a documentary. The entire film is seen through Kevin's camera, hence The Blair Witch comparison. He chooses Eugene as his subject; actually he is the only one of Kevin's friends to agree. But Eugene is a loser. His last girlfriend was imaginary and even she cheated on him. He once dated Bitch -- his friends gave her the name -- and he still feels controlled by her. The action, or lack thereof, begins at the movie theater where Eugene works. Nothing is happening, to Kevin's dismay, until a beautiful woman comes in. She is the girl of Eugene's dreams, and the rest of the film follows his attempts, aided by his friends Stanley and Quentin, to find her after she leaves the theater. Along the way they encounter drug-addled George, play strip-pool and get attacked by a samurai-swordwielding madman. The action is interspersed with short flashbacks to some of their prior escapades, including a dead hooker and an encounter with the mob. Strange as it sounds, it all ties together and makes sense in the context of the film. Nickel founded his production company Five Cent Productions shortly after his graduation from Point Park College with a theater degree in 2000. Work on the movie that would become Why We Had to Kill Bitch began shortly thereafter. Nickel sounds animated and energetic as he relates the details and history of the project. "It was originally called W.I.M.P.," he says. "It stood for White Intelligent Male People, but we refilmed the whole thing." The original film was filled with problems with sound
is John-Paul Nickel and Five Cent Productions 4804 Baum Blvd. Pittsburgh, PA 15213 (412) 719-9999 jp@fivecentproductions.com www.killbitch.com

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and picture quality. He spent almost a year in post-production trying to fix it before deciding to start over. "It was both excruciating and depressing for me," Nickel says. "I was involved in a lawsuit with my former director, and I was starting over after what felt like wasting two years of my life. But it paid off. It became a different movie and needed a different name." The title is designed to grab attention and it does, some of it negative. "We only lost one sponsor due to the title," he laughs. "That's not too bad." Bitch was filmed in Pittsburgh over the course of 13 days in the summer of 2002. The first scheduled day of shooting coincided with the storm phenomenon called the macroburst. Half the city was blacked out, including the locations of the shoot. Trying hard not to see this as an omen, Nickel persevered.

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The film reveals Nickel's laid-back approach to directing. He allows his actors a lot of leeway with the script and action. "I would usually do a couple of takes for any given scene," he says, speaking quickly. "Then I would announce, 'Okay, this is the fun take,' and just let the camera run. Some of the best scenes in the movie resulted from the improv that the actors came up with. "John [Yost], who played Stanley, was really good. We would say, 'John, let the Bad Man out,' and he would just run with it." Yost has a number of film and television credits, including Inspector Gadget and West Wing. The cast is rounded out by a number of Pittsburgh stage veterans, including Gregory Caridi (Eugene), Anthony J. Bishop (Kevin), Allison McAtee (Heather), and Kristin Pfeifer as the Bitch. Bitch is a visual treat. Viewers need to pay close attention to what happens on the sidelines as well as the main action. Some of the film's funniest moments occur between characters standing in the background. It pays to stick around for the closing credits as well; as they roll, George -- portrayed by Jason Steele -- rambles through a largely improvised monologue, detailing more of the past adventures of the cast. It's long but hilarious. "It's a pleasant surprise if it comes out wonderfully, like this movie has," Nickel says. "But there's always that lingering fear that it could all just blow up in your face. I hope you like what you see. But if you don't, please remember that this was as much everyone else's fault as it is mine."

is John-Paul Nickel and Five Cent Productions 4804 Baum Blvd. Pittsburgh, PA 15213 (412) 719-9999 jp@fivecentproductions.com www.killbitch.com

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Press (continued)
From The Pittsburgh Tribune-Review: June 6th, 2003, by Ed Blank To view the article and accompanying photo, directly go to: http://www.pittsburghlive.com/x/search/s_138187.html

Free tickets to premiere available online
By Ed Blank TRIBUNE-REVIEW FILM CRITIC Friday, June 6, 2003
You, too, can attend a movie premiere Tuesday for no more than it costs to print a ticket off an Internet Web site. The locally based Five Cent Productions, LLC will premiere its mock documentary "Why We Had to Kill Bitch" as part of a program beginning Tuesday evening at Loews Waterfront, West Homestead. The 82-minute $10,000 picture, shot in 13 days on video, is billed as a send-up of romantic comedies. It's about "a day in the life of an average guy," according to producer-writer-director John-Paul (J.P.) Nickel. The filmmaker is a 2000 graduate of the Conservatory of Performing Arts at Point Park College.

is John-Paul Nickel and Five Cent Productions 4804 Baum Blvd. Pittsburgh, PA 15213 (412) 719-9999 jp@fivecentproductions.com www.killbitch.com

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John Yost, who just completed an off-Broadway engagement in "A Ritual of Faith," heads the ensemble of 23 along with Kristin Pfeifer, who plays the title character in "Why We Had to Kill Bitch," Greg Caridi, Anthony J. Bishop and Allison McAtee. Nickel has booked Loews Waterfront's largest auditorium, the 510-seater, for the premiere to accommodate cast, crew, guests and as many members of the public as possible. Moviegoers may file into the theater as early as 7 p.m. Local bands will perform from 7 to 8 p.m., after which comedian Buzz Nutley will warm up the crowd.

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Trailers of other locally made independent films will begin screening at 8:20 p.m., followed by the world premiere of "Why We Had to Kill Bitch." Free tickets may be printed from the Web site www.killbitch.com. Ed Blank can be reached at edwblank@aol.com or (412) 854-5555.

is John-Paul Nickel and Five Cent Productions 4804 Baum Blvd. Pittsburgh, PA 15213 (412) 719-9999 jp@fivecentproductions.com www.killbitch.com

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So, why exactly did we have to kill Bitch?
We had to kill Bitch; there was no other choice. But despite that obvious fact, there‟s still some speculation by the uninitiated as to why Bitch had to be killed. We thought we‟d share the top 31 reasons that people have come up with:
1) She was French. 2) She didn‟t like monkeys. 3) She never washed her hair. 4) That damn beret. 5) She was a bitch. 6) She was a democrat. 7) Nobody liked her. 8) It was her or us. 9) She was a slut. 10) She had no taste in men. 11) She had bad table manners. 12) She drew blood. 13) To stop her insidious cockblocking before it infected the children. 14) She used to drum her nails on the table! 15) She racked up an $82 late fine for Caligula on Gene‟s blockbuster card. 16) Butter side down man. Need I say more? 17) Gene needed his testicles back. 18) She didn't know her place. 18) She made us do it. 20) She was a cocktease. 21) She slept with everybody but us. 22) She killed Kennedy. 23) She didn't shave her armpits. 24) She had a horrible case of halitosis.
is John-Paul Nickel and Five Cent Productions 4804 Baum Blvd. Pittsburgh, PA 15213 (412) 719-9999 jp@fivecentproductions.com www.killbitch.com

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25) She had cooties. 26) She ate croissants. 27) One too many hair flips and eye rolls. 28) She was rabid so we had to put her down. 29) She had a mime fetish. 30) To see if evil could really die. 31) Starts with h, ends with erpes.

But as interesting as those guesses are, none of them even come close to the real reason that we had to kill Bitch.

is John-Paul Nickel and Five Cent Productions 4804 Baum Blvd. Pittsburgh, PA 15213 (412) 719-9999 jp@fivecentproductions.com www.killbitch.com

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