Tag Archives: Alfred Eaker


Late Saturday, I received sad word that our own Alfred Eaker had passed away. No further details were provided. I don’t even know his exact age; I believe he was in his early 60s.

Alfred’s contribution to this site, from almost the very beginning, was immeasurable. He was the first contributor here besides myself. Although he had scaled back his writing here to pursue other projects, he was still engaged with 366 Weird Movies; in fact, he had ambitions for a written series running through the entire video nasties list. He recorded this podcast episode with me (others were planned) a mere three weeks ago:

Alfred was the kind of guy who became famous (here) more for what he hated than for what he loved. But when he loved something—Ed Wood, or classic Westerns, or opera, or Chaplin, or Ken Russel, or Andrei Tarkovsky, or Mahler, or Picasso—his passions matched or exceeded his excoriations. Alfred’s loves were no more secrets than his hatreds. It’s just that his hatreds tended to draw more offended commenters.

Alfred Eaker as Brother Cobweb
Alfred Eaker in character as “Brother Cobweb”

For every reference to “Mango Mussolini” or such you read in Alfred’s essays, be sure I edited out at least one other. But although I didn’t always agree with whatever outrageously elaborate insult Alfred drifted into whenever he sensed the presence of Trumpists, evangelicals, or assorted “constipated critics,” I let him say it, because it came from the heart. Alfred annoyed a lot of readers, and admittedly he earned the site a hearty handful of hate-clicks, but whatever broadsides he launched were aimed at what he honestly viewed as cultural threats.

Over the weekend, I culled through hundreds of pages of Alfred’s writing to select a few of my favorite gems below. (If printed, Alfred’s contributions to the site would take up several volumes on a 366 bookshelf). This is, I think, the best tribute I could give him: to let him speak in his own words. Please enjoy.

“I rarely set out to push people’s buttons. I just don’t give a hoot or a holler if I do, and I believe it’s an artist’s ethical responsibility to have the balls to write without inhibition and to always take an attitude of saying to hell with the status quo (and everything has the potential to develop its own status quo, even weird movie aficionados).”–Alfred Eaker on a decade of writing for 366 Weird Movies

“… essentially a 21st century update of Animal House… a bodiless set of redneck testicles.”–Alfred on Avengers: Infinity War

“When I saw that 366 Weird Movies’ readers had topped themselves in sadism with this year’s summer blockbuster picks (a video game, a Disney, AND a comic book movie) you can understand why I, Continue reading R.I.P. ALFRED EAKER


Filmed by Karl Whinnery of www.hotkarlproductions.com , this is an excerpt of our own Alfred Eaker‘s performance of his Brother Cobweb character at The House of Shadows in Gresham, Oregon. “Brother Cobweb” is the title of Eaker’s forthcoming novel.

Temporarily removed.


A new short film by Alfred Eaker and James Mannan

Still from La Lontananza Nostalgica Utopica Futura (2014)Director’s statement:

La lontananza nostalgica utopica futura (trans: Nostalgia for a Distant Future Utopia) takes its title from a work by Italian avant garde composer Luigi Nono.  This film was made while Alfred Eaker was a student at the John Herron School of Art. Al invited me to co-direct this short piece from his screenplay. Subsequent editorial embellishments were supplied by J. Ross Eaker, who also served as cinematographer. The story of Paul and Vincent’s combative relationship is well worn cinematic territory, the usual focus being on Vincent’s impulsive, self destructive behavior. Our decision was to examine their aesthetic and spiritual struggles, with a focus on Paul’s equally self destructive ego and immorality. Much of the dialogue is taken directly from their personal correspondence.  Historicity and realism are eschewed and the approach is impressionistic; Brechtian if you will. This was a budgetary move to be certain, but allowed the text and themes domination over the mis-en-scene. What results is an examination of the art and essence of two flawed men whose influence dominated the following century and beyond. An aphorism used by Nono speaks to our intentions: Caminantes, no hay caminos, hay que caminar   (Travellers, there are no roads, there is just traveling.   –James Mannan



Requiem For The Relentless Fathers (2012) is a short film I made for theology graduate school. “First and Second Samuel” was a class taught by Dr. Marti Steussy. Among Steussy’s assignments was an artistic presentation from the text.

Embedded theology oversimplifies the Samuel narrative: Samuel, the Judge of Israel, is the protagonist. Saul, the first King, disobeys God, and is therefore the antagonist. God consequently replaces Saul with the hero David, whom God loves. Even as a child I had issues with that elementary assessment. Regardless of what my Sunday school teachers taught, I found myself sympathizing with the antagonist. Perhaps it is in my nature. After all, I never could manage to find sympathy for any of the characters in Richard Wagner’s symbolist opera “Parsifal” except the alleged villain Klingsor. Still, having had a class with Dr. Steussy previously, I rightly concluded that she would supply fresh insight into the narrative.

Dr. Steussy discarded tradition. She inspired us to go directly and honestly to the text without preconceived notions. After knocking the dust off my Bible, I did exactly that. At the end of the semester a few fellow students, upon seeing the film, pointed out that they would not have been open to my interpretation if they had seen it at the beginning of the semester.

Since Requiem is a short, many details are naturally left out. The film is what the title says: It is a requiem for three complex, relentless fathers in an authentically strange Biblical narrative. Samuel and Saul are the primary focus. However, we tried to depict even the secondary character of David as embodying more than meets the eye in his initial introduction. (Perhaps someday, we will be able to do a follow-up film of the Davidic character). The historicity of Samuel was not our concern, which is why we placed it in a relatively contemporary setting.

Dr. Steussy proposed a question—“Why is it important how we judge Saul?”—followed by an answer—“It is important because it reflects how we are apt to judge one other.” Of equal importance is an honest approach to the text as an un-hallowed narrative, stripped of our over-familiarity. I found the story of Saul to be a fresh and surprising chronicle; often bizarre, adverse, and morally questionable.

The cast includes  as Samuel/God, myself as Saul, Robert Webster as David, Jordan Wheatley as Michal, Nate Saylor as Jonathan,  as the woman of Endor, and Jennifer Ring as the Evil Spirit of God. Director of photography: Robin Panet. Assistant Directors: Robbin Panet and James Mannan. Sets: John Claeyse. Music courtesy of Tahra Records. The script was inspired by 1 Samuel and the Samuel commentaries of Dr. Marti Steussy and Dr. David M. Gunn.

Along with a number of other collaborative short films (including 9), Requiem For The Relentless Fathers will be available on 366 Weird Movies DVD label in late 2014.