Notes from Medicine for Melancholy

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On the Process
Written by Justin Barber   
Tuesday, 16 October 2007

The following is an excerpt from the latest Medicine for Melancholy dispatch by independent producer and SM staff writer Justin Barber:

8 Weeks humping prehistoric 35mm camera gear in the Pennsylvania snow climaxed with a daring wrap party to be forever unparalleled in dance, drink and carnal debauchery. The morning after: the day before Christmas, 2005. “Dude,” I said - gently but sternly stirring you from your nest of hung-over art assistants, “We have 24 hours to drive 1200 hundred miles or my family disowns me.”

I remember the waitress’s voice at the Cracker Barrel in South Carolina. I asked her where the bathroom was - “You jus go straight on tru dem double daws.” It was good to be back in the South - safe from icy night-time roads and E-A-G-L-E-S Eagles fans. Upon returning to the table, there sat a red, white and blue box quaintly printed with a forgotten style of bold nostalgia. Inside: this harmonica - shining gloriously under the economic, chain-restaurant lighting like all the angels and Robocop’s helmet. I showed as much gratitude as any masculine heterosexual can.

We ate, we paid, we drove.

In Destin, Florida, you got in an old cadillac that a friend bequeathed you - a battered pile of metal, like a transformer had taken a dump in Shane’s front yard - but it would get you to New Orleans. My toyota echo and your caddy pulled out of the neighborhood and stopped at a T-intersection. We faced the coastal highway, running East and West, and feet beyond that heaved the Gulf of Mexico - the first water we’d seen since the frozen Delaware. We shared a knowing glance, lingering as long as our masculine heterosexuality would let us. As I watched you turn West towards a long, arching bridge I made a silent promise. It was a masculine, heterosexual promise. It was this:

I will earn this harmonica.

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Justin Barber
About the author:
Contributing Writer. Justin Barber is an independent producer/couch-surfer living off leftover craft service snacks somewhere in California. He's able to fund his projects through an impressively high tolerance for other people's futons and a diverse skillset qualifying him for almost any role in the film industry. He balances out gigs as a line producer, camera operator and assistant cameraman with off-set graphic design, motion titles and digital effects work. Two shorts he directed at the Florida State University Film School The Heart of a Small Boy and Leaving Baghdad were welcomed at film festivals across the country. He's most strongly influenced by the work of Ernest Hemingway and Antoine De Saint Exupery. His recent projects include the debut feature films City on a Hill, directed by Amy Seimetz, and Barry Jenkins' Medicine for Melancholy.
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