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Here Goes Nothing is an unpublished, unfinished film treatment by the "three J's" of Nightwalker Productions (J. Dromboski, J. Malerman, and J. Williams). The film was intended, initially, as a submission to a local high school film festival, but grew too detailed to fit into such a small timeframe; it was re-designated a "for-the-hell-of-it" project, and has been on the back-burner ever since.

In as simple terms as possible, the film is a complex psychological horror story, in the form of a faux documentary about the failed making of a faux documentary. It's about music. And film-making. And obsession. And the occult. And bad puns. Think of This Is Spın̈al Tap meets The Blair Witch Project, but with all the sanity-damaging properties and questionable structural integrity of House of Leaves.


Confused yet?

Here's the rundown:

Frank Proctor, formerly a director of acclaimed cinema verité arthouse flicks, is down on his luck. His last few movies, considered too mainstream for his old audience but too esoteric for the masses, have flopped wildly. His wife has left him. He's taken to drinking, and is basically a hopeless mess... Until a budding screenwriting duo submits to him a script he just cannot pass up: A rock mockumentary about a quirky pop band rising from total obscurity to relatively less obscurity, all the while pestered by an overzealous director intent on "telling their story" his way. The band is called Nothing, the title Here Goes Nothing.

Enter Guyana Ballet, an experimental outfit desperate for acceptance and exposure who Frank, in a fit of pique, decides to cast as the very-much-less-abrasive Nothing. To make their reactions more realistic, Frank, who has assumed both the role of director and the role of the fictional director, decides to act like his character off-screen when filming. Initially, this is only on set, but his behaviour begins, slowly but surely, to escalate in obnoxiousness off-set as well. The band, originally excited, grow more confused and ever the more divided.


Meanwhile, Frank (when not intentionally channelling Ted Baxter) begins to investigate the origins of the script. It turns out that the first draft of the script was far more dramatic, focusing on the plight of an increasingly divided group obsessed with a perfection they cannot attain, an obsession that eventually leads them to ruin. Even more intriguing: It was based on a real band called Nothing Changes, a forgotten group originating in the Australian "little bands" scene who released three legendary cassettes before vanishing off the face of the earth... Or, rather, dying one by one under bizarre circumstances. Fascinated by the group and their story, Frank tracks down a copy of their exceedingly rare final cassette. He begins listening to it impulsively, drawing from it strange ideas...


The guys from Guyana Ballet, all but entirely fed up with the project, decide to confront Frank and threaten to leave the project. Frank, unusually composed for his adopted persona, apologises to them and convinces the band to stay on. Gradually, off-camera, Frank adopts a weirdly friendly demeanour. He gives out reasonable advice on acting style, proposes musical ideas in a surprisingly fluent manner, even just hangs out with the group. Only the drummer, Eamonn Talbot, sees anything more than reconciliation on Frank's behaviour, although what he sees, he does not know.

Soon after, the band's collective behaviour begins to change, oddly mirroring the peak and decline of their predecessors, complete with curious accidents and eerie, even sinister coincidences. All the while, Frank lies just in the background, watching the chaos unfold, pushing the pawns into place. This eventually culminates in the band, under the influence of large quantities of drugs, attempting to repeat the recording process of that last album's enigmatic final track...

On top of this plot, we have the film itself: A documentary filmed in the aftermath, comprised of footage from the film, backstage footage, the video diaries of Frank and the band, assorted critical commentary, and interviews with those involved. Through each fragment, one slowly realises exactly what happened, and why.


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