Uke & Trust Me
A couple on their way to a vacation destination is feeling apathetic about their plans (and possibly each other), when they unexpectedly encounter an unusual trio of ukulele players on their way to a wedding gig.
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William R. CoughlanDirectorTex: Wisdom of the Old West, Number One With a Bullet
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Heather WhitpanWriter
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Robin BrandeWriter
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Kevin FinkelsteinProducer
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Keith WatersKey CastCodependence Day, Tex: Wisdom of the Old West
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Carol McCaffreyKey CastCodependence Day, Tex: Wisdom of the Old West
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Nick DePintoKey CastTex: Wisdom of the Old West
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Brooks TeglerKey Cast
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Jennifer MasseyKey CastThe Greater Evil, Number One With a Bullet
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Dan FosterCrew
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Project Type:Short
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Runtime:5 minutes 22 seconds
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Completion Date:May 4, 2014
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Production Budget:1,000 USD
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Country of Origin:United States
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Country of Filming:United States
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Language:English
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Shooting Format:Digital
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Aspect Ratio:2.0:1
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Film Color:Color
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First-time Filmmaker:No
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Student Project:No
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48 Hour Film ProjectWashington, DC
United States
May 10, 2014
World Premiere -
TIVA Peer Awards 2014Washington, DC
United States
November 8, 2014
Bronze Award: Directing - Fiction, Short -
Central Michigan International Film FestivalMount Pleasant, Michigan
United States
February 12, 2017
Michigan Premiere -
Indiana Comic Con Film FestivalIndianapolis, Indiana
United States
April 14, 2017
Indiana Premiere -
Ocean City Film FestivalOcean City, Maryland
United States
June 9, 2017
Maryland Premiere -
Tampa Bay Comic Con Film FestivalTampa, Florida
United States
July 29, 2017
Florida Premiere -
San Francisco Comic Con Film FestivalSan Francisco, California
United States
September 1, 2017
California Premiere
William R. Coughlan is an award-winning screenwriter and director, and founder and CEO of independent video production company Tohubohu Productions, LLC. He worked for several years with The Advisory Board Company (and its offshoot companies, CEB and EAB) in Washington, D.C., where he began as a graphic designer before creating a full-service in-house video and multimedia department, and then eventually moving into the ranks of creative department management. In addition, he provides creative oversight for the global public affairs firm EGA, is the Creative Director of Jabberwocky Audio Theater, and served for several years on the Board of Directors for TIVA, the Television, Internet, and Video Association of DC, Inc., filling the roles of Treasurer and Vice President before finishing his tenure as President. He also enjoys acting, voiceover performance, design and illustration, editing, animation, and writing autobiographical comments in the third person. He is the illustrator of the therapeutic workbook Stories for Children with Problems & Wishes, has provided schematic graphics for several HBS case studies, designed the acclaimed Protégé clay poker chip line, served as the Critic at Large for the online literary magazine Inkblots, has been a judge for both the TIVA Peer Awards and the Emmy Awards, founded and co-hosted the long-running Tohubohu Producer Podcast, and is an accomplished animator and ambigram artist. He currently resides at a secret compound in Northern Virginia.
I had long been impressed with the outside-the-box thinking behind the films of Frozen Penguin Productions (and was coming fresh off of a successful collaboration with Tarakata Films on “The Lake”). So for Tohubohu’s 2014 entry in the 48 Hour Film Project, I decided to reach out to Frozen Penguin producer Kevin Finkelstein to propose something experimental: Combining creative and production teams to see if we could produce something greater than the sum of its component parts. It was definitely a learning experience, and in hindsight, certain aspects clearly worked better than others. Having a scripting team with few preconceptions led to the hoped-for wealth of potential ideas, but focusing those ideas into a single narrative (especially with a geographically dispersed group of writers) proved elusive, making for a later-than-planned night of script polishing. A recent back injury severely limited my own mobility. And location scouting in the wee hours of the morning gave us a false sense of security, as daylight traffic — not a significant factor at three a.m. — rendered our designated shooting location practically unusable. But we had a singularly dedicated cast and crew come production day, and (with a lot of on-the-fly modification) we ended up with a fun, quirky little diversion that was a memorable experience for all involved.