Synopsis

In debt to SUMMERS, a thug who runs a car yard and gets younger petty criminals to steal cars for him, AUSTIN is seriously threatened and forced to do one last job for SUMMERS to pay him back. He steals a loonie wagon from a reckless pair of attendants, unaware that a dangerous mental patient with MPD (Multiple Personality Disorder) is inside the van.

A comedic situation ensues as he’s trying to get rid of JACK so he can deliver the van to SUMMERS. Unable to do so, AUSTIN decides to deliver the van with JACK in it and make a quick get-away. Another tense situation arises when he delivers the car and SUMMERS discovers the baggage that comes along with it, and tries to make AUSTIN pay for playing him for a fool. In the end JACK frees himself and saves AUSTIN.

Director's Statement – Miklós Philips

Immediately upon reading the log-line for Riding with Jack on inktip.com, I became excited at the idea of working with material that was light and funny, yet had some action in it. I contacted the screenwriter, Julio Palmieri in Toronto, and after reading the script, images, scenes and characters came alive in my head. I could see an entertaining, engaging and funny short film. I was impressed. I also knew, if I wanted to stay away from cliché and slapstick, that casting would be extremely important and directing it a challenge. Ultimately I didn't want to do anything less demanding. I was interested in working on a film that was the opposite of the expected stereotype. One that was entertaining, intelligently acted and respectful of the audience; that was all about the work, the performances and what ends up on the screen. Stylistically I wanted it to have a certain hyper-reality, a bigger-than-life scenario, but subtly and gracefully executed - not overdone. That was the art of it.

I went through a meticulous auditioning process and a fairly long, focused rehearsal process. We shot for five punishing days in San Francisco. The filmmaking process can be a grueling ordeal and this was no exception. Renting equipment, convincing actors and crew to volunteer their services--and scheduling shoots under the most frugal time and budget constraints are daunting challenges in themselves. To endure the experience and come out with a great film is an admirable feat. My cast and crew came through beautifully and it shows. This was a truly international production; me being originally from Hungary, my co-producer and art director from Australia, the screenwriter from Guatemala (living in Toronto), the soundtrack composer from Brazil, and the cast and crew American.