When I was twelve, fire was awesome. I’m not sure how or when it happened but at some point, playing with fire surpassed basketball, kickball and tag on the streets of my neighborhood. My good friend Ben had a hobby of stealing lighters from the local convenience store, and we’d play “The Nose Game” to figure out who would steal the Lysol spray from their parents bathrooms to help create the torch. We’d take our homemade torches out to the neighborhood park and have a grand old time out there in the fields and the man made dunes behind the hill. Most of the people who walked through these dunes were either high or drunk, and many of them were homeless as well.In our town a bunch of kids playing with fire would have been met with several PTA meetings and mandatory fire safety classes in all public schools, so we committed our acts of minor arson and pyromania in seclusion, around people who at worst ignored us and at best crowded around to watch as we burned someone’s shoe while it was still on their foot or sprayed a soda bottle full of aerosol and lit it on fire to blow it up like a bottle rocket. Eventually we started getting bored with these simple tricks, so we’d switch it up: One day PJ would ride his bike through the flames created by double torches, the next day we’d light a stuffed animal on fire and play hot potato with it. Finally, our friend Mike got his hands on some black powder, the kind they use in shotgun shells or other minor explosives. These and CO2 cartridges became our new best friends, using them to blow up dollhouses and film it, that sort of thing. It was the most fun you can imagine at twelve years old, just a bunch of kids running around some old train tracks blowing up old toys and spraying fire at each other for fun after school. It was real, I think that’s what we all liked about it so much.
This obsession with all things hot and dangerous led to the production of our first short film, the appropriately titled Playing With Fire. Mainly it was a compilation of our favorite fire tricks and various other mischief around town, set to the music of The White Stripes and the theme from Peter Gunn. MTV’s Jackass was huge at the time, but that was only part of our inspiration. We were also influenced by Saturday Night Live, Led Zeppelin, George W. Bush, Nirvana, Lord of Illusions (an awful film we all had seen together at a sleepover), the 1960’s, our 7th grade math teacher and our parents disapproval. Some of these influences got references in the film’s credits, some did not.
I don’t know if it was the lack of recognition or the material in the film itself that my mother was upset about at first. She had come home from the gym one day and found the tape in our VCR, clearly labeled “DO NOT EVER FUCKING WATCH THIS, MOM.” She ignored the warning, and watched the tape in its entirety that afternoon, supposedly. I’ve never actually believed that she was able to make it to the end with all the vulgar language and physical violence. My mother never had a stomach for that sort of thing. Regardless, she read me the riot act and threatened to call the parents of all those involved in the production of The Monstrosity, as my household was now calling it.
I managed to talk her out of becoming the village crier, in return for me promising not to steal my father’s camcorder ever again and to immediately throw away all six of the lighters I owned. This was a good firm reaction on her part; strong enough to send a message, but weak enough to have loopholes. The six lighters she had found had only been my reserve stash; mere backups for the three I kept on my person at all times and the two I kept hidden behind the back fridge for emergency situations. As far as the camera situation, my father worked days, and my mother didn’t know a camcorder from a kumquat. That being said, our film crew was back in business 48 hours after the Firegate scandal broke, and we were out for blood this time. The critical and commercial response to our first film had been overwhelmingly positive, at least among our classmates, and Firegate had added an element of controversy that made it even sexier. We had to capitalize with a well-timed follow up that would shock and scare our captive audience.
The production was harder this time; this film had to be different. It had to be more deliberate and cruel, and it was right from the start. The opening scene involved one of our gang pouring a huge amount of salt right onto an unsuspecting slug, and we progressed from there. We staged an egg fight between all of us at the park and pelted each other so bad we had welts the next day. We covered our friend in potato chips and made him lay on the boardwalk while seagulls and pigeons picked them off his body. We glued quarters to the ground, and when old ladies bent down to pick them up, PJ would run up and perform humping motions in the air behind them while giving the camera a thumbs up. It was pure artistic genius. The White Stripes were replaced by Led Zeppelin and Aerosmith, trading new raw sound for old raw sound. It was our golden age, creatively speaking.
Salted debuted to a crowd of about sixteen after two solid months of hard production. The film was praised as “hilarious,” “side splitting,” and “fucking sick.” It was as proud as we ever were of our exploits, mainly because we actually had tangible evidence of our debauchery for once. Usually, it was just our stories. Actually, I guess that’s all the films really were, too. They were just a little harder to ignore.
