Age: 49
male
Spencer Susser (born 1977) is an American filmmaker and film editor. Originally from California, Susser is the only American member of the Australian filmmaking collective Blue-Tongue Films. His short film I Love Sarah Jane, featuring Mia Wasikowska, won Best Narrative Short at the 2008 Nashville Film Festival, the Reel Frontier Merit Award at the Arizona International Film Festival, and the Canal+ Award at the Clermont-Ferrand International Short Film Festival. Susser co-wrote the project with David Michôd. In February 2011, it was reported that Susser is developing a feature-length film based on the short. His feature film debut, Hesher, stars Joseph Gordon-Levitt and Natalie Portman. It appeared at the 2010 Sundance Film Festival and was released in the United States on May 13, 2011. Susser co-directed the music video for Lana Del Rey's song "Summertime Sadness" with Kyle Newman. Description above from the Wikipedia article Spencer Susser, licensed under CC-BY-SA, full list of contributors on Wikipedia.
Michael Cooney’s riotous farce has all the ingredients for rib-tickling hilarity and offers a colorful selection of character roles. The hero, Eric Swan, has been laid off and never found the courage to tell his wife. Instead, he has invented a whole string of fictitious claimants living as lodgers at his home, and each week he cashes their benefit checks. Unfortunately, a man from the DSS arrives on the very morning that Swan, realizing the scam is getting out of hand, has announced that one of his lodgers has died. A grief counsellor arrives, hotly pursued by a marriage-relations expert and an undertaker. As a result, Swan and his reluctant collaborator, Norman McDonald, have to invent a whole repertory company of fake identities and fictitious family relationships, and there are delirious passages when everyone on stage seems to be talking at cross-purposes. The panicky mayhem kicks in early and never lets up, and the ludicrous plot is developed with an insane logic that touches on the inspirational. And while the play’s subject matter is topical, the farce is as reassuringly familiar. Huge-chested old boots are groped in the mistaken impression that they are chaps in drag, dead bodies that aren’t really dead are subjected to terrible indignities and Michael Cooney seems touchingly convinced that he is the first writer ever to have considered the comic possibilities of the word “Uranus”.
