Justin America, Webisode 1; or, The Extreme Perils of Parting Ways

Justin America is just the average guy pursuing the American dream—although he’s doing it in a dusty red union suit, no boots or hat or clothes, and with a bullet hole in his side. But Americans always have that sense, rightly or wrongly, that they can do ANYTHING, so no worries! Right? . . . um, I said . . . right . . .?

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Justin America is a new western web series that’s riding into town on the musical twang of spaghetti western–meets–The Magnificent Seven bombast. With the attitude of both—the humor is dark yet the storyline is classic—this pilot episode, “Parting Ways,” is as promising as it is dynamic. In the space of six minutes, we have hope, betrayal, and bloodshed. Cool.

First, the story. There’s been a power play in a tight-knit outlaw gang and all Justin (Myko Olivier) wants is to leave the gang, clear his name as an outlaw, and to “put a few dollars in [his] pocket the honest way.” A chance to start over is what practically every person on this earth yearns to do. Yet not everyone hides the—well, darn, don’t want to spoil it for you. You see, his boots are where he—okay, can’t tell you that either.

Anyway, Justin’s not some naive Eastern dud of a dude; he anticipates danger in his break from the outlaw gang so he’s craftily thought ahead and taken care of that problem. But what he doesn’t take into account is the fury of a broken heart from—okay, can’t. So forget the plot.

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Bloodthirsty killer or long-johned hero?
Co-Creator John Schimke (right) finds the shot with Myko Olivier (Justin, left).

Suffice it to say that the poor guy is bootless and in his red long johns and shot—all before the webisode’s six taut minutes ends. (There are more twists and turns in “Parting Ways” than in the total of How the West Was Won’s turgid 162 minutes.) Then our hero Justin is forced to hike into the wilderness and stumbles, literally, over what will become his biggest problem yet. Run credits…

And nope, not the end but a good cliffhanger, a “stay tuned for the next episode, when…!” And durn it all, they have me hooked. Check it out!

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The two creators of the series, Jared Isham and John Schimke, ride comfortably in the saddle of Justin America, as familiar with horses as they are with scripts that call for outlawry on the 1880s frontier. This is the third western for Jared, the first being 2009’s Bounty, also a film about second chances, and Trail to Mercy, to be released later this year, about a man on a mission to fulfill a promise to his deceased wife. John’s credits range from thrillers to cowboy-hatted dramas, a matchup that kicks up some dust in this webisode. The spaghetti western twang that sets up the action is from award-winning Nolan Livesey (I love the quick switch from spaghetti to the sweeping  “let’s ride, buckos” chords).

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Aaron Lyons as outlaw Tanner (photo by Rebecca Carpenter)

Jared was kind enough to take a break in the final week before the pilot of Justin America goes live and tell me about the making of what could be the shortest yet most complete western on earth. (And thanks, John, for your input too!)

Jared said that most of all, he and John wanted to tell a story about “someone who is striving for something good.” But to make a western, you just throw in some guns and horses and saloons, right? “The danger of making a western,” Jared cautions, echoing one his favorite directors, James Mangold (3:10 to Yuma), is that “a western can become a movie about westerns rather than about character.”

So they focused on the characters first, spending five or six months on backstory, getting the lay of the land. “Once we did that,” Jared says, “we went to page one.” A true western tests the mettle of its protagonist, and so they made sure to throw plenty of mettle-making problems at our long-john-clad hero right from the first page. What does a guy who wants everything do when he has nothing? (And by nothing, they mean nothing, not even his boots, one of the primary tools of a cowboy out in the West, good for horseback riding, protection from snakebite—you can even drink water from them.)

What’s great about this approach to a western is that it shifts the focus from stereotypes to types—the outlaw leader, the woman gang member, the burly, gleeful bully, etc.—and then to characters ready to be breathed into life by actors. Over the course of John and Jared’s developmental work, the characters, as people tend to do over time, began to reveal themselves. The gang, the community that Justin is breaking from in the first episode, took on a life of its own, with a shift in hierarchy—a grim-faced Max (Mark Jeffrey Miller) as new leader—that makes Justin’s staying with the gang unbearable. As Max grits through his yellowed teeth, “You’re loyal or you’re dead.”

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Mark Jeffrey Miller as Max (photo by Rebecca Carpenter)

The character of Audry (Samantha Colburn), the sharpshooter in this first episode, especially changed and developed over those months, says Jared. “Max is stronger and has more backing from the group [of outlaws],” he continues, “but Audry is smarter and able to manipulate people.” And she’s not the average 1880s woman. She takes her revenge in a short, sharp, and effective way and, I’m betting there’s a lot more to her that will come out. As the camera circled around the fight between outlaw thug Tanner (Aaron Lyons) and Justin, the glee with which Tanner beats up his former fellow gang member is beautiful to behold—and hints that he has a story too. In this western, it’s clear that all characters will get a voice.

Samantha Colburn as Audry (photo by Rebecca Carpenter)

Samantha Colburn as Audry (photo by Rebecca Carpenter)

It was also important to the co-creators to create a western that was historically accurate. To that end they were helped by the team at Caravan Western Productions movie ranch, with Peter Sherayko as technical consultant and all-around wrangler of all things western. (No stranger to the genre, Sherayko played “Texas Jack” Vermillion in Tombstone and has written prized books about the guns and gear of western films.)

Most of the cast had experience shooting guns and riding horses, so with Caravan’s help they trained in using period guns as casually as outlaws would, while keeping up with modern-day notions like safety. No doubt smartphones were turned off while the actors were in character, but one story I liked was about how one actor read Moby-Dick to get into the mood. (Of course! Man versus non-Disneyland nature.)

Aaron Lyons as Tanner (left) and Samantha Colburn as Audry (right) (photo by Rebecca Carpenter)

Aaron Lyons as Tanner (left) and Samantha Colburn as Audry (right) (photo by Rebecca Carpenter)

There’s always a story in why a modern-day artist will choose to work with this genre—westerns are often viewed as fusty, dusty, racist, cardboard-cutout cheeseball fluff. (And yup, some of them are.) For Jared and John, watching westerns as kids gave them a familiarity with the bones of the genre and classic mid-century episodic storytelling. Jared grew up watching reruns of 1950s heroes Roy Rogers as well as Gunsmoke and The Long Ranger. Both John and Jared learned to ride horses early on (this seems to be quite the pattern for people who write/film westerns), but quick fact you can surprise him with if you meet him: he learned on a Shetland pony (aw!), graduating to a mustang when he was ready (classic!).

Justin America will eventually find his town and will get a chance to clear his name—just not the way he was planning. And there will be a bounty hunter . . . and a cattle drive . . . and Justin will cross the western region of the continent, from plains to desert to canyons to towns fueled by railroad expansion, along the lines of Deadwood’s den of iniquity (filmed at Melody Ranch, on the short list of possible set locations) or Dr. Quinn Medicine Woman’s town (filmed at Paramount Ranch, another on the short list of possibilities).

There will be at least one scene in a saloon (because, duh, a western without a scene in a saloon with a guy or gal huskily saying, “Give me a whiskey,” is not really a western). This the co-creators know well, but they also know their characters have hidden quirks and depths. When their grim-visaged man or woman glares around the saloon and orders something, they have a feeling it might not be “the usual.” Tea with sugar? Dynamite? Whatever it is, it’ll be unexpected, the way the real west always is.

Justin America is an American story in a distinctly American genre in a perfect western style, with a minimum of words. This is the first episode of what I hope will be many. Buckos and buckarettes, watch it, tweet about it, Facebook page like the darn thing! Because studios should know westerns have fans. And OMG I HAVE TO KNOW WHAT HAPPENS.

Justin America’s pilot episode is just a click—and the ching of a spur away.

 

And more western trivia, because I had to ask

Favorite films??

Jared’s a John Ford fan, with The Searchers and Stagecoach high up on his list, which also includes 2007’s 3:10 to YumaTombstone, Unforgiven, and Once Upon a Time in the West. John Wayne’s 1973 western The Train Robbers, he says, was of particular interest in the creation of Justin America, as it also incorporates some fantastical elements of the west as well as typical western history and great John Wayne–worthy lines. John is a spaghetti western fan, appreciating 1966’s Django and the epic oater Once Upon a Time in the West, among others.

Favorite western wear???

Jared says cowboy hats while writing is key—also very useful for directing for the same reasons cowboys wore them since time immemorial—good against sun and rain, wind and dust. John’s trusty Justin boots see him through all tasks. (And I heartily agree. If you can’t do something in cowboy boots, it probably isn’t worth doing at all.)

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