Benji's Return takes the high road!

Reminiscent of times past, Joe Camp and his Mulberry Square Productions are once again bucking the tide of Hollywood experts who say that today's family movies must be full of blasts, bombs, special effects and crude humor to be successful. With a new Benji film, “Benji Off the Leash,” Camp and his team hope to prove that all of the industry is not out to lower the bar of responsibility and drop to the lowest common denominator in order to enhance the bottom line.

“This is a new breed of Benji movie,” says Camp, “layered in serious subjects and solid story for the adults while providing plenty of comedy for the kids. A true ‘everybody’ movie.”

It's happy. It’s sad. It’s funny. And it’s full of suspense. And unique because it's all told from the dog's point-of-view. And since there's no narration and no talking animals, this is no easy task. But as The Dallas Morning News said, "There is no Oscar for animal actors but perhaps there should be because this floppy-eared mutt expresses emotion better than many human actors."

"I'm continually amazed at how many in the industry completely reject the notion that a good story, well-told, with strong emotional involvement will always entertain,” Camp explained. “I’ve watched the kids in screenings and sneaks of this movie and for an hour-an-a-half you can hear a pin drop. They’re totally absorbed. And when they come out raving about it I ask if they missed the “poop jokes” and the potty humor and I have yet to have one kid say ‘yes it would be better with that.’ Not one.”

"Lowering the bar of what's allowed in adult movies is one thing, but when kids are involved it's something else altogether,” Camp continued. "Many studio executives even admit that's what they're doing without a smidgen of remorse. But I believe that we, who have the opportunity to influence and affect millions of kids, also have an obligation to do so responsibly. The machine-gunning fast pace, violence, and crude humor found in what kids are watching today on television and in the theaters is plainly not good for them. Emerging research regarding what this rapid pace is doing to kids' attention spans and the development of the conceptual learning center in the brain is truly scary (see the "The Risks of TV" at www.benji.info). Add that to the desensitizing of violence and respect for one another and I fail to see how anyone can call it good. And, it's just not necessary.

"Most folks in Hollywood say you must have special effects, fast pace, and the all the rest. But I say the fact that we don't is our point of difference and our best selling tool."

For 30 years Camp has been making movies at arms’ length from Hollywood. He has danced with the studios – Disney distributed the third Benji movie, “Benji the Hunted” – and he nearly signed on with three studios to help produce and distribute his latest Benji feature. However, each wanted total control of the film’s content. Camp could not agree to this.

For all these reasons, Camp has taken a long time to finance the new picture, to be sure he partners with people who share his concern for family entertainment. And, in the final analysis, it took private, independent financing to ensure those values. Private investors who share those values and believe that it's not necessary to drop the bar to the lowest common denominator to ensure a profit.

Just barely over a year ago producer Margaret Loesch, (a longtime children’s television executive) Benji, and Camp set out to raise the money for production of the movie. They were going first to Mis sissippi (where both Margaret and Joe went to college and where the new Benji was adopted); then to Dallas, Raleigh, and on to New York.

But they never got past Mississippi! In a little over two weeks they raised the entire production budget, all from people who live in Mississippi or who are related somehow to Mississippi. These include Executive Producers Jack and Phoebe Lewis, Jim Ritchie, Sherman Muths, Sherman Muths III, and Roy Williams.

The Dog

Benji is actually a 3 1/2 –year-old female mixed-breed terrier. She was picked up on the streets of Pass Christian, Miss., and taken to a shelter, whose director responded to Mr. Camp’s contest seeking a new Benji. While it was a different dog the shelter director had contacted Camp about, this new stray was the one who caught Camp’s eye.

The original Benji was the dog that appeared for years on the TV series Petticoat Junction -- Higgins. Trainer Frank Inn f ound him at a Burbank, Calif., animal shelter, Camp recalled. After the movie came out, the American Humane Association estimated that the lovable pooch starring as Benji caused more than a million pet adoptions across the U.S.

Camp thought of that as he returned to the film franchise and began a search of animal shelters for the new Benji. "I thought it was a great thing that Benji had pulled so many dogs out of shelters. I knew that we could, once again, make a difference," said the writer-director, who adopted the newest dog in the fall of 2001.

Camp actually adopted three dogs from around the country and his well-publicized searches raised adoption levels everywhere he went. The shelter in Gulfport, Miss., where he found the new Benji, was empty within a month.

Camp said the three dogs were put through what his wife Kathleen calls Benji Boot Camp, just to be sure, but he says that he knew the Mississippi lady would be the one from the moment he met her.

“ The Los Angeles dog resembles her and could’ve been a stand-in if necessary, but it never was. The new Benji did all her own stunts.” Camp said. That dog now lives with co-producer Margaret Loesch. The Chicago dog, Shaggy, had so much personality that he earned himself a spot in the movie as Benji's fun-loving unwanted sidekick. Benji and Shaggy are more than just stars - they're Camp's pets.

Interest in these dogs' origins caused Camp to rethink his script, which started out as a feel-good Christmas tale. Instead, Camp set the story in small-town Mississippi, imagining what could have been the background of this small dog, wandering aimless, alone, abandoned in Pass Christian, Miss.

Soon after her rescue from the shelter, Benji began filming in Utah. Filming took approximately ten weeks, from May 21, 2003, to July 28, requiring a total of 900 camera set-ups. Benji Off the Leash is the first Benji film in 16 years. Series creator Joe Camp had aimed the movie at a Christmas crowd, but said changes in the story line show his deeper hope: that an old character's new tricks will lead to more pet adoptions.

The Co-Stars

This picture will be raising the Benji concept to a new level. Previous Benji movies have always pitted Benji's emotions and struggles (his acting) against humans and/or responding to situations and events. This will be the first time Benji and a dog co-star will be acting and responding to each other. A co-star with a polar opposite personality to Benji's. Benji, as usual, is very serious and very focused on the job at hand. But Shaggy, playing Lizard Tongue in the movie, is a carefree, ditsy dufus of a stray out for a good time; and completely without intent, he manages to goof up everything Benji is trying to accomplish.

Nick Whitaker stars as 14-year-old Colby, rescuer of the abandoned puppy and determined to do the right thing no matter how difficult his family situation. This rising young star and Utah native has acted in a handful of feature films to date, including “Bug Off!” and “Brigham City” (2001), and “Message in a Cell Phone” (2000).

Randall Newsome, who plays the cranky, inept dogcatcher “Livingston” was born into a family in the oil business and raised in small towns throughout the Midwest. His film career began by working behind the camera on several projects shooting in Pittsburgh, including “Robocop,” “Dominick and Eugene,” “The Prince of Pennsylvania” and a number of made-for-TV movies. Randall eventually became a member of the distinguished Directors Guild of America and assistant direc ted a number of features including “Dennis the Menace,” “The Mighty Quinn,” “Primal Fear,” “Blink,” “Flipper,” “Poison Ivy” and the Coen Brothers’ “Barton Fink.” His interests shifted toward acting and he discovered an aptitude for physical comedy. In addition to his role with the renowned canine in Benji Off the Leash, Newsome’s acting credits include “Highlander II” with Sean Connery, Universal’s “Big Fat Liar,” NBC’s “Ed,” and Comedy Central’s “Tough Crown” with Colin Quinn, as well as stunt work in “Tremors.” He currently lives in New York City.

Sheldon, Livingston’s sidekick, is portrayed by Duane Stephens, who just happens to sing Sinatra jazz like Harry Connick, Jr. Camp had long wanted to feature a rendition of “It Had to Be You” in the movie, but the budget could never have afforded Connick. Enter the multi-talented Stephens. His acting career began in 1994 with a couple of guest appearances on the hit television series, “Touched by an Angel.” H e has since gone on to feature roles in movies such as “Coyote Summer” (1996), “A Life Less Ordinary” (1997), “The Luck of the Irish” (2001), and as Santa Claus in “I Saw Mommy Kissing Santa Claus” in 2002.

Other stand-outs include Chris Kendrick (“The Ivy Exchange,” “The Singles Ward,” “The Wrong Brother”) as the villain Hatchett, and Christi Summerhays as Colby’s mom. Summerhays is currently part of the New York City acting troupe "Handcart Ensemble." She has guest-starred in several “Touched by an Angel” episodes, and had feature roles in “Little Secrets” (2001), “In My Sister’s Shadow” (1997), and the made for television movie “Perfect Murder, Perfect Town: JonBenet and the City of Boulder” (2000). Nate Bynum portrays the local Sheriff, Ozzie. In addition to appearances in popular television series such as “Frasier” and “C.S.I.,” Bynum has acted in several feature films, including “My Dog Skip” (2000) and “The People vs. Larry Flynt” (1996).

The Crew

As creator, producer, director and writer of “Benji Off the Leash,” Joe Camp will be the first to admit he had a lot of great help in all of his roles. Margaret Loesch, co-founder and Managing Partner of The Hatchery, served as Producer alongside Camp. She is also the co-founder of East Carolina Radio and has served in a variety of capacities in the television industry: President and CEO of Crown Media U.S. and its Hallmark Channel; President of the Jim Henson Television Group; President and CEO, as well as key architect of FOX Kids Network, Worldwide; President and CEO of Marvel Productions; and Executive Vice President of Hanna-Barbera Productions. She is a four-time Emmy Award winner and is Vice Chairman of the Academy of Television Arts & Sciences Foundation.

Joe Cam p’s oldest son Joe Camp III served as Production Manager and Co-Producer, accomplishing Hollywood results without the Hollywood budget. Joe Camp III has served as second unit director or assistant director in several big-name movies, including “Big Fat Liar” (2002), “The Truth about Cats & Dogs” (1996), “Nobody’s Fool” (1994), “Sister Act” (1992), “The Addams Family” (1991), and “Tremors” (1990). Camp’s wife Kathleen helped in a number of ways, chiefly in developing the story and screenplay.

Benji and Shaggy went through intensive training with seasoned and well-known trainers Roger Schumacher and Genny Kerns, who were able to coax amazing acting out of both animals, as well as the dog playing Benji’s mom in the movie. Schumacher has served as head animal trainer in films such as “Mr. Magoo,” the Soccer Dog movies, and “As Good as it Gets.” None of the dogs had ever been in a film before and didn't meet until just a few weeks before production started. Trainer Steve Chindgren accomplished wonders with Merlin, the story's whacko Cockatoo who baby sits baby Benji. Putting these animals up big on a theater screen almost feels like cheating.

Production Designer Eric Weiler and his staff brought some great sets to life, while working with so little. Weiler has served in various roles in the art department for several feature and television films, including “True Lies” (1994) and “Up Close and Personal” (1996). Most recently, he has been production designer on two television movies, still in post-production, “Murder Without Conviction” and “Wedding Daze.” Mark Mullins (Television series “Everwood”) worked his magic in the props and set dressing area.

Production photographer Tony Demin is from Livingston, Montana. The job of the "still man" on a movie shoot is probably the most thankless job on the set. The crew is always crushing forward, using every moment to make the movie and make it better, and the poor still guy is trying to sneak in here and there and grab the essence of each scene, always trying to be unobtrusive yet get his work done. And he’s always being moved around. "Tony! You can’t be there. The trainer has to be there! Nope, not there either… Benji’s eye-light goes there. Tony, please move, the camera assistant can’t pull focus with you there." Etc, etc.

Anthony DiLorenzo, a classical trumpet player, composer, orchestrator, and conductor, was introduced to Camp as one of Duane Stephen’s musician friends. Camp now considers him the next John Williams. Strong memorable melody and emotional evocation are the most important elements in a musical score for Camp, especially where Benji is concerned. And after listening to the works of no less than thirty (semi-affordable) composers, Camp was becoming depressed. And then Duane handed him a CD of Tony DiLorenzo’s symphonic scores. His first thought was "Oh great… a friend of a friend… well, I guess I have to listen." And so after a few days of procras tination, he finally stuck the CD into the player… and was struck by lightning!

His work consisted mostly of scores for things like ABC’s Wide World of Sports, televised college football and basketball games and Triple Crown coverage, more than fifty movie trailers (“Forrest Gump,” “101 Dalmations,” “Toy Story,” “Crimson Tide”). He’d even won an Emmy… but Benji Off the Leash will be his first full movie score, which Camp feels is worthy of an Academy Award.

Director of Photography Don Reddy and his crew were pivotal to the great look of this film, one of the first heavily-exterior major motion pictures to be shot digitally in High Definition (Panavision/Sony 24p). Reddy was cinematographer for all the previous Benji movies, and served as a camera operator on several major theatrical releases, including “Master and Commander: The Far Side of the World” (2003), “Mickey Blue Eyes” (1999), “The Truman Show” (1998), “The Tin Cup” (1996), “Steel Magnolias&# 8221; (1989), and “Terms of Endearment” (1983).

Gaffer Marcello Colacilli brought extensive experience in high definition digital to the lighting process and ultimately to the look of the film.

Camera Operator Rick Page, and his assistant Gary Johnson had one of the toughest jobs on the set, when it came to working with dogs. Audiences never think about this when they're relaxed in a theater watching a movie, but the key parts of every scene must be in focus and that doesn't happen automatically like it does on home video cameras. Focus must be changed on the lens every time an actor (or dog) moves. Actors get marks on the ground (never visible because the marks are out of frame) so the focus puller always knows where they'll wind up. Not the case with Benji and Shaggy (Lizard Tongue). They are often very unpredictable, and often that unpredictability fosters the best action. Page and Johnson seemed to have some sort of built-in measuring stick and were always right on the money. Page’s other credits include several movies still in post-production, several m ade-for-television movie credits, and an uncredited stint as first assistant camera on “Legally Blonde 2.”

Costume Designer Glenn Ralston did an equally terrific job with wardrobe and for coming in under budget, along with transportation coordinator Britani Alexander. Ralston led costume design for the TV series “Everwood,” and the movies “Right on Track” (2003), “Just a Dream” and “The Climb” (2002). Alexander also coordinated transportation for “Water with Food Coloring” (2001) and “A Secret Life” (2000).

Editor Dava Whisenant deserves much of the credit for how well everything comes together. The L.A. City Beat said of her work: “These are miracles of editing that should be taught in film school.” Camp says “Benji Off the Leash” was lucky to have her. Whisenant also edited “Alzheimer’s: My Mom, Our Journey” made for television in 2002, and assistant edited Eros (2004) and Solaris (2002).

The Response

Exit polls report that an overwhelming 97% of audiences (across all age groups) love the movie and said they would definitely recommend it to family and friends. More importantly, the polls showed that men and boys, even teenage boys, love the movie. Benji's audience has traditionally been women. Not men. Benji historically lost the boys at about 12 years of age. But not this time. “And for the first time ever,” says Camp, “critics are loving it. Unanimously so far. That is really exciting for us because, traditionally, Benji movies have not been critical favorites.”