Movie poster for Noogie’s “Time to Shine.“ The text is in retro black and white with a yellow rip behind it that features 2 palm trees. The tagline reads: One the lam with 3.2 Million in stolen twenties. And a Cat. Some of this story is mostly true. Frames from the movie are arranged in a grid pattern with yellow outlines, each treated with a single color wash. The hero image in the center features a bald man with a mustache looking off camera - he seems both concerned and inspired at the same time. Frames from top to bottom (clockwise): A man in a trucker hat looks directly down at the camera, concerned. A pistol is in the foreground, held from the point of view of the camera and pointed directly at him. A pile of 20 dollar bills laid out in a row. 2 FBI agents looking suspicious at someone off camera. A man shuffling through a stack of money A white van pulled over by a police car with the officer walking towards it on an abandoned road. A WANTED poster displayed on a laptop screen. The police sketch of the man on the poster is identical to the man in the main frame of the poster, Noogie. A woman looks suspiciously off frame, a flashlight next to her face, pointing at something we can’t see. A wad of 20 dollar bills in the foreground with a suitcase behind it. A close up of a pistol being pointed off camera. And finally, an over the shoulder shot of the bald man cradling a large grey cat - in hazy black and white.

Noogie's Time To Shine

After dimwitted film noir-o-phile Ned 'Noogie' Krapczak (pronounced 'crap-chicK,' not 'crap sack') turns up dead in Miami, the FBI, local police and a couple of hapless Floridians all want to know what happened to the three-point-two million dollars in cash he stole.

Rewind.

A year earlier in NYC, where it was his job to keep bodega ATMs flush with twenties, Noogie had  an opportunity to live a life more like his film noir antihero-heroes. In one of the most brazen––and definitely slowest––heists ever hatched, he begins to pocket loose bills. Two years later, he gets an innocent call from his Miami-based employer about a 'discrepancy' in their accounting. 

Noogie panics and goes on the lam with his cat, Dillinger, and three-point-two million dollars in stolen cash. He heads for the one place he's pretty sure no one would ever look for him––sunny Florida. 

Once there, Noogie buys his way into the life of Kenny Swanson, whose futon is where Noogie's movie finally comes to an anticlimactic end on Christmas Day.

Now, it's a game between FBI special agents Jake Meyers and Sven Ludkvasen, Detective Stone of the Miami-Dade police department, and his recent roommate Kenny (and his ruthless girlfriend Liz) to find the money first. 

Some of this story is mostly true

Watch The Trailer

Accessibility

Jim Knipfel, the author of the book that Noogie is based on, and the film’s Executive Producer, is blind. His celebrated memoir Slackjaw details his experience with Retinitis Pigmentosa (RP). While filming principal photography back in 2015, Jim still had a modicum of vision. He was able to be on set with us both in Austin and on the road capturing our madcap adventures from New York to Miami . He even made a cameo in the film driving a car - with appropriate safety concerns of course.Now that the film is complete however, Jim’s vision has unfortunately completely deteriorated. Accessibility is incredibly important to this production and team. Jim introduced us to Andy Slater, a composer and sound designer who also suffers from RP. Andy was the perfect choice to do the final mix the film’s audio and is spearhead the audio accessibility track - which is narrated by Jim himself. We feel it is a original and comedic approach to accessibility and Jim imbues it with his own comedic voice and point of view.The film will proudly offer this track for all screenings, and we actively encourage sighted audiences to experience the film with it to shine a light on accessible cinema.

Accessibility...LIVE!

For a visually impaired audience, the audio accessibility track is the only way to fully experience a film. But there is an inherent problem with audio accessibility tracks, They can only occupy silences or gaps in dialogue. Hardly any time at all for most films.We really struggled with this for Noogie’s Time To Shine. It is a film that is inspired by the fast talking Noirs of the 40’s and 50’s, and when it’s not wall to wall dialogue, we’re making some unique choices with stylization of the picture that is hard to convey in words - especially in only a few seconds. 
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With that in mind, we’re offering a secondary screening in which we can perform the Audio Accessibility track, live on stage. The directors, author Jim Knipfel, and sound designer Andy Slater (who are both blind) can be on stage, with the ability to stop and start the film at opportune times. This gives a visually impaired audience the ability to fully  understand what we are trying to achieve with the story, without the constraint of very short gaps in dialogue and action to cram the description into.

We are hopeful that this new and unique live format can be applied to other films in the future. We think it has value for both a sighted and non sighted audience. As far as we know, this screening will be the first of its kind, and have the feel Somewhere between an extended accessibility track, a director’s commentary and comedy show. 

Runtime estimated at 2 hours.

Production Stills

Click for image descriptions.
A wide shot of a beach at sunrise. A man with a white cane (Jim Knipfel) stands at the left side of the frame while another lays splayed out on the sand on the right side of the frame (Brandon Potter as Noogie). In the center a man is pointing a camera at the man on the ground while another directs from behind him (Gates Bradley and Director Brad Parrett).A medium shot of a crazed looking bald mustachioed man (Noogie) driving a van. He is leaned forward, gripping the steering wheel. He is washed in crazy green and red light, and palm trees and a hazy blue sky are rear projected behind him, reflecting onto the side of the van. Sunrise on a beach. In the foreground is a bewildered looking bald and mustachioed man (Noogie). He appears to have just woken up in the sand. He’s wearing an open red hawaiian shirt with a white tank undershirt and white shorts. Behind him in the sand is a pet carrier, and 20 yards behind that is a white van, parked on the beach in front of the water. The drivers door is fully ajar. A medium shot of two FBI agents. They are wearing black and white suits and are looking off camera with suspicious and concerned looks. The sun is setting directly behind them. They are standing in the middle of a street that is lined with short palm trees. Medium Shot. Seated on a black futon is a very disheveled, bald and mustachioed man (Noogie). He is wearing an open dingy kimono with an undershirt and briefs. He is clutching a telephone in one hand, and a pistol in the other, pointed directly at the camera, He has a glazed look in his eyes, and a slight grin as he appears to be saying something. There is a dramatic eye light across his face while the rest of the apartment is dark. A single string of christmas lights lazily lays across a black futon to his side. A black and white close up of a young woman with black hair and a sun hat. She is looking directly into the camera, a stark eyelight playing across her face. The only color in the frame is a single yellow and black pill capsule she is holding up in left hand.

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