There was a 1958 film entitled THE PARTY CRASHERS, starring Mark Damon, Bobby Driscoll, Connie Stevens and Frances Farmer.

There is no connection between the 1958 film and the 2001 release THE PARTY CRASHERS, produced by the PLM. It is not a remake.

However, it is interesting to note that in 1958, THE PARTY CRASHERS was the final film for Bobby Driscoll and Frances Farmer. Both performers died during the making of the film.

No one involved with the forthcoming THE PARTY CRASHERS died (although some have been subjected to ill will).

Nevertheless, everything else that could have gone wrong with the PLM production, did. The idea was simple enough: Establish a fledgling proudction company by producing an entertaining, edgy film on a tight budget, with impressive, even dazzling production values.

In order to keep costs down, it was important to make a film that could be prepped and shot quickly. Then, upon getting the film shot, it would be necessary to take as much time as possible in finishing the film. The longer independent producers can take during post-production, the better the deals they can arrange.

THE PARTY CRASHERS wrapped principal photography in February of 1997. The film was completed in March of 1998. The final production cost was approximately $200,000.

As with most independent films, the financing was raised through a variety of means: An advance from the foreign distributor, traditional film investments, loans from friends and family, credit cards, bake sales, and discovered hidden treasure.

When principal photography began, only enough money had been raised to get the picture to an edited fine cut, and this was only possible due to the unwitting assistance of legendary producers Arnon Milchan and Arnold Kopelson. Their production of MURDER AT 1600 was entering the final stages of post-production, yet the entire editorial staff was being kept on salary at Warner Studios Hollywood.

The entire assistant editorial staff of MURDER AT 1600 went to work evenings, weekends, and during the day, when their bosses weren't around, assembling THE PARTY CRASHERS. Milchan, Kopelson, and Warner Bros. paid for the editing of THE PARTY CRASHERS, and yet their names appear nowhere in the film's credits. Show business isn't fair sometimes.

Principal photography was scheduled to be completed in only eight shooting days, an improbable task, but one the entire staff felt capable of of accomplishing. In fact, the crew came quite close to accomplishing it, despite some potentially grave setbacks. For example, on one occasion, the sound crew failed to show up for a climactic scene on Mulholland Drive, overlooking the San Fernando Valley (the dialogue was later re-recorded during post-production). On another, the lead actor (to mention names would be incredibly indiscreet ... Max Parrish) showed up three hours late, delaying the start of what was a sixteen page shooting day.

Unfortunately, what ultimately prevented completion of principal photography in just eight days was the loss of the principal location. Most of the film takes place at a penthouse party. The script was, in fact, written around a specific location in Beverly Hills. This site was to be the production's location for five days of the eight day shooting schedule.

On the third day of shooting at the location in question, the production received a visit from the incredibly cordial, always sweet-smelling, easy-on-the-eyes Beverly Hills Police Department. They shut the production down because crew and cast members were walking on parts of the roof that were not covered in the permits. In the end credits for THE PARTY CRASHERS, the filmmakers acknowledge the city of Beverly Hills for its "complete lack of cooperation in any way whatsoever."

Instead of one location serving as the penthouse apartment where the party is held, several locations were eventually used. The bedroom, entry hall, kitchen and bathroom scenes were all shot in Beverly Hills. The lobby, living room, and bar scenes were shot at the Derby in Los Feliz. The patio and bandstand scenes were shot at Lacy Street Studios in Los Angeles, and pick-ups were shot in the director's home.

A guided, driving tour of these locations is currently available and ranks somewhere between Disneyland and the Gene Autry Western Heritage Museum for popularity among tourists.

Ultimately, THE PARTY CRASHERS was shot in just nine days. On a tight budget, the one extra day almost doomed the production. Another setback that came close to causing financial ruin was the decision on the part of the payroll company to send several unsigned (and therefore worthless) checks to the cast, and abscond with a significant portion of the payroll budget.

The effects from this development are still being felt. Yet, somehow, the production was able to move on, surviving several more pitfalls and roadblocks (for complete disclosure, visit the PLM some time - they'll fix you a drink, and tell you the really juicy stories).

The setbacks encountered during post-production were endured in large part due to the efforts, talent and patience of such heroes as Jesse Negron, Garrard Whatley and the entire staff of Rocketwerks sound, and the entire team at the film's lab, CFI (especially color timer Chris Regan). Coupled with the herculean efforts of THE PARTY CRASHERS cast and crew, the work of the various post-production teams led to a finished product that is a lean, edgy and entertaining film, with impressive, sometimes dazzling production values.

THE PARTY CRASHERS debuted at the American Film Market in Santa Monica in 1998 and proceeded to go on tour, playing at several film festivals and markets throughout the next fifteen months, including Cannes, the Temecula Valley International Film Festival, MIFED, the Hawaii International Film Festival, Cinequest San Jose and the San Diego International Film Festival.

It was at the Hawaii International Film Festival where THE PARTY CRASHERS caught the attention of Turbulent Arts, a San Francisco-based art house distribution company. Although Turbulent Arts continued to monitor how the film played for audiences, it wasn't until September of 1999 that an agreement was reached. Turbulent Arts would distribute THE PARTY CRASHERS theatrically, on a limited basis, and decide, based on box office performance, whether or not to release the film to more cities.

By August of 2000, no release had taken place and the filmmakers, the film's backers and the film's foreign distributor were growing impatient. Responding to this impatience, Turbulent Arts made the decision to release the film into theatres in San Francisco, San Jose, and Berkeley, a sufficient run to test the film's appeal to moviegoers.

Everything was set. Excitement was at a fever pitch.

And nothing happened.

The film did not come out and Turbulent Arts could not be reached. Although the details are still fuzzy, at best, it seems that Turbulent Arts, a true shining light in art house distribution, has folded.

Nothing for THE PARTY CRASHERS was going to be easy, not even when the film was completed and a distribution deal was set.

Nevertheless, all is not lost. The filmmakers are currently working with former employees of Turbulent Arts to get the San Francisco Bay Area limited release up and running again.

Stay tuned and consult the "Latest News" section of this site regularly. Things may look bleak, but this film is too good to be held down for long. It will rise like a Phoenix out of the ashes.

And no matter what else happens, no one died during the making of the film.