'A Shot in the Park' + 23

    Twenty-three years ago Brian Vouglas and I collaborated on a birthday spoof created for Karl-Heinz Teuber and his celebrants. Sadly, for the wider public, the 2002 video files have been not available until the present. However, in Karl's memory, this newly reworked version (edited for time and additional audio) can now be enjoyed. ;-) Starring: Brian Vouglas

 

 .[UPDATE 2026-06-01]:

     While creating this video with Brian, I thought to shoot a quick scene in the elevator, knowing where the light would fall on Brian's face and how a low angle POV might enhance the effect and add to the film noir feel I was trying to achieve.. 

    In the viewfinder I could see the shadows details of Brian's face while shooting the one and only take,* and was technically disappointed to say the least, when the later playback revealed none. 

    How wrong I was. 

    Actually, the enigmatic deepness of the dark only strengthened the composition and overall effect. Turned out, it was a lucky accident!

    Anyway, today, for my pleasure and possible future utility, I decided to make a title card of the freeze frame lifted from that scene, adding the pun Brian supplied finished product. .

.

A cropped title card made from the elevator freeze frame. 

*As The Crestview Apartments is a working enterprise, we only had the moment using the building's north wing elevator to return to Karl's fifth floor residence, to photograph the scene. Killing two birds with one stone as they say. Not exactly guerilla filmmaking per se, but close.

 

;-) 

 

[SECOND UPDATE 2026-06-04]:

     "On June 4, 2026, I decided to upload and post the title card to my Facebook with the following copy**: Here is a happy photographic accident I once experienced with a camera and its shortcomings. 

Back in 2002, Brian Vouglas and I once collaborated on an open-ended, birthday video: a crime spoof we shot to celebrate the natal day of our friend Karl-Heinz Teuber, and in which his party guests, as the usual suspects, would be called in for questioning. 

In the lead-up, Brian played a detective on his way to Karl's SF apartment in search of clues.

With the exterior shots of the Crestview Apartments taken, where Karl resided, we next entered the north elevator. There I had an image in mind. 

Taking advantage of the old, wood, prerenovation paneling and film noir reminiscent lighting, I proceeded to videotape, Brian from below, all the while on our way up, clearly able to see with my eyes the grim facial features in shadow under Brian's brim.

We only had the one take.

Alas, when I later played the scene back, I panicked - the dark had swallowed up the details! What a technical fiasco the fedora had fostered!

Then I realized the mistake instead had actually added to the mystique, well, at least in my mind. I think Brian also enjoyed the man-of- mystery effect, thinking it intentional.

Anyway, today, I thought I'd again give it the once over - 'Freeze, frame!' - and turn the visual into a title card with the pun Brian lent the production."

     

 ;-)

 

 **Wish I could say "backcopy" instead - I like the sound of that word much, much better, but technically speaking, it doesn't really apply. 

Ironically, the above citation of it does exactly that - rendering the Facebook copy, a backcopy when cited here!

 

 

 

 

Finality

     My final view from the San Francisco residence, high on a hill, of Karl-Heinz Teuber, who at eighty seven, departed this life just ten days ago. It is hard at the moment to think him really gone, and not merely abroad.

The northwest view from apartment 507, The Crestview, 1980 Washington Street, San Francisco, CA 94109

ADDENDUM: It is almost a year out (November 4, 2025) and going back over my photographs, which I'm eleven months behind in cataloging, I realized while checking in on this blog post, that I failed to elaborate on the events of the day covered, even if in brief.              

    In the wake of Karl's passing, his executors and good friends Bettina Pauley and Will Dempsey contacted me to see if there was anything of Karl's belongings I may have wanted or wished returned. There were only three art pieces of interest to me (two of which were my own works and one which was a painting that I formerly owned).  Bettina, Will, and I agreed to meet at Karl's apartment, where I would retrieve the items.

    Thankfully Trish Keefer, my bestest friend also pitched in to help. She would provide the transportation back from San Francisco to Fairfield. Hopping the Ferry to the City, I joined up with her, and from the Embarcadero, we zipped up to the Crestview Apartments. Trish waited by her Jeep while I met with met with Bettina and Will. 

    With Will's help, the big artwork of mine was brought downstairs and loaded into the accommodating Jeep. Only two items left with me, as the third, a caricature of Karl I drew long, long ago, had yet to be located. Though the drawing was subsequently found, Bettina and I have still to connect to complete its transfer.

 

 

Karl, a Life

     This is a re-edit of the very last montage I made for Karl, celebrating his life. That was in 2020. With a new beginning and conclusion to the video to mark the sad occasion of his passing, I share this work anew. Karl's large life was a colorful one, and I am truly grieved, along with others, to see him go. His friends were many.

    As always the music of Mozart was Karl's mainstay.

 

Karl-Heinz Teuber (February 2, 1937 ~ November 14, 2024)

    In memory of Karl-Heinz Teuber (Tuesday, February 2, 1937 ~ Thursday, November 14, 2024) seen here, in his film debut, playing the wig salesperson opposite Tom Hulce’s Mozart in the iconic “three heads” scene* from ‘Amadeus’ (1984). 

    Interestingly, on set Karl in his true capacity, was in fact, the assistant hair and makeup person for the production (his “bending hair” helping to snag the Academy Award-sweeping feature yet another win). This bit part, apropos to Karl’s then profession, was director Milo’s Forman’s onscreen reward to Karl for all his intensive labor.

     Having earned it, Karl could rightly take pride, ‘Amadeus’arguably being the quintessential exploit crowning his stellar career.** The role was an honor.

    And for nearly four decades, this notable person was also an intimate acquaintance of mine till we eventually went our separate ways. Nevertheless, I am profoundly surprised and sadden by the news of my former friend’s unfortunate and untimely demise .

    That said, he has at last attained his one, driving desire and become, in effect, a star - a luminary now solely comprised of light, shadow, and sound, removed and remote, forever reaching down to us from the past - the final, heavenly curtain having lowered on his person, his vocation, and calling. 

    Karl was eighty seven.

    Rest in Peace.

*Scene 44

**Karl often use to speak of ‘Amadeus’ “living on” for him long after he was gone, taking comfort in that knowledge and  prospect. His would be a celluloid immortality, Karl assured himself.

    That there now exists, only the celluloid memory, I for one, find it bitter at best; a cold comfort and solace alas.

40

       On this day, forty years ago, this person entered my life. Thirty seven years later, our friendship parted ways. That's me directly behind Karl-Heinz Teuber with the chalk and film slate in hand. Dan Gleich on sound, and Georgia Packard, assisting Emiko Omori (not seen) at the camera, are the other two crew members visible in the photo.

     The reason why I am intently watching the performance is to keep an eye on the Canon NF1 Karl holds in his hand. It belongs to me. Karl is using the motor drive which deliberately stops after firing thirty six shots and has to be reset.When it does, that's when I step into the shot. Mine was the only "dummy" professional grade camera on set, available for prop use. 

    The film is director Issam B. Makdissy's independent feature entitled 'A Hard Act to Follow' (screenplay by Terry Eubanks-Makdissy) released six years later in 1990. Karl has a bit part in the film playing a studio portrait photographer. His was the very first scene of the production shoot, though the above photo is of the retake, filmed half a year later, in January of 1985. The character of a publicist was dropped, requiring a reshoot of all the scenes formerly involving them.

    As for Karl, he was at the height of his career, his last role playing the wig salesperson in the memorable, “three heads” scene opposite Tom Hulce in ‘Amadeus’ (1984)! We would remain friends for almost four decades until our lives eventually went their separate ways.

Filler

Just a filler for now, but I will think of sumpthin'.

Bouquet of roses purchased by Karl-Heinz Teuber.
Photo by antaresrichard.

Well, it turns out, I did think of sumpthin'. The blog's background has been changed.

With Love to San Francisco

As you know, I'm a native San Franciscan (born the year the George Cory / Douglass Cross tune was written). This video is a collaboration with my friend Karl-Heinz Teuber and current resident of the city by the bay. It is the first of two video paeans to San Francisco. The second can be seen on Karl's YouTube Channel.

Oh, a little behind-the-scene trivia by the way of a blooper: the "kiss" seen in the freeze frame below and documented in the video, is in point of fact, a collision taking place between my face and Karl's right temple. Bam! I wasn't expecting the rapidity of our embrace. But what the hey?! It also the only clip (beside the generic stills) shot by a third person: Mario Genel.
 

A Little Twist of French

Karl's cameo & Brian's brio in Pussy Tourette's ‘FRENCH BITCH’