Lodge Kerrigan’s microbudget psychological drama Clean, Shaven (shot for roughly $60,000 on 16mm over a noncontinuous two‑year schedule) ran headlong into the realities of guerrilla filmmaking when a brief sequence filmed in New York provoked an actual police response. Interior work for the film was done in November 1991 in New York, and during one shoot of a staged robbery scene local officers believed what they were seeing was a real crime and briefly interrupted production. The incident underscores the risk-prone, shoestring nature of independent production at the time — Kerrigan was juggling piecemeal financing, small crews, and terse shooting windows — and it happened without the shield of studio permits or large police liaisons that would protect a larger production. Whatever immediate disruption occurred, the crew completed principal photography by September 1992 and the film went on to festival premieres; the episode remains a telling footnote about how low‑budget realism could inadvertently trigger law‑and‑order reactions in early‑1990s New York.
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AI concept artworkArchive Record · 1990s
New York Cops Interrupt Guerrilla Shoot When a Staged Robbery Is Mistaken for the Real Thing
Clean, Shaven (film) / 1990s
Lodge Kerrigan’s microbudget psychological drama Clean, Shaven (shot for roughly $60,000 on 16mm over a noncontinuous two‑year schedule) ran headlong into the realities of guerrilla filmmaking when a brief sequence filmed in New York provoked an actual police response. Interior work for the film was done in November 1991 in New York, and during one shoot of a staged robbery scene local officers believed what they were seeing was a real crime and briefly interrupted production. The incident underscores the risk-prone, shoestring nature of independent production at the time — Kerrigan was juggling piecemeal financing, small crews, and terse shooting windows — and it happened without the shield of studio permits or large police liaisons that would protect a larger production. Whatever immediate disruption occurred, the crew completed principal photography by September 1992 and the film went on to festival premieres; the episode remains a telling footnote about how low‑budget realism could inadvertently trigger law‑and‑order reactions in early‑1990s New York.
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