Vic Graburn is so famous that if this story were true you would have heard of him. You would have seen him on a spin-off of Entertainment Tonight or read his name in the opening credits of one of his films.

Vic Graburn first attracted the attention of the studio system after directing a series of highly successful multi-language ad spots for Nabisco and Ford Explorer. The ads avoided culturally specific signifiers, instead taking aim at a universal target demographic; relying on voice-over narration rather than on-screen dialogue in order to facilitate translated re-dubbing. The commercial for Nabisco eventually aired in a staggering 37 countries.

In Hollywood circles, Vic Graburn is known as "The Oversear" because his films, despite being test-marketed among American audiences, have consistently tended to gross far more foreign, rather than domestic, box office receipts by an enormous margin. If they had been released only domestically, most of his films would have been financial disasters, but once international ticket sales were tabulated, they instead recouped their initial investment several times over.

His critics often mistakenly assume that anyone who makes films with that many guns in them – and I can assure you there are a lot of guns in Vic Graburns movies – must be a person of strictly lowbrow taste. I am lucky enough to be a close personal friend of Vic's and I can assure you that this is false.

Vic loves ballet, classic silent films, pantomime and comic books. No one loves non-verbal narrative as much as Vic Graburn. No one else is as excited about the ability of art that is not rooted in language to communicate across national, cultural and linguistic barriers.

I first met Vic when my law firm successfully litigated a breach of contract suit he had filed in relation to his film The Leverage Point. Afterwards he treated me to a performance by the national ballet company of the Czech Republic. Despite being woozy from jet lag and slaking down Coca-Cola, the elegant Eastern European dancers still managed tightly wound spins in toe shoes. As he watched Vic became so exhilarated by the trans-cultural, non-verbal possibilities that he pulled a large black permanent marker from his satchel and began redacting all of the dialogue except for the boy's clubby one-liners from a copy of the script for the sequel to his film A Man Above. Within a ten-foot radius of our seats, irritated patrons of the arts glanced around the dimly lit auditorium trying to find the source of the fumes.