Lotus Girl Films Official Blog

The Truth. Capital 'T'

2012-02-12T16:26:00.000-08:00

Whitney Houston died yesterday afternoon just down the road from me. Like everyone else who loved her in real life or from afar as a fan of her music, I'd really hoped she would get the proverbial drug monkey off her back. None of us will ever know her particular chaos that dwelled inside her brain. And that's the part, to me, that is so heart-achingly sad. Even surrounded by a staff of handlers, friends, family (and maybe even a sobriety coach? I haven't any idea about that one)---even with all of that, she was alone. In the inner world of the human mind, we are ultimately at our most alone. There are illnesses that cause complete physical paralysis, while leaving the brain perfectly intact. One, in essence, becomes a captive of their body, like a patient waking from anesthesia, mid-surgery, and being unable to scream. In actuality, we live a version of that everyday. Some more than others. It's why the ubiquitous neighbor of a serial killer news interview is always some version of, "He was a nice, normal guy. I never would have known." And that's the point. We never really know. This is an absolute that we absolutely know. Even the most adept communicator cannot convey a 360˚ view of their thoughts and feelings. By virtue of the fact that even with the power to convey a 360˚ view, the person listening has their own 360˚ view that assesses all incoming information via its own prismatic alteration of that original truth. So, as much as everyone in Hollywood this Grammy weekend wants to figure out and understand, it's a futile effort. Whitney kept her secrets, and took them with her. And those who will inevitably claim to know what was in her mind? All we'll ever know from them is their interpretation, not The Truth.

It occurs to me as so odd that we all go through life knowing that death is part of the deal, and are still rendered utterly dumbfounded when it shows up in close proximity to us. I'm beginning to think that we run around in this world of social constructs, mostly ignoring the fact that much of it balances upon untruths. Then The Truth shows up. Because death is an ablsolute truth. And I think that's the most confusing concept imagineable to us. Our no longer existing is the thing. But the scary addendum on that is that too many of us stop existing long before The Truth in the form of death arrives. I guess it's up to each of us to decide which end to existing is more tragic.

I pray that she finds the peace that so eluded her while she was here.

1ST ANNUAL GEEKGIRLCON!!!

2011-10-09T12:00:00.000-07:00

The prospect of attending a full-on geek fest devoted to all things SHE was exciting to ponder. The reality has gone so far beyond the expectations, that it all feels a tad surreal. Seattle is a perfect setting for GeekGirlCon2011. It already has that indie, no-pretense, cool-to-be-smart vibe going on. Add to it a bunch of chicks who are here to talk, and challenge, and game, and cosplay, and just generally shake things up, and you pretty much have full-on anarchy. I kinda half expected to be one of a hundred people sitting in a room. Soooo not the case. They sold out yesterday, and expected to do the same today. Walking around the Seattle Center campus, the feeling of attending your first day of training at an alternative universe-ity left me feeling like a little Doogiela Howser.

First panel I attended was "The Heroine: Journey, Culture & Narrative." If that sounds kinda like a women's studies class, it was. In the best way. Four different women presented their take on women in film and television within male-dominated genres:

*Claudette Colbert's defiantly rich career in Hollywood, including gender-bending roles in war films such as "So Proudly We Hail", "Since You Were Away", and "Three Came Home".

*Buffy The Vampire Slayer and Zena Warrior Princess and the eschewing of binary thinking that you must be EITHER action hero OR female, and how they both show that aggression is actually a human trait to behold when necessary.

*How slamming Charlie's Angels and the like because they are physically attractive is reductive thinking, and that using the traditional Hero's Journey is problematic because it is so inherently male-centric.

*Looking at how Wonder Woman's Amazon background, devoid of men, shaped her as a woman/character.

The final word on this panel was the idea that there is "POWER IN LACK OF CATFIGHTS AND VICTIMIZATION WITHIN A MOVIE POPULATED BY FEMALE COMRADERIE."

I then attended a ticketed special event: "Oral History Live! With Jane Espenson." To say that she is a pioneer in the writing world of television is an understatement. Plain and simple, she just f'ing rocks! She is geek writer extraordinaire, and shared her rise up the writing ranks starting with getting a call to pitch Star Trek episode stories after sending in spec scripts, and up to her time on Buffy The Vampire Slayer, Gilmore Girls and Battlestar Galactica. So cool to hear how even established vets get so excited about creating content. She shared her experiences in the trenches of doing BG webisodes as the sets were literally being torn down as they shot. Jane gave a great scoop on "Once Upon A Time" that has Lotusfilmgirl doing a furious re-write for submission....

Saw a rough cut of "History of the Universe As Told by Wonder Woman" that made me beyond proud to have jumped aboard their Kickstarter campaign several months ago. People should be VERY excited about this one. The kickass panel included Gail Simone (comic author rockstar!), and Trina Robbins (comic book author high priestess!!!). They both talked about how GeekGirlCon felt like being at Woodstock, seeing the start of a revolution evolving before your very eyes.

I had hoped that by coming here to Seattle, I would get some fuel to go back and attack the storylines of the projects I'm working on. It has truly given me so much more. Total game changer.

Dwayne McDuffie on the realities of the Black writer in the comic book i...

2011-08-05T01:51:00.000-07:00

A Quick Return to TEQUILA SUNRISE

2011-08-02T02:44:00.000-07:00

Film geek that I am, the only thing better than seeing a great movie, is re-visiting one you'd forgotten was such fun to watch. Tequila Sunrise (1988), about a morally wavering cop and drug dealer and their unlikely friendship, soooo rises to that standard. You've got Robert Towne (Chinatown) writing and directing, and Conrad Hall on the camera. On screen, I was reminded why Mel Gibson and Kurt Russell used to make women (and probably many guys) swoon. If they'd lit both sets of baby blues any better, no one would have heard dialogue. And Michelle Pfeiffer was pitch perfect as the rope in this game of love tug-o-war. I would have liked to have seen her be a little more "Did you just call me Slick?" and a little less "I love you!" but I refuse to let that dampen things. What this all means for the viewer is dialogue is written as it should be in a multi-layered thriller, 1980s rapid-fire. We're given just enough to let us know who each character is at heart, but still keeping us thinking to read between the lines. Let's sit with that concept a moment...the viewer is not only expected to think, it is assumed they are capable in doing so in order to keep up and figure out the plot twists and turns. And how could I have forgotten Raul Julia's role??? Talk about brilliant. I did have to laugh, though, because there was an over-the-top drunken/high singing bit that he did that seemed a spoof on the WB singing frog. Watching Julia and Gibson in scenes together, really makes me wish Mel would just go back to the days where he kept the best crazy for on screen. And the cinematography? The steamy, literally and figuratively, hot tub scene alone is reason enough for the Oscar nod; this was in spite of the non-chlorinated water in an un-sanded tub vessel that left both stars with rashes, splinters and scrapes that caused production delays. There's another scene that encompasses a moment that any picture lover will appreciate. The two friends, Gibson's and Russell's characters, sit on a sunset lit swingset against the ocean backdrop. It is as vital to who these men are to one another's lives as any of the dialogue.

Although the film got mixed reviews at the time it was released, I still say it's worth a re-visit. There is much to be learned about the truly collaborative nature of making a film when the writing, acting, directing, and shooting are all working together...and are brilliantly topped off with an über-80s Nancy Wilson (Heart) and Robin Zander (Cheap Trick) theme song to boot.

Great NYT article on writer Jenny Lumet

2011-06-26T17:10:00.000-07:00

So nice to see her coming into her own.
http://www.nytimes.com/2011/06/26/fashion/for-the-screenwriter-jenny-lumet-a-childhood-with-two-icons.html

I Am Love

2011-06-25T18:38:00.000-07:00

I'm late to the party, I admit. But, man oh man, was it worth circling back for. I Am Love is so beautiful and lush in it's cinematography, that I had to step back and separate the feast for the eyes from the story, just to make sure I wasn't being falsely seduced by the pretty. What I found was an operatic story, that in the hands of someone other than Director Luca Guadagnino, it would have turned into melodramatic mush. But, along with the pitch-perfect reserve of Tilda Swinton, it truly delves into an inside look at the life of quiet desperation of a woman with everything and nothing. She has wealth, a beautiful home in Milan, a house full of servants, three lovely children, and a successful husband. But, again and again, she muses upon the fact that she traded in her identity and her passion for this privileged life. She poignantly says to her lover that she doesn't even remember her Russian name, having lived so long with the name (and identity) that her husband christened her with when he chose her so long ago.

Many critics (especially those in the US) slammed the movie as melodramatic, and this was not meant as a compliment. They noted the obvious wealth of the family as reason enough to dismiss the film as some fairytale having no meaning for the average soul, along with the super lush score and quasi-gothic coda. I disagree with this take. I think it hearkens back to the universal human quest for meaning in our lives, the concept of true love, and the costs of compromise and secrets. While the setting of this film in Milan, Nice, and London may be well beyond the financial and socio-economic realities of most viewers, the emotions and conflicts can be found in any social stratum. The film is really old fashioned in this sense. In fact, Guadagnino and Swinton co-produced the film together, and purposefully set out to make a film that would "modernize the old-fashioned melodrama," and somehow "rejuvenate the filmmaking style made famous in the 1940s and 1950s by the likes of Alfred Hitchcock ('Rebecca') and Douglas Sirk ('Magnificent Obsession')." There were only a few moments where their efforts took me out of the moment of the story. For most of the film, the John Adams score was amazing in lending the proper tone. But, at other times it was a bit heavy-handed, such as the whole chase scene where Swinton's character is following her soon-to-be lover through the streets of Nice. Similarly, the camera work was almost always beautiful and elegant, but when it wasn't, it was hugely distracting. At one point, the two lovers are driving into the countryside, and oddly the POV is from the actual front bumper of the car, not the occupants.

It's interesting, story wise, that instead of the punitive cause and effect that is often the case in films where women follow their passions in lieu of duty, this piece deftly moves beyond that rut. When tragedy comes after Swinton's character has found love outside of the stifling confines of her societal and familial ranks, she actually uses the pain of the loss of her son to launch her own freedom. Likewise, when she discovers her daughter's secret love of a woman in lieu of the chosen young man she'd been with, she seems giddy at the thought that some spirit of individuality and passion that she instilled in her child has flourished.

Much has been made of the food porn nature of the cuisine, and of the beyond beautiful wardrobe. Once again, Swinton and Guadagnino were deliberate in their choices in making these elements an integral part of the storytelling. They brought in Carlo Cracco, the Milanese chef as an advisor to the director so that the food became "a tool to express the utter giving that a lover can display to the other without words." The fashion was designed by Fendi and Jil Sander specifically for the film, and the red dress Swinton wears in the scene when her character falls in love is classic costume design success at it's best.

Much has also been made of the explicit sex scenes in the film. Different than most American films, though, is the fact that it never feels gratuitous. It is spot-on, and right in the moment, utilizing the characters' passion for one another, the nature surrounding them, and the music that fits perfectly. It is a reminder of how un-real so many Hollywood "love scenes" are written and shot. It is also a reminder of how the American "male gaze" has formed the norm for the depiction of sex in film.

A fun aside that, for me, ties together all of this ode to classic film, fashion, and la dolce vita was the addition of 70s fashion model/icon Marisa Berenson as the matriarch of the family. Every time her character was onscreen, I was struck by the fact that her fabulosity seemed to allude to her character having lived in a previous life the real life of the actress playing her. I've included a few shots from her from her heyday:

Limitless

2011-03-27T19:07:00.000-07:00

After a week of film viewing, I sat this morning mulling over what had worked, and what had not, in each film. I never go to a movie with the expectation of it being a masterpiece. Instead, I go into it with my mind open to seeing what creative collaboration was birthed from the efforts of the writer, director, and all of the other talents who placed their imprint upon the production. That's not to say I don't see and call a shitty production when I see one. I so do. But a shitty movie can be hugely instructive, so I appreciate those as well.

Here's the roundup (Spoiler Alerts):

Limitless

Yes, we pretty much knew where the sci-fi plot was going to take us, and what ethical dilemmas that may raise. But the premise and acting was still interesting, and visually, it was a fun ride. Director Neil Burger actually gave the lighting in the film it's own story arc with the shifts when Bradley Cooper's character was taking the pill, and when he wasn't. Also, the use of graphics/effects with the stock ticker on his apartment tin ceiling tiles, letters raining down while he whizzes through writing a book in four days' time, or the glitch in his character's time sequencing all lend to an uptick on the straight narrative form. Some proactive camera work also lent to the film's message of being off kilter, playing with speed, POV, and time. They used Fuji camera stock for the off-drug gritty life scenes, which always lends well to greens and reds, and gives a "photographic" and grittier feel. For the on-drug, polished too-perfect scenes, they used Kodak to give a more luminous feel. The RED camera was used for the über fast street-tracking scenes, that lend to the feel of a brain on amphetamines. There's even some questioning on the internet boards of whether the color of Cooper's eyes were enhanced to feed into the different modes of his body off and on the drug. In the final scenes, is it possible that they also had him in a wig to subtly suggest that the drug use is still in effect? Overall, a interesting mix of the fun toys and tools of the storytelling and filmmaking trade. Once you have your story, dive into the filmmaking sandbox and

see what toys can be used to take the premise to a new level, to build a new layer of the story.

Next up, Adjustment Bureau.

SUCKER PUNCHed!

2011-03-27T15:05:00.000-07:00

I had every intention of writing a dissection of Sucker Punch after seeing it this weekend. But when I read this one, I figured, "Why re-invent the wheel?" Read on:

http://www.lunalindsey.com/2011/03/analysis-of-sucker-punch-feminist.html

Still Standing

2010-12-07T00:39:00.000-08:00

So this has been a year of amazing lessons. Since the wise person is supposed to learn from their lessons, I'll be taking a whack at delving into the in's and out's of the filmmaking process from the perspective of a newbie. And I'll try to keep it interesting.

TTFN!
Lotusfilmgirl

2010-07-20T17:55:00.000-07:00

After being in the frenzy of a doc feature production with a 6 month pre-production/production/post-production schedule, I will be back to posting in the coming days. Stay tuned!

The Extra Man--worth checking out (Except for the Katie Holmes character--more on that later--this was a lot of fun to watch)

2010-01-30T00:43:00.000-08:00

http://www.variety.com/index.asp?layout=print_review&reviewid=VE1117942004&categoryid=31

To print this page, select "PRINT" from the File Menu of your browser.

Posted: Wed., Jan. 27, 2010, 3:37pm PT

The Extra Man

A Wild Bunch presentation of a Likely Story/3 Arts production. (International sales: Wild Bunch, Paris.) Produced by Anthony Bregman, Stephanie Davis. Executive producers, Jonathan Ames, Stefanie Azpiazu, Agnes Mentre, Vincent Maraval, Robert Pulcini, Shari Springer Berman. Co-producer, Rebecca Rivo. Directed by Robert Pulcini, Shari Springer Berman. Screenplay, Pulcini, Jonathan Ames, Berman, based on the novel by Ames.

Henry Harrison - Kevin Kline
Louis Ives - Paul Dano
Gershon - John C. Reilly
Mary - Katie Holmes
Vivian - Marian Seldes
Lagerfeld - Celia Weston
Katherine - Patti D'Arbanville
Aresh - Dan Hedaya
Lois - Lynn Cohen
George - John Pankow

By TODD MCCARTHY

An imperious older New York eccentric mentors a promising young one in "The Extra Man," a highly entertaining character comedy exemplified by the same virtues the titular leading man ascribes to himself -- wit, intelligence and joie de vivre. Kevin Kline soars in one of his best screen roles, that of an impoverished self-styled aristocrat who contrives to live the high life as an escort to wealthy old ladies. Although too devoted to matters literary, theatrical, operatic and sexually outre to make it with general audiences, this adaptation of Jonathan Ames' novel exudes the sort of smarts and sophisticated charm specialized audiences seek.

Bouncing back to form impressively from "The Nanny Diaries," "American Splendor" writer-directors Robert Pulcini and Shari Springer Berman have made a sort of timeless New York story, one centered on a relative innocent who comes to the big city and ends up being tutored in ways he could never have expected by an idiosyncratic gentleman of high style who expresses cracked opinions with such eloquence and authority that they brook no argument. There have been many such tales, but this one brings to mind "My Favorite Year," primarily for the theatrical flamboyance of the older characters and for the brilliance of the actors playing them, then Peter O'Toole and now Kline.

One key difference is that the young man here is not a total blank sheet waiting to be written upon, but a genuine oddball with his own extreme eccentricities. Louis Ives (Paul Dano) is a gangly, polite, formal, dough-faced prep school English teacher whose twin obsessions -- old literature and cross-dressing -- are expressed in a dream he has of "The Great Gatsby" in which he appears in drag.

Let go from his job, Louis arrives in New York to explore new horizons and, answering an ad for cheap accommodations, is confronted not only with a shabby apartment and very Spartan quarters, but with its occupant, Henry Harrison, who's offering the extra room. A college literature teacher himself and allegedly a playwright, Henry is a throwback in style as well as perspective; he speaks in the British-tinged stentorian tones of early 20th century actors, has a wardrobe almost that old, and polishes his gray hair with black tint when he goes out on the town. Admitting to views about sex and women that are "to the right of the Pope," he believes that American education started declining when females were admitted to colleges and will not allow Louis to bring visitors to the apartment. "No fornication!" he bellows.

Not that there's much imminent danger of that. Other than his discreet visits to a tranny bar and to a couple of women who assist him with his cross-dressing wardrobe, Louis seems almost unformed sexually; his "bipolar fantasies," as he puts it, are to become a young gentleman and to see a girl when he looks in the mirror. While he tries to work that one out, he begins accompanying Henry on his social rounds -- at dinners where the acerbic older man tries not to insult his hosts so he'll be invited back to Palm Beach for the winter season; and to the opera, where Henry teaches his protege his technique for getting in for free.

In due course, Louis gets a job at a small environmental magazine, where he sort of befriends co-worker Mary (Katie Holmes), whom he may see as a "Gatsby" Daisy -- and whose lingerie he covets. There's also a subplot concerning Gershon (John C. Reilly), a building weirdo with giant hair and beard who, despite his frightening appearance, speaks in a very odd falsetto, as well as one involving Henry's former boarder, whose arrival on the scene precipitates the somewhat arbitrary and indifferent wrap-up.

But the core of the film remains the interactions between teacher and student. Henry and Louis have major differences -- there's no one who could possibly agree with all of the curmudgeon's outrageous views -- but Henry likes Louis because they speak the same language. For all the aggravation, Louis knows he has a lot to learn from his unique host, who has such a commanding presence that it's hard not to come under his sway, even when looking askance at the substance of his remarks.

The same holds true for the viewer, given the mesmerizing allure of Kline's outsized but impeccably calibrated performance. Perhaps no contemporary American actor can carry off the sort of classical stage enunciation he can, and here he applies it to a character who uses it both for the effect he knows it creates but, even moreso, out of personal affinity. Henry has a tremendous sense of style, only it's a style of 80 years ago, which is what makes him so funny, an effect compounded by Kline's exceptional sense of timing.

By contrast, Dano soft-pedals his characterization to excellent effect; Louis seems like a rather calculated sort of misfit on paper, but Dano's underplaying and innate physical oddness make him not only palatable but oddly sympathetic. The actresses playing the women in the men's social orbit, including Marian Seldes, Celia Weston, Patti D'Arbanville and Lynn Cohen, are all delights.

Terry Stacey's lensing is vibrant, production designer Judy Becker has poured considerable detail in Henry's worn apartment, Suttirat Larlarb's costume designs show real wit and Klaus Badelt's score is a vigorous asset.

Camera (Deluxe color), Terry Stacey; editor, Pulcini; music, Klaus Badelt; music supervisor, Linda Cohen; production designer, Judy Becker; art director, Charles Kulsziski; costume designer, Suttirat Larlarb; sound (Dolby Digital), Damian Canelos; supervising sound editors, Julia Shirav, Kent Spalding; re-recording mixer, Lora Hirshberg; assistant director, Mariela Comitini. Reviewed at Sundance Film Festival (Premieres), Jan. 25, 2010. Running time: 108 MIN.

Read the full article at:
http://www.variety.com/story.asp?l=story&r=VE1117942004&c=31

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Sundance 2010

2010-01-28T11:24:00.000-08:00

Got in on Monday afternoon to Park City, where 5 feet of snow had fallen over the weekend. The energy and the buzz is always amazing. I love the mix of folks who are diehard film buffs, industry folks, young filmmakers, and those who never see a movie while they are here but do not miss a party.

Crazy altitude headache lasted an entire 24 hours, along with the huffing and puffing that goes with mountain air until your body adjusts. You instantly feel for your asthmatic grandmother.

The shuttles are the smartest thing going. You can basically get anywhere you need to go. Overheard the other day, these women were doing a play-by-play of a film a lot of us were on our way to see. I wanted to choke them. Everyone around them was shooting daggers of hate. "Do not f*c# up my moviegoing with your loose lips," was the translation of the hatestares. There was also a first time filmmaker who was talking extra loud about needing to "GET TO MY SCREENING. OF MY FILM. THAT'S SCREENING HERE. MY FILM. AT A THEATER HERE. SCREENING. HERE. MY FILM." Yeah, we all got it.

Got a last-minute invite to Chefdance. Great food and people watching. It was set up in the basement of Harry O's niteclub/live music venue. Mya performed upstairs after dinner to a jam-packed house of people. Even the club here is getting in on the movie business. There was a roving pack of cameras mostly focused on whichever female patron was most likely to have a wardrobe malfunction while dancing. Naturi Naughton, of Notorious and Fame performed, as well. She is crazy talented, definitely one to watch. I talked to her later about possibly working together to shoot a classy and beautiful video to spotlight her talent and beauty. Went to another party or two. It's all blending together. Blame it on the al-al-al-al-al-al-titude.

Saw a graffiti art piece by British artist Banksy. There is a film here on his work:

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Banksy's 'Exit' to premiere at Sundance

Film, narrated by Brit Rhys Ifans, is fest's Spotlight Surprise

By Gregg Goldstein

Jan 20, 2010, 09:41 PM ET

The infamous (and anonymous) graffiti artist Banksy is pulling what may be his biggest prank ever at Sundance -- with the help of fellow Brit Rhys Ifans.

The guerrilla pseudo-documentary "Exit Through the Gift Shop," billed as "A Banksy Film" and narrated by Ifans, will have its world premiere Sunday night at the Library Center Theater as the fest's Spotlight Surprise.

Cinetic Media is repping sales for the stealth project. Hopes are that an adventurous distributor will pony up as many millions for the film as Banksy earns for the "street art" he secretly leaves in urban spaces. Several of his works have appeared on Park City walls this week.

Insiders say "Exit" takes audiences on hairpin twists and turns as it chronicles renegade urban artists and pranksters from around the world.

The film is billed as an exploration of street art. According to a description, "Los-Angeles based filmmaker Terry Guetta set out to record this secret world in all it's thrilling detail. For more than eight years, he traveled with the pack, roaming the streets of America and Europe, the stealthy witness to the world's most infamous vandals. But after meeting the British stencil artist known only as 'Banksy,' things took a bizarre turn."

Jaimie D'Cruz of U.K.-based Keo Films produced the project.

Holly Cushing and James Gay-Rees exec produced. But whether the artist known as Banksy helmed the film himself is still a mystery.

"Sundance has shown films by unknown artists, but never an anonymous one," said fest director John Cooper. He described the film as "part personal journey and part expose on the art world, with its mind-altering mix of hot air and hype."

Adding to questions surrounding the film, U.K. crop circle hoaxter John Lundberg was said to be enlisted by Banksy for stealth promotion. However, a spokesperson for the film said Lundberg had no involvement with it.

"Exit" is a separate project from "docuBANKSY," an in-the-works documentary about the artist discovered last year on the Internet.

Much like Banksy's work, more about the film can be easily found now in Park City, hidden in plain sight.

Links referenced within this article

Find this article at:
http://www.hollywoodreporter.com/hr/content_display/film-festival/sundance/news/e3i58f0e7e6076e504397d9f83ff96f18b0

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Director Interview at Arpa International Film Festival, Los Angeles

2009-10-25T14:10:00.000-07:00

http://arpafilmfestival.wordpress.com/2009/10/23/16-meet-charise-studesville/

#16: Meet CHARISE STUDESVILLE

23102009

CHARISE STUDESVILLE, writer/director/producer

Film: THE HANDS

Screens: Saturday Oct. 24, 4:45 pm – Emerging Stars: Filmmakers on the Edge program

The Hands is a story of the love between a father and daughter that can’t last in its original pure state. As the grown-up daughter now sits at her father’s bedside in his final hours, she becomes fixated upon his hands and how they have come to represent all of who he was, as a man and as a father.

1. Tell us a little about yourself and where you have lived, highlighting any major cultural identities that define, influence or challenge you in your life.

I have spent most of my life in the midwest, growing up for much of my childhood in Madison, WI, and returning there to attend the University of Wisconsin. Since graduating from college, I have lived in Chicago. For the past two years, I have split my time between Los Angeles and Chicago.

I was born a multi-cultural baby before it was chic. Coming from different worlds on either side of my family, I learned very early on to look beyond the surface to view who people really are, at their core.

While there were definitely times when my being culturally different from the blond-haired, blue-eyed standard of beauty that defined the population where I grew up, I have to say that I always felt my mixed-race status was a bonus. From the very beginning, I loved and was loved by very different people from very different worlds. It’s funny, but no matter where I go in the world, people assume I am one of them, a member of their cultural tribe. I really think this has informed my filmmaking. I have always been able to hone in on the humanist element in people, and in the characters I create in my writing and filmmaking. You can’t learn that in school. You either have the sensibilities, or not. I am thankful for all of the nations that live within my heart, and I think the world is finally catching up with my view.

2. How did you come to be a filmmaker, and where/how did you learn the “craft” of filmmaking?

I was trained as a journalist at the University of Wisconsin School of journalism. I went on to use my writing skills within politics, the law, non-profits, etc., but always circled back to fiction writing.

A few years ago, I began studying screenwriting and filmmaking, first during my graduate studies at DePaul University, and then at the Iowa Writers Workshop. I subsequently wrote several screenplays that won awards in various writing contests. After learning the production side of the business during an internship at Martin Chase Productions (Sisterhood of the Traveling Pants, Cheetah Girls, The Princess Diaries), I knew that the one piece left to learn was directing. I was accepted into the USC/Warner Brothers Directing & Producing Program, where it all sort of came together for me. I was able to come out of the program and head directly into production of my directorial debut, along with executive producing another film.

My instructor at USC really helped me in placing a template of organization over the already-honed film aesthetics that came from studying the craft for so many years.

With all of that said, I still feel that my most useful training came from the year I spent as a young girl in a body cast, literally forced to watch the world go by. My imagination served as my friend all of those months, and now it serves as the basis for my career.

3. What prompted the idea for your film and how did it evolve?

One of the screenplays that I wrote is a modern version of The Big Chill, but populated by a multi-culti cast of women friends. Each woman has a complicated and sometimes haunting background story as they come into the present.

The Hands is one such back story. It is based upon the real-life experience of many women I have met, myself included, who idolized their fathers as little girls, but who as adults had to come to grips with the reality that Daddy was just a man, a flawed human being. It is a pivitol moment for both daughters and fathers, and I wanted to look at it up close. I also wanted to explore the ideas of memory, loss, and forgiveness within the confines of the father/daughter relationship. This story seemed the perfect way to do just that.

4. What is your single favorite line from your film?

It’s the last spoken words of the film: Joy and sadness are not exclusive of one another. One can be happy to be free of the imprisonment, but still long for the familiarity of the captor.

It applies to a lot of different kinds of relationships.

5. What movies would you say have transformed or changed the way you see the world?

Room With A View was the first film I remember seeing and thinking that I would love to create something that could transport the viewer so completely to another place and time, and relay the longings and experiences of the characters to the viewer, both visually and emotionally.

Daughters of The Dust and Eve’s Bayou left a longing in my heart for the experience of actually becoming a filmmaker. Both of these films drove me to begin the dig, to figure out how story and picture become one.

The just-bold-enough move | Crain's Chicago Business

2009-10-25T14:08:00.001-07:00

The just-bold-enough move | Crain's Chicago Business

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CHICAGO BLACK HARVEST FILM FESTIVAL

2009-08-26T19:29:00.000-07:00

The Hands had the honor of being given a slot on the 2009 Opening Night roster of films a few weeks ago. That, in itself, was an honor. Then the countdown whirlwind began with everyone within a hundred mile radius trying to get their hands on a ticket for this event that was basically soldout before the programs were even back from the printer. After sending out more "sorry" emails than I ever wanted, the reality hit that I was really bringing my project back to my home crowd. Butterflies in my stomach doesn't begin to describe the nerves I was feeling. After I figured out what to wear (I am a girlie-girl to my core), I was on my way with my dates--she who gave birth to me, and she to whom I gave birth.

The Gene Siskel Film Center in Chicago was buzzing with energy and excitement. It was the 15th Anniversary of the Black Harvest Festival, and there was a reverence in the air for what had been accomplished during that time. Awards were bestowed. One went to actor Hill Harper, who joined the festivities via a humorous and heartfelt recording, as he was stuck in NYC taping his hit show "CSI: NY." The other went to maverick local journalist Hermene Hartman. The latter was given out by Chaz Ebert, noted Chicago attorney, and wife of Roger Ebert. As I sat there in the room, witnessing these powerhouse women with whom I was sharing stage space, I was completely humbled. As Chaz noted, this was an especially special night. The festival has become known for launching and fostering wonderful new talent. We were sitting in the house that Siskel and Ebert built watching films that were born of fresh, new voices...and then my film cued up to play. When I was called up to the podium to speak about my project, I left my body and began to watch from above. The words I spoke were coming from the mouth of a new director who had somehow found her way to living and making good upon a dream that once had seemed only remotely possible. The faces in the audience were engaged. The energy still palpable. I still don't recall what I said as coming from my own mouth. I remember it as being from that woman up on the stage.

A few minutes later, The Hands was on the screen, in living color. Thanks to the unbelievable technical powerhouse that is the projection and sound of the Siskel Center, I saw my film as it has never been seen before. Crowd smiled when they were supposed to smile, winced when they were supposed to wince, and cried when they were supposed to cry. Doesn't get much better than that.

Followed up the screening with a too-much-fun radio interview later in the week with the ever wise and ever funny Brian Babylon, http://vocalo.org/explore/content/46214. We had so much fun, in fact, that he has invited me back to do some adlib media-talk. Brought back the good 'ol days in the basement of the University of Wisconsin School of Journalism where my friends and I spent a summer running a daily radio news show. Fun then. Fun now.

Finished up the week with a little birthday celebration. Thirty-three is a good place to be. I think I'll stay.

LA SHORTS FEST--THE NAKED TRUTH

2009-08-26T19:12:00.000-07:00

The L.A. Shorts Fest was a great festival. The Hands screened on the opening Friday night, in the block after Demi Moore's directorial debut. It was partnered with some really great films, which is high compliments for our work. Very cool. Got great feedback, and a few requests for screeners (screening copies) by a couple of studio people. Always good.

Here's the part I wasn't expecting. I received a little email with a pictorial gift that I could have done without...someone who felt the need to make his privates, well, public. I have a friend who is an anchor at CNN who has been dealing with a few oddballs (no pun intended) of her own, and it all just leaves me perplexed. I just don't get it. Is this supposed to make someone more appealing to the recipient? WTF?! I have found new ways of screening my mail that will hopefully keep that from happening again. One friend joked that receiving the x-rated fan mail means you have hit a new high in popularity. I'd rather have a golden statue.

A Meeting In the Ladies Room

2009-07-19T18:42:00.000-07:00

A few months ago, I was invited to join a women’s networking group. There are periodic gatherings in person, but, for the most part, our contact with one another is via emails and “the boards,” a virtual bulletin board where we can access any and all info one could think of having to do with the entertainment industry. I wasn’t expecting much. I have, however, become completely enamored with this wellspring of intelligence, insight, and can-do-ism. Members will often post a note that they are looking for a contact for a specific company or person, but it goes deeper than that.

In these most difficult of economic times, there are many women in the industry who are having a really tough time keeping a roof over their heads. One of our members, new to Los Angeles, was days away from being put out of her apartment, with no where to turn. She posted that she was looking for a service-for-trade situation. She is now, thanks to leads from our membership, living with an elderly lady with a home with room to spare, for whom she cooks dinner and does errands, in exchange for her room and board. This has allowed her to keep her industry job in the early mornings. All thanks to a continuum of women.

I responded to a call for members who might be interested in a “brainstorming group,” even though I wasn’t sure what that would mean. Much to my surprise, and pleasure, I met with three other women the first night at a health-food restaurant in Hollywood. We were, respectively: a stand-up comedy sketch artist/graphics designer; a marketing person for an online greeting card company; a television/music producer; a writer/director/filmmaker. The ground rules were that we would each bring a project or idea that we were working on, at any stage of development, to share with the group and receive feedback regarding how to expand and further it. In the span of two hours, we traded stories, each allotted five minutes to introduce our project, five minutes to receive feedback, and five minutes to then discuss. At the end of each our time allotments, we each came up with what we would pledge to accomplish by the following meeting. We each also told the others exactly what we needed from the others in terms of encouragement and support. One woman was so clear on what would feel best for her, she gave us a kind of script: “When I post on our page that I have done X, it would really feel good for you guys to say Z.” We laughed about the fact that all of our relationships in our lives could be served by such frankness and clarity. Even though I walked in with the start of a nasty migraine, I left feeling buoyant. The genuine care that we all showed for one another’s passions and journey was so refreshing. As women, we are often pitted against each other, or choose to see ourselves as such. In this town, and in this time, where so many view their little corner of the universe as a zero sum game, here I was in a place that was only to support and nurture me. And that’s the way it was…

Five Dollar Footlong + Entourage=FUN

2009-07-19T17:56:00.001-07:00

Was under the weather on Friday, so I missed the opening night at the International Black Women’s Film Festival. After having to cancel all of my travel reservations, I re-booked, switched hotels, and was back on my way Saturday evening. It’s a short plane trip from L.A. to San Francisco. Just as we entered the Bay Area, I was treated to the most incredible sunset I have ever witnessed. An orangey blaze across an aubergine sky. Felt otherworldly. Checked into the Clift Hotel…just in time for the party, apparently. It made me wish I could travel with an entourage. I so get why folks who find success in the entertainment business often bring with them their closest friends. For one thing, it gets lonely. And, then there is also the fact that inside jokes without an accomplice are a little pathetic, as they are only inside your head. Plus, if you are only in a place for a night or two, the kind of connections that are there for the making are not normally of the kind that a happily married woman wants. I have never had a problem taking myself to a movie or dinner. I learned at the age of sixteen that solo movies can be quite a treat. But, there are times when you just want another human who knows you to bear witness to what you are exploring and experiencing. My oldest daughter was with me for a festival in Lake Arrowhead, CA a few months back. The sheer white-knuckled terror we experienced heading up the mountainside to 6000 feet above the rocky valley below is now fodder for us to laugh about until we are doubled over. We must have looked like a really bad Thelma and Louise meets Twin Peaks smash-up…and speaking of Twin Peaks (and that is where it was filmed), we were convinced that the woods held the most treacherous of mass murderers, just waiting to make furniture and clothing from our body parts. (We are avowed city people. It’s official.) And who else would have had a mutual attack of the juvenile sleep-deprived giggles over the suddenly funny “$5 footlong” Subway song. Point is, you had to be there…with someone.

Next...

2009-07-14T12:25:00.000-07:00

I have now been on the festival merry-go-round for three months. The line that keeps coming to mind is, "Be careful what you wish for." And, I don't mean for this to sound as though I am ungrateful. I am anything but that. I am simply experiencing what a lot of newbies discover. You make this film that you are passionate about. You hone the best writing you can muster. You choose the most talented people to work with to make it shine. You get on set, and the ups and downs are incredible. Passions flare, urging one another to do work that is better for it. When post-production time arrives, the excitement of dissecting and melding the initial vision with the reality of what was captured is at hand. Editors call this part "polishing the turd." Not very eloquent, but it must be what it feels like to be given hundreds, sometimes thousands, of tiny pieces to make one coherent whole. It is said that a movie is written three times: the screenplay by the writer, the shooting by the director (and cinematographer), and the final meld by the editor. I always understood this. The part I didn't really consider, albeit naive of me, is the running around the world to talk about it phase. But it has to be done, especially in this age of YouTube. Everybody and their brother, twice removed, feels that they are a filmmaker. I have talked to folks who claim that they have done 8, 12, 20 movies. Then I find out that they turned the digital cam upon themselves going to the loo, and called that "film." But, legit movies with rich stories and characters are still competing for the same viewers' attention. And to do that, you have to run around the world talking about the film you put your heart and soul into. All of the people who gave time and effort to the film deserve for me to give it that effort. And, I owe that to myself so that I can continue to tell stories that otherwise wouldn't get told...kind of the mantra of Lotus Girl Films.

So, my days have shaken out like this:

•Joining a women's brainstorming group, as an offshoot to a networking group of women in the industry. (More about this in the next post.)

•Research at the Academy of Motion Picture Arts and Sciences on my next project, a political thriller

•Watching old suspense/thriller/political films as inspiration and research (maybe the best perk of the job)

•Supporting other women directors...go see "The Hurt Locker" directed by Kathryn Bigelow!

•Polishing a script for a table reading next week with actors

•Trying to make the moments that I spend with my kids happy and connected ones

•Trying not to rely too heavily on caffeine, even the green tea kind

•Trying not to freakout when my four-year-old lands us in the ER with a "broken chin" on the 4th of July (four stitches and a few days out of the pool, and he's fine; mommy is still re-living watching the numbing of the wound--oy!)

•Talking to other writers and story people about new projects

•Talking to folks about money for the next projects

•Getting ready for two festivals coming up in the next 10 days

All in all, it has been a good couple of weeks. A good night's sleep, or two, and I should be ready to talk it up some more. At the end of the day, the whole scene is just a heap of "high level problems." Like I said, be careful what you wish for. You will probably get it. And then some.

2009-06-04T23:56:00.000-07:00

Someone asked me so long ago, why was there even a need for "Black" film festivals. I answered that the film market still seems to forget that the world is made up of many stories, and that universal stories can be told from the vantage point of any human capable of experiencing it...thus making it universal. We need places where it is alright not to be one of the boyz in tha hood, no disrespect to those who are. In so many festivals, a brown face on the screen means marginalization, generalization, and the assumption that whatever story that brown face portrays couldn't possibly be one to which the average non-brown face could relate. Sometimes, white festival programmers and directors just don't see us as individuals.

Just before I left Chicago, I received a photo from the director of a festival I screened The Hands at a couple of months ago. The envelope was addressed to me...the only Black filmmaker at this particular festival. To my surprise, the envelope contained a picture of the only other Black women to attend the festival besides myself and my daughter. I will post the pic of the women and a pic of my daughter and I when I get back to Chicago. I will let you be the guest as to how far we have come in truly seeing each other...or not.

Hollywood Black Film Festival

2009-06-04T23:09:00.000-07:00

Yesterday, sat in on sessions with "The Guilds"--SAG, WGA, DGA. Tons of info, especially helpful for indie filmmakers who may utilize the low-budget agreements. Also loved the panel with Antwone Fisher (Training Day 2), Preston Whitmore (This Christmas), Rockmond Dunbar (Pastor Brown), Brett Dismuke (VP-Acquisitions, One Village Entertainment). Lots of talk about the changing face of distribution due to the folding of major video sale outlets such as Coconuts and Blockbuster, and the move to digitization of film download as the consumer-driven way to view film at home and on the go. There was also a very important lesson for filmmakers, as shared by a screenwriter who, early on in his career, chose to negotiate his own distribution deal...only to lose out on all of the international revenue for his film, which was also the only real revenue that his movie had. I doubt anyone in the room will be repeating that one, thanks to his willingness to share his bumps along the way.

I stopped today to tell Tanya Kersey, the Director of the festival, what an incredible job she and her staff have done in organizing the festival. Everyone is so happy to be here, and thoroughly enjoying the panels, the films, and meeting other filmmakers. She responded that the filmmakers are the stars of the HBFF. It's a treat for folks like me who love what they do, and appreciate the appreciation. I am getting really excited and nervous, anticipating Saturday's screening. I hope people show up!

Almost forgot! I will be taking The Hands to San Francisco July 17-19 for the International Black Women's Film Festival. Sooooo honored to be one of only four shorts chosen for this wonderful, necessary film festival. Stay tuned...

Cannes Recap

2009-05-29T12:54:00.000-07:00

Now that I have had a minute or two to sleep off Cannes, the jet lag, and the French wine that is required in order to be considered polite, I am considering what the take-aways were for this festival. I have come up with the following, as a start:

1. Creativity in funding and distribution are the new games across the land. The old studio method of thinking and doing are really becoming archaic. Thinking outside of the box is now a survival requirement.

2. Violence, and more specifically, violence towards women, just never seems to go out of fashion. The coveted premieres were blood, guts, and torture. I suppose that fact that we are a world constantly at war, somewhere, will always make this so. I am not against all violence in film. I love a good cutting off of the ear when needed. If the story warrants it, full-speed ahead. But lengthy scenes of genital mutilation as torture? Seems like lazy storytelling and filmmaking to me.

3. The Asian market is about to take over the industry. The infusion of huge capital alone will make this so. Should be interesting to see the effect on "Western" product.

4. American filmmakers need to organize themselves as a group, in order to take advantage of the European short film market. In a big way.

5. Hilary Swank knows how to work a red carpet.

Cannes De-Virginization Complete

2009-05-21T17:01:00.000-07:00

Last night in Cannes, we were hanging out in the American Pavilion, and I run into a guy hawking his own short film. Unbeknownst to me, he is a USC grad, knows my entire crew, and even worked on the film I Executive Produced, Kwame. Sometimes you have to fly half way around the world to meet folks from your own backyard.

Later that night, we made our final pilgrimage to cáfe-land on La Croisette, where I had the distinct pleasure, not, of walking into a basement to use the toilette...only to find a Frenchman in the dark, with only his cigarette lighting the way. Yeah, didn't stay for that show.

Last day of hustling the Short Film Corner. We screened The Hands in a private screening room. Not a big audience, because we were relegated to an early morning slot, but still respectable. Note to self: By the time folks are into the Cannes groove, fewer and fewer bodies are there in the morning hours. It was still amazing to be there, though. Not one person who had a part in making this film was left out of my brain in those moments. Everybody remembers their first time...

Tidbits overheard...

2009-05-19T11:01:00.000-07:00

This is some of the best people-watching, and convo eavesdropping I have ever experienced:

1. "Eli Roth was talking about smoking with Quentin Tarantino, and dude, I was like, can I hang out with you cuz you are for sure smokin' the good shit."

2. Guy #1: Have you met many people yet?

Guy #2: Yeah, dude, I went to a party last night, and I woke up on the other side of Cannes with two people in my bed. I think I met a lot of people last night.

3. While waiting in line for the bathroom: "I am totally ready to bend over and spread the cheeks to sell this movie, dude."

Dude, I'm just the messenger.

Take the good with the bad...

2009-05-19T02:16:00.000-07:00

So, after a night of listening to drunk people racing their scooters and singing drunken French songs just outside my window, I got up to prepare for my Le Pitch filming for ShortsTV. Very odd. You know when you think you are prepared, but you don't get the response you thought you'd get? Yeah, well that pretty much sums it up. Understandably, because I am in France, the excitement seemed to be saved for French writers and directors. Whatta ya gonna do? Well, I went and got a croissant, and started my work for the day. Funny how the sting of a lukewarm reception can be eased with a lovely pastry.

Today, I will be working to target the foreign sales agents and distributors for short films. In Europe, short films are truly respected as an art form, and they have many outlets to market them and share them with a viewing public.

I saw a couple of well done productions in The Short Film Corner yesterday--The Coup De Grace was my fave. Today I am going to see one called Le Quota, which poses the question, "Is France racist?" It is supposed to be a thought-provoking piece. It is definitely an interesting component of this film market.

Cannes Days

2009-05-18T05:27:00.000-07:00

So it has taken me a couple of days just to figure out the maze that is the Festival De Cannes. Obviously, there is the jet-lag...7 hours difference between Chicago and Cannes. That alone has made an 8am wake-up call interesting. But, even bigger is the absolute vastness of this festival and market. It is a several football fields long in white-domed tents behind a Coliseum of a building, with every language under the sun being spoken, and the Mediterranean sea as its backdrop. It can be overwhelming, until you start to break it down into manageable parts. It felt a bit like freshman year in high school.

The first day was just getting registered, and trying to get the lay of the land. We had a comical "Where's Waldo" episode going as we were on the hunt for electrical outlet converters that we forgot at home...only to find that the business center at the festival sold them for 20 Euros, right next door to where we had just registered. Live and learn. We honed our French a bit on that excursion, along with our sign language that we felt was helping our translation. There was an invitation-only premiere that night, which caused us to cross paths with Quentin Tarantino, who is a freakin' rock star in these parts. Seriously, he was just walking down the closed off street with his tux on, waving at people screaming his name like he was one of The Beatles. A little surreal.

Yesterday, I went to the Short Film Corner inside the Marche Du Film at the Palais. I found my film, The Hands, and the film I was an Executive Producer on, Kwame, among the screeners. That was a very cool moment. There was a time, not that long ago, when I was overwhelmed at the thought of how to put together a movie production. So, sitting here on the French Riviera with a production that I wrote and directed, felt like a tremendous milestone.

We also hit La Pizza for lunch. Just as promised by a friend who is also a disciple, it was a religious experience. Who knew that the best pizza a Chicago girl would ever have would be eaten on the French Riviera?

Today I snooze-buttoned my way through my alarm too many times. I rushed to the shuttle at the apartment we are renting. Got to my appointment just in time, including stopping off to burn a copy of my official trailer to hand over...and was then told they were running so far behind, would it be possible to come back tomorrow morning? Of course. No worries. I used the downtime to make more movie posters/handouts. My other Executive Producer, aka Husband, became the Ultimate Street Team today, driving folks to screen my film, and handing out fliers and postcards. Got my first positive review here today. It was in French, but from what I could decipher, it was very complimentary. (Haven't quite finished my Rosetta Stone course).

I will check in tomorrow after my Le Pitch appointment. It is for Short Film TV, a European entity that buys and distributes short film content.

Boston International Film Festival

2009-04-19T20:37:00.000-07:00

Screened earlier today at the Boston International Film Festival. It was a great time. People really responded well to the film. We were paired with another film, Mississippi Damned, that also explores the issues of families, secrets, loss, and memories. The thing I found most interesting about looking at these two films together is the enormous unspoken toll families exact upon their own, all in the name of love. In both films, girls were harmed most by the ones they loved most. It speaks to the power of those we love on our lives. Also worth noting is the fact that the stories, although both dealing with African American families, shined the spotlight on families with completely different socio-economics, levels of education, concepts of sexual identity, etc. I found that to be a huge leap in a dawning realization that African Americans are not some monolith, but have lives and stories as different and as universal as any other ethnic or racial group. Seems obvious to say; but still a fact not represented in mainstream media.

Day 2-Lake Arrowhead Film Festival

2009-04-04T23:28:00.000-07:00

So today was a day of movies that went straight for the heart, for the entire crowd, but for me personally, as well.

The first film I watched was 'Older Than America' by Georgina Lightning. It tells the story of the atrocities done by the Catholic Church via Reservation Schools aimed at "civilizing" Indian "savages." It was a atrocity that was still sanctioned by the church and the government as late as the mid-70s. It touched me personally on several fronts. My family has roots deep within the indigenous experience in this country, but much of that experience is unspoken. The reasons for the silence ring true also for the black members of my family...we share the history of holocausts that have altered the current state of both populations. This movie brings the discussion to one side of this equation by framing it in an incredible drama. When you see the title showing somewhere around you, go see it!

The second film was 'Reach For Me' directed by LeVar Burton. It focuses on the relationships of a group of people living their final days and people working in a hospice. It is a beautiful story that plays heavy on the heart without ever becoming maudlin. I had the privilege of spending my grandfather's last few days of his life in hospice. Much like in the film, I learned that death brings new life experiences that give another layer to our understanding of both. In the end, death isn't scary, it just is. Once again, go see this one. (Have to say, also, Adrienne Barbeau lent a beautiful performance in the film...and was gracious enough to pose for a pic for me to send to my father, possibly earning me a spot in heaven.)

The last film I want to mention, 'No Subtitles Necessary: Laszlo & Vilmos, covered the professional lives of two of the greatest cinematographers in the game. If you love movies, you have probably seen their work. Check it out.

Lake Arrowhead-Day 1

2009-04-03T15:47:00.000-07:00

So, the first greeting I received here at the Lake Arrowhead Film Festival was from one of the official screeners. He told me how much he loved, loved The Hands, and how it had touched his heart, and how the story has stayed with him still. It doesn't get much better than that for a filmmaker.

We screened first thing this morning. My travel companion (Ashley) and I were the first ones in the room. I was more than a little nervous about that. I mean, what's your worst nightmare if you are screening your film? That no one shows up, right? Well, a few minutes later, we had a little crowd. It was received well by the audience and the other filmmakers. Pretty cool.

Saw a film (Jackson) last night directed by the guy that wrote Pretty Woman, J. F. Lawton. It was a wonderful example of what an indie film can be, and why they are so important. As Lawton noted, the combination of homeless men as lead characters and a storyline interspersed with operatic arias, studios would not know how to market, or pigeon hole, it.

2009-04-01T00:08:00.000-07:00

On the countdown to Lake Arrowhead. Hoping you will check out The Hands and the other films in Shorts Program 1. I am looking forward to meeting the other filmmakers and checking out all of the wonderful films.

More good news: Kwame, directed by my editor Edward, executive produced by yours truly, garnered Best Student Film at the Cleveland International Film Festival.

2009 Best Dramatic Film

2009-03-26T19:09:00.000-07:00

Very cool news!!! Talked to one of the Directors of the Wildwood Film Festival, a showcase of films/filmmakers with ties to the state of Wisconsin. They have chosen The Hands as the Best Dramatic Film for 2009. No matter where you go in the world, it is a great freakin' feeling to be recognized for your work by the place that gave you your start. For the record, I grew up for most of my childhood in Madison, WI. We moved away, but I came back to go to the University of Wisconsin, aka "Mad City." Ahh...good times.

The road to festival-land...

2009-03-24T20:32:00.000-07:00

I am working again on mailing out press kits to film festivals that we have been selected to screen in. It's funny how the absolute euphoria of getting that first acceptance is soon replaced by the busy work that will get us seen once we are there. There is much to this process. It's starting to make more sense than ever all that the studios do for their films. If this little film can take all of this effort...wow.

It has been really cool getting feedback on this project that began as a one sentence idea on a page. It soon grew to a full page, and then a screenplay. But all along, the image of a daughter, haunted by the father of her past, fixated upon the man laying dying in front of her, is what kept coming to my mind.

People who see the film can't help but personalize the story to their own lives, wondering if they would react in the same manner as this daughter. I don't want to give anything away. But check it out for yourself, and let me know what you think you would have done.