Thomai in L.A.

Music Video for Nothing In Your Pocket

2012-01-25T12:06:00.000-08:00

Here's the youtube link to the NIYP video I directed and produced with a lot of help from the MetaHara team (see listed credits)

http://www.youtube.com/watch?v=ohRaKFB994I&feature=colike

2011-11-06T09:38:00.001-08:00

THOMAI HATSIOS

2011-04-12T13:31:00.000-07:00

DIRECTOR

Thomai Hatsios is an award-winning director and veteran of film and video production. Her experience directing theater, painting, creating conceptual and installation art, and working in all aspects of film production combine to inform her unique voice. Thomai’s characters are uncommon expressions of femininity and are unusually flawed, surprising the audience with their complexity. Her unorthodox esthetic choices serve to sublimely yet forcefully inform plot and to draw the unsuspecting viewer more and more deeply into the world she is rendering. Audiences find themselves relating to and caring for characters that they previously wouldn't have believed could exist. Thomai has also directed numerous music videos and documented previously unexplored subjects from her truly inimitable perspective. With her production company MetaHara Productions, she currently has two feature-length films in development.

PRODUCER

Thomai's experience in development, her experience as a writer and director allow her to provide the creative team with the support needed to achieve the best possible product. Her skills developing, breaking down scripts, creating schedules and budgets combine with her creative insight, intuition and passion to help bring any collaborative project she's involved in to fruition.

At age 16, Thomai moved from the suburban metro area back to the city she was born in, Detroit, to found her own Avant Garde theater company. Thomai was thrust into the limelight of Detroit's arts and entertainment establishment. Her troupe of actors and performers would eventually become the multimedia performance tour de force, Metahara Presents. Early in the evolution of her production company, Thomai wrote, directed and performed in shows at some of the finest performance venues in Detroit, Chicago, New York City and Toronto.

In 1991 Thomai moved her base of operations to New Orleans, La. Highlights of her tenure in New Orleans include a live performance that consisted of a cast of 45 that was presented on 3 city blocks in collaboration with NOMA (New Orleans Museum Of Art), multiple performances and installations at the CAC (Contemporary Art Center) a tour of Europe and her trip to Morocco where she co-produced and directed a documentary about Ghnawa musicians which premiered in Peter Gabriel's Real World Music World Tour. By 1994 Thomai's work, already multi-media, had become more filmic.

Fueled by the desire to learn every aspect of film production, Thomai relocated with her son to Los Angeles. In 1998 she bought her 1st digi camera and immediately began creating dance films, experimental films and documentary. After learning to edit her projects in FCP, she became a freelance editor, called on by several boutique promo and instructional video companies. Thomai moved to on set production working as a PA, Camera Operator, AD and PM; eventually stepping into her bliss as Director and Producer. She has produced and directed several projects with budgets ranging from $3,500 to $1.5M. Directing narrative utilizes Thomai's passion, dedication and creative talent as a storyteller to the fullest. In addition to running her production company, MetaHara, Thomai is currently an enthusiastic member of the development team at AMI, with Mark R. Harris. Thomai's creative process includes collage (published in 37Days, Skirt Press), painting, writing poetry, prose and creative essays (The Next Thing, published in What I Wish For You, Skirt Press). Thomai continues to follow her bliss, Directing, Writing and Producing feature length films.

THOMAI HATSIOS
youtube channel
GASP on Vimeo
(to view GASP on Vimeo, ask for the password)

DIRECTOR

THORN, short film, MetaHara and POTA (pre-production)
GASP, Short film, MetaHara & Brooklyn Reptyle
Nothing In Your Pocket, Music Video, MetaHara & Brooklyn Reptyle
WOW (Women Of Wisdom) Documentary, MetaHara
Trance Dance, Gnawa Documentary, Real World Music Label
Condomble AXE, MetaHara
Video Postcards, Documentary, BBC Canada
Davaray Nanobeam, Promo, MetaHara
6 JVC Promotional Video's, Brian Stewart, Viking
Director of Multiple Cameras, Live to Web, Agape Services, Michael Beckwith
MetaHara Presents: Theater and installation
Various venues throughout the U.S. and Europe
1984 - 1998

Partial production list:

PRODUCER

FILM EXPERIENCE
Producer, "Odd Brodsky", Free Dream Pictures and MetaHara
Producer, "Bang Bang Brokers" Brooklyn Reptyle
Producer, "Fetch", MetaHara, On Purpose Films, A.Leigh
Producer, “Stronger”, Claes Act Entertainment, Claes Lilja
Producer, "In The Garden", MetaHara, Naropa Sabine
Production Manager, “Scratching The Surface”, STS-LA, LLC
Producer/ Director / Writer, “GASP” MetaHara & Brooklyn Reptyle

COMMERCIAL EXPERIENCE*
Producer, DAVARAY, “Nanobeam 940”, MetaHara
Producer, “Pure Synergy”, AMI, Mitch Meyers
Producer, Swarovski Crystal, “3 Graces”, AvidDiva, Select NY
Producer, Swarovski Crystal, "Sarabande" AvidDiva, Select NY
Producer, “AM/PM Renovate II”, Ogilvy and Mathers
Producer, JVC USA, Viking and Stewart
Producer, JVC ReBranding Campaign, Viking
Producer, JVC International, “Evario Campaign”, Brian Stewart
Producer, JVC International, “Memory Keeper”, Brian Stewart
Production Manager, “AM/PM Renovate”, Ogilvy and Mathers
Production Manager, “AM/PM, Get Stuffed”, Ogilvy and Mathers

TELEVISION EXPERIENCE
Production Manager, PBS Special, “The Answer is You” AMI
Production Manager, “Decisions, Decisions”, ABC/Stage 9
Production Supervisor, “Parental Guidance”, Lionsgate
Production Manager, “SNaX”, Sunnyboy Entertainment and RAND corp.

MUSIC VIDEO/PROMO/PSA
Producer / Director, "Nothing In Your Pocket" Rose Emanuel, MetaHara
Producer, “GFI Punk”, M.V. Undercover Bob, Partizan
Producer, Music Video “To All of You”, 3rd side records
Producer, Live DVD, “George Clinton and the Allstars Live” Undercover Bob
Producer, M.V. “Raborn’s Trance”, MetaHara and LAFCO
PM, AD Several Network Promos, GE/Universal, Moving Parts

Creative development, client relations, MM scheduling and budgeting, payroll, permits, contracts/deal memos, vendor negotiations and relations, CPR certified, able to communicate easily and appreciate mutual respect with the cast and crew.

Non Union- 1st AD
FILM
1st AD, Carlos Spills The Beans, Brooklyn Reptile Prod. Brian McGuire
1st AD Starlight Inn, Luka Productions, Jean Shim
1st AD, Son of an Afghan Farmer, Pilgrims 7
1st AD, “Night Riders” Jim Beaver
1st AD, “Consultants”, 21st St. Films
2nd AD, “Blood and Bones”, Bare Bones Productions

TELEVISION
1st AD, “Bite Me”, Webisode Series, Epic Level & Machinima.com
2nd AD, “Zane’s Sex Chronicles”, HBO and Depasse Entertainment
1st AD, “Ghost Town”, Sunnyboy Entertainment

COMMERCIAL, PROMO, MUSIC VIDEO
1st AD, Sharkies, Joel Tabbush, 360
1st AD, LGTV, 3D, Alex Moon, Producer
1st AD, Yakult, Humanist Films, Ming Lei
1stAD, Sketchers, Luka Productions, Young Soo Kim
1st AD, Neil Patrick Harris/VGA Spike TV, Motiv
1st AD, Samsung Galaxy 50, Luka Productions, Kwan Chung
1st AD, Spike TV VGA with Neil Patrick Harris, Eric Bute
2nd AD, Music Video “Ain’t No Reason”, Brett Denin/ Partizan Entertainment
1st AD, “Positive Workplace”, Dreamworks
1st AD Several Network Promo's: GE/Universal, Sony, WB

I run a tight set with grace. I brought in a 28 day shoot in 27 days, with stunts, pyro,
children, animals, and multiple locations, including working in the mountains of Cuyama,
CA. on the feature film, “Son Of An Afghan Farmer”. I worked through language
barriers on the mostly Korean commercial shoots for LUKA prod. I’ve worked well with
celebrity talent, European and Asian clients. My experience as producer, manager,
supervisor, editor and director all inform my ability to AD commercials well.

SKILLS

Scenechronize, E.P. scheduling and budgeting, proficient in Microsoft Office,
Final Cut Editing, Adobe CS3, Payroll, Call Sheets, P.R.’s, Petty Cash, Purchase Orders, Permits, Contracts/Deal memos, Vendor negotiations and relations, ability to communicate easily with cast and crew, CPR certified.

Contact info:
thomaifilm@gmail.com
310.621.2022

*This is a partial list of credits, a more extensive production resume is available upon request.

Thomai in L.A.

2011-04-07T09:22:00.000-07:00

Since relocating to Los Angeles, Thomai has worked with networks CBS, ABC and NBC, Moving Parts, companies including Lions Gate & MTV, agencies such as Ogilvy and Mathers. Her commercial clients range from small business owners to JVC and AM/PM. She has produced and directed several projects with budgets ranging from $3,500 to $1.5M. Thomai has worked directly with A-list talent: James Cromwell, Neil Patrick Harris, Donald Trump, Aretha Franklin and Prima Ballerina Diana Vishneva, to name a few. She is currently working closely with Oscar award winning producer, Mark M. Harris on several projects that are in development with both Mark Harris Company and AMI. Her production company, MetaHara Productions, continues to grow with several promo and commercial projects under it’s belt, an award winning short film, 2 feature length films in post and 3 feature length films in development.

GASP on VIMEO and ReelGrok!!!

2011-03-29T10:57:00.001-07:00

GASP

VIMEO

watch it, like it, comment nicely on it.

NC Burns of ReelGrok (a great entertainment industry resource) asked me to write a bit about making the film, GASP, with such small budget....

Please take a moment to

read the article. You can also rate and comment on it positively ~

I feel extreme gratitude for the lovely and talented cast and crew that came together for the making of GASP.

MANY THANKS,

Thomai

GASP WON!!!!

2011-03-02T05:00:00.000-08:00

We won the POTA grant for our film !!!!

Read all about it!

GASP world premiere at Athena Film Festival

2011-02-16T10:53:00.000-08:00

The Athena Film Festival is a production of the Athena Center for Leadership Studies at Barnard College and Women and Hollywood.

I felt so blessed to be a part of it.

I was unable to participate in the opening ceremony (Anishika was there representing) due to work conflict, but flew in straight from set in L.A. to NYC in time for the premiere of GASP. I was able to share the night with our lead actress, Anishika, my friends who are in NYC and one who flew in, as well as with 3 other film makers and a great audience. I had almost forgotten how much I love NYC and Brooklyn, and that I lived there at one time...it had been too long between visits. Thank you, Claes Lilja, director of the short film (that I had the pleasure of producing), STRONGER, for sharing his frequent flier miles and making the trip possible. As an added bonus, Claes changed my return flight making it possible to stay an extra day and visit more with my spirit nephew Mathias, witness the delicious parenting of Julie and Jason and go out to dinner with my spirit son, Sasha. The time flew by awfully fast...

On the day of the screening, I was very nervous about the how the audience might react and considered leaving the room when my short came on. Expressing my fears and my possible need to bail before hand to my family/friends and fairly new parents Julie Arenson and Jason Sypher (their incredibly articulate and brilliant child, Mathias, is 3 years old), caused me to have some ease about the situation. They both possess an unusually calm and accepting way about them~ Jason said something like, "well, that's OK. We'll stay and watch it for you. Don't worry about it if you have to leave...and if you change your mind and stay through the screening, that's good too..." Sitting next to Julie & Jason , with Anishika, Claes, Barnaby and Danny all there supporting, gave me the strength to sit through the screening and witness the audience reaction. My concerns about the audience reaction- fearing they would not laugh at the one laugh I wrote in, not cringing when I wanted them to, not cheering when I hoped for cheers, were set to rest. I am so glad I was there to witness their reaction and applause and that GASP was so well received!

Melissa hosted a Q&A afterward that included Oscar award nominee Sara Nesson, for her short documentary, Poster Girl (it's excellent- watch it and vote for her Academy voters!).
The audience asked intelligent questions and their praise inspired me to keep going.

I'm incredibly grateful for and proud of Melissa Silverstein for putting great action behind her encouraging words as one of the producers of the fest. I don't know if she realizes how helpful her blog is to women directors. We're not only encouraged by her observations, our feelings are validated. It's one thing to experience blatant sexism here and there while working in film and another to see the stats that support what we're experiencing. Knowing what we are dealing with & what we have to overcome, helps us. It's also great to know of the achievements of fellow female film makers and be informed when and where films directed by women or films that have developed female characters, are playing. Melissa and her partners at Barnard College brought us together to celebrate our achievements and continue dialogue about the process of film making from women's POVs. It brought us together in celebration.
I'm so grateful to everyone involved in the Athena film festival's great success.

GASP is my narrative directorial debut and the Athena Film Festival was my first screening at a festival.
It's been a great experience so far!

GASP PREMIERE / SCREENING at ATHENA FILM FEST

2011-02-10T22:38:00.000-08:00

MEET ME SUNDAY AT 4PM, IN NY!

http://athenafilmfestival.com/

Dream BIG!

2011-02-05T10:53:00.000-08:00

People who laugh at others dreams are actually laughing at their own dreams. They're preventing their own dreams from coming to life, while possibly fueling the others. I am one to encourage by nature, conditioning and by choice, because I know better.

The gospel of Thomai

gospel means good news...write your own gospel, everyone!

Producing STRONGER

2011-02-02T18:59:00.000-08:00

It's in the can!

What a lovely cast n crew...that set was a love fest.

Many of us wore more than 1 hat (2, 3, 5!) and still everyone was just so sweet!

I'd write more, but I'm exhausted.

STRONGER

2011-01-22T19:45:00.000-08:00

I'm producing a short film titled

STRONGER

If you'd like to know more about it and

make a tax deductible donation

stop by the website:

http://www.strongerfilm.com/

Freelance

2011-01-16T10:02:00.000-08:00

Freelance
Sometimes it goes like this:

You know you have connections
You know you've been here before
You know work comes out of the blue

But

It's been awhile since a paying gig
Bills are coming in and adding up and going into the late charge zone

So

You send out emails to people who might have work for you
Log into Mandy.com and apply for anything remotely appropriate for you (and send those that fit others to them)
God forbid there isn't much there, cause then you're looking on the dreaded, guaranteed to depress a freelancer and to be avoided at all cost- Craigslist

You continue

working on the projects that aren't paying this months bills, but feed the passion and the career:
Promoting the short film, "gasp", getting it into fests, preparing to go to the fests it got into
Prepping a short film I'm producing
Meetings about a micro budget feature I've been asked to line produce
Development

Faith

is struggling, it's been over a month now so you start thinking

Which bill can be put off?
Who can I borrow from?
What can I sell?

and just when you are about to put yourself in that awkward situation

a random gig comes in.

phew.

stay away from my set with those damned cigarettes

2010-12-31T08:57:00.001-08:00

Thank you everyone who is stopping smoking cigarettes today and tomorrow. If there is anything I can do to help, please let me know.

My mother smoked for 65 years or so.
She stopped a few years ago and never looked back.
Her voice has returned to pretty, her skin feels better, she stopped coughing every morning and every night.
She feels the need to take fewer vitamins.
She has a superior sense of scent.
Nothing she owns wreaks of ashtray. She was particular about where she smoked, but still, that smoke gets in your clothes and hair.
She doesn't even miss it. Not at all.

She replaced smoking with drinking more water and taking deep breaths more often.

I know others who began knitting. That is particularly sexy when a man starts knitting rather than smoking, with his children in mind.

I know that smoking allows one to take a 3-7 minute pause in the day to breathe in deeply and let it go....over and over.
You can do that without the cigarette.
It's ok to step away from the scene and just breathe- breathe as deeply as if you were inhaling smoke.
No one will think you are weird for that. They will think you are a hero for fighting the addiction- or they are not worthy of your presence. You may choose to edit some of the people from your life along with those little phallic symbols that have enslaved you. It's OK, not to worry, you wont really miss them anymore you would miss a fly.

Some people take the money saved from cigarettes and buy books.
Now your step away from the scene to breathe can include falling into a good book for a chapter....

The money saved, the skin renewed, the sense of smell returned full force.
Why wouldn't you quit?

As for life extension, yes, living long enough to be there for your grandkids (they might need you), grand niece and nephews is great. But, it's not about expectancy so much as it is about quality of life. Please trust me, not being able to breathe easily is hell. One needs to breathe easily to be able to stand, walk, use the bathroom, lift a fork or glass, chew, swallow water, lay down, sleep....all of those simple things you want to take for granted become incredible feats, without easy breathing. That man you may have seen in the anti-smoking PSA is in a wheelchair, not because he lost his legs in war, not because of spinal injury, but because without enough oxygen going in and out of the lungs- a human just can't stand.
We can't stand it.

Regarding the father of her child, a dear one said, "Oh no, he is European, he wont ever quit".
Really? How effed up is that? To place blame on an entire continent, an entire population? To dismiss a plea like that is horrid. Meanwhile, his daughter will associate that smell of ashtray with a loved one. She will be 80% more likely to smoke cigarettes....80% more likely to cough up a lugey....get sore throats...stink.
It's a trailer thing too, but you don't hear people saying, "Oh no, she just couldn't betray the trailer park by being as healthy as she could be" do you....?

I despise when people I care about smoke and people I don't know as well. I know you can stop, I know what it is to suffocate and I know cigarette's being burned in our environment causes more asthma and
emphysema in the world we share.

It is hell to not be able to breathe easily. Please take my word on that.
Cigarette smoking causes suffering.
Smoking is not allowed on any set I run. As a matter of fact, if you do smoke, you outta make it as invisible as possible. Smoking in the vicinity of others is major points against you when people are crewing up. Smoking around people who recently quit means you are providing a trigger....guess who's side I'm on- yep, the person who stopped smoking get's the space- not you and your smelly addiction.
Fight it- stop it now. Man up, Woman up.
Please have the courage to stop.

And if you have stopped
THANK YOU!

BLACK SWAN, review

2010-12-15T10:37:00.000-08:00

Go see Black Swan.
The purely beautiful and the hideously ugly weaved intricately to deliver a smashingly dramatic, cinematic ballet. Black Swan displayed, in a most artful way, the madness of the obsession that dance and competition are as art.
*************************************SPOILER ALERT******************************************

As an artist & a former dancer, I could relate to some of the madness that comes with sleep deprivation, food deprivation, constant competition, the pressure to perfect an expression of creativity. Nina, played by Natalie Portman, experiences a madness that goes back further and deeper, includes her mothers issues and their dynamic, and of course is taken to a dramatic level. I love that the story of Swan Lake is also the story of Black Swan. She seems to be falling in love, a love that seems perfect, until he / the choreographer / the ballet falls in passion with another. Is it just the other side of her? Or is it her falling in love with her altar ego and killing off her old self? It's her altar ego that ultimately mortally wounds her. We've all had our experience with the altar ego to some degree; imagine if developing your altar ego was the main focus of your life? That is at the core of the horrifying ride Nina finds her self spinning out of control on. Taking Aronofsky's ride with Portman in the drivers seat had me both floating and jumping out of my seat (horror).

I loved how effortlessly the beauty and ugly were intertwined. I appreciated the extreme close ups of pointe work, the back muscles of the elder dance matron coaching the Swan's arm movements. I remember having a defined back like that - I missed it in that moment. I appreciated how clearly the athleticism of the art was displayed. How "in her body" Nina / Portman is, from the moment she awakens and even in her dreams.
Football players have an idea what ballerinas go through, but their fans rarely do.

The film focuses on how damaging it is to imagine and strive for perfection. I appreciate that according to the choreographer in the story, perfection includes passion, not just technique. It is not just the delicate beauty, it's also the destructive chaos that come together to create perfection in this cinematic experience.

Portman, Hershey, Kunis and Ryder's performances were stellar! Portman proved herself as a lead actor who can carry the weight of a film on her shoulders, do what it takes (the training had to be brutal) to inhabit the character and bring in the bucks!

The screenplay, direction, production, costume, make-up, hair, special effects make-up, CGI, performances- all lined up beautifully...dare I say, perfectly. Black Swan is Aronofsky's masterpiece and Portman's greatest performance.

the other side of directing

2010-12-03T11:39:00.000-08:00

I am in perfect alignment, in total bliss when I'm in rehearsals, pre-pro, production and post as a director. I love it; I live for it.
In order to do more of it, it's expected that I self promote, create press kits, bio's, 8x10 photos, update my IMDB, network, get a manager, an agent, a publicist, and even get signed with a company.
YIKES!

here's a lil something I wrote about me and gasp:
"gasp" is Thomai Hatsios' narrative directorial debut. After years of directing documentary, experimental film, dance film, and industrials, Thomai sat down to write a narrative script that could be made inexpensively. Thomai pulled from her personal experience as a single mother determined to survive a sometimes debilitating illness. She asked herself, "What if I didn't have a car, certain skills that allow me to freelance, etc. " The resulting short film screenplay takes us on a journey of survival from 3:30am- 3:30pm with single mother Eva Piece and her daughter Imani.
My dear friend Benson helped me with a long and short bio:

Short Bio:

A 15 year veteran of motion picture, television and documentary direction and production, Thomai Hatsios is a visionary in every sense of the word. Few filmmakers are as multi-disciplined as Thomai, her experience includes, live theater, avant garde performance art, all aspects of film production

and leading her own production company. She currently volunteers at Agape International; directing multiple cameras for a live web cast while also being a dedicated and passionate member of the development team for AMI. Film maker, Thomai Hatsios, is a highly skilled, multifaceted creator. Working as a Director of films, commercials and documentaries as well as Producing, Production Managing and ADing have informed her work and her expertise in the film making process.

Longer Bio:

Film maker, Thomai Hatsios, is a highly skilled, multifaceted creator. Working as a Director of films, commercials and documentaries as well as Producing, Production Managing and ADing have informed her work and her expertise in the film making process.

A move from suburban Detroit to the grittier inner city "Cass Corridor" to found her own Avant Garde theater company when she was just 16 years old, put Ms. Hatsios into the limelight of Detroits' arts and entertainment establishment. The troupe of actors and performers would eventually become the multimedia performance tour de force, Metahara Presents. Early in the evolution of her production company, Thomai would, produce, direct and perform in shows at some of the finest performance spaces and nightclub venues in the Metro Detroit area. By the time Thomai was ready to relocate her company to New Orleans they had presented shows in Chicago, New York City, Toronto and Montreal.

1994 began an amazing period of growth as an artist and would lead Thomai to the conclusion that the only way to see her vision actualized was to gather it from the live theater and transport it to the film medium. Highlights of her tenure in New Orleans include a live performance that consisted of a cast of 45 that was presented on 3 city blocks, multiple performances and installations at the CAC (Contemporary Art Center & a tour of Europe and her trip to Morroco where she produced and directed a documentary. Seeing her work on film was her “eureka” moment!

Fueled by the desire to learn every aspect of film production, Thomai relocated with her son to Los Angeles where she began her education working in post as an Editor. Thomai moved to on set production working as a PA, Camera Operator, AD and PM; eventually stepping into her bliss as Director and Producer. She has produced and directed several projects with budgets ranging from $3,500 to $1.5M. Directing film utilizes Thomai's passion, dedication, skills, and creative talent to their fullest. She is currently an enthusiastic member of the development team at AMI, a company she is proud to be a part of, whose vision includes sharing transformational content widely.

the short film, gasp

2010-10-09T13:58:00.000-07:00

I've shared gasp with approximately 30 people so far, they are film makers, friends & acquaintances and the reviews have been great! A few have said they thought about the film for days afterward. I'm told by viewers that they squirmed and cheered. I heard gasps coming from the room when a few screened it at my place. Overall, most "get it". One or two gave constructive criticism, though I doubt we'll do more than sweeten the sound and change a few sound effects. Post has been a long and difficult process as I do not own FCP (editing system) anymore, so even the slightest change requires using another persons time.

~SPOILER ALERT~
If you've seen it and have questions, want to read a couple reviews, etc. then by all means

Comments and reviews

From Cinematographer Matthew Irving:

"All I can say is: "Wow". You are incredibly talented. I thought the film worked on every level, and your over-arching vision was extremely clear and perfectly executed. This should be a fantastic calling card for your directing abilities--and for everyone else involved. The performances were nuanced and believable, the cinematography was right on target; the quirky score set the tone flawlessly. And of course, I really dug the 70's vibe.
I'm very impressed and extremely excited for you."

a favorite response from a father who watched it:
"Wow, that was pretty intense. The first section of the film where we're introduced to Hope really puts you right in her shoes. You really get a sense of how things we take for granted, things we consider simple, like going up the stairs can be monumental at the worst time. Who hasn't been in a desperate position where we're caught, if not in the literal choice itself, left to ponder what we'd do, how far we'd go to feed our kids. What sort of seedy deal would we walk into, knowing that much more is expected of us than is being stated up front, but needing the money so very badly anyway, you're willing to overlook it.

I thought the performance was really solid from Anishika, especially for a first timer. Identifying with the plight of Hope was the linchpin of the story, and she really pulled it off. I also really liked the metaphor of walking away from an old life with the car at the end. The cinematography was great too, from my untrained eye. "

Tony Wallace
writer, artist, husband, father, martial artist

What a musician said:
"Wow! That was incredible -- everything... from the plot, to the acting, to your direction and cinematography. When you got to the scene where she works at the club, it totally threw me!...Not what I expected on how she made her living -- that was a great surprise.

Man, that was one smooth lady. Taking care of her safety and all the while talking so calmly with her daughter on the phone after she iced dude. Smooth, calculating and reserved, yet with plenty of emotion and fire. I would say that describes you a bit (sans the calculating part, of course!)....
Great job sweetie and I hope it brings you much more work, something that you deserve so much. I noticed Hanz contributed some of the music as well. The art runs in the family...."

Daniel Sadownick
World Renowned Percussionist and Composer

and a Poet wrote:
"What sticks to me - lingers from GASP is interconnectedness - relationship of each to each
and heavy dependence -
neighbor
electricity
strip club open/closed for renovation
child depends on mother
mother depends on school
depend on meds to work
ultimate connection is universal - breath - an essential is there
she does have a human right to breathe - but this breath is dependent on ...economic
the body is huge in the film -
and hairspray ..brillant and funny make do - everyday items household in this case tools for work Transformation (hair costume))
also can be used turned against the enemy in classic old school way --- not for torture like but for liberation - hairspray keeps it all in place
oh just like it so much

anyway the film stays with a person and I wanted you to know that"

Fork is an artist, writer, wife and mother

Questions that arise:

A few viewers didn't understand how Eva/Hope could be so sick one moment then perfectly fine the next. Well, that was the big mind fuck that asthma is.

Are you really disabled if you can take a pill (that hurts you) and it all goes away? Before Advair and Singulair, prednisone was commonly used for severe asthma. It deteriorates muscle and bone, causes mood swings, appetite and sleep changes, and usually 1 lb of uncomfortable water weight for every mg your on for more than 5 days. There are many more less common side effects that include kidney damage, diabetes & glaucoma. Since around 2003 we have Singulair and Advair. Fewer side effects and better results have come with a much higher price tag. In the short film, gasp, Advair and Singulair do not exist yet.

The current mind fuck for American Asthmatics without insurance is,

are you disabled because you could not afford the $350 meds this month?

Other questions that you can answer for yourself:

Is that the 1st time Hope/Eva experienced abuse or trauma? Is that the 1st time she learns to disassociate in order to survive? Her illness is traumatic, but was there something more in the childhood? Or was that the 1st sexual assault? Was that sexual assault just the culmination of a series of degrading instances that build and build? From institutional sexism and racism, to the only work she could find that required no set schedule, but, does require an alter ego, that she may or may not find degrading? Does her act of self defense trigger a change in her? Will she go on to be a hit woman? Will she simply take it in stride? Will she have PTSD from the attack? Does she already have PTSD from her illness? Does she just shake it off and continue taking care of her daughter and herself as best she can?

Her top priority is to take care of her daughter and raise her to have a better life than she has had.

a few have commented on the "Hitchcock cameo":

It's there. It's where I had to be to direct that scene/seen.

re: Hope answers the phone and shifts

The moms who saw it laughed and related. A few of the single women who've watched it (so far) and at least one of the men, were taken aback. It was meant to be the one laugh in the film.

Obvious symbolism and signs of counter culture:

the appearance and tearing off of the wig, crushing drugs in a spoon, asking someone to hold her bags while she goes to do whatchagottado, the hula hoop, the 7day candle with 7 orisha's/saints, the painting of Oya, homeopathic meds in front of the mainstream meds in the cupboard. The house loses power, Hope goes out to get the power back on. Yes, it's there for a reason.

the Making of

I had a lot of ideas for how to shoot and create tension/contraction and moments of expansion, how the film should breathe and flow. Thankfully, Tarina is not only incredibly talented, she has the skills and experience to work with the tiniest budget and figure out inexpensive and FAST ways to accomplish certain tones and feelings with the camera and light. We couldn't afford the lipstick cam for the fight, a lens we wanted for the kitchen, a jib (for the middle of the night scene), we couldn't afford many set ups or takes- it was all very fast- 10 pages per day. Also partly for speed, it was shot mostly hand held & some was intentionally shaky. Re: the "foggy lens": The world does look different when you are losing breath for a sustained period of time...it is icy like, if you've ever "seen stars" it's kind of like that...you become despondent, then have to consciously work to not panic as it worsens, so the world looks different. Tarina had the idea of the foggy lens. It's not how things really look when you can't breathe, but, the thought was that it denotes an altered state and struggle. We did takes with and without the lens to have a choice in post. I was talked into keeping those takes by Ryan (editor) and Roger (producer). Everyone has commented positively about the use of Tarina's technique. It's a good idea to listen to talented & skilled people involved.

Due to the short amount of time we had to shoot it, Ryan had to create tension in scenes where perhaps we didn't really give him enough coverage to really accomplish that- but he did it cause he is a genius. period.

Thankfully we had Gaffer Sonoko and her team who are lickity split fast! Between 1st AD Dave Paige and scripty Sherry Gunderman, they had my back regarding what to drop from the shot list and what was necessary to move the story forward. When directing, in the moment, it's easy to want to add this or that~ thank goodness for Sherry in those instances!!!! Thank goodness our M/U and Hair and Wardrobe were super fast as well. We didn't wait on them at all. I would have liked to have had Haruyo Sawada on Day one establishing the look, but, her assistant, Mika Hiyodo stepped up to the plate for us and was as fast as Hari. Belinda doesn't usually do wardrobe, but she did for me as a huge favor and did a great job.

"That apartment is the apartment of a single mom?"
Hanz Dalken, prod design.
Hanz painted the walls so they would not be "horrid for film" white.
He took photos of Anishika and Ifa and framed them, went to Ife's dads house and collected more photos, had art sessions with Ife, who painted and colored as "Imani".
While watching the monitor Roger (producer) said, "Wait, would a single mom have art like that up? and "Isn't this kind of a nice apt for a single mom?" before he was reminded that it was a single moms apt. and the art that was not created by Ife was art that previously existed in a single moms home. lol
My apt. looks a lot bigger and better due to Hanz's prod design and Tarina's lighting and lens use.

Finally, the score~ Myra Moreta brought the film to life. I asked her to make sounds that were quite different from the beautiful music I had heard on her website, from other scores she's created. I had a feeling she would make magic and she did~

So now what?
Well, Roger, the producer has helped gaps onto the Withoutabox website and has held my hand as I submitted to Sundance....The lovely, talented and learned in the ways of film fests, Julie Dash, has offered some advice as to which international film fests to submit to. So far, I'm paying for entry fees out of money earned in production and I'm thinking of starting an indigo page or paypal acct in case anyone wants to help with those costs.

favorite comedies

2010-10-03T13:05:00.000-07:00

Listed off the top of my head, no particular order and it's probably not complete, but, if you're looking for a comedy to add to your Netlix que:

Bliss, the 1985 Aussie film (good luck finding it)
Monty Python, Life of Brian
Monty Python and the Holy Grail
Mr. Mom
Multiplicity
Groundhog Day
Ferris Bueller's Day Off
Auntie Mame (all of em)
Harold and Maude
The Nutty Professor, with Jerry Lewis
the Family Jewels, Jerry Lewis
The Jerk
Adam's Rib
Bringing Up Baby
My Man Godfrey
His Girl Friday
Some Like It Hot
Abbott and Costello, Road to Morocco
the Birdcage
Serial Mom
Michael
Private Benjamen
Tootsie
9-5
MASH
Raising Arizona
Fargo
South Park, the Movie
Bad News Bears (both)
Superbad
Hangover
Knocked Up
What's Up Doc
Beverly Hills Cop
Tropic Thunder
The Odd Couple (original)
Little Miss Sunshine
Moonstruck
16 Candles
Big
Mommy Dearest (not intended as a comedy, but, ya gotta laugh)

Rehearsal

2010-08-13T10:12:00.000-07:00

There are directors who claim they prefer not to rehearse their actors. They are liars. Rehearsal happens, people. The question is, do you prefer to rehearse in front of the crew on set or in prep? Obviously, you'll get a better end product for less time and money if you rehearse during prep. Of course you know that and it makes perfect sense. The only reason you wouldn't rehearse before coming to the set, which is dressed and lit or waiting for you to finish turning a blocking rehearsal into a full on rehearsal, with an entire crew standing by, is because someone somewhere put it in your head that you shouldn't or wouldn't need to rehearse with actors. It's a lie. Rehearse during prep. Create your shot list and schedule, during prep. Do everything you can- during prep! As Keith says, " Fix it in Pre" !

Writing tools

2010-06-20T16:07:00.000-07:00

My writing partner is in Switzerland- thank goodness for Google Docs!
We are writing together, during what is morning for me, night for her. I see her typing into the spreadsheets I've created for us to brainstorm and develop characters, sets, relationships, etc.
Occasionally one of us types, "Wheee!" or "Yes, I see it!!". Naturally, we are excited to be working together regardless of geographic distance.

The spreadsheets will help fill out the story. What happens varies, based on the character info that we've input. When it's ready to go into pre production we'll share these spreadsheets with the creative keys.
And to think we were both once technophobes (in the 80's).
It's amazing how far we've come as creatives, utilizing technology to get a simple story told to a wide audience!

All in

2010-05-27T10:55:00.000-07:00

When I'm producing or PMing a very low budget project, I ask crew members to think about the job offer and let me know their decision in the morning. That way, they can consciously decide to be all in or not in at all. Not every producer offers that, so, when I'm asked to work below my rate, I let the person offering know that I will meditate on the offer and get back to them in the morning with my answer.

It's just awful when you are told someone will do the job and then they don't because of resentment. You could have found someone else to do it with joy, but, the resentful person basically has your project held hostage. It's passive aggressive at it's worst. It's also awful to be on the hired end of that, resenting rather than enjoying your work. If you can't shake off that resentment, you've got to replace yourself.

Screenplay Writing Tip #3

2010-05-27T10:45:00.000-07:00

Please work on the 3rd act. If you don't apparently, it will turn into one big montage.
I hate montages, especially when they make up for a poorly written 3rd act, don't you?

Case in point:
An Education
was a great film up until the 3rd act...WTF? a montage 3rd act?!!!
Same with Ingorious Bastards...WTF? After one of the all time best opening scenes ever, it tanked in the rushed, montage, 3rd act. Have some respect for your audience, please-
make the 3rd act as interesting as the opening scene...and by all means, if you want anyone to read past page 10, make the opening scene sensational!

Negotiating a fair rate on non-union gigs.

2010-05-26T10:56:00.000-07:00

Once you've gotten your foot in the door, you've done your share of freebies, you've been mentored, taken classes, workshops, worked on student films, then it's time to start asking for pay for your services.

It's important to develop this skill, because once you agree to a rate, you have got to give it your all or go home. Your reputation is counting on that and your reputation helps determine your rate.

Make sure you are worthy of ANY rate, by being on time and arriving with the attitude of a team player who is truly invested in the teams win.

Know the budget of the project

You should be paid a percentage of the budget. Producers and directors can take up to 10% of the budget (usually much less on non union low budget) and it goes down from there. Talent is a whole other ball game. Find out how much is going to talent. If the budget is very top heavy, that usually means the talent has a name that will bring in distribution funds. In that case, the producers will earn funds off the sale and distro. If they are suggesting you work below the going rate for your position, check them out. They should take less to even out and balance the top heavy budget.

Unfortunately, very often a production will say they only have a certain amount of $, but, once things get rolling, they somehow find additional funds for newly written scenes, expensive stunts, additional shooting days, etc. That's a great way to lose respect of the crew and very often leads to the union coming in and shutting down production until the project has renegotiated everyone's rate to include union fringes. When interviewing for the job, you can only negotiate for the amount they say they have and hope they are open and honest about the budget.

Determine what the going rate is for your position

It takes experience, time and faith. You can talk to others in your field/ department to get an idea, but, each individual has to determine their works worth. You can call Media Services (payroll co.) or go to their website to find what the rates are on union jobs for your position. You can expect a lil less per wk or day than what they list as union rates. You can learn the hard way, as I did, by working way below the standard rate only to realize later that you have been taken advantage of. It's an expensive and unpleasant lesson to learn that way.
If you're like me, the minute you say yes to a gig, you are all in. That is priceless, keep that in mind as you are negotiating. I became better at negotiating rates the day I learned to turn down gigs. It helps to have at least one track in your mind devoted to the mantra, "They'd be lucky to have me". Your time can be put to better use finding a better prepared and funded gig than working an unfair rate.

Determine what your lowest rate is

If production asks you to work for less, say, "No". It's that simple. Sometimes production just can't afford you and you will have to pass. That's hard to do when you aren't working, but, it's a necessary part of successful freelancing. So what is the lowest of the low rates? A P.A. should always make at least min. wage (8 x 14 for 12 hrs. in CA) and it goes up from there. On commercials, PAs currently make approx $200 per day/ $1,000 per wk. Any position above PA (for instance APOC) should start at more than $700 per wk. on low budget, non union film and more than $1,000 per wk on commercials.

Consider the total rate for the run of the show

Knowing you'll earn $21,000 for 12 wks work makes $1,750 per wk. more attractive.

Beware the, "It's a great project" negotiating tactic of the producers

Producers will often try to get you at a low balled rate by promoting the greatness and the importance of the story...in that case, your internal monologue can be, "Well, darlin' if you have a Ferrari, that's great! You are still going to have to pay for gas to get that thing rolling."
Make the producer earn their profits by doing their job better. It's up to them to raise the funds needed to bring a story to life.

Beware the "ready to move up" trap

Very often people will offer you a step up the ladder in exchange for a ridiculously low rate. Make sure it's at least a lil higher than what you were making in the position you worked previously. They aren't doing you a favor, they are asking you to do a job that benefits them, that you are capable of, that requires more skill & more commitment. Because it's your 1st time doesn't mean they get to make you feel like they are doing you a huge favor- they aren't doing you that big a "favor" unless they are truly mentoring you. You are helping production.

Investigate who is offering the work

Are they experienced? Are they worthy of the percentage they'll be taking from the budget? You are investigating them for this job only, not for the hope of future, better funded jobs.

Beware the, "We'll pay you better on the next gig", lie

Some will try to get you to work for very little by telling you there is more and better in store for you if you just do them this favor. Whether the person making that argument has good intentions or not, it is very rare that production will take non-union crew into the union, better funded job they have coming up. Stay in the here & now. Your landlord and the utility company is not waiting for the next gig and either are you.

We make exceptions for friends.....

Working for free or little for "friends" aka the "friend rate"

It's true that I'd rather be on set than at home or at the beach, but, that doesn't mean they can take advantage of me and abuse me. And that is what low balling people is. It's unethical. It's not friendly. If a "friend" is asking you to wave your rate or lower your rate considerably, take into account whether that friend can and will reciprocate and what they are getting out of the project. Will they get their act together enough to get better funded jobs and will they be loyal to the very friends they called on to work for free or very little? Consider the difference between a friend and someone who just has a huge enough ego to be under the delusion that the world owes them and their talent. Talent is dime a dozen in this industry. It takes more than talent to be worthy of trades and favors. People who have to call on total strangers to work for free, do not have enough experience or a good enough reputation to call on contacts/friends from previous gigs. Those are the types of productions that burn people out and they are often disastrous.

It all brings us back to the bottom line

Saying, "Yes" and being all in or, "No" and not looking back as you move toward better use of your time and energy investment.

Experience, it's worth the work

2010-05-20T10:22:00.000-07:00

When you arrive in film, be it from high school, college, after running two business and raising kids or after a career in another unrelated field, it would benefit you and benefit the stories you are helping come through, to set your ego aside and PA your way up. If you really are as brilliant and experienced as you think you are, you'll move up fast enough. If being in control, moving up, leading is all your concerned with, please go to another industry.
This is a storytelling medium, the story is the star, the story is the lead, the story has to come before your ego, or you've wasted time, money, energy and generally disrespected the skilled and talented who've worked their way into the position they are working in. Respect the process, the medium and take some time to gain worthwhile experience.

I've worked with completely inexperienced producers, very experienced producers and semi- experienced producers.
I can't begin to tell you how selfish it is to fill a position you are not ready to fill on a production job. It's a collaborative medium, but it is not structured in a circle, it's a hierarchy. When the top of the ladder is being taught or worse, tolerated, by those down further on the rung, it's impedes the process. The story suffers. When those furthest up are experienced, things run smoothly, it's enjoyable, challenges that arise are handled more easily, and everyone goes home feeling good about the work they just accomplished.

It's usually not going to kill or hurt anyone if you don't have experience...well then again, there are often stunts, children, animals with high voltage electricity running through cables... so an inexperienced producer better at least employ experienced people, listen to them and treat them well enough to stick around.
What usually happens with inexperienced producers at the helm of the ship: the story / vision suffers in order to feed an ego's need to feel "in charge". Of course they aren't actually in charge- no one is or someone who resents having to do the work without the credit takes charge because the "boss" is too inexperienced. People who care more about the process end up picking up the slack.

I appreciate when people use the first and most important tool of film making:
humility~
Hopefully when offered a position one isn't ready for, one asks for help. One may ask someone else to take the position that requires more experience, then offer to work under the person with more experience.

Personally, I am learning to bring in money for projects and learning distribution. I learn everyday.

Indie Film Makers Self Preservation Guidelines

2010-05-12T13:29:00.000-07:00

Make sure you don't sign up to be taken advantage of for having passion.

If you are being asked to compromise your rate, make sure you are not the only one. If the producers are making money off the back end and they are asking you to reduce your rate considerably, then they should not be getting paid up front. Ask what the budget is and if your rate seems low for that budget, ask where the money is going. If it's going to a big name actor that is being attached, then the back end will be higher and the producers, not the crew members, will benefit from that and therefore they are the ones who should be sacrificing their rate for it.

Interview them while they are interviewing you.

Remember, the gaffer is only as good as the DP, the AD and Coord are only as good as the Producers and Directors.

Give it your all or go home.

No matter what rate you're working at, or how much you like the story, work as if it is the highest rate known to human kind and it is the story of a lifetime.

If you can't do that, then don't do the job at all. You and the production will be better off.

more later.

Shooting low budget, indie films

2010-04-04T11:25:00.000-07:00

Some of the best films made, are indie's.

No matter where you are, regardless of the budget, unless the entire cast & crew is your family and dearest friends or people who owe you their life in favors-

treat the project as if it is union.

No, you wont be able to pay the going union rate, but, know that a fair rate can be determined by percentage of budget.

Yes, it's true that studio jobs do not pay by percentage to individuals, they pay a percentage by dept.

In indie you have fewer people working much harder accomplishing what you need to get the story told, with less on set, down time.

The lowest paid, the P.A.'s, deserve at least slightly more than min. wage. Multiply their hourly by 14 as they will most likely be working at least 12 hour days.

Make sure every meal is served at exactly 6 hours in, have a 2nd meal for the few times you go over 12 hours. Feed people well, do not skimp on food.

Only go over 12 hours once in every 20 days or so of shooting &

pay overtime.

If someone has done a great job, be sure they are aware that you will give them a good reference if they ever need it.

Treat people with decency and respect, whether they are union or not.
Because many people in Los Angeles follow these basic, common sense type guidelines, it's pretty easy to get a combination of experienced and newbie crew for an independent film. In New Orleans, a lot of the indie projects were produced by people who came here solely to take advantage of the tax credit. They weren't interested in finishing the film or having a great product~ they got their tax credit returned and moved on. They notoriously treated their crew like absolute shit, working them well over 12, 13, 14, even 17 hour days without proper turn around time. So now, it's very difficult to find anyone with the slightest bit of experience that could even day play on a studio backed picture to consider being a key on an indie. People have been burnt and they are over it.

We're bringing in people from L.A. and Miami.

shooting a film in NOLA

2010-03-28T07:38:00.000-07:00

It is not less expensive to shoot here. You get the tax credit up front, so you can get your pre- pro and production going on that. Finding qualified crew, housing that is not gentrified, Katrina- parasitic, developer owned and managed, and ummm hello, the weather, makes it more challenging and therefore, more expensive in the long run.
Additionally, major motion pictures are doing more than taking advantage of the tax credit, some are being criminal. Sadly, that is bound to catch up, as it did in the midwest (was it Iowa or Idaho?). Producers were purchasing all sorts of items that weren't film related and getting the tax credit. They froze the credit system and shut down production there.
I'm glad to be here, wish I was on a bigger budget and that I had my phenomenal L.A. crew to work with. I'm sure I'll meet and love the phenomenal crew members that make La. film making possible and even great. It is a best of both worlds for me in that I LOVE NOLA and I love film making. hmmmmm
we'll see how it flows.

ACTION!

2010-03-16T00:08:00.000-07:00

Action films I LOVE:
Terminator 1 & 2

La Femme Nikita
The Ling Kiss Goodnight
Kill Bill 1 & 2
Hancock
Wanted
Lara Croft, Tomb Raider
Aliens 1 & 2
SALT
Blade Runner
Matrix
The Seven Samurai
The Raiders of the Lost Ark
Avatar
Bourne- all of 'em
X-Men 1,2,3
Enter The Dragon
Thelma And Louise
Escape From New York
Desperado
Unbreakable
The Incredibles
Charlie's Angels
Drunken Master
Minority Report
True Lies
Total Recall
Taken
The Road Warrior
Shanghai Nights
Face Off
Rush Hour
Braveheart
Mr. & Mrs. Smith

Espionage, paradox. saving the world, destroying the world, confused about the world, martial arts
identity crisis, self awareness, super awareness.

Tolerance or Acceptance

2010-03-03T08:51:00.000-08:00

We're making a commitment to allow diversity, accept diversity & celebrate diversity. To "tolerate" diversity implies patiently waiting while the minority becomes more like the majority. I know I'm going to do things differently than the man who had the same job on the last production. Just as I know someone from a different culture brings the perspective of that culture to the job. It would be silly to try and wash away the differences, when we can appreciate them so easily. Anyone who appreciates art, food & wine, knows that differences are to be celebrated. In celebration lives the knowledge that art, food and wine appreciation is subjective. When it comes to getting a particular job done, if the job is indeed being done, the rest is subjective. By not only accepting, but also seeing the beauty of different paths to a goal, we might learn something not only about "others", but also about ourselves and certainly about the goal or accomplishment

It isn't always easy to let someone come in and do something a little differently. We’ve learned to trust the way we know, the way we’ve already experienced it. Showing up differently on set, takes me back to a child hood memory of being “other”. I remember the look of fear and distrust on neighbor’s faces (in the suburbs) when they first heard my parent’s accents. I also remember the difference my mother made in so many lives in our neighborhood. She makes things beautiful and naturally encourages women to embrace their personal beauty. They may have approached her with a sour face, but they walked away radiant.

Accepting differences goes beyond gender and culture, especially as we age more gracefully in the years to come and plan to continue working into our advanced years. I held a workshop for people interested in getting work in the industry, who are humble enough to go the PA route, the participants ranged in age from 17-70 plus. I know I don't need to make the wine analogy, suffice it to say, it was great to be reminded that there are benefits from every age and every walk of life. Yes, someone who is 55 may perform a task differently than someone who is 17. When the job is not being performed, the 55 year old deserves the same level of patience that 17 year old would get. When the job is getting done, there’s something to appreciate in the way it was executed.

In film, the industry is predominantly male. There is an abundance of men in the industry who see every production as a war. To those men, every challenge is a battle to be fought and won. Some see it as a football game, strategically shoving & knocking down challenges. Then I come along, having apprenticed with a midwife around 15 yrs ago. 21 yrs ago I made one human, have since raised him and I helped raise a few other humans. 19 yrs ago, I ran a home day care. So, I bring the perspective of production as birth & lifeto film. As a poet and a storyteller, I know that the story, like any art, is a being of it's own merit. It is asking us to nurture it's pregnancy in pre-pro, birth it in production and raise it in post, only to finally let it go via film fests and distribution. I know several women who work in more than one capacity in the industry. It’s common amongst those of us who are not in the Vanities (Hair, Make-Up, Wardrobe) and are not Script Supervisors, or Production Office Coordinators. Depending on the production, a story / film is asking me to be the Birth Assistant (AD), Midwife (Producer), Doula (PM), Mother/Vessel (Director), Parents (Writer). Just as I brought different aspects of my personality and energy to the differences between teaching Yoga (gentle Thomai) and teaching Pilates (drill sergeant Thomai), we bring what the story asks of us. While working in a male dominated industry, often taking on a role that is traditionally held by a male, I've adopted some of the warrior verbiage; I've also heard a few men use the birthing analogy I share. We’re constantly informing each other. A dear friend and colleague moved here from a war torn country where the majority are impoverished. Just when I thought single mothers were the most frugal people on earth, he showed up to live as an even more frugal example, on a short film we worked on together. Through accepting diversity on set, we've learned from each other and changed the industry, shifted the paradigm.

I'm grateful to every executive producer or client who ever let me bring my perspective to film, TV & commercial production.

Happy Women's History Month.

Thomai T. Hatsios

Director / Writer of GASP

Freelance

Producer, PM, AD

http://thomai-in-la.blogspot.com/

a note or two from the AD

2010-03-01T07:25:00.000-08:00

...lessons learned from the AD position.

Directors:

When you have a master shot you like, MOVE ON & IN (for coverage) immediately.

Even if you have an endless supply of funding, it doesn't make sense energetically or creatively to get more than one good take of the master. When you move in to get coverage, the scripty should not be wondering which master you are expecting to match. To get coverage on several master shots you liked means having too much coverage to choose from in post. Yes, you can have too much. Getting ridiculous amounts of coverage on several different masters wears out the actor, the crew and frankly, yourself as director. It's a waste of energy.

Producers:

A smart producer will check out leads on key crew members from the AD. You know if the AD recommended someone, they are fast and efficient, have set etiquette and don't have hissy fits when someone asks, "How long will it take to do such and such?"

So, yeah, it's worth it to at least check out the ADs recommendations. A producer who doesn't follow through on that is showing their ignorance and insecurity as a producer.

When I am producing, production supervising or managing and the AD says, "Hey, I know a super fast, efficient,pleasant __________(hair/make-up, wardrobe, G&E, crafty, catering) team" I'll check it out, knowing they at least get along well, and probably don't cause delays on set.

Women in Crew!

2010-02-24T11:19:00.000-08:00

my response to, "2009 was No Year of the Woman in Hollywood", by Melissa of Women and Hollywood

Melissa,

Very few of us get to start with “above the line” jobs, such as Director, Producer, Writer, Actor. Very few begin “just below the line” as Cinematographer/ DP. Most of us start closer to the bottom of the totem pole in definite “Below the Line” jobs and work our way up (if we don’t get discouraged or fed up with systemic sexism). Perhaps it would be helpful to write about the stats on women who work as Set PA, 1st AD, 1st AC, Gaffer, Grip, Set Dresser, Art Lead, etc., etc. A look at the union stats on women could be enlightening as well. How many women are in the DGA? Of those, how many are 2nd ADs? How many are in the DPs union? etc.
I know you are aware that most women get pushed into positions that became the traditional female roles in crew: Hair, Make-Up, Wardrobe, Coordinator, Script Supervisor, 2nd and 2nd 2nd AD.
These are paperwork / office jobs or the “vanities”. I was offered those positions while interviewing for positions I have experience in that are not traditionally held by women, more than once, even though I am not qualified to work in those depts. simply because of my gender.
Also of note is the fact that employers who look at IMDB as more important than a resume’ are not getting the full picture on women who took time to work in the more flexible schedule, higher paying short formats that allow one to parent and work at the same time. Most of my experience is in Commercials, NBC and ABC promo’s (commercials for shows) & Industrials. As a single mom & someone who had health issues, the short format schedule and higher pay rates worked for me. Now that my son is an adult, I am able to take feature work on and not worry so much about the rates. I am pretty sure I’m not alone as I look around and find others like me on set.

Things are changing as more men in the industry make the conscious choice to battle the inequality that exists. I just wrapped a feature with a male Director who gave women the opportunity to Production Design, Boom operate, 2nd AC and 1st AD- all positions not traditionally held by women. Things are changing slowly, but, they are changing.

I thank you for continuing to ask the questions that need to be asked and pointing out the truth of the matter in the Film/TV industry.

Thomai
Director/ Writer/ Producer/ PM/ 1st AD

Help name the Short film

2010-01-10T10:10:00.001-08:00

Which title would entice you to watch a short film?

A) Inspire/Expire

B) GASP!

C) Exhale

Edit: After over 100 votes (LJ and Facebook) the title for the short film is....

GASP

2 war stories, reviewed

2009-12-29T23:10:00.000-08:00

Hurt Locker is great storytelling. It is award worthy, storytelling. It's difficult to watch; I found my chest tighten from begin to end. I found no fault with it. That is incredibly unusual. I hope the Academy gets over it's extreme and blatant sexism against female directors and honors the best directing job of the year. Kathryn Bigelow is worthy. If you have not seen it, rent it, study it.

Brothers....lots of little things were wrong with this film and a few big things were great. . The performance of the young actresses, Bailee Madison & Taylor Geare, who played the daughters, were phenomenal. In particular, Bailey Madison (Isabelle) seems to have bonded with Portman. She acts as well and with a similar essence as Portman did in Leon aka the Professional. I would like to know if Portman worked with the young actress as a sort of mentor, on set or in rehearsals? After seeing poor performances by child actors in another film, I can understand how child actors of that caliber could get eaten up by the industry. All of the acting was superb, as was the story. But, I had to look past a few problems with the film to get to the great acting. The director did not work with his Hair person to make sure Natalie looked like an army wife. I could not get past that $300 hair. Shorter hair, less blow dried, less perfect would have helped her character, instead of distracting from her performance. She looked like the actress that she is, all the way through. The fact that the character was a cheerleader and that another character comments on her beauty, does not cover it. Beautiful women in the Midwest do not look that much like actresses. They just don't. SFX M/U did a great job on the men, ie they had proper scars n such, and the women weren't overly made up, but, I would have requested less bleached looking teeth. Again, people in the Midwest rarely go to the extent that women in Hollywood go to with their appearance. Wardrobe could have gone to Target. They could have washed the clothes a few times before putting them on an army house wife, to make the costumes more believable. Portman is a great actress and under that hair/m/u wardrobe, was some good acting, however, I never saw her as the character. I'm surprised Portman didn't stand up for herself and make herself look less Hollywood. The director failed again when directing the production designer. I'm from the Midwest and have known many people like those represented in the film. The house furnishings were ridiculously cliche'. It's as if they went to a prop house and found the "cheap ,Midwestern, 'army wife'" props. It was not at all authentic. It certainly did not match the "army wife" with the $300 hair and the Macys or Barney's wardrobe. The prod. design actually bordered on insulting. It's the directors job to guide the vision. The director's job to make sure all creative decisions work together. It seems he was only interested or capable of directing performance, but what good is that if we have to look past the visuals to get to it. If the film had been made for a million or even just under 5, it would be more understandable, but, that's not the case here. They had time and money and choices. Brothers: great story, great acting, but, that is not enough to consider it great storytelling with film.

2009-12-03T15:16:00.000-08:00

I had the great pleasure of working on this series of hilarious webisodes, check it out:

DECISIONS, DECISIONS

It was a union job, so I had the title production supervisor instead of production manager. In addition to vendor and crew negotiations, permits & the usual PM responsibilities, I also learned to do Payroll on that job. Because the show was part of ABC/Disney studio's Stage 9 experiment, we went through EP payroll. We also had a lot of freebies that would have eaten up the budget. Our offices, a lot of G&E equip. and many key locations were free. The 4 men known as "Handsome Donkey" had a 3 yr deal with ABC, due to high accolades from their first web series, "Squeegees". If you go to their site, check it out, check out Decisions, Decisions (especially the Bourne Decision) and my fave that was made before those previously listed: "Le Montage"

It's one of my faves.

They are funny gentlemen and were a pleasure to work with.

Films worth seeing with FEMALE CHARACTERS that are interesting, great, smart, simple, twisted, fun, scary... DEVELOPED

2009-12-01T20:38:00.000-08:00

Add to the list, it's in no particular order

Tank Girl
Harold and Maude
Frozen River

Camille Claudel

Auntie Mame

Paper Moon

Female

Adam’s Rib

White Oleander

Terminator 1, Terminator 2

the Color Purple
Contact
Thelma and Louise
Girl Interrupted
Klute

Handmaid’s Tale

The Coal Miner's Daughter
North Country
Serial Mom

Frances

Orlando

Gypsy
Sunshine Cleaning
Waking the Dead
The Piano
Frida

Marked Woman

Diabolique
Coming Home
Kill Bill 1, Kill Bill 2

His Girl Friday

Philadelphia Story

Aliens
Silence of The Lambs
the Wizard of Oz
Lara Croft
The Incredibles
The Queen
Rabbit Proof Fence

Whale Rider

Mata Hari
Amelie
G.I.Jane
Working 9 to 5
Barefoot in the Park
Broadcast News
Sweet November
Imitation of Life
Alice Doesn’t Live Here Anymore
Angel at My Table
The Way We Were
Heaven Can Wait

Lady Sings the Blues

Rose
Funny Girl & Funny Lady

The Mask

Nikita

Ever After

Nim's Island
Bend It Like Beckham
Gracie

Notorious

Howards End

Straight to Hell

Love & a .45

Freeway

Deathproof

High Art

Down to the Bone

The Cook, the Thief, his Wife, and her Lover

Eating Raoul

Betty Blue

Norma Rae
Talk To Her
Fried Green Tomatoes
Steel Magnolias
Boys Don't Cry
Waitress
Madeline
Who's Afraid of Virginia Wolf
Mary Poppins
A Star Is Born
Crooklyn
All About Eve
Jezebel
Iron Jawed Angels
Enchanted
Legally Blonde
Vera Drake
Sophie's Choice
Mildred Pierce
Much Ado About Nothing
Clueless
A League of Their Own
Erin Brockovich
Vanity Fair
Anna and the King
Elizabeth
What's Love Got To Do With It
Pride & Prejudice
Breakfast at Tiffany’s
As Good As It Gets
My Big Fat Greek Wedding
Riding in Cars With Boys
Lilo & Stitch
Reds
Jackie Brown
Citizen Ruth
The Accused
Emma
Moll Flanders
Dangerous Beauty
The Hours
Dancer In The Dark
Persepholis
Bonnie and Clyde
Run Lola Run
Double Jeopardy
Ali: Fear Eats the Soul
Pale Mother
Bitter Tears of Petra von Kant
Ninotchka
The Nasty Girl
Chocolat
Gone With The Wind

Tootsie

the Notebook
Unbearable Lightness of Being
I Want to Live
What Ever Happened to Baby Jane
Double Indemnity
Dangerous Liaisons
Sunset Blvd
Basic Instinct
Silkwood
Sweet Charity
Irma La Deuce
The Childrens Hour
Terms of Endearment
Romeo's Bleeding
Heathers
Fargo
Network
China Syndrome
Klute
Kramer vs. Kramer
Leon
Romancing the Stone
Body Heat
Raiders of the Lost Arc
Witness
Henry and June
The Last Seduction
Monster
Mommie Dearest
Drugstore Cowboy
Blue Velvet
Speed
Death Becomes Her
Witches of Eastwick
Blue, White, Red, Malèna
Jean de Flourette
Roma
città apert
Pans Labrinth
The Rose Tattoo

Kramer V Kramer
Casablanca

Where's the AD?

2009-11-28T09:46:00.000-08:00

Last night I woke from a nightmare. In it, I was directing a film scene that included several folk dancers, performing a folk dance. For some reason, there was no one from the AD dept to be found, so I was out trying to wrangle the dancers, to no avail. I would find one or two, get them to set only to discover that another few had wandered off.

To top it off, I had to deal with an older, male, aggressive DP who decided he would take over and just shoot what he felt like shooting, when he felt like shooting- ack.

Pissed me off! I woke up wondering where the effe was Dave, my AD???? And where was Tarina, my favorite DP?

scary dream.

Writers who want to Direct

2009-10-28T23:24:00.001-07:00

A writer who hasn't sold a script yet, wrote, "...seriously thinking about directing at some point in order to have more control,"

It's more challenging to sell a script and get a film made with an unknown writer/director. It does happen, but it's the exception. Very often we toss aside scripts that come with that ultimatum, "I must direct what I wrote". There are many films that almost weren't the Oscar winners they are now, because the writer wanted to direct the story.

If you do decide to direct, know that shadowing is not gaining experience. Please go further than shadowing. Please, please, please, P.A. on a few films first- on set and in the office. Get some hands on experience from the position that sees a bit of it all, the position that requires humility, a key ingredient to good collaboration. A writer/director who has no clue how sets run, actually has very little control over the final product. Direct a short first, or at least an experimental film. In a collaborative medium, control, well, it's something to let go of. You can protect the integrity of the story to some degree, but there is always compromise. You'll be forced to compromise, either due to not enough money in the budget, time constraints, the studio, the weather... something, will create the opportunity for compromise on a set. Like mothers and their birth plan, you have to keep in mind that the story (baby) is not you, it is it's own being. Do what it takes to bring it thru as healthy as possible, regardless of the birth plan fantasy.

Sometimes, that means letting someone else direct the first one. Sometimes it doesn't.

In any case, rather than controlling, remember to nurture the story to life.

Score!

2009-10-03T20:37:00.000-07:00

The film is being scored as I type! A wonderfully gifted and skilled composer by the name of Myra Moreta is in Vancouver working on it!!! Score!!!!

Follow that link and check out her amazing music. I've been listening to it over and over again...Love her music, style and her sense of humor!!!

It took a long while finding the right composer.

Several options were made available to the film. All of them were amazing and worthy; truly gifted, and skilled composers came forth. I hemmed and hawed (sp?) not feeling quite right, felt stuck...it was getting me down.

Then

Roger (indie hero) came through, once again, suggesting the perfect person for the score, as he did when he suggested Danny to play Gary . I listened to her music and just felt everything come into alignment, the way it feels when getting perfect alignment with a Yoga pose- it just feels right, you just know. I'm playing her music from the website right now as a matter of fact.

she has a quicktime and she is composing and I am in heaven ~woohoo!

female writer/director/lead/producer

2009-09-20T14:56:00.000-07:00

I enjoyed watching Then She Found Me, it's definitely worth renting!

Sexuality

2009-09-19T10:15:00.000-07:00

Men use their sexuality to get ahead in the film business. That is what being a member of the "Boys club" is all about. They posture, prance and generally measure themselves against each other over beers, golf, game watching and etc.

It's on me to get paid more appropriately!

2009-08-28T08:44:00.000-07:00

Well, I did it again. I am learning to negotiate better and will enlist the tools, given to me over the phone by my high school friend David Arndt, so that it doesn't happen again.

I was asked to help with one aspect of production, and did it at a very low, almost volunteer rate.

Once onboard, when I saw the boat was sinking and I knew how to help keep it afloat, I did what I do without negotiating a title and pay rate change.

Twice the work, less than half the usual pay (way less).

Of course I believe in the project. Of course I choose to support the success of the organization that it comes from. I also choose to support myself and must learn from this once and for all.

I am worth more. My skills, let alone my talent, are worth more!

It's on me to get paid more appropriately.

Screenplay writing tip #2

2009-08-28T08:31:00.000-07:00

No forced sub plots

One of the scripts I read last week forced a flimsy sub plot. I was the 2nd to read it, the person before me found the sub plot more believable than I did, so , it's up for a re read. At best, it could be made into a MOW (Movie of the Week).

What I learned from reading it:

If you have to force the sub plot, the audience/reader will feel that and come out of the story and into critiquing the writing.

It's all production

2009-07-30T09:49:00.000-07:00

Transitioning from Live Theater to Film production in general, was a huge transition (15 years ago for me). It took some re-learning and getting over culture shock, etc. However, transitioning between promo's, commercials, films and TV...you'd have to be a lot less intelligent than I am to feel that is a hard transition. It's easy, just a few quick minor adjustments from one to the other. A gaffer is still a gaffer, a monitor is still a monitor, EPs are EPs, ya' know? It is not so different.

I'll do more of it, lots more~

2009-07-20T19:45:00.000-07:00

A success for one woman is a success for all of us.

"Women don't work in the creative field, creative work is reserved for young men"

That is from a letter sent to a woman who applied to be an animator at Disney,

paraphrased by Vicky Jenson in a "Life After Film School" interview. Vicky Jenson directed the film, Post Grad. She started out doing storyboard for various films, painting cells & working in animation and as a prod., designer. Talk about no one path to directing! Oh and yrs before she was asked to lecture at AFI, her application to AFI was rejected! There is no one way, there are as many paths to directing as there are directors.

Melissa at Women and Hollywood's asks the question, "Why there are so many female producers, yet so few female directors?"
Here are some of my thoughts:

I have Produced, I have Directed, not at the studio level yet, but I am getting there!

As a Producer I am nurturing, supporting, managing, setting boundaries that maintain the integrity of the project with out going over budget. The producer is liaison between the exec prod. (often limiting budget and vision) and the director (limitless creative space). A Creative Producer can guide and assist a vision if it needs that, but, for the most part, her work is overseeing all aspects of Prod. and problem solving problems that dept. heads/ keys can't handle on their own. She is bringing the team together, scheduling (prod. manager with AD) and making sure everyone in the team has what they need to do their jobs. She budgets and makes sure that it doesn't go over budget (line producer). She supports the Director and her vision while setting limits.
She makes sure everything is where it is when it needs to be there (prod. coordinator).
The entire production office supports the production and sees it all the way through from development to distribution. Support support support, but, not in a creative way. From an office, the place women have been allowed to work for quite sometime now, in supportive positions. The production office is the home base, after all.

As a Director, I am creating a vision from my writing or what a writer is allowing me to work with (writing that I am likely to change). I'm working with my DP, casting, prod. design and wardrobe, m/u and hair to clarify and solidify the vision. If I don't know which Prod. Designer, DP, etc, can give me what I envision, the producer finds them and runs them by me. I share my vision with them and they help shape that with their talent and skill. When choosing from the actors from what casting has found, it is who I see in the character, that works. I'm guiding or allowing their best performance to come through (if they're great, you just get out of the way) as I see fit for the vision. As a director, everyone involved is collaborating to support the vision coming through me primarily. It's a huge responsibility.
Still, it's not even close to the responsibility of giving birth and raising humans~ which is something we are expected, encouraged and told women are good at.
So, it's not the responsibility or the authority that has limited the amount of support female directors experience in this industry.

As Director it's my creative choices that guide the film.
~ That level of creativity is like orgasm ~
And remember how long it took for people to accept that most women can and do and love to orgasm~ oh, and we often excel at it (multiple)?

Women writers get away with being so creative and in control of a story (till the director gets it) because writing is solitary and quiet. In publishing women writers are represented and published because the writing industry knows women buy books. Is it the same with screenplay writing? Writing is the least expensive medium and can be done while the kids are asleep or after work.

In film, the only other "last word" on the creative vision is the Exec. Producer and/or studio (sometimes limiting the directors creativity), hence, the directors cut.
Executive Producers are usually men. Studio's are patriarchal.

Very often though, if the director has done her or his job of convincing the execs that his or her vision is exactly what the public will buy, they step out of the way (to a degree) and allow the full creative flow. In independent films there is no studio looking for the bottom line, ROI. In the indie film world, we are more likely to encounter producers who fully support the vision and pull out all the stops in an effort to serve the creative vision.
I'm having the backing that allows me to fully express creatively, it's coming...!

a new frontier

2009-07-04T18:46:00.000-07:00

It's such an exciting time to be in the film industry. Changes are constant, yes, but right now this industry is expanding like never before. I think the awareness of this industries product as one of the greatest exports the US has to offer is creating more opportunity for story telling than ever before.
There are as many ways to tell a story in film as there are stories and as many cast and crew to make that happen, production and distribution companies to take it to a wider audience. There is more diversity than ever before, of course, that's part of our societal evolution, and with exception of female directors (there were more women directors before the unions formed than there are now) women are finding themselves accomplishing in the trenches.

Last night, I was at a b-day party for a friend who graduated from USC film school. I had the opportunity to speak to her friend who also graduated USC, that I hadn't seen in at least 2 yrs. She has been Camera Operating, I have been ADing, Directing and PMing.
Both of us have experienced many days at work where we are the only female on set that is not in a traditionally female role. We've both heard the words, "I've never worked with a woman (insert our job titles) before".
She's much younger than I am and has been working in Network TV since graduating college. While I can compare my experience in film to my experience in the food and fitness industry & the theater world, which all have a more even distribution of women and gay men working in key roles, she probably has no idea what it's like to work in an industry that is not dominated by men. Yet, she also fully knows that she is paving a way and making strides where no women have gone before.
It's a new frontier.

We also spoke of the difference tax incentives in other states is making in our industry. There is more work in Louisiana and Michigan than there is crew. Our elected California officials have chosen not to keep up with the incredibly high tax incentives (44%) of MI and LA.
If you can, move there for now. Get your credits & experience up, then return when you're ready. L.A./ Hollywood is not going anywhere. It's still where development, distro deals, post and all that shmoozing happens. It's just not where films are being produced so much anymore. There is less competition for more work and hopefully, less sexism.

Screenplay Writing Tip #1

2009-06-22T09:36:00.000-07:00

I read 4 scripts this wk. All 4 had the same issue.

It's not a novel. Leave out words describing what we should be able to see via the art of film making.
Actions speak louder than words. Use less words & more creative action.

Cheers to better offers

2009-06-16T09:57:00.000-07:00

Last week, I turned down a directing gig.
It felt against my nature to do so, but, the project really wasn't right. There was not nearly enough money to cover the script, even after 2 rewrites (done in a rush) removed 3 locations and changed a younger child to a teen character. It was the length of a pilot, however, the writer/lead actor /exec.producer wanted it to be a feature. That requires an additional 30 or so pages. The budget suggested short. You can make a great short for that amount of money, however, you need a short script. Short scripts have a different pace, a different way of ending, etc. The lead actor/writer/exec producer wanted to start shooting within 3 wks of handing me the script to read. No producer was on board yet, so I would have to do the pre and post production producing. We'd have to hire a PM at least 10 days prior to principle photography. There was not enough pre-pro time for a script that wasn't fully developed. Not enough time and money for a production that had zero locations scouted, let alone locked. Not enough time to cast 15 principle actors and rehearse them. It's the lead actor/writer and purse string holder's first production; he had to be educated about these things. Every script change had to be explained and fought for. It took 9 hours to explain the script changes I knew had to be made after the first read through. Most importantly, I know there are going to be issues in production that could kill the directing. It was going to be more than a month of intensive work for me, without enough money in the budget to may me enough to cover my most basic bills. Especially if we were going to have to pay for locations and the locations were going to need production design. The production quality was going to be too low. While it could be a showcase for the actor- if he does an awesome job, people can get past the lack of production design and etc. It could be OK for the DP- he is shooting with RED which looks great and there will be enough exteriors, that if the locations don't pass, he'll still have something for his reel. That is a lot of effort for a snippet on a reel. The production would be a frustration fest for any director. I couldn't say yes to a production that wouldn't allow me time to finesse the script, cast and rehearse actors and have meetings with various dept. keys (they haven't been hired yet). Meetings with the production designer, costume designer/wardrobe, make up artists and hair to let them in on what direction to go in with the look and feel of the film are absolutely essential and not likely on this job. As dept. heads go, I didn't feel right calling in favors for a project that wasn't ready on a script I am not totally in love with. As much as I would love to work with the DP (he was the one that suggested me), I had to say no.

I learned from the process. YES I am a director but, I'm not so desperate to direct that I would go through with a project that just wasn't right. I learned that I can make notes on a script as I'm reading it. I can rewrite a script 2 or 3 different ways in a matter of 8 hours. I have enough experience to break down a script as I am reading it, with a producers eye, an AD's eye and a Directors eye, conscious of every dept.s contribution. I am a director who is available for projects that are a good fit and that allow the director to direct. In this process I've learned that as difficult as it is, sometimes it's best to say, "I'll pass on this one".
I'm open for more appropriate directing gigs.

Passion for production

2009-05-09T10:10:00.000-07:00

The best production experiences are ripe with passion, integrity, work ethic & preparedness.
If you're like me, passionate about more than one thing, then when you're working on something you are passionate about, surround yourself with other passionate people. Those who are passionate go the extra mile & figure things out. Most production problems simply require "giving a shit" to fix them. Another benefit of working with passionate people- their ego is less likely to get in the way. When someone is there to serve the story / project, problems are solved rather than created.

When making a film (or MV, Commercial, etc.) of any length, it's a team sport. Every position on the team is vital. If one person is not as into it because they aren't being paid what they would like to be paid or whatever chip may be on their shoulder - boom-
there is a big gaping hole in what would otherwise be a solid production. All it takes is that one person who is not as invested and both money & time go flying out that hole they create with their personal lack. If money and time go flying, the director is going to have to make decisions about what they can "afford" to lose (ouch). If it's a coordinator who doesn't step up, things wont arrive when they should and cause a slow domino effect. If the crew is expecting something and you don't have it or it's late- subconsciously, that sends the wrong message to the crew. Things start to go very wrong because the crew is more rushed than is safe or some vital equip. is missing, blood sugar is dropping, money gets spent on things it shouldn't be spent on. The caterer who doesn't care about what they're feeding people can poison the crew (it's happened). If it's a grumpy grip, he'll work slower and scream for a meal penalty if it's 15 seconds late and claim it's minutes late. Lunch should never be late, but, if it is and he/she and the team have lost their morale, heavy equipment can fall, there is more L&D (loss and damage) on those jobs. God help you if you have an AD who doesn't give a shit- that is a tumor that has to be removed immediately. The pace of production is regulated by the AD. It would be like a heart patient having a faulty pace maker. In addition to being the communication between the dept.s the AD often has to adapt the schedule as production rolls along. If the AD doesn't care, it can get g r u e s o m e . When the weak team member is the set dresser, the set looks fake and takes people out of the story unless the Prod. designer can step in and fill the space. If the scripty isn't invested, yikes, I don't even want to think of that scenario. If the DP is dialing it in, that can contribute to the ruin of the director's career. You wont know for sure if sound is doing a great job or not till post, when it may be too late to do anything about it, making you wish for a return of silent films. When Stunt Directors, Special FX and Props people make mistakes, people have been known to die. Not all accidents can be prevented by a passionate involvement, but, I'm sure it's less likely to happen.
Accidents and challenges come up no matter what, that's where a Producer and Production Manager's level of involvement counts the most. Others who fill the cracks are the P.A.'s. To have P.A.'s that lack is like having a light bulb out in the room, the room is still lit, but, it's dimmer and that has an energetic effect too. I could go through the entire crew list of jobs, cast & BG - every single person involved is vital.

Not every job is as fully staffed as you'd like it to be. Having ridiculously passionate members on the team, who tend to do more than their part when necessary, is key. I've been the one to make sure things don't fall through the cracks on several jobs. That's how I collected most of the crew, who were mostly passionate pros. for my shoot. Even on fairly large budget commercials, there is always more to do, more than one could ever dial in.
It takes more than one person to Produce- there are usually 2 or 3, sometimes more people listed as producers who all bring different things to the table. Depending on the size of the job, the Producer wants to have a Production Manager, who would like a POC (Production Office Coordinator) & APOC. Most DP's would like a 1st and 2nd AC and a loader, maybe a camera operator or 2 depending on how many cameras they have. The Gaffer and Key Grip would like to have at least 4 grip and 4 electric. The 1st AD could use a 2nd AD and 2 - 4 set P.A.'s at least. Production Designers want an Art Coordinator, Art Director, shopper, possibly a construction crew, definitely Set Dressers, Props, etc. Key Wardrobe, Wardrobe and an assistant or 2, Make-Up AND Hair, each with assistants, Stunt Director, Stunt Coordinator, and Stunt people, and it goes on and on. The more you have to do and the more money you have, the bigger the crew. I've heard of mulit-million dollar action films that had 20 grips. How does anyone keep track of all that? I'm sure mini sub cultures develop on films like that, the way they do at summer camps where there are that many kids. On big jobs like that, maybe they can afford to have a few crew members who are not passionate about what they do. Then again, can people get to that level without passion? I'd say odds are against it.
I don't know if you can teach people to be team players?
I know you can't teach passion and work ethic and no one can earn it. People either have it or they don't, so learn how to identify it.

I apprenticed with a midwife at one time and I've given birth, so I know production is a lot like the birthing process. The producer is helping deliver a baby that the director is ready to give birth to. The baby is made of what the writer, director, DP and actors bring. Everyone needs to make sure the birth mom is comfortable, has room, is safe, etc. Sometimes the baby is born in a taxi cab, sometimes it's a sterile hospital environment with nurses, assistants, great lighting- sometimes it's at home, with herbal infusions, oils, a bath tub, candle light...the film/story is the baby. It's not you, it comes through you and is your responsibility.
Tarina, the DP on the short we just made, was in the army at one time and can see the war analogy. Others liken production to football...

It's a lot like life. If you are passionate about being alive and truly living, you live rich, regardless of your financial means. Sure it would be easier to have money to throw at situations that arise. Regardless of how much money you have, if you don't have that zest for life ~Zoe!~ you'll struggle in misery. You wont make true beauty without zest for life. You CAN LIVE RICH & make incredible beauty with or without a lot of funds, as long as there is PASSION.

No matter what, once you've made the decision to work on a project, if you're passionate, the surrounding circumstances don't stop you, you adapt and go forward.

The process continues into post- ROUGH CUT!

2009-05-07T01:15:00.000-07:00

It's such a relief to have something to watch all the way through after a couple days of:

waiting
in

DOWN TIME / LIMBO LAND

It was getting bad.

Production on the short was an orgasmic whirlwind. The dust settled, we did returns and cleaned up our apt. turning it back into the place we live in instead of where the characters live.
I found myself in an editing bay with Nick the Assistant editor making selects and notes on takes.
3 sunny, bright days ~on set~ action packed, whirlwind shooting with my friends and fave crew members-

followed by

3 nights or days (who can tell in there) in a dark ice box looking at take after take, having to choose

This take over that? Or part of this take with part of that take? No, wait! How bout this one? Yes, this is best. Mark it with red!
Oh no, how did that flag get in there?
I want that performance, but the sound! And this sound, but not the performance. Oh, the scripty notes warn...thank goodness for the scripty notes. And- oh that super expensive parascope lens would have been awesome to get that one tiny little insert right there...it would have been funny...oh well.
Oh, hey, look at that take! It's perfect!

etc.

Once Nick made the assembly & my notes, along with a few scenes, were on a time line, Ryan (editor) took us out to his favorite local bar.
At the bar I said goodbye to the little things here n there that were sacrificed in the name of no budget, short film making-
and toasted those takes that remained to tell the story. Ryan's friend Barry and I talked endlessly about punk rock and no wave. We're both one drink maximum light weights so we were really excited and laughing about stuff you wouldn't normally get excited or laugh about. I was inspired to direct a short comedy skit for web...Overall, it was a good night out after work.

Ryan had a meeting with a potential PAYING client the next day, and would need his computers energy for converting RED footage the day after that.
I gave Ryan space to ~do what he do~ between meetings and conversion.

It's during those 1 or 2 or 3 days that I found myself in that limbo like state of ...I dunno what name to give it.
I obviously pulled on some of my experience from asthma down time (back before the miracle drugs Advair and Singulair freed me).
I watched really bad TV, read blogs, articles and comics, sent out the resume and did my best to push away

"could have... should have... what if... oh no!... but,wait!"

thoughts.
I considered what the the music and sound would be like. I'll know it when I hear it.
I found myself cringing while looking at my bank statement ...that alone is enough to make doubt fall heavy like a theater curtain.

SO
there/ here
I am
9 days after principal wrapped.
I am
un bathed, my hair is not brushed. It's after midnight and
I am
wearing my pajamas from last night,

when I get the message from Roxy to check my email for a link to the Rough cut-

the ROUGH CUT~!!!!
YAye ! I'm dancing around singing, "Ryan sent me a link, Ryan sent me a link" still,
I'm a bit apprehensive as I click on the link~

I'm hootin n hollerin!

I'm so excited and pleased about it, we're going to toast the rough cut tonight!

Yeah, yeah, I have 2 pages of notes about tiny little changes here n there- that's to be expected. Ryan has already done such a great job with the rhythm of the film and the music he laid down on the time line (as scratch tracks) already make a big impact. I sent him a message about the color correction- it's premature, but, I wanted to get those notes to him anyway.

I finally brushed my hair, put on a bra, swiped my deodorant & went out to buy supplies for strawberry lemonade cosmo's and such.
As I got in the car, I realized
I'm experiencing these moments as if I'm in an Indie short film....

EXT. NIGHT, PARKNG SPACE BEHIND DIRECTORS APT.

DIRECTOR still in PJ's but she has a bra and shoes on. She's got a huge grin on her face as she enters her car, turns ignition and the radio blasts

"Everybody must get stoned"

She laughs

Cut to:

EXT. RAPLHS PARKING LOT NIGHT

DIRECTOR exits car and passes 2 men:
a slightly overweight, caucasion, balding guy in gym shorts and a t-shirt and a thin AA guy who is wearing blue jeans that were common in the 80's. His hair in almost a Geri curl, under his hat.
The DIRECTOR tries to avoid them while entering Ralphs

AA GUY WITH 80'S LOOK

Hey, did you see Trading Places, the movie? Do you remember if Jamie Lee Curtis was in that?
DIRECTOR
Yeah, but I don't remember if she was in it.
she enters Ralphs

Cut to:

EXT. RAPLHS PARKING LOT NIGHT
The conversation about Trading Places continues.

AA GUY WITH 80'S LOOK
(To Director)

Ok, this question is, well (pause) forgive me, but, (beat) you know Jamie Lee Curtis? Her uh (points to his chest) breastages-

DIRECTOR
Walking toward car, holding a grocery bag.

Yes, she is intersexed and no I don't think she has implants.

CAUC. GUY IN GYM SHORTS

Oh my god.
AA GUY WITH 80'S LOOK
(yells out as she gets closer to her car)
Yeah, yeah, I know. We're just wondering (beat) What do you think? You've seen her (motions to chest again) -would you say she is big? Bigger than Pam Greer. Do you know who Pam Greer is?

DIRECTOR

She is about a size C, Pam Greer is more like a double D.

CAUC. GUY IN GYM SHORTS
Hah!
AA GUY WITH 80'S LOOK

OK but, you KNOW who Pam Greer is, "Foxy Brown", right? You know?

CAUC. GUY IN GYM SHORTS
(Nervous Laughter)

DIRECTOR

Yes, I know who Pam Greer is. She was a hero in Detroit.

as the conversation turns to the the post- industrial, wasteland Detroit has become, the Automotive Industry, Who Stole the Electric Car, etc. the DIRECTOR crosses her fingers. She leaves the men who are still in conversation, get's in her car & turns the ignition
. Awesome indie film type music plays through the speakers.

My fingers crossed when the convo reminded me of a P/U shot from the other day. The lead had a Pam Greer moment as she exited a building- She looked feirce!...but was the time of day the same for lighting???????

Extreme Gratitude

2009-04-28T08:00:00.000-07:00

"Oh Thomai, you surrounded yourself with such lovely people..."
Danny Carpenter, Sound

He was talking about how amazingly sweet, talented and skilled the cast & crew I brought together for this short film are.

Sweetness abounds.

Crew Props:

I'm so glad Tarina Reed, the DP, fought for the lenses she just had to have for this-
and that Roger Mayer, the indie film producer hero was able to finagle them at not even 1/10th their usual cost. Tarina's ability to make what we see in our minds eye happen with a camera is ridiculous. She shares her talent and skills without ego, and with the stamina of a Midwestern (Michigan) woman who started her camera career in the armed forces. I love workin' with T.

Jesse James Smith, her 1st AC, totally brought that undeniable 1st AC, Zen to the show. Clean, clear, tall glass of water, Zen. Welcome to L.A. Jesse!

Roger Mayer, Producer, has been in the indie film trenches, from festivals to production and on, for so long, he was able to pull not one, but several location options for free/favor return out of his hat. He instinctively knows what to do and when- both really big things and little things, like having the most perfect music on in the car on route to day 3's set. I'm looking forward to accessing his brains film expertise / database for post when he returns in a week and a half. Several productions have an umbilical cord connection to Roger right now; Inspire Expire is super blessed to be among them.

My L.A. niece, Asia Alexis Coleman, Co-Producer, brought Roger on board. Like Roger, Asia has the ability to charm deals out of thin air for a production. She pulls bizarre-o deals out of her hat. Things like convincing the man at the bus headquarters to let us use the bus, and a bus driver, for free, for 30 minutes.
She starts a job today that she's super excited about. I know she'll do fine.

The minute Dave Paige, 1st AD, walks onto any project -I immediately relax.
He walked in the door and I felt my shoulders drop down from my ears with a swoosh. He kept us going in his calm, cool and collected with a sweet smirky, punkity rockity, way. It's smooth Sailin' all the way with Dave. And he did it with only 1 PA / 2nd AD.

Sherry Gunderman, the Script Supervisor, has no idea what an angel she is (OK, so her halo is slightly off kilter, but that makes it more interesting). She sees EVERYthing, which is common for a scripty of course, but, she sees it from a creative artists POV, so it's not just the rote detail tracking. She offered incredible, scene saving suggestions all the way through, while also being able to express compassion for the character, to me- the writer/ director. And she's fricken funny! The effect is maintaining the feeling as well as the continuity, with joy.

Words can't express the level of gratitude I have for Eddie San Chen -period.

G&E
When Eddie says he has your back, he means it. He gave us equipment and got his team, who I love, on board. My favorites, Sonoko Shimoyama (Gaffer) and Sergio Villegas (Best Boy) worked like a well-honed machine along with Sonoko's guy, Aarin Stinde (Key Grip). They move like the wind and they did it without walkies on this one. I felt safe with those three doin' their thang with us. Words fail to describe the energetic connection I feel with them. I just adore ‘em.
I'm looking forward to the day when I'm working on a job where Sonoko is DP & Sergio wrote and is directing.

Sonoko Shimoyama, Gaffer, is one of the most bad ass, kick ass women I've ever worked with on set and she is the only female gaffer I know. She knows her stuff, it shows and everyone respects that. To top it off, she's humble about it. She's an extremely rare gem.

Sergio Villegas, Best, looks like a star and he's built like a pit bull. He's an observer and a thinker- quiet action, doesn't need to show off, just has it together and does his job with man grace. He's fun to pick on when he's on set- Eddie gets him good.

Aarin Stinde, Key Grip, was new to me so I was really impressed that he stepped up to this particular, extremely low budget plate. For him, this was probably a favor to Sonoko.

Roger added Franco Lentini as a G&E swing. He's from NY and he's Italian, so of course we got along instantly. He's one a those strong guys everyone knows has a huge heart & you can tell he loves being in production- it must seem so easy to him after being a NY cop for 10 years.

Hanz Lefterios Dalken, Production Designer, stepped it up 100%. My apt. became Hope and Imani's apt. He painted the walls, moved the furniture, made art with the 7 year old actress, framed and placed photo's in just the right place, set dressed, re-set the set dressings over and over again, kept track of the props, and stayed calm, cool and collected throughout the whole shoot. He and Dave must be from the same smooth sailin' with an edge, planet.

When Bo Sundberg said he wasn't available to be the soundman on this one, but that he had someone who was family to replace him- he meant it. Danny Carpenter, Sound, fit in as family immediately. I knew he was awesome when he offered to carve the lamb at our pre production / Greek Easter meeting. He has a sweet grace and a twinkle in his eyes. We worked together for 3 days and I feel like I've known him for years.

Haruyo Fanta, Key Make-Up Ninja extraordinaire brought it, as always. Everyone loves Hari and after working with her on set, everyone wants to be a make-up ninja. She works at lightning speed. I met her on a job that was far beyond the usual production challenges and watched her and Misa rise above ordinary capabilities under those extreme conditions. She raises the bar.

Mika, Make-Up & Hair, started off the show, working on the day Hari wasn't available. Mika's got style. I think the time our lead actress had in the chair with her on Day 1 calmed her nerves and helped her ease into character. Mika had to get natural AA hair from big to flat & under a wig, to big again several times.

I only know one wardrobe person who really enjoys doing the job- and she is in NOLA. My L.A. sister, Belinda Ellis, stepped up to the wardrobe plate- THANK GOD! Cause I am not into shopping, ironing or even thinking about clothes. Belinda is actually a producer, line producer, and prod. acct. who can also do just about everything production related- she has almost 30 yrs in the production trenches. Tarina asked, "Where did you find Belinda? Every time she opened her mouth to make a suggestion, she had exactly the right solution for whatever problem was presenting..."
yep.
Belinda is a Topanga gem. She was also (hear) here to let me and the crew know that the asthma attacks being presented on film were spot on and exactly like the ones she witnessed me having in the pre-advair and singulair days (daze).

Ryan Ashford, our Editor & SAG actor who played Nate the neighbor, trained Nick Nikolov to be our P2 tech. I think I caught maybe 3 glimpses of Nick during production. He was literally just pluggin' away on the computer the whole time. We start the assemblage today or tomorrow.

Ellen O'Brian, P.A. / 2nd AD, is being trained by Dave to be an awesome asset to any production. I'm so glad she was here, totally ego free, to help us with all those things that fall through the cracks on productions that don't have such enthusiastic production assistance.

Cast!!:

2 of our 4 actors were Sag and 2 were first timers.

This was, Anishika Jontae, our lead actress', film/HD debut. She had to transform into a mom with severe, triad asthma for the role of Hope. We had a small crew, un permitted locations and all those things that come with gorilla film making, so, new to the medium or not- we only had a few takes to get each scene. Thankfully, she's humble, rehearsed her ass off and she takes direction so well. I was literally jumping for joy.
My sister Fork said, "She has the makings of a super hero!" after I described Anishika as a hybrid combo of me, her and our other sister Ayanna.

Danny Billet blew us all away with his charmingly creepy, bad guy interpretation of Gary.
He is a total pro, came completely prepared, asked one or two intelligent questions about which direction to go in and did a phenomenal job. Roger saw him in a play the night before I auditioned actors, playing a professor or some such- nothing like the character in this film, and a light went on in his head. I had been thinking to go in a completely different direction, but, when I witnessed what Danny was bringing to the role- I knew he was going to take that scene to a whole new level. Did I mention he's incredibly professional? We needed someone who could just come in and nail it- and he did it with an adorably, dimpled smile and easy grace. I expect to see him on screen a lot in the future and hope to work with him again.

Ife, who played Imani, Hopes daughter- acted like a seasoned pro on set. This was her acting debut and yet, no one had to explain set etiquette to her. She is a natural. She had several approaches to one of the scenes.... and had the crew in stitches a couple times with her "I'm sleepy walking", interpretive dance. All I had to tell her was that it was too big and she brought it in and we got the scene. She's usually smiling so I was concerned that I wouldn't be able to get her to have a stoic expression when her character is awakened at 3:30 AM, but she did it. Her only request was that her parents not be within earshot. Bright girl.

Ryan Ashford (I'm his L.A. mom) played Nate. It was nice to get him on camera again.
He's one of those rare multi-talented people who was raised by conscious people. After Nick and I gather the assembly in Ryan's office with Ryan's equipment, Ryan will step in and edit it. Ryan has edited less interesting, less exciting stuff for me-industrial's and the like and turned straw into gold. On this job, he'll be a diamond cutter and polisher.

So, today is (equipment) returns and then onto post...

and hopefully raising some more funds.

Day 3 of 3

2009-04-27T07:27:00.000-07:00

I am sitting at the table, surrounded by lights, with gels and cables at my feet. We shot in my apt. last night and are returning here for Day 3 of 3.

Day 1 started off slow (we had an approx 1 hr delay), but, we got just about everything we needed in 12 hours time.
Day 2 was our most challenging day, our longest day. We went long. I owe every crew member- big time.
Day 3 is easier. We have a few lil odds n ends left over from Day 1 and 2 to add to our day. Still, it's the easiest of the 3 days.

Day 1, I still had my producer and AD hat on slightly.
Day 2, I couldn't tell you what time it was at any point (AD's ARE the timing on a set). I couldn't tell you what time was for that matter. And my producer hat almost came on, but, I think I realized it in time to move out of the way and let the hat stay where it belonged- on the 2 person producing team. Something was handled differently than I would have done it- I had to just let that go.
Day 3 is here n now. In 3 minutes I am jumping in the shower. By 9pm I'm going through the door and I'm on my way.

As the Greeks say, "phtousou, phtousou"

It's a new moon

2009-04-24T23:20:00.000-07:00

Clean slate and ready to go

The moon begins waxing and we begin principle photography.

So much
beauty.

It all comes together

2009-04-24T07:26:00.000-07:00

All the pieces are coming together. Last night- our exterior location was locked!
Yaye!
It's incredible how many connections Roger has in this city.
Roger is an indie hero.
Not only was a weight lifted when he called me, the crown of my head was tingling...is that what good drugs feel like?

We found wardrobe at Ross Dress For Less at 9 pm. Words can't describe how draining I find doing wardrobe: shopping, having someone try clothes on in a flourescent lit, warehouse sized store with crappy, cheezy, wedding music songs polluting the atmosphere. Words can't describe it, but sound can, think Eraserhead soundtrack.

Thinking about the monitor now-

9 inch is portable- easy and makes sense on a run and gun shoot like this-
the 17 inch HD waveform would be awesome for the shoot day in my apt.- we can see the pic. more clearly, the color tones, etc.
We can only have one, so the 9 inch is gonna have to do-
I'd like to be able to hook it up for the Mon. sc.'s.

Asia, Roger and I have a day long list of to do's.

Hanz has his work cut out for him transforming our apt. into Hope and Imani's apt. He's already accomplished most of the heavy work.

Hardrives- ask Ryan...?

what
else...
?
time
to
get
the list.

BUDGET

2009-04-23T13:37:00.000-07:00

Money money money-

We are making this with less funding than it took to make a seminar DVD I directed.

Professionals are donating time, energy, equip. love, GRACE
and of course it's still not quite enough.
Things we have to pay for that we don't have yet include a geni (generator)
periscope lens, and other essentials to the picture quality.

yep
low budget
micro budget

so much to do

2009-04-23T08:22:00.000-07:00

* Schedule- Dave, Roger, Me- CHECK
* Shot list- Tarina, Me- CHECK
* SAG Paperwork- Roger, Dave
* Prod. meeting/ crew dinner/ tech scout (at my apt)- CHECK
* Folding chairs?
* Sound equip. rentals?- ask Danny what he needs- Asia
* signatures for locations- Roger
* exterior parking lot & DWP location- Roger, Asia, Me- anyone?
* crew and non SAG actor paperwork- Roger
* prod design- Hanz- CHECK

get books from Ife's house
photograph lead and child together, print and frame

* props-me and Rog, GETTIN' THERE
* wardrobe-ONE DRESS LEFT TO GET
* m/u - CHECK
* insurance-get certs out. Roger, Asia
* lenses - Roger
* G&E- Roger
* Crafty- I'll shop and the P.A.'s will present it, keep it up.
* Lunch- CHECK
* additional crew support? CALL MY GRIP GUY
* talk to & write notice for neighbors- me or Asia- JORGE-talk to other neighbors about sun.
* rehearse actors - CHECK
* crew list - CHECK
* vendor list- geni in particular Asia
* cast list - Asia
* storyboards- me & Billy
* rental Car- me- CHECK
* P2 card stuff- external HD, Laptop? Call Ryan
* call sheet-AsiaCHECK
* maps- AsiaCHECK
* borrow coolers from Nikki-me CHECK
* pop up tent? CHECK

waxing

2009-04-21T07:47:00.000-07:00

The moon will be waxing when we are shooting.
Wax: to become stronger.

I'm seeing the film in my minds eye while mid conversation with people.
While decompressing in front of Medium last night, I was actually watching my film in my minds eye. The tea I drank looked like one of my actors. It's a very similar obsession as what new moms (who birthed naturally at least) experience just after child birth. She looks at a spoon and it looks like her child. I look at my tea and see the story bloom.

We're going to need a knee pad for one of the actors.

Keeping true to this stories telling, I'd like the film to have a very real look.
One of the ideas I discussed with the DP, Tarina, for the stairs scene, wont work. I thought it could, but, nah. Time passage on the stairs, yes, but, not the way I said it could go.
Going to cut more dialogue from the stair scene as well.

The fight is glorious. Added more to it is as I intended to during rehearsal.
and there is a laugh in there - had me laughin' loud.

the stuff my friend brought for production design is not exactly what i had in mind-
back to the drawing board on that.....hmmmm....bedspread or comforter, curtains, wall hanging fabric.....it's out there waiting for me to find it.

Wardrobe- we have GOT to go through and select wardrobe for the lead today and tomorrow.
heading to the leads apt. at 6 to see what she has.
Got the male's wardrobe figured out- the childs will be easy- Belinda can go to their place and send me photos.

Today, 10a- we make the rest of the shot list.

A challenging call became phone tag and is not out of the way yet-that's also today.

Location Location Location today today today

got SAG? Roger is on that thankfully and equip lists, and all that producer jazz.
Sharing the producer hat allows for some relief and makes room for the director hat to sit more comfortably.

Asia made me a
Google calendar!

Crafty- coolers- call to borrow from Nikki.
ask Asia about the Costco produce section- how inexpensive is it?

My name day is during the shoot. Good stuff.
Red beard, spirit niece, son, daughter and sis- all steppin up to the plate beautifully. My son is steppin up to the art dept. plate.
Hopefully, some of the props will arrive in the mail tomorrow.

I'm drinking instant coffee- at the bottom of the cup I envision the sky on the day we shoot the neighbor scene- bright clear, pretty day.

looked at the periscope lens- wow- yaye- yeah.

wow- it's already 8:22am.

Production Meeting on Greek Easter- BLISS

2009-04-20T08:39:00.000-07:00

The production meeting was very productive. We are a wonderfully, sweet crew - all of us.
Between having my fave crew members in my home, *feeding them, going over the script and sched-
I must have been glowing pretty bright with bliss.

Dave, the AD, led the meeting. We made some minor changes to the sched., went over m/u, sound and the grip and electric team got a chance to really scope out this location and talk things over with the Tarina (DP). Now that we have an idea of what is needed, I'm sure Eddie (Electric) will have a list for Asia (coordinator) so Roger (producer) can find inexpensive rentals.
My neighbor agreed to park on the street during production, which is awesome and generous of her. We definitely need the space for the geni, to stage equipment, etc. I may be able to borrow a tent and have m/u & wardrobe out there- or the prod office...? Belinda offered to step up to the wardrobe plate, so phew, that will be covered.
We discussed signage (set dressing), the ext. location we're still working on getting, etc.
I need to figure out where on earth some of my furniture is going to go. I don't have a lot, but, this apt. is tiny. Especially once it starts filling with equip, crew and cast. Thank goodness I went through a de-clutterization a few months ago.
We're turning off the refrigerator, so I'm going to ask the woman I cater with to borrow hers.

I was excited to hear that my lead actress was watching a film I was thinking of recommending to her as research for her role! I Love it when we're all on one wave length and it's a good wave at that!

We'll have another 2 rehearsals at least and get wardrobe situated with all 4 actors in the next few days. I'm meeting with Tarina (DP) to make a shot list at noon, with Asia (coord) at 4pm, and 2 actors at 6pm.

Principle photography begins in 5 days. Woohoo!!!

*We feasted Greek Easter meets Southern Bell style-
Lamb, Horiatiki Salata, Spanikopita, Baked Macaroni and Cheese, Tiyganites patatas, Turkey meatballs, Tsadziki, Taramasalata, Greek Cheese, Olives, Bread, Baklava, Bread Pudding, Tsoureki, Koulourakia and the lovely, healing and refreshing lemon mint lemonade my house mate, Roxy, made for us.
Some of the ingredients for the food were donated by a catering co. that I cook for between industry gigs. Roxy and I cooked from noon till about 7pm with additional support from my son, Hanz. The folding chairs that Ade loaned were perfect, since I threw away my couch and of course, have few seats in this place.

small part, big help

2009-04-17T12:00:00.000-07:00

The actor who is playing the neighbor is SAG; he has set experience. He understands run n gun productions with micro budgets. He knows to be prepared, come in, hit it and leave. He knows to be a calm, quiet, presence, let the crew do their work, then nail his performance in one or two takes. I don't have to work with him at all- he'll show up exactly as needed.
This is the sort of actor that makes you go, "Phew".

To DO- updated 4/23/09

2009-04-17T09:14:00.000-07:00

Schedule- Dave, Roger, Me- CHECK
Shot list- Tarina, Me- CHECK
SAG Paperwork- Roger, Dave
Prod. meeting/ crew dinner/ tech scout (at my apt)- CHECK
Folding chairs?
Sound equip. rentals?- ask Danny what he needs- Asia
signatures for locations- Roger
exterior parking lot & DWP location- Roger, Asia, Me- anyone?
crew and non SAG actor paperwork- Roger
prod design- me & Hanz, by this weekend I hope

get books from Ife's house
photograph lead and child together, print and frame

props-me and Rog, GETTIN' THERE
wardrobe-ONE DRESS LEFT TO GET
m/u - CHECK
insurance-get certs out. Roger, Asia
lenses - Roger
G&E- Roger
Crafty- I'll shop and the P.A.'s will present it, keep it up.
Lunch- SUN. FIGURED OUT. SAT?MON?
additional crew support? CALL MY GRIP GUY
talk to & write notice for neighbors- me or Asia
rehearse actors - CHECK
crew list - CHECK
vendor list- geni in particular Asia
cast list - Asia
storyboards- me & Billy
rental Car- me
P2 card stuff- external HD, Laptop? Call Ryan
call sheet
maps
borrow coolers from Nikki

etc.

~Thank goodness !! Roger and Asia are stepping in to produce and coordinate.~

My coffee has gotten cold.
I have started and stopped sweeping and dusting several times already (the crew dinner is here Sun. and I am cooking it)
I'm hoping others who use this apt. will help out in the apt.maintenance dept. during pre-pro, but, I'm not taking that for granted.
A list of household chores have been up for awhile, it'll get done.
I'm more than half asleep- I was in the ER with my son till 2 am- he needed 10 stitches.

back to calls, emails and cleaning.

This production is my bliss regardless of any challenges that come up due to lack of finances, motherhood, etc.
The challenges got nothing on the feeling of purposeful bliss.

Characters develop

2009-04-09T09:31:00.000-07:00

Turns out I am not that different from a male screenplay writer. I write from my genders perspective. My stories are female character driven. My female characters are not the type that build their lives around men or are overly dependent on men. The male characters in all of my scripts are really not well developed, they are the boyfriend who she makes out with in one scene then sends off (in one of the features) the predator who lures her in and attacks (in yet another script), the supportive friend who has 2 or 3 lines, etc. They are minor players: the boyfriend, the menace, the furniture. They often don't even get a name. Just like many male screenplay writers write women. I can't tell you how many scripts I've read with a character like, "buxom woman" or "Leggy Lady". Interesting, huh?

SO,
Last night the actor who is playing one of the male characters, formerly known as the Driver, came by to rehearse.We developed his character (he has a name now) and added some dialogue.

I've learned and grown from this experience and I wish the same for other screen play writers.
Wow, can you imagine if I was not straight? Males would probably barely make it in as extras.

NOTE to all actors and actresses- You have an opportunity to help develop your character when you are working with the director. Go for it- with respect. Your character is not the only character, likely not the lead, etc. so be realistic, but, go for it. The film benefits.

It's time

2009-04-08T07:49:00.000-07:00

I'm re-calling the Directors Round Table that Indie Film Maker's Alliance hosted-
how all 3 Directors said they experienced self doubt-
as I over come the self doubt that creeps up.
I acknowledge it and let it go.

I'm standing straight and tall, strong and solid as my son, who is 20 and therefore you'd think and hope would not need my full attention, requires not only a lot of my attention, but also more money than he has ever required before. Money I don't have. A voice in my head (where does it come from) says to stop what I'm doing as an artist, film maker, director to focus 100% on him and those challenges he is going through. Take the miniscule and limited funds for the film and spend it on him (I wont do that- it's just a voice that comes up). Once again motherhood humbling me, challenging me to figure out the un-figureoutable. Who and how to borrow money from for that stuation? What about the time involved? The energy? Children are your children, no matter their age, till the day you transition from this life to the next. So, as a mother and a film maker, I create the energy it takes for all of it to work out. Re-member, I can breathe easily, everything else is lagniappe.

A feeling of overwhelming gratitude for my fellow film makers who rehearse, get coached, take notes, meet, make lists of what we'll need to get the shot, go over every angle- washes over me, through me, becomes me. As for the one or two who are going to show up to take the producing/coordinating/managing reigns out of my hands so I can focus on directing- I can sense the relief I'll feel, and breathe deeper, maybe even exhale.

A vision of people watching the film, laughing where I want them to (it's not a comedy by any stretch of the imagination, but, there is a funny moment or two) and being surprised, having something to think about, being entertained.

The look, sound and feel of it is perfect.

This is exiciting.

Diane English & Sally Potter - thnx Melissa

2009-04-07T09:06:00.000-07:00

The creator of the show that a vice president spoke out against once, "Murphy Brown" and the remake of the film "the Women" wrote to Melissa at Women and Hollywood after reading this article

If you are a woman and you want to make a film about women, brace yourself. Secure your finances, alert your shrink, and refill your Xanax prescription. You are in for a very bumpy ride. But don’t ever let it stop you.

Diane English

Also up on Women and Hollywood, this from Sally Potter (Orlando):

The best time to start is now (don’t wait)

Take responsibility for everything (it saves time)

Don’t blame anyone or anything (including yourself)

Give up being a moviemaker victim (of circumstance, weather, lack of money, mean financiers, vicious critics, greedy distributors, indifferent public, etc.)

You can’t always choose what happens while you are making a film, but you can choose your point of view about what happens
(creative perspective)

Mistakes are your best teacher (so welcome them)

Turn disaster to advantage (there will be many)

Only work on something you believe in (life is too short to practice insincerity)

Choose your team carefully and honour them (never speak negatively about your colleagues)

Ban the word “compromise” (or the phrase “it will do”)
(the disappointment in yourself will haunt you later)

Be prepared to work harder than anyone you are employing

Be ruthless – be ready to throw away your favourite bits (you may well be attached to what is familiar rather than what is good).

Aim beyond your limits (and help others to go beyond theirs)
(the thrill of the learning curve)

When in doubt, project yourself ten years into the future and look back – what will you be proud of having done?
(indecision is a lack of the longer view or wider perspective)

Practice no waste – psychic ecology – prevent brain pollution
(don’t add to the proliferation of junk)

Be an anorak – keep your sense of wonder and enthusiasm
(cynicism will kill your joy and motivation)

Get some sleep when you can (you wont get much later)

Perfect timing.

Fight scene

2009-04-06T09:49:00.000-07:00

Usually a fight scene is choreographed by a stunt choreographer. There is often a stunt coordinator who acts as a director of the fight scenes when the stunt women and men are fighting. Especially when they are fighting with an actor. The fight scene in our film will not have stunt people. It wouldn't have stunt people if we had a bigger budget either, it's not that type of scene. However, if we had a bigger budget I might have had a stunt choreographer helping choreograph and give notes about shooting the scene. Lack of funding makes us all resourceful though doesn't it? The other day, one of the actors and I choreographed the scene. It was actually pretty easy. As high energy as that actor is, he focuses extremely well. What I find with people who others might call "hyper" (I see high energy) is that they can be super open and they can "hyper focus" simultaneously. The ability to hyper focus and channel are incredible gifts for an actor to have.

Did I mention how blessed this project is?

The fight scene has been choreographed by the male actor and I (I have a couple tiny bruises to prove it). The actors are being rehearsed separately. Next week the 2 actors who have a familial bond in the film will meet and bond.

It's super blessed.

She can act!!!!

2009-04-01T14:18:00.000-07:00

Phew! My instincts were right again! The actress I've just cast for the lead role can act for film! I had a friend come up from the OC to video tape her audition, mostly to see if she could be natural with a camera rolling. She can! Thank goodness!

Let the rehearsals begin!

In the making

2009-03-27T09:03:00.000-07:00

I've received some good feedback on the script and I've made some very slight changes. Not everyone gets how the leads dis-ease works in her life or how she overcomes that and being a single mom struggling. So yes, some minor changes in the dialogue with the surrogate sister will help there.

As for people not understanding the ending - none of the mothers who've read it were confused. This is a mother who will do whatever she has to so she can continue to be there for her daughter and so her daughter will not know that they are struggling as much as they are. It's one (very challenging) day in the life of this mom and daughter. And that is as much as I can say here, without giving it all away.

GREAT FILMS

2009-03-26T08:47:00.000-07:00

Harold and Maude

the Wizard of Oz

Auntie Mame

Paper Moon
The World According To Garp

Adam’s Rib
Female

Wings of Desire

Far Away So Close
Baraka
Latcho Drom

Bliss, the Aussie dark comedy, made in ’85

Camille Claudel

Giulietta de spiriti
It’s a Wonderful Life

All That Jazz
Call Her Savage
Thelma and Louise

What Dreams May Come

Barefoot in the Park

Breakfast at Tiffany’s

Memento

the Color Purple

E.T.

Close Encounters of the Third Kind

Terminator

Terminator 2

(Sarah Connor Chronicles TV show as well)

Godfather 1

Godfather2

Goodfellas

Casino

Reservoir Dogs

Donnie Brasko

Departed

the Nutty Professor (Jerry Lewis)

Heaven Can Wait

When We Were Kings

Being There
Torch Song Trilogy

Amistad
Donnie Darko

Whale Rider

Angel at My Table

Frances

American Beauty

Fight Club

Malcolm X

A Streetcar Named Desire

On A Clear Day You Can See Forever

Boogie Nights

As Good As It Gets

Philadephia

Like Water for Chocolate

Fire Walk With Me

His Girl Friday

Gypsy

Nuts

Signs

Always

Giant

Nikita

12 Monkeys

Taxi Driver

Brazil

Mask

My Life

Groundhog Day

Mr. Mom

the Rose

Deer Hunter

McCabe and Mrs. Miller

Indiana Jones

the Shining

Rosemary’s Baby

Woman Under the Influence

Alice Doesn’t Live Here Anymore

Imitation of Life

Blade Runner

Talk To Her

Funny Girl

Funny Lady

the Sting

God Grew Tired of Us

Frozen River

My Big Fat Greek Wedding

Handmaid’s Tale

Tsotsi

Superbad

Steel Magnolias

Crooklyn

All About Eve

Jezebel

Gone with the Wind

Amelie

Broadcast News

Being John Malkovich

Empire of the Sun

Kill Bill 1

Kill Bill 2

Mata Hari

G.I. Jane

X-Men 1

X- Men 2

X-Men 3

City of God

The Cook, The Thief, His Wife and Her Lover

Matilda

Grosse Point Blank

White Oleander

the Bourne Identity

Fargo

Norma Rae

Big

Traffic

Magnolia

Priscilla Queen of the Desert

Fists of Fury

Drunken Master

Ever After

Who's Afraid of Virginia Wolf

Singing in the Rain

Valley of the Dolls

Fried Green Tomatoes

the Visitor

Namesake

Adaptation

The Way We Were

Aviator

the Philadelphia Story
Rabbit Proof Fence

Butch Cassidy and the Sundance Kid

Mary Poppins

A Star Is Born

I love GRIP & ELECTRIC !!!!!

2009-03-25T10:00:00.000-07:00

My Gaffer isn't just any Gaffer. He's an awesome guy- funny, sweet and works with his team gracefully (he would laugh at that description, but, it's true). He's also a DP (Spiritual Liberation) & he's directed and produced in the past. He owns a truck and a van full of equipment. The amazing members of his team are some of my favorite crew people ever. Seriously, they made one job I worked on worth working on because they were there. I adore them all. While he wont admit it or take credit as such, he is a pro feminist gaffer! He replaces himself with the amazing female gaffer I love working with so much, often, and when they work together on a shoot, she is his Best "Boy". That is a rare and beautiful sight to behold.

It absolutely sucks that they (and so many others) are out of work right now. More and more I hear of projects being pushed and pushed into non existence. In the case of the gig they were up for in April, it turns out to be a good thing for me and my lil short film- they are all available and the equipment is too. Although, come to think of it, they would be available on the weekend for it anyway, like they were on the PSA I production managed. If they were working that big job that just got pushed, during my shoot weekend, the Best "Boy" would be the gaffer and the Best Boy Grip would be the key - or some arrangement like that. I know they would work it out for me.

I wonder how long this film industry drought (for many of us) will last? It's affecting the commercial, promo and music video end of the industry pretty hard. Those are bread and butter gigs for those of us non union crew.

I've had a few 1-4 day gigs as a 1st on a commercial here, a music video there.

I know when I apply for gigs that people who are way more experienced are also applying for the same position. I know that a lot of union folks are working under pseudonyms so they can work non union gigs, so you can imagine that the market is way over saturated for 1sts, PMs, PS, etc.

Still, there are always positives in every experience.

These times make us more resourceful. They make us get rid of what we don't need from our lives. It's times like this that many of us go for what we really want and break the habits of accepting what we sort of want and can stand cause it pays the bills. Now that those jobs aren't paying the bills so much, we may as well go for the dream.

So, completely available or not, I'm grateful for my crew and hope they also get their visions together on paper so I can produce the projects that lead them into the career positions they dream of.

I love ACTORS!!!

2009-03-18T09:49:00.001-07:00

I'm considering 2 different actresses for the part of Hope in the short film I wrote and am directing. One of the actresses just got the script yesterday and seems to "get it". She has very little experience acting, so it's a matter of her ability to be directed and how she shows up on camera. The other is SAG, I have seen her on TV (she had one line in a show I watch), which is what inspired me to ask her to try out for the part of Hope.

I'll give the younger, less experienced actress a few days to rehearse it, then direct her through an audition. If she needs more work, a mutual friend (her godmother) is going to coach her (she is an acting coach) and we'll audition her again. She really has the look I want, she has something energetically that Hope has and she looks like she could be the young mother of the daughter I've chosen for the film.

I cast the male characters. One is pretty simple, just a few lines. The other is going to be a stretch. I saw the actor at a showcase though and just know he can do it. He doesn't realize what a great, naturally talented and skilled actor he is. Looking forward to having him become a character that is so very, very, very different than who he is.

Away from L.A.

2009-03-02T18:16:00.000-08:00

Time to get away for a spell. My son and I are getting the car ready, cleaning the apt., packing, paying off bills, paying rent, subletting to a niece like friend and getting outta here! My son is coming with me. People we love, Architecture, walking, color, art, life beckons us. Prayin' for good weather and preparing just in case.

It's so good to get away from L.A. from time to time.

Interns and getting people to work for "free"

2009-02-24T17:55:00.000-08:00

I have been asked to find "free" labor on more than one job.
Here's what I learned:

It's the law
According to CA labor laws, min. wage is $8 per hour, time and a half after 8hrs and double time after 10hrs. That's $120 per 12 hour day of production. The going rate for a commercial, studio or network P.A. is $200 per 12. Yet, you can find hundreds of listings asking people to work for "free" or for a meal and "credit" on a project that will likely go nowhere.
Unless they are getting full time students who are going to receive class credit for the internship-
they are breaking the law. It's slavery folks. Even if it's a really good friend or family member who'll work for free, you can cover your ass by making them one of the exec producers. You pay them and they sign the check back over to the production. Having them fill out a time card and/or a deal memo also puts them on the productions insurance and protects you from liability. If you think your project is too small for insurance, remember that you can get on someone elses insurance for as little as $500. If you can't afford insurance, you really can't afford not to have it.
Osha and California labor laws are no joke.

Interns
The most important thing to know when hiring interns is that they are learning from you or your AD's or your Coordinator, etc. Some interns have experience, some are quick learners in that environment and some are there to learn that the set or office is just not for them.
Someone is having to split their focus to stop and inform the newbie.
Having more than 1 or 2 interns per shoot is distracting and energy draining and usually ends up costing the production more (L&D) than if you had hired an out of work, experienced P.A. who is willing to work at the min. wage, just to be working.
Even interns will be more committed and feel they are more a part of the project if they get some compensation in addition to the class credit- a small stipend will do wonders for the moral.

P.A. nation
P.A.'s are vital, they fill in the production cracks and do a lil of everything. Good P.A.s are priceless and they work for the lowest rate on any production. It's worth it to hire them and pay them a legal and fair rate per your budget.

Film independents Directors Close-Up

2009-02-18T23:34:00.000-08:00

This is what I love about L.A.
It's a one industry town- all sub industries support the main industry, so we have events here that just don't exist at all or certainly not as frequently in other cities. Events like tonight's Directors Roundtable with Courtney Hunt (Frozen River) , Tom McCarthy (the Visitor), and Lance Hammer (Ballast), are not at all uncommon in L.A.. Audience members who are knowledgeable about the industry and actively pursuing careers in the industry abound. A lot of the Q & A is either informative or encouraging for us. The evening was moderated by Mary Sweeney who has worked with David Lynch as Producer and Editor since the Blue Velvet days. She's also a screen writer and teaches at USC- awesome woman.

I felt connected to both the Visitor (as a 1st generation American) and Frozen River (as a single mom / warrior ). Both were well told stories and one was written and directed by a mom. I was able to ask her a question from the audience and thank her in person for representing (her mother was a single mom). All 3 directors had very unique paths to the position they are in now. Tom McCarthy is an actor with writing and directing experience in small theater productions, Courtney Hunt went to Law School before film school and Lance Hammer was an architect who made 3d animation architectural drawings- a skill that got him work on major studio productions in the Production Design Dept. Where else but L.A. would I have the opportunity to thank 2 directors (I haven't seen Ballast yet) for their storytelling.

The highlight was hearing a little about Frozen Rivers birth story and Courtney Hunts process as a first time feature director. It turns out, Frozen River began as a poem. Then it grew into a short that was accepted into the NY film fest, 2004. She chose to make it the great feature that it is in 2008 with money that was raised using 5 investors. It was low budget of course. Sundance loved it, Sony picked it up and now, 2009, it has 2 Oscar noms (if they gave Oscars to female directors- she would have that nom too). Courntey Hunt began researching the story 8 yrs ago! It was incredibly encouraging to hear her film's birth story.

Lance Hammer reminded me to stick to my creative guns and be uncompromising when it comes to getting the story told authentically. I have a different process than his for sure, probably due to my experience producing and in the crew, but, it was good to hear what he had to say. He also reminded me to rely on my fellow like minded film makers. He had a support system that stemmed from a workshop. I have a support system that stems from working in production.

Of course I almost didn't go. I didn't even read the email until this morning, weeks after receiving it. My other options were: Stay home and worry about my son who didn't call and didn't meet me when and where we were supposed to meet, go to Agape, or to this event.
I chose right. When in doubt about that, notice the serendipitous signs along the way:
I had an intuition about a woman director I worked with in the past, who I'd like to produce, PM or AD for (yes, any one of those - more about which circumstances work for each job later) and that I haven't seen in a year almost to the day. There she was, one row up, asking a question, right before I asked mine. It was great to catch up with her and meet other people in the room. She is great at introducing people, not a skill everyone has- I appreciated that.

BTW- Frozen River is in high demand on Netflix. When it says, "Long wait" for a film in the Que, it's because more people have it as their first choice than the Netflix buyers thought possible. Week 2 of "Long wait" for the DVD- Go Frozen River Go!

Italian Men

2009-02-17T11:48:00.000-08:00

I've continued watching Top Chef this season because of one adorable contestant.
Fabio reminds me of what makes some Italian men so gorgeous. It's not just his accent, it's his attitude, unbridled passion and his obvious appreciation of the women in his life, and the love of his life, his wife. Is there anything more attractive than a man who can express his passion?
It may be enough to help me get over a very American ex beau.

IMDB OMG

2009-02-16T12:04:00.000-08:00

Most of the work on my resume is not on IMDB.
The pilots for Lionsgate, Nickelodean, Fox, the Web series for ABC, the Commercials, Promo's, Industrials, the 2 Documentaries...
One of my IMDB credits is incorrect- I worked higher up than mentioned.
A producers assistant was credited as the UPM- not.
Everyone knows that IMDB is not the end all be all, yet, it's where people go to see what you've worked on.
There is also the notion that people are too stupid to know how to adjust between the various mediums- that is bunk. TV, Commercials, Film, they are all so similar that anyone with an IQ above moron should be able to adjust fairly quickly and without harming the production. I used to think I could because I am flexible and have such a varied background- but, no you'd have to be an idiot not to adjust.

I got most of my work through word of mouth from people I worked with informing people they knew about me as a crew member. I also worked my way up to directing from editing with one co. To get to the next level or leap ahead a few levels and take some of my fave crew and talent with me- I may work it a different way.
In the past, I did not network at all. In the past, I did not join film groups, forums, etc. Now, I'm looking for worthwhile networking events. Especially those supportive of women.

I may also want to strictly work on Film and TV for awhile.

I'm just not that into sexism

2009-02-14T15:26:00.000-08:00

Check out what one movie goer thought of "He's just not that into you"
over at feministing comm.

Taking Over written & performed by Danny Hoch

2009-02-08T09:15:00.000-08:00

I first saw Danny Hoch on the HBO Def Poetry scene years ago and he blew my mind-
that was a crumb compared to what I saw yesterday.
When a dear, new friend, Sam Wise Aaron, an actor from NY & NJ, offered to gift my son and I with the opportunity to see Taking Over, I admit, we both hesitated.
My son is 20 and a Hip Hop Culture artist, he was not excited to see a show at the Kirk Douglas Theater with his mom and her friend. No matter how cool his mom is, he was sure the show would be sheer drudgery. I was not sure I wanted to go as I have seen some really awful one man shows, but, I am working with Sam on his one man show, so I figured, even if it was bad, we would have something to talk about and reference as what not to do in his show. I'm so glad we were wrong in our prejudice about one man shows. We were thoroughly entertained -we loved it.
My son laughed, nodded, "no waaay"'ed, "wow"ed, and "uh huh"'ed as much as I did (and he's the quiet type) in response to Hoch's genius.

Danny Hoch represented for anyone who has lived in a neighborhood that was gentrified. For anyone who has lived under the wing of the woman on her porch or stoop who watched everything that happened on her street. For anyone who has ridden a gypsy cab or couldn't get a regular cab. For anyone who has growled at the girl selling the t-shirts she bought on the trip to the Yucatan that her parents paid for, while parked in front of your building entrance. For anyone who has taught Yoga to an executive. For anyone who did hard time for drugs and are out there trying to work with the labor skills they learned inside. For the whole process of Whole Foods taking over a huge chunk of a city block you survived on once. For anyone who has survived the 80's and what Reganomics did to inner city (was criminal) and low income life ( some of us have PTSD from the 80's in Detroit). For anyone that has been pushed out of their home due to gentrification. For anyone who has used the intellectual process of the most privileged to examine classism in our culture from the perspective of the most underprivileged. Danny did so in the most creative and intelligent way imaginable-
no, no it was beyond imagination.
You can't imagine that DR cab dispatch- that shit was divined. You can't imagine those characters- he had to channel them. They came through loud and clear.

As we were leaving, my son looked at the predominantly "white" and white haired audience members and said, "I wanna know what they thought of the show." Later on in the night he said, "I think the white haired women in front of us, the one who was all "shhh shhh" before the show even started, was hit in the head by the show- a big Doof! up. side. the head."

Thank you, Danny for taking every conversation about gentrification, even the one that admits liking certain aspects of it, especially the one that resents what it took to get soy milk and fresh veggies in the neighborhood market, to the stage.

the number one cause of Road Rage in L.A.

2009-02-05T06:44:00.000-08:00

103.1 is no longer on the radio. We can only access it through the internet.
Dang.
I can't tell you how many times I was lifted by the DJs choices on that station.
Jone's Jukebox, Darren Ravel (who is from Detroit and it shows) Joe Escalante, the morning news program...Driving on my way to or from set or office and suddenly Iggy Pop is screaming through my speakers, Loved loved loved that. Miss it. Driving in L.A. without 103.1 sucks.

I was missing it hardcore yesterday, while driving in typical L.A. traffic, one hand on the radio seeker button, seeking seeking seeking gimme one damn song I can really enjoy! seeking seeking seeking 93.1/Jack is so almost it's actually worse than the stations that are pure crap. Serious crap, like the old school R&B that plays the same fricken 5 songs!!!!! There are decades of R&B songs to choose from and we are reduced to "Burn Rubber On Me", several times a day for years and "Fool" by Stephanie Mills. Those are good songs, but c'mon- every. day. !?

I finally gave up & put a CD from Agape on. I'd rather listen to a sermon I've heard before, than JGeils Band one more time.

The resume'

2009-02-04T08:48:00.000-08:00

Well, it turns out my resume was shit.
I had a friend help me re vamp the info into 2 separate résumé’s that contain the info that was once on 1. We added dates- I hadn't bothered to write the dates on my resume'. Apparently that was just plain stupid. Anyway,
I now have a resume for production manager/supervisor, coordinator, 1st and 2nd assistant director and another resume for producing. I think directing requires a reel. The reel I have looks like an editors reel and has old projects on it (promo's docu.'s industrial's, experimental film)- no narrative yet. The short film I'm making this year is my directorial calling card.

A lot of industry folks are out of work. People have been let go from ABC, NBC, Sony, Paramount, Lionsgate- all due to cutbacks; so the market is saturated with qualified people willing to work way below their usual rate.
I'm lucky for the odd 1 or 2 or 3 day gigs here n there.
Last week I associate produced an industrial; this week I'm directing one. Both gigs are contributing to my bills but not completely paying them.

Wish me more lucrative projects. I'd love to work with a company that is not afraid to make great character or story driven films from the female perspective. I'd love to work with a production co. that is interested in creating content that I can be proud of.

Swarovski Ad

2009-02-04T01:23:00.000-08:00

I produced this for Aviddiva, Dustin Robertson
It's pretty- check it out.

Spiritual Liberation

2009-01-31T09:37:00.000-08:00

Last night was the premier of the film Spiritual Liberation. As a member of Agape and the Media team (I direct multiple cameras on choir Sunday) I was asked to video tape the red carpet interviews and direct multiple cameras during the Q. & A. It's a "day in the life of" film, focused on the life and spiritual process of Rev. Michael Bernard Beckwith, Choir Director Rickie B.B. and Agape Spiritual Center International. Shot beautifully with 2 RED cameras by a friend / crew member that I knew as a gaffer, Spiritual Liberation is a good introduction to the Science of Mind community as it manifests through the Agape International Spiritual Center. It also serves as witness to the loving and supportive relationship that is the marriage of Rev. M and Ricky. Steven Powell supervised the score, adapting Rickie BB's original inspirational music for the film.

Watching and hearing the film felt a lot like witnessing a service. I have a feeling there are many members of Agape who will be buying a copy of the DVD to send to family members who are curious about the spiritual center they attend. I'm sure more than a few will send a copy in the hopes of being understood by family members who still attend services that shame them and condemn them to burning pits of fire or claim to deliver them from their own, very true nature.
This film offers an opportunity to experience spirituality in a community of acceptance.

Personally, I am relieved and inspired by the turn out for a film made about the spiritual process I resonate with and the community I am a part of.
It gives me hope about an audience for my work which has more edge, but the same message, in narrative form. During the Q. and A. it became evident that people are seeking this material. Spiritual content that does not shame or should, that does not suggest guilt or fear, but instead works from a core of complete acceptance in unconditional love is gaining acceptance in our ever evolving world. My hopes as aspirations as a film maker were reinforced by last nights premier.

The film makers on the panel mentioned that the crew was affected by Rev. Michael's example to embrace their personal connection with spirit. I am sure that is true for some of them, however, I also know one of the crew members who tells me he is still as atheist as ever. The goal wasn't to convert anyone, it was to share the example and it did so well.

7 things you didn't know.

2009-01-27T21:54:00.000-08:00

Seven Things You Probably Didn't Know About Me.

The rules:

1. Link to your original tagger(s) and list these rules in your post.
2. Share seven facts about yourself in the post.
3. Tag seven people at the end of your post by leaving their names and the links to their blogs.
4. Let them know they’ve been tagged.

Liz the Everyday Goddess tagged me

I have worked with those about to die and those about to be born.
I volunteered at a hospice in Mich. when I was 14 and apprenticed with a midwife in Louisiana in my 20's. Death and birth are one and the same to me. It's all one big continuum.

I used to be an aerialist. I specialized in stationary trapeze and tissu aka silks; it was a way to make money when my theater co was struggling. I learned without a net and I could fly through the air with the greatest of ease, yet, I am not able to dive off a diving board. I freeze up and may fall off it, probably looking as un graceful as one can imagine. Diving boards make my knees shake and generally freak me out.

Sometimes I can look at a person and tell which herbal remedies could benefit them. I can always tell which Yoga moves will help. I can find anyone's key and guide them if they wish to be guided/directed/led through dance moves or become a character. I love working with actors for their openness in that way.

In 2nd grade the school put me in speech class with another student, Graeme Count. He was a Brit (odd right?) and they were getting rid of his accent. Though I was born in Detroit General hospital, we weren't allowed to speak English in our home, so I had a Greek accent. Though I have a crystal clear memory and can recall assignments from my classes as far back as kindergarten, all I remember of that speech therapy was entering a dark room. Now, If I'm not taking care not to, when I'm in a conversation with someone I pick up their breathing pattern, accent and speaking rhythm. Maybe I was hypnotized?

I left all of my worldy possessions behind when I moved from NOLA to L.A. The only things I miss from that are the books. Hundreds and hundreds of books.

I used to be anti- documentary. Whether it took 6 months to create with 65 people and an expensive set or was just me, lighting and a minimal set, I wouldn't let people video tape or photograph most of my performance art. Thankfully, not everyone paid attention to that and there is some documentation...and of course there are witnesses. My first film job was on a documentary.

My fantasy crushes are on the "good man" type. Corny men, older men, tall men...like Jimmy Carter, Bill Cosby, Lasca's super tall Mormon father, Andy Griffith, Jimmy Stewart, maybe Barrack, men like that. And yet, I've never been with a man like that- a man with very little if any edge and mostly goodness. I've never even dated a man like that.

sloth , windwater, a movie lover, dear deer girl, fork, tara lynn, pearl,

I spy a hero

2009-01-27T13:50:00.001-08:00

I love spy movies.
I love Bourne.
I dislike Bond.
Thanks Matt Damon for saying the following for all of us who agree:
"They could never make a James Bond movie like any of the Bourne films,'' Damon says scornfully. "Because Bond is an imperialist, misogynist sociopath who goes around bedding women and swilling martinis and killing people. He's repulsive."

Feminist men are sexy.

the Secret Life of the American Teenager

2009-01-26T08:44:00.000-08:00

My comment over at Melissa's Women and Hollywood Blog about Molly Ringwald turned into a post. I love that Melissa asked the question and I love the answer even more. Yaye Molly.

Love her (Molly). Loved the Hughes films. I too am a product of that era.
I was punkity rockity fo'sho' and she felt like one of us.

I have watched the show and the acting is good, but the script contains a moral within each sentence. Yes, I said sentence, there are hundreds of little moral reminders or hints (Christian slant) all over each episode. I commend the actors for being able to act around all that moral force feeding.

Still I watched it. I sat, ate and worked out during a marathon of the show (out of work film crew- hire me please!). I love Brenda Hampton's work and have said more than once how great it would be to be involved in one of her shows. But, something has gone awry with this one. Is it because teen pregnancy and teen sex are the story line? Are the creators overcompensating for that? I haven't seen any episodes beyond that marathon.

Believe it or not I loved Brenda Hampton's creation, 7th heaven. When I didn't have TV, I had people tape it for me. I like corny worlds like that. 7th Heaven was beyond Opi and Andy Griffith, but it was no where near as preachy as this show (and the father was a preacher!). What's bizarre is how they sort of pretend to present any other perspective in a way that feels obligatory. It's actually offensive and could be taken as sexist and racist. The bad girl brunette, ethnically mixed daughter of a single mother who is promiscuous (of course) gets lectured and shown the right way by the clueless blond with the self righteous parents. The blond who grounds herself after one moment of not listening to her parents. I appreciated the examination of the "freinds" of the lead, who were gossipy and insecure and prey for a predator, like a lot of little girls are. I like that they are showing a predators methods and his foster parents worry and frustration. Of course it's the foster kid who's bad though, and not the jock. C'mon Brenda don't you know jocks are the date rapers? She's presented smart, savvy and spiritually sweet children of foster kids in 7th Heaven so, I'll let that one go. Maybe I'm getting nit picky.

The part that made me cringe the most was when the good looking (by common standards) blond, self righteous dad of the clueless "good girl" announces to his short haired Barbie wife that he is the king or leader or some such of the family. I think I covered my ears for that part or threw something at the TV.
It's beyond throwback and it is no 7th Heaven, but, I'm still proud of Molly Ringwald.
And since she is married to a Greek and having twins for her second pregnancy, Phtouusou Molly, Phtouusou (spit spit to protect).

If you are working in the film industry, you gotta check out Women and Hollywood.

2009-01-25T15:15:00.000-08:00

Slumdog Millionaire

How good is it, you ask?
Well, they cast the roles of the younger versions of the characters based more on energy than on physical appearance and that OF COURSE works.
Working with energy always works.
I'm not even that into love stories and I loved this love story.
I am into stories of surviving with style and this was all of that and more.
It was beautifully crafted.
There is a female co-director, though she hasn't been talked about much. Doyle hasn't shared the awards and nominations with her. Not sure what the story is behind that? I imagine that she had a lot to do with the fact that they shot Indian actors in India and she is Indian. But, I don't know why she hasn't been regarded as half the team. Co- director can mean more than one thing. The only shared awards for directing I know of are the Cohen Bro's awards.
Regardless,
the film is awesome and worth seeing in the theater.

Do the Right Thing BOYs n (and outta) the Hood.

2009-01-24T19:43:00.000-08:00

I am so glad that when the Producers who ultimately sold their project to Columbia for Distribution realized they needed more "ethnically diverse" (read African American) entertainment, they sought out African American writers and directors. The producers contacted John Singelton, an African American male, who was a student in the writing dept of USC's film school at the time. He pitched a script that he had written, that could be shot inexpensively (relatively speaking) and Boys n the Hood was born. So was John Singletons career. Regardless of whether you like that film or not, at least it was written by someone who was closer to the perspective they wanted on the screen than their other choices. One can also argue that their reasons for wanting that perspective was the built in audience.

I'm not saying AA stories can't be made well, even beautifully, by non AA film makers-
case in point: Amistad.
I am saying Bravo! to those that went to the source when they wanted that voice to be heard.

I wonder if the men who approached Singleton thought of approaching an AA woman or considered the female market?
The female audience can be 51% by population, but we aren't 51% of the Box Office. We aren't represented in Cinema as much as male movie goers are, our voice is just barely there.
The point I'm getting at is that if you want a minority group represented, let us in. Listen to us. Learn from us. We have a perspective and it is worthy. Help us gift the world with it.
We don't need you to make up a story that sounds like us, let us sound like us.

That doesn't mean a script written by an AA can't be acted by a Latina or one written by a "white" women can't have an AA lead. The cultural construct of race does not have to be dominant in a story. Just as gender doesn't have to be dominant- I just want to hear from my fellow females for a change. Is it too much to ask?

Currently, there are more male written scripts that are green lit. There are more males than females directing. I'd like it to balance out. While I appreciate the men who've written female lead character driven stories- the stories themselves don't usually measure up. You can tell a man wrote it. I would like to have something to see in the theater that is not from the male POV, not even if it is disguised as the female POV.

Is it obvious that I'm a writer director with the female perspective and I would like some help getting projects we can all be proud of made?

How did we get here?

2009-01-20T12:31:00.000-08:00

As I listen to Jesse Jackson speak through my Television about the inauguration, I am reminded of the reason I live and work in L.A. I remember TV programs that changed the way people related to the cultural construct of race. I remember the influence that Bill Cosby had with the medium of television and film. The fact that he did not make race based jokes during his stand up routine and how his shows introduced a way of life that had not been represented in television before both honored what was and also gave hope for what could be. The Cosby Mysteries, Fat Albert, his many appearances on Sesame Street, even his Jello commercials- worked against previous conditioning. Bill Cosby was an educator first, he knew exactly what he was doing and we are grateful for his work. TV programs people of my generation grew up with such as the Electric Company, Different Strokes, Webster, a Different World, the Fresh Prince of Bel Air, Family Ties, Kate and Alie, One Day at a Time, the great Phil Donahue show, Oprah for goodness sake, all chipped away at the bigotry that so many of our elders knew no better than. There is no data on just how many of us were babysat by the TV, but, we all know at least one person who was influenced as much by that box as by the family that provided it. Looking back on what we would now call progressive programming, it was shows like that which reinforced progressive thoughts we had already come to on our own. For visionary, liberal children that just knew, those shows said, "You are not alone and you are not crazy" and for those who didn't know, it lead to a new awareness. What that triggered in our culture we will take for granted in a generation or two from now. And the influence didn't just come from Television. As the generation raised with the Huxtables grew, our movie viewing tastes expanded as well. We have more films about more diversity than ever before.

I know the influence of the medium and I am reminded of my purpose as I watch the 1st family make history and change the way we are in the world -and I am watching it on TV. The Last Poets said, "the Revolution wont be televised" but the EVOLUTION is being televised and filmed!

I have work to do. Important work. My work represents for survivors and thrivers, for single mothers like our presidents mother, for people who choose to define family by spirit. I am in this industry to use it as a tool. This medium that has chosen me, can easily convey the message to a wide audience
that we are all one
and we are all worthy
of unconditional love.

yes, we are

2009-01-20T10:50:00.000-08:00

My sister wrote,

"Dear Thomai

I think of you today and in a way I know we are together and that the space of together is quite full today - hmmmmm - unity vibration to grow in - so I am looking at it all on this and that station - This day goes beyond all those useless borders - everyone is touched by this shift "

Amen sister Amen!
And so it is-
hope won, inspiration continues,
the long term effect of a peaceful demonstration for change, with love at it's base
is
thriving!

No boxes needed here, thanks

2009-01-18T19:43:00.000-08:00

"I know where I'm going and I know the truth, and I don't have to be what you want me to be. I'm free to be what I want. "
Muhammad Ali

There is no one way to become a director. The paths to becoming a director are as many as there are directors. I also write and can produce.
Now, If I wanted to become a key make-up artist or a costume designer, a production designer or a DP, there is a pretty clear path. If my ultimate goal was to be a 1st AD, start as a P.A. on set, then 2nd 2nd then 2nd and eventually 1st Ad- the same path can lead to PMing. If I only wanted to become a producer, I would work in the office, line produce and pm.
Most of my resume is in the path of producing or ADing.
I don't want to only produce. Though I can produce and I'm good at it (it's easier than single motherhood) , it's not the only thing I do and it is not my only purpose. It's something I'm good at, that I enjoy.
When I direct, I come to it with the experience of editing, 1sting and producing. When I produce, I bring those experiences to the table and it makes me a better producer for it.

When I had a camera and no funds, I shot, chopped and scored everything myself. I found that most people don't like to edit and were willing to pay for the skills I developed while editing my own work. I didn't start editing because it was my life dream or my ultimate goal.
My background in dance informed my editing and I managed to get some pretty good gigs. I finally burnt out on editing when I worked at Ascent Media.
My paid directing gigs were industrials, instructionals and the like. I hired other people to do the camera work, the soundtrack and the editing.

I'm not a trust fund child, not well connected in the industry, do not have family I can call to bail me out or help and no man has supported me. I have to work and I choose to work in the film industry. I love the skills and talents I have and how I lend them to others projects as well as my own. I am a woman in film and I am not a scripty, M/U, hair, wardrobe, or an actress nor do I have any desire to be any of those things. Due to impending poverty and some guys sexism, I experienced one day in wardrobe and let me tell you, when I don't like something or I'm not suited to it, it makes me queasy. I choose bliss. Currently my bliss is directing, 1sting and producing. The goal is to be a director who also produces occasionally.
I like to wear one hat per project, but, I don't limit myself from working on projects because the titles and jobs vary.

I know that is hard for people who are stuck in old paradigms and comfy with how the patriarchal system we live in works, to understand my path, it always has been. Especially back in the 70's when I was one of 2 people I knew of in my home state who practiced Yoga. Wow has the world caught up with that. There are entire book sections dedicated to not living in a box and you can't spit in L.A. without hitting a Yoga studio. I understand that for some, one job for 20 years, one title fits comfortably and that is great, if they are happy with that and successful by their definition of success - good for them, it's just not my way.
If I had only stuck to ballet, my dance career would have ended in my teens. Nowadays, if you are not diverse in your training as a dancer, you wont work. My entire youth as a dancer, people continually told me to "choose one style" so every time my training took me to Jazz or modern or folk or god forbid Aerial! I heard them in the back of my head saying,"No no, just one style." I'm glad I ignored it cause now the consensus is to be as diverse as possible so a choreographer can mix it up. The more you can do, the more experience you have, the better. I'm glad I ignored the free advice and was able to support myself into my late 30's with dance.

I am a multi talented and skilled post modern woman. I was married and divorced young, raised a child without child support and ran a multi-media theater company, creating installations, writing, performing, directing, etc.
In between or alongside that work, I also worked in restaurants, produced festivals, helped raise children I didn't give birth to, learned alternative healing methods, traveled the world, lectured at universities, showed my films at universities, taught dance and yoga...survived a life threatening illness, experienced a NDE, etc.
Me and the box some people think is ok to live in- we don't know each other.

I love it when men, like the DP turned director I met, tell me about what does and does not lead to the position of director. Let me remind them that
being female usually doesn't lead to becoming a film director.

To the women who think I should take one job and stick to it, I strongly suggest they take my Yoga class or my women's movement class, watch my experimental films or my documentaries, maybe take a good look at my paintings and the digital imaging I produce and get empowered to own the world they choose to live in. Read the Gospel of Thomai. Be inspired beyond any box anyone would attempt to fit you into. Take it from someone who survived life threatening illness and a NDE, life is short....or listen to Auntie Mame when she says, "Life's a banquet and most poor suckers are starving to death"

Live and thrive.

I'm not alone:
I produced a commercial for a director that is a well known and established editor
I worked with a union scripty whose directorial debut won her a festival award
a friend who is a directors assistant and a writer just produced a film
2 rock n roll musicians AI know are also props
1 rock n roll musician I know is a set dresser
another is art dept lead
I know a DJ who is also a grip
a card magician who is also a director and a writer
but it's not just us on our way up folks
Speilberg is a director who produces
and quite a few feminist films are being produced or exec produced by actresses

etc.

Comedy

2009-01-16T10:34:00.000-08:00

I've been blessed with more than one crew gig on a comedy- as production supervisor, 1st AD and coordinator.
Funny is my favorite atmosphere. I'm the perfect audience for people who are funny. I laugh easily and have a funny (albeit a little loud at times) laugh. No matter how sweet the directors and producers are, regardless of how much prep is involved, shit inevitably hits the fan at least once during production. Working on a comedy attracts funny people and/or brings out the funny in people. Everyone's a comedian. I have been known to fall to the floor laughing. Many thanks to Jaye, Joe, the Donkeys, Brad, Chris, Justin, Lyon, Jennifer, Belinda, Dave, and etc. for the laughter. It makes everything so much better.
I'm hoping a comedy comes my way again soon.

looking forward to the next feast

2009-01-13T10:37:00.001-08:00

Last year started out kind of slow, but, by the end of Jan. I was working consistently. I facilitated the opening of a production office in Hollywood while the company owners were out of town. That was followed non-stop by Music Video and small Commercial Producing gigs, a few AD gigs, a gig PMing for a PSA, Co-Producing a short film, Coordinating for a Pilot, and Supervising for a web series. It was non- stop one gig after the other. Gigs, gigs, gigs. I decided not to move from this apt. and instead repainted and bought some new things for the old apt. I bought a new phone and installed new brakes and a new battery for my car. I stocked up on the expensive asthma meds that allow me to breathe as if I don't have asthma - symptom free.
And then Nov. came.
Crew folks started calling me looking for work.
I spent plenty o' money on my fave holiday, Thanksgiving. Thankful for the abundance we experience in this culture. We are blessed and it was joyful.
Then Dec. came.
I music video to produce came up, got pushed and then went away altogether.
I was paid to make a budget for someone....
I started calling, looking for work.
I went to mandy.com, craigslist, crewster, and all the other free media job list sites and found
nothing. I apply to jobs I'm over qualified for, under qualified for, exactly qualified during
Nov., Dec. and now Jan. and got
nothing but me and the crickets.

Feast or famine, that is the nature of freelance.
In the past, I simply focused on my supplementary gigs:
Personal training, yoga, photoshop work, catering (I can cook).
Well, I catered 3 or 4 jobs in Nov. & Dec. but, they were small and didn't keep me out of the little bit of money I had saved. And since I made the odd choice to gain weight in the last couple years, personal training and yoga instructing aren't happening. This is L.A. - the way I got clients in the past was to wear a mid drift exposing top and low cut bottoms or shorts and simply take a stroll through a gym.
I'm so far from looking like that right now, lets just say, I wont be making money off my looks this month.

so

Now what?
I tell myself now, what I tell myself every time my life goes from feast to famine and back to feast. This is the nature of freelance. This is not as difficult as it was when I had a small child and no child support and was still freelance. This is certainly not as challenging as it was when I was crippled by severe triad asthma symptoms.
Have faith.
Work is coming my way.
It's better work, will last longer and pay more and I'll be able to really save for a change. In the future I can weather the dry spells better and be more choosy about which rain fall to step into.

In the meantime, I can write and visualize how the short will be made. I can write it into a feature. I can work on the features I already have. Focus some energy on the story I have optioned.

I'm working out a little with weights, of course Yoga, and some walking. I haven't gone back to the vegetarian menu completely (I was veg for 20 years) but, I'm making choices I know are healthier. I have a background in alternative healing studies that include herbalism and nutrition. It's simply a matter of implementing what I already know instead of flat out ignoring what I know. It's also a matter of turning inward instead of turning to the refrigerator. Turning inward without isolating. Being between gigs can shut a person down. I'm choosing to balance going out and staying in productively.
I can direct my perspective toward the bright side of this situation.

Today's Yoga is focusing on balance.

Today's Directing is notes on the script.

Today's Producing is choosing which aspects of the story to adapt and manifesting the best writing partner for this project.

Today's Meditation:

It's all good.

It's a new generation

2009-01-12T10:33:00.000-08:00

Liz from Everyday Goddess posted about the criteria she employs when deciding which films to patronize. The comments inspired this post.

She points out how the paradigm is shifting with Dora being enjoyed by boys and girls.
I agree that there has been some progress. There have been a few steps forward and maybe a step or two back.

For instance, a possible big step forward is the character Elmo's gender ambiguity. Elmo seems to be a girl to the little girls I know and a boy to the little boys I know. One child, the daughter of a bisexual single mom, stated with great assurance, "It's Elmo. Elmo isn't a he or a she, Elmo is Elmo..."
When I purchased Sesame Street videos for my son, back in the late 80's early 90's (we didn't have TV, we had a monitor for videos I selected for him) there were new female puppet characters, but, they were all small, had ridiculously high pitched voices and were the feminine aspect of an already established male character. Even their names were uninspired. They simply added "ette" or etta" to the end of the established male characters name and, viola, the diminutive female character!

I haven't had a whee little one in the house in some years now, but, I have noticed that adorable Dora the Explorer and you can bet my child would have all of her videos. We are a traveling family after all, so what could be better than a fellow wonder filled character in the house. Dora takes us several steps forward and around the world...And then I came across the possibility of her stepping back.
The following is from an entry and article at feministing that questioned whether Dora's appearance is up for change and why.

Dora the Explorer, the wide-eyed cartoon character adored by young children around the world, is facing a makeover amid competition from older, racier rivals. Nickelodeon, the children's television network owned by Viacom, has been discussing a redesign of some Dora-themed toys and other merchandise that would make the character appear more feminine, say people familiar with the talks.

Strawberry Shortcake and several other female characters for children have already gotten their "make-over".

Maybe the new Strawberry Shortcake isn't so bad? To some, she just looks like a Disney character. I think the old version of Strawberry Shortcake was cuddly, innocent and conveyed an old world charm. The made over Strawberry Shortcake reminds me of those horrid scripted reality characters, shopping at a mall and being one of the cool kids. Maybe she's been changed to compete with Disney's princesses? But, the princesses were all at least teen aged weren't they? I had the impression the Shortcake was younger.

Anyway
Hooray for Dora and all the boys and girls enjoying her travels!
Hooray for pro-feminist men who don't even realize they are pro feminist working in the industry.
Hooray for blogs that remind those who care about box office success that yes, 51% of us will spend our money at the movies. In fact, we love going to the movies and popping in a video for our chillens- the movies & videos that fit out criteria.

Women, like any other minority, have learned to identify with heroes who don't look like them or have the same genitalia or gender. We've learned to look beyond the structure of a body, look beyond gender and instead dive further into characteristics. I just want the same opportunity for straight, white men, that's all....Thomai, 08

Can you create a budget?

2009-01-11T08:48:00.000-08:00

Yes.
Can you create a budget for me?
Yes.
Can you create a budget for me, for free?
No.

And then I discover that the person also needs a business plan, including a schedule, demographics, possible sponsors, product placement, etc.

I'm an artist who has developed skills I would have never dreamed that I could or would develop, out of necessity. I'm grateful for my skills, but am I so passionate about things like making a schedule, budget and business plan that I would do those jobs for free? Passion smassion- I can't AFFORD to work for free.
I am one of those women that is getting better at negotiating.
I have learned to say, "No." to inappropriate requests.
I've framed my "No" creatively, "Sure, as soon as my mechanic works for free, I will too"
or
"I know, how 'bout I make your budget for no money after you work out a deal with my landlord that states I can live rent free"
I'm not always a smart ass about it. Usually I just ask what they can afford and see if I can afford to work for that rate at the time.

What I find mind blowing is that the last 4 people who asked me (4 just last month) to make a budget , make a schedule and or make a business plan, were all university educated. 2 of them graduated from USC film school.

Props to the 2 people who asked me how much it would cost to do those jobs for them.
And immense gratitude to the 1 that paid me the going rate. That money helped me get through a production slow period. Sadly, he didn't take my warning, a warning that was reinforced by Norman Berns (a well known mentor to many in the industry) that he would "fall flat on his face" without a solid business plan to go with his pitch.

The friend who needs my help and can't pay, might want to start by offering a piece of the production. A guarantee, in writing, that if the project gets picked up I would be a part of it and compensated for my work when the project is funded. It's an honest trade that alleviates or prevents stress on the friendship, while also honoring the importance of the work.

I enjoy producing, but, I wont do it for no credit, no ownership and no money. That would be absurd.

We learn from each other, from witnessing.
While I was editing in exchange for use of equipment and practice time with the equipment,
I once heard a friend say, "I can't afford to do that for free."
She was speaking to a man who could afford to do things for no money. He came from that level of privilege that not only allows him to work without promise of financial compensation (he was a director) but also allows a certain clueless -ness about what other people do and their motivations. It didn't occur to him that while she was "volunteering" for his project, she would be taking herself out of the running for paying gigs and depending on the length of the project, she'd be taking herself out of the loop. He must have thought that she coordinated because it was her life's passion. He had no idea that her dream was to Produce. He had no idea that she was also an artist.
She didn't bother to explain to him that necessity motivated her to learn to coordinate. She simply told him what her rate was and let go.

Witnessing that made me realize that if I didn't have to earn a living, I would be a director with no editing or producing experience beyond what I might have picked up in school.
Good has come of necessity.
I enjoy producing, production managing, ADing, and I enjoyed editing when I was doing that for a living, but, none of those jobs is the end all be all.
And the skills I have developed are worth something. They are worth more than a, "thank you" in the credits.

The human condition in a short film

2009-01-07T23:59:00.000-08:00

As an artist, it's my goal to express the human condition through the medium of film. I'm not only working with film because it reaches a wide audience, but also because of the endless possibilities that exist within this medium.

Having worked on productions where the directors and producers bit off more than they could chew, I decided to write a short screenplay that would not only be 6 minutes long, but could be shot primarily in my apt, my car and the only exteriors can be shot *gorilla style.
One of the 4 scripts I've written fits that description perfectly.

I want the viewer to like the main character and relate to her, developing compassion before she makes the choices that would be off putting or would cause most to categorize her and slip her into an unattractive stereotype. She eventually commits a crime.
All that in 6 minutes.
All that in 12 pages.
And there is a triumphant laugh in there too.

The lead character is not a super woman, she is not a victim, she manages to survive and care for her daughter, but not with out both chronic struggles and the situation that stems from the chronic struggle that threatens her life.

What isn't in the 12 or so pages is how I plan to work with the DP. My films will be shot in a way that feels 3 dimensional. The notes on my script are many and detailed. I don't know if I'll be able to afford a production designer or wardrobe person on this one. I will have a make-up artist who is capable of mild FX as well as make-up that makes us feel like we're peering into someones life, she'll look like a real person, not an actress (I have someone awesome in mind who'll work for friend rate). I have a lot of the wardrobe and the actresses will likely bring some of their clothing as well.

The story takes place in one day and will be shot in 2 days.
I'd like to rehearse it without the DP at least twice and then with DP before the day of our shoot.
We'll get the scenes with the child out of the way on the first day of shooting.

Once it's shot, I'd like to submit it to film festivals, at least 5. I'll have one year to do that.

Which reminds me to speak of cost. Ideally, this would be a $20,000 budget film. I could have an AD, plenty of equipment and be able to pay a rate that would be a favor rate still, but, not a big favor.
It can be done for $5,000- $6,000 aka "micro budget" or "no budget". I can still pay the crew I have a gaffer, 1 electric a Key grip and 1 grip and 1 swing who have offered their time and equip for whatever I can afford (angels). A 5 or 6 grand budget is a very, very low, huge friend, favor rate. I would have to work with a DP who either has her own camera or can get one for free (there are 3 I'm considering). Of course we would be shooting on the weekend, so everyone can still work better paying gigs on the weekdays. I'll do the cooking for the catering the day before and just warm it up, handle wardrobe (hoping the actress wears my size from 3 years ago) and production design, etc.
It can be done.

* gorilla film making doesn't use permits for shooting and works with a skeleton or pared down crew.
Permits usually cost around 500 for the city and then you also pay for the location, which varies but, is rarely less than $500 and with additional fees can range over $1,000.
Documentaries don't need permits, but, the guidelines for shooting Docu style is 3 or less crew members:
Camera, Sound, Field Producer/Director
Any more than that and you risk being shut down by the cops and possibly fined. Fines start at $500 and go up depending on the neighborhood.

I love it all

2009-01-03T23:02:00.000-08:00

Holding the slate in one hand and folding the call sheet in the other for pocketing, my phone is on my shoulder as the caterer-the one I negotiated a good deal with (PM)
tells me lunch is on route (Coordinator), I tell the P.A.s to lock it up over the walkie (1st AD), "ready sound, sound speeds- Roll Camera, Take 1Apple, slap (2nd AC) and wait to announce 'cut' and goin again, etc...."
Wearing several hats,
that's what I love about low and micro budget. It's like dancing with a dance troupe.

Then there is what I love about a project that is well funded.
Having one job, being able to focus solely on that one job, knowing everyone else get's to do the same...honing specific skills, it's like a good, long term relationship.

Films I'd like to see ASAP

2009-01-02T23:10:00.000-08:00

Happy Go Lucky
Changeling
the Wrestler
the Curious Case of Benjamen Button
Revolutionary Road
Slumdog Millionare
Seven Pounds

2009, the year I Direct

2009-01-02T10:16:00.000-08:00

This year, I am Directing a short film that I wrote and I am developing a feature length film that I have optioned.

I have experience in the "film industry" which includes web series, commercials, music video, promo's, pilots short film and feature length films. I have worked various positions & I've learned from those various perspectives.

I enjoy every minute of production,

including when the shit hits the fan and I am the one to trouble shoot every challenge that arises (PM). I enjoy being the one who keeps the train on it's tracks and rolling along at a good pace (1st AD). I enjoy being the one to inform the talent of when and where they need to be, so that we can work with them to channel their character, all the while making sure they have filled out the proper paperwork that will insure they are paid (2nd AD).
I love being the one to call vendors, make sure everything the production needs is there and on time (Coordinator). I love negotiating deals with vendors I have worked with time and time again (PM). I love communicating with the Director and Executive producers, creating the appropriate budget that will serve the Directors vision while fitting neatly into the budget constraints of the EP (Producer). I love putting together a team that humms (Producer, PM, AD). I love it all. I loved learning how to edit, realizing the dance that it is and look forward to directing an editor to bring together my selects in a way that tells the story best. I loved directing my experimental films and music video's, the in-store promo's and workshop DVDs with my own, small but growing, production company: MetaHara.
I've been having this love affair with production since 2003. I've been a storyteller my whole life.

It's the little things too

2009-01-02T05:47:00.000-08:00

I'm watching what I think may be the pre cursor for the amazingly entertaining shows, Weeds and Breaking Bad. On Thin Ice is a Lifetime film that was Executive produced by leading actress Diane Keaton. I have a lot of respect for her as both an actress and Exec. Prod. This is an awesome story, I just wish the production value had been at a theatrical release level and the script had been worked out more. You'd think Diane Keaton would have enough star power to bring in a better team, or facilitate more pre pro time, but, Hollywood is sexist and no one wants to admit that more people will show up to see her in a film like this than Pacino or Nicholson in their most recent flops. I would have paid 12 bucks for this at theatrical release quality level. Judging by the success of the shows that have a similar story line, I'd say there is an audience for this sort of story, this female character, this lead actress -and the demographic is not just moms. And you know what, I don't think the formula for storytelling should be so different in made for TV than made for theatrical release. This is low budget, not micro budget, not no budget in a time when passion can rule the day. It's based on an interesting true story and it's good, but, it could have been great.

I've been pulled out of the story a few times already, mostly for what I think were poor choices on the Directors part. Diane Keaton looks like an actress playing the part, not because she isn't acting well, but because she actually looks like an actress. Her car is a beat up and dirty station wagon, house is lower middle class, her dead husband worked on the electrical lines, they are supposed to be blue collar, yet, her hair is Hollywood elite, her hands are manicured and her wardrobe is dry cleaned. Even months into her transformation into something not as pretty, her highlights are still perfect, her make up still applied pretty well. Diane Keaton manages to act desperation really well despite her perfect highlights, but, I wish she would have gone to Supercuts, cause even when they finally get it too look dirty and uncombed, it's still a 300 dollar cut. Now I know that low budget productions have certain restraints, but, less glam squad or glam squad turned special fx make-up (slight) is not a shift in budget. Her wardrobe should have changed as her personality did too. A woman would pick different clothes from her closet as she went deeper into the experience. Wardrobe, M/U and Hair is approved by the Director. Does the Director not know what middle or lower income women look like? Has the Director spent too much time in L.A.? Yes, some of it is on the actress.. It was Sarah Jessica Parker who suggested she look the way she did when she looked in the mirror in Mexico (my favorite scene in the film, SITC). In On Thin Ice, there's a scene that could be horrifying, instead it feels rushed, as if the actress wasn't allowed the takes she needed to really go there. The buck stops with the Director on these details.

The lighting is flat. The home could have been more airy and light when things were going well, then darkened, changed the color processing or the tones, the contrasts could have changed- something to give us the feeling we would have if we were in that home, the sense that something is terribly off at this house. Something the Director and DP would discuss.

Watching this informs and reminds me. It's the little things as well as the grand scale in the collaboration that I feel is the Directors responsibility. From the production design, the angle the DP captures coffee swishing in a coffee mug, to the way the actor hugs it- it's all on the Director. Pre-Production is key. Everyone is trusting the Director to inform the crafts people of her vision, pay attention and guide the collaboration in a way that births the story.