From the soundtrack to Oscars 2020 Contender “eVe N’god this female is not yet rated ™️”
🍎
Cali Lili ‘s Oscars 2020 Contender “eVe N’god this female is not yet rated” Now streaming on 🍎🎬Apple TV, iTunes Movies, Google Play Movies, Roku, Vimeo etc … with original soundtrack available on 🍎🎧Apple Music, Youtube, Tidal music, etc …
Movie Review August 2022 Cali Lili ‘s Eve N’ God This Female Is Not Yet Rated
Times Square Chronicles August 2022 Review by Gary Swanson
Cali Lili ‘s Oscars 2020 Contender “eVe N’god this female is not yet rated” Now streaming on 🍎🎬Apple TV, iTunes Movies, Google Play Movies, Roku, Vimeo etc … with original soundtrack available on 🍎🎧Apple Music, Youtube, Tidal music, etc …
Movie Review August 2022 Cali Lili ‘s Eve N’ God This Female Is Not Yet Rated
Times Square Chronicles August 2022 Review by Gary Swanson
From the soundtrack to Oscars 2020 Contender “eVe N’god this female is not yet rated ™️”
🍎
Cali Lili ‘s Oscars 2020 Contender “eVe N’god this female is not yet rated” Now streaming on 🍎🎬Apple TV, iTunes Movies, Google Play Movies, Roku, Vimeo etc … with original soundtrack available on 🍎🎧Apple Music, Youtube, Tidal music, etc …
Movie Review August 2022 Cali Lili ‘s Eve N’ God This Female Is Not Yet Rated
Times Square Chronicles August 2022 Review by Gary Swanson
From the soundtrack to Oscars 2020 Contender “eVe N’god this female is not yet rated ™️”
🍎
Cali Lili ‘s Oscars 2020 Contender “eVe N’god this female is not yet rated” Now streaming on 🍎🎬Apple TV, iTunes Movies, Google Play Movies, Roku, Vimeo etc … with original soundtrack available on 🍎🎧Apple Music, Youtube, Tidal music, etc …
Movie Review August 2022 Cali Lili ‘s Eve N’ God This Female Is Not Yet Rated
Times Square Chronicles August 2022 Review by Gary Swanson
From the soundtrack to Oscars 2020 Contender “eVe N’god this female is not yet rated ™️”
🍎
Cali Lili ‘s Oscars 2020 Contender “eVe N’god this female is not yet rated” Now streaming on 🍎🎬Apple TV, iTunes Movies, Google Play Movies, Roku, Vimeo etc … with original soundtrack available on 🍎🎧Apple Music, Youtube, Tidal music, etc …
Movie Review August 2022 Cali Lili ‘s Eve N’ God This Female Is Not Yet Rated
Times Square Chronicles August 2022 Review by Gary Swanson
” After the first minute, I knew this would not be an LA – guns – and – car – crash film.
There was artistry, care and attention to detail, but most of all an homage to intelligence – allowing the audience to think for themselves. Cali dares us to sit and watch or else, just – turn on a re – run of, say… “Columbo”. I kept writing as I watched in response, not out of criticism, but, tracking, as a witness. As in any art form – that refuses to be told – I let go and it took me back to where all art should take us: to love, to oneself and forgiveness for the natural sin of guilt.
The dreamy woman, almost asleep on the stern of the boat is not just the character, she IS the film maker, her subconscious streaming, inviting us into the pre – sleep dream that we all understand, like T. S. Elliot’s “Love Song Of J. Alfred Proofrock”:
“Let us go then, you and I,
When the evening is spread out against the sky,
Like a patient etherized upon a table…”
The woman dreaming on the boat is our abraxas or the horizon line before the sun drops to the darkness of another day or, the light that explains, prepares us for the events and responsibilities of the agenda’s we all set for ourselves, during the waking hours. She could be a surfer girl or the beauty who zips by on blades along the promenade in Venice, leaving those in her wake, cranking necks to watch her disappear into the anonymous crowd.
But, Cali never allows us to look away. At times she gazed straight into the camera, definitely, stating, without fear or apology – that she knew we were there. We all knew why she was there. Her personal strength and as the character’s – evolves: committed, palpable, specific and alive placing us, on the other side of the proscenium yet – in her thrall. It is a comfort to the viewer – we do not have to worry.
Wings was beautiful. So simple and true; thoughtful, at times, funny but slightly repentant as the handsome old man next to the clock with no hands. I never thought I could feel sympathy for a deity but he made me realize that even God recognized that there was a new sheriff in town and – it wasn’t John Wayne.
Something happens to us. We have to dare to accept the intricacies, the subtle nuance of the literate dialogue, scenes that would rival Brecht, Pirandello or a French Film Auteur’s like Jean – Luc Godard, invoked from the 1950’s. It was no “he – said, she – listens”, conventional scenes out of a Syd Fields plot – point script designed to “sell” to the “suits”. It demanded that “attention must be paid”, with distinct references to literature, history, art, dance and music. At times the film makes fun of the Greecian conventions of “Beginning, Middle and End”. Cali knew you were keeping score, thinking you were a step ahead. No, she knew. Poof! “Doc” makes mention of the structure of the film, alluding to story development – or lack thereof. Just sit back and accept it, on its own structure. (Cali’s music, her singing, her lyrics with Wings playing the instruments underneath, throughout, seemed to mix naturally into the feast like herbs directly plucked from the garden).
But horror and fear, a subtle reference to a Snub Nose 38, all co – mingled with the proud, personal denial of one’s own racism and the ever – present fear of one’s own sexuality, a topic that pinches us into squeamishness and denial for those of us brought up in the “goodness” of the puritanical Judeo/Christian tradition. No! Throw all that out! You’re on your own…
I rarely think about films after I’ve seen them once. I’ve watched “La Strada” a hundred times and will watch again – any time it’s offered. And I know I will cry at the end. I know it. I access something about myself every time I find out “she passed away”. The same applies to “Cool Hand Luke” when Newman plays a banjo to his mother’s death. “Waiting for Godot” never allows me to “think clearly” but I will rush to get a ticket to see it again.
If I am honest and willing to have the courage to see into my own fears, “Eve N God This Female Is Not Yet Rated” helped explain the inexorable pull to sexual jealousy, possessive impulses of the women I’ve known and loved. I recognize, with regret, any rights I might have imposed on their thoughts and feelings, that I could invoke on their desires, on nature or on humanity itself – especially when it comes to love. No one has the right to climb into the hypothalamus of someone else’s brain and tell that 3 pound organ that those pleasure impulses, those electrical charges of desire are within the purview of another, not in spite of marital commitment, but – in the nurturing of the those lucky enough to wake up in the morning and say, “ I love you – but I don’t own you”. In a strange way, the experience “liberated” me from the fear of sexual possession. The universe knows what it wants from us all and, sometimes – we simply must – just, get out of the way.
This film would be in demand, played on a loop in NYC art houses, women’s movements, LGBTQ community and anyone who thinks they are better than the ones they stand next to, in line, at the DMV. Men who think they are “MEN”! – Oh, really?
It takes astonishing courage to step out of the confines of linear expectations, walk alone into the woods with just a True North compass; to launch a small, single – woman sailboat into the Pacific, living out of the sea. Or – to make a film, in LA, with a beggars budget and, yet, have it all become so intellectually gratifying and allowing us to think on it long after.
Bravo! ”
Gary Swanson’s show business career began in the circus as a Steel Pier High Diver in Atlantic City. He moved to NYC and became a contract player on Day Time TV show “Somerset” leading to a life – long career as film, TV and theater actor. He’s written for numerous magazines, taught masters programs. He still acts, directs, writes and produces. His political barnburner, If You Can Keep It, is in development. He lives by the Atlantic in Montauk, NY.
” After the first minute, I knew this would not be an LA – guns – and – car – crash film.
There was artistry, care and attention to detail, but most of all an homage to intelligence – allowing the audience to think for themselves. Cali dares us to sit and watch or else, just – turn on a re – run of, say… “Columbo”. I kept writing as I watched in response, not out of criticism, but, tracking, as a witness. As in any art form – that refuses to be told – I let go and it took me back to where all art should take us: to love, to oneself and forgiveness for the natural sin of guilt.
The dreamy woman, almost asleep on the stern of the boat is not just the character, she IS the film maker, her subconscious streaming, inviting us into the pre – sleep dream that we all understand, like T. S. Elliot’s “Love Song Of J. Alfred Proofrock”:
“Let us go then, you and I,
When the evening is spread out against the sky,
Like a patient etherized upon a table…”
The woman dreaming on the boat is our abraxas or the horizon line before the sun drops to the darkness of another day or, the light that explains, prepares us for the events and responsibilities of the agenda’s we all set for ourselves, during the waking hours. She could be a surfer girl or the beauty who zips by on blades along the promenade in Venice, leaving those in her wake, cranking necks to watch her disappear into the anonymous crowd.
But, Cali never allows us to look away. At times she gazed straight into the camera, definitely, stating, without fear or apology – that she knew we were there. We all knew why she was there. Her personal strength and as the character’s – evolves: committed, palpable, specific and alive placing us, on the other side of the proscenium yet – in her thrall. It is a comfort to the viewer – we do not have to worry.
Wings was beautiful. So simple and true; thoughtful, at times, funny but slightly repentant as the handsome old man next to the clock with no hands. I never thought I could feel sympathy for a deity but he made me realize that even God recognized that there was a new sheriff in town and – it wasn’t John Wayne.
Something happens to us. We have to dare to accept the intricacies, the subtle nuance of the literate dialogue, scenes that would rival Brecht, Pirandello or a French Film Auteur’s like Jean – Luc Godard, invoked from the 1950’s. It was no “he – said, she – listens”, conventional scenes out of a Syd Fields plot – point script designed to “sell” to the “suits”. It demanded that “attention must be paid”, with distinct references to literature, history, art, dance and music. At times the film makes fun of the Greecian conventions of “Beginning, Middle and End”. Cali knew you were keeping score, thinking you were a step ahead. No, she knew. Poof! “Doc” makes mention of the structure of the film, alluding to story development – or lack thereof. Just sit back and accept it, on its own structure. (Cali’s music, her singing, her lyrics with Wings playing the instruments underneath, throughout, seemed to mix naturally into the feast like herbs directly plucked from the garden).
But horror and fear, a subtle reference to a Snub Nose 38, all co – mingled with the proud, personal denial of one’s own racism and the ever – present fear of one’s own sexuality, a topic that pinches us into squeamishness and denial for those of us brought up in the “goodness” of the puritanical Judeo/Christian tradition. No! Throw all that out! You’re on your own…
I rarely think about films after I’ve seen them once. I’ve watched “La Strada” a hundred times and will watch again – any time it’s offered. And I know I will cry at the end. I know it. I access something about myself every time I find out “she passed away”. The same applies to “Cool Hand Luke” when Newman plays a banjo to his mother’s death. “Waiting for Godot” never allows me to “think clearly” but I will rush to get a ticket to see it again.
If I am honest and willing to have the courage to see into my own fears, “Eve N God This Female Is Not Yet Rated” helped explain the inexorable pull to sexual jealousy, possessive impulses of the women I’ve known and loved. I recognize, with regret, any rights I might have imposed on their thoughts and feelings, that I could invoke on their desires, on nature or on humanity itself – especially when it comes to love. No one has the right to climb into the hypothalamus of someone else’s brain and tell that 3 pound organ that those pleasure impulses, those electrical charges of desire are within the purview of another, not in spite of marital commitment, but – in the nurturing of the those lucky enough to wake up in the morning and say, “ I love you – but I don’t own you”. In a strange way, the experience “liberated” me from the fear of sexual possession. The universe knows what it wants from us all and, sometimes – we simply must – just, get out of the way.
This film would be in demand, played on a loop in NYC art houses, women’s movements, LGBTQ community and anyone who thinks they are better than the ones they stand next to, in line, at the DMV. Men who think they are “MEN”! – Oh, really?
It takes astonishing courage to step out of the confines of linear expectations, walk alone into the woods with just a True North compass; to launch a small, single – woman sailboat into the Pacific, living out of the sea. Or – to make a film, in LA, with a beggars budget and, yet, have it all become so intellectually gratifying and allowing us to think on it long after.
Bravo! ”
Gary Swanson’s show business career began in the circus as a Steel Pier High Diver in Atlantic City. He moved to NYC and became a contract player on Day Time TV show “Somerset” leading to a life – long career as film, TV and theater actor. He’s written for numerous magazines, taught masters programs. He still acts, directs, writes and produces. His political barnburner, If You Can Keep It, is in development. He lives by the Atlantic in Montauk, NY.
” After the first minute, I knew this would not be an LA – guns – and – car – crash film.
There was artistry, care and attention to detail, but most of all an homage to intelligence – allowing the audience to think for themselves. Cali dares us to sit and watch or else, just – turn on a re – run of, say… “Columbo”. I kept writing as I watched in response, not out of criticism, but, tracking, as a witness. As in any art form – that refuses to be told – I let go and it took me back to where all art should take us: to love, to oneself and forgiveness for the natural sin of guilt.
The dreamy woman, almost asleep on the stern of the boat is not just the character, she IS the film maker, her subconscious streaming, inviting us into the pre – sleep dream that we all understand, like T. S. Elliot’s “Love Song Of J. Alfred Proofrock”:
“Let us go then, you and I,
When the evening is spread out against the sky,
Like a patient etherized upon a table…”
The woman dreaming on the boat is our abraxas or the horizon line before the sun drops to the darkness of another day or, the light that explains, prepares us for the events and responsibilities of the agenda’s we all set for ourselves, during the waking hours. She could be a surfer girl or the beauty who zips by on blades along the promenade in Venice, leaving those in her wake, cranking necks to watch her disappear into the anonymous crowd.
But, Cali never allows us to look away. At times she gazed straight into the camera, definitely, stating, without fear or apology – that she knew we were there. We all knew why she was there. Her personal strength and as the character’s – evolves: committed, palpable, specific and alive placing us, on the other side of the proscenium yet – in her thrall. It is a comfort to the viewer – we do not have to worry.
Wings was beautiful. So simple and true; thoughtful, at times, funny but slightly repentant as the handsome old man next to the clock with no hands. I never thought I could feel sympathy for a deity but he made me realize that even God recognized that there was a new sheriff in town and – it wasn’t John Wayne.
Something happens to us. We have to dare to accept the intricacies, the subtle nuance of the literate dialogue, scenes that would rival Brecht, Pirandello or a French Film Auteur’s like Jean – Luc Godard, invoked from the 1950’s. It was no “he – said, she – listens”, conventional scenes out of a Syd Fields plot – point script designed to “sell” to the “suits”. It demanded that “attention must be paid”, with distinct references to literature, history, art, dance and music. At times the film makes fun of the Greecian conventions of “Beginning, Middle and End”. Cali knew you were keeping score, thinking you were a step ahead. No, she knew. Poof! “Doc” makes mention of the structure of the film, alluding to story development – or lack thereof. Just sit back and accept it, on its own structure. (Cali’s music, her singing, her lyrics with Wings playing the instruments underneath, throughout, seemed to mix naturally into the feast like herbs directly plucked from the garden).
But horror and fear, a subtle reference to a Snub Nose 38, all co – mingled with the proud, personal denial of one’s own racism and the ever – present fear of one’s own sexuality, a topic that pinches us into squeamishness and denial for those of us brought up in the “goodness” of the puritanical Judeo/Christian tradition. No! Throw all that out! You’re on your own…
I rarely think about films after I’ve seen them once. I’ve watched “La Strada” a hundred times and will watch again – any time it’s offered. And I know I will cry at the end. I know it. I access something about myself every time I find out “she passed away”. The same applies to “Cool Hand Luke” when Newman plays a banjo to his mother’s death. “Waiting for Godot” never allows me to “think clearly” but I will rush to get a ticket to see it again.
If I am honest and willing to have the courage to see into my own fears, “Eve N God This Female Is Not Yet Rated” helped explain the inexorable pull to sexual jealousy, possessive impulses of the women I’ve known and loved. I recognize, with regret, any rights I might have imposed on their thoughts and feelings, that I could invoke on their desires, on nature or on humanity itself – especially when it comes to love. No one has the right to climb into the hypothalamus of someone else’s brain and tell that 3 pound organ that those pleasure impulses, those electrical charges of desire are within the purview of another, not in spite of marital commitment, but – in the nurturing of the those lucky enough to wake up in the morning and say, “ I love you – but I don’t own you”. In a strange way, the experience “liberated” me from the fear of sexual possession. The universe knows what it wants from us all and, sometimes – we simply must – just, get out of the way.
This film would be in demand, played on a loop in NYC art houses, women’s movements, LGBTQ community and anyone who thinks they are better than the ones they stand next to, in line, at the DMV. Men who think they are “MEN”! – Oh, really?
It takes astonishing courage to step out of the confines of linear expectations, walk alone into the woods with just a True North compass; to launch a small, single – woman sailboat into the Pacific, living out of the sea. Or – to make a film, in LA, with a beggars budget and, yet, have it all become so intellectually gratifying and allowing us to think on it long after.
Bravo! ”
Gary Swanson’s show business career began in the circus as a Steel Pier High Diver in Atlantic City. He moved to NYC and became a contract player on Day Time TV show “Somerset” leading to a life – long career as film, TV and theater actor. He’s written for numerous magazines, taught masters programs. He still acts, directs, writes and produces. His political barnburner, If You Can Keep It, is in development. He lives by the Atlantic in Montauk, NY.
” After the first minute, I knew this would not be an LA – guns – and – car – crash film.
There was artistry, care and attention to detail, but most of all an homage to intelligence – allowing the audience to think for themselves. Cali dares us to sit and watch or else, just – turn on a re – run of, say… “Columbo”. I kept writing as I watched in response, not out of criticism, but, tracking, as a witness. As in any art form – that refuses to be told – I let go and it took me back to where all art should take us: to love, to oneself and forgiveness for the natural sin of guilt.
The dreamy woman, almost asleep on the stern of the boat is not just the character, she IS the film maker, her subconscious streaming, inviting us into the pre – sleep dream that we all understand, like T. S. Elliot’s “Love Song Of J. Alfred Proofrock”:
“Let us go then, you and I,
When the evening is spread out against the sky,
Like a patient etherized upon a table…”
The woman dreaming on the boat is our abraxas or the horizon line before the sun drops to the darkness of another day or, the light that explains, prepares us for the events and responsibilities of the agenda’s we all set for ourselves, during the waking hours. She could be a surfer girl or the beauty who zips by on blades along the promenade in Venice, leaving those in her wake, cranking necks to watch her disappear into the anonymous crowd.
But, Cali never allows us to look away. At times she gazed straight into the camera, definitely, stating, without fear or apology – that she knew we were there. We all knew why she was there. Her personal strength and as the character’s – evolves: committed, palpable, specific and alive placing us, on the other side of the proscenium yet – in her thrall. It is a comfort to the viewer – we do not have to worry.
Wings was beautiful. So simple and true; thoughtful, at times, funny but slightly repentant as the handsome old man next to the clock with no hands. I never thought I could feel sympathy for a deity but he made me realize that even God recognized that there was a new sheriff in town and – it wasn’t John Wayne.
Something happens to us. We have to dare to accept the intricacies, the subtle nuance of the literate dialogue, scenes that would rival Brecht, Pirandello or a French Film Auteur’s like Jean – Luc Godard, invoked from the 1950’s. It was no “he – said, she – listens”, conventional scenes out of a Syd Fields plot – point script designed to “sell” to the “suits”. It demanded that “attention must be paid”, with distinct references to literature, history, art, dance and music. At times the film makes fun of the Greecian conventions of “Beginning, Middle and End”. Cali knew you were keeping score, thinking you were a step ahead. No, she knew. Poof! “Doc” makes mention of the structure of the film, alluding to story development – or lack thereof. Just sit back and accept it, on its own structure. (Cali’s music, her singing, her lyrics with Wings playing the instruments underneath, throughout, seemed to mix naturally into the feast like herbs directly plucked from the garden).
But horror and fear, a subtle reference to a Snub Nose 38, all co – mingled with the proud, personal denial of one’s own racism and the ever – present fear of one’s own sexuality, a topic that pinches us into squeamishness and denial for those of us brought up in the “goodness” of the puritanical Judeo/Christian tradition. No! Throw all that out! You’re on your own…
I rarely think about films after I’ve seen them once. I’ve watched “La Strada” a hundred times and will watch again – any time it’s offered. And I know I will cry at the end. I know it. I access something about myself every time I find out “she passed away”. The same applies to “Cool Hand Luke” when Newman plays a banjo to his mother’s death. “Waiting for Godot” never allows me to “think clearly” but I will rush to get a ticket to see it again.
If I am honest and willing to have the courage to see into my own fears, “Eve N God This Female Is Not Yet Rated” helped explain the inexorable pull to sexual jealousy, possessive impulses of the women I’ve known and loved. I recognize, with regret, any rights I might have imposed on their thoughts and feelings, that I could invoke on their desires, on nature or on humanity itself – especially when it comes to love. No one has the right to climb into the hypothalamus of someone else’s brain and tell that 3 pound organ that those pleasure impulses, those electrical charges of desire are within the purview of another, not in spite of marital commitment, but – in the nurturing of the those lucky enough to wake up in the morning and say, “ I love you – but I don’t own you”. In a strange way, the experience “liberated” me from the fear of sexual possession. The universe knows what it wants from us all and, sometimes – we simply must – just, get out of the way.
This film would be in demand, played on a loop in NYC art houses, women’s movements, LGBTQ community and anyone who thinks they are better than the ones they stand next to, in line, at the DMV. Men who think they are “MEN”! – Oh, really?
It takes astonishing courage to step out of the confines of linear expectations, walk alone into the woods with just a True North compass; to launch a small, single – woman sailboat into the Pacific, living out of the sea. Or – to make a film, in LA, with a beggars budget and, yet, have it all become so intellectually gratifying and allowing us to think on it long after.
Bravo! ”
Gary Swanson’s show business career began in the circus as a Steel Pier High Diver in Atlantic City. He moved to NYC and became a contract player on Day Time TV show “Somerset” leading to a life – long career as film, TV and theater actor. He’s written for numerous magazines, taught masters programs. He still acts, directs, writes and produces. His political barnburner, If You Can Keep It, is in development. He lives by the Atlantic in Montauk, NY.
Cali Lili Oscars 2020 Contender “Eve N’God This Female is Not Yet Rated”
A letter that reflected my meditations – regarding my work and how the industry has affected my life as a female, lgbtq, culturally mixed artist who has been very concerned about climate change and who’s work is extra challenging due to the status quo of our industryandwhat I call the ”gentrification of culture” reflecting our supremacy based cultures.
Today I’d add many concepts to my original impulse for a micro-budget movie category. I’d add that we need a category for every category.
Moving Forward 2022
and beyond
ADeclaration Of IndiePenDance™️Continued by Cali Lili
As I see the real-world effects of cultures bereft of their humanity, stolen from 99 percent of living beings, afforded only to the 1% who misuse it or are ignorant of it’s true meaning, I have arrived at the conclusion that only those rare cultures who cherish the arts and humanities AND SUPPORT THE AUTHENTIC LIVING ARTIST are equipped to thrive on our spinning interplanetary swimming pool, our big blue, Mother Earth, SisterOcean™️.
I now consider it important for arts lovers to look beyond the museums of corporate art & seek out your own Van Goghs. Even in a museum, I never follow the map, its SO much more fun to discover. But right outside the halls of the so-called curated, is the living breathing artist who’s oxygen nourishes the culture as a whole. She too needs nourishment and I now make this plea to arts lovers and lovers of humanity, along with my fellow artists, let us build the New “Belle Epoque,” lets embrace the ”Age Of Aquarius” and ”let the sun shine in“ on the musty galleries, let us find each other beyond all the middle-men who keep us apart and let us SupportTheARTSustainTheARTiST™️
In fact, please let us remove any middle-men-women who don’t support the artist and her art! Let’s ALL embrace 21st Century MomAndPopUpCultureZ™️ that allow us all to be MakinALivinNotAKillin™️ EVEN the middle-men-women that CARE! let us have the equivalent of farmers markets and cafe society conference rooms so we can find each other and ourselves, so we can nourish the planet, rather than plunder her till nothing’s left except the ravenous crooked egos of the narcissistic gate-keepers hoarding in vain. The power of Humanity must not be left in the greedy hands of the realtor, agent or broker lest it continue to be twisted into the ultimate weapon of mass destruction.
Enclosing the letter below, maybe some day, it might make a difference…. Along with my movie and album…
AND …
As I review my own letter, writing this now in 2022, from my upcycled, hand-built, SurfShackLoFt™️ which is where I work, my 21st Century Girl-Owned SustainableStudi0™️ I am remembering my initial wariness of all forms of ”supremacy/dominance” in arts.
The sacred mystery weaving the life of every authentic artist, deserves far more respect than our gentrified corporate arts cultures allow.
I continue my work and it is once again, to the movie lovers, music lovers and lovers of all the arts, to whom my attention gladly returns.
I ask you all to support my art and my teams where-ever you can, however you can as ”every penny of support from you, is priceless for us.”’
I know that you have many things to do in preps for the upcoming awards season … and I appreciate you taking a moment to consider the below.
I must begin with a bit of background, so I will try to deliver that succinctly :
I am an actress / filmmaker and singer-songwriter who has built my unique tiny film / music studio in Venice Beach – in order to create projects that address social justice issues in a particular style and in accordance with a methodology I began formulating in graduate school.
Having been skipped several grades and then earned an early admission scholarship to NYU, and having been blessed with some amazing educators along the way (all of whom made up for the abusive childhood I survived) I decided that I would do good works in honor of the trust, faith, and love – shown to me by my teachers and by the mysteries of talent and passion.
My teachers believed in me, so I pledged – that no matter what – I would dedicate myself to exceptional work, in honor of the exceptional care I was shown.
When I first experienced the Hollywood world as a teenager traveling back and forth between NYC and LA – I was surprised by the pervasive and aggressive lack of opportunity for someone like me, with my education, background and drive.
As time went on, I realized, that this was the “culture” I would inherit, as a multi-cultural female artist, a member of the lgbtq community and a filmmaker with passion. Hollywood was reflecting American culture and some of our cultural socio-economic “difficulties” with diversity, inclusion, justice, merit.
I remember the exact moment I decided to refuse to be angry and to choose to “be the change i wished to see.”
I am proud to say that my first completely indie feature length motion picture “eVe N’god this female is not yet rated ™” is now complete – made with an all female production crew before that became a popular “thing” to “tout.” I promoted the concept of an all female crew, way back in 2012 because I felt it would be an empowering goal – and we did it. Not only did we do it, we got imitated LOL.
My mixed gender / mixed orientation music crew and I made the soundtrack to the film, which is also my debut album. I was able to employ fellow craftspersons in the making of these projects – and this is extremely moving for me, as it allowed me to provide opportunities for others, without losing momentum on moving forward with my own purpose, in spite of my difficult childhood and in spite of roadblocks in the status quo.
As technology provided for the means to make my projects – I soon found out that blocked avenues of distribution lay in wait for us.
Distribution companies (including those posing as indies ) – proudly, boldly – post on their company website pages – that if they haven’t ever worked with you before – there was no point in approaching them for distribution. This was depressingly similar to how agents function.
Other companies “invited” us to send them all our ideas … – and just like in the “system” – we would be supplying our marketing ideas, our movie, all of my original content and intellectual property – to a company for which there was no oversight. We soon realized that some of those very same companies, to whom we turned for distribution, were behaving more like competitors, than as champions of the artists / art of the motion picture.
Now that we had the means to make a movie – we were shut out of releasing.
Business is business … but at some point … just as “Willy Loman” says … ” Attention Must Be Paid. ”
Willy might get trolled on social media these days … perhaps people might consider him too “touchy feely” … too “naive” ? But I posit that good ole Willy might find some supporters, including me. I don’t want to see Willy shut out anymore. I don’t want to see any more shelving / grounding for young or old Billy Wilders, and Orson Welles – and the countless indie / female / lgbtq / multicultural artists, like me – who may never have even dared to dream. As the partner of someone in the industry who is already accomplished – I am doing what Ginger Rogers described as ” backwards and in high heels.” I know there were many girls before me – who wished for a chance to simply do the work they were born to do.
Now – to my idea.
I am annoying you with all of this – because I was hoping to discuss my idea with somebody who stands for standards and merit in Hollywood.
One of my ideas is to create an Academy category for the purely indie – the truly indie … the DIY filmmakers such as myself. This would of-course – not only be excellent for “movies” and “movie culture” – but … it would be great for the Academy.
I’d like to submit the movie I made for that category – and I’d also like to help pave a road for others. I’d like to help the “movie culture” because i love movies. I believe in the power of movies to improve the world. It’s a personal quest for me – but meant to be be paid forward.
I know exactly how to put together such a category for films like mine … as I have spent several years now, not only making the movie and album – but also communicating with our growing audience on social media etc … !
After reaping the benefits of advancement in technologies – the one door which has been shut squarely in the face of so many filmmakers like myself is : distribution.
Additionally, with the advances of the technology, the standards have dropped on DIY / Indie films – but not for all those films. I have made a film within my modest budget, that looks like a far more expensive film. My team and I worked to make the very best film we could make … – not just a viral sample to be shared on social media.
The “film festival circuit” – is widely known by young filmmakers – to hold very little promise for most.
I’d like to make a difference – not only for my special project and team – but also to pave the way forward for others … and pave the way backwards to honor those who came before me without a voice !
I wonder if we might correspond about this idea ?
I think we can do something outrageously healthy for our culture and our community !
I’ve enclosed links about my project – below the signature line …
Enclosing an interview I was asked to do with an Australian film journalist :
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