Meet HESTIA, the female lead to my new short film "Heartseeker"! Hestia is poised and calculating, priding herself on her precision and charm. She is an introvert at heart, savoring her solitude and independence. However, despite this and a jaded view on "love", she sometimes finds herself on Heartseeker, a swipe-based dating app, looking for someone who can satisfy her peculiar tastes.
Hestia will be played by GRACE YOO (@graceyloufreebush)
Help support this film by donating to the GoFundMe!: https://www.gofundme.com/heartseeker
The link to the page can also be found in my bio!
Hello insta!! So this year I'm Writing/Directing a graduate film by the name of "Salt of Wounds" which is a coming of age gritty drama that explores young Aussie love and everyday racism. The film encourages diversity and inclusivity and explores the complex relationship around spirituality, activism and systemic oppression. It is a very personal project and I'm privileged to be working alongside a beautiful talented crew of artists: Co-Producers @se7en.costanza @harrison_leech , Cinematographer @james.r.a.moriarty , Production Designer @gezzleberries , Sound designer @woodstagram_ , co-editor @giorgiadeslandes , Performance coaches @kulan_farah and @stephpanozzo and an incredible cast @jvred.winchester @stacycamilleri @jessicajkennedy @brydifrances ❤️❤️ PLS click the pozible link in my bio see the rest of the teaser and to support this project as we really need all the help we can get! Here's to diversity and equal opportunity. Much love 💪🏽 🦋💕🎥✨ #noroomforracism#16mm#film
Clip from 'marc listens' and a tease of work in progress by illustrator Carl Nelson.
This Saturday, @rvngintl and @elevatorseattle present new work by Carl Nelson and Satpreet Kahlon, in response to Marc Barreca's "Music Works For Industry." Come check out the new work and performances by Marc himself, Rosen, and Jed Bindeman, at Machine House Brewery.
Still frames from 'Us,' my short film featuring @lindzoidjones , scored by @kuxxansuum and produced by the talented alumni of @jbfc_pville
The concept behind 'Us' was a gestation dating back since 2012, when Zach Cooper and I were developing a video for his King Garbage release "Green & Blue." When timing and resources didn't afford the opportunity for "Green & Blue," the backbone of the story - a woman is transformed through a ritual in a cave - materialized during my residency at the Jacob Burns Film Center.
I like to think of Us as the cinematic equivalent of a sand painting. Particularly in Tibetan Buddhism, sand paintings are meticulously constructed over a period of months only to be ritually brushed away shortly after they are completed. For monks, this meditative practice of creation and destruction is an affirmation of the impermanence of all things. The sounds and pictures that flash through our phones and on screens in dark rooms will last only so long as the technology necessary to access them does – and then they will disappear, leaving only the subtle impressions they’ve had on their creators and audiences, who will themselves disappear one day.
But Us is as much about transformation as it is about impermanence, from the shock of transition to an awareness and acceptance of the new state. The result of Lindsey’s ritual dance is not what she expects, but it is a new state of being, somehow both less fragile and more ephemeral. Like a rock that turns into sand, she’s not gone. She’s everywhere.
I equate 'Pony Blues' to 'Inferno,' and 'Us' to 'Purgatorio,' in a trilogy. Where the third will take place and when is uncertain, but like 'Paradiso,' my hope is that it takes the theme of transformation and opens it up into a large space, playing with spiritual concepts that have yet to mature, as I do (hopefully).