Because finding a home should be something to sing about.
Production Notes
Synopsis "Do you love this house? Do you love this house? I really, really, really, really love this house..."
A tangled tale of intrigue, romance, lost love and "sexy swipers", OPEN HOUSE from Writer/Director Dan Mirvish returns to the great Hollywood tradition of "musical-real-estate-action-comedies". Starring an ensemble cast and rollicking across the screen in full musical glory, OPEN HOUSE explodes with "fantabulous" song and dance numbers that will (nearly) rival Bollywood's greatest.
Houses across the nation open their doors each weekend to the "looky-loos" who owners hope will cross the line and buy their dream home. On one particular sunny, weekend afternoon, realtor Barry Farnsworth (Anthony Rapp) is showing his own dream open house, a beautiful buy currently owned by the Tibbetts - Sarah Jane (Ann Magnuson), Marvin (Dan Hagen) and their son, Joey (Jake Fernandez). The day is filled with potential buyers
Ron Tucker (Robert Peters) and Gloria Hobbs (Hedy Burress), the beat cops looking for a place to have their illicit affair; Debbie Delaney (Kellie Martin) and Joel Rodman (James Duval), the two lovebirds whose tricky game of "sexy swipeing" move them from one open house to another; Marjorie Milford (Sally Kellerman), the beautiful if slightly drunken real estate agent matron, and Dave Torkenson (Jerry Doyle), the down-on-his-luck jewel thief who's about to have the most unexpected day of his life.
In OPEN HOUSE, however, nothing is as it seems. A past, a beginning, a new love, an old love, real estate sex, and the heist of the century all collide in one glorious moment of choral excess. Real estate will never be the same.
About the Production
Shot digitally over just three weeks on location in Southern California, OPEN HOUSE is a true triumph of the independent spirit. No trailers, no special effects, no production office other than Writer/Director Dan Mirvish's garage, the film created a truly ensemble atmosphere as cast and crew bonded together to make the musical only Mirvish could envision. "It's not easy making a musical for about the same budget as Catherine Zeta-Jones' cell phone bill on CHICAGO," says Mirvish.
As one of the founders of the Slamdance Film Festival, Dan extensively tapped into the Slamdance extended family of filmmakers, actors and other resources to put together OPEN HOUSE.
OPEN HOUSE was first made as a short Fly Film during the 2001 Seattle International Film Festival. Shot in two days during the seven day marathon filmmaking challenge, OPEN HOUSE (the fly film) was a prime example of Mirvish's extraordinary talent in getting people to not only work for free, but to excel for free.
OPEN HOUSE will screen as a Surprise Work-In-Progress at the 2004 Slamdance Film Festival.
Director's Statement
By Dan Mirvish, Writer/Director/Producer/Songwriter, OPEN HOUSE
"I first became interested in doing a film about real estate when my wife and I recently decided to buy a house. What fascinated me about going to open houses was that we were allowed to rummage through the house and property of complete and total strangers. These people would entrust their entire lives to the care of their frequently distracted real estate agents. I found it very interesting to piece together these lives from their collections of photos, diplomas, and other artifacts. The challenge became deducing why it was these people were really selling their houses - and how each sale was usually part of a seismic shift in people's lives; whether it be death, divorce, graduation, or birth. I was also intrigued by the incredibly competitive nature of real estate agents themselves, and the depths to which they will go to sell a house. This whole subculture seemed ripe for satire.
After having made one 35mm feature ("Omaha (the movie)") and starting up the Slamdance Film Festival, I was also eager to dive into the liberating medium of digital filmmaking. Doing a film in the real estate milieu seemed a perfect setting for a bare-bones digital feature. I figured shooting in empty houses would be cheap and accessible. Originally the film was a straight-forward narrative, but for various reasons, after September 11, Larry and I decided to turn OPEN HOUSE into a musical. In times of crisis, America (and the world) loves to sing - and loves musicals! And since so many actors started in musical theater, I reckoned that we'd have a greater shot at attracting some top-notch actors to the project if we gave them a chance to sing on the big screen.
Stylistically, I always knew I wanted the actors to sing live on set, rather than lip-sync to playback. I knew that we'd get better performances that way, and also allow greater flexibility to change lyrics and tunes when we showed up to unfamiliar locations. By using two small handheld cameras, wireless microphones, and multi-track audio recording, we were able to get enough coverage to allow live performances. Our music director was off-screen at all times with his piano, and just a metronome to guide him.
We were lucky to be the first feature to use Panasonic's new miniDV, 24p camera, with which we were able to get a very film-like feel within the budget of a miniDV feature. The camera worked perfectly in conjunction with our approach to recording production audio. I'd like to think we've achieved a unique look and sound to the film that works hand-in-hand with our characters and story. Whether or not we succeeded is for you to decide!"
"Making a musical is like making any kind of true genre film. You have to give people that genre element at least once every ten minutes or it just doesn't work. Whether you're talking about Roger Corman with his "breast every ten minutes" philosophy, or figuring out when to put fight scenes into a kick-boxing movie, this theory seems to work for any kind of genre. There's a natural itchiness on the part of the audience if you don't give them what they're looking for every few minutes."
Influences...
"Influences included Robert Altman, who's grandson Dana was my producing partner on OMAHA (THE MOVIE). I remember one night where Bob gave us his secrets to using multitrack audio recording on set, and as part of the conversation he said he always has actors perform live whenever he has a musical number in one of his films. So when we decided to do OPEN HOUSE as a musical, that conversation came back to me and we adapted Altman's audio technique for this film for both the dialogue and musical scenes. Another influence is an obscure Argentinian short film called "Se Arienda" ("For Rent") by Claudio Palacios that I saw while a juror at a festival in Santiago, Chile. It was about a deranged landlord showing an empty apartment to a young couple, and though I couldn't understand a word of it, it definitely had an impact on me as we went forward with OPEN HOUSE.
"It's hard not to acknowledge a musical DVD that was playing over and over again in my house when we were writing OPEN HOUSE and deciding to turn it into a musical. My daughter Rebecca, who was about 3 at the time, was a huge fan of THE TIGGER MOVIE, and along with her, I probably watched it about 50 times. The songs in the film are by the Oscar-winning Sherman Brothers (MARY POPPINS, CHITTY CHITTY BANG BANG), who are as good an influence as you can get.
"Woody Allen's EVERYONE SAYS I LOVE YOU is one of the few other films where the actors sang live, and we definitely used that as a reference point in talking about the film. The old Marx Brothers films also used the same technique rare even in the 30s but you can see how it worked for their style of comedy and music.
"One film that people ask me about is Lars Von Trier's DANCER IN THE DARK, since we shot in sort of a Dogme style. But DANCER isn't a Dogme film either. I frankly didn't like the film, but I did get a lot out of listening to Von Trier's DVD commentary about how he made the film and what kind of mistakes they made along the way. In the film, he has two distinct styles for the dialogue scenes and the musical scenes. For the dialogue, he used handheld, but large-format video cameras, and then for the musical scenes, which he played as fantasy, he used small miniDV cameras a hundred of them hard-mounted around the set. It's interesting because he intended to have the actors sing live, and just shoot single takes with the 100 cameras. By the time he'd changed his mind and prerecorded the songs, they'd already organized a system for shooting with that many cameras despite the fact that they would now be doing multiple takes and really wouldn't need them. Listening to Von Trier gave me a lot of confidence that we were actually on the right track in techniques we used in shooting OPEN HOUSE. And it also reminded me that if you tell people your film's a musical, it sure as hell better have a song in it within the first few minutes or else they're liable to think it's a boring European art film."
The Crew
Dan Mirvish, Writer/Director/Producer/Songwriter
A co-founder of the upstart Slamdance Film Festival, Dan Mirvish is also an active filmmaker and screenwriter. He wrote, directed and produced the $38,000 feature OMAHA: THE MOVIE (1994) and on the heels of Slamdance, the film went on to play at over 30 other film festivals. Often strapping on a sandwich-board, Mirvish then self-distributed the film to 32 cities in the U.S. - in both traditional urban art houses as well as mainstream multiplexes - including an 11-week run at Laemmle's Theaters in Los Angeles. Ironically, the film was picked up by the Sundance Channel for an 18-month run.
Mirvish remains actively involved with Slamdance, and as "Co-Founder-at-Large," he's frequently the face of the festival as master of ceremonies and mentor to the incoming crop of filmmakers each year. Slamdance, which celebrates its 10th anniversary in 2004, was recently named the 7th best film festival in the world by E! Entertainment Television. In 1997, Mirvish wrote and started directing the feature STAMP AND DELIVER until the financing fell through five days before shooting. He has also written feature material for Twentieth Century Fox, NuImage, Phoenician Films and Primary Pictures.
Prior to getting an M.A. from USC's graduate film production program, Mirvish was a Washington-based speechwriter for U.S. Senator Tom Harkin and a freelance journalist for such publications as The Washington Monthly and The New York Times. He's continued freelancing for such film magazines and books as Film Threat, Filmmaker, The Independent Film & Video Monthly, British Savvy, and Chris Gore's Ultimate Film Festival Survival Guide, and wrote the introduction to Bret Stern's How to Make a Film for Under $10,000 and Not Go to Jail.
Mirvish is a frequent juror, panelists and guest at various film festivals, IFP events, and national radio & TV shows. He recently taught a UCLA extension class and was a contributing producer to Film Fest DVD (for which he went to Chile and got tear gassed). He's been a free-lance graphic artist for NASA. A self-professed terrible actor, Mirvish will soon appear in Phil Zloterinski's My Big Fat Independent Movie. The envy of his struggling filmmaker peers, bon vivant Mirvish is married to a pediatrician with whom he has procreated twice.
Stephen Israel, Producer
"This is how I remember being on set: alarms going off, police showing up, city officials shutting us down, permits in doubt, and our truck hitting a neighbors' car the first day of shooting! The Indie market now is harder than ever, with the collapsed foreign market and the seeming impossibility of indie financing without that "A-list talent" everyone wants. The good news is that the price of production is coming down. But the question still remains, how do you make your money back? We do it by combining a great story with fun elements and terrific cast.
Working with Dan is kind of coercivehe starts small and soon you're giving your first born children to him. He just doesn't accept no from anybody, which is how we have this fabulous cast and dedicated crew working for nothing. As a producer, I feel like I'm following in Dan's slip stream. Lucky for me, I'm a fan of his drive, and inventiveness!"
Stephen Israel's other credits include: Swimming With Sharks; DEATH AND TEXAS.
Lawrence A. Maddox, Writer/Producer/Songwriter
Credits include: Break A Leg; Straight Into Darkness, Zoe, From Dusk Till Dawn 3: The Hangman's Daughter; Star Maps; God's Lonely Man; Omaha (The Movie)
Andrew Melton, Music Director/Composer
Credits include: OPEN HOUSE
Yasu Tanida, Cinematographer
Credits include: Until the Night; Ten Bucks; For Me
Joe Kraemer, Composer/Songwriter
Credits include: A Beautiful Mind; The Way of the Gun; Chi Girl; Burn; Kingpin
Laurance Messier, Production Designer, Editor
Credits include: The Reckoning; Apollo 13; Outbreak; The Arrival
Jeff Malmberg, Scott Adderton, Editors
Jeff Malmberg Credits include: Tom Hits His Head; Shafted!; Static
Scott Adderton Credits include: Death and Texas, Open House
Elisabeth Jereski, Casting
Credits include: Twentynine Palms (Dir. Bruno dumont); The Fluffer; Office Space; Dead Again
Kristen Smiarowski, Choreographer
Credits include: OPEN HOUSE
Cast
Open House features a large multi-generational ensemble cast that includes (alphabetically):
"Barry is a singing realtor. He's got gusto. He's got passion. Barry loves this house, and loves the notion of getting it into some good hands. Working with Dan is like jumping off the cliff every day, but he does give you this freedom, this trust that allows us to keep it fresh. An Indie musical has its own charm by the very seat-of-our-pants nature (especially since Dan gave us no rehearsal time, and has no idea of notes or rhythm!). It's what gave me the opportunity to really have some fun improvising Barry."
An actor of astonishing depth and reach, Anthony Rapp is well known for his stage as well as film work. His credits include: A BEAUTIFUL MIND, DAZED AND CONFUSED, ROAD TRIP, TWISTER, SIX DEGREES OF SEPARATION, as well as originating the role of Mark in Jonathan Larson's Broadway production of RENT.
SALLY KELLERMAN (Marjorie Milford) "This is such a delightful script. I've done Indies of course, but never a guerilla-Indie like this one. But I adore my character, while still being challenged by her. How surprising to have this character be a realtor who enjoys her drinking, and likes to show her clients a good time. And at the end of the day, I get to fall in love.
"I've been in two flops in my life, BREAKFAST AT TIFFANYS on stage, and the musical LOST HORIZONS. I think maybe this charmingly original musical can be a comeback for a fun genre."
The luminescent Academy Award® and Golden Globe Nominee Actress/Producer/ Composer, Sally Kellerman is best known for her role as "Hot Lips" in the smash hit, M*A*S*H. Her other work includes BACK TO SCHOOL, PRET-A-PORTER, BORIS AND NATASHA, A LITTLE ROMANCE, and LOST HORIZONS among many others.
"When I first started on this movie, I kept thinking it was NOISES OFF meets COP ROCK. The scariest part for me was that I had to sing. I told Dan in the audition, I don't sing. He made me sing 'Happy Birthday' for my audition and I was sure he'd see what I meant by 'I don't sing.' But he hired me anyway and said I had to. I panicked. I'd play the CD over and over again in my car, desperately trying to get it right. But when you have Anthony Rapp and Ann Magnuson - these great singers you'd pay $80 to see on Broadway - on set with you, you've just got to be elated! All of them, Anthony, Ann, Sally, they just made it effortless."
A Former US Air Force jet pilot who was known for his John Deere tractor commercials, Jerry Doyle is now most recognized for his work in BABYLON 5. He also ran for the 24th Congressional District in California in 2001 as the Republican challenger. Jerry recently started his own nationally syndicated radio show on The Talk Radio Network, airing weeknights, coast-to-coast.
KELLIE MARTIN (Debbie Delaney) "The first thing people should know is that I don't sing. But Jimmy and I are such a dynamic duo as Debbie and Joel. And the musical challenge was so intriguing to me, it gave me something I'd have to work hard at and that scared and excited me. I had to say yes."
"The open house is where all these different lives converge; I like why Jimmy and I are there - we get to be the 'sexy swipers,' which means we get to have sex and steal! Jimmy's great to work with, he's fearless and since I hold back a bit it was a good combination."
Emmy-nominated Kelly Martin has worked in film and television since she was a young child, but perhaps her best known roles are for the television series ER and LIFE GOES ON.
"I said yes to Dan because of the level of talent he was assembling, and the script was great. Plus, it meant Dan and I were finally working together. We'd tried to do a film a few years ago called STAMP AND DELIVER, but we had to shut down due to shady money people before we could get the first shot off.
"Working with him now is more of everything I thought it would be - easy going, liberal, very loose, very open to letting us try what we want to try. It's the antithesis to Gregg Araki's style. Every day was unique and had such great moments in it that I'll never forget, but one of my favorites has to be the finale, the big dance sequence is definitely the cherry on top of the cinematic sundae we have here."
James Duval made his feature film debut with director Gregg Araki in the cult drama TOTALLY F***ED UP, which he followed up with Araki's subsequent two films, THE DOOM GENERATION and NOWHERE. Duval is most often recognized for his role as Miguel in the blockbuster hit, INDEPENDENCE DAY. He was recently seen in MAY, a modern day retelling of Frankenstein in which he co-starred opposite Angela Bettis, Jeremy Sisto, and Anna Farris. Jimmy co-starred in DONNIE DARKO, opposite Jake Gyllenhall and Drew Barrymore. Also in 2001, Jimmy starred in the independent feature THE DOE BOY, which premiered at the 2001 Sundance Film festival. Other features include the Touchstone feature, GONE IN 60 SECONDS, THE WEEKEND, and SLC PUNK, starring Matthew Lillard.
HEDY BURRESS (Gloria Hobbs) "Gloria is a cop first. She's a bit uptight, a bit inept. In fact, she's a mess. Think Jamie Lee Curtis in BLUE STEEL crossed with Holly Hunter in RAISING ARIZONA, it's a toss up. But I loved how weird the script was, and how weird Gloria is. And you just can't say no to Dan Mirvish."
Hedy Burress's feature credits (other than as programmer for three years at Slamdance Film Festival) include: DEATH BY COMMITTEE, BEYOND, THE ANIMATRIX, VALENTINE and FOXFIRE. On the small screen, Hedy was a regular on BOSTON COMMONS and FIRST MONDAY. Hedy recently starred in the hit Los Angeles play, .
"Hedy and I both play inept cops who are hot for each other. It couldn't be more fun. We alternate between goofy and incompetence."
Robert Peters has been seen on both the big and little screens. His credits as actor include: LEGALLY BLONDE 2: BIGGER, BOLDER, BLONDER, CATCH ME IF YOU CAN, OCEAN'S ELEVEN, EVERWOOD, SEX AND THE CITY, LEAP OF FAITH, THE X-FILES and THE PRACTICE.
ANN MAGNUSON (Sarah Jane Tibbett) "It's a bucolic, hellish life Sarah Jane is living, being this normal It's killing her. When these Altman-esque eccentrics converge on her house, it's enough to send her over the edge. It was intriguing to me that Sarah Jane was based on Sarah Jane Olson, who as fate would have it, was captured on our first day of shooting."
"In musicals you don't really need motivation to break into song, they projectile vomit right out of you! Some fans may be surprised when they see me in OPEN HOUSE, but Sarah Jane and I both are many-sided, refracting from all bizarre angles. This film may make me start breaking into song daily now."
Ann Magnuson's remarkable career spans film, stage, music and the written word. Her credits include; PANIC ROOM, GLITTER, SMALL SOLDIERS, THE UNITED STATES OF LEYLAND, CLEAR & PRESENT DANGER, FRIENDS AND LOVERS, HUGO POOL, STILL BREATHING, TEQUILA SUNRISE, MR. RIGHT as well as VANDEMONIUM, the satirical compilation of phony TV commercials. A hit singer/songwriter for the 1980's band, Bongwater, Magnuson is also a writer and columnist.
JENNA LEIGH GREEN (Betty) "This is house-hunting for the crazy folks...Looney!" Credits Include: SABRINA, THE TEENAGE WITCH, ER, DHARMA & GREG
IAN WHITCOMB (Dr. Santee)
As an actor and composer, Ian Whitcomb has a surprising past, he is probably best known as a teen idol with his one hit wonder: "You Turned Me On" as part of the 1960's British Invasion. As a composer, he did the music for THE CAT'S MEOW.
JOEL MICHAELY (Lamar Fleetwood, the Pimp - middle)
Joel has been an actor and Hollywood raconteur since childhood. He recently attended the Sundance Film Lab as a producer. As a Casting Consultant to OPEN HOUSE, Joel was also instrumental in helping bring Ann Magnuson and Jenna Leigh Green to the project. Joel's acting credits include: THE RULES OF ATTRACTION, BUT I'M A CHEERLEADER and CAN'T HARDLY WAIT.
KENT OSBORNE (Walter, the Omaha Steaks' clerk)
A talented actor, writer and director, Kent has had a number of projects screen in Park City, Utah, including the Slamdance award-winning short HERD, directed by Mike Mitchell. Kent also co-wrote and starred in the Sundance feature DROPPING OUT, directed by his Oscar-nominated brother, Mark. For several years, Kent hosted the TBS weekly roundtable, MOVIELOUNGE. Most recently, Kent was nominated for an Emmy for his writing work on the cult-hit SPONGEBOB SQUAREPANTS, where he's also been one of the writers on the upcoming feature version. Kent has also served for several years on the Slamdance features programming committee as the self-designated head of the Mockumentary Subcommittee.
DONALD M. SCHWARTZ (Roger Gromlett)
Don had a pivotal role in Dan's first feature, OMAHA (THE MOVIE), as the creepy jewelry store owner who sends the Colombian jewel thieves on their mission. A native of Omaha, Nebraska, Don currently lives and teaches in Baltimore, Maryland.
Dan Mirvish has some additional comments about how OPEN HOUSE is uniquely linked to the Slamdance Film Festival:
OPEN HOUSE is really one of the few (if not the only) films that anyone's made that has so fully and completely tapped into the broader Slamdance community (tribe, cult, movement, whatever). We've always talked about how Slamdance is more than just a film festival and that we're "by filmmakers, for filmmakers"® - and OPEN HOUSE has really proven this point. From inception to financing, casting to crew, lights to post - this project has drawn directly or indirectly on 10 years worth of Slamdancers (see list below).
It's tangible proof that we really are more than a film festival. On the contrary, we're a vibrant and diverse group of filmmakers who have forged their own creative community capable of making and screening films if we want to. I don't think even I realized how powerful a concept this was until I actually started sending out emails to our alumni filmmaker lists announcing the film's start date and looking for equipment, cast, crew and financing.
Especially in our 10th year, people will be looking at us and asking, "10 years - so what? What have you guys got to show for it that's different from any other 10-year-old festival?" The answer is this community, and what we're capable of. OPEN HOUSE is just one example of that. Hopefully, it also shows to all our new filmmakers the true power of being at Slamdance and being part of something larger than just a 7-day film festival. Hollywood may ignore us; Indiewood may turn up their noses at us; but as long as we have each other, we can keep making movies.
Here's a list of our OPEN HOUSE resources that are Slamdance related. You'll see that in addition to award-winning alumni and other Slamdancers, I've also included indirect "one-degree-of separation" people - typically people who were referred by Slamdance alumni. As you can see, it draws on all manner of Slamdance events, activities and Slamdance connections.
Cast (note: all but one member of our cast has a Slamdance connection):
Robert Peters - alum, actor/director, "Mutual Love Life" (aud. award winning short)
Hedy Burress - film programmer for 3 or 4 years
Anthony Rapp - alum, actor, "Man of the Century" (aud. award winner)
Sally Kellerman - alum, actor, "The Maze" (comp. feat, '98)
James Duval - festival attendee (I first gave him my script for "Stamp & Deliver" at the '97 festival)
Kellie Martin - repped and suggested by Gersh - a Slamdance sponsor in '98 who helped package "Open House"
Dan Hagen - alum, actor, "Project Redlight" (Robert Peter's $99 special)
Ann Magnuson - referred by Joel Michaely (see below)
Jenna Leigh Green - referred by Joel Michaely
Branden Williams - Slamdance 2002 entrant
Eddie Daniels - alum, actor, "Central Standard Time," etc., programmer for 6 or 7 years
Kent Osborne - alum, actor, "Herd" (Spirit of Slamdance winner); programmer for 3 years
Joel Michaely - entrant and multi-year attendee (first met him in 1994 when he submitted a tape when I was working at the Good Guys!)
Chris Dukes - alum, actor "Omaha (the movie)" ('95)
Marion English - screenplay competition reader
Don Schwartz - alum, actor/investor "Omaha (the movie)"
Jake Fernandez - referred by Leah Hanes, Slamdance attendee and former agent who repped Carl Lewis and got him to introduce a film in '99
Sara Berkowitz - Slamdance entrant 2002
Ian Whitcomb - alum, did original music for "Man of the Century" (aud. award winner)
Equipment:
Lights - courtesy of Slamdance, Inc. and thanks to Peter Baxter
Additional lights - Brian Flemming, alum, "Nothing So Strange" (spec. screening, '2002)
Additional lights - Fritzi Horstman, alum, "Take a Number" (comp. feat. '97)
Cameras - through a guy in Vegas but organized by Chris Gore, juror, '98
Editing - computer courtesy of Stephen Israel, programmer for 7 years
Hard Drives - courtesy of Tom Puttnam, alum, "Tom Hits His Head" (gallery short, 2003)
Additional Hard Drives - courtesy of Michael Kastenbaum, alum, exec producer on "Falling Like This" (closing film, 2001)
Production Sound Equipment - courtesy of Scott Haller, panelist, Slamdance Bootcamp
Editing Suite Furniture - courtesy of Frederic Forestier, alum, "Paranoia" (comp. short, '96); programmer for 2 years; head of Slamdance French operations for 4+ years
Crew:
Stephen Israel (Producer) - Slamdance programmer for 7 years; advisory board member
Lawrence Maddox (Co-writer/Producer) - alum, "Omaha (the movie)" editor
Mark Bell (Script/Post Supervisor) - Slamdance fest staff for 3 years
Josh Tunick (2nd Unit Director/B-cam operator) - alum, "Naked Pavement" ('98 lounge film)
Lisa Yu (Production Sound Mixer) - alum, "Vessel Wrestling" (jury winning short, 2001)
Liz Jereski (Casting Director) - alum, cast a short (The Clock, 1999), multi-year attendee, and programmer 2004
Yasu Tanida (DP) - entrant ("For Me" - alternate in 2002); reffered by Slamdancers Brent and Troy
Jeff Malmberg (Editor) - alum, producer "Tom Hits His Head" (galllery short, 2003)
Joe Kraemer (Co-songwriter) - alum, "Chi Girl" (grand jury winner, '99); programmer
Andrew Melton (Composer) - referred by Joe Kraemer
Kristen Smiarowski (Choreographer) - referred by Mitchell Rose, (alum, "Elevator World" (jury winning short, '2000)
Nicole Arbusto (Casting Consultant) - programmer for 3 years
Paul Rachman (Technical Consultant) - alum, "Drive Baby Drive" (short, '95); head of NY operations
Eugene Martin (Technical Consultant) - alum, "Two Plus One" ('95); The Other America (2004); advisory board member
Running time: 96min.
Color, 24p digital
All rights available.
Disclaimer:
Investment in a project of this nature involves substantial risks, and should not be undertaken by those individuals or organizations who can not afford those risks. Anyone seriously interested in contributing should consult their own tax professional for complete tax advice. This website should not be construed as a formal offering or complete business prospectus, but rather is designed to give a general overview of the project.
