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it occurred to me that I’ve never made a post about this film, and many people don’t know that I worked on it. my first feature film in LA, we shot it in 2012. I designed (and made) the fangs, prosthetics, did hair, makeup, and tattoos. one of my favs to this day. my photos were lost to a dead hardrive years ago, but here are some screen grabs of my makeups.
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🎟️Thank you, mom’s screening @tribeca was a whirlwind of celebration. 

✨The film is one of the five short films to be commissioned by Tribeca & @OpenAI to utilize SORA, an unreleased text-to-video platform. I am honored to be a director among this amazing cohort @nikyatu @abonniesituation @ellie.foumbi @rezawrecktion 

🗣️ After the screening, I moderated a talkback with the directors to discuss the unique creative process each of us took in collaborating with SORA. 

📸 Amazing photos of the event by @marsha_photo 

🙏🏽 Grateful to the amazing Thank you, mom team who was able to attend in person, especially @cyhoodle who traveled to NYC from LA! 

📰 Since the screenings, it’s been a lot of press interviews and critic reviews. Currently reviewing and submitting to film festivals to continue showing Thank you, mom to new audiences and have thoughtful conversations about collaborating with new technology like generative AI. 

🎞️ Director: @michaelaternaskyholland 

📝 Screenwriters: @michaelaternaskyholland @elletivo

🎨Art Director & Animator: @ruxandra_gp

🎶 Score Composer: @harmonic_cat 

🎤Voice Actor: @rebecca.lee.lerman.official

🖌️Title Designer & Animator: @lucassmarker

💻Creative Technologist: @sisiigodly

📋Creative & Production Coordinator: @kekethekiwi

#film #shortfilm #tribeca #sora #thankyoumom #momsarethebest #womeninfilm
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2021 is undoubtedly and undeniably Nicolas Cage’s year and we are all just blessed enough to exist in the same, magical, period of time. Cage has turned in so far three films in 2021; the moody, masterful Pig, the outrageous, corny, Willys Wonderland, and now Prisoners of the Ghostland, an audacious and all out adrenaline fuelled trip into the unique mind of Sion Sono. There’s a dreamlike vibrancy to the initial moments of Prisoners, when we are introduced to Cage as simply ‘Hero’. Pop art, primary colours are splashed against pristine white walls and floors inside the bank vault that Hero steals from. We play with colour as a precursor, or even in opposition to, mood throughout Prisoners, and that is, in part, what makes the film so visually arresting, even as the story and the performances become more and more unhinged. Every shot, every scene is either serenely dreamlike, or nightmarishly chaotic, and it’s this sense of imagination which appeals to me so much. Visual beauty is almost half of the battle with me, and it’s for the story to then satisfy the narrative elements that I’m seeking in order to bring something cohesive together. Prisoners is ambitious in the latter, but doesn’t always manage to stick the landing. As the name might suggest, the central theme within the film is the idea of being a prisoner, and of being held captive. Boutella flees the beauty of her Samurai town, and the oppressive Governor, to the grime and the ugliness of a dystopian style village, and Cage, in turn, must set out to rescue her, himself a prisoner of the Governor who assigns him this task. 

CONTINUED BELOW
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