F.A.M.E.Project.Reference.Video.720p.

Two minutes inside my vision for a forthcoming [short] film.

I edited this video to correspond with the plot movements of a twenty-page script, submitted a few weeks ago to compete for a $40k production grant.

The voting deadline was extended to February 14th, and if you’d like to help me ADVANCE my CREATIVE CAREER, set aside ten minutes and follow these instructions. Once you join the free website, you can also read my screenplay.

I penned the idea for this short on a slip of scrap paper in the men’s bathroom after watching a one-woman show performed by my friend and collaborator, Ruby McCollister. We met for lunch, she was flattered to serve as inspiration, and we began developing the character on the phone as I wrote the script. She will play the leading role of Iris Égratignure.

I’ve written the outline for a full-length heist film that includes the same character; additionally, this proof-of-concept is also a charcuterie board style sampling platter that transcends the moving picture medium: a jumping-off point for a shared universe of bizarre commercials, short stories, fine art, and even a throwback text-based video game.

Concepts or sequences from the F.A.M.E. script can be cut and saved for a feature version or future entries—these twenty pages are willfully dense with ideas, and I did my due diligence to make it an enjoyable reading experience, like an overstuffed Thanksgiving meal (or the equivalent for international friends). Here’s a quick primer on the story’s “world”—which I call The Topsy-Turvy:

In the near future, most money/attention/resources is dumped into corporate cyberspace, a live-to-earn gated community that excludes large swathes of the population, allowing the physical realm to decay and decline as the majority of middle- and upper-class citizens sink deeper into the mind-numbing creature comforts of the metaverse, leaving meatspace as a post-Rapture playground full of fringe figures and misfits surviving in and around a scrapped-together aesthetic of junk, a place where “the street finds its own use for things” (to quote pioneer scribe William Gibson).

There is too much tomfoolery in today’s technology and culture, and few artists seem willing to skewer the nonsense in ways that feel timely and relevant—perhaps that’s why our great directors choose to play in the past, as the likes of Scorsese and Tarantino and Anderson(s) and more seem to thrive in the realm of period pieces.

My interests involve hyperbolic fixation on the ways high & low culture are machine-pressed into plastic sludge, where sacrilege and marketing lie side-by-side and the massive flow of money is a mystic art. If this piques your curiosity, drop me a note and let’s discuss. Or simply flip through this fabulous book.