A Waiting Game

Apologies. I realize I haven’t updated the blog in ions, but don’t fret – that doesn’t mean we’ve abandoned you or A Boy’s Life. On the contrary, we’re still in the eye of the tornado. It’s been nearly a year since we’ve begun active pre-production and now that the film’s finished and we’re waiting on festivals, it becomes less about filmmaking and more about the perfect festival fit.

Festivals are a tricky game. Unless you’re chums with the programmers or sleeping with Robert Redford, we cross our fingers that the theme or story fits in a certain spot within the festival. Short films are like accessories. These programmers need their designer ensemble, the features films, to highlight the festival while the short films customize the outfit. It’s like couture… if it’s not the perfect fit the entire garb falls apart.

In the meantime, as we head into the New Year, all we can do is make sure we’re shined, hemmed, and ironed until we’re accepted into the perfect festival.

Happy Holidays!

The custom artwork of the 'A Boy's Life' DVD by Patrick Thomassie.

Haunt for Thought

A Very Scary Screening

Apologies around for the gap between blog posts. We’ve been hard at work polishing A Boy’s Life, but that’s no excuse – an update is in order.

The cast & crew screening went fantastically – donors, the cast, and a good majority of our crew showed up to see what everyone helped create. Plenty of amazing feedback was bestowed about the short film and we wanted to share some with you.

“WOW, WOW, WOW, WOW, WOW!!! I wanted to congratulate you on the film. I had no idea what to expect, but what I was privileged to see today blew me away."

"The filmmaking was excellent. All the elements came together beautifully. The sound, color, editing, cinematography, performances...marvelous."

"Some shots were unbelievable. The TV in the reflection of the boy's glasses, the use of the flashlight, the two crawling on the floor while defeating the monster... just so much."

"It was modern and relevant, and timeless. And don't get me started on the surprise ending. Damn you, I jumped out of my seat!"

"I saw a lot of Spielberg in this film. But not only that, I saw elements of The Sixth Sense and Time Bandits."

"I was really impressed with the score and the opening credits. Were those all found props in Max's room? Thought his room was great."

We couldn’t be more proud of what we’ve created and can’t wait to share this everyone! Next stop – the festival circuit. Gear up, people, we’re entering the next phase of filmmaking!

'A Boy's Life' Screening

Ladies, Gentleman, and Monsters: The moment has arrived…

The first screening of A Boy’s Life will be held on Monday, August 15^th, 2011 at 8pm. We’ll be screening alongside another short film entitled The Drought. If, per chance, you’re in Los Angeles and are able to make it, we’d love to see you. The details are on the Evite linked below.

Get your free Tickets HERE!

http://droughtboyslife.eventbrite.com/

First Place!

A Boy’s Life takes home First Place at the Rod Serling Scriptwriting Competition!

Congratulations to our 2011 Winners:

First Place:

"A Boy's Life"

Elias Benavidez

Second Place:

".COM"

Darren P. Leis

Third Place:

"It's Just a Game"

Anne Marie DiNaro

Honorable Mentions:

"The Inauguration of Damon Myrtlebank"

Joshua Elmer

"Sierra"

Darrell Smith

Vast as Space, Timeless as Infinity

Accolades and we haven’t even finished the film yet. While we’re still rounding the corner, nearly approaching the finish line, we’ve received great news for A Boy’s Life. The screenplay is a finalist for the Rod Serling Scriptwriting Competition. If you’re unaware of the “fifth dimension beyond that which is known to man”, Rod Serling is the creator of The Twilight Zone and a huge inspiration for the story (as well as myself as a filmmaker). I’m extremely excited to have his wife, Carol Serling, read my story – whether it places or not.

Beside that, we’re less than a week away from submitting the film to its first festival! The AFI Fest is our first shot out of the ring, and then we’re off on our much-anticipated festival run.

A Strong Foundation

The walls are up, the windows are placed, and the wooden floors have been installed. Now, after months of hard work, it’s finally time to decorate.

We’re close to placing every component of the film and nearly finished with A Boy’s Life – and I couldn’t be more pleased. Let me digress for a second… the main reason for this blog was (and is) to keep everyone involved up-to-date with the progress of this short film. Whether you were part of the cast, crew, or a donor, every one of you helped make this film and I consider you part of this team.

A little tidbit about myself: Being a filmmaker is more than just making movies. It’s more than just expressing a vision. It’s sincerely about collaboration and working within a team to create something distinct and special. Sure, it’s always a great feeling when a story reaches an audience, though it digs deeper than that. A film builds a family. We’re the root foundation of this structure we’re creating. We’ve worked long hours sweating over bricks, cement, and plies of wood to create something that stands strong. I believe this film embodies that.

The music I’ve heard sounds amazing. The sound design is nearly completed. And the opening titles, created by Nipa Eason, are looking wonderful (a sneak peek above).

Now, as we’re deeply involved with the meticulous details of post-production, it’s nearly time to open the doors…

Stay tuned for our strategy for distribution.

The Race to the Big Screen

On your mark. Get set. COLOR!

With only a month left to go, we’re continuously plugging away with this little monster movie and anticipating the next phase of post-production. We’ve finally completed the coloring phase – our DP turned colorist, Aaron, further enhanced the stunning visuals and we couldn’t be more pleased.

Now that the "look” is approaching the finish line, it’s now time to focus on what’s “heard”. Sound and score are both incredibly important aspects of a film that ultimately threads the story and seamlessly connect the audience. The goal isn’t to overemphasize either of the components, but work together to properly fit every piece of aural artwork and fully enhance the story. Having worked with both Hamdija and Michaela, I’m fully confident of their talents and can’t wait for you to hear what they create.

We’re also currently creating the beginning titles of the film (welcome the talented Nipa Eason), and about to begin the publicity phase (press kit, poster, festival plan, etc.)

Now it's time to stretch those limbs, put on those running shoes, and anticipate that finish line. We're off.

All Locked Up

Is it me, or does the word “lock” often resonate a negative thought or idea? Locked out. Locked up. John Locke. It’s a smorgasbord of confined and damaging connotations. That holds true, however, until you’re finally at Picture Lock. For those not familiar with the cinematic vernacular, “picture lock” is the process of post-production where the Editor and Director have done everything humanly possible to conclude the edit and finally prepare the film for sound, music, visual effects, and color correction. Well, after eleven versions, two test screenings, and countless of notes later, Frank and I are happy to announce we’ve finally reached the coveted and relieving picture lock.

The feeling, however, is not as settling as I had hoped. Although I’m extremely happy where we are right now, picture lock seems so final. Like there’s no turning back. And no matter how confident we may be, there’s always that tiny hesitation leaking through the cracks of my brain – “did we cut it fast enough”? “Should we have kept that line?” “Why didn’t we speed up that take!?” It’s a never-ending battle between the self-contained confident director and the aspiring filmmaker who’s still trying to prove himself.

I guess filmmaking is always a battle. A battle of personalities. A battle of talents. A battle of ideas. And, like all battles, once the explosions subside and the dust settles, a calmness and peaceful sunlight will finally emerge.

And if that doesn’t happen, we can always call John Locke.

The 1st Test Screening

Sweaty palms, jittery legs, heavy breaths: No, I’m not talking about our imaginative main character, Max. Not this time. This time, I’m talking about me. More specifically, our very first test screening.

It’s never a calm feeling showing a work-in-progress to completely fresh eyes. In fact, the voices seem to speak louder and much more critical in the back of my head during this process. What do they think of the performances? Is the pacing too slow? Why did we put that shot in? It’s an invariable pooh-pooh platter of cinematic insecurity. This past weekend, we invited six professional (and very honest) viewers to watch the first audience screening of A Boy’s Life. The results -- amazing feedback, constructive criticism, and positive responses to enhance the quality of the film.

Now, back to the drawing board to strengthen the story and propel the performances, and ultimately get closer to that much sought-after picture lock.

To Edit or Not To Edit?

If Shakespeare was correct and all the world really is a stage… does that mean life in Los Angeles is a movie? And if that is, in fact, true… how great would it be to manipulate our everyday life with the help from a post-production team? Think about it. A bad interview could be edited out from memory, mundane conversation could be covered up with a rousing soundtrack, and mind-numbing errands could be contorted into a much more interesting montage. Life would be so much easier.

That’s exactly where we are with A Boy’s Life. Our post-production team has crashed through the proverbial gates and we’re amidst the illustrious and quite meticulous editing phase. Our editor, Frank Mohler, and I have been working closely together to make sure the pacing and tone of the film is consistently effective and our working relationship couldn’t be better. We have a little less than a month until picture lock and then it moves on to sound design and music.

On a different note, we’re still on the hunt for more production funds. Raising money for a short film is like shopping for a leather jacket in summer. Doesn’t seem possible – not even probable – but if you’re really lucky and relentlessly determined, you just might find the perfect jacket in the perfect store with the perfect fit. If you know of anybody… perfect... please send them our way. To refer back to my friend Shakespeare again – “Nothing can come of nothing”. (Though, if you know King Lear, please don’t condemn us to the same fate as Cordelia…)

Our Executive Producer, Luke Bishop, checking out the space with Director of Photography Aaron Moorhead.

Point-of-View from a Producer

It’s been a month since we wrapped A Boy’s Life and I’ve had a bit of time to reflect on the process and the outcome. While I think we bit off a lot in a short amount of time, we were able to pull it off because of our dedication, teamwork and our determination to get it done and do it right. We did hit a lot of roadblocks; I’m not going to lie. After leaving the set on the last day I said to myself, I wish I could tell people what really happened here…. And while I am not a very private person, some things are better left to the imagination. I don’t know if you’d actually believe all of the stories we have to tell from set. I do like to share some stories however so that other indie producers don’t feel like they are alone. Sometimes it feels that way.

We shot in my friend’s mother’s house. She’s in her 70s and she’s never seen a film shoot in full swing. My gut told me not to ask but I knew two things. The house was perfect and I had a good chance of getting a “yes.” What I also knew was, I needed to make sure I kept the house in one piece and that any film shoot in your friend’s house could jeopardize your relationship with them. A film crew is like a tornado and so no precaution is too small. Luckily, my friend is still speaking to me. After a day of patching, painting, and cleaning the house was almost back to normal…. Then a day later I find myself hauling trash (that we forgot about) out through the mud in a dress and heels… yeah, it happened… that was fun.

I guess you’d call us guerilla filmmakers… we shot without a film permit (until the last day when we were forced to do so). I’m not going to go into much detail however I will tell you, never in my life have I had to fib as much as I have in the last couple of years, just to get away with producing a low budget film project. If you can’t lie, then you better have the budget to back up your honesty. I’m not proud of my fibbing but I am proud of the films I produce.

We shot with a minor, Griffin Gluck. Given that our film is SAG, and being that we had a minor working for us, we had to make sure we followed not only the labor laws of employing a minor but also the SAG rules. Our schedule was extremely restricted because of this. There are rules about how many total hours he could be on set, how many hours of schooling he needs each day (yes, we hired studio teacher, Jan Citron) and how many hours of rest, play and turn around time is required. Working with Griffin was a blast – he was (dare I say it) even more professional than some of the adults on set!

What I’m most excited about is the final product. All of the time and energy put into A Boy’s Life resulted in beautiful footage and amazing performances from both Griffin and from our lead actress, Christie Lynn Smith. The expertise of our DP, Aaron Moorehead, and the creativity of our Production Designer, Melissa Low, make all the difference. Watching our Director, Eli, on set doing his thing was the biggest reward. He puts his all into each of his films and if he can keep doing what he doest best – we’re all in for a treat! I can’t wait to see a final cut of the film and to share it with all of you! I know you’ll be amazed!

- Allison Vanore, Producer

Fundraiser Part 2

Hello Monsters!

We’ve entered one of the most exciting phases of making a film – Post Production. This is the time where we’ve shot the footage and it’s now a jigsaw puzzle – essentially piecing together every artistic component to create something meaningful and beautiful. We have an amazing post team who acquire the talent and tenacity to enhance the film’s quality and entertainment.

As we enter this phase, we must also enter the second phase of fundraising as well. While making a short, there are tons of unforeseen costs and expenditures that are either overseen or unavoidable. This short makes no exception. We’re on a mission to raise an additional $4,000 – most of which is going towards deferred payments/loans. The remaining is going towards Post-Production.

I’m fully aware the amount of support we’ve received from so many people, and that support hasn’t gone overlooked. However, we humbly continue to ask for additional financial donations and hope, with your help, we can complete this wonderful film in its entirety.

To donate, please click on the tab above and make a fully tax-deductible donation to the film. Thank you.

Reflections from a Cinematographer

A lot of BTS stuff is basically just talking about how great the crew was/film will be, so I’ll get that out immediately: the crew rocked, and the film will be awesome. These are givens. Now onto the nuts and bolts:

Murphy’s Law was in full effect at the outset. Prep was extensive for such a simple show. On paper, it’s two people in one location -- a house. After I met Eli, we had months to take care of planning as we wrapped up our work elsewhere. We talked tone, story, character -- giving me a firm grasp of just what was going on behind the action, not just "where to put the camera." Long in advance, we worked storyboards of every shot, which we followed nearly to the letter.

We actually stopped our location scouting after the first house. The one we found was perfect in most ways, except that the boy’s bedroom was a bit small. Beyond that, it was ideal. Jackpot!

Then some problems cropped up: the character of Max, being so young, can only legally work for so many hours of the day, and only certain hours (not too late). For a movie that takes place half at night (and my desires to light from outside the window), this is a serious concern. Then, the location did not want us to be in the house very late (out by 11pm). All of this happened in the face of a pretty significant budget cut and re-crewing as well. Production dug their way out of it, though, with some careful scheduling and budgeting, and we rolled on.

Our first day saw a surprising cornucopia of catastrophe. Our power runs ended up not working out, so we had to power our lights off the house (which meant we had to use smaller lights -- not ideal). Then an essential lens arrived busted. Then a schedule conflict. And a half dozen other things. We worked around it, but I can’t honestly tell you we made our day -- but we weren’t really worried. Like every set, it’s growing pains, and we were prepared. The next three days blazed by.

Working with Eli can be described as serene. We were on exactly the same page. He knew that I knew what he wanted. Instead of hanging over me during set, he was working with the actor -- the most important thing. We had packed our lunchbox up tight with the storyboards/shot list, as well as some lighting research and tone pieces, so the shots were ready to go between us, and we simply had to execute them.

Also, I have to give credit to the talent -- Chrystie was a consummate professional, and Griffin, at 10 years old, knew just what to do and delivered a stellar performance around my technical meddling.

Now we head into post, and again without fear. I know just fine that it’s in the can. Same thing as I said with working with Eli, it’s already there -- it’s all legwork at this stage.

- Aaron Moorhead, Director of Photography

Diary of a Director

Like a bolt of lightning, and now it’s over. Production lasted a whopping four days with minor casualties, minimal collateral damage, and a victorious ending. Honestly, I feel I’ve been immersed on the battlefield – a troop of soldiers fighting to survive against the clock. However, after 48 hours and several beads of sweat, we finally can say we’ve won the war. Did we lose some along the way? Of course. Well, not really. Nobody actually died. Though, we combated hurdles that often arise with any production. Hurdles that inexplicably makes us stronger and much more wiser.

Each morning and each night I kept a mini-journal to give you a glimpse of what I thought throughout production. Be warned: It was early! I may not be the most articulate - I may not even make sense - but I spilled words on paper with hopes of sharing any and all insights within my cluttered, little brain.

Day 1 – February 11^th, 2011

Morning -- I made it to base camp (i.e. the set of ‘A Boy’s Life’). Right now I’m the first one here. It’s kind of cold and this Starbucks Caramel Macchiato hasn’t kicked in yet. I didn’t sleep well last night because the adrenaline sped through me – ultimately keeping me from a peaceful slumber. Actually, wait. I think Luke is here. He’s the man with many hats – our Executive Producer, Stunt Coordinator, Caterer, Crafts Service… I get scared just thinking about the amount of work he has in front of him. People are showing up. I best be going.

Night -- Exhausted. Today was an extremely long day, however an amazing one. On every set I’ve directed, I feel really strongly that the first day must set the tone of the entire shoot. Well, let me assure you, a tone was definitely set. We completed a vast amount of scenes including one of the most emotional ones. The cast and crew were immediately hardworking and just all-around enjoyable. I’m a firm believer that making a movie should be professional, but also incredibly fun. Today definitely proved that theory correct! Oh, btw, Melissa (our Production Designer) designed the most incredible boy’s room. I’m ready to move in immediately! Alright. Bedtime.

Day 2 – February 12^th, 2011

Morning -- I’m sitting in Starbucks going over the storyboards and shot lists. Man, we have a lot of scenes to get through. Our AD – Joe Papa – has his work cutout for him (he’s fantastic, btw.). I hope I wasn’t too ambitious with the amount of footage I want to get done in four days. I’m not too worried – though today we have some very difficult scenes. Our boy, Griffin Gluck, will bring his A-game today. I’m sure of that.

Night -- Wow. What an amazing day. I’ve worked on a lot of fast-moving crews before, and this one definitely joins the ranks. Towards of the end of the day, we completely moved through the shots like they were popcorn. Wait. Does that make sense? I’m sorry, the deliriousness has set in. We didn’t make it to Scene 20 tonight (the ending) – I’m a little glad we didn’t get to it yet because it’s one of the most difficult in the entire film. Time to hit the hay. See you tomorrow.

Day 3 – February 13^th, 2011

Morning -- Coffee! The game plan going in today… fast decisions and amazing time management (Go AD team!). We have the long monologue scene happening and this means there’s no time for lollygagging (what a strange word). Let me just tell you, I was encouraged yesterday to cut the monologue to shorten the scene (and time to shoot it), but couldn’t bring myself to do it. I went through at least 6 revisions of completely changing the monologue and I wouldn’t know where to start in the cutting process. Ugh, f*&k this monologue – although it’s one of my favorite scenes…

Night -- Three days in. I’m in love with this team. We’ve blasted through the day (I tried not to blink) and captured some amazing footage! Aaron (DP), Evan (1^st AC), Bob (Gaffer), Jorge (Key Grip), Igor (BBE) and the rest of the camera department painted a freakin’ canvas. Swoon. And we got to set off the traps today (another awesome collaboration with Melissa and Luke). Go team, GO! BTW, the more I write upon arriving home, the less I seem to make sense. It gets this way during production.

Day 4 – February 14^th, 2011

Morning -- Happy Valentines Everyone! Last day and it’s going to be a great one! I can’t believe this production has zoomed by this quickly. Honestly, I’m going to miss this crew and really did my best to stay present during the making of this film. I know I get really caught up in the scenes, so it’s really crucial to take in everything and enjoy moment. Last night was definitely an eye-opener because having the boy on set for a limited amount of time really pushes all of us to really concentrate. Concentrate on the scene and stay focused. That’s what we have to do today. Let’s do this!

Night -- What. A. Day. It’s 1a.m. and I’ve had a very interesting last day. We got everything we needed to compile a movie and all the footage looks fantastic. I couldn’t be more proud to be part of this team and can’t wait to show everyone what we created. Yes, most of the hurdles hit us this morning (let’s just say, our Producing team really were beyond amazing! The cops were called, but that didn’t deter us one second. They handled it flawlessly!), but with this teamwork and collaboration, we did everything we needed to do to get ‘er done. Congrats everyone on an awesome shoot!

There you have it. Sure, I may not be the most articulate while I’m in my REM haze (caffeine may be my best friend), however it was a very small look inside my mind during the shoot. Looking back, I wish I got into more specifics – moments that stood out, memorable dialogue from the crew, or perhaps silly anecdotes. Though, I’m not sure it would really make much of a difference. Much of these experiences can’t be repeated. Most of these experiences can’t even be shared. They just have to be felt. Like I said on Day 4 – I had to stay present during this production or it might slip away. That’s exactly what I did – stayed focused, enjoyed every second, and remained present throughout the process.

I couldn’t be more happy with the people I worked alongside, and as I put the final touches on the Production phase of A Boy’s Life, I’m eager to enter Post-Production and promise to enjoy every single second of this special little film.

Production Eve

Hello Team (Production, Post-Production, and Donors),

Just wanted to send a word or two before we begin production tomorrow and thank you all for your hard work, contributions, and willingness to go on this adventure and bring this little film to life.

As you know from the script (or synopsis), it’s a basic tale with lots of heart to it – and for a short film, it’s definitely being handled with the care and professionalism as a feature. It ain’t going to be easy, but it should be fun.

Here are some things to keep in mind:


We’re trying to make a film about a mother and son who’ve become stricken by the same tragedy and are coping with this loss in completely different ways. On one side, we have a woman who lost her way. She’s become disconnected from what she knew and in some ways, forgot how to be a mother. On the other side, we have a boy who has conjured up his own monster in place of his father. The film "look" will be constructed in the same manner – two different people in two different worlds. The ambience will feel different until they’re finally on the same page and she feels she needs to enter her son’s world to cope with her own fears and save him from his own. That works, of course, until she brings that monster into her own world…

Many of the shots will be moving (dolly and/or jib) as we are setting up this fluid, cinematic world. The shots will be stylized. The visuals even somewhat dramatized. It’s a very modern-day Twilight Zone – heart meets horror.

Everything is shotlisted and storyboarded, and Aaron and I have a firm grasp on where we need to go visually.

I think we have a great opportunity to do something special. Every single person working on this film is equally a part of it and I hope we can all take pride in it as a group.

Thank you again for your hard work and desire to jump in.

Now hold your nose and close your eyes, here we go.

Eli

Just Go With It Premiere

A monstrous CONGRATS to Griffin on the Premiere of Just Go With It! In theatres this Friday.

The End is Near

One week left. That’s all. One week!! We can see the light. The end of the tunnel approaches. Just 7 days until we reach the day all this prep work and pre-production has been geared towards. Time has definitely zoomed by, but everyone on this team has been unbelievable. Each department has pulled out all the stops – meticulously handling this film with the same care and diligence as a full-fledged feature.

Within the last month, we’ve merged as a united cinematic team and couldn’t be more excited to begin shooting. For those who have been supporting us throughout our pre-production process, we just wanted to fill you in on all the progress.

- Location, Location, Location: We’ve locked down our house – we begin moving in next week.

- Table Read/Rehearsal: Just last weekend, the department heads and cast met for our first official gathering. Our first table read was a success and the actors are fantastic. One more rehearsal to go, then we’re ready to tackle the camera.

- Dressing the Set: Our fearless Production Designer, Melissa, has been scouring the city looking for amazing set pieces and props.

- Dressing the Cast: Joslyn, our designer, had a wonderful fitting with our actors and collaborating with each department to get the perfect garb.

- Equipment: Our Production team (Allison, Luke, Melanie) have been organizing the camera, lighting gear, and expendables amazingly. This isn’t an easy shoot, everyone. This takes a well-oiled team to put this together.

- Food: Luke & Ian has spearheaded this department – a task I undertook myself for my last short, and it definitely takes a lot of work to put a menu together.

- Stunts: Yes, we have stunts. And a stunt team choreographing the precise movements for some of the more crazy scenes.

- Visuals: Aaron and I have created storyboards and a shot list – detailed enough to provide the team with what we’re planning to create visually.

- Lock & Load: This upcoming week will be filled with confirmations. Confirming equipment, crew, and budget – eye on the prize!

This is just a drop in the bucket, but we’re all confident that this production won’t only be hardworking, but above everything else… fun. That’s why we make movies, right?

A Monstrous Thank You!

You know those moments in movies where the entire community unites and work together towards a victorious resolution? Pleasantville, Akeelah and the Bee, The Dark Knight… The neighborhood selflessly comes together to create something wonderful and inspiring. That’s exactly how it feels right now.

Let's recap. These past several months have been tough. I’ve never been keen on asking for help, and definitely not a student of asking for money. However, being a filmmaker with a dream, it’s tough to move forward without the support from the people around you. (Side note: Sometimes I wish my dream was inexpensive like crocheting… or lucrative like, oh I don’t know, finding gold. Alas, my dream is making movies and funding a film is as hard as, oh I don’t know, finding gold!)

However, with the help of an amazing team, friends, and family, we were able to raise the funds to make A Boy’s Life. Please know, none of this would be possible without the kind contributions from all of you. This whole fundraising process hasn’t only humbled me, but inspired me to be the best artist I can possibly be. Speaking on behalf of Allison Vanore and the entire Production Crew, we truly appreciate every single donation and will do everything within our power to ensure an entertaining and beautiful product.

Thank you to everyone! This one’s for you.

Co-Executive Producers

Steve & Dolores Benavidez, Lydia Schoenberger

Associate Producers

Joe Hernandez, The Presta Family, Rob Campbell, Michael DeFranco, Brian McLaughlin, and James Srygley.

Donors

Jennifer Ansbach, Jesse Averna, Lisa Batten, Michael Bekemeyer, Charles & Brigit Benavidez, Elisa Benavidez, Ben Brussell, Karla Bryant, Christopher Burnham, Joan Cardile, Kimberly Carrasco, Josepha Castro, Lawrence & Eleanor Dahners, David Darbandi, Suzette Daum, Michael & Donna Demelio, Kelli Dickinson, Michael Dunning, Chanel Eakin, Kimberly Fassetta, Tai Fauci, Rachael Gallaghan, Mark Gardner, Jon Gothard, Mike Hanke, Krista Haywood, Richard Hicks, Courtland Jones, Daniel Jury, Virginia Knust, Michelle Kunzelmann, Joseph Neuburger, Lisa Oaks, Andrew Peralta, Joe & Debbie Perez, Robert & Mary Perez, Tony Perez, Jennifer Platt, Paolo Presta, Marcelo Quinonez, Max & Barbara Ragsdale, Travis Rink, Adam Rotenberg, Joey & Sue Samoy, Jamison Scala, Stacey Shevlin, Larry & Angie Sifuentes, Lorenzo Sifuentes, Joslyn Sifuentes, Kevin Slack, Erik A Smith, Mo Stemen, David Trudell, Frank Vanore, Brooke Wiegman, and Ryan Young.

Special Thanks for the TACOathon!

Rob Gokee, Diane Beck, Krista Vanore, Vianessa Castanos, Jamie Fishback, Alicia Ying, Robb Padgett, Sheila Daley, Heath Vinyard, and Laurie Records.

And, last but certainly not least, everyone who took part in reposting Tweets, Facebook messages, spreading the word, and morally supporting the project.

Thank you.

Welcome Loraine - The Female Lead

Some exciting casting news! We have our Loraine! Please welcome Christie Lynn Smith to the team.

One word that instantly comes to mind when describing Christie Lynn's acting talent is versatile. With her natural beauty and strong emotional depth, Christie has been termed a chameleon for her ability to morph from character to character. Equally adept at drama and comedy, she is now a veteran of over forty television series and a wonderful collection of films.

Christie then started to work consistently in television, guest-starring on many of Aaron Spelling's hit shows like Beverly Hills, 90210, 7th Heaven and Charmed. Her most recent television credits range from recurring roles on Bones, Malcolm in the Middle, General Hospital and Days of Our Lives to guest appearances on Justified, Chase, Castle, Boston Legal, House, Three Rivers, Saving Grace, ER, Las Vegas, Monk, Without a Trace, and CSI to name a few.

Most recently, she had a memorable role in the 2010 remake of The Crazies that you can check out below!

Thank you to our amazing Casting Director (Dylan Jury) and fantastic casting team (Stephanie Rabinowitz and Joslyn Sifuentes) for putting together an awesome cast!

Welcome Max - the Male Lead

We are extremely and positively excited to introduce one of our leads! He caught the acting bug at an early age and has been working on a variety of projects ever since. Most recently, he’ll be starring alongside Jennifer Aniston in next month’s Adam Sandler comedy Just Go With It.

Please welcome the precocious and talented Griffin Gluck!

Check him out in the trailer below!

A big thank-you to our amazing Casting Director, Dylan Jury, for making this happen. He's the miracle worker and has yet another amazing actress in mind for Loraine.

Stay Tuned!