So you get the deal with Sex-Love... do you?  Well
not so fast camper, there is still more shit to
learn, so hunker down people.

You must keep in mind that the feature was written
before the short.  This is a calculated move to not
only grease the rails for the feature, but to come
to the short party with a different methodology.

The Prequel chronicles the last day of Disco and
Mitch in their hometown, it is not meant to be a
100% complete and fulfilling narrative.  On the
contrary, it is just supposed to pique your
curiousity and make you familiar to the idea that
is Sex-Love.

We are quite aware of the short film circuits
preference for films with running times less than
12-15 minutes.  We are aware that we are not the
nice, neat little narrative that they also prefer.
We just don’t care.

We don’t care that we are not the toast of the short
filmmaking world.  As far as we can see, the short
film circuit is not exactly proficient in identifying
the directors who will soon come to be household names.
Additionally, this film has one fundamental purpose;
and that is to demonstrate both our vision and
how well we can capture it on film.


Let Them Hate:

Really, we have had our fair share of problems with
this film, and some rather nasty reactions as well.
But it must be understood that Scott and myself have
very little desire to fit into the current framework.
This film was shot in Los Angeles.  Every single
individual that was approached in 2000 made it to
the finished project.  There were no nasty fights
or power struggles.  It would appear thus far, that
our approach is proficient, at least at this funding
level.

Those that control financing and to a certain extent
distribution have long had issues with the festival
circuit.  Mainly because the sensibilities of a
literate festival audience is a far cry from the US
public that will ultimately decide how successful
your film (and idea) actually is.  This film is a
proven crowd pleaser.  That is an undeniable fact,
it does mystify them and greatly reduces the distance
that most persons hold a short film at.  It is for
this reason that the success or failure of this film
cannot be judged by its festival appearance alone.

Scott and I answer to generation X and generation X
only.  We will take all comers under the $5 Mil negative
cost level.  We believe that our contemporaries lack
either the directorial vision, the filmmaking knowledge
or the intellectual property to cause us any real
competition.  While that is not the most humble
statement I have ever uttered, it may be the most
truthful.  We intend to have a career as filmmakers,
and we make no apologies for loving our art form more
than the process that surrounds it.