Tell us about your artistic aesthetic.
My personal artistic aesthetic is rooted
in the glamour of the film vixens of the
1940s and 1950s, mixed with a little Bonnie
and Clyde and a little Gypsy Rose Lee. This
inspiration was planted when I was a film
projectionist in a hundred year old movie
house. I have wonderful memories of being
perched on the ledge of the projection booth,
watching the screen fill with confident
and take-charge women of classic films.
It was their strength and daring that I
wanted to emulate. I would mouth along to
Lauren Bacall in To Have and Have Not (which
I now do on stage in a burlesque routine).
I was inspired from the messages of those
that you could become what
you always dreamed of, that a regular girl
could grow up to take over the world. The
biggest icons from that time are Marilyn
Monroe, who spent most of her childhood
in orphanages and foster homes and Elvis,
a poor boy from Tennessee. There was always
a feeling that the underdog would win in
the end. That's the ideal for me
a dame who never gives up. My film, Revolver;
my boutique, Danger Dame, and my burlesque
performances have become a way to share
Tell us how others describe your work versus
how you see it? Do theyget it?
There is no hiding who I am. I was raised
by a professional gambler and a drop dead
gorgeous hula hoop champion. I have daydreamed
about robbing banks since I was seven years
old. I have a desperate, violent, romantic
heart. These things are apparent in all
the work I do and in me as if they were
tattooed on my very skin.
Any stories of current or past struggles?
Two and 1/2 years ago, broke and daydreaming
on a fire escape with director and photographer
Burke Heffner, we came up with this story
idea. It wasn't originally a screenplay,
it was just our way of escaping, pretending
we were on the road and adventuring. We
had no money, so we just imagined what it
would be like if we could go anywhere and
do anything. A Road Trip, we decided. To
Vegas. I started taking notes, creating
a fictitious diary of this no-nonsense dame,
Blue, who stirs up trouble robbing convenience
stores owned by a corrupt corporation. Then
the diary started to have a life of its
own and the story became the beginnings
of the screenplay "Revolver."
the screenplay was finished, we knew we'd
have to make some kind of trailer for the
film to get it funded, to show everyone
what we could do.
I started by calling every single person
that I thought might be able to help out.
I called Kodak and once they read the script
and heard my story, they gave me a grant
for 35mm film. I called environmentally
friendly companies, like Annie's Organic
Pasta, Robert's American Gourmet, Fantastic
Foods, and Emergen-C, who were all happy
to kick in food to feed the cast and crew.
I even got the Colt .45 for free.
with my rugged rag tag group of film friends
who agreed to sleep on the floor and work
20 hour days, we got the promotional trailer
shot. It was a lot of hard work, with a
lot of fancy footwork to get people to let
us shoot in their homes, bars and motels
we finished shooting, and were just about
to start editing, I was attacked in the
face by a Rotweiller while volunteering
at an animal shelter in Brooklyn. The dog
ripped the side of my nose off, and left
a gash under my eye as well, missing the
eye itself by a fraction of an inch. Twenty-two
stitches in the face in all. For some weird
reason, it made me want to fight more, and
I showed up to record the voice over you
hear at the beginning of the trailer with
my nose lined with black wire stitches and
a patch on my eye.
all paid off, as the trailer was nominated
for the prestigious Golden Trailer Awards
in Los Angeles and won. Other winners included:
Lord of the Rings, Stepford Wives, and Lost
In Translation. As a result of our win,
we were featured in an extremely favorable
Los Angeles Times article and a national
UPN spot. Since the win, I've been doing
a lot of meeting with producers and agents,
and trying to get the right people together
to do the film. I really feel that the reason
the trailer worked so well, is because everyone
who worked on it, did it for the sheer love
our desperate hearts are in it
for the long haul on this one. For every
little second of it. Everyone needs something
to believe in, and Revolver is worth every
ounce of belief.
Cowboy who's never lied,
And a Showgirl who's never trusted anyone
Pocket is forced to travel from his hometown
in Montana to New York City, he returns
with more than just his estranged father's
belongings. Leaving the city, Pocket picks
up a street smart beauty named Blue.
sparkle puts a twist in Pocket's quiet life.
Hitting every landmark ever preserved on
a postcard, she drags Pocket from closed
shows to strip clubs, from ballrooms to
bar fights. Blue's radiance is matched by
her fury, but the adventuring somehow suits
her next ride never arrives, Pocket promises
to get her safely to Vegas. It becomes more
than he bargained for when Blue's past turns
up and puts them on the run. Some promises
are easy to give and hard to keep.
cops catch up with her at a pawnshop in
Wyoming, but Pocket comes to her rescue.
Bluffing with an empty revolver from the
pawnshop counter, Pocket steals Blue away.
they can't get far, the police have Blue's
purse, with all the gas money. Stranded,
with no money, no food, no friends, and
no place to stay, Blue's got nothing left
but a soft spoken cowboy and his promise.
To fight back against the giant that's made
them outlaws, she'll need them both.
said all she wanted to do was get to Vegas.
miles-14 States-10 secrets-3 Shots-2 Wanted-