Sunday, March 23, 2014

Make a "Connection" THIS Wednesday!

In support of his new film "Connection, writer-director Jacques Thelemaque is doing a one-day fundraising webathon on Wednesday, March 26th starting at 7 a.m. and going until Midnight (PST). It's all happening HERE.

We know you are probably as tired of crowd funding solicitations as anyone else, so we're keeping a very short promotional window and doing it all on a single day!!

And on top of that we're going to host a really fun, informative and engaging show for 17 HOURS!! If you are not a fan of filmmaking, not a fan of the subject matter or not a fan of Jacques :)…then hopefully the show will earn your support. PLEASE TUNE IN!

We'd love for you to be a part of it, too. During the show, post to us anytime on this Facebook page or Skype (connectionthefilm) us directly during our call-in segments and breaks in the show.

Our goal is to break our own single day record. And we can do it with YOUR support! Donate whatever you can and/or spread the word via email, Facebook, Twitter, whatever. Ideally, you will support and then let the world know that you did.

DEEPLY appreciate your support and consideration.

Hope to "Connect" this Wednesday!

Wednesday, March 5, 2014

"Hysterical Literature": Women Who Read Until Orgasm

‘Hysterical Literature’ creator Clayton Cubitt on the high price of filthy business.
reprinted from The Daily Beast by Rich Goldstein.

“I like fucking with people,” Clayton Cubitt says. “I like subverting expectations.”

Cubitt’s newest project is Hysterical Literature, a series of videos featuring a female subject reading aloud while being simultaneously masturbated with a Hitachi Magic Wand, the so-called “Cadillac of Vibrators.” The videos begin with the subject introducing themselves and the text they have personally selected for presentation. The session lasts as long as the reader. When the subject has an orgasm, she stops reading. The longest so far is 11 minutes and 42 seconds.

Cubitt, a native of Louisiana, broke into the public consciousness for his photojournalism in New Orleans following Hurricane Katrina. The photos he took—called Operation Eden—were a direct reaction to the journalistic images that disseminated throughout the United States by traditional media outlets.

“For years I've done projects that were about photographing or filming people when they were distracted,” Cubitt says. “Partly this stemmed from my controlled experience of making celebrity portraits, and seeing how the tendency toward ‘branded personality’ was starting to metastasize into the larger culture, as everyone started developing what we now we call selfies.”

The first Hysterical Literature video posted in August of 2012 and featured adult entertainer and writer Stoya giving a reading from the Necrophilia Variations by Supervert. Subsequent guests have included comedian Margaret Cho and self proclaimed “hurricane of intellectual sexuality,” Stormy Leather. The project has received some coverage in the press, including an in-depth analysis by and, but Cubitt considers the majority of stories “shallow” and more focused on the participation of a celebrity like Margaret Cho or Stoya.

For all its filthiness, Hysterical Literature is....

Please click HERE to read rest of the article.

Monday, March 3, 2014

A Few Questions About The Creative Process For "Connection"

My good friend Sean Hood, who has his own blog (Genre Hacks), asked me to write something about "Connection"'s creative journey that he could post on his blog. He asked a number of questions, much of it about screenwriting/filmmaking, in general. But since it includes"Connection", I naturally had to post it here, too. Enjoy!

How is writing an independent, micro-budget movie different than writing traditional spec script?
The main difference is that in writing an indie, micro-budget feature,  you MUST write within the bounds of your resources. Meaning, you have to consider, with each scene/location/prop/stunt/etc. how you are going to shoot it and how much it will cost. It sounds restrictive, but it actually forces you to come up with imaginative ways to realize things that money can't simply buy. With a traditional spec script, your imagination is unhindered by such things.  The difference between the two kinds of scripts, however, are minimal for me, since even with an unlimited budget, I would be drawn toward telling the same kind of stories, in the same kind of way, that I am doing on a micro-budget: Character-driven pieces set in a compelling dynamic. I make lower budgeted films, not simply because I have to, but because I choose to.

How is your story, in structure and content, different from a "Save The Cat" screenplay?
The main difference is that in my story, people are too busy having sex (or trying to) to even notice the cat. I actually am not too familiar with the whole "Save The Cat" thing and not very motivated to understand it too deeply. My loose understanding is that a "Save The Cat" screenplay follows all the traditional Hollywood story-telling paradigms, including having the main character "Save The Cat" early on to build audience sympathy for them. Real people are more complex than any standard paradigms and that I'm vastly more interested in exploring that complexity than smoothing it out for entertainment value. My story doesn't answer questions. It asks them and leaves the audience to consider them.

How do your plans as director inform your choices in the writing process?
I actually tend to try to separate the two. Of course, I can't help but visualize the film and think about directorial issues while I'm writing, but I try not to let that hinder me in any significant way. I simply focus on what the characters and circumstances are telling me as I make creative choices. Is there tension? Is it compelling? Is it authentic? Is it working on multiple levels? These are my four main general concerns while I'm writing. Then, when I direct, I "bury" the writer. The script becomes nothing more than a blueprint that I am free to re-interpret based on visual style, pacing, location, casting, quality of performance and many other real-world factors once we are actually committing it to film (or HD video, as is usually the case these days).

Why did you decide to fund this film through kickstarter and other fundraising campaigns rather than through a traditional production company or studio?
Two reasons. Well, three actually. The first is that the budget I saw for this film was in that zone between self-financing (or raising money just from people you know) and traditional production company or studio financing. I couldn't have done the film the way I want to do it on a smaller budget. Of course, I could've gone the other direction and simply done the film for a larger budget, but that leads to the second reason I didn't go the traditional route: the film itself. The subject matter is challenging and I want to explore it in a challenging way. It will not be typical Hollywood fare and I don't have faith that traditional funding entities are interested in funding anything that doesn't have commercial appeal and/or serious star power. The third reason is that I don't know many people in the traditional production company or studio world, nor do I have much interest in developing those contacts. For the most part, I'm not at all a fan of the films they often choose to do.

How can people follow the making of this film, either as fans and fellow filmmakers who may involved in the same process?
Given the ubiquity of social media, there are numerous ways to "connect" with CONNECTION. Here are the ones we have thus far:
Our Crowd Funder:
Our website:
On Twitter:
On Facebook:
On YouTube:
On Tumblr:
On Instagram: