I make films. I'm also a nerd.

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Look of the Week #2 (3.11.11 – 3.17.11) from MizViz on Vimeo.


Vahe Katros (who plays the role of Ermir) and I are interviewed by KFJC’s Robert Emmett on the subject of The Glass Slipper and its Cinequest 21 premiere. Joining us in the studio are Joseph Sims (director) and Steven Caldwell (producer), there to discuss their film Bad Behavior, a North American premiere.

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Cynthia Corral’s Review, THE GLASS SLIPPER

See the full text of this review at Cq.Central.com.

“[The Glass Slipper makes] you feel a lot of ways:  awkward, uncomfortable, dislike, disappointment, disgust, sympathy…not always the most pleasant feelings, but I say it’s better than feeling like a zombie for 90 minutes.”




“Landscape View” – Metro Silicon Valley

Check out Richard von Busack’s in-depth Metro cover story about The Glass Slipper, its 3/9 premiere at Cinequest 21, me, Ginger, Vahe Katros, and Jewish doctors who offer soup to the sons of genocide victims–among other things.

Trailer, THE GLASS SLIPPER. Premieres March 9 at Cinequest.

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5Q – A Short Interview About THE GLASS SLIPPER

The following was originally published on CQCentral.com.

1Q: Tell us a little about the origins of THE GLASS SLIPPER, from concept to financing.

In college I read a Flaubert novella called Un Cœur Simple (A Simple Heart in English), and was quite taken with the austerity of both the central character and the narrative style. Flaubert’s Felicity is a kind of pious naïf who fails at every turn to take charge of the trajectory of her own life; she eventually slides into the deepest depths of penury–and then death–because she trusts that the “Holy Spirit” (whom she confuses with a stuffed parrot) will save her. It’s a rather fatalistic story, and it lacks the typical character arc of almost all Western literature. She doesn’t change; she doesn’t learn (which is not at all to say that the reader can’t learn from her mistakes). I think most of us end up living a similar kind of life in one way or another, and that the standard structure of our narratives might therefore have a certain willful falseness at its core.

I’ve wanted to adapt the novella into a film for about seven years, and The Glass Slipper is the end result of that. Mind you, my film is almost nothing like the novella- there’s a character called Felicity, and I’ve certainly taken some cues from Flaubert in creating her, but there’s much going on in my film that’s completely unrelated to the ostensible “source material.” A large part of the film deals with another character who fails also to improve his lot, and we watch his family crumble while he flounders around. This thread is entirely mine.

Though we’ve recently, through more traditional channels, secured additional funding with which to finish the film, the lion’s share of the actual production phase was funded via a Kickstarter campaign. I’ve found it to be not only a great source of funding, but also an incredible way to build a community around the film from day one. 

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Postcard (mock-up)


From the Cinequest 21 Program Guide.