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bill bissett: Writer, Poet, Artist

12/28/2012

 
Picture
bill bissett
Photo by Joy Masuhara
bill bissett born on lunaria sum 4oo yeers ago approximatelee in lunarian
time was sent 2 erth on first childrns shuttul from th at that time
trubuld planet  landid in halifax   moovd 2 vancouvr at 17   moovd
2 london wher i was part uv luddites  alternativ rock band  thn
toronto wher ium poet in residens at workman arts & recording
with pete dako   wanting alwayze 2 xploor words n sounds n
image in th writing n painting   showing paintings at th secret
handshake art galleree toronto most recent book    novel    from talonbooks  

rusty talk with bill bissett



I asked bill bissett these questions about his writing process:
  • What is your first memory of being creative—in terms of writing creatively or making art or music?
  • Why did you become a writer and artist? What writers/poets/artists were influential to you when you first started out? Who are you reading now?
  • Can you describe your writing process?
  • Have you ever experienced a creative block and what did you do to get out of it?
  • You work in a variety of genres and mediums, and your work has been described, among other things, as defying genre. How do you see your relationship between medium and genre in your work? Does the subject dictate the genre or vice versa? Or does it develop naturally?
  • What are you working on now?

He responded by email over the month of September 2012:

dere kathryn   th first 2 qwestyuns 4 rustee talk  mor as it cums in
th first creativ work i remembr  was in grade 3 or 4  b4 going in2 th hospital 4 a coupul uv yeers was a pome i wrote abt sail boats in th watr  n th feeling in my brain n heart was veree thrilling 4 me  an elixr reelee


thn a littul whil latr  aftr mor thn a few operaysyuns  i was in th oxygen tent  n realizing i wud nevr b a dansr n or a figur skatr  my first reel ambishyuns   i cud write n paint i thot  n that way feel th line mooving thru space  n that way as well feeling th taktilitee uv life being physikal th enhansment from th abstraksyuns uv th skripts we wer  ar  all living thru   i wrote my first storee thn in th oxygen tent wher i was deliting 2 drink orange crush n see th brite orange liquid cumming out uv my bodee immediatelee thru mor tubes  i lovd that  n that orange runway made me laff  n feel veree poignant as well as my home planet  lunaria   was veree orange  b4 all us childrn were remoovd from that troubuld planet n sent 2 erth

my first storee wch i wrote in th oxygen  tent was abt a boy who didint want 2 follow rules  n wantid 2 find his own way  n swam out past  th undrtow  wch oftn was both a physikal risk n a metaphor 4 sew manee othr things in nova scotia   n at great dangr  he ovrcame th fors from th watr  n made it 2 shore  n thn vowd he wud dew it agen n agen   sirtinlee if life wer as friabul as it seemd sew definitlee 2 b   why not take th risk

my fathr had th storee typd out in several mor copees   that was my first publishd work   i feel veree warm abt him now  in ths moment  that he did dew that 4 me   n evn tho i didint reelee start writing agen  until aftr my mothr went 2 spirit evn a few yeers aftr that 16     n reelee agen full time until i got 2 vancouvr  17  my yerning 2 b always writing evr sins i was in th oxygen tent  at 10or 11  has nevr left me

influenses medium genre hungree throat mor as it cums in
th subjekt 4 me is th genre n th genre is th subjekt  iuv alwayze wantid 2 put books 2gethr that hold or contain diffrent genres  as iuv also writtn pomes  that contain difrent genres  iuv oftn calld such pomes  fusyun  pomes  my most recent work  novel  my first novel  made me mor aware  uv th medium is th genre n   th genre is th medium  n th medium slash subjekt is th genre  mor aware thn evr  how we write  is can b  what we ar writing abt   mor thn an approach 2  mor thn creating th nuans uv  it is th uv    in my first novel  calld novel  abt 2 yeers ago  brout out by talonbooks  its a collagist work  prob also calld post modernist  in that th linear flow storee line  is part uv th whol work is not th whol work   th whole work inklewds  th modernist storee line  th serch 4 a trew love elements uv gangstr espionage  n th serch  n what happns  evn tho veree labyrinthean    also inklewds essays  sum abt peopul we know  in th known fakshul world  introdusing ideas uv ficksyun fakt identitee   dew we reelee know them  can we  n wch them     is it a fact n pomes  also  like th essays hiliting theems that ar in th storee line    th charaktrs mooving thru space n time  n situaysyuns     n thr is a hi degree uv th elements uv randomness wch th strukshur uv th work  novel conveys inklewds n is conveying

my first biggest  n still biggest influens  is  gertrude stein   who showsd n shows me  espeshulee in stanzas in meditaysyuns  that words need not onlee 2 represent  but  ar in themselvs konstrukts  wch fold  unfold  n refiliing fold  in2  n out uv each othr  ar in fakt puzzuls made uv each othr   sew  they can b on theyr own  not representing   bcumming  n being  what     whats  dew our grammars cum from our emosyuns  n or dew our emosyuns  mostlee reelee cum from our binaree based grammar thees unsolvabul qwestyuns prsist n ar oftn endlesslee interesting  yes

othr huge erlee influenses allen ginsberg   robert duncan  denise levrtov  bob cobbing   diane di prima  sew manee infinitlee manee  d.a. levy  bpNichol  martina clinton  maxine gadd  judith copithorne  influences with    also sew manee    n now 2day  peopul  othr poets i dew reedings with 

sew impressd with  adeena karasick  kai  kellough   sheri- d wilson  ivan coyote   richard van de camp david bateman  naomi laufer  jill mcginn   toshio ushiroguchi-pigott  chadwick juriansz ar names uv amayzing poets that jump 2 mind   helen posno

hungree throat  my nu book  my second novel  is mor  a novel  in meditaysyun   2 charaktrs  alredee found each othr  trying 2 let each othr farthr n furthr in      wun afrayd uv intimasee from his memoreez being 2 chargd  n not let  go uv how hard that is  getting ovr trauma   his bad memoree attacks   drag him away from whom he loves evn from himself in th present   n ths collagist post modernist work  tho not as much prhaps as novel  inklewds  essays  pomes  seeminglee unrelatid help th reedr  n th work 2 reflekt on all th key issews in ths work that cum in2 wun whil reeding hungree throat  

thees 2 books ar sew importnat 2 me kathryn  n i wud reelee like what yu dew with what ium sending yu 2 focus on  hungree throat   as it is cumming out in th spring   2013   from talonbooks   n th nu book ium working on now is in no way a novel    sew thees 2 books ar my 2 novels se far   altho th charaktrs ar diffrent peopul  thees 2 books cud complement each othr th collagist form works veree well 4 me     with th way uv working that can inklewd randomness   qwestyuning identitee  fact ficksyun   4 me thrs an interesting  bredth n spekulaysyun  in ths kind uv working  th tropes  n trajsktoreez  longings  changes  growing  n ungrowing  lyrik  n diffikulteez  n treetment uv th konstruktiv urges   what we konstrukt  what is konstruktid    what we can build 2gethr  n what we can build  n how  what we build  is building us       othr important 2 me writrs  hart crane  e.e. cummings  

latelee ium reeding davisadora by michael ondaatje   his comeing thru slaughter is wun uv my all time favorit books

evr  p.d.james nu book  death comes to pemberley    man about town  by mark merlis   have yu red anne carsons  autobiography of red  anothr uv my all time most adord books  also among th erlier listings touchd on heer  erleer in my life  that is   john rechy  city uv night     also colm toibin wrote an amayzing book i red coupul yeers ago  almost that same titul as
john rechy s brilyant  city of night   colm toibin s book titul is  the story of the night      camus  sartre  debeauvoir  gide  wer huge influenses on me as i was growing in my erlee teens  n issac singer   shirley ann grau  truman capote   tenessee williams  william inge  eugene oneil   diane di prima  this kind uv bird flies backwards   shakespere in school  th first sound poetree recording i herd was edith sitwell  facade blew me away   helpd start me out fr sure  as did  n dew all thees peopul  n sew manee mor

sew  hungree throat   is a novel in meditaysyun  th meditaysyun is abt letting go   letting go uv attachment 2 traumatik memoreez  n how can yu moov on  or 4ward if  yu ar klingnig  2 solv  or whatevr  bad  n or haunting memoreez uv th past in wuns life  how thees 2 peopul try 2 love each othr thru th dilemma they ar living  n what happns

intrspersd thru ths meditayshyun   discussyuns  conver

saysyuns  pledges collapses   n regroupings  ar pomes  song  essays   its not a book uv doom but it contains sum doom  n like all us writrs have n dew talk abt thru th ages  how hard 2 love  2 find it  n follow thru with it   its politiks n sankshuaree  part n parts uv th way    my throat is hungree 4 breething    my throat is hungree 4 eeting    my throat is


hungree 4 singing   my throat is hungree 4  yu   

wrap up qwestyuns n answrs 4 rusty talk hope evreethings great w yu Kathryn
maybe 2 wrap up heer 4 th rusty 4 now aneeway   from th beginning i always wantid 2 b writing reelee in approx 7 approaches 2 writing poetree   my main wuns being  sound n vizual   words spred all ovr th page  using th space uv th page as whol blank canvas  not onlee using a porsyun uv that availabul space as square or rektangul  th shape n size uv th copee size   n th book size   th ekonomeez uv   n othr considraysuns have brout th writing in2 lettr size  81/2 x 11 inches   drastikalee  n finding th wayze thru th  availabul transmitting vehikuls  n xpanding wuns repertoire     4 inspiraysyun i follow th vois es uv th work at hand  or th writing godesses n gods who i sew beleev in guide me 2 write   with  novel   whol passages wer literalee diktatid 2 me   sumtimes thrs a lot uv editing as  in th pome 4 hart crane in time   sumtimes thrs almost no editing   th tiny librarians  pome in  novel   went thru seemd ike manee rewrites    othr parts uv  novel  came instantlee    iuv nevr xperiensd a writrs blok  i cant imagine evn how painful that wud b

i just finishd  proof reeding   RUSH what fuckan theory    a book on theory  i wrote  n publishd in 72 wch is now being refreshd n reissewd by  book thug  in toronto    my second novel   hungree throat   will b out in spring 13   n what ium reelee working on now  is my nu  book  mostlee   dewing a lot uv lettr texting in it

yu can find a wide range uv my work in you tube  n also my web site  th offishul bill bissett web site www.billbissett.com

oh thr ar mor thn a few cds out uv my work  chek th cv in th website   th most recent cd  is   nothing will hurt   with pete dako  xtraordinaree musician   n arrangr  n composr  n gary shenkman  n ambrose pottie

cest sa   i gess thats all 4 now  thanks sew much 4 yr interest  thees intrviews ar kinduv hard 2 dew sumtimes  a prson dusint want 2 bcum 2 self conscious  but they reelee help me as well   thanks veree much

hungree throat veree recentlee compleetid out spring 2013                                

hungree throat is a novel in meditaysyun   2 peopul getting 2gethr  wun afrayd uv continuing intimasee bcoz uv what has happend 2 him  th othr not bewilderd n anxious  is eagr 4 nu xperiences with his nu partnr   th meditaysyun is partlee abt letting go   how hard that is  n sumtimez how seminglee eezee  th struggul letting go can b owing 2 th obsessing  paralyzing n shaping burdns uv our pasts  th obstakuls that trauma creates 4 our presents n futurs   layrs n layrs   ficksyuns n realiteez  wch  ar   peopuls throats ar hungree 4 breething   4 speeking  digesting  saying   singing eeting  tasting  giving kissing  sew much uv th worlds throats ar hungree not onlee 4 evreething  also 4 food   watr  air    wun uv th last stages b4 passing uv peopul with parkinsons is whn th throat no longr swallows  millyuns uv peopul with sleep apnea sleep with masheens pushing air in2 theyr throats all nite long 2 prevent closure    th throat chakra being well is a condishyun uv our life  th throat is hungree also 4 acceptans uv what is  n what has bin  n what is beleevablee possibul  thru song  sound poetree  narrativ  n non narrativ analysis  meditaysun  words n meenings oftn dissolving    hungree throat  looks at all thees dynamiks  2 share  greev  celebrate  uplift    love   n moov 4words  play with  th word  growing  its parts  sylabuls  n th mouth n throat shaping   each in our times  gr  ow  wo ing  wing s


Picture
bill bissett's MOST RECENT BOOK
hungree throat by bill bissett, Talonbooks, 2013

Description from the Publisher:
Written in his non-hierarchic, phonetic orthography, bill bissett’s second novel-poem, hungree throat, recounts the relationship of two men – one bold and unafraid, the other burdened by terrible memories and unable to trust. In this uplifting “novel in meditaysyun” about love, in which we witness ten years of a shared life, we are reminded of the overlapping, sometimes conflicting multitude of “hungers” common to us all:





all our throats
r hungree 4 breething being sing
ing eeting digesting speeking
saying food kissing watr love
air ficksyun fakt memoree
th present what is nu all ovr
lapping imbuing change
th throat chakra being well
is a condishyn 4 life


RUSTY TALK WITH FILMMAKER NADIA LITZ

12/9/2012

 
Picture
Nadia Litz
Nadia Litz is an award-winning Canadian actress and director. After her debut at Cannes in the award-winning film The Five Senses, Maclean’s magazine voted her “One to Watch” for the new millennium. She played Sam Shepard’s daughter in 2002’s After The Harvest and was nominated for a Gemini Award for Best Actress for that role. In 2007 she won the Vancouver’s Critics Award for her role in Reg Harkema’s Monkey Warfare.  Her 2010 short film, How To Rid Your Lover Of A Negative Emotion Caused By You!,  produced by the Canadian Film Centre where she was a director-in- residence, premiered at the Toronto International Film Festival in 2010, has played over a dozen film festivals throughout the US, Canadian and internationally, including out-of-competition at the Cannes Court Metrage, winning best short at Austin’s Fantastic Fest 2011. In 2012 Litz was featured on the prestigious Wholphin anthology, alongside Jay Duplass (Jeff Who Lives At Home) and Sean Durkin (Martha Marcy May Marlene). Recently Litz completed an experimental short doc on Canada’s revered and controversial Right Honorable Adrienne Clarkson, which makes its world premiere at VIFF in September 2012. Her first feature Hotel Congress, a comedy-of manners that takes place in a Tucson hotel is in post-production. While her second feature, a love story that takes place in a suicide forest in Japan, goes to camera in 2013. You can follow her on Twitter.

RUSTY TALK WITH NADIA LITZ

Kathryn Mockler: What is your first memory of writing creatively?
Nadia Litz: In grade school we had to choose a story of a historical figure, do research on the figure, and then make a book on that figure. We had to write it, illustrate it, and even bind the book ourselves. My dad had taken me to go and see Milos Forman's Amadeus and I became obsessed with it and subsequently Mozart, so I chose to write my "book" on him. I called it "Wolfie".

KM: When did you first start directing and writing for film?

NL: I tend to do a lot of "research" before I try something. I read screenwriting books and had taken classes, and I had been aimlessly writing pretend scripts and treatments for a while—maybe 10 years. But, it wasn't until my last year of university studying Cinema Studies that I directed. It was a 3-minute experimental short that was an assignment in a directing for non-majors class. It landed me a spot as a director-in-residence at the Canadian Film Center months later. That was in 2009. Which proves I'm a noobie and you should probably stop reading this.

KM: How do you think your acting background influences or affects your directing and writing?

NL: I think it does but it is hard to articulate how. I suppose I trust what good actors can bring to a moment, so when I was first writing, I tended to underwrite (according to producers and story editors). I continue to learn the balance of what should be on the page and what shouldn't be. I was just re-reading Allan Ball's American Beauty, and in the script he writes a stage direction for the character Carolyn: "Even when she slept she had a look of determination on her face."  That kind of writing is gold for an actor. As an actor if I read that one line, I would understand the character, so I try to be mindful of things like that when I write and when I direct. The script for Butch Cassidy and the Sundance Kid is also full of stage direction like that. Simple editorial clues that will be an anchor for an actor, without force feeding it. I don't mind breaking what might be considered screenwriting convention in order to make a script come alive for an actor; however, I do believe in a firm structure as a base.

KM: What inspires the stories you tell?

NL: I have noticed that locations seem to inspire the first grain of an idea for me. However, I hope that whatever inspires me at a given time will evolve as I do as a writer. I think the first few stories we tell tend to have a personal element. Filmmakers can seem like we want our trajectory to be the indie personal story root because when we are first starting out, we have budgetary constraints that lend themselves to personal stories. I love including personal elements in my stories, little nods to my life, but I have yet to ever want to tell the truth about my life on film. My preference is to look around me. I also like emotionalizing things that are "concepts". Also, I get a bunch of ideas via the Sunday Times. Too many, really, it's shameful.

KM: Was there a writer or filmmaker that had a big impact on you?

NL: Kurt Vonnegut was the first great literary writer I read as a teenager. He had those naive drawings in a few of his novels, which always seemed subversive to high art literature and cinematic to me for some reason. His voice resonates with me still. He is wry and detached but wholly emotional to me. His satire is never mean. He points out the meanness of the world because his heart is broken that it is like that. That's how I see him. I relate to that way of thinking. His voice/tone is highly original.

The list is too long for filmmakers. However most of the films I love tend to be some form of comedy-of-manners in a broad stroke way. I think a lot of Kubrick's films, for example, are comedy-of-manners so I have a broad idea about that genre. Bunuel, Oshima, Ozu, Rhomer, Kubrick, Cohen Brothers, Whit Stillman, Coppola (Sofia)—usual suspects.

KM: When you are directing films that you didn't write—what is the process like? Do you have any advice about what screenwriters can expect when working with a director?

NL: I love the process of directing others' work. It's a whole other ballgame then directing your own work, and both are equally satisfying for different reasons. In directing another screenwriter's script you have to find clever ways of making it meaningful to you. It's a challenge to have one more person you need to satisfy. It can be exciting that your only way to tell the story is visually/emotionally. With the short “How To Rid Your Lover of a Negative Emotion Caused By You!” it was a case of having two very strong voices in the mix—the writer Ryan Cavan and mine as a director. It's successful because both visions were honored. 

KM: When writing your own scripts what is the writing process like for you? How do you approach revision?

NL: I love to write. It is a joy. I don't feel bogged down by it. If I hit a block, it's a challenge and I like challenge. The thing that gets me down is when I lose interest in something that I have been working on for some time. Do you try to revive the interest or do you let it go? That's an obstacle for sure. For revisions I like to have a plan. I'll start with strengthening the peripheral characters and work my way towards the protagonist. I just read these great tips from James Schamus, who had some harebrained ideas for revisions I think I might try. Revisions are a drag, but he had these thoughts about standing a draft on its head that seemed very smart.

KM: When getting notes from producers—what do you do when you get a note that you don't like or agree with on your script?

NL: Only take good ideas and only from people you respect. You know your script and characters better than anyone. People will try to convince to take their note by saying things like "you're too close to the script". I say, "yes!" It is a good thing to be very close to your script. Also, when you are starting out people will tell you are suppose to consider all producer notes, because you are new. Like it is a manners thing. This is what I think: your script is the thing you are the expert on. Have the conversation, if only as a way to articulate why you don't agree with their note, but ultimately you make the choice. You are the CEO of your script and a CEO needs to believe in the company and lead it. No one calls a CEO 'precious' when they believe in their company, so don't let words like that deter you...Now, if you're a bad CEO, your company will fail and the public will let you know quite quickly and you won't be allowed to be CEO anymore! So, you have to be a good CEO! But, ultimately I'm all for screenwriters, respectfully, standing up for a choice. Most producers in the real world respect people who can articulate and communicate a vision. It is your responsibility to instill trust in your producers and funders about that choice, however. Also, that was a really long CEO metaphor. I hope it was clear...Also, if you are a gun-for-hire, it's a totally different thing. Then you apply the note and you find your way into the note. Case closed.

KM: What are you working on now?

NL: I just finished shooting my first feature called Hotel Congress.  I had been in development on what was suppose to be my first feature The People Garden when this opportunity to make a film for no money presented itself. Hotel Congress is a film full of things I swore I would never do. I wrote it in 12 days. Very little revisions. Very talky. We shot the film in 40 hours. I star in it. I co-produced it. I co-directed it with Michel Kandinsky. Did I mention we shot the entire feature in 40 hours? We shot it on location in Tucson Arizona in a hotel called Hotel Congress. It is a romantic comedy-of-manners that we shot in 40 hours. We're in the edit now. We don't know if we're crazy, but so far we love it and think it's quite charming, actually. It was made with so much drive and love by an insular team of my favorite co-horts. It would be impossible not to love a feature film. That you shot. In forty hours. In the desert. 


I hope to make my film The People Garden next year. With a smidge more time.

HOTEL CONGRESS
Feature Film, 2012

Hotel Congress Trailer from Sofia Francis on Vimeo.

Nadia Litz and Michel Kandinsky – Directors’ Statement

“Instead of bashfully wearing its microscopic budget as a badge of honor, Nadia Litz and Michel Kandinsky’s HOTEL CONGRESS aims for a genuine economy of craft. Ironically, in a project devised and executed in the shadows of the Canadian production stream, it’s a combination of old fashion virtues – a resonant location, clever camera placement, and a worthily wordy screenplay – that elevates Litz and Kandinsky’s first feature debut beyond a novelty item.” –Adam Nayman (Cinema Scope, The Grid)

Hotel Congress is a tender comedy-of-manners about two people who meet in a hotel famous for its nefarious associations to Depression era bank robber John Dillinger. Sofia and Francis try not to have an affair, while trying to find true love. The film comically deals with ethics in an unethical situation and could aptly be re-titled “What Happens When Cynics Try To Care.” Or “Why John Dillinger is Not A Bad Guy.”

The film was Shot for a $1000, in under 40 hours at the historic Hotel Congress in Tucson Arizona. Litz had been to the hotel 7 years prior to see the post-punk band Interpol play a show in the parking lot. She was struck by the dichotomous feeling of isolation and warmth the hotel had. The way the hotel felt stuck in time.

Nadia Litz (writer, co-director, co-producer, actress):

This film was under ‘willing duress’ from the start. I say willing because we wanted to prove a point in this very competitive market: you just need some smarts and an air tight work ethic to make an interesting film. Film at its best is about ideas and relatable emotion. Let that be the end of budget and time constraints.

When you start to think of what you can do for $1000, you quickly realize the script can save you. In writing this particular project, I focused on films that we all deeply admired the dialogue of (because dialogue doesn’t need lighting!) and why those films work. Obviously we love Mamet and Woody Allen and Hal Hartley and of recent years Lena Dunham comes to mind. We were going through a major Sturges period – hence the 4:3 - his films are simply shot, but beautifully romantic yet not at all ‘twee’….But, Whit Stillman is still the quintessential dialogue screenwriter for me. His characters are satirical, but his films are tender in a way that sneaks up on you. Could the Chris Eigeman character be more of a jerk, that you ultimately feel for, because a) he is truly stuck in his own jerk-ness and b)he’s the least hypocritical character in the Stillman world. I had him in mind for my character Sofia.

Stillman’s ideas and his modern philosophy (or philosophy of modernity) are what you care about in his films. Ideas and philosophies don’t inherently cost money so they bode well for indie filmmaking. That seemed like the highest bar to work towards.

I’m not into improvisation, shooting everything and finding the film in the edit for indie filmmaking. I think you need to be more meticulous and disciplined in the basics of the craft as an indie filmmaker

I wrote the film round the clock in twelve days. We were shooting three weeks later. Every word we said is in the original script. It felt mischievous to do it that way, to not belabor the process with second-guessing and rewrites. Just write it and shoot it.

When you don’t try to fit into a preconceived mold, the mode of storytelling becomes more interesting. You feel uncensored.

Michel Kandinsky: (co-director, co-producer)

For me, the film is about two people trapped by their own erudite, iconoclast self-awareness. They know what to say at the appropriate moment and how to say it in a clever way but this knowledge keeps them from feeling as deeply as they could.

I approach film as an intuitive medium, one in which too much thought gets in the way when time on set is spent trusting your intuition. It’s the opposite of what the characters in the film are doing, until they do it…And then once they trust in it they become the kind of love they aspire to, without even realizing it.

This was the first time I had co-directed anything. The remarkably short amount of time that we had to shoot this film kept us from too much discussion once we were on set. We simply didn’t have the ability to talk things out once we started shooting. We had to trust the script and our base instincts, keep out the temptation to over-think. I think that comes through in the finished product. There’s an energy there that I find very empowering. We knew we had to just start.

Starring
Nadia Litz
Philip Riccio

Director
Nadia Litz
Michel Kandinsky

Writer
Nadia Litz

Producer
Nadia Litz
Michel Kandinsky
Philip Riccio
&
Daniel Bekerman

Exec Producer
Ingrid Veninger
Stacey Donen

Cinematographer
Daniel Grant

Editor
Jonathan Eagan

Sound Editing
Gabe Knox

Song by
Paul Banks

HOW TO RID YOUR LOVER OF A NEGATIVE EMOTION CAUSED BY YOU!
Short Film, 2010
Produced by the Canadian Film Centre

Directed By: Nadia Litz
Starring: Sarah Allen & Joe Cobden
Screenplay By: Ryan Cavan
Produced By: Heather K. Dahlstrom & Daniel Bekerman
Edited By: Alexandre-Nicholas Giffard
Director of Photography: Daniel Grant
Production Design By: Nazgol Goshtasbpour

Description
Love can make us do weird things. Sadie does a weird thing. She does it to her boyfriend Dennis. Keep in mind she only wants what's best for both of them—a perfect relationship. It could be the perfect relationship, too, as long as nobody bleeds to death.

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