Hey guys!

Sorry for the lack of updates on EROTICIDE, but things have been so busy that I haven’t had much time to blog about them. Which is a good thing.

Today, we’re officially 11 days away from shooting and there’s a lot of work to be done.

Stephanie Van Rijn (Elise) and Jocelin Haas (Yan) developing chemistry.

Stephanie Van Rijn (Elise) and Jocelin Haas (Yan) developing chemistry.

I started rehearsing with the cast (Jocelin Haas, Stephanie Van Rijn and Lisa Di Capa) and I can’t tell you what a thrill it is to see my script being brought to life by such brilliant actors. For the first time ever, I’m actually working with artists who care so deeply for the material that they’re willing to spend hours just discussing their characters and motivations. They’re really keeping me on my toes in that regard and forcing me to really think about the story and world I’ve created and where it is I’m coming from with the script.

On Friday, we’re going to start rehearsing at the actual location of the shoot, which will help tremendously as far as getting the actors used to the physical space and for me to plan my shots better.

One thing that really dawned upon me last night was that after our rehearsal, Jocelin and Stephanie wanted to stick around and watch my “famous” previous film AMY’S IN THE ATTIC. I was initially hesitant, simply because that film is so vastly different in tone and style from EROTICIDE that I didn’t want to give them the impression that this is what all my films look like and especially that EROTICIDE would in any way, shape or form resemble this film. But I figured in the end, why not, it had been a long time since I’d seen the film myself and I was curious to see if it held up.

If there was ever any doubt that EROTICIDE is not only my “comeback” film, but in many respects, a reboot of the entire Sinema Saliba aesthetic, it was made plain and clear by watching AMY’S IN THE ATTIC last night. For what I was trying to achieve with that film, I would say it’s successful. But in the three years that have passed since making that film, I have grown so much as a person and have experienced so many things that have contributed to the maturing of my personal worldview that I couldn’t help but feel a little embarrassed by the film.

EROTICIDE in some ways incorporates some of the elements of AMY’S IN THE ATTIC, namely the BDSM motif in a couple of sequences. But judging from the response people have had simply to the EROTICIDE screenplay, not to mention the cathartic elation I experienced myself after getting this story that had been broiling in my system for over 3 years now, this is going to be a film that will emotionally connect with audiences in a way that I don’t think any of my other films ever could. And I think a lot of that has to be with me finally feeling comfortable enough with letting people into my world and seeing me for what I am, warts and all. I’ve mentioned time and again how EROTICIDE is the most personal, deeply personal, thing I’ve ever written. And I think what’s going to make this film that much more effective is that unlike past attempts to make introspective pieces, I’m not hiding behind the conventions of genre, which may cloud a person’s reaction/interpretation of my work. My willingness to take an honest look at myself has (and will) resulted in me making a bold and dramatic piece that in spite of the more esoteric inclusion of kink, has a sort of “Everyman” quality to it, that people of all walks of life and experience will be able to relate to.

More than I could have ever dreamed of.

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