When I tell people that I acted in, and co-produced, an official selection for the Cannes Film Festival, their jaws usually drop with an “OMG!” or a doubtful “prove it.” Yet ’tis true, and one quick search of IMDB.com will prove that I was indeed an evil, 1950s-style, gothic housewife in Scars at the Spook House.
My sister, Christie XT Cushing, a USC graduate film student, asked me if I would like a role in a short film project. For a student film, it was going to be intensive, with two months of pre-production, five days of set building, and only four shoot days. I agreed, unaware that I would be called upon to also co-produce a movie that would go on to be a 2010 Cannes Film Festival Short Film Corner Official Selection.
In the past, I had worked on about a dozen short films, but Scars at the Spook House, based on my sister’s novella, was different. Imagine a strange world where children are not created “the old fashioned way” by mommy and daddy. Instead, the “perfect” child can be whipped up with a special mixture like cake batter.
This whole evil industry is run by a crazy mime baker (yes, I said mime), and he is more than happy to take those dreadful imperfect children off your hands too. Imperfect children are sent to live like freaks at a carnival spook house. This film tells the story of two such children.
It was weird for sure … and it was a musical. In one of those moments of meaningful coincidence, we met rising composer Kyle de Tarnowsky. He created some beautiful music, while my sister crafted an incredible script. Call it nepotism, but I assure you that this young gal is the future of Hollywood. Her stories (yes, she has stories!) are original and heartfelt. Think of her as Tim Burton mixed with Fellini, bundled together with a bag of candy –strange, brilliant, and sweet.
We were lucky to find a great cast and crew, but we hit upon one small snag. The film got so big in its scope and budget that it became too insane for a mere “class project.” Ultimately, we dumped the “class assignment” angle and made it with one goal in mind: the prestigious Cannes Film Festival.
It must have been in the stars, because we got into the festival! To say we learned a great deal about the moving-and-shaking of the movie business is a grand understatement, but I also learned much about the art of film making. In pre-production, I learned about producing (contracts, insurance, and all that jazz), and while on set, I got to play a terrific character, set lights to create the right mood, and learned that Subway’s $5 footlongs go a long way in feeding a hungry film crew.
I am currently working on several projects that I hope will garner some attention, but Scars at the Spook House will always have a special place in my heart!