So Do We Keep F*cking?
Los Angeles, California | Film Short
Comedy, Drama
In "So Do We Keep Fucking?” two writing partners hole up in a cabin to finish their script, but liquor-fueled emotions threaten their careers and friendship. This film challenges the invisibility of fat women while sparking conversation about people’s inability to communicate their real feelings.
So Do We Keep F*cking?
Los Angeles, California | Film Short
Comedy, Drama
1 Campaigns |
Green Light
This campaign raised $9,332 for production. Follow the filmmaker to receive future updates on this project.
170 supporters | followers
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In "So Do We Keep Fucking?” two writing partners hole up in a cabin to finish their script, but liquor-fueled emotions threaten their careers and friendship. This film challenges the invisibility of fat women while sparking conversation about people’s inability to communicate their real feelings.
About The Project
- The Story
- Wishlist
- Updates
- The Team
- Community
Mission Statement
The Story
Welcome to a movie that is and isn’t about sex. A movie that is and isn’t about modern romance. A movie that is and isn’t about fatness. A movie that is and isn’t complicated.
"So Do We Keep Fucking?" aims to spark a conversation about why it’s so hard to communicate our real feelings with one another in the modern dating landscape. It's a film that is really tired of fat women being invisible. It's a film that features a fat woman in a sex scene where her fatness isn’t the butt of a joke. It's a film that everyone who's ever been on a date can relate to and feel some kind of catharsis knowing they're not alone when it comes to complicated feelings around sex and dating.
Marcia and Luke, two long-time friends and writing partners, go away for a weekend to finish a film script they’re on the verge of selling. The mood shifts when one too many liquor shots are poured, and things quickly get…well, horny. Feelings come out, or maybe it’s that they change, or maybe it’s a secret third thing we’re not totally sure of. Nevertheless, sexual chaos ensues and there are consequences.
We meet Marcia and Luke as they enter their cute AirBnB in Big Bear. Luke took the lead on booking the place, and Marcia immediately notices that the cabin only has one bed. Marcia suggests Luke call his girlfriend to let her know they got in ok.
Later that night, after polishing off most of a bottle of whiskey, the two are a little less focused on writing. Luke's hand ends up on Marcia's leg. Marica's hand ends up on top of his.
LUKE: Why did you hold my hand?
MARCIA: Why did you have it on my leg?
LUKE: I didn’t realize.
MARCIA: Bullshit.
LUKE: You put your hand on mine.
MARCIA: I thought you were making a move.
LUKE: Did you want me to?
MARCIA: No. I just thought you did.
LUKE: So, you’re down? Is that what that was? You saw me make a move and made your own. You’re down to fuck.
“So Do We Keep Fucking?” may seem simple, but every moment is layered with subtext that forces the viewer to reflect on their own romantic interactions and biases. It’s inspired by classics like Modern Romance, When Harry Met Sally, and Annie Hall. These films all highlight the complex consequences of every choice one makes in a relationship. They mirror the human experience in a way that is artful and beautiful to watch.
Oh, and these films are funny too. This film is funny. It’s a smart comedy that happens to be a bit horny too. Okay a lot horny. But still, it’s smart.
Other contemporary references include Issa Rae’s Insecure and Phoebe Waller Bridge’s Fleabag. These shows dive into the lives of modern women in real and irreverent ways. They are insightful, raunchy and most importantly, hilarious. They show us just how revolutionary a show about fucking the wrong guys can be.
Our cinematography is inspired by Gus Van Sant. His films feel grounded in reality and utilize contemplative lighting and camera movements that elevate characters' interpersonal subtext. We will strategically use color and framing to heighten the emotion and undertone of each scene, giving our film a powerful but understated energy.
MARCIA -
In a world where women should be fun and fuckable, Marcia is aggressively honest- even when a white lie might be kinder. She’s a funny, talented writer and comedian but she’s not conventionally hot enough to be a Booked And Busy Girl Boss™. Despite not being “hot,” Marcia has no problem getting guys. Over the years, Luke has seen plenty of her situationships come and go, and sometimes Marcia swears she sees some jealousy in him when she talks about her hookups. She knows Luke has a girlfriend now, but how is that her problem? It's not her responsibility to keep a man honest!
Marcia’s previous screenplay about femdom was not as “palatable” as her manager had hoped. Maybe she should have written, Likable Fat Woman Who Still Hides Her Stomach, like he wanted. So, now she’s shifted gears and is working on this romcom (yawn) with Luke in hopes of actually selling something despite her long-held but unvoiced belief that Luke's typical commercial fare is beneath her. Hey, a girl’s gotta pay rent!
LUKE -
Luke’s not so much a fuckboy as he is a coward who makes decisions based off of his insecurities. He’s 33, which he likes to call “Jesus age,” but still operates like the kid who got teased for his knockoff Nikes on the playground. But Luke has plenty of great qualities too. He’s a thoughtful friend, charming, spontaneous, and makes his own organic cocktail syrups which is pretty cool. Him and Marcia have been friends for years, and he has been a good friend to her.
Beautiful Big Bear California. The perfect place to get away for the weekend, focus on your art, and...fuck your co-worker? A drive 100 miles east of LA, but a world away, the cool air and forested hills offer a welcome change from the heat, freeways, and billboards advocating for STD awareness of Los Angeles. Everyone who’s ever lived in LA knows you have to escape the city once in a while to maintain your sanity.
This one-bedroom cabin is the catalyst to them finally exploring a sexual relationship - a choice that leads to a result neither of them could have predicted.
Why This?
Underneath the humor, “So Do We Keep Fucking?” is about social stigma. Popular culture is intensely fatphobic, and we were all raised with movies and TV shows that had fatness as a joke. Jordan Peterson keeps sharing his opinion, unfortunately. But here’s the thing: fat women are hot and desirable and smart and funny. Luke likes Marcia because she is all of these things, things which, in this story, are never in question. But Luke has a different girlfriend waiting at home, and Marcia knows it. Marcia is, at least for a while, okay with being the other woman. Cheating - another huge stigma in our culture (yet all too common). It’s obvious that Luke shouldn’t cheat, but how much responsibility does Marcia carry?
Their writing retreat in an intimate cabin deep in the woods (woods that they are not prepared for because they are city people, damn it!) becomes the final negotiation: will Luke choose Marcia and end it with his current girlfriend? Will Marcia settle for being a secret, knowing that Luke is cheating on his girlfriend to be with her? Or will Marcia walk away from the whole toxic mess?
Why Now?
Discussions about fatness and fat liberation still remain abstract and limited to political circles on the internet or academia. Rarely do we have the chance to engage with stories that feature complex characters grappling on a micro level with the unequal power dynamics that fat liberation aims to address.
In our individual work as storytellers and artists, we’ve gravitated to work that provokes discussion. Work that’s unapologetic, nuanced, and uses humor as a tool to get deeper and allow for reflection.
Forms of liberation, including fat liberation, feature front and center in each of our lives through our entertainment industry work, our organizing work, and in our personal relationships. Alison’s amazing script was a story that immediately connected our team because it was an intensely human story that reflected themes we were already passionate about.
Everyone can relate to the broad strokes of the scenario that Marcia finds herself in: we’ve all had a friend or love interest who is great in private, but blows us off in public.
We hope that in the future, we wouldn’t be able to make a compelling argument for why this story matters, but in the US there are still no federal protections for weight-based discrimination. We need to talk about this in ways that are accessible, relatable, and honest.
Why Us?
Our team is composed of insanely talented women who are all invested in telling this story, and who are uniquely positioned to do so. Some of us are queer, some of us are fat, all of us working in a male-domainted industry that couldn’t care less about women who want to make vulnerable art.
We’re dedicated to creating a film that explores identities and themes glossed over in mainstream Hollywood productions. We want to center what is normally obscured and reduced to a punchline. We are committed to creating a sexy, funny film that provokes thought and conversation.
Why We Need You!
We can’t make this film without community. If you’re someone in the entertainment industry that has faced bias and stereotyping, we need you. If you’ve ever been hit on at work or fucked a guy with a stupid haircut, we need you. If you care about films being made that break out of the status quo, we need you. If you’re hot and horny and love comedy, we need you!
We hope that you’ll help us to make this film a reality. We need funding for locations and insurance. We need to hire a team of talented, diverse actors and crew. We need funding for cameras, lighting and gear to make our production shine. We need wardrobe and crafty and hard drives. We need money for festival submissions and to get SDWKF? out into the world and into people’s hearts!
Every contribution to our production will be utilized to create a film that pushes boundaries and tells a unique, authentic story.
Every dollar we raise past our initial 10k goal will go towards increasing the day rates of our cast and crew, adding an additional production day, booking a nicer location, renting better equipment, hiring additional teammates, and making our post-production process as smooth as possible.
On the surface this is a film about sex and dating (please stop rolling your eyes).
Below the surface it’s about human interaction, mixed signals, and the nature of attraction.
We don’t want to throw a bunch of clickbait words at you. We don’t want to spell it all out for you. We want you to invest in this film because it’s a movie that stands out for its lack of hand-feeding you morals and messages. The purpose is to spark discussion and leave art open to interpretation.
Plus there’s some hot, hot sex in it.
Love,
The "SDWKF?" Team
Wishlist
Use the WishList to Pledge cash and Loan items - or - Make a pledge by selecting an Incentive directly.
Crew Cost - production
Costs $1,220
we need to pay our amazing crew toiling to make this story! (pictured is one of our heroes Kira Kelly ASC)
Cast
Costs $400
We need to cast the perfect Luke to star alongside Marcia (Alison Stevenson).
Filming Location and Lodging
Costs $1,090
We need to purchase a location for the duration of the shoot where we can set the scene. If we shoot in Big Bear we also need accommodation
Meals and Crafty and Gas
Costs $1,260
We need to feed the crew and pay for their gas money to transport themselves and gear to location!
Equipment Rentals
Costs $1,840
We need to rent high end grip/electric/camera gear in order to achieve the artistic vision we're striving for.
Production Insurance
Costs $800
We need actor, crew, and equipment insurance to protect ourselves and the gear.
Post Production
Costs $1,930
We need editing, sound design, color correction, titles and graphics.
Share this update!
About This Team
Our team is composed of insanely talented women who are all invested in telling this story, and who are uniquely positioned to do so. Some of us are queer, some of us are fat, all of us working in a male-domainted industry that couldn’t care less about women who want to make vulnerable, fat, complicated art.
We’re dedicated to creating a film that explores identities and themes glossed over in mainstream Hollywood productions. We want to center what is normally obscured and reduced to a punchline. We are committed to creating a sexy, funny film that provokes thought and conversation.
ALISON STEVENSON - CREATOR, WRITER + LEAD
Alison Stevenson is a comedian and writer based in Los Angeles. Her debut TV appearance occurred on the Viceland stand-up series, “Flop House.” She was a “perfect woman” on the Adult Swim Streaming comedy series, “The Perfect Women”, now on Youtube. Alison was a columnist for VICE and has written for Huffington Post, Glamour, The Guardian, MAD Magazine, and more. In August of 2016, she co-created a one-of-a-kind cunnilingus themed art show in Hollywood called “Eat Me” which garnered national media attention from the likes of Huffington Post Arts, LA Weekly, Time Out, and LAist. She is the creator and lead organizer of Thick Strip Enterprises, which has also received a fair amount of media attention (Paper, Dazed, VICE, NY Times, etc.) In October 2020 Audible released the original scripted podcast, “Like Mother”. Written by Alison, it is a semi-autobiographical, mother-daughter comedy starring her and Susie Essman. Alison has self-released two stand up albums: “Eat Me” in April 2017 and “Mommy Issues” in September 2019.
DEVON ALBERT-STONE - PRODUCER
Devon is a producer focused on nuanced and unexpected stories that explore the human experience. Prior to focusing on independent projects she was the co-head of development for film and TV at Semi-Formal Productions, where she worked on a diverse range of projects including The Shrink Next Door (Apple), I Love That For You (Showtime), The Dropout (Hulu), Search Party (Max) THE EYES OF TAMMY FAYE (Searchlight), THE LOVEBIRDS (Netflix + Paramount), and THE BIG SICK (Amazon + FilmNation). Before Semi-Formal, she worked in development and production at Abominable Pictures on projects like Wet Hot American Summer (Netflix reboot) and Childrens Hospital (Adult Swim).
GISELLE GONZÁLEZ - CINEMATOGRAPHER
Giselle has 13 years of experience in the camera department and is a member of IATSE LOCAL 600. In her decade as a camera assistant she worked under Christian Sprenger ASC, Rachel Morrison ASC, Janusz Kaminski ASC, Linus Sandgren ASC FSF, and many other Oscar and Emmy nominated cinematographers. She started operating and shooting full-time in October 2019. Her accolades include participation in the freshman class of the highly competitive American Film Institute Cinematography Intensive for Women and an SOC Operator mentorship under Jesse M. Feldman. Giselle has operated on shows like “Saved By the Bell”, “Grey’s Anatomy”, “The Wonder Years”, and “Hacks” and for Hoyte Van Hoytema ASC FSF, Ava Berkofsky ASC and Kira Kelly ASC. Giselle is a member of the Chicana Director’s Initiative which is an organization that “promotes Latina Directors and Latina Directors of Photography in the entertainment industry with fair pay and equal representation.” She has shot commercials for Color Creative, Savage X Fenty and PSAs for Melodie McDaniel and Samira Fuller Farquhar at The Director’s Bureau.
KATIE NEUHOF - DIRECTOR
Katie Neuhof is a film director who's music videos for labels like Hopeless Records and Run For Cover have been featured in The New York Times, Rolling Stone, NPR, and Pitchfork. Katie also creates commercial and film treatments for top production companies and directors. Clients include Arts & Sciences, Caviar, Doomsday, Knucklehead, m ss ng p eces, RESET, RadicalMedia, and Tool. She’s created pitches for Guy Ritchie, Alexander Payne, Ted Melfi, and George Tillman, Jr., among many others.
Current Team
Incentives
- The Story
- Wishlist
- Updates
- The Team
- Community
Mission Statement
The Story
Welcome to a movie that is and isn’t about sex. A movie that is and isn’t about modern romance. A movie that is and isn’t about fatness. A movie that is and isn’t complicated.
"So Do We Keep Fucking?" aims to spark a conversation about why it’s so hard to communicate our real feelings with one another in the modern dating landscape. It's a film that is really tired of fat women being invisible. It's a film that features a fat woman in a sex scene where her fatness isn’t the butt of a joke. It's a film that everyone who's ever been on a date can relate to and feel some kind of catharsis knowing they're not alone when it comes to complicated feelings around sex and dating.
Marcia and Luke, two long-time friends and writing partners, go away for a weekend to finish a film script they’re on the verge of selling. The mood shifts when one too many liquor shots are poured, and things quickly get…well, horny. Feelings come out, or maybe it’s that they change, or maybe it’s a secret third thing we’re not totally sure of. Nevertheless, sexual chaos ensues and there are consequences.
We meet Marcia and Luke as they enter their cute AirBnB in Big Bear. Luke took the lead on booking the place, and Marcia immediately notices that the cabin only has one bed. Marcia suggests Luke call his girlfriend to let her know they got in ok.
Later that night, after polishing off most of a bottle of whiskey, the two are a little less focused on writing. Luke's hand ends up on Marcia's leg. Marica's hand ends up on top of his.
LUKE: Why did you hold my hand?
MARCIA: Why did you have it on my leg?
LUKE: I didn’t realize.
MARCIA: Bullshit.
LUKE: You put your hand on mine.
MARCIA: I thought you were making a move.
LUKE: Did you want me to?
MARCIA: No. I just thought you did.
LUKE: So, you’re down? Is that what that was? You saw me make a move and made your own. You’re down to fuck.
“So Do We Keep Fucking?” may seem simple, but every moment is layered with subtext that forces the viewer to reflect on their own romantic interactions and biases. It’s inspired by classics like Modern Romance, When Harry Met Sally, and Annie Hall. These films all highlight the complex consequences of every choice one makes in a relationship. They mirror the human experience in a way that is artful and beautiful to watch.
Oh, and these films are funny too. This film is funny. It’s a smart comedy that happens to be a bit horny too. Okay a lot horny. But still, it’s smart.
Other contemporary references include Issa Rae’s Insecure and Phoebe Waller Bridge’s Fleabag. These shows dive into the lives of modern women in real and irreverent ways. They are insightful, raunchy and most importantly, hilarious. They show us just how revolutionary a show about fucking the wrong guys can be.
Our cinematography is inspired by Gus Van Sant. His films feel grounded in reality and utilize contemplative lighting and camera movements that elevate characters' interpersonal subtext. We will strategically use color and framing to heighten the emotion and undertone of each scene, giving our film a powerful but understated energy.
MARCIA -
In a world where women should be fun and fuckable, Marcia is aggressively honest- even when a white lie might be kinder. She’s a funny, talented writer and comedian but she’s not conventionally hot enough to be a Booked And Busy Girl Boss™. Despite not being “hot,” Marcia has no problem getting guys. Over the years, Luke has seen plenty of her situationships come and go, and sometimes Marcia swears she sees some jealousy in him when she talks about her hookups. She knows Luke has a girlfriend now, but how is that her problem? It's not her responsibility to keep a man honest!
Marcia’s previous screenplay about femdom was not as “palatable” as her manager had hoped. Maybe she should have written, Likable Fat Woman Who Still Hides Her Stomach, like he wanted. So, now she’s shifted gears and is working on this romcom (yawn) with Luke in hopes of actually selling something despite her long-held but unvoiced belief that Luke's typical commercial fare is beneath her. Hey, a girl’s gotta pay rent!
LUKE -
Luke’s not so much a fuckboy as he is a coward who makes decisions based off of his insecurities. He’s 33, which he likes to call “Jesus age,” but still operates like the kid who got teased for his knockoff Nikes on the playground. But Luke has plenty of great qualities too. He’s a thoughtful friend, charming, spontaneous, and makes his own organic cocktail syrups which is pretty cool. Him and Marcia have been friends for years, and he has been a good friend to her.
Beautiful Big Bear California. The perfect place to get away for the weekend, focus on your art, and...fuck your co-worker? A drive 100 miles east of LA, but a world away, the cool air and forested hills offer a welcome change from the heat, freeways, and billboards advocating for STD awareness of Los Angeles. Everyone who’s ever lived in LA knows you have to escape the city once in a while to maintain your sanity.
This one-bedroom cabin is the catalyst to them finally exploring a sexual relationship - a choice that leads to a result neither of them could have predicted.
Why This?
Underneath the humor, “So Do We Keep Fucking?” is about social stigma. Popular culture is intensely fatphobic, and we were all raised with movies and TV shows that had fatness as a joke. Jordan Peterson keeps sharing his opinion, unfortunately. But here’s the thing: fat women are hot and desirable and smart and funny. Luke likes Marcia because she is all of these things, things which, in this story, are never in question. But Luke has a different girlfriend waiting at home, and Marcia knows it. Marcia is, at least for a while, okay with being the other woman. Cheating - another huge stigma in our culture (yet all too common). It’s obvious that Luke shouldn’t cheat, but how much responsibility does Marcia carry?
Their writing retreat in an intimate cabin deep in the woods (woods that they are not prepared for because they are city people, damn it!) becomes the final negotiation: will Luke choose Marcia and end it with his current girlfriend? Will Marcia settle for being a secret, knowing that Luke is cheating on his girlfriend to be with her? Or will Marcia walk away from the whole toxic mess?
Why Now?
Discussions about fatness and fat liberation still remain abstract and limited to political circles on the internet or academia. Rarely do we have the chance to engage with stories that feature complex characters grappling on a micro level with the unequal power dynamics that fat liberation aims to address.
In our individual work as storytellers and artists, we’ve gravitated to work that provokes discussion. Work that’s unapologetic, nuanced, and uses humor as a tool to get deeper and allow for reflection.
Forms of liberation, including fat liberation, feature front and center in each of our lives through our entertainment industry work, our organizing work, and in our personal relationships. Alison’s amazing script was a story that immediately connected our team because it was an intensely human story that reflected themes we were already passionate about.
Everyone can relate to the broad strokes of the scenario that Marcia finds herself in: we’ve all had a friend or love interest who is great in private, but blows us off in public.
We hope that in the future, we wouldn’t be able to make a compelling argument for why this story matters, but in the US there are still no federal protections for weight-based discrimination. We need to talk about this in ways that are accessible, relatable, and honest.
Why Us?
Our team is composed of insanely talented women who are all invested in telling this story, and who are uniquely positioned to do so. Some of us are queer, some of us are fat, all of us working in a male-domainted industry that couldn’t care less about women who want to make vulnerable art.
We’re dedicated to creating a film that explores identities and themes glossed over in mainstream Hollywood productions. We want to center what is normally obscured and reduced to a punchline. We are committed to creating a sexy, funny film that provokes thought and conversation.
Why We Need You!
We can’t make this film without community. If you’re someone in the entertainment industry that has faced bias and stereotyping, we need you. If you’ve ever been hit on at work or fucked a guy with a stupid haircut, we need you. If you care about films being made that break out of the status quo, we need you. If you’re hot and horny and love comedy, we need you!
We hope that you’ll help us to make this film a reality. We need funding for locations and insurance. We need to hire a team of talented, diverse actors and crew. We need funding for cameras, lighting and gear to make our production shine. We need wardrobe and crafty and hard drives. We need money for festival submissions and to get SDWKF? out into the world and into people’s hearts!
Every contribution to our production will be utilized to create a film that pushes boundaries and tells a unique, authentic story.
Every dollar we raise past our initial 10k goal will go towards increasing the day rates of our cast and crew, adding an additional production day, booking a nicer location, renting better equipment, hiring additional teammates, and making our post-production process as smooth as possible.
On the surface this is a film about sex and dating (please stop rolling your eyes).
Below the surface it’s about human interaction, mixed signals, and the nature of attraction.
We don’t want to throw a bunch of clickbait words at you. We don’t want to spell it all out for you. We want you to invest in this film because it’s a movie that stands out for its lack of hand-feeding you morals and messages. The purpose is to spark discussion and leave art open to interpretation.
Plus there’s some hot, hot sex in it.
Love,
The "SDWKF?" Team
Wishlist
Use the WishList to Pledge cash and Loan items - or - Make a pledge by selecting an Incentive directly.
Crew Cost - production
Costs $1,220
we need to pay our amazing crew toiling to make this story! (pictured is one of our heroes Kira Kelly ASC)
Cast
Costs $400
We need to cast the perfect Luke to star alongside Marcia (Alison Stevenson).
Filming Location and Lodging
Costs $1,090
We need to purchase a location for the duration of the shoot where we can set the scene. If we shoot in Big Bear we also need accommodation
Meals and Crafty and Gas
Costs $1,260
We need to feed the crew and pay for their gas money to transport themselves and gear to location!
Equipment Rentals
Costs $1,840
We need to rent high end grip/electric/camera gear in order to achieve the artistic vision we're striving for.
Production Insurance
Costs $800
We need actor, crew, and equipment insurance to protect ourselves and the gear.
Post Production
Costs $1,930
We need editing, sound design, color correction, titles and graphics.
Share this update!
About This Team
Our team is composed of insanely talented women who are all invested in telling this story, and who are uniquely positioned to do so. Some of us are queer, some of us are fat, all of us working in a male-domainted industry that couldn’t care less about women who want to make vulnerable, fat, complicated art.
We’re dedicated to creating a film that explores identities and themes glossed over in mainstream Hollywood productions. We want to center what is normally obscured and reduced to a punchline. We are committed to creating a sexy, funny film that provokes thought and conversation.
ALISON STEVENSON - CREATOR, WRITER + LEAD
Alison Stevenson is a comedian and writer based in Los Angeles. Her debut TV appearance occurred on the Viceland stand-up series, “Flop House.” She was a “perfect woman” on the Adult Swim Streaming comedy series, “The Perfect Women”, now on Youtube. Alison was a columnist for VICE and has written for Huffington Post, Glamour, The Guardian, MAD Magazine, and more. In August of 2016, she co-created a one-of-a-kind cunnilingus themed art show in Hollywood called “Eat Me” which garnered national media attention from the likes of Huffington Post Arts, LA Weekly, Time Out, and LAist. She is the creator and lead organizer of Thick Strip Enterprises, which has also received a fair amount of media attention (Paper, Dazed, VICE, NY Times, etc.) In October 2020 Audible released the original scripted podcast, “Like Mother”. Written by Alison, it is a semi-autobiographical, mother-daughter comedy starring her and Susie Essman. Alison has self-released two stand up albums: “Eat Me” in April 2017 and “Mommy Issues” in September 2019.
DEVON ALBERT-STONE - PRODUCER
Devon is a producer focused on nuanced and unexpected stories that explore the human experience. Prior to focusing on independent projects she was the co-head of development for film and TV at Semi-Formal Productions, where she worked on a diverse range of projects including The Shrink Next Door (Apple), I Love That For You (Showtime), The Dropout (Hulu), Search Party (Max) THE EYES OF TAMMY FAYE (Searchlight), THE LOVEBIRDS (Netflix + Paramount), and THE BIG SICK (Amazon + FilmNation). Before Semi-Formal, she worked in development and production at Abominable Pictures on projects like Wet Hot American Summer (Netflix reboot) and Childrens Hospital (Adult Swim).
GISELLE GONZÁLEZ - CINEMATOGRAPHER
Giselle has 13 years of experience in the camera department and is a member of IATSE LOCAL 600. In her decade as a camera assistant she worked under Christian Sprenger ASC, Rachel Morrison ASC, Janusz Kaminski ASC, Linus Sandgren ASC FSF, and many other Oscar and Emmy nominated cinematographers. She started operating and shooting full-time in October 2019. Her accolades include participation in the freshman class of the highly competitive American Film Institute Cinematography Intensive for Women and an SOC Operator mentorship under Jesse M. Feldman. Giselle has operated on shows like “Saved By the Bell”, “Grey’s Anatomy”, “The Wonder Years”, and “Hacks” and for Hoyte Van Hoytema ASC FSF, Ava Berkofsky ASC and Kira Kelly ASC. Giselle is a member of the Chicana Director’s Initiative which is an organization that “promotes Latina Directors and Latina Directors of Photography in the entertainment industry with fair pay and equal representation.” She has shot commercials for Color Creative, Savage X Fenty and PSAs for Melodie McDaniel and Samira Fuller Farquhar at The Director’s Bureau.
KATIE NEUHOF - DIRECTOR
Katie Neuhof is a film director who's music videos for labels like Hopeless Records and Run For Cover have been featured in The New York Times, Rolling Stone, NPR, and Pitchfork. Katie also creates commercial and film treatments for top production companies and directors. Clients include Arts & Sciences, Caviar, Doomsday, Knucklehead, m ss ng p eces, RESET, RadicalMedia, and Tool. She’s created pitches for Guy Ritchie, Alexander Payne, Ted Melfi, and George Tillman, Jr., among many others.