What If We Kissed On The Operating Table
Los Angeles, California | Film Short
Horror, Drama
At a secretive clinic promising miraculous healing, one woman learns the cure is more invasive than she ever imagined. What begins as a medical procedure spirals into a surreal ritual of transformation and rebirth in this hypnotic and grotesque tale of self-care gone feral.
What If We Kissed On The Operating Table
Los Angeles, California | Film Short
Horror, Drama
1 Campaigns | California, United States
Green Light
This campaign raised $15,005 for post-production. Follow the filmmaker to receive future updates on this project.
98 supporters | followers
Enter the amount you would like to pledge
At a secretive clinic promising miraculous healing, one woman learns the cure is more invasive than she ever imagined. What begins as a medical procedure spirals into a surreal ritual of transformation and rebirth in this hypnotic and grotesque tale of self-care gone feral.
About The Project
- The Story
- Wishlist
- Updates
- The Team
- Community
Mission Statement
The Story
Watch Our Movie Trailer Now!
See first hand what we've been working on and what you will be supporting!
What If We Kissed On The Operating Table is a short film that takes place in a mysterious facility where women with unspecified mental issues receive a violently invasive treatment that creates clone versions of themselves. These clones becomes the patients’ nurses and tend to their needs during their stay at the hospital while they recover from their treatment. This short is also a proof of concept for a feature that Sydney is developing with her long time friend and Associate Producer Nikole Zivalich.
Sydney first had the idea for What If We Kissed On The Operating Table two and a half years ago. She was in the midst of a very long creative block and in a dark place personally. She wanted to make something so badly, but was so depressed and anxious that she couldn’t bring herself to create —which, of course, only made the depression and anxiety worse.
One night over a couple beers, Sydney blurted out to her husband Casey Baker, “I wish I could surgically remove my ambition. Maybe I wouldn’t feel so bad all the time for not making anything.” That got her thinking. She didn't want to get rid of her ambition—she wanted to get rid of what was stopping her from creating.
Wouldn’t it be incredible if there were a place you could go to have all your darkness sucked out of you forever?
The team has seen a lot of sci-fi television, so they know how ideas like that are destined to go horribly wrong. Sydney became less interested in the idea of psychic pain being removed, and more interested in the process itself—how the removal would be represented, and what happens to that pain afterward.
In What If We Kissed On The Operating Table, a patients’ pain is reverse-transmogrified into a clone version of themselves. This clone becomes the patients’ nurse and tends to their needs during their stay at the hospital while they recover from their "operation." And the way a patient treats their clone reflects the way they treat themselves in their daily lives outside of the hospital. For example, someone who normally engages in a lot of self-soothing may need their clone to nurture them, while someone with a penchant for self-harm may ridicule and even torture their clone. In this film, the doppelgänger nurses serve as both balm and battlegrounds for their ailing and needy sires.
While this is a fantastical, at times surrealist, horror film (think the trippy parts of Cosmatos' Mandy, Cronenberg's Videodrome, Russel's Altered States), this is an incredibly personal project.
Sydney Mills is an only child, and she often imagined how nice it would be to have a twin. Sydney thought about her imaginary twin in two ways. In one version, she’s a sister who supports her—a shoulder to cry on, someone to share things in common with, enjoy spending time with, and who helps carry the burden of caring for family. In other moments, she’s an emissary. She does what Sydney needs her to do. She carries all the burdens Sydney was never wanted to bear, and she does so alone—just as Sydney once did.
Now more than ever, its important to think about stories of self-reflection. Though as a society we’ve become more comfortable speaking about personal struggles and mental health issues, we focus heavily on coping and management and very little about the fundamentals of who we are and how we became that way. This film is a meditation on how we externalize pain, and whether it's truly possible to heal when the self is fractured.
What If We Kissed On The Operating Table includes some truly talented performers who offered up their time and talent in order to make this film possible. Each cast member brought their unique essence to their character. We are so lucky to have such wonderful and beautiful friends.
Patience
At the end of her rope and nothing left to lose, Patience has come to the hospital seeking a cure-all procedure to get herself back on track. Patience is played by Scarlett Pomers (Reba, Star Trek: Voyager). This is Pomers's long anticipated return to the screen after an over 15 year hiatus.
The Eater
Tall, thin, blindfolded, and quietly commanding, The Eater plays a pivotal role in the hospital’s signature procedure. Portrayed by Gwenmarie White, the character channels a constant eerie aura that lingers long after she leaves the screen. Gwenmarie is a multidisciplinary performer with a background in theater, ballet, clown, and performance art.
The Intake Nurse
The Intake Nurse is a soothing presence in an otherwise cold facility. Mature and refined, her job is to quell the fears of the women being admitted into the hospital. Since the patients don’t know the specifics of the procedure they’re about to endure, it’s up to the Intake Nurse to convince them to stay at all costs. The Intake Nurse is played by Grace Su.
The OR Nurses
The Operating Room Nurses are the worker bees of the facility, taking on different tasks throughout the facility as needed. They prepare the operating room before and after procedures, observe The Eater while she works and soothe patients nerves with they're on the operating table. The OR Nurses are played by KANGA and Carmen Dorame.
The facility in What If We Kissed On The Operating Table is less a physical space and more a psychological liminal zone—a suspended reality where inner wounds take external shape. At the same time, it is undeniably real— everyone has gone into rooms like these in hopes of getting or being better, in hopes of leaving whatever pain that ails them behind.
At its core, What If We Kissed On The Operating Table’s central theme is transformation, both physical and psychological, for better or for worse. The patients at this facility choose a brutal and visceral procedure in the pursuit of change, self-care, and betterment. Nurses (who are clones themselves) are tasked with creating clones of their patients through a violent ritual that is both unsettling and deeply symbolic.
What If We Kissed On The Operating Table is a meditation on the human psyche's labyrinthine nature, depicting the paradoxes of self-love and the struggle to externalize or internalize care. It merges dreamlike aesthetics, emotional realism and horror to evoke both discomfort and catharsis.
This film is not about answers but about possibilities—an exploration of the "what ifs" that haunt our most vulnerable moments. It asks: If we could create a version of ourselves to take care of us, would we embrace them as a comrade, or would they become our undoing?
We are so close to being done with this film! But we need some help covering our final post-production costs, like VFX, color correction, ADR, foley, and sound mixing, and plus we intend to shoot some additional photography to enhance the film's climax. To accomplish this, we are trying to raise $15,000. We must raise 80% of that ($12,000) in order to keep the money raised! If we don't raise 80%, it all goes away!
We’re all extremely proud of this film and want to make sure it has the level of polish it deserves. It’s our goal to have the film seen by as big audience as possible, throughout the U.S. and abroad. With your support, we're confident we can get this film into quality film festivals and eventually distributed through an online streaming platform.
If we’re lucky enough to exceed our funding goal, we’ll spend any additional funds in two ways.
First, we want to take care of our crew - though most of them are lifelong friends and offered up their services free of charge purely out of their passion for filmmaking, the producers would still love to be able to offer them retroactive stipends for making this film possible.
If we raise $25,000, we can pay our shooting crew a retroactive stipend for their time with us on set for our two shoot days.
Second, should we be lucky enough to receive this much support, remaining funds would go toward covering equipment loaned to us for free during our shoot and any remaining production costs paid out of pocket for the first two shoot days.
All forms of support are greatly appreciated! If you are not able to pledge to our campaign at this time, there are many other ways to help!
- If we personally share something with you, pay it forward and share it with your network! We genuinely want people who like this type of film to get involved. So send it to all your artsy cinephile friends. All your friends who go to those Cinespia screenings and hang out at The Vista. All your friends and exes who you wanna kill cause they won’t shut up about From Soft games and Kojima. Everyone you know who left packs of cigarettes at Bob’s Big Boys when Lynch died!
- Follow us on socials!: We post updates, BTS, film stills, research, cast & crew interviews and other goodies from WIWKOTOT on our social media pages! Stay up to date with us and repost our content to allow more people to hear about our project. Social media is crucial for visibility these days. A follow or a share goes a long way.
Stay up to date on our progress by giving us a follow at @wiwkotot on Instagram and Facebook!
Thanks from all of us from the WIWKOTOT Team!!
Wishlist
Use the WishList to Pledge cash and Loan items - or - Make a pledge by selecting an Incentive directly.
VFX
Costs $4,000
We have a few shots that we would like to enhance with VFX in order to elevate the visceral and venereal horror of our film.
Color Grading
Costs $3,500
We would like to hire a professional colorist give our film the polish it deserves and needs to be considered for quality film festivals.
Additional Photography
Costs $2,500
We've got a few shots we'd love to add to enhance the story and vibe of the climax of our film!
ADR & Foley
Costs $1,500
We need to rerecord much of our actors' ADR & foley due to not having a sound person with us on one of our shoot days.
Sound Mixing & Mastering
Costs $1,500
We need to hire a professional sound mixer to properly mix and master our our sound design and soundtrack.
Promotional Costs
Costs $2,000
Festival submissions, advertising, our digital cinema package for theatrical projection and the Seed&*Spark platform fees
Cash Pledge
Costs $0
Direct link:
Share this update!
About This Team
This film is being made by incredibly talented artists and entertainment professionals who live and work in Los Angeles. Creating art in Los Angeles is a priority for us, now more than ever. Every member of this crew is talented, hard working, and creative. WIWKOTOT wouldn’t be possible without these skilled individuals.
SYDNEY MILLS
Writer/Director/Producer/Executive Producer/Costume Designer
Sydney Mills is a filmmaker and artist born, raised and based in Los Angeles. She got her MFA in Photography & Media from CalArts, and before that earned a BA in Fine Art with a minor in Cinema & Television from USC. Her work has been featured in over 50 art shows, film festivals, and screenings around the world — from Austria and South Korea to Mexico and Switzerland — as well as at LA-based art spaces like The Box, Los Angeles Municipal Gallery, Keystone Gallery, and Monte Vista Projects. Sydney has carved out a distinct voice as a music video director, teaming up with bands like Blue Stahli and L.A. Witch to create gritty, visually-driven stories. Her narrative film directorial debut, What If We Kissed On The Operating Table, kicks off a bold new chapter in her filmmaking journey. More at sydneymills.com. Find her on IG @generalviolence.
CASEY BAKER
Executive Producer/First Assistant Director/Prop Master
Casey Baker is a Los Angeles-based producer, musician and prop master with over 15 years of experience in the film and television industry. Casey comes from a deep-rooted lineage in film and television. His grandfather Larry Stewart— producer, director and the first president of the Television Academy—helped shape his early understanding of production and storytelling. A proud member of IATSE Local 44, Casey also works as a prop master —a craft introduced to him by both his aunt Kathy Stewart, known for her work on Hellraiser: Bloodline (1996) & Safe (1995), and his father, David Baker, the renowned blacksmith and weapons expert known from Forged in Fire. For the past decade, Casey has collaborated with his wife and creative partner, Sydney Mills, producing her music videos and visual art projects under their production company moniker General Violence. Find him on IG @stabbymcdaddy.
SCARLETT POMERS
Actor - "Patience"
With over 30 years in the entertainment industry, Scarlett’s career started with a bang at the age of 3 in Michael Jackson’s “Heal the World” music video. With over 100 credits in film and tv, notable roles include playing Reba McEntire’s daughter in the hit CW show “Reba”, and making a mark in Star Trek history as one of the youngest recurring characters on “Star Trek: Voyager”. Behind the camera, Scarlett has enjoyed working as a costumer and production designer for film, music videos, and haunted attractions. As a musician, Scarlett has written and recorded songs for both television and film, in addition to releasing an EP and playing live shows around the US. She brings her great love of, and enthusiasm for, the horror genre to the lead role of Patience in What If We Kissed on the Operating Table. Find her on IG @scarlettpomers.
GWENMARIE WHITE
Actor - "The Eater"
Gwenmarie White is a video and theatre artist from Los Angeles. She holds an MFA in Art from CalArts, where she and Sydney became friends. She creates work that delights in the Kristevan semiotic body, the abject feminine, and female jouissance. More at teenbarf.com. Find her on IG @teenbarf.
GRACE SU
Actor - "The Intake Nurse"
Born in Knoxville, TN and raised in Silicon Valley, Grace Su is an actress working bi-coastally between Los Angeles and New York. She has worked with the likes of Al Pacino, Jim Carrey, Lady Gaga, and John Patrick Shanley to name a few. Check her out in the award-winning independent films STAYCATION and HIDE BEHIND or as ADA Pepper Levine on FRASIER. Find her on IG @surrealgrace.
CARMEN DORAME
Actor - "OR Nurse #2"
Carmen Dorame is from Huntington Beach, CA. She currently lives in Los Angeles. She enjoys modeling and photography. This is Carmen’s first appearance in a short film. You can find her on Instagram @ladynebula.
KANGA
Composer/Actor - "OR Nurse #1"
Widely considered one of the finest underground pop purveyors, KANGA fuses post-apocalyptic pop sensibilities with body-shaking rhythms and sinuous melodies. Her music has been featured in films and media including Terrifier II and Cyberpunk 2077. Her production roster includes remixing bands 3Teeth, clipping., and Aesthetic Perfection, producing UK dance icon Ray Noir, and scoring the upcoming film, ‘What If We Kissed on the Operating Table”. As a performer, KANGA has toured with legends including Gary Numan and She Wants Revenge. She is currently working on a new multimedia music project, backpool, with Sydney. The two have been collaborating with each other since 2023. Find her on IG @kangakult.
LUIS SILVA
Co-Producer/Editor
Luis Silva is an Emmy-award winning producer and editor. Sydney and Luis met in a Facebook group called "A Medal For Chewbacca" in 2006.
NIKOLE ZIVALICH
Co-Producer & Actor
Nikole Zivalich is a writer and producer born and raised in Los Angeles. She went to CSUN where she majored in journalism and immediately began working the video games beat. She has worked in video games for nearly 20 years, touching on almost every part of the gaming world - producing games, writing dialogue, creating social campaigns, and creating/hosting numerous podcasts and web shows on games and pop culture. Nikole has also produced TV, with shows like AMC’s Talking Dead and Talking Preacher. Nikole is a constant writer, completing 3 features and 5 pilots in the last three years. She currently hosts and produces Won’t You Be My Gamer, a show on PBS SoCal, as well as writing for Roblox games. Nikole and Sydney went to high school together. This is the second time they’ve worked together, and def not the last! Find her on IG @nikolez
CORY POPP
Director of Photography
Cory Popp is a Kentucky raised, Chicago reared, Los Angeles based, but well traveled, photographer, cinematographer and documentarian. He has worked in over 44 countries covering everything from the war in Ukraine to coffee farmers in Guatemala to the Westminster dog show to the aftermath of the Syrian Civil War. He’s been the director of photography for Emmy nominated TV shows like YouTube Original’s Retro Tech, Netflix’s Explained and HBO’s Level Playing Field. He lives in the Koreatown area of Los Angeles with his beautiful girlfriend, two dogs, two cats and way too many cameras. This film marks Cory and Sydney's fifth project together. Fine him on IG @corypopp
IAN DELEÓN
First Assistant Camera
Ian Deleón a LatinX writer, director, and cameraman based in Los Angeles, CA. His work is informed by the warmth of a multicultural upbringing in the tropics and the icy demeanor of a lifetime steeped in the strange and grotesque. His first major narrative work, Velvet Cry was screened nationally and received numerous commendations for its excellence in production design and montage. Ian was recently awarded a Master's Degree in Screenwriting + Film Studies from Hollins University, where his thesis project focused on the Hollywood life of early-talkies Mexican starlet Lupita Tovar. He is currently pursuing union membership at the IATSE Camera Local 600 through Hollywood CPR and West LA College. Find him on IG @iandeleonarts.
CHRISTIAN CORIO
Production Designer
Christian Corio is a Los Angeles-based Production Designer and Set Decorator with over 16 years of experience in feature films, commercials, print photography, and music videos. He brings a deep passion for storytelling to every project, believing that narrative is the foundation of compelling design. Known for his meticulous attention to detail and ability to create immersive, emotionally resonant environments, Christian’s work spans a wide range of visual media. His film credits include Four Good Days (2020), Code 8 (2016), Small Apartments (2012), and Trespassers (2019), where he served as a Set Decorator and Art Director. In the music world, he was recognized by the Art Directors Guild for his work on Lana Del Rey and Jon Batiste’s “Candy Necklace” (2023), praised for its cinematic elegance. Outside of work, he enjoys spending time by the ocean with his beautiful family, writing and playing music, drawing, and tattooing. Christian and Casey have been friends since middle school. Fine him on IG @snakeinthetrash and @norulez13.
SENNA CHANEL
Set Decorator/Art Department Graphics
Senna Chanel is a Renaissance woman when it comes to art + design. She’s a multidisciplinary artist and designer whose work spans photography, graphic design, and custom fabrication. Born and raised in Los Angeles, she also spent nearly a decade living in Tokyo, where she honed her craft as a photographer at various studios, including Amazon Fashion Studio Tokyo. She holds a BA in Fine Art with a concentration in Photography and Video from the University of Southern California, where she met her best friend and creative collaborator, Sydney Mills. The two have exhibited in numerous art shows together dating back to 2008. Since returning to Los Angeles in late 2021, Senna has transitioned into the world of art direction and propmaking, bringing her keen eye and hands-on approach to the art department. Find her on IG @malibupunkbarbie
BART MIXON
Makeup Designer
Bart Mixon is a renowned special effects makeup artist whose career spans over four decades, contributing to some of the most iconic characters and creatures in film and television. Born in Houston, Texas, Mixon began his journey in special makeup effects working on local independent productions. He quickly advanced, taking roles as a lab technician and on-set makeup artist for notable films such as A Nightmare on Elm Street Part 2: Freddy's Revenge (1985), The Texas Chainsaw Massacre 2 (1986), and RoboCop (1987). Mixon has collaborated with acclaimed directors including Ron Howard (How the Grinch Stole Christmas, Apollo 13), Tim Burton (Planet of the Apes), Michael Mann (Collateral), Wes Anderson (Rushmore), and Guillermo del Toro (Hellboy). He was also a key artist on several films in the Marvel Cinematic Universe, including Iron Man (2008), Guardians of the Galaxy (2014), Captain America: Civil War (2016), Avengers: Infinity War (2018), and Avengers: Endgame (2019). Like, Pomers, Mixon has also worked on the Star Trek franchise including Deep Space 9 (1993), First Contact (1996), Insurrection (1998), Nemesis (2002), and the pilot episode of Discovery (2017). Find him on IG @bartmixon.
ANDREW MIXON
Producer/Unit Production Manager
Born and raised in Los Angeles, Andrew Mixon is a producer, production coordinator, and occasional script supervisor and video editor who’s still figuring it out one project at a time. With a background rooted in television and commercials, Andrew’s work has spanned sets both fast-paced and finely tuned. What If We Kissed on the Operating Table marks a meaningful shift toward personal filmmaking—an opportunity to collaborate not only with longtime friends Casey (who he's known since middle school) and Sydney, but also with his father, veteran special effects makeup artist Bart Mixon, whose handiwork adds an extra layer of heart (and horror) to the film.
ERIS DEO
Creature Designer
Eris Deo is a special effects artist who works in Los Angeles. She has been in the special effects industry for 10 years and has absurdist and cartoonish sensibilities. She mainly works with other independent film makers, musicians and comedians. Deo is always down to make a mess and hasn't gotten a rental deposit back in years. Find her on IG @im.not.eris
JO HOLLAND
Special Effects
Originally from Hawaii, Jo Holland is a multimedia creative artist based in Los Angeles. With a background in special effects (including credits on American Horror Story, The Knick, and The Mandalorian) and immersive, large-scale fabrication (Smithsonian, Area 15, Universal Studios), Jo’s art is casually seen and recognized in underground arts and local alternative spaces, where she continues to build spaces for creative expression. More at johollandart.com. Find her on IG @joholland__
JOANNA CUERVO
Food Stylist
Joanna Cuervo is a Barcelona native, chef and multidimensional artist. She is the creator, owner and operator of plant-based studio KOMETA. With nature at the core of her inspiration and fueled by her curiosity in distant worlds, KOMETA breaks the paradigm of health foods by combining flavor and nutrition, infused with beauty and intrigue. More at kometa.la. Follow KOMETA on IG @kometa.la
LAUREN BAILEY
Title & Poster Designer
Lauren Bailey is a pixel pusher and chain maker based in Los Angeles, CA. She is the owner and operator of Chaotic No Good, a design studio specializing in art direction and graphic design for music related releases, as well as packaging, print design, merch, and small business branding. More at chaoticnogood.com. This film marks Sydney and Lauren's second creative project together, the first being the music video for LA Witch's "The Lines" where Lauren provided custom handmade chainmail looks for the lead dancer. Find her on IG @chaoticnogood and @plain__chain.
MEL PHONG
Motion Graphics
Mel Phong is an LA-based art director and founder of Meleaux Studio, a design practice blending motion graphics, storytelling, and brand identity. Through Meleaux, Mel creates visually rich, emotionally grounded work that explores themes of self-discovery, memory, and transformation—most recently through motion design for short films that blur the line between reality and the surreal. Find Meleaux on IG @mel.eaux.
Full Cast & Crew Credits
Written & Directed by Sydney Mills
Producer by Sydney Mills & Andrew Mixon
Executive Produced by Sydney Mills & Casey Lain Baker
Co-Produced by Luis Silva & Nikole Zivalich
Director Of Photography - Cory Popp
Editor - Luis Silva
Production Designer - Christian Corio
Composer - KANGA
Sound Design - Justin Langley
Patience - Scarlett Pomers
The Eater - Gwenmarie White
OR Nurse 1 - KANGA
OR Nurse 2 - Carmen Dorame
The Intake Nurse - Grace Su
Waiting Room Patient 1 - Nikole Zivalich
Waiting Room Patient 2 - Lark Detweiler
Additional Dialogue - Caroline Fraissinet
Production Manager - Andrew Mixon
1st Assistant Director - Casey Lain Baker
A Camera Op - Cory Popp
B Camera Op - Jamie Kim
1st Camera Assistant - Ian Deleón, Mikey Lopez
Gaffer - Juan Cuevas
Key Grip - Jack Vasquez
Production Sound Mixer/Boom Operator - Luis Silva
Costume Designer - Sydney Mills
Wardrobe Stylist - Alex Simone
Tailor - Megan Genova
Costume Buyer - Kat Bouza
Set Decorator - Senna Chanel Chen
Buyer - Steve Kiratsous
Set Dresser - Mike Anaya, Nikki Bomagat
Art Department Graphics - Senna Chanel Chen
Property Master - Casey Lain Baker
Creature Designer - Eris Deo
Special Effects - Jo Holland, Miles “Dr. Bubble” Hamilton
Food Stylist - Joanna W. Cuervo
Prosthetic Makeup Designer - Bart Mixon
Makeup Artist - Natalie Cambel
Visual Effects - Russel Sadeghpour
Colorist - Gabe Sanchez
Roto Artist - Luis Silva
Script Supervisor - Caroline Fraissinet
Production Assistants - Chloe Alesi Chen, Eric Hil
Stills Photography - Mike Anaya, Mikey Lopez
Title Design - Lauren Bailey
Music Supervisor - Casey Lain Baker
Shooting Locations - Heritage Props, Project LA, Dystopian Studios
Special Thanks - Adam Torgerson, BRD, Jeremy Villalobos, Justin McGrat, Kat Bouza & Melanie Mandl
Current Team
Incentives
- The Story
- Wishlist
- Updates
- The Team
- Community
Mission Statement
The Story
Watch Our Movie Trailer Now!
See first hand what we've been working on and what you will be supporting!
What If We Kissed On The Operating Table is a short film that takes place in a mysterious facility where women with unspecified mental issues receive a violently invasive treatment that creates clone versions of themselves. These clones becomes the patients’ nurses and tend to their needs during their stay at the hospital while they recover from their treatment. This short is also a proof of concept for a feature that Sydney is developing with her long time friend and Associate Producer Nikole Zivalich.
Sydney first had the idea for What If We Kissed On The Operating Table two and a half years ago. She was in the midst of a very long creative block and in a dark place personally. She wanted to make something so badly, but was so depressed and anxious that she couldn’t bring herself to create —which, of course, only made the depression and anxiety worse.
One night over a couple beers, Sydney blurted out to her husband Casey Baker, “I wish I could surgically remove my ambition. Maybe I wouldn’t feel so bad all the time for not making anything.” That got her thinking. She didn't want to get rid of her ambition—she wanted to get rid of what was stopping her from creating.
Wouldn’t it be incredible if there were a place you could go to have all your darkness sucked out of you forever?
The team has seen a lot of sci-fi television, so they know how ideas like that are destined to go horribly wrong. Sydney became less interested in the idea of psychic pain being removed, and more interested in the process itself—how the removal would be represented, and what happens to that pain afterward.
In What If We Kissed On The Operating Table, a patients’ pain is reverse-transmogrified into a clone version of themselves. This clone becomes the patients’ nurse and tends to their needs during their stay at the hospital while they recover from their "operation." And the way a patient treats their clone reflects the way they treat themselves in their daily lives outside of the hospital. For example, someone who normally engages in a lot of self-soothing may need their clone to nurture them, while someone with a penchant for self-harm may ridicule and even torture their clone. In this film, the doppelgänger nurses serve as both balm and battlegrounds for their ailing and needy sires.
While this is a fantastical, at times surrealist, horror film (think the trippy parts of Cosmatos' Mandy, Cronenberg's Videodrome, Russel's Altered States), this is an incredibly personal project.
Sydney Mills is an only child, and she often imagined how nice it would be to have a twin. Sydney thought about her imaginary twin in two ways. In one version, she’s a sister who supports her—a shoulder to cry on, someone to share things in common with, enjoy spending time with, and who helps carry the burden of caring for family. In other moments, she’s an emissary. She does what Sydney needs her to do. She carries all the burdens Sydney was never wanted to bear, and she does so alone—just as Sydney once did.
Now more than ever, its important to think about stories of self-reflection. Though as a society we’ve become more comfortable speaking about personal struggles and mental health issues, we focus heavily on coping and management and very little about the fundamentals of who we are and how we became that way. This film is a meditation on how we externalize pain, and whether it's truly possible to heal when the self is fractured.
What If We Kissed On The Operating Table includes some truly talented performers who offered up their time and talent in order to make this film possible. Each cast member brought their unique essence to their character. We are so lucky to have such wonderful and beautiful friends.
Patience
At the end of her rope and nothing left to lose, Patience has come to the hospital seeking a cure-all procedure to get herself back on track. Patience is played by Scarlett Pomers (Reba, Star Trek: Voyager). This is Pomers's long anticipated return to the screen after an over 15 year hiatus.
The Eater
Tall, thin, blindfolded, and quietly commanding, The Eater plays a pivotal role in the hospital’s signature procedure. Portrayed by Gwenmarie White, the character channels a constant eerie aura that lingers long after she leaves the screen. Gwenmarie is a multidisciplinary performer with a background in theater, ballet, clown, and performance art.
The Intake Nurse
The Intake Nurse is a soothing presence in an otherwise cold facility. Mature and refined, her job is to quell the fears of the women being admitted into the hospital. Since the patients don’t know the specifics of the procedure they’re about to endure, it’s up to the Intake Nurse to convince them to stay at all costs. The Intake Nurse is played by Grace Su.
The OR Nurses
The Operating Room Nurses are the worker bees of the facility, taking on different tasks throughout the facility as needed. They prepare the operating room before and after procedures, observe The Eater while she works and soothe patients nerves with they're on the operating table. The OR Nurses are played by KANGA and Carmen Dorame.
The facility in What If We Kissed On The Operating Table is less a physical space and more a psychological liminal zone—a suspended reality where inner wounds take external shape. At the same time, it is undeniably real— everyone has gone into rooms like these in hopes of getting or being better, in hopes of leaving whatever pain that ails them behind.
At its core, What If We Kissed On The Operating Table’s central theme is transformation, both physical and psychological, for better or for worse. The patients at this facility choose a brutal and visceral procedure in the pursuit of change, self-care, and betterment. Nurses (who are clones themselves) are tasked with creating clones of their patients through a violent ritual that is both unsettling and deeply symbolic.
What If We Kissed On The Operating Table is a meditation on the human psyche's labyrinthine nature, depicting the paradoxes of self-love and the struggle to externalize or internalize care. It merges dreamlike aesthetics, emotional realism and horror to evoke both discomfort and catharsis.
This film is not about answers but about possibilities—an exploration of the "what ifs" that haunt our most vulnerable moments. It asks: If we could create a version of ourselves to take care of us, would we embrace them as a comrade, or would they become our undoing?
We are so close to being done with this film! But we need some help covering our final post-production costs, like VFX, color correction, ADR, foley, and sound mixing, and plus we intend to shoot some additional photography to enhance the film's climax. To accomplish this, we are trying to raise $15,000. We must raise 80% of that ($12,000) in order to keep the money raised! If we don't raise 80%, it all goes away!
We’re all extremely proud of this film and want to make sure it has the level of polish it deserves. It’s our goal to have the film seen by as big audience as possible, throughout the U.S. and abroad. With your support, we're confident we can get this film into quality film festivals and eventually distributed through an online streaming platform.
If we’re lucky enough to exceed our funding goal, we’ll spend any additional funds in two ways.
First, we want to take care of our crew - though most of them are lifelong friends and offered up their services free of charge purely out of their passion for filmmaking, the producers would still love to be able to offer them retroactive stipends for making this film possible.
If we raise $25,000, we can pay our shooting crew a retroactive stipend for their time with us on set for our two shoot days.
Second, should we be lucky enough to receive this much support, remaining funds would go toward covering equipment loaned to us for free during our shoot and any remaining production costs paid out of pocket for the first two shoot days.
All forms of support are greatly appreciated! If you are not able to pledge to our campaign at this time, there are many other ways to help!
- If we personally share something with you, pay it forward and share it with your network! We genuinely want people who like this type of film to get involved. So send it to all your artsy cinephile friends. All your friends who go to those Cinespia screenings and hang out at The Vista. All your friends and exes who you wanna kill cause they won’t shut up about From Soft games and Kojima. Everyone you know who left packs of cigarettes at Bob’s Big Boys when Lynch died!
- Follow us on socials!: We post updates, BTS, film stills, research, cast & crew interviews and other goodies from WIWKOTOT on our social media pages! Stay up to date with us and repost our content to allow more people to hear about our project. Social media is crucial for visibility these days. A follow or a share goes a long way.
Stay up to date on our progress by giving us a follow at @wiwkotot on Instagram and Facebook!
Thanks from all of us from the WIWKOTOT Team!!
Wishlist
Use the WishList to Pledge cash and Loan items - or - Make a pledge by selecting an Incentive directly.
VFX
Costs $4,000
We have a few shots that we would like to enhance with VFX in order to elevate the visceral and venereal horror of our film.
Color Grading
Costs $3,500
We would like to hire a professional colorist give our film the polish it deserves and needs to be considered for quality film festivals.
Additional Photography
Costs $2,500
We've got a few shots we'd love to add to enhance the story and vibe of the climax of our film!
ADR & Foley
Costs $1,500
We need to rerecord much of our actors' ADR & foley due to not having a sound person with us on one of our shoot days.
Sound Mixing & Mastering
Costs $1,500
We need to hire a professional sound mixer to properly mix and master our our sound design and soundtrack.
Promotional Costs
Costs $2,000
Festival submissions, advertising, our digital cinema package for theatrical projection and the Seed&*Spark platform fees
Cash Pledge
Costs $0
Direct link:
Share this update!
About This Team
This film is being made by incredibly talented artists and entertainment professionals who live and work in Los Angeles. Creating art in Los Angeles is a priority for us, now more than ever. Every member of this crew is talented, hard working, and creative. WIWKOTOT wouldn’t be possible without these skilled individuals.
SYDNEY MILLS
Writer/Director/Producer/Executive Producer/Costume Designer
Sydney Mills is a filmmaker and artist born, raised and based in Los Angeles. She got her MFA in Photography & Media from CalArts, and before that earned a BA in Fine Art with a minor in Cinema & Television from USC. Her work has been featured in over 50 art shows, film festivals, and screenings around the world — from Austria and South Korea to Mexico and Switzerland — as well as at LA-based art spaces like The Box, Los Angeles Municipal Gallery, Keystone Gallery, and Monte Vista Projects. Sydney has carved out a distinct voice as a music video director, teaming up with bands like Blue Stahli and L.A. Witch to create gritty, visually-driven stories. Her narrative film directorial debut, What If We Kissed On The Operating Table, kicks off a bold new chapter in her filmmaking journey. More at sydneymills.com. Find her on IG @generalviolence.
CASEY BAKER
Executive Producer/First Assistant Director/Prop Master
Casey Baker is a Los Angeles-based producer, musician and prop master with over 15 years of experience in the film and television industry. Casey comes from a deep-rooted lineage in film and television. His grandfather Larry Stewart— producer, director and the first president of the Television Academy—helped shape his early understanding of production and storytelling. A proud member of IATSE Local 44, Casey also works as a prop master —a craft introduced to him by both his aunt Kathy Stewart, known for her work on Hellraiser: Bloodline (1996) & Safe (1995), and his father, David Baker, the renowned blacksmith and weapons expert known from Forged in Fire. For the past decade, Casey has collaborated with his wife and creative partner, Sydney Mills, producing her music videos and visual art projects under their production company moniker General Violence. Find him on IG @stabbymcdaddy.
SCARLETT POMERS
Actor - "Patience"
With over 30 years in the entertainment industry, Scarlett’s career started with a bang at the age of 3 in Michael Jackson’s “Heal the World” music video. With over 100 credits in film and tv, notable roles include playing Reba McEntire’s daughter in the hit CW show “Reba”, and making a mark in Star Trek history as one of the youngest recurring characters on “Star Trek: Voyager”. Behind the camera, Scarlett has enjoyed working as a costumer and production designer for film, music videos, and haunted attractions. As a musician, Scarlett has written and recorded songs for both television and film, in addition to releasing an EP and playing live shows around the US. She brings her great love of, and enthusiasm for, the horror genre to the lead role of Patience in What If We Kissed on the Operating Table. Find her on IG @scarlettpomers.
GWENMARIE WHITE
Actor - "The Eater"
Gwenmarie White is a video and theatre artist from Los Angeles. She holds an MFA in Art from CalArts, where she and Sydney became friends. She creates work that delights in the Kristevan semiotic body, the abject feminine, and female jouissance. More at teenbarf.com. Find her on IG @teenbarf.
GRACE SU
Actor - "The Intake Nurse"
Born in Knoxville, TN and raised in Silicon Valley, Grace Su is an actress working bi-coastally between Los Angeles and New York. She has worked with the likes of Al Pacino, Jim Carrey, Lady Gaga, and John Patrick Shanley to name a few. Check her out in the award-winning independent films STAYCATION and HIDE BEHIND or as ADA Pepper Levine on FRASIER. Find her on IG @surrealgrace.
CARMEN DORAME
Actor - "OR Nurse #2"
Carmen Dorame is from Huntington Beach, CA. She currently lives in Los Angeles. She enjoys modeling and photography. This is Carmen’s first appearance in a short film. You can find her on Instagram @ladynebula.
KANGA
Composer/Actor - "OR Nurse #1"
Widely considered one of the finest underground pop purveyors, KANGA fuses post-apocalyptic pop sensibilities with body-shaking rhythms and sinuous melodies. Her music has been featured in films and media including Terrifier II and Cyberpunk 2077. Her production roster includes remixing bands 3Teeth, clipping., and Aesthetic Perfection, producing UK dance icon Ray Noir, and scoring the upcoming film, ‘What If We Kissed on the Operating Table”. As a performer, KANGA has toured with legends including Gary Numan and She Wants Revenge. She is currently working on a new multimedia music project, backpool, with Sydney. The two have been collaborating with each other since 2023. Find her on IG @kangakult.
LUIS SILVA
Co-Producer/Editor
Luis Silva is an Emmy-award winning producer and editor. Sydney and Luis met in a Facebook group called "A Medal For Chewbacca" in 2006.
NIKOLE ZIVALICH
Co-Producer & Actor
Nikole Zivalich is a writer and producer born and raised in Los Angeles. She went to CSUN where she majored in journalism and immediately began working the video games beat. She has worked in video games for nearly 20 years, touching on almost every part of the gaming world - producing games, writing dialogue, creating social campaigns, and creating/hosting numerous podcasts and web shows on games and pop culture. Nikole has also produced TV, with shows like AMC’s Talking Dead and Talking Preacher. Nikole is a constant writer, completing 3 features and 5 pilots in the last three years. She currently hosts and produces Won’t You Be My Gamer, a show on PBS SoCal, as well as writing for Roblox games. Nikole and Sydney went to high school together. This is the second time they’ve worked together, and def not the last! Find her on IG @nikolez
CORY POPP
Director of Photography
Cory Popp is a Kentucky raised, Chicago reared, Los Angeles based, but well traveled, photographer, cinematographer and documentarian. He has worked in over 44 countries covering everything from the war in Ukraine to coffee farmers in Guatemala to the Westminster dog show to the aftermath of the Syrian Civil War. He’s been the director of photography for Emmy nominated TV shows like YouTube Original’s Retro Tech, Netflix’s Explained and HBO’s Level Playing Field. He lives in the Koreatown area of Los Angeles with his beautiful girlfriend, two dogs, two cats and way too many cameras. This film marks Cory and Sydney's fifth project together. Fine him on IG @corypopp
IAN DELEÓN
First Assistant Camera
Ian Deleón a LatinX writer, director, and cameraman based in Los Angeles, CA. His work is informed by the warmth of a multicultural upbringing in the tropics and the icy demeanor of a lifetime steeped in the strange and grotesque. His first major narrative work, Velvet Cry was screened nationally and received numerous commendations for its excellence in production design and montage. Ian was recently awarded a Master's Degree in Screenwriting + Film Studies from Hollins University, where his thesis project focused on the Hollywood life of early-talkies Mexican starlet Lupita Tovar. He is currently pursuing union membership at the IATSE Camera Local 600 through Hollywood CPR and West LA College. Find him on IG @iandeleonarts.
CHRISTIAN CORIO
Production Designer
Christian Corio is a Los Angeles-based Production Designer and Set Decorator with over 16 years of experience in feature films, commercials, print photography, and music videos. He brings a deep passion for storytelling to every project, believing that narrative is the foundation of compelling design. Known for his meticulous attention to detail and ability to create immersive, emotionally resonant environments, Christian’s work spans a wide range of visual media. His film credits include Four Good Days (2020), Code 8 (2016), Small Apartments (2012), and Trespassers (2019), where he served as a Set Decorator and Art Director. In the music world, he was recognized by the Art Directors Guild for his work on Lana Del Rey and Jon Batiste’s “Candy Necklace” (2023), praised for its cinematic elegance. Outside of work, he enjoys spending time by the ocean with his beautiful family, writing and playing music, drawing, and tattooing. Christian and Casey have been friends since middle school. Fine him on IG @snakeinthetrash and @norulez13.
SENNA CHANEL
Set Decorator/Art Department Graphics
Senna Chanel is a Renaissance woman when it comes to art + design. She’s a multidisciplinary artist and designer whose work spans photography, graphic design, and custom fabrication. Born and raised in Los Angeles, she also spent nearly a decade living in Tokyo, where she honed her craft as a photographer at various studios, including Amazon Fashion Studio Tokyo. She holds a BA in Fine Art with a concentration in Photography and Video from the University of Southern California, where she met her best friend and creative collaborator, Sydney Mills. The two have exhibited in numerous art shows together dating back to 2008. Since returning to Los Angeles in late 2021, Senna has transitioned into the world of art direction and propmaking, bringing her keen eye and hands-on approach to the art department. Find her on IG @malibupunkbarbie
BART MIXON
Makeup Designer
Bart Mixon is a renowned special effects makeup artist whose career spans over four decades, contributing to some of the most iconic characters and creatures in film and television. Born in Houston, Texas, Mixon began his journey in special makeup effects working on local independent productions. He quickly advanced, taking roles as a lab technician and on-set makeup artist for notable films such as A Nightmare on Elm Street Part 2: Freddy's Revenge (1985), The Texas Chainsaw Massacre 2 (1986), and RoboCop (1987). Mixon has collaborated with acclaimed directors including Ron Howard (How the Grinch Stole Christmas, Apollo 13), Tim Burton (Planet of the Apes), Michael Mann (Collateral), Wes Anderson (Rushmore), and Guillermo del Toro (Hellboy). He was also a key artist on several films in the Marvel Cinematic Universe, including Iron Man (2008), Guardians of the Galaxy (2014), Captain America: Civil War (2016), Avengers: Infinity War (2018), and Avengers: Endgame (2019). Like, Pomers, Mixon has also worked on the Star Trek franchise including Deep Space 9 (1993), First Contact (1996), Insurrection (1998), Nemesis (2002), and the pilot episode of Discovery (2017). Find him on IG @bartmixon.
ANDREW MIXON
Producer/Unit Production Manager
Born and raised in Los Angeles, Andrew Mixon is a producer, production coordinator, and occasional script supervisor and video editor who’s still figuring it out one project at a time. With a background rooted in television and commercials, Andrew’s work has spanned sets both fast-paced and finely tuned. What If We Kissed on the Operating Table marks a meaningful shift toward personal filmmaking—an opportunity to collaborate not only with longtime friends Casey (who he's known since middle school) and Sydney, but also with his father, veteran special effects makeup artist Bart Mixon, whose handiwork adds an extra layer of heart (and horror) to the film.
ERIS DEO
Creature Designer
Eris Deo is a special effects artist who works in Los Angeles. She has been in the special effects industry for 10 years and has absurdist and cartoonish sensibilities. She mainly works with other independent film makers, musicians and comedians. Deo is always down to make a mess and hasn't gotten a rental deposit back in years. Find her on IG @im.not.eris
JO HOLLAND
Special Effects
Originally from Hawaii, Jo Holland is a multimedia creative artist based in Los Angeles. With a background in special effects (including credits on American Horror Story, The Knick, and The Mandalorian) and immersive, large-scale fabrication (Smithsonian, Area 15, Universal Studios), Jo’s art is casually seen and recognized in underground arts and local alternative spaces, where she continues to build spaces for creative expression. More at johollandart.com. Find her on IG @joholland__
JOANNA CUERVO
Food Stylist
Joanna Cuervo is a Barcelona native, chef and multidimensional artist. She is the creator, owner and operator of plant-based studio KOMETA. With nature at the core of her inspiration and fueled by her curiosity in distant worlds, KOMETA breaks the paradigm of health foods by combining flavor and nutrition, infused with beauty and intrigue. More at kometa.la. Follow KOMETA on IG @kometa.la
LAUREN BAILEY
Title & Poster Designer
Lauren Bailey is a pixel pusher and chain maker based in Los Angeles, CA. She is the owner and operator of Chaotic No Good, a design studio specializing in art direction and graphic design for music related releases, as well as packaging, print design, merch, and small business branding. More at chaoticnogood.com. This film marks Sydney and Lauren's second creative project together, the first being the music video for LA Witch's "The Lines" where Lauren provided custom handmade chainmail looks for the lead dancer. Find her on IG @chaoticnogood and @plain__chain.
MEL PHONG
Motion Graphics
Mel Phong is an LA-based art director and founder of Meleaux Studio, a design practice blending motion graphics, storytelling, and brand identity. Through Meleaux, Mel creates visually rich, emotionally grounded work that explores themes of self-discovery, memory, and transformation—most recently through motion design for short films that blur the line between reality and the surreal. Find Meleaux on IG @mel.eaux.
Full Cast & Crew Credits
Written & Directed by Sydney Mills
Producer by Sydney Mills & Andrew Mixon
Executive Produced by Sydney Mills & Casey Lain Baker
Co-Produced by Luis Silva & Nikole Zivalich
Director Of Photography - Cory Popp
Editor - Luis Silva
Production Designer - Christian Corio
Composer - KANGA
Sound Design - Justin Langley
Patience - Scarlett Pomers
The Eater - Gwenmarie White
OR Nurse 1 - KANGA
OR Nurse 2 - Carmen Dorame
The Intake Nurse - Grace Su
Waiting Room Patient 1 - Nikole Zivalich
Waiting Room Patient 2 - Lark Detweiler
Additional Dialogue - Caroline Fraissinet
Production Manager - Andrew Mixon
1st Assistant Director - Casey Lain Baker
A Camera Op - Cory Popp
B Camera Op - Jamie Kim
1st Camera Assistant - Ian Deleón, Mikey Lopez
Gaffer - Juan Cuevas
Key Grip - Jack Vasquez
Production Sound Mixer/Boom Operator - Luis Silva
Costume Designer - Sydney Mills
Wardrobe Stylist - Alex Simone
Tailor - Megan Genova
Costume Buyer - Kat Bouza
Set Decorator - Senna Chanel Chen
Buyer - Steve Kiratsous
Set Dresser - Mike Anaya, Nikki Bomagat
Art Department Graphics - Senna Chanel Chen
Property Master - Casey Lain Baker
Creature Designer - Eris Deo
Special Effects - Jo Holland, Miles “Dr. Bubble” Hamilton
Food Stylist - Joanna W. Cuervo
Prosthetic Makeup Designer - Bart Mixon
Makeup Artist - Natalie Cambel
Visual Effects - Russel Sadeghpour
Colorist - Gabe Sanchez
Roto Artist - Luis Silva
Script Supervisor - Caroline Fraissinet
Production Assistants - Chloe Alesi Chen, Eric Hil
Stills Photography - Mike Anaya, Mikey Lopez
Title Design - Lauren Bailey
Music Supervisor - Casey Lain Baker
Shooting Locations - Heritage Props, Project LA, Dystopian Studios
Special Thanks - Adam Torgerson, BRD, Jeremy Villalobos, Justin McGrat, Kat Bouza & Melanie Mandl