I am that girl

PRODUCTION NOTES

97 minutes

This film is not yet rated.

Directed By: B. Hayward Randall

Written By: Grace Rowe

Starring: Grace Rowe, Michael Jaworski, Megan Molloy, Gabriel Byer, Mandy Henderson, Nick Barnes, Liz Stewart, Matt Ferrucci, and Pedro Pascal

Press Contact:

Grace Rowe

(310) 749-4500

Grace_Rowe@yahoo.com

www.iamthatgirlmovie.com

"When I look back on my life nowadays, what strikes me most forcibly is that what seemed at the time significant and seductive, seems now most futile and absurd. For instance, success in all of its various guises; being known and being praised; ostensible pleasures, like acquiring money or seducing women, or traveling, going to and fro in the world…explaining and experiencing whatever Vanity Fair has to offer. In retrospect, all these exercises in self-gratification seem like pure fantasy, what Pascal called, 'licking the earth'."

(Malcolm Muggeridge, "A Twentieth Century Testimony", 1979)

“Someday I want to be rich. Some people get so rich they lose all respect for humanity. That's how rich I

want to be.”

(Rita Rudner, Comedian)

“My problem lies in reconciling my gross habits

with my net income.”

(Errol Flynn (1909-1959)

“Charge it.”

(Maxine Lee)
I am that girl

Narrative Feature

Comedy/Drama

96 minutes

Directed By: B. Hayward Randall

Written By: Grace Rowe

Produced By: Grace Rowe and Nathan Swisher

(Film Independent alumni for Screenwriter’s and Producer’s Labs)

Production Company: Idylwild Pictures (www.idylwildpictures.com)

Executive Produced By: Minja Rowe and Michael Jaworski

Edited By: Grace Rowe and Daniel Roemer

Cinematographer: Joseph White

Composer: Linus of Hollywood

Starring: Grace Rowe, Michael Jaworski, Megan Molloy, Gabriel Byer, Mandy Henderson, Nick Barnes, Matt Ferrucci, Liz Stewart and Pedro Pascal

Shooting Format: MiniDV

Screening Format: Digibeta or other formats if necessary

Special Note: The movie has a film look due to the use of the Canon XL2 with a 35mm adaptor, using Zeiss prime lenses.

Shoot Locations: Los Angeles, Yosemite, Tule River at Sequoia National Forest

Budget: Ultra-Low

Distribution: None

Short Synopsis:

An L.A. party girl escapes her eighty-thousand dollar credit card debt, her ten-dollar an hour desk job, and her addiction to Cosmopolitans to retreat to the Sierras where she is forced to rough it in the wilderness as she unexpectedly discovers true love and the powerful beauty of nature.

FILMMAKERS

Director: B. Hayward Randall

Screenwriter: Grace Rowe

Producers: Grace Rowe, Nathan Swisher

Executive Producers: Minja Rowe, Michael Jaworski

Cinematographer: Joseph White

Editors: Grace Rowe, Daniel Roemer

Composer: Linus Of Hollywood

Costume Designer: Nicole Durst

CAST LIST

(in order of appearance)

1. MAXINE Grace Rowe

2. JANICE Vonessa Martin

3. MEGAN Megan Molloy

4. NOODLE Michael Jaworski

5. TED Gabriel Byer

6. MICHELLE Mandy Henderson

7. HOTEL CLERK Heide Kammerer

8. JUDY Lauren Han

9. HELEN Lauren Kiang

10. YOUNG MICKEY Colin J. Bernstein

11. TERRY Nick Barnes

12. NINA Liz Stewart

13. SOBE Matt Ferrucci

14. NOAH Pedro Pascal

15. MICKEY Julian Lee

FULL SYNOPSIS

Maxine Lee is the Asian American version of a wannabe Paris Hilton. She lives the American dream funded by her credit cards without any thought to future consequence. By day she works as a disgruntled office worker in an accounting firm making ten dollars an hour, and by night she transforms into the ultimate party girl with her equally fun-obsessed friend, Megan, as they scour Los Angeles looking for the next hot new restaurant or club where they can empty their wallets and drink Cosmopolitans.

When Megan moves back to New York, Maxine goes out with “Noodle,” a loner-type she meets in a nightclub bathroom. Noodle tells her about his love for the Sierras, where he plans to go for a week-long trip, and Maxine convinces him to take her along. On the way, Maxine persuades him to cancel his cabin so that they can stay at a four-star luxury hotel instead. Yet when her credit card declines and the cabin that Noodle has booked has since been given away, the two find themselves camping in the woods without the luxuries of modern-day life.

With no credit cards and little cash, the two learn how to survive in the woods by catching fish and sleeping under the stars. At first miserable that she has to rough it in the wilderness, Maxine eventually comes around and starts to enjoy herself. On their journey they meet and hang out with some “hippie” rock-climbers, and Maxine sees how other people live without the selfishness of materialism. She is stunned by the beauty of nature as she wakes up to the smell of fresh air and to the sound of the rushing river nearby. She also comes to recognize her faults, realizing that her own insecurities and un-fulfillment in life have caused her to turn callous and judgmental towards other people. The simplicity in this experience awakens her to what is important in life and reminds her of who she once was.

During their journey, Maxine falls for Noodle, and she is able to tell him the dark and haunting secret of her past. We learn that her childhood was cut short when Maxine’s parents were killed in a tragic car accident and that she was forced to raise her two younger sisters and brother by herself at the age of seventeen. When she was able to pass the torch to the next oldest sibling, Maxine fled to Los Angeles to forget the responsibilities of her past. This led her to the life she lives now, a life full of partying, drinking, and recklessness, which drives her deeper into denial about abandoning her family. Her ability to share this history with Noodle makes her realize how safe she feels with him even as he seemingly becomes more distant and withdrawn. Finally, when Maxine reveals her feelings towards Noodle, she’s met with rejection as Noodle tells Maxine that he cannot love her. An unexpected event occurs and Maxine’s life is turned completely upside down. Her perspective in life changes drastically, and she returns to Los Angeles a changed person forever.

Part comedy and part drama, I AM THAT GIRL is an unforgettable love story and a truly independent film set against the majestic backdrop of the Sierras.

I AM THAT GIRL- THE STORY BEHIND THE STORY

At age seven, Grace Rowe knew she wanted to be an actor. She would watch television and wonder why there weren’t any Asian faces like hers on the screen. Her father, a Korean immigrant told her, “You can’t be an actor! You’re a woman and you’re Asian!” Cut to eight years later as Grace struggles to find parts at the Orange County High School of the Performing Arts and where she realizes that what her father said seemed to be true- there were very few roles for her, especially since she was Americanized and didn’t fit into the stereotypical Asian roles.

“I would walk into an audition and whether they wanted a Korean, a Japanese, or an Indonesian person, they would assume I could do the accent. But I couldn’t, and wouldn’t, because I would never want to offend anyone by doing an awful dialect- even if it was just in a casting office.”

After receiving her bachelor’s degree in Theater and Film at UCLA, Grace became more discouraged by the realities of the industry. Fed up by the limited parts for strong roles available to her, Grace decided to write and perform a one-woman show entitled, The Grid Life, about seven vastly different Asian Americans living in Los Angeles. Portraying “G,” she captivated audiences by playing a wannabe rapper who hides her ethnicity in baggy clothes and ghetto talk, as “Butterfly,” she became a sixteen year old raver rebelling against her traditional Korean parents, and as “Jane,” she transformed into a lonely and out of touch Santa Monica health-food hippie.

After critical success of the show, Grace decided to take a few of the characters and expand their stories into a feature-length screenplay called American Seoul. The screenplay received much acclaim and won several screenwriting awards (Asian American International Film Festival in NYC, Coalition of Asian/Pacifics in Entertainment), and the short film version she wrote, starred in, and produced, played at film festivals all over the world. Grace was chosen to be in two FIND (Film Independent Organization) labs for American Seoul- both the Screenwriter’s and the Producer’s lab. Janet Yang, the producer of the Joy Luck Club, read the script and signed on as executive producer. Yet after two years of ill luck to find the financing for the all-Korean American female cast, Grace sidelined the project to write another script she was determined to make by any means possible, which became I Am That Girl.

Unlike American Seoul, I Am That Girl does not touch on Asian American themes, but rather is about a completely different topic altogether. In fact, there is nothing in the script about Asian American identity- it is just a story about a girl, who happens to be Asian. “The film questions our society’s obsession with credit cards, and our insistence to live a fantasy upper middle class life, even when we can’t afford it.” Grace combined that idea with the story of a friend who’s mother passed away when she was just eighteen, leaving her to raise her siblings by herself. On the surface, Maxine (the lead character) is selfish and wasteful, and she parties and shops to distract herself from her emotional pain. “The key was to make it seem like Maxine was just your typical party girl until you realize she’s a much deeper person, but she hides it to protect herself. It’s like she’s playing dumb because ignorance is bliss. This was always a dangerous way to write since initially, Maxine is quite unlikable.”

Grace also wanted to combine the idea of how traveling to new places, especially out into nature can really affect and change your perspective on life. From the time she was a young girl, her mother would take her and her sister to Yosemite every summer and Grace fell in love with the mountains. One year in particular, when her mother and sister couldn’t go on their yearly trip and she was old enough to drive, Grace decided to go to Yosemite by herself. She spent five days alone hiking, painting, and just being in nature. She recalls, “I remember sitting at the top of Glacier Point and thinking to myself that I was so small in comparison to the enormous valley- to the enormous world. It made me truly understand how much bigger the world is than me…and it made me humble. I became a much more relaxed person, with less expectations and less disappointments in life. I learned how to appreciate the simple things.”

Using a simple outline based on a screenwriting book, Grace quickly wrote the script, incorporating both comedic and dramatic elements. “I’ve always been inspired by the film, Muriel’s Wedding, and I wanted to invoke a similar style in that in one minute you’re laughing and in the next split second your emotionally moved to tears. Life is the same way- you never know what’s going to happen.” The film unexpectedly turned into a love story, and Grace herself, was even surprised. “Even though I had an outline, I never knew exactly how the words were going to come out. I can be quite cynical as a movie-goer so I didn’t want the film to be overly sentimental or else I’d hate it. Thankfully, I don’t think it is.”

After her sister’s wedding in 2005, Grace’s mother approached her and told her not to worry, that she had saved money for her wedding too. Instantly, Grace responded: “I don’t want to get married…I want to make a movie.” Her mother, always the strongest supporter of Grace’s creative endeavors, agreed to pull money out of her 401K to help fund the project. Grace enlisted her boyfriend of four years, Michael Jaworksi, to play the lead opposite her, and her friend, Megan Molloy, to play her best friend in the film. She asked another friend, Bryan Randall, to direct, and they found their cinematographer- a USC and NYU graduate, on a popular internet job site for film-makers, called Mandy.com. After reading the script, the talented cinematographer signed on and agreed to work for less than half his rate. Grace asked Josh Welsh at FIND to recommend a hardworking and hands-on producer that could help her focus on her acting rather than producing on the set. Josh recommended Nathan Swisher, another alumni from the FIND Producer’s Lab, and although at first reluctant to work on such an ultra-low budget film, he signed on to co-produce the film based on his belief in the project. Less than a year later, I Am That Girl started pre-production.

But money was still scarce. Ironically, Grace had to use her credit cards to fund a huge portion of the film. She also made a business plan and sent it to anyone she knew who might be willing to invest. With the help of the San Diego Asian Film Foundation, she was able to give donors a tax write-off. Eventually, little by little, the money started to come in- not a lot, but enough to get her started. “I’ve always heard people say that if you just set a start date, the money will come. Well, that’s half-true. We set several start dates which kept getting pushed back due to finances, but luckily we were finally able to get our movie going.”

The small cast and crew drove six hours to Yosemite and shot for four days out in the wilderness. Grace’s mother catered and did craft service and the entire cast and crew helped pitch in from carrying equipment to holding their own bounce cards. There was never any time to rehearse, so the actors would have to rehearse while shooting. “By the end of the first week, I didn’t think we were going to make it. We had a twenty-two day schedule and we were shooting five pages a day. We were supposed to shoot five pages a day. We never did.”

They also shot in Grace’s apartment and in other Los Angeles locations, completely guerrilla-style. The director built some of the sets, making an entire club bathroom in the parking lot behind his apartment, and Maxine’s bathroom and a massage room inside his living room. They shot at Grace’s restaurant where she worked, and at one of the cast member’s bar. They even shot at her mother’s West Hollywood office, after convincing her boss to let them use the office space for free.

After a grueling principle shoot, Grace and Nathan sat down with the schedule and realized they still had many scenes left to shoot. They scheduled two separate pick-ups: one which they would shoot shortly after in the Tule River area at the Sequoia National Monument, and the other they would shoot when Grace could raise more funds.

Finally, after all the shooting was complete, Grace realized that she was out of funds once again and the only way she could continue to edit her film (she initially hired Daniel Roemer for the initial assembly of the film), was to take matters into her own hands and learn how to edit. She took a Final Cut Pro class at the Moviola Center, and continued her education by utilizing the One-On-One Program at the Apple Store. Grace also started to collect music for the film, and the director suggested using his friend and musician, Linus of Hollywood, to compose original music. After hearing Linus’ Beach Boys- style sound, Grace knew that she wanted to work with him. The Engine Room Studios, a local Hollywood post sound house, started work on the film, and Grace continued to edit, and then again, due to financial constraints, learned how to color correct the film herself. “I’ve learned more in the past two years than I have in ten years combined. I’ve become a complete computer geek. I learned how to edit, how to build and fix sound, how to make special effects, how to color correct, how to use Photoshop, and now I’m learning how to do my business taxes. If this isn’t what D.I.Y. film-making is, I don’t know what is.”

After selling her clothes, camera, and other personal items to raise money, Grace finally finished the movie and has started submitting to film festivals. Her belief that it will get sold and seen is unflinching. “Everyone who has seen the film has had an amazing response. I think there is a large audience for this film. It’s for people who are craving something entertaining and yet something also with depth.”

When asked what is at the film’s core, Grace responds: “It’s the story of someone who dreams about a perfect life and who thinks she can fund that life with credit cards. What she comes to realize is that there is more to life than just spending and consuming…there is fulfillment in the simpler things in life: nature, love, and family.”

For Grace, it seems that her fulfillment in life comes from making movies, a passion she says she will always have. “I once heard a filmmaker call his small and struggling career a ‘hobby.’ I don’t care whether it’s a hobby or a career…I just want to do it.”

Grace lives in Hollywood and is currently working on two new feature-length screenplays-- one which she hopes to direct.

DIRECTOR’S NOTE

Coming from a background of short-subject art film, the opportunity to direct I AM THAT GIRL presented an interesting challenge-- exploring the burgeoning relationship between

two people, each of whom are enduring there own private and personal demons. One, seemingly unable to realign the trajectory of her life, pulling it back into an orbit of balance and a

re-connection to loved ones that have for years been estranged. The other, dealing with the reality of a life ending much too soon, and a need to make peace with his own mortality -- independent of the of the emotional distraction and sorrow of those closest to him.

My goal in the direction was to at once, honor the characters and their separate yet interconnected journeys, as well as the ideas of the temporary versus the eternal. Though much of this thematic principal is played out through both the conversation and developing relationship between Noodle and Maxine, it is also explored within the counterpoint of the city versus the

wild. That which is man-made and artificial, and that which is

natural and everlasting.

Though I suppose one could categorize this as an Asian American film (as it's both written by and stars an Asian American), I believe that this film transcends that moniker and is a stronger film because of it. So often in Asian American film, or really- any

film with an ethnic or minority protagonist , the politics surrounding this often outshine the basic plot of the film. In

I AM THAT GIRL, the fact that Maxine happens to be Korean is in no way relevant to the plot or message of this film. There is no thematic undercurrent of racial misunderstanding or prejudice.

In this, I find I AM THAT GIRL actually a much more powerful tool for creating a climate of acceptance of Asian Americans in what is a predominately mainstream, American milieu-– the romantic comedy.

However, calling I AM THAT GIRL a romantic comedy is selling it

short. With its powerful themes of tragedy and loss, interwoven into the fabric of both the buddy/road picture, as well as it's

"opposites-eventually-attract" romantic-comedy underpinnings,

I AM THAT GIRL is a thoroughly original picture.

WRITER’S NOTE

I wrote I AM THAT GIRL after a weekend trip in Coronado, San Diego for my sister’s pre-wedding getaway. We were lying out at the pool, and as I watched all the vacationers around me, it struck me. The idea had been fiddling around in my head for several years, but as I watched all the perfectly tan women and men lounge in their bikinis drinking twelve-dollar martinis awaiting their three hundred dollar massages, I realized that this was the American dream.

To be rich.

Rich beyond belief. These days, even rich isn’t rich enough. There’s always something that’s left to be had, something that is still desired. And it usually costs money.

We are the richest country in the world and yet we are still so spiritually and emotionally broke. And the truth is, most of us are not really rich. Many of us live a middle class lifestyle only because we have credit cards to help us pay for it.

And then I started to notice…

Have you ever walked in a mall and seen a woman carrying bags and bags of things she just bought and seen the look on her face? As if all the Chanel in the world still couldn’t make her happy.

Or have you ever driven down the street and seen a miserably unhappy person in the most expensive convertible Mercedes you’ve ever seen?

Or how about this? Have you ever seen the look on a child’s face when they’re playing in the park, or maybe swinging on a swing? Or how about the look on someone’s face when they’re in love—truly, truly in love?

Yet why is it that as adults, the things that we believe can make us happy seem to usually revolve around money?

As I looked at all my friends and family who suffer from endless credit card debt, I realized. We’re getting financially broke from all of this desire. A desire that’s hiding the root of our unhappiness-- something that usually goes beyond what we show on the outside.

A friend of mine used to go out and party every night of the week. She’d drink and smoke and eat and spend until she could get up the next day and do it all over again.

It wasn’t until several years later that I found out that when she was seventeen, her mother died of cancer. It was a tragic and shocking thing to happen to her and she found herself having to take care of her younger siblings. She lost her childhood, and when she was able to leave finally, she moved to L.A. and became the typical party girl. It was as if she was trying to make up for all the years of her youth that she lost. But I always knew that deep down she was missing something… just like many of us.

Her story inspired me to write I AM THAT GIRL. If you knew my friend you would never guess that she had such a tragic past. You would think she was just a girl who loved to have fun.

And then I’d see all these people in their fancy cars with their fancy clothes (some who probably still lived at home with their mothers), and realized that the majority of us, even if we fake it, don’t really have the means to pay for all this. We want to be beautiful, we want to be loved, and we want to have a good time all of the time. But can we afford it?

And the desire to have fun all the time… where does that come from? The need to shop and spend and consume…is it all just the media’s fault? We live in a culture that preys on our fears, our insecurities—all so we can open our wallets. But is there something else? Is there a deeper hole that we need to fill?

I AM THAT GIRL brings us back to the place when we were children. A place when the scent of pine trees was enough to put a smile on our face. When playing and being with those we loved really was more important than buying that expensive pony.

And it’s a message to my generation as well. One that hopes to remind us that in this age of technology and instant accessibility, sometimes the simple things in life is all we truly desire.

BIOGRAPHIES

B. HAYWARD RANDALL- Director

Raised in California, Bryan Hayward Randall, also known as B. Hayward, attended both Julliard and The Cincinnati Conservatory of Music. Bryan’s first short film, "Meditation On Dispatch," was voted best film at the LACC annual film festival. For his next project, Bryan tackled the painstaking recreation of early silent cinema. For "49 Wimpole ST.- LONDON," he hand-bleached and scratched film stock to authenticate the illusion of a lost film, circa 1919.

Bryan met Grace Rowe in 2001, and after she saw the enormous amount of detail he had put into creating the sets for "49 Wimpole St-London", she asked him to be the art director on her short film, "American Seoul." They continued to work together on small projects, and Grace asked Bryan to direct the scene that would ultimately help gain her acceptance in the prestigious Actors Studio after only one final audition. Their working relationship continued to flourish, and when Grace was ready to start pre-production for I AM THAT GIRL, she asked Bryan if he would direct.

The son of a carpenter father, Bryan built several of the sets for the feature film, and also created specialty rigs for specific shots, a signature style he has started to create after building his elaborate camera tunnels for "49-Wimpole St." Accustomed to storyboarding every shot in his films, Bryan storyboarded almost every scene of I AM THAT GIRL by hand, and yet was a confident enough director on the set to be loose and flexible with his actors. Coming from a strong theater and acting background himself, Bryan prides his work on being both visual exciting and also emotionally alive.

Recently, Bryan shot a film entitled, "Urban Beast," and recently directed a music video for the band, Bangkok 5, which was purchased and played on Vcast for cell phone viewers. Currently, Bryan is shopping his script, "While We Wait," with his co-screenwriter, David Zint. He is also in pre-production for his second feature film, "Furrow in the Dark," a modern-day thriller, and is also shooting a music video for "Linus of Hollywood," who also composed original music for I AM THAT GIRL.

GRACE ROWE- Writer, Actress, Producer, and Editor

Born in New York and raised in southern California, Grace Rowe knew from the age of seven that she wanted to be an actor. After graduating from the Orange County High School for Performing Arts, she studied theater and film at UCLA where she received her Bachelor’s Degree in Theater Arts. Frustrated by the limited amount of strong parts for Asian American actresses, Grace decided to write and perform a one woman show entitled, THE GRID LIFE, about seven vastly different Asian American women struggling with identity issues. The Grid Life premiered at The Complex Theater in Hollywood which led to other performances at The HBO Workspace, The Women In Theater “Celebrate Women 2000 Festival”, and at the Davidson/Valentini Theater in the Ed Gould Plaza in association with The Edge of the World Theater Festival.

Hoping to reach a wider audience, Grace adapted the play into a feature-length screenplay, entitled AMERICAN SEOUL. In addition to being one of the screenplays chosen for the 2002 IFP/West (now known as FIND or Film INDependent) Screenwriter’s and Producer’s Lab, American Seoul won the Best Screenplay Award for the 2002 Asian American International Film Festival (AAIFF) in New York City, where a staged reading of the script was performed. American Seoul was also one of four finalists in the CAPE (Coalition of Asian-Pacifics in Entertainment) 2001 and 2002 Screenplay Contest hosted by FOX Entertainment, and was first runner-up for the 2002 Cynosure Screenplay Contest.

In 2003, Grace produced and acted in the short film version of American Seoul. Although it was created primarily to show potential investors what the feature film would look like, American Seoul has been invited to over two dozen film festivals worldwide. The short film was also chosen to screen at MTV’s TRL Studios Filmmakers’ Reception for the Asian American Film Festival in NYC, and finished a worldwide tour with AAIFF and continues to screen at film festivals around the world. During this time, Grace was also nominated by FIND Film (formerly known as the IFP/West or Independent Feature Project Organization) as “Independent Film Producer to Watch” for the Independent Filmmaker Magazine.

After being given the opportunity to pitch to producer Janet Yang, (The Joy Luck Club, The People vs. Larry Flint), Ms. Yang signed on to act as executive producer of American Seoul. Yet after several years of unsuccessfully trying to find financing for the film, Grace decided to take her career once again into her own hands by writing an ultra-low budget feature film called I AM THAT GIRL. Inspired by true events from a few of her friends' stories, Grace wrote the script with the idea that she would self-finance the feature by using all the resources she had available. When her mother told her after her sister's wedding that she had money saved for when she wanted to get married, Grace asked her mother if she could use that money towards making her movie instead. With those jump-start funds and donations from friends and family through the help of the San Diego Asian Film Foundation, I AM THAT GIRL started production in late 2006.

From pre-production to post, Grace wore numerous hats on the set and off. Because of the nature of their ultra-low budget project, Grace embraced wholly the notion of D.I.Y. filmmaking. From casting, hiring the crew, craft service, contracts, costumes, set design, location scouting, make-up, buying the camera, renting the equipment, learning about lights, to learning how to edit, building the sound, building the website, making the poster/dvd cover, to color correction and so on- Grace learned more about filmmaking in the past two years than she did in the past ten. Her hands-on experience made her discover how much she enjoyed the process of filmmaking, beyond being an actor and writer.

Currently, Grace is working on several new feature length screenplays which she hopes to sell and/or produce. She is also a lifetime member of the prestigious Actors Studio. Some recent acting television credits include According to Jim, Frasier, and Jake in Progress.

http://www.iamthatgirlmovie.com

http://www.gracerowe.com

http://www.idylwildpictures.com

http://www.americanseoul.com

NATHAN SWISHER, Producer

Nathan Swisher is an independent producer who has worked in various capacities on projects ranging from low-budget shorts and features to epic studio trilogies.  Swisher was one of ten producers chosen to participate in Film Independent’s 2005 Producer’s Lab, after which he decided to pursue producing full-time. He has since served as Associate Producer on Jamie Babbit’s SXSW Jury Prize winning Itty Bitty Titty Committee, and produced Angela Robinson’s online web series Girltrash.

Swisher was also Production Coordinator on Charles Herman Wurmfeld’s The Hammer and Ari Gold’s Adventures of Power.  He recently worked on the Glamour Reel Moments film series, aiding the directorial debuts of Rita Wilson, Kate Hudson and Kirsten Dunst.

Swisher is currently in post on Fabian Marquez’s directorial debut, the short film Deuce Deuce; and on the ultra low-budget feature I Am That Girl, produced by Swisher and Grace Rowe, which will be screening at festivals in 2009.

Prior to 2005, Swisher spent a number of years at New Line Cinema in Post Production, managing all aspects of feature post and delivery on titles including The Lord of the Rings trilogy.

MICHAEL JAWORSKI, Executive Producer

Born in Westland, Michigan, Michael Jaworski has been a natural storyteller his whole life. He started at a very young age with the showcases and celebrity impressions that he would perform for his family and guests. He also developed a knack for short story writing, while also cultivating his deep passion for films. At twelve, the acting bug bit Michael when he started to perform for many prestigious Detroit area youth theatre troupes, such as The Young Actors Guild Theatre, and The Attic Youth Theatre.

In 1994, Michael received a full ride scholarship to study theater at Eastern Michigan University. At E.M.U., Michael studied acting, directing, and writing, and in 1998 he became one of the founding members of the Casting Couch Theatre Company. He also was recognized with a college career achievement award as well as the Best Student Director award for his work during the theater season. In addition, Michael received critical acclaim for his work as an actor and director in such productions as True West, Edmund, and A Lie of the Mind. In 1999, Michael received the Ann Arbor News Best Actor Award for his performance in Echoes.

He has since moved from Michigan to California, where he continues to act while continuing his pursuits in screenwriting. He makes his film debut as “Noodle” in I AM THAT GIRL. He continues his acting endeavors through his membership at the world-renowned Actors Studio, where he continues to work with such prestigious actors, writers, and directors, such as Martin Landau and Mark Rydell.