Sensei Production Journal

Diana Lee Inosanto, creator and star of THE SENSEI wins AOF Maverick Award

2011-03-17T13:46:00.001-07:00

There are a great number of reasons why Diana Lee Inosanto was named the Action On Film International FilmFestival’s 2011 Maverick Award Winner. None of these reasons have anything to do with who she knows or who
she’s related to. Every one of the reasons for her winning this year have to do with something she has accomplished,
for the work she has done and for the strides she continues to make. Here is a little information on the 2011 AOF
Maverick Award Winner.

Inosanto is the writer-director-producer and co-star of the critically successful, and popular festival film, "THESENSEI." In addition, D. Lee would work with Asian American theater companies, East West Players & LodestoneTheater Ensemble continuing to evolve as an actress and martial arts choreographer.

Reaching adulthood, Ms. Inosanto struggled as a young, single mom with an Autistic son. Eventually she met
her husband Ron Balicki, a former Deputy Sheriff turned Martial Arts Entrepreneur / Stunt Coordinator and nowProducer.

Ms. Inosanto made the most of her extensive training and successful career as a stuntwoman to learn directly onset about the “directing process” by watching and absorbing the techniques, strategies, and philosophies exhibited byA-list directors, like Ang Lee, John Woo, Barry Sonnenfeld, Chris Columbus and Clint Eastwood.

By the end of 2010, as an emerging director and writer on THE SENSEI, Inosanto would win
awards and accolades at film festivals like LA Femme International, Hoboken International,
Philadelphia Asian American Film Fest, San Francisco's Frameline, Germany's
Verzaubert Film Festival and New York's Newfest to name a few.

In order to make “The Sensei” a reality, Ms. Inosanto had to overcome manyobstacles, but as always, she perseverd and the result was a fantastic filmand a growing fan base for her work in fornt of and behind the camera.

So powerful was her message that the Asian American Justice Center will present
Ms. Inosanto with the American Courage Award this October 6th, in Washington,

D.C for her bravery and dedication to the cause of civil rights and use of incredible
creative aptitude to deliver the message of advancing social justice.
Moving forward, Ms. Inosanto co-produced with her husband, Ron Balicki, the
action thriller "SINNERS & SAINTS" starring Johnny Strong (Black Hawk Down),
Oscar Nominee Tom Berenger (Inception), Sean Patrick Flanery (Boondock Saints),
Method Man (The Wire) and Kim Coates (Black Hawk Down).

Ms. Inosanto has been accepted into the ALLIANCE OF WOMEN DIRECTORS,
sharing membership with other notable women directors like Catherine
Hardwicke (Twilight) and Kimberely Peirce's (Boys Don't Cry).

Diana Lee Inosanto is currently working on several projects
in various stages of development and will receive herAOF Maverick Award on July 30, 2011 at the 7th AnnualAOF Black Tie Dinner and Award Show.

Diana Lee Inosanto, creator and star of THE SENSEI wins courage award

2011-02-05T10:40:00.001-08:00

I am happy and proud to announce, Diana Lee Inosanto, the creator and star of "THE SENSEI" (released last year through Echo Bridge), has been formally invited to accept the Asian American Justice Center (AAJC)American Courage Award at our American Courage Award, this October in Washington D.C.

Diana was selected for this award
"because of the bravery you have
displayed by shedding light on issues of racism, bullying and homophobia
in your film, “The Sensei.”

Founded in 1991, AAJC is a nonprofit, nonpartisan organization working to
advance civil and human rights on behalf of Asian Americans and to build
and promote a fair and equitable society for all. AAJC is a nationally
recognized expert on issues of particular importance to the Asian American
community including affirmative action, anti-Asian violence prevention and
race relations, census, immigration and immigrant rights, language access,
media diversity and voting rights. As a member of the Asian American
Center for Advancing Justice, AAJC works alongside its affiliates—the
Asian Pacific American Legal Center in Los Angeles, the Asian Law Caucus
in San Francisco, and the Asian American Institute in Chicago—to enact a
sweeping range of programs on critical national issues that enrich,
enhance and serve our communities across the country.

Diana will join the ranks of past
recipients of the American Courage Award such as: Lt. Dan Choi, Iraq
veteran and LGBT activist who risked his career to stand up to the
military’s “Don’t Ask, Don’t Tell” policy; Mallika Dutt, Executive
Director and Founder of Breakthrough, who works to address critical issues
such as violence against women, sexuality and HIV/AIDS, racial justice and
immigrant rights through today’s media and popular culture; Susan Ahn
Cuddy, the first Asian American woman to achieve the rank of officer in
the U.S. Navy; Major General Antonio Taguba, who showed courage in his
reporting on Abu Ghraib and worked to obtain recognition of Filipino World
War II veterans who served in the U.S. Army; Anna Deveare Smith, an
African American actress/playwright and Stanford University professor who
helps illuminate race and religion; and Lou Diamond Phillips, actor and
Filipino Veterans rights activist.

Congratulations to my friend and former director!!! Proud to be able to call her both!

The Sensei in London

2010-04-14T14:01:00.000-07:00

THE SENSEI - screening in LONDON

THE SENSEI screenings in LONDON May 29-30th, part of SENI

EXCEL LONDON
One Western Gateway
Royal Victoria Dock
LONDON

http://www.spiritwingchun.com/events.php

reviewed

2010-03-31T09:08:00.000-07:00

REVIEW: ‘The Sensei’

By Albert Valentin | Published March 21, 2010

Very rarely does a martial arts film tend to be emotional in the vein of bringing out a positive message. While films like THE KARATE KID (1984) and BEST OF THE BEST (1989) bring out a message about self defense and teamwork, this 2008 martial arts drama gives a positive message about civil rights and the courage to fight for who you are during the 1980’s.

The “sensei” of the title is a woman named Karen O’Neill, played by writer/director Diana Lee Inosanto. A Japanese-Filipino-American, she returns to her hometown of Summersfield after a falling out with her family over her rank as a black belt martial artist. She has made amends with most of her family, with the exception of her brother Simon (Tim Lounibos), who still feels she has somehow disgraced the family with her rebellious attitude.

Meanwhile, McClane Evans (Mike O’Laskey), a teenager has been pratically ousted by everyone around with the exception of few because he is a gay teenager who lost his best friend. Feeling conflict not only with local bullies but himself as well, an incident after gym class leaves McClane in the hospital. McClane’s mother Annie (Gina Scalzi) asks for Karen’s help in teaching McClane self-defense. At first, Karen is reluctant, but she eventually takes him in as a student.

McClane and Karen not only become master-student, but friends who possess something in common: the loss of a loved one. When McClane finally stands up to the lead bully who was responsible for his hospitalization, word breaks of Karen’s teaching McClane. It is not long before Karen’s family begins to feel the pressure and get ousted by the townsfolk. However, a shocking revelation may prove to be a factor that not only brings Karen and McClane closer but Karen and her family as well.

The film was set during a time where the AIDS epidemic was on a high rise and people came under the generalization that only homosexual people were akin to the disease. For writer/director/star Diana Lee Inosanto, it was a chance to bring a positive message to break the stereotypical banner while showing that she has the ability to film a martial arts drama. According to Inosanto, the film was influenced by the murder of teen Matthew Sheperd in 1998 as well as the coming out of her cousin and it took seven years to get the project off the ground. The final result is truly worth the wait.

The daughter of Filipino martial arts legend and Bruce Lee student Dan Inosanto, Diana definitely has some martials arts skills and possesses some really good dramatic skills as well. While she has the makings of a talented independent director, she could still brush up a little on her screenwriting in terms of its dialogue. There are times when it seems there is some unnecessary foul language. Maybe it is because she is trying to display the behavior of teens in that era or perhaps, it posed as a set up for the action scenes.

The student, McClane Evans, is played by Mike O’Laskey, perhaps best known for his role as Colt in 3 NINJAS: HIGH NOON AT MEGA MOUNTAIN (1998). A martial artist himself with black belts in Karate and Tae Kwon Do, O’Laskey was able to adapt well when it comes to on-screen fighting, especially in the few big fight scenes he has in the film. O’Laskey also does a good job in the dramatic department as a teen whose sexual orientation makes him an outcast, but also a victim of bullies.

What stands out is the relationship between Karen and McClane. Reminiscent of THE KARATE KID’s Daniel and Miyagi, Karen and McClane soon feel a deeper bond when a major incident reveals a shocking twist to the film. McClane at one point tells Karen that he wished he had met her sooner before the tragedy that fell upon him. Like many friendships, Karen and McClane hit a few bumps but they stick it out until the very end.

Veterans Sab Shimono (TEENAGE MUTANT NINJA TURTLES III) and Emily Kuroda (YELLOW) play Karen’s grandparents, who feel they are at the center of the conflict that emerges between Karen, McClane, and the townsfolk. Despite having top billing for the most part, Keith David (THE FIFTH COMMANDMENT) and Louis Mandylor (MARTIAL LAW) have mainly cameo appearances as a minister and Karen’s ex-fiance, a boxing champion who goes through a very tragic experience. Even martial artist extraordinare Erik Betts brings in a non-action role as a very influential character in Karen’s life as is RUSH HOUR’s Tzi Ma as a Buddhist priest who teaches Karen a life lesson in a memorable flashback.

Inosanto’s husband, martial artist Ron Balicki, did well as the film’s stunt coordinator and fight choreographer. O’Laskey and Inosanto shine when combining Jeet Kune Do, Filipino Kali, and Jujitsu. O’Laskey even gets to add a little taste of Muay Thai and in a demonstration scene, a little bit of perhaps either XMA (Extreme Martial Arts) or Capoeira. There is plenty of blood but not in the vein of NINJA ASSASSIN (2009) but enough to show injuries and even a subliminal sense of sodomy during McClane’s assault. Nevertheless, like BEST OF THE BEST, there are few action scenes but they were well done and shot with minimal quick cuts and close ups.

THE SENSEI is truly an emotional martial arts drama, one that truly needs to be seen because of its positive message of civil rights as well as seeing a future star and filmmaker in the form of Diana Lee Inosanto. Should she decide to do another film, one only hopes she can belt out something as great as this film which can bring someone to tears once they get into the film.

REVIEW

Publicity for THE SENSEI

2010-03-16T13:11:00.001-07:00

publicity links as THE SENSEI continues with momentum...maybe you have websites, FB SITES to add this to, to get the word out...

http://vjnet.wordpress.com/2010/03/03/the-sensei-say-karate-kid-is-gay/

http://www.google.com/hostednews/canadianpress/article/ALeqM5hsJl5Atg4K7Wz1i5AAffSEhfiO3g - "The Sensei" is on this list!

http://blog.ctnews.com/evans/2010/03/10/the-sensei-a-martial-arts-movie-which-teaches-tolerance/

Blip TV (main show site): http://theindiemusicshow.blip.tv/

CNN iReport: http://www.ireport.com/docs/DOC-419965

current.com: http://current.com/items/92319459_interview-with-diana-lee-inosanto-director-of-the-sensei.htm

YouTube: http://www.youtube.com/watch?v=-_DhKZ_G5p0

PirateBay (without the trailer): http://thepiratebay.org/torrent/5434405

DailyMotion: http://www.dailymotion.com/video/xckj61_interview-with-diana-lee-inosanto-d

Livestream: http://www.livestream.com/indiemusictelevision

Mevio: http://theindiemediashow.mevio.com/

Vimeo: http://vimeo.com/10146808

VEOH: http://www.veoh.com/browse/videos/category/entertainment/watch/v19907481SYfdFEqM

Myspace Video: http://vids.myspace.com/index.cfm?fuseaction=vids.individual&videoid=&release=104407639

Casey Kaczmarek
Nine-Thirty Consulting
Media & Public Relations
West Hollywood

"The Sensei" interview with Diana Lee Inosanto on CNN iReport

2010-03-14T17:38:00.000-07:00

Blip TV (main show site): http://theindiemusicshow.blip.tv/

CNN iReport: http://www.ireport.com/docs/DOC-419965

current.com: http://current.com/items/92319459_interview-with-diana-lee-inosanto-director-of-the-sensei.htm

YouTube: http://www.youtube.com/watch?v=-_DhKZ_G5p0

PirateBay (without the trailer): http://thepiratebay.org/torrent/5434405

DailyMotion: http://www.dailymotion.com/video/xckj61_interview-with-diana-lee-inosanto-d

Livestream: http://www.livestream.com/indiemusictelevision

Mevio: http://theindiemediashow.mevio.com/

Vimeo: http://vimeo.com/10146808

VEOH: http://www.veoh.com/browse/videos/category/entertainment/watch/v19907481SYfdFEqM

Myspace Video: http://vids.myspace.com/index.cfm?fuseaction=vids.individual&videoid=&release=104407639

Reviews coming in for THE SENSEI

2010-03-10T16:38:00.001-08:00

The Sensei Presents a Spiritual Journey Worth Exploring
The Sensei Presents a Spiritual Journey Worth Exploring
By Raymond Horwitz

Diana Lee Inosanto and Michael O’Laskey star in The Sensei.
(Art courtesy of Echo Bridge Entertainment)
While many martial arts films focus on moving the audience through a series of flashy fight sequences set on dark city streets, questionably lit competition halls or picturesque pagoda-peppered locales, The Sensei is not a typical martial arts movie. Written and directed by Diana Lee Inosanto—daughter of martial arts legend Dan Inosanto and goddaughter of Bruce Lee—the movie features a conservative Wyoming town as its backdrop and tells a compelling story about people, prejudice, family, faith and fear.

Set primarily in 1985, the film’s two central characters are Karen O’Neil, who is deftly portrayed by Inosanto, and McClain Evans, a gay teenager played by Power Rangers alumnus Michael O'Laskey. In a somewhat predictable plot setup, Evans is bullied by high-school jocks. What isn’t so predictable, however, is the film’s portrayal of the brutality eventually inflicted on Evans, which is communicated on-screen in Hitchcock-like fashion. The film foreshadows the impending trauma without actually showing it, allowing what’s not seen to be more horrific than what is.

Regardless of whether one can see what happens, what happens to Evans qualifies as a worst-case scenario. This prompts Evans’ mother to seek help from O’Neil, a gifted martial artist whose family runs the town’s martial arts school. She agrees to provide Evans with private lessons in an old barn, where she teaches a variety of martial arts to the socially and physically awkward teenager. There’s a montage with a wing chun-style wooden dummy as well as throwing, kicking and striking drills. Evans’ physical skills and self-esteem improve dramatically as time passes.

So far, this sounds like familiar territory: an underdog-finds-help-and-fights-back story similar to a re-imagined version of The Karate Kid with inverted gender roles.

Despite this demographic rearrangement of the cookie-cutter premise, however, The Sensei’s similarity to such now-trite formulas ends here.

The film not only exposes gay bashing in the high-school locker room but also explores the dynamics of O’Neil’s conservative Asian family and their interaction with the town’s predominantly non-Asian population. Adding more complexity to the equation is the fact that O’Neil and her several brothers come from mixed ethnic and religious heritage. “I was raised by a Filipino Christian grandmother and a Japanese Buddhist grandfather,” O’Neil says. “It was a weird combination.”

Eventually, O’Neil’s family learns that she is training Evans in secret. This development does not sit well with them, and they move into damage-control mode. Evans is a gay teenager whose former partner was killed by town bullies—and in 1985 Wyoming, having their school associated with such a perceived undesirable is considered tantamount to professional suicide.

Allegorically, this concept of suicide extends beyond the professional world and into the medical realm, given the prevailing and often erroneous attitudes of the day about the transmission of AIDS. And while this theme is not fully explored in the film, it is definitely a subtext played with subtlety thanks to Inosanto’s keen writing and directorial choices.

Adding fuel to the conflict fire is the fact that O’Neil is teaching this ostracized gay student because she had been passed over in black-belt promotions due to the school’s conservative tradition of only promoting men. Her various acts of rebellion, told in brief yet effective flashback sequences, paint a picture of long-standing strife as O’Neil seeks peace with her place in the school hierarchy and her position as the proverbial black sheep of her family.

This complex backdrop, while perhaps plodding on paper, moves along at a surprisingly brisk pace thanks to its focus on tight editing and character-driven storytelling rather than on setting up the next fight. And while the film does feature several fight scenes, they serve to move the plot forward rather than the genre-typical reverse.

Ironically, it’s the martial arts sequences that raised my eyebrow at a couple of spots—perhaps because they were supposed to depict more true-to-life fighting rhythms than staged ones, or because the staging and editing weren’t on par with the film’s very strong dramatic narrative. However, because these sequences are peppered in sparingly for specific plot-pertinent purposes, they do not detract from the overall experience.

The Sensei is really about the characters’ internal fights, and the physical fights between them externally are vehicles for depiction and plot momentum. Family relations are strained, allegiances are tested, devastating secrets are revealed, and preconceptions about people labeled as “other” (often by men and women considered “other” themselves) are challenged—and this could all be laborious drivel without the catalyst of physical conflict, which Inosanto uses as color in her storytelling palette rather than a means to an end.

For a film written and directed by a martial artist, titled with a martial arts term and featuring martial arts as a narrative thread, The Sensei isn’t so much about a teacher-student relationship as it is about the often-ambiguous art of living life and continuing to walk forward in the face of fear, anger and heartbreak. The martial arts component is the backdrop, the vehicle for telling this story of the human condition in a particular time and place.

Across multiple viewings, I was moved emotionally at the same plot points each time, which serves as a testament to the performances by the actors, the thoughtful script by Inosanto, the film’s score by composer Dean Ogden, some beautiful cinematography by Mark Rutledge and editing choices by Reine Claire. The elements coalesce like a well-structured piece of music, knowing when to splash color, crescendo and retreat.

As a minister played by Keith David (recently seen in the film Crash) says during a pair of scenes that bookend the film, “Life is the sensei.” And this snapshot of life in a small Wyoming town is richly animated by invested performances from a passionate cast, including Louis Mandylor (Martial Law; My Big Fat Greek Wedding) as boxer Mark Corey; Tzi Ma as an ultra-serene Buddhist monk; Sab Shimono as O’Neil’s grandfather Taki Nakano, head of the town’s martial arts school; and his wife Flora Takano, played with honed comic timing and emotional sensitivity by Emily Kuroda.

The Sensei is a spiritual journey that presents a surprisingly complex yet successfully intertwined array of dilemmas, questions and crises as it bravely delves into some of the darkest reaches of the modern human condition: prejudice, fear, sexism, racism and homophobia, among others. And while a bit heavy-handed in its execution, the film’s overall delivery—and the moments when its elements truly harmonize in heartbreaking fashion—make the journey well worth taking.

(The Sensei is available on DVD, iTunes and various cable services. For more information, visit the senseimovie.com. Or for more martial arts entertainment, check out our Black Belt Shop.)

THE DAY HAS COME

2010-03-09T12:17:00.000-08:00

THE SENSEI is available for purchase on DVD at Amazon.com now! Additionally, the film is now released digitally through multiple platforms including Netflix.com,Amazon .com, Blockbuster.com, CinemaNow.com, Dish Network, EchoStar, iNDemand, COX ONDemand, Time Warner Cable ONDemand, Comcast Cable ONDemand and iTunes.

DVD Release Party and Screening

2010-03-07T12:10:00.000-08:00

ON DVD MARCH 9th, 2010

2010-03-04T18:41:00.000-08:00

Matthew's Place cast interviews

2010-03-01T08:46:00.001-08:00

for the rest of the interviews visit:

http://www.matthewshepard.org/site/PageServer

Interview with Gina Scalzi who plays Anne Evans in The Sensei
By Jason Marsden, Executive Director
(I have edited out some of my 'Rainman' moments - not to mention, wow, I'm an adult woman who says "you know" alot)

J: Hi Gina.
G: How you doing?

J: I'm well thanks. How are you?
G: I'm really good.

J: So this is a great movie. I was, I was able to watch parts of it. Thomas told me what the key parts were for the interviews I needed to do and I was sitting there sort of watching and thinking about high school in the late 1980's and how familiar it all sort of seemed and obviously it' a dramatic presentation of, of the kind of bullying pressures that kids who are different from the mainstream kids end up experiencing. But it really, it wasn't that far from how -you know-, how I remember going to a rural high school in Wyoming when I was, when I was growing up in the late 1980's, so… I don't know did it, how did it, did it ring true to you on that level?
G: I've gotta say I was really lucky, I grew up in an academic situation. My parents were both professors and I later went to Oberlin which is really open in general to diversity. And so I was really kind of protected in a lot of ways. So when I got this part I did a lot of interviews with a lot of moms and particularly moms who had actually lost sons to AIDS because that was the time frame this film was in; people weren't surviving AIDS, people were dying of it. And families -you know-, coming out to your family meant so much -you know-, just profound a declaration. So I really wanted to do my research and talk to women who have been through it. And what was really striking to me was as I did, I had not realized how many Gay kids would kill themselves to avoid coming out. And I read the scripts and I really loved the script, just kind of as an actor. I really loved what Diana was trying to say. But it was when I started talking to these moms when I really understood the impact and how true the script was playing to that time in America, to that time in our history. So yeah, it really did ring really true to me - the more and more I learned about, the more it rang true…

J: How did the moms feel about, about a project like this or maybe did they, are they noticing that there's more, much more inclusive sort of media portrayals of LGBT people and LGBT youth in particular out there than there was?
G: Oh they, oh they absolutely, they absolutely realize. (Rainman moment there, sorry). What I did was, I got in touch with the people, the PFLAG groups. In Colorado, but also in New York, also through my friends who's parents are apart of PFLAG. I asked them for help and I got through to their groups and I kind of sent out this email or sent out calls or made personal (inquiries) 'if you have anyone that wants to talk to me I'm making this film and I really want to try to be respectful and do it right'. And the thing about the moms is that these are moms about as subversive as any body else's mom. These were, I mean, I met woman and talked to woman who -you know- all of them reacted, but none of them reacted exactly the same to their son's coming up. None of them reacted exactly the same way to finding out their child had AIDS. It was, it was a broad spectrum of reaction. And what I really loved, one of the moms said that she had rejected her son and he had kind of crawled away to die. And after he was gone it was she who nursed his lover until he passed. And, and what I love is that she said " I didn't know". She grew up in a Mormon town. She had no role model for this. She had no idea how she was supposed to react -you know-. She had no way of knowing and she horribly regretted not just listening to her heart and doing what she personally felt she should do. She did what she thought she was supposed to do and she regrets it and she's so happy that now there are more portrayals that are one - truthful but also they kind of set up some role model of acceptance even just for moms and dads. So I thought that was really glorious because this was a woman who didn't know me from Adam, who was willing to kind of put out her flaws in front of me to, to really examine and consider. And I think that was important, particularly for my role, because my role is not,... she's not a perfect mom. She's a well intentioned mom. But she is not the perfect mom by any stretch of the imagination. -You know- a very, very young mom in that time period, who would have no idea really how to, how to actually deal -you know- where to go. And there was -you know-, there were so few places for them to go.

J: Well though the idea of showing an imperfect person trying to deal with an imperfect situation turns out to be really important because we all are imperfect and…
G: Well absolutely.

J: Makes it seem like that, things like Glee and all the other mainstream portrayals of LGBT people, the really powerful ones show the parents wrestling with it and not handling it perfectly so that… I think that in a way it gives parents permission to be imperfect and just do their best.
G: Right. Because I think that's the reality for all parents. I mean my parents didn't do everything perfectly but -you know- they did their best. But it's, I think it's just really good to have [that protrayal]; to not like push it away and put it behind a curtain and really examine in all its facets. Of how to deal.

J: So the film has a lot of different messages. I mean on one level there's this you have the right to defend yourself message which almost… Almost masks the you have the right to be comfortable with who you are inside your soul before you even hit the gym and learn how to punch someone.
G: Well that's, that's yeah, that's part of it isn't it? You can't really defend yourself until you consider yourself worthy of defense.

J: Yeah. Do you, do you feel like are people going to get that? They're not going to just see this as "a it's really important to know martial arts in case the bully picks on you". I feel like, I certainly hope they get the underlying message. It's, it's definitely there.
G: I think they will because [well] I think that certainly there will be people who come to this film because this is Bruce Lee's God daughter. "Oh my God, she's so awesome. Her father's so awesome. I want to see her kick some ass". But, and Michael, who plays McClain is just such a beautiful martial artist to watch. He's just [so gracceful], it's just so beautiful to watch. It's just on a visceral level you're like "wow, this is awesome". But I really do think, particularly the way the film is set up, is that you're really attached to these characters. You invest in them as humans. It's not like we're going to be getting McClain action figures. I think, her intention is pretty there, I mean I think it's relatively settled. But I think it's pretty clear from the beginning, where we are and what this film is. And her intentions are really too; to change minds quietly.

J: Did you come away with any different feeling about how you, I don't know what your family situation is, if you're parent or if you have nieces and nephews or if. Anything like that, but in terms of dealing with vulnerable youth or youth that are questioning their identity or how they fit in, did you come away feeling a little differently with how you would approach that versus going into this before you talked to all those mothers and so on?
G: Well I've got to say after, after talking to the mothers, I really understood kind of how far we come as a human race when we allow our love to evolve through tolerance. And that is certainly a huge [concept], I mean that, that can be reinforced daily. I mean we can all use that in all things. And -you know- as, as a person part of a family I see how -you know- my mother's generation deals differently with a cousin's who's Gay or a cousin who's different. Particularly as I'm very Italian and my family, my mother's family is very Roman Catholic, and to see kind of how, how we've evolved as generations come up as far as tolerance, as far as acceptance, and as far as how much that improves our love, our personal love for each other. And I think that alters the way I approach my own family and the things I expect of my friends. When my roommate came out she was really concerned because no body in my nuclear family is Gay and she was like "you know I was really sad to tell you, I was really worried to tell you". And I was like "wow, there's no reason for you to worry because I love you, period"

J: Gina I think that, I guess the only other question is the take away you'd like audiences to come away from this film thinking about maybe and you mentioned families and the interesting thing about this is this is both the sort of bad guy in this film and McClanes character are fatherless and or have -you know- incomplete family backgrounds and I grew up with a single mother and I hear you about parents being scared of doing the wrong thing. Do you hope or do you feel there will be a take away that even if you're a single parent struggling with raising a kid that is different or is having trouble fitting in that they still have the, they still have the ability to, to send the right message and make a real difference?
G: Oh I hope so. I hope what they see from Annie and McClain's relationship is that ultimately no matter how flawed she is and ultimately no matter what he's been through it is their love that keeps them together as a family. And that love is her catalyst,... it is her love for her son that is the catalyst for making all this happen. For her approaching this woman who she knows is the only person who can teach her son to save his own life. And yeah, I would like that to be the take away that ultimately love is, love and tolerance is what's going to get us through and help us evolve.

J: Great. Well thank you very much I'll, I'll let you go.
G: Great.

J: And hope this is a huge success. We're really, really grateful you took the time to talk to us for Matthew's Place.
G: Well thanks for all your help. You guys have been awesome.

J: It's our please. Thanks.
G: And an inspiration.

J: Great. Thank you!
G: Thanks!

J: Yup, take care.
G: Okay, you too. Buh-bye.

Coming March 9th

2010-01-15T15:57:00.001-08:00

The Sensei Release Date

2010-01-07T12:59:00.000-08:00

THE SENSEI will commerically be released March 9th, 2010 through Echobridge Entertainment. Aside from the DVD Release it will have in stores around the country (like Walmart), the outlets where you will find THE SENSEI, will be through Pay Per View on Demand (Dish & Direct TV), Video On Demand (Comcast, Cox Time Warner), and Internet release (Blockbuster. com, Amazon.com, CinemaNow.com, I-Tunes.com, Netflix.com).

2009-06-26T12:14:00.000-07:00

Congratulations

The SENSEI has been picked up by ECHO BRIDGE ENTERTAINMENT

THE SENSEI screens in Germany

2009-06-02T12:16:00.000-07:00

From Germany to New York

The Sensei screened to glowing reviews as part of the Verzabert Film Festival in Germany, with screenings in Munich, Cologne,Berlin, and Frankfurt, receiving 5 stars out of 5 from one critic!

Having just returned from Europe myself, I now will commense on rehearsals for "Moonlight in Escabana" at Center Stage. Openning night July 10.

But before live performance begins, THE SENSEI will be screening in New York, May 22- June 2. Diana Lee Inosanto and Ron Balicki will be there for a personal appearance on June 2! Screenings will take place at the Jacob Burns Film Center.

2008-10-27T07:51:00.000-07:00

recent articles covering "The Sensei"

Look for the new issue of A & U Magazine. Thanks to our publicist, Casey Burns, I will be on the Front Cover, discussing The SENSEI

http://nwasianweekly.com/2008_2744/pages/sensei.html

Sherri Lewis
STRAIGHT GIRL IN A QUEER WORLD
http://heretv.com/APodcastDetailPage.php?id=23
Posted by g0 at 10/27/2008
humanitarian endorsements

newly endorsed by:

Safe Schools Coalition, & Families Against Hate.
Posted by g0 at 10/27/2008
Sensei -- nominations and wins

WINNER -
La Femme International Film Festival, BEST FEATURE FILM WRITER

WINNER -
Philadelphia Asian American Film Festival, HONORABLE MENTION for Best Feature Film

WINNER -
Hoboken International Film Festival for BEST FEATURE FILM WRITER
Posted by g0 at 10/27/2008
10/24/2008
The Sensei, continued acclaim

Following a Spotlight screening at Image Out and an official selection at Action Out and Le Femme festivals, THE SENSEI achieved honorable mention in the feature film category at the HBO sponsored Philadelphia Fest! Congratulations Diana Lee!

PPLFF screening

2008-10-05T16:21:00.001-07:00

San Francisco -- Frameline Film Festival

2008-10-05T16:05:00.000-07:00

NY Premiere

2008-10-05T15:55:00.001-07:00

PREMIERE

2008-09-13T16:24:00.000-07:00

MAY 2008 and "THE SENSEI" will be have its official Premiere at the LA Asian Pacific Film Festival, at the Writers Guild of America on Sunset. It's a reunion, and an event. We make our way down the red carpet, (Mark throws himself into the fray at the last minute, producing the finest of the cast shots) we pose and answer questions for press, pose with the celebrity guests, and make our way in. There is an overflow audience and people, 150 we are told, are turned away. At her introduction Diana says "I hope none of them were my family". The screening produces laughter and tears, and not a few gasps in the violent scenes. There is cheering as the credits role and an ovation as Diana makes her way to the podium when the lights go up. WHAT A RIDE!!
VIP lounge is packed afterwards and after the press interviews there is celebrating for all.

Rainbow Alley

2008-09-13T16:07:00.001-07:00

Diana, Ron, Joey, Tarik, invite us to attend the screening of the film for a benefit "Untitled Film Festival" for Rainbow Alley -- a facility for young GLTB kids that is part of the Matthew Shepard Foundation. They have already had a benefit lunch for the film in LA, as well as official endorsed it, so there is a great turn out of cast and crew for the screening. Jon Camp pops up with a shockingly blond mohawk, I babble during the Q&A, but it is a great audience with lots on interest and questions and admiration. This screening comes on the heels of a screening in Alaska for the World Aids event there, and there are some audience members who followed it here. I am amazed!!!!

a letter from the tundra

2008-09-13T16:00:00.000-07:00

12/2/07 4:32am
Hello Sensei Team,

I am in Anchorage, Alaska. I showed the film tonight for World AIDS
Day here (for what I thought would be a small group of people), and my
hosts were able, a few days ago, to put an advertisement of my film
onthe website of the Anchorage Intl' Film Festival that is going on
simultaneously right now--so we were able to piggy back on top of this
film festival.

I am happy to report, it was a packed house at a movie theater that
sits 120 people (over 111 people)--very mixed and diverse crowd
(straight, gay, Christian, Jewish, martial artists, White, Black,
Asian, Hispanic--huge spectrum).

They laughed,cried, cheered,yelled out loud during the fights scene
and clapped, laughed and cried some more and when the film was
done...they gave the film a standing ovation!!! They loved our
actors, they loved the production and said a huge "Thank You for
making the film"--they loved you guys!

Diana

ADR and MORE

2008-09-13T15:46:00.000-07:00

A couple months later we are together again for ADR. My time in the studio is with Joey and Diana. I drop my MQ mobile in the toilet at LAX the night of the GGawards getting back to LA. I feel naked driving around LA without it. I tell Ron the story and he seems almost as upset as I am about it -- I've just gotten the thing. Get to get caught up with Dora, who's been traveling all the world with work. Diana shows me the image files on the article featuring her work on "The Sensei" as a female filmmaker in MORE magazine. By the time it comes out, she's made the cover.

The Wrap Party

2008-09-11T19:11:00.000-07:00

It is easy to imagine that there is little in the journal this night. Joey is talking about cutting his hair, I am planning on my triumphant return to my natural raven. All the pretty girlfriends are introduced. Lots of kissing and hugging and "I love you man"s to go around.

But there is a special story to tell.

We have celebrated into the night and boyfriends and girlfriends are beginning to trail off, family men returning home, friends with early calls tomorrow reluntantly leave. Diana and a couple of us make our way our from the club down Hollywood Blvd. We are on a bit of a quest that I am only remotely aware of. Come to the sacred place of honor. The girls take their shoes off, right there on the Hollywood Walk of Fame, and stand in celebration - on Bruce Lee's, "Uncle Bruce" as Diana knew him, STAR.

My LA scenes

2008-09-11T18:08:00.000-07:00

We shot the Black Belt scene over nearly a week at a dogo in Thousand Oaks, and this time, not only did "The Sensei" family show up, but the extended family of wives and husbands and fathers and mother pop up. Most notable, my knees go completely weak just watching Dan Inosanto walk on set. I'm standing next to his son, who is a cutey face himself, as he walks in and I am not sure he really can read the "I can't believe that is your father" in my eyes. That man has presence. I am starstruck I am hardly a martial arts efficianato. I think I mentioned -- demented ballerina in stunt class. Much better with a sabre wearing tights, but that's another production journal. Tim's daughter is dancing around and Hannah is heartbreakingly sweet in her close up. Tarik is visuably proud of her. Dora is telling me about her ever interesting travels with work, Arlene is a nut and we have a little too much with my hair piece. Even Victor gets a shot in the Black Belt scene. I get the silliest fortune cookie fortune that reads "you are not illiterate". Ron and Joey are practicing quietly between takes the takes going on inside. They are interrupted when their exercise is paralleled by two crew members who prove that training in martial arts is necessity to appear cool while fighting. Or wrastling. Or whatever it was they think they were doing

A notable addition to the crew; Dominic. His sister is also named Gina and he knows all the nicknames that really irritate me most. He of course employs everytime he gets within earshot of me. Butthead. I get to meet Joey's sister and his dad. Zackary is running around and it is all very happy and family and fitting for out last days of photography. . But more to the point, this scene. This blackbelt scene is killer. TIM is KILLER. I am a ball of sentimental sap. Pathetic. It closes the circle -- figuratively and literally. And Diana is BEAUTIFUL. Blessed, blessed, blessed days. We wrap a few set ups later just at midnight, and Diana gives a toast to hard work, good intentions, and gratitude for a hard fought journey completed. THE SENSEI is a WRAP!

Back to Sterling

2008-09-11T17:53:00.000-07:00

...and back to Sterling. Revisiting the hospital scenes, Karen's re-entrance to her hometown. A couple of street scenes for Joey. Mitch is here, Mark is back behind the camera, Mark Grove is making sure all is on line, and Victor is snapping away behind his Canon.

Joey is wearing a head bandage for a couple takes. This I tease him about ceaselessly. Noise an issue, then we shorten the script. Limited time in here.

The joys of independent film. Terror and panic.

pick-ups in Colorado

2008-09-11T17:38:00.000-07:00

My hair is still this henna pot-smokin auburn and since we left Sterling I've been able to meet up with Diana, Ron, and Joey to take a look at some rough edit.

Now it is time to revisit a few scenes for pick-ups in Colorado, and it feels like a reunion. Much has happened between, but it all seems very familiar. My grandmother has pasted just a few weeks ago, and the night before I pop up on set at the Denver Buddhist Temple, I have landed at DIA from Florence International. I'm still mourning real Italian coffee, and all of Italy generally, but it is Tzi Ma's scene, and I am a bleary-eyed fly on the wall.

Colby is here with us (of course) and jealous of my pictures of La Cinque Terra. I am jealous of his lack of jet lag...

Last day in Denver locations 2006

2008-08-24T19:44:00.000-07:00

Keith David flew in from Thailand for the scenes today. Shooting inside a warehouse, the openning and closing scenes that sandwich the flashback that encapulates the plot itself. It's amazing to see a man blurry-eyed and jet-lagged so on-point the minute the camera rolls. A priviledge to be on set. Ryan and Mark are skinheads. Funny to see Ryan with his mohawk. We did the short that was just screened at Tribeca and his character (and personality in general) is so opposite this thug he's playing today. I sent him an image of a frog with a mohawk after we completed that shoot, so it's funny to see him like with the do for real!! Melissa Taylor on set as Keith's sister. On my way off set I give Ryan a friendly kiss goodbye and Keith asks if he can have one! HAVE mercy!

2008-08-24T19:33:00.000-07:00

Tim and Sab

lovely James aka "Batman"

AIDs Day Scene

2008-08-20T18:55:00.000-07:00

CRAP!! as the original schedule was condensed – no wonder, I feel it flying by. Saw some guys last night in Denver – Cesar, Tim, Mark, Jason. Nice mojitos. Back in Sterling for AIDS DAY. The the AIDS DAY EVENTS, family shots, and exhibitions. The exhibitions are pretty amazing – Joey and Chad a highlight and James a surprise in his lovely sarong. Personal note – tease him mercilessly for the rest of his life… Madeline’s kids are running around, cherub-faced, Zack is here as Brenda and Gary’s son – perfectly cast with his surprising blond hair. Jon has scenes later so he’s here early to show off his shiner, from a little mishap during the cafeteria scene. He seems a bit proud of it really.

Spice and Ace here. Spice has returned from testing in martial arts and is black and blue all over… I’d hate to see the other guy though. She and Ace do some sparing. Kids from the local school exhibit some stuff. Don’t have as many extras as hoped. (Part of that shortage has an insteresting story attached, about residual prejudice and fear). Some dialogue is included to justify it. Sterling is pretty remote.

I put the gray in my hair. Joey’s hair is pulled off his face and Jeff is here as Matthew – he tells me Matthew is in non-profit – very sweet guy. Arlene wears a bob-cut wig. Heather Soon plays the adult Amy.

We are told about the reschedule for the black belt scene in LA….
I shoot three other films this summer but all are smaller roles. Call Kent about keeping the auburn until our pick-ups are over. He makes the calls and gives me the thumbs up. I commit. These people have been so great. Scene of Nora and Peter flirting on the street next. Keri and Mike dance in the rain.

Then pick-ups on the scene Joey hates, back to the trailer. The light is not a beautiful sunset, but at least no one decides to beat their wife this time. I mourn the loss of the amber glow but find it interesting replaying it now. Apparently there were sound concerns with the earlier footage. Screaming police sirens and domestic abuse perhaps? Vanessa puts socks on my cheap boots that are clinking along the street – Ironic -- I have no socks on inside of the boots, as usual.

Dinner, and watched Joey being chased down every street in Sterling while Jon and Cesar did their scene in the jail. Vanessa telling me about how she clearly heard her name uttered by what must have been a ghost at the reputably haunted South Denver High School – with verification by Tarik. Then, after we dodged rain, sitting in my filthy, I've been living out of this piece of crap, stuffed to the brim now beaten with hail, car listening to AC/DC, got to hear how some local kid killed a bunch of people and had to live in this tiny cell in solitary confinement for a year, from Jon. It’s like we’re telling ghost stories at camp. Got a chance to talk to Jefferson and Jason. Weather looming – lots of brilliant lightening.

The Surf for the rest of the night – until 3am – the three nasty boys making fun McClain, getting geared up to kick his ass. There is snoring during one take. Ace denies it’s her. Walking dead. Said goodbye until LA. Back to the hotel – meet up in Denver for a movie at Red Rocks before Tim and Brian leave (I use the word “obtuse” incorrectly in the car and he emails me from home with the correct definition – I accuse him of being derisive, this is not a game I can win)-- The exodus back has begun. Parting is such sweet sorrow.

2008-08-20T07:11:00.000-07:00

Germaine, Victor, Liz, Bryan between set-ups

Joey and Jonathon Camp (BFFs)

Emily Kuroda, Michael Hake, between takes

Ugly explaining the dangers of dog-fighting to Sab

Jimmy and Sean

A day at church

2008-08-20T07:00:00.000-07:00

Have had an eventful time off for the 4th – brother has been attacked not once but twice by different dogs, both who bite him pretty severely. One of the bites has become infected and it’s moving up his arm. Church is just around the corner from his place, so after a night of playing nurse, walk on over to the day’s shoot. Long day in the church, no dialogue, but some great actors there. Hanna is jumping around, I meet Germaine, who lives up to his name somehow and is reading Freud between takes. The sermon is said over and over, and even after I am off camera and my close-ups are done I get a tongue stuck out at me from “George” (Michael Auteri) who is quickly reciprocated. Joey and I walk down the isle, me dragging him by the hand, a half dozen times. What WAS this poor woman thinking bringing this kid to church?! Pollyanna denial, I suppose. My thoughts are that she’s thinking maybe if they just show up there as if it’s fine, it will be… but he places them, with a deceptively benevolent smile, in the front pew. Brutal.

One of the extras says he’s seen me on tv. It’s the hot tub commercial I think to myself… everyone seems to remember the hot tub commercial. The guaranteed 100 extras promised are less than hopes for. Tarik and Ron scrabble and make it work.

Get to see Arlene, who shares my agent. Her brother pops up and then mine follows suit, after passing out while having his dressing changed by the hand specialist. He walks confidently, if a bit wobbily, right through the scene. Sab comes to ask him what’s happened, Jimmy and Sean say hello, voice their concern and sympathy as musicians. Gian can’t get over Emily singing “Amazing Grace” – keeps looking at me during her coverage like “WHAT is she doing”. She’s absolutely hilarious! Jon is here and is his usual remarkably silly self. The boys feed on each other. Tim and I converse in whispered hushes between takes. Invite some people to the Snug after they wrap, but I’m not there long when news comes that, since I'm off tomorrow, I'll leaving town to take my grandmother in for a bib-bopsy (hey – you do a film with Louis Mandylor, it’s your duty to quote “My Big Fat Greek Wedding” in your production journal)… no rest for the weary.

Important to mention that wonderful Tim calls to make sure I’m okay everything going well with the grandmother thing on my day off.

OH I’M SAD,… this is flying by. Nice thing with theater is it seems to last forever – you don’t feel quite so much like you’re falling over a cliff.

Under the Overpass

2008-08-19T15:23:00.000-07:00

Mark Rutledge on "track". Joey O'Laskey and Mark McGraw waiting to roll

Diana looks on, Jimmy getting high

Ron Balicki with Mark

Diana and Tim Loundibos

Tim, Bryan Frank, and Cesar Lomeli

back from Tribeca

2008-08-19T15:14:00.000-07:00

All the hospital scenes rescheduled into one day (for me). Brought back a squeaky toy “Buddhist monk with espresso and cell phone” for Diana in thanks for letting me go to NY with her blessing. Behind the scenes interview with Madeline while in makeup which I think of now and cringe. I see the whole world rolling it’s eyes at every word I have to say. Nicer clothes for the first scene where they are in for the second time (well third, with suicide), it’s the recognition scene with Taki, but wish in retrospect I had touched Joey more, created greater sense of acceptance, her willingness to touch him – as a contrast to the seeming AIDS scare of the scene before. Mark catches me changing and begs me to pull the curtain next time – he hasn’t seen his wife in weeks, he jokes.

Then it’s the scene running into the ER with Judith and Brenda. I’m in a panic and it’s hardly acting – GOD I hate that I know what that feels like – the "affective memory" too easily tapped. Then the questioning scene with Cesar and I can barely look at him. Want desperately for contrast – show the numbing shock, the realization, the impulse to self-blame. His is such a warm benevolent face, I have to avoid feeling too safe looking at him. Utter quietly “oh my god it’s my fault” and find myself getting closer to sick than sad. Don’t know if Keri gets tears but she’s heart-breaking to watch. Spice is strong and fun throughout and Victor poses us as Charlie’s Angels.

Then the follow-up scene with Diana where Karen follows Annie into the ER to see McClain and Joey with his bruises on is itself motivating. He had been sitting in the lobby in makeup and I can’t imagine what an outsider would think seeing him sitting there casually. Looking like hammered shit. I’m closer to him in this scene, standing next to him on an apple box, instead of sitting next to his elevated hospital bed as with the Taki scene, and I hear myself altering the dialogue spontaneously without thought. Not hard to physicalize the mothering instinct – he’s looking pretty pathetic lying there. He’s so tired from the night before (until 6am – Mark Grove had his stunt last night doing McClain being dragged by the rope from the truck, Joey did a lot of fighting, some footage Ron showed us in the lobby – looked amazing, and painful – he’s being thrown and rolling out) he asks me to nudge him if he starts snoring. Keep having to pull the sheet down to cover his feet. Diana, who must be exhausted beyond fumes, is right there, full focus, I’m not searching for Karen – she’s accessible to me – I’m talking right to her. Dora’s is a warm smiling face, behind her continuity log.

Late night again for my wrap, so as I’m staying anyway, watch some of the set-ups under the overpass. Gives me a chance to take too many pictures and talk to Ace, Tim, nearly decapitate Mitch with a flying lasagna. Cover myself with salad remnants – very glamorous. His wife is doing Shakespeare this Summer, “Othello”. Got to give Tarik a report on Tribeca – and the press I was able to give “Sensei” info to. He sends me over Diana, who was happy. Glad they let me go, hope they feel I did my part. Being in the lobby of Tribeca Cinemas, having just been on the screen in different hair color (and as tradition would have it, my underwear) set me up perfectly to explain the change, to whoever asked.

Watching the scenes is really great, but unrivaled by the choreography of Mark’s ride along the 360 circle track around Joey and Mark when McClain chokes out Rick. Diana screams “DON’T TOUCH ME” and Ron comes out after the cut and says “it sounds just like you at home” to which all the women burst out in laughter and the men are profoundly quiet. Victor and I discuss photography.

Jason and Jefferson Arca, are on set tonight. They chase Joey across the overpass a couple thousand times. Mike and Keri engage in some rapport building activity – listening to one I-pod. Joey likes the cinnamon taste of the blood makeup. Vanessa and I are falling asleep in our chairs and I finally make my way back to the hotel. As I’m walking to my car, Tim is leading some locals onto the set, describing to them what is happening. He could be a tour guide at Universal.

Trailer life

2008-08-19T15:07:00.000-07:00

DAY 3- Back at the trailer all day and some intense scenes. Joey’s on the other side of the door first and I’m giving him my side of it for timing. On the second take he’s slamming on the door. Really want to see that from the other side. Two takes. I can hear and feel that he’s being amazing in there. Then Annie watching McClain studying happily from the doorway. Set-ups blur for me on this day. We do the scene where he throws away his application in frustration. Joey’s convinced Annie is a terrible mother. I try to convince him that she’s just human, but he’s having none of it. Feeling comfortable at the level of this scene – they could all be Annie being frustrated and worried, but they’ve got to vary to show any growth or range. So I’m liking playing the exhausted, quietly tired working mother about to give up, knowing she can’t. She smokes continually – because, I realize, when her husband dies, now five years ago, she’s just self-destructive enough to want to die, but loves her son too much to do it quickly. And she really likes to smoke. Can barely keep the grocery bags on the table, I like that. Bag working with me – helping to make their situation look unstable. Justin places a half eaten “kids cuisine” frozen dinner on the table – which cracks Joey and I up. Not only is she absentee, she leaves him with only little kid food to feed himself. The “kids cuisine” box is even in the grocery bag I bring in. I forget to close the door, or manage leave it open. Mark is sweet about it.

Then I get my turn to loose it in my scene with Judith. Have to pace myself to keep the curve of anger to desperate sadness, but Spice’s play is really forceful and plays so much differently than I had expected with Liz (my original Judith, ending up unavailable with a play in Europe), that it keeps me very organic. I had not expected to sob quite so physically by the end, but there’s nothing to be done and Diana tears up in the rehearsal, (my neurotic side wonders if she is moved or frustrated)...she seems moved and is really affirming. GOD PLEASE. We rehearse first, set up, break for dinner (which dear lord I cannot eat or I’ll be puking by the second take) and then an hour and a half later play it out. Two takes per angle and we have close ups standing and sitting. I know I’ll be horse in the morning. And my stomach with be tight until later tonight. BUT I’m there. Over and over again, and Mitch is checking on me after each take, Diana, keeping tabs. Feeling profound gratitude, and remembering each word that [one of the moms] said to me – and thinking really they were all so stoic, [another mom] talking about Buddy without describing him just as one of the first in the wave of AIDS victims, [a third mom] talking about the mothers who flooded her answering machine with hysteria after Matthew Shepard was murdered -- Annie here is really a picture of the what they hid – the angst and desperation, ruthless protectiveness, and I keep thinking of them, and praying my intentions are accessible and true – this is the moment of realizing all that research – all those conversations I embarked on nervously and left feeling so completely privileged to have had. This is where I pay that back. And this is my reward.

Deep breath and my favorite scene—Flora asks for the pot and I’m so happy I get to take part in some levity – particularly today. Emily is AMAZING funny and it plays out too quickly – could do that scene all day, laugh every time. And then we do the backyard scene. First my set up and then we get to watch Joey move. Ron rehearses him through it and then he does a rough improv, after the fence is fixed, and he’s just beautiful. Ron is at once profoundly paternal and a focused stunt coordinator. Two takes, gorgeous. We’re done. UGH. That’s over… too fast.

Coffee with Tim and Vanessa and Mike and Cesar, after meeting up with crew, Mark McGraw, Mark Rutledge, listening to music by Sean and Jimmy, talking Joseph Campbell and Jeff Buckley.

Up early the next day – have to get together press materials with Tarik to take to NY for Tribeca screening. A few days off in NY and I’ll be back.

2008-08-19T08:05:00.000-07:00

2008-08-19T07:58:00.000-07:00

Day 2

2008-08-18T19:36:00.000-07:00

DAY 2 – kill time as I get there early and they’re a little behind. Shooting at “Annie’s” house – which is a trailer. Somehow I knew that. Using a back bedroom for makeup and I know two of cheerleaders on the Broncos poster hanging on the wall. First driving a mammoth car as Annie and McClain come home from church. White shirt and, wait for it, tie-dyed skirt Meera brought back from Cashmere, India. I cannot line the damn boat up for the first two takes. Stunt driving NOT on my resume damn it.
Hearing Liz’s history in between set-ups. HOT as hell. Next we’re in our bathrobes getting ready for church. Then close up on me pleading with Mic to let me in his room. Don’t realize that he’s going to slam the hell out of it from his side when we pick it up inside the room a day or two later, but wouldn’t matter. The door is paper and I have to hold it shut while I’m knocking on it, pleading him to let me in. The trailer is beginning to feel like a cave. Liz shows me pictures on her cell phone. Vanessa is hot. Joey and Liz are joking. Alan is melting. Mark Rutledge, DP, may be the sweetest man alive.
Next doing Joey’s least favorite scene – the “Ah revenge” scene outside at sunset. Says it gives him a toothache. Sunset is spotty with rain clouds but amber. Keep getting traffic. Mitch calling to interns – “it’s killing us”. Then suddenly four cops come screaming in. “just give them the paper” I’m saying aside to Joey, thinking they’ve sent their entire inventory of squad cars to check on the permit. Come to find that there’s a domestic disturbance in the house right up the street – amazing! Bizarre – beating your wife with a film crew out your window and half the neighborhood watching off camera. Then it rains… just before we can get Joey’s close-ups.

Stay in Sterling that night for Liz’s birthday party and to avoid the drive back and forth. Sleep on Vanessa’s floor after cake and pizza at Phil’s house. Take a picture with Slim – who’s cell phone says “smile bitch” before taking a picture. Jonathon Camp shows up. What a nut. Never really “off”

2008-08-18T19:35:00.000-07:00

with Kerri Knuppe as "Brenda" and Spice Crosby as "Judith"

outside of TJ Bombers

2008-08-18T19:34:00.000-07:00

Actual Day 1

2008-08-18T19:33:00.001-07:00

Day 1 (again) – Half way there, a two hour drive, get calls from both Mitch and Colby asking where I was; we can go right from wardrobe and makeup to the set. I’m at mile marker 151 and in the middle a serious stink – literally. Beyond methane!!! Even the Van Morrison on the cd player can't distract me from it. I mean – there are no words for this smell. But the black-eyed susans are out prematurely (well for my altitude) and it gives me the sense that all is well – a good omen, right there at Bromley road.

Get into wardrobe (Vanessa—hilarious) and makeup (Liz – the first face I see on this shoot – lying on the ground with Diana’s son Zack bouncing on her belly). Onto the set – meet “Cool Breeze” grip extraordinaire – big hug. Hug Diana, see Joey, my fictional son, perched on her directors chair watching from the craft services table.

I’m in a blue and green tie dyed shirt and light jeans, jean shirt. I tell myself this to remember later for continuity. I’m supposed to be freezing – it’s already 90F. Puffing away on my cigarette. Town’s kids watching. Little do I know that this will be the first costume of a shoot where the overwhelming wardrobe choice for me is tye-dyed shirt paired with… and the first of two packs of cigarettes that day. I utter the first lines shot of the film “Hi, my name is Annie Evans”. What pride I feel. Getting to do my first scene opposite Diana.

Alan asks for my view and I’m distracted – finding Annie in the ether. I thank him for his patience at the end of the day. Slim and Breeze are telling me their life stories between takes. Breeze is identifying his jewelry, which seemingly corresponds to the many women of his life – daughters, mother, wives. Goes quickly, get to giggle a bit with Ron, who wants to get some homeless guy pushing a grocery cart into frame.

It’s over quickly enough and I’m already clicking off the scenes with regret – damn that one’s done and I won’t live that again… like watching a baby grow. Master, mid shots, two shots, close ups over each others’ shoulders. Done…

Then it’s to lunch. Meet Spice – “Judith” – Keri shows up. Food is slow, but Spice is a trip to talk to, Kerry eats Joey’s salad and then no one eats her’s. Tarik, Mitch, Dora. Sweet people at every turn. Get to talk to Tarik about Tribeca. I'm going to New York for a few days for a screening of the short if I can get a release.

Into the RV for, just guess, another tie-dye shirt and jeans. Lots of jewelry that is lost by the next day. Cowboy boots, no socks. My trademark on this film – forgetting my socks, and the damn lining keeps falling out of these boots. At least I get variety – Joey only has one pair of shoes the whole shot until the 1992 scenes.

Shooting the scene outside on the bench. HOT as hell. Local press covering the scene. Master, two shots, puffing away. Then the close-up in one take in which the cigarette burns down and I drop it. “CHECK THE GATE – that’s a wrap for Gina” and I’m thinking “NO!!! I need another take” but I’m being told it was great! Oh DEAR GOD!!! ONE TAKE! In retrospect I realize the distraction and dropping the cigarette probably played true. Dora is very reassuring.

One day down – I’m already in mourning and these were the easy scenes!!!

Production day 1 -- almost

2008-08-18T19:31:00.000-07:00

Day 1 – well, not exactly, Mitch, AD, called last night (10:30PM – not quite the 11th hour, but only really a half an hour off) to say we were not shooting the scheduled scenes tomorrow to accommodate for – wait for it – the Father’s Day crowd at the restaurant.

2005-06-06T17:11:00.000-07:00

Colorado School Board Refuses To Allow Filming Near Columbine

6 June 2005 | From Studio Briefing | See recent Studio Briefing news

The Jefferson County, CO school board has refused to allow an independent production company to shoot scenes at a local high school for a film about a gay teenager who is bullied by his peers and learns martial arts to protect himself. The scenes for the film, titled The Sensei, were to have been shot at Alameda High School in Lakewood, a short distance away from Columbine High School, the scene of the 1999 rampage by Dylan Klebold and Eric Harris, students who were said to have been bullied by classmates. School Superintendent Cindy Stevenson told the Rocky Mountain News Saturday, "Nationwide, what I see consistently is, whenever there is any issue with school violence, it gets connected to the Columbine community. In thinking of the good of the entire community who are very tired of being connected to school violence, it would just be better if it were filmed in a different location."

JEFFCO

2005-06-05T19:20:00.000-07:00

ROCKY MOUNTAIN NEWS
Jeffco schools nix movie bid
Board says indie film could reopen Columbine wounds

By Holly Yettick, Rocky Mountain News
June 4, 2005
Concerns about reopening the wounds of the 1999 Columbine school shootings have ended a bid to film an independent movie at Lakewood's Alameda High School. School board members in Jefferson County, which is home to Columbine High School, decided in a closed-door session last month to deny a request to use Alameda as a backdrop for a movie about a gay teenager who learns martial arts after being bullied by high school jocks. Bullying has been offered as one of the reasons killers Dylan Klebold and Eric Harris went on their April 20, 1999, rampage at Columbine.

"Our understanding is the scenes that were going to be filmed in the school were violent scenes," Superintendent Cindy Stevenson said Friday. "We are still a healing community.

"Nationwide, what I see consistently is, whenever there is any issue with school violence, it gets connected to the Columbine community. In thinking of the good of the entire community who are very tired of being connected to school violence, it would just be better if it were filmed in a different location."

Stevenson said the board's denial had nothing to do with the film's treatment of controversial subjects such as homosexuality and AIDS.

The movie, The Sensei, features actors Keith David, who has appeared in a number of movies including Barbershop and Clockers, and Louis Mandylor of My Big, Fat Greek Wedding fame. The writer-director is Diana Lee Inosanto, an actress, stuntwoman and daughter of martial arts pioneer Dan Inosanto.

She expressed disappointment with the decision in a May 20 letter to the board.

"I do understand that, after Columbine, there is some significant sensitivity," she wrote. "But my film bears no resemblance whatsoever to what happened in that tragedy. There are no guns, no cults, and no extreme violence. The Sensei is a movie about respect, tolerance and personal growth. A humanitarian film about AIDS could not and should not be confused with that sort of tragedy."

Inosanto said the board had jumped to conclusions after seeing a single storyboard and scene from a 104-page script.

Stevenson acknowledged the school board had not seen the entire script.

"The overall message of the movie is very, very positive," she said. "It was just too close to the edge for us."

Alameda High School Principal Dale McCoy said he was disappointed that students would lose opportunities to be extras and learn about drama and video production.

"This proposal presents a safe, wholesome learning experience for AHS and the community it serves," he wrote in a letter to the school board.

Although it is just seven miles north of Columbine in the state's largest school district, Alameda is a very different school. About 10 percent of Columbine students are minorities and 4 percent are poor. Nearly half of Alameda students are minority and close to one-third live in poverty.

Inosanto wanted to film at the school because the students are diverse and the buildings fit in with the movie's early 1980s timeline. Inosanto's cousin attends the school, said producer Tarik Heitmann.

Heitmann said he's now considering shooting the film at Denver's South High School. South Principal William Kohut could not be reached Friday for comment.

Other parts of the movie will be filmed in Sterling, he said.

Thank You Chieko

2005-05-31T19:04:00.000-07:00

AHHH, that's much better.
That was really scary for a moment.
Not sure I will every be raven again, but this is much better:

holy mother of bozo

2005-05-30T18:58:00.000-07:00

The Hair "Do"

2005-05-30T14:12:00.000-07:00

OMG I'm going to lose this job.

I can't say much here except that I emailed the above images to Kent with the subject line "holy mother of bozo"

He said they'd give me a wig if all my hair fell out.

Why am I NOT amused.

I am ASSURED that it will be corrected tomorrow at the salon.

All day at the salon. Annie would have just used henna, smoked a bowl, and not noticed a thing.

I am more neurotic than Annie, it is obvious to me.

dear GOD I will never work again.

Diane's battle

2005-05-20T19:22:00.000-07:00

D. LEE INOSANTO REPLY
May 20, 2005
Jefferson County Board Of Education

Attention:

Dear Jefferson County School Board
I am writing to express my deep disappointment at the school board’s decision to deny filming of “The Sensei” at the Alameda High School. Students, faculty, staff and the Principal himself were all very excited to have the project. Local businesses would profit and the local community would be wholly involved. So, the disappointment at your decision runs deep.
As far as I can tell, the reason for denying production lies with a concern about the portrayal of athletes and the issue of “bullying”. As a professional athlete, and one who has been on the front cover of many martial arts magazines (my husband Ron is a retired professional athlete and fighter as well), I am very sensitive to how “jocks” are portrayed. In this movie an athlete actually steps up to the plate, and supports the main character by reporting the assault while becoming a friend. Hard work went into creating a balanced representation. And while we understand that bullying is a problem in today’s schools, we felt that our production confronts the issue in a sensitive and intelligent manner, creating an affirmative message and setting up positive role models. If anyone on the school board would take the time to read the script, this would be quite clear.

I do understand that, after Columbine, there is some significant sensitivity. But my film bears no resemblance whatsoever to what happened in that tragedy. There are no guns, no cults, and no extreme violence. The Sensei is a movie about respect, tolerance and personal growth. A humanitarian film about AIDS could not and should not be confused with that sort of tragedy.

Speaking personally, I am extremely sensitive about this subject as it happened in my family's hometown of Stockton, California, at Cleveland Elementary. My family is made up primarily of teachers and educational administrators throughout Stockton's school district. We've been there for 4 generations. In fact, I was in town when this happened and I first hand saw families torn apart by the tragedy. As teachers, many members of my family dealt directly with the aftermath. Thus, it is very discouraging to me personally to hear my movie attached to this kind of tragedy.
My film deals with the different forms of prejudices related to the AIDS epidemic and the social climate of that time. The school board jumped to conclusions after seeing one storyboard in one scene from the movie (the locker room scene) in a 104-page script, blowing out of proportion how athletes are being portrayed in a way that has only a specious connection to Columbine. It is truly sad that the school board would deny a wonderful community like Lakewood, and a high school like Alameda, such a fantastic opportunity without doing their homework first.

Diana Lee Inosanto
Writer/Director
of "The Sensei"Tarik Heitmann / Ron Balicki

CC: Sara Bell/Colorado Film Commission Al Pinel/Lakewood Film Commission Steve Burkholder/ Mayor of Lakewood
Dale McCoy/ Principal of Alameda High
School

RESEARCH

2005-04-16T13:32:00.000-07:00

It's never been like this before. Researching characters is usually the academic part of the exercise, but I have got to say, this was a research period like no other. Reading Now That You Know was emotional enough -- because so much of it is testimonial. I learned a lot and it pointed me in the direction of actually getting the statistics of the matter -- suicides amongst gay teens, the shocking initial velocity of loss to the AIDS virus in the 1980s, the rise in criminal violence, the number of gay homeless -- the majority kicked out of intolerant homes. I could sympathize with all of this. But these mothers I began to interview. This crossed the line into empathy. Tears, anger, respect, regret -- and those were just my emotions. I'm going to condense my journal here. My notes are long, the mothers many (dozens across the country), and I intend to be respectful enough to avoid getting too specific about any one families story.

But there were some serious stories.

One woman was threatened with ex-communication by her church. She "ex-communicated" her son instead. She wasn't there for her sons death, but nursed his surviving lover until his death from AIDS, after her remorse and regret drew her from the church that would disown her. Another mom became so politically active in the AIDS movement, she realized this cause, in the name of her son, was her purpose for living -- and his dying. And the mom who stayed up for 48 straight hours. The leader of her support group at PFLAG, and a veteran survivor from the 80's, she saw dozens of panicking group members, with young men on colleges across the country, through the tragic loss of Matthew Shepard, and the backlash of fear. And the single mom, who learned her young son was gay one sunny afternoon when she read it in his suicide note. He had hung himself in his closet -- there were still stuffed animals in there she said. I've met a current HIV survivor who's lived (well) with the disease for, now, decades. I even talked to one dad -- a retired military man who now wears his rainbow embellished "Proud Father of a Gay Son" t-shirt to pride day. And thankfully, families who have avoided AIDS and violence and saw through their revelations with support and love and tolerance.

I cry every time I think about these parents. Some were strong, some regretfully flawed. Denial, acceptance, anger, vigilance, heroism, and even, finally, celebration. There were no two stories that were the same, but I did learn that in the end, above all else, these women LOVED their sons. Dozens of paths that ended with love. I would take that with me. It's with me now, as a human. I came to see "Annie" as not just a priviledge as an actress to play, a job to do, but a responsibility I knew I could never fully realize. But what gratitude to be given the chance.

Buddy
Eric
Dave
Steve
Cameron
Liz
Chris
Seth
Jessie
Jamie
Mike
Tony
Matt
Kevin

I had to blow off Mark's stunt class for the local interviews. I think I wouldn't cried less at stunt class... I look like a demented ballerina anyway.

But this is what's really amazing... This script covers so much ground, prejudice of so many kinds -- homophobia, sexism, racism. It's such a human, intimate story with such incredible universality. I'm reading this, repeatedly, and with every interview with every new Mom, I find more and more truth in this script. These hidden truths -- right there.

"ANNIE"

2005-03-15T15:48:00.000-08:00

The call comes in from Kent!!! "Annie" is mine! I'm over the moon. So is Kent; I'm not the only talent from the agency to get this gig. A part is even created for one of his actors. It's been a good day.

THANKYOUTHANKYOUTHANKYOU!!!

"The Sensei" will come first, and then two films to follow in consecutive months. Research begins now.

Get the call from Diana, she suggests a book Now That You Know and we talk about how she came to write the script. I begin to wrap my brain around the fact that the woman I am talking to refers to Bruce Lee as "Uncle Bruce". She is meeting with investors. Finding locations. My script is on the way. A woman on a serious journey.

I email PFLAG chapters in LA, NY, San Francisco, Boulder, Denver, and Colorado Springs, Colorado (in the vacinity of the films location), asking for interviews with mothers of men who came out in the 1980s, suffered or were lost to AIDS or violence. I also call some of the people in my life who can offer perspective.

Days later I've read the book, the script, and start getting calls from the Moms and I am AMAZED that so many strangers are actually willing to come forward and talk.

What particularly amazes me is that this book talks about issues I didn't realize the extremity of. Particularly the devastatingly high rate of suicide in gay teens. I was lucky enough to be raised in an environment of relative tolerance and acceptance. We had come farther by the time I realized the people around me were, well, having sex at all, much less were gay or straight or bi. When I was dancing in NYC, I lived for a season in Greenwich Village, and didn't think twice about the couples on the street or in the studio. I ate lunch most days in college with a man who is, perhaps, THE sexiest gay man, vocal performance major in history. There were things, being lucky enough to have been too young in the 1980s, raised in a culture of diversity, I was protected from. Realizations were ahead of me.

CALL BACK!!!

2005-03-14T14:24:00.000-08:00

I get the call from Kent that I am going to be seen again. I have now read a couple more of the sides and I'm loving what I read. This character is a flower child single handedly raising a love child. Well, attempting to. They are easily confused for siblings. She had him young, lost her husband too soon, and still wears her tie-dye. I know this person. She is half of my mother's friends. A part of me is this person. I want this.

I walk into waiting and there she is, one of the actresses I often find myself in waiting rooms with, carrying the same sides. She is a force. We've been in a couple of workshops together and this is a lady I really respect. A true professional and a real artist. We're both there for "Annie". Her presence alone raises the bar.

There is going to be a wait on this one. I go in twice. First up, I'm in with the two other ladies going for "Brenda" and "Judith". The scene goes just beautifully and I have a real advantage teaming up with the ladies I've gone in with. Our chemistry is good and timing is on. It felt like an organic exchange.

Back into waiting and Tarik Heitman, Heitman Entertainment, Producer, comes out, all benevolence and enthusiasm, and asks me a couple questions. Most notably if I am willing to dye my hair.

No brainer there.

Back in with Joey, aka Michael O'Laskey, former "Young Rocky" of the Power Rangers, as well as "Colt" from Three Ninjas who is cast as "McClain Evans". There is some friendly banter going on and Joey leans over to whisper in my ear "I'm not like this is real life". We are doing a scene where mother and son are walking down the street later in the plot. At the end of the scene there is some friendly teasing. Joey and I are already basically fooling around with it, so I push him by the shoulder out of the frame. He is definitely amused by that physicalization and we giggle at each other. I'm thanked, given a run-down on who's already attached, Keith David, Louis Mandylor, and I can see the carrot dangling in front of me. I want this.

My colleague, the earlier mentioned actress, and I walk to our cars together. Losing parts to her is never hard, she's so good. But I want this one... did I mention?

The Sensei Production Journal - entry 1

2005-03-01T19:16:00.000-08:00

The Saga Begins:

PREPRODUCTION:

And for me, Gina Scalzi, actor, that means auditions and callbacks.

I almost didn't make it, actually.

I was with my former agent, Kent, during the preliminary auditions for "THE SENSEI" and I was still in recovery from a major emergency surgery. I found out about the opportunity to be seen a bit late, and frankly was sure I wanted the opportunity, but wasn't sure I was completely on top of my game. I had made a short film a couple of weeks before and was preparing for an audition with another feature, which had attached Chris Atkins. Mark Grove was on production on both, though I wasn't yet aware of that as I made my way into the studio for my original meeting. Script in hand (though I never refer to it in auditions, unless I am truly desperate), black jeans, black t-shirt, denim jacket, and a firm picture of "Annie" in my head. There are many ways "Annie" and I are alike.

Diana's is the first face I see. Warm and beautiful, she is surrounded by a couple people I know, have worked with on other things, and she speaks with a true friendliness that is comforting, and I must say, lacking in most audition scenarios. This is not a person detached. I get the feeling she is truly going to give absolutely everyone who walks through that door a chance.

She asks me if I have any questions but I already have made some pretty strong choices and I am wanting to show my own take on it. I ask to give my read as prepared and then get direction. There is no looking down during the read - no looking at the resume or checking the sign in. No distractions. She thanks me and says, "okay. Now I want to see you do this scene with this backstory -- your son,... he's just recovered from an attempted suicide pack". I ask for a minute and walk behind a curtain hanging from the back wall. I can't help but find myself cussing under my breath,... because unfortunately, I am not innocent of surviving the near suicide of someone I loved. As much as that can help me, there is a line.

A moment later I am back, give the read, asked about availability, and I give my thanks.

Mark is waiting outside the studio and we introduce ourselves to each other. He is a driven guy and is pumped about this project. I am amazed at the amount of time he is willing to give me in conversation. Call Kent to check in, when our chat is through. Then I am off to my other appointments.