The making of
Check out the making out GIANTESS ATTACK
The day Jeff Leroy called and ask if I wanted to be the lead of his new film Giantess Attack, my immediate response was ” Hell Yeah!” Sure, without hesitation I wanted a lead role in a movie. Hello, actress, self explanatory. Also, considering the path of my career (the entries of this blog will explain it all) being a Giant Chick running around the screen crushing Hollywood including Scientology (you’re welcome 😜) in a bikini and silver go go boots seemed on point for my next film endeavor.
Did I think it odd showing up for set day one aka Jeff’s apartment roof. Which Rachel and I had to climb through a death trap roof corridor via rickety gross old latter on the back of his apartment. Surprisingly, no
Little known fact: Jeff cast me in my first lead role Rat Scractch Fever.I was so happy to have booked a lead . I was even happier that movie was not a porno considering my auditon was in the “deep valley”. But, I had never see his work (Creepies, Hell’s Highway, Alien 2000 etc). So when he took me out to the desert with my co-star Ford Austin, a camera and a bunch of weird alien and spaceship toys, I thought forsure, this may be the day I die.
Thankfully that was not the case. Little did I know this indie micro budget director guy was highly skilled old school special effects artist using similar techniques as George Lucas and Christopher Nolan. With the use of models, toys, puppets, his keen eye for camera and hi-tech editing skills, Jeff is able to bring worlds to life amazingly with budgets that resemble daily catering bills on big budget features.
So without a second thought we climbed onto the roof. Not to our surprise but to our excitement stood miniature city number 1. It was awesome! To date it was the coolest set I had ever worked on! It was like an adult playground, an awesome replica of Sunset Blvd and Hollywood Blvd. YES I totally had the compulsion to crush things. Yes, we actually crushed the building and cars for real and loved it!
⬆️Check out the video above to see what I’m talking about.⬆️
And then watch
Tomorrow, Giant special effects secrets!
In the beginning it was just Rachel and I….
Tasha Tacosa as
Narcissistic star of the to long running “The Super Power Show” / Deidre the b-star diva.
Rachel Riley as
The dim witted side kick to Battle Babe on the “The Super Power Show” / Frida, Deidre’s b-tv star Nemesis.
And the came….
Christine Nguyen as
Alien twins from outer space sent to earth to warn of impending peril. Believing Deidre and Frida are real superheroes, they come bearing gifts, weapons and or GIANT superpowers …
Jed Rowen as
Good ole boy army colonel is on a mission tracking aliens and UFOs. Stumbling onto GIANT Deidre and Frida in a mission to retrieve high-tech dangerous alien technology, He has no idea the hell that is about to break loose.
Film Star Randal Malone as
“THE SUPER POWER SHOW” BAD GUY
A diva actor in his own right destined for bigger things in his own mind . Who needs a B-rate kids TV show? MTV is calling!
Jay Woelfel as
” THE SUPER POWER SHOW” DIRECTOR
Exasperated and desperately regretting selling out his low-budget film career for regular check to shoot “fanny smack for four year olds.”
Robert Rhine aka Corpsey as
Sleazy, greasy, cheesy Hollywood talent agent who proudly supports the casting couch and the favor for a favor star system.
Eric Spudic as
Broken by the women in his life… yet loves the Giantesses…no wait, hates them…or maybe loves them...
Is still feeling the sting of the film GLITTER. What’s that movie?…exactly
Matt Watts as
Giant babes or not he’s gonna get the job done!
AL Burke as
Class A douchebag misogynist . Always there at the wrong time saying the wrong thing.
Jasper Oliver as
Deidre and Frida are literally the BIGGEST story of his career.
Shawn C Phillips as
Battle Babe’s biggest little fan. All he wants is a few selfies and maybe just a little shake and shimmy in Deidre’s bodacious breasts.
Giant babes in in bikinis, the host of Bikini Beach will be there!
The mad genius behind this crazy cast of characters and the world of Giantess Attack!
Inspired by the shows of the 70’s he had a vision.
The ultimate living cartoon spoof in the form of giant girl power babes and alien twin hotties taking over tinsel town one smashed building, crushed car and maybe a few eaten people at a time.
Tomorrow: How we became GIANT- Special Effects Style…
Check us out on amazon!
TASHA TACOSA, RACHEL RILEY, CHRISTINE NYGUN
AND Director Jeff Leroy:
I’m super excited that our film is finally finished. I am also elated to hear how many people are enjoying it.
If you miss Saturday morning shows like
“The Land of the Lost” “The Bugaloos” “Electra Woman & Dyna Girl“
If you like a little sexy with your sci-fi fantasy
If you can appreciate a little cheesy humor in your entertainment cause life can sometime be to serious
IS THE MOVIE FOR YOU!
I promise it will make you smile. So check it out!
And check back with me as I will be posting all Giantess all week.
XO – TASHA
http://www.imdb.me/tashatacosa IG:thisgirlzlife Twitter: Tashat333
I was cast as Mya Friend : A serious documentary filmmaker with the heart of a wild artist aiming to create an epic, artistic, poetic film about the world of psychic phenomenon . According to Tom (Tom Newth: Director) my character was inspired by the avant garde film artist Maya Deren.
Maya Deren (April 29, 1917 – October 13, 1961), born Eleanora Derenkowskaia (Russian: Элеоно́ра Деренко́вская), was one of the most important American experimental filmmakers and entrepreneurial promoters of the avant-garde in the 1940s and 1950s. Deren was also a choreographer, dancer, film theorist, poet, lecturer, writer and photographer.
The function of film, Deren believed, like most art forms, was to create an experience; each one of her films would evoke new conclusions, lending her focus to be dynamic and always-evolving. She combined her interests in dance, Haitian Vodou and subjective psychology in a series of surreal, perceptual, black and white short films. Using editing, multiple exposures, jump cutting, superimposition, slow-motion and other camera techniques to her fullest advantage, Deren creates continued motion through discontinued space, while abandoning the established notions of physical space and time, with the ability to turn her vision into a stream of consciousness.
Perhaps one of the most influential experimental films in American cinema was her collaboration with Alexander Hammid on Meshes of the Afternoon (1943). She continued to make several more films of her own, including At Land (1944), A Study in Choreography for Camera (1945), and Ritual in Transfigured Time (1946) – writing, producing, directing, editing, and photographing them with help from only one other person, Hella Heyman, as camerawoman. She also appeared in a few of her films but never credited herself as an actress, downplaying her roles as anonymous figures rather than iconic deities.Another notion I have entertained is that being creative in the realm of nonfiction filmmaking requires a willingness to alter the look of things, to find new ways of seeing by using the considerable resources that exist in the medium of motion pictures.
Maya Deren is recognizable as the woman with the enigmatic expression at the window, silently observing from within. Although her eyes indicate distrust, she is not desperate to escape her domestic space, but she is not entirely comfortable immured behind the glass. This image symbolizes some of Deren’s most significant initiatives in experimental cinema. In this still shot she establishes a silent connection with the eyes, suggesting the possibility for reverie or even hallucination. It foreshadows her experiments with superimposition and the juxtaposition of disparate spaces. It is an image that suggests the most compelling themes of her film work: dreaming, reflection, rhythm, vision, ritual and identity. Like Cindy Sherman’s film stills, this image represents a poignant and hesitant moment, but unlike the photographs, Deren’s still shot belongs within a dynamic, kinetic narrative. Maya Deren, who is one of the earliest and most important practitioners of independent filmmaking in which actuality was the central source of imagery. For Maya Deren, actuality included experience of all kinds, both conscious and unconscious, dream and reality. She emerged from an aesthetic heavily influenced by a contemporary excitement with Surrealism, and she was attracted, inexorably, by the power of psychoanalysis and voudou. Deren’s wide sensibilities included interest in such plastic forms as dance and sculpture; and she excelled in the literary arts.
Maya Deren: The High Priestess of Experimental Cinema sensesofcinema.com
After researching Maya Deren a bit, I found myself connected to her as a female filmmaker and an artist. Within her work she was a risk taker and an unapologetic visionary. Her visions reminded me as to why I have chosen to create in the manner that I do. Having the freedom to experiment and express ideas in the independent forum is where I believe great entertainment begins. Hollywood would have us believe that great entertainment is little more than a product of witty quips, car chases an who look hot on US Weekly. However, the truth of the matter, great expressions begin somewhere organic, unexpected and often accidentally. Rarely in a writer’s room on a studio lot but more likely with a kid in a garage, an 8mm / outdated digital camera found in box full trash & a passionate need to say something to the world.
Inspired and excited, I was ready to film. Let the journey begin…
DIY for the Demented, the REAL WORLD of independent filmmaking. 13 strangers head to the desert to make a horror movie in less than 7 days. See what happens when things stop being silly and start getting crazy…
twist and turns no one could have seen coming…