Pulp Features

Trinka Five Films is an independent film company based in Wilmington, Delaware with one foot in New York City.

President, Kathi Lehmer’s goal is to give low-budget filmmaking a better reputation because lack of money is not a deterrent to creativity: the heart of creativity is overcoming obstacles and making your art no matter what… and having a damned good time making it.

Her most recent film is Mama and Damian and she’s kindly agreed to talk to Dale Pierce about the company, its films and the future.

Dale: Where did you come up with the name of Trinka Five Films, as it sounds odd?
Kathi: It’s an ancient Romanian money spell. You say Trinka Five three times and drop three coins in a cup as you’re saying it. The spell is supposed to bring you money. I figured if I named my company Trinka Five eventually I would say it enough that money would come.

Dale: You are located in Delaware, but aren’t you from New York?
Kathi: I lived in New York for years. I consider it my true hometown. I still go as much as I can. I lived down in the Lower East Side across from this infamous gallery, ABC No Rio. They showed a lot of underground films there. It was exiting.
I have found that Delaware is a great place to make films. You’re under the radar here. You don’t need permits and it’s a small enough place that making contacts is easy.

Dale: What brought you into film to begin with?
Kathi: I have always loved movies. When I was a kid I was always acting out scenes. When I was about twelve years old I dug out my dad’s old 8mm camera and took movies of my family and friends doing weird stuff.

As soon as video cameras came out, I got one, after that I always had a camera. I lived in Philadelphia for a while. My ex and I always had movie nights with our friends where we would come up with a theme and a loose script and improvise these little films. I really didn’t start writing anything resembling a real script until about ten years ago.

Dale: You have, dare I say, some odd tastes, if your films are an example of the way you think?
Kathi: Some would say odd. It’s just the way I see things. I have always had a taste for the vaguely macabre and the strangely romantic. I’m attracted to things and people that scare me a bit.

The ordinary just bores me. I look for the complex, the twisted, the damaged. In my work this all comes out. I actually have visions when I start writing. I get flooded with imagery. Sometimes the words come first, then the visions, other times it all hits simultaneously. In other words, I think in film.

Dale: You recently released Mama and Damian. So tell people about the plot for people not familiar with the same?
Kathi: Oh, it’s a coming-of-age story. The plot centres around Damian, who is a half human, half bear boy around twelve or thirteen years old. He’s kind of a human teddy bear. He lives with his family in a distinctive colourful house in an unnamed city. Mama is his mother, a dominatrix/human behaviour researcher. Gunter is Mama’s boyfriend, a gentleman drunk. Wolfgang is Gunter’s nephew, a sort of lovable pansexual freak who throws one of the many curveballs into the plot.

Opa is Damian’s grandfather, a Nazi who is chained up in the basement.

Damian is a good boy, but he gets into a lot of trouble especially when he is hanging around his friend, Preston, a redneck kid from the neighbourhood. All hell breaks loose at one point and Damian finds himself away from home for the first time.

Turns out the kid is pretty resourceful.

Dale: Where did you find the actors for this?
Kathi: When I started writing Mama and Damian, I worked at a Borders book store. I had worked there for several years. Many of the actors were co-workers. A book store attracts a broad spectrum of creative people. I have found that if you are creative in general, acting sort of comes naturally. Some of them had never acted before in anything. The other actors, besides the book store contingent were performers who I either met through past projects or other filmmaker friends.

I think the only really seasoned actors were David Robinson, who plays Opa, the Nazi in the basement, Andre Watson, who plays one of the furries, and the Reverend Thomas Brown who plays, Boss, the owner of Knockers Gentleman’s Club. The Tink, who plays Pappy, the redneck grandfather, is a local celebrity who has his own heavy metal TV show. I had forty-six actors in the film.

Dale: You engaged in multiple functions during the making of this film. How difficult was this?
Kathi: It was challenging. I pretty much saw each function as a stage and each one had its own set of problems. Writing may have been the easiest, looking back. Directing all these smart talented people was a cinch. They worked hard. I rarely even fed anyone! We took each scene and filmed until we got it just right. I am a bit relentless as a director. The hardest part of directing was acting at the same time.

My character is pretty prevalent, so I had to be Mama one second and The Director the next. Watching the footage when I first started editing was hilarious. I literally would switch from my character to my director mode in a second. I looked pretty cracked.

I was lucky to have lots of people around who were watching out for things, especially my D.P. Jessica J Johnston. My assistant, Helen Rei was also instrumental. I had other filmmakers acting as well, so they always had helpful suggestions.

Sometimes I told them to shut up and let me direct, but it all worked out. It took a year to film the project. We had some setbacks. W.G. was hit by a car and had a concussion. I was rear-ended by a tractor trailer then I had a concussion. These accidents were a couple of months apart. I hated scheduling. I was having a nervous breakdown weekly. I was sure people weren’t going to show up or locations were going to fall through. Surprisingly not much of that happened.

There were a few times when actors had to bow out for various reasons. I always rewrote, took them out of the scene or replaced them entirely. It seemed that the rule was that if something didn’t work out, the alternative always ended up better.

Editing was yet another challenge because I had to learn Final Cut Pro. I had never used it. Once I got it down, editing was really fun. It was also a needed rest from the mega-energy I was putting out to get a weekly shoot arranged and executed. So I sat in a basement studio in the ghetto for five months and edited.

Dale: Was the end result what you hoped for?
Kathi: Yes. Almost exactly the film I had seen in my head when I wrote the script. My measure of a good film is when a separate reality is created and the viewer gets drawn in and stays there for the length of the film. I think I accomplished this.

Dale: This is a film I think people will watch and love or hate, but not be indifferent toward?
Kathi: Well, I guess what happened at the premiere and at the screening the following week tells the tale. I had tons of people come up to me and tell me how much they loved it. Some seemed downright overwhelmed. However, at both showings a couple of people walked out in a huff.

I suppose if you don’t know what the underlying sentiment is, some things could
be deemed offensive, or maybe the huffers just thought it was too weird.

Dale: It reminds me of something John Waters would have cranked out. Do you agree?
Kathi: I really never thought that, though I am a fan. I think he has a unique delivery that can’t be imitated easily, but I don’t mind the comparison.

The other director people mention is David Lynch. I just gotta say, my life has been a David Lynch film.

Waters, Lynch; good company.

Dale: For people who just don’t get it, what would you say the message of the film is, to them?
Kathi: The message is in the tagline, “Being a freak is not curse, it’s a gift.”

I have lived many places and been exposed to a lot of different kinds of people. People fear things that are unfamiliar. In the film everyone seems to view everyone else as some kind of freak, when the truth is they are all freaks.

All the characters are exaggerated archetypes. I wanted to put all these villains and heroes in one big pot and see how they interacted. When it comes down to it, not to get too lofty, but it is a picture of the United States.

Intolerance and tolerance ride side by side. People are still free to judge and free to change their minds. There’s more to it, but I’ll save that for another time.

All in all it’s a funny story.

Dale: Have you thought of a sequel?
Kathi: Yes, the problem would be getting some of the actors back. Chuck Fusca, who plays Preston, moved to Florida before we were done with this one. Some others just might not be available. I would have to create some new characters.

W.G. and I are on board, oh, and Ashley Cleaver (the scene-stealer) who plays Wolfgang. We have all talked about a sequel.

I think you could drop the core characters into any situation and it would work.

Dale: Where did you come up with the bear-boy idea anyway?
Kathi: When W.G. and I worked at the book store we retrieved a bear-baby doll from the lost-and found. We pranked each other with it for months. Eventually (after W.G. had left the head of the doll on my desk) he and I started making up stories about the bear boy and his family and friends during our lunch breaks. I wrote down these ideas on scraps of paper and threw them in a bag when I got home.

After a while there were so many scraps I decided to write a script based on these ideas. W.G. became the bear boy in my eyes pretty quickly. People have said they can’t imagine anyone else in the role. That’s literally true where I’m concerned.

Dale: And that suit. Jesus, that suit! Where did you have that made?
Kathi: I bought the fabric and the pattern on a trip with a friend to the mountains of Elmira, New York. The fur looked exactly like the original bear-baby doll.

Actually in the film, W.G. looks precisely like a human-sized version of the doll. In Elmira I also found the coonskin cap that Preston wears. That trip was a great inspiration for the family of rednecks.

Oh yeah, somebody at the book store eventually volunteered to stitch the bear suit together. I was so sick of making costumes at that point. It was a life saver.

Dale: How did your star feel about playing a bear boy?
Kathi: He had no choice. As far as I was concerned he was the bear boy and there was no turning back.

I told him at one point that I was going to light him on fire in one scene. He shrugged and said, “Okay.”

Dale: Any other projects in the planning stage?
Kathi: Yes, my next project is a vampire saga. A bit of an about-face. This one will be more serious. Its theme is betrayal.

I’m scouting for distinctive-looking actors. Anyone interested can contact me at kathi@trinkafivefilms.com

Dale: Anything else you would like to touch on that we may have missed surrounding this film?
Kathi: Mama and Damian was produced on a micro-budget with all volunteer help. Locations, equipment, and big props like cars were borrowed. I am grateful to all those people who helped the film get made. It took three years to complete it. I love making films and I loved every minute of making this one. We all had a wonderful time. I hope many people will see it and love it or hate it. As long as they aren’t indifferent, I’m happy.

Dale: Anything else you would like to bring up in general?
Kathi: Filmmaking comprises all of the arts, but it is the one that is so much like life itself. That’s why we’re a world of film junkies. Keep ‘em coming.

Jeff Schubert is turning out to be a multi-talented figure in the independent film world. With one film – Walking The Walk – already under his belt, he is now hosting Filmnut – an internet TV programme that gives viewers the opportunity to talk to filmmakers, both about their films and what went into them.

And with several scripts in various stages of development and a book in progress, I’m not sure where he finds the time. But find the time he does, and he’s also found the time to talk to Pulpmovies about films, filmmaking and to provide a wealth of filmmaking advice from the trenches.

Paul: In a nutshell, how would you describe Filmnut?
Jeff: The logline is: A live interactive show about filmmaking where the viewer can instant message in questions during show.

What makes Filmnut different from other shows is beyond the typical questions, we try to give the viewer an inside look into the making of a movie. With the time we have for each show it’s kind of like half entertainment interview and half behind the scenes DVD extra on how making the movie was done. We’ll probably interview directors, producers, writers and actors more then anyone else but throughout the run of the show we will cover all aspects of making movies. For example, we have already interviewed a CGI visual effects supervisor, composer, an editor, a director of acquisitions for a distribution company etc. On August 15th I interviewed the co-founder of the Slamdance film festival, writer/director Dan Mirvish.

Paul: In the programmes you talk about both films and about filmmaking.
Jeff: Yes the goals of the show are to be educational and inspirational to the aspiring and continuing Filmmaker. And now that we have message boards on the site I think we can do more of both in addition to giving fans of the show another way to interact with us and each other. Of course we also want to be entertaining, and don’t tell my executive producer I said this but as an indie filmmaker myself I also want our indie guests to be able to use some of the time to promote themselves and their project. I try to be a big advocate for them. I feel their joy… and their pain!

Paul: What sort of audience is the series aimed at?
Jeff: The Universe! Okay, realistically three groups of people, people who enjoy films, how they’re made, and or want to make them. I mean there are some episodes where it’s like seeing how the magic is done. I think it will give many viewers a new appreciation for how filmmaking is done, and will help filmmakers make better films.

Paul: Where did the idea for the programme come about?
Jeff: It is the brainchild of the creator of theStream.tv Brian Gramo, who is doing an outstanding job with the whole network. Our Producer Peter Paul Basler also has made great contributions to the program and sees Filmnut as being an on-line film school but a lot more entertaining.

Maybe the interesting part here is that I auditioned to be the co-host of another show on the stream.tv called The LoveStream, an advice show. A few weeks pass, I follow up because I felt the audition went well and I had a good rapport with Brian. Brian tells me, he’s going with two ladies for the advice show but he saw my resume, and would love to have me solo host a show about filmmaking. So no auditions, the job was mine.

Paul: What are the high points of the series so far?
Jeff: I enjoy good questions from viewers, I really like it after the show is over and the guest tells us what a great time they had doing the interview. They come in kind of not knowing what to expect “with this internet thing” and they leave complimenting us on our professionalism and telling us they’re going to refer other industry guests. Another amazing aspect about the show and the internet period is the ability to reach people globally. We actually have people staying up all night to watch the show so they can instant message us live. Hello Syke in the U.K.!

Paul: And do you have any favourite shows?
Jeff: Ah, I see you’re testing my diplomatic skills on this one. We’ve been on since January of this year. The first of anything is always special. I’d never hosted a show before so it was cool to do. Having the head of Troma Ent. Lloyd Kaufman on was a lot a fun. I had a great conversation with a former jury prize winner at Sundance, Matthew Harrison, Gregory Itzin, an actor from the Fox show 24, has been our most watched show, and I have to mention interviewing a good friend mine actor Jack Maxwell was special. But believe me, I’ve enjoyed them all and appreciate all of our guests!!

Paul: You have also made a film of your own – Walking the Walk. How would you describe it?
Jeff: The movie itself is a mocumentary about a guy obsessed with making a movie on a seven thousand dollar budget. Kind of a play on Robert Rodriquez’s El Mariachi. It was a unique hook when Rodriquez did it but since then it’s kind of become a cliché and I had some fun with it. An interesting point here is for this book I’m working on I interviewed a film critic from The Hollywood Reporter, and he was telling me as a critic I don’t want to hear how little your film was made for, it only matters if it’s good. And from a critic’s perspective, I agree. And now you hear directors touting their movie not based on the film but any bizarre angle they can grasp onto… well in fact, I had this director the other day, he was so excited, telling me, “I shot my whole no-budget action movie hopping on one leg! The whole time hopping on my LEFT leg, it’s like a low budget “The Bourne Ultimatum”, you got to see this!” Okay I made that up but you get the point.

Paul: What sort of problems did you encounter during shooting - and which one gave you your biggest headaches?
Jeff: Not as many as you’d think. There was a scene where the lead female was supposed to be topless. I couldn’t have been more upfront about this scene during the audition process, from day one. However, come time to shoot it, she didn’t want to do it. Of course I wasn’t going to (nor could I) make her, but we wound up shooting the scene both ways and because I’m gentleman and a softy I used the version with her bra on. PS to the story is months later I google her name and she has done some topless lesbian scene in another movie! The serious moral to the story is to do any nude scenes first. This way if there is a problem you haven’t established the actor on camera yet.

We did also have two actors get into fist fight on set that was aptly handled by my first A.D.. and my gaffer no-showed on a day when a friend passed away. That’s where it helps to have a line producer with a rolodex of crew contacts to call. So he was replaced with minimal time loss.

My child star refused to come out of the pool to work a scene. I was two minutes away from writing him out of the scene when luckily his father showed up cause he wasn’t listening to anyone else that day. We got the scene done.

The manager at the bar we were shooting at one night wasn’t informed by the owner (who was now out of town) that we would be shooting there all night and he wanted us out by 2AM. But I smoothed him over.

Ah, seriously it was a very smooth shoot, I felt blessed when it was in the can.

Paul: Are you planning to make any more films and, if so, are there any actors or other film professionals that you would like to work with in the future?
Jeff: As William H. Macy would say in the movie ‘Fargo’ “You Bethcha”. I’ve written seven scripts since Walking The Walk at various stages of development. I’ve already had the pleasure of working with one person I’d like to when I had a small role as actor in the comedy, ‘Orgazmo’ by the SouthPark guys Trey Parker and Matt Stone. Actor wise, sorry to be obvious but Robert Dinero, I see him as being the prototype, the Michael Jordan of our sport if you will. Samuel L. Jackson has a presence and command (he can intimidate and make you laugh at the same time) and I have fun role for him. I have the perfect leading role for Drew Barrymore in a romantic drama (come on Drew I enjoy a romantic comedy as much as the next guy but give me a shot!). Matt Damon, he has that self-made thing going from Good Will, and since then I’ve enjoyed how he’s handled his career on and off camera, plus we could also talk baseball. Regarding directors, Spielberg, Eastwood, Tarantino and comedically Tom Shadyac. A filmmaker who is established but still on the rise is James Gunn (writer/ director of Slither, Dawn of The Dead remake). He and his wife Jenna Fisher (who I’d also like to work with and is now on The NBC show The Office) did a no-budget indie mocumentary Lollilove that I am a huge fan of. I had the Lollilove Producer, Stephen Blackehart on Filmnut, and we just scheduled James Gunn for the show. He’ll be on September 26th.

Paul: I understand that you are also writing a book. What can you tell me about that?
Jeff: Having gone through the process of writing/directing/producing Walking The Walk, I wouldn’t have been able to do it if not for the help and support of everyone involved, cast and crew, but also the research, in terms of books and articles and so forth. But I felt I had something to add to the conversation of making and marketing a movie so I set out to write a book and interview people far more established then I to ask them questions I feel can benefit filmmakers. The title is Beyond Sundance, Hope For The Independent Filmmaker. An A to Z concept to completion book on how to make your movie, form a film festival strategy, and distribution, and self-distribution strategies as well.

The writing and interviews I’m conducting for the book are making me a better filmmaker and have been great prep work for Filmnut. I interviewed Bob Moresco (Oscar winning co-writer for ‘Crash’) for the book and now I have him coming on Filmnut on August 22nd. I’ll probably have a few more crossovers but keep some for book only.

Paul: Do you have any more projects lined up for the future?
Jeff: I’m going to do another micro-budget. At the level I’m at, I do not have the leverage (yet) to attach myself to my bigger budgeted scripts as either an actor or director. So that is keeping me away from making deals with bigger companies. But if you’re a private investor reading this, contact me! Filmmaking will always be risky business but if you know why things fail and you know why they succeed you can put yourself in the best position to be successful. A + B does not always = C in filmmaking. It’s the difference between relying solely on formulas at the expense of chemistry and planning. A filmmaker has to have a grasp of all of the above. So many projects don’t even get off the starting blocks due to insufficient preparation and or strategy. I shoot straight and will explain the process step by step. You’ll have a great experience working with me. (Okay sales pitch over.)

Paul: And finally, if someone else has a great idea for an independent film, what advice would you give him or her?
Jeff: I can go on for a while on this one!

Set short term and long term goals. Accept the inevitability that your project is going to be made. If you don’t know how to do something we live in an age where it’s never been easier to do research.

I do get asked a lot about writing and to anyone who has never written a script and is worried that there first draft won’t be any good, I tell them don’t worry about it because it will probably be pretty bad. A vast majority of first draft scripts written by the experienced and novice alike are bad. The point of the first draft is just to get it out on paper. Don’t worry about it being good. Most scripts that make it to the screen have been through MANY MANY drafts. Get feedback from people who will be honest and not look to please you. A good author to look into here is Linda Seger who I interviewed for my book and has written several books on screenwriting.

Do not underestimate the importance of any aspect of filmmaking or suffer your father’s fate you will (sorry for the Yoda Star Wars reference :) Sound is a big one that you hear about. Audiences can be a little forgiving of picture quality but if they can’t hear?

But also stills and artwork. Napoleon Dynamite may have been made for $400,000 but from what I understand it had a ten million dollar P&A budget once it was picked-up. Most indie films do not have that kind of budget so when someone is at the local DVD store what’s the first impression of you movie they have? Your DVD Cover!

KNOW YOUR AUDIENCE. (who is going to see your movie and why?)

Shoot anyone who says “we’ll fix it in post”. You don’t want to rely on fixing things in post. I know you have to balance “making your days”, staying on schedule but it is cheaper and more effective to get it right on set. Or at least talk to your editor during pre-production and have realistic expectations of what can and can’t be done in post.

Counter to that: Do shoot your best image on set. Don’t shoot effects that you don’t have to on set. That is something that can be done in post. Another reason to consult your editor in pre-pro.

Production time may be limited but take advantage of pre-production as much as possible… avoid the urge to RUSH… (Develop that script)

Counter to that: Do set a start date. People start moving and things start happening when a date is set.

Rehearse as much as possible so your actors are prepared, have contingency plans in place if things go wrong. What will you do if you have issues with: weather, light, sound, no-shows, equipment failure, police, accidents, bad acting, fights… to name a few. If you’re prepared most can be overcome without causing the stress that can be caused by allowing yourself to be caught off guard or unprepared.

Most important tips for last… Make sure everyone feels appreciated! And feed the crew and cast as well as you possibly can!

Thanks for the interview Paul and for anyone who wants to check out the show it’s on www.thestream.tv Wednesday nights at 8pm pacific standard time and 11pm eastern. (These are USA times). You can access any past episode at www.thestream.tv/filmnut I also do a post show blog for every show that is on the site and don’t forget about the message boards. Introduce yourself and tell me what you think and what you’re interested in!

By day Kim Sky, director, writer and producer of Just Another Romantic Wrestling Comedy, works in the hotel business. Her children’s love for acting allows her to be involved with films through their acting jobs and this is where she is happiest.

When she attends a pro wrestling match, the fans and the entertainers all spew energy, excitement, so much loyalty in the arena. This is what inspired her to write a story combining all the elements of romance, comedy and pro wrestling.

Currently she is in pre-production with A Broken Child, a tear-jerker of a drama, and is looking for like-minded people that want to get involved on the production side of filmmaking. And, amid all this, she has kindly agreed to take some time to talk to Dale Pierce.

Dale: Recently, you filmed Just Another Wrestling Comedy. Tell people about the plot.
Kim: It’s a “little guys win too” fairy tale about a Jewish boy falling in love with the daughter of legendary pro-wrestlers and not holding anything back till he wins her heart.

I live this “reaching the goal” every day, I think we all do. Everyone has a goal in life, or just a daily goal, we’ll do anything to reach it. We live once, as far as we all know, we need to make the most of it.

Dale: Did you use any real wrestlers in this or just actors?
Kim: Joanie “Chyna Doll” Laurer, April Hunter, Don “The Predator” Frye, Vic D. Vine, Gino Caruso, Red Hot Russ, Slyck Wagner Brown, Josh Daniels, Jay Santana, Crappy The Clown, The Flamingo Kid Pinky, Ken Yasuda are all in the movie. They were all awesome to work with.

Dale: Wrestling comedies and wrestling films have been done to death in the mainstream, it seems. Do you think there is room for yet another film of this type?
Kim: This is the FIRST Narrative feature film to combine: Romance, comedy and pro-wrestling. It has the Hollywood look, sound and vibe along with an amazing cast, they are all stars. It’s different to all the others.

Dale: What might differentiate this film from the others out there?
Kim: I love the entertainers in the ring and the ones out of it. Of course with comedy you always pick on someone, but I tried my best to show that pro-wrestlers are people that have a life outside the ring and potentially how it would be like in real life.

It’s a family movie, a date chick flick, a romantic wrestling comedy - it’s so different. You have to see it.

Dale: Aside from this, do you have any other films on the market now?
Kim: Our second project is in the pre-production stage - A Broken Child - it won the Golden Palm Award at the 2006 Beverly Hills Film Festival. Best Script over all the very talented writers, we were shocked and so proud. I guess when you do anything with all your heart, it’s bound to show.

Dale: What interested you in the wrestling world?
Kim: Growing up in the Dominican Republic, pro-wrestling, baseball and basketball were the outlets of entertainment.

Pro-wrestling combines everything I love: drama, fight, comedy and romance. The pro-wrestlers love what they do, they create all this drama, some of them are incredibly funny with their characters and they fight for what they love. I love that. I’m a pro-wrestler at heart.

Dale: So you’re excited about the response you think Just Another Romantic Wrestling Comedy will have in the long run?
Kim: It’s being helmed as the “Cult classic film of this time”- absolutely excited!!

People from all over the world are asking about it - I always thought there were a lot of pro-wrestling fans and that the stars in the film were famous, but this is crazy.

Dale: Do you see a sequel coming?
Kim: Absolutely. The script is in development. Love action, romance and comedy-the best genres to combine. I’m going to have all the stars I want in this one….at least I hope LOL.

Dale: Outside of film, what are your other interests?
Kim: Watching my kids do films (they are actors). I surround myself as much as possible with all of what is related to film/writing/acting.

Dale: Any interesting behind the scenes stories to tell concerning this film and its making?
Kim: We had two Praying Mantis on our door step during the filming, it never rained and when we needed a cloudy day- there it was. It was God Sent.

While shooting at the ECPW arena in Lake Hiawatha by Gino Caruso, we didn’t have enough extras, so Joanie “Chyna Doll” Laurer, Melissa Cunningham (wife of Jeremy London), Vic D. Vine, Ken Yasuda took on the streets in their costumes and stopped everyone on sight to come to the arena. It was amazing to watch the love- people poured in and the scene was set. Unfortunately having so many beautiful sexy people in skimpy clothing walking the streets made someone call the cops, when they showed up, we explained what was going on and they wished us the best.

Dale: Any closing comments?
Kim: “We hope to inspire everyone to follow their hearts, when you have that urge stuck at the bottom of your heart to do something, and you feel you can do it - then go for it.”

Check out Just Another Romantic Wrestling Comedy today and be a part of making film history.

And finally: Just Another Romantic Wrestling Comedy is released on 17th April and will be available from the official website as well as Amazon, Highspots, RF Video and video stores everywhere.

You can find out more at justanotherromanticwrestlingcomedy.com,
myspace.com/romanticwrestlingcomedy or uczkowski.com