I was lucky enough to snag an in depth interview with the Twin Film Makers from the North, the Vixens of Vancouver, the Soska Sisters – Jen & Sylvia. You can catch up with my review of their debut feature, DEAD HOOKER IN A TRUNK, by clicking here. They were kind enough to give us a peek behind the curtain of independent film making, their creative process, and a few nuggets of ponderance with their future endeavors, secret sauce on the side.
As feminist film makers, what do you hope your film says in the Boys Club of Horror? Can I call you Feminists?
JEN: I would definitely say we’re feminists. I think the horror genre is the perfect place for a feminist as some of the greatest, most empowering roles for women have been in horror movies. Ripley of the Alien franchise, Regan of Exorcist, Asami of Audition, La Femme of Inside, Carrie White of, well, Carrie… and I could go on and on. I feel women have always had a big place in horror. I hope that Dead Hooker In A Trunk will bring to light that women can be every bit as disturbing, dark, sick, perverted, demented, and violent as any man. And embrace it.
One of our heroes (or perhaps I should say “heroines”) is Mary Harron. We’re huge fans of American Psycho and if it wasn’t for her the film would’ve never gotten the go ahead. I think there are so many talented women that work behind the camera and it makes me sad that they don’t get the same kind of recognition as many of the men in their field.
SYLVIA: I am a huge fan of the Boys Club of Horror – they make some fucking sweet films. That said, I think there are a lot of women in the industry that are making high quality horror, but it’s just not as widely known. Mary Harron, as Jen has said, is a huge inspiration for her work on a personal favorite- ‘American Psycho’. I adore classic horror. Debra Hill’s writing with John Carpenter on the Halloween series was awesome – I want to know who came up with the hot tub hospital scene. It kills me in a childish giggly way that the victim is kissing Michael Myers’ hand because she just assumes it’s her boyfriend.
Jen and I really hate the label of ‘chick flicks’, mostly because they are often fluff featuring boring weak women in some kind of ‘having-a-man-will-complete-my-empty-life’ lame scenario. We were actually so annoyed by the Britney Spears’ film, ‘Crossroads’, that we decided we wanted to make a cool chick roadtrip flick that you could watch and get a real kick out of the flawed but lovable characters.
As for being feminists, I would say yes. I would say the whole ‘Dead Hooker in a Trunk’ team were feminists in the sense that they followed this crazy idea that we came up with and supported it completely. There was never any ‘but you’re just some twenty year old chicks, what the fuck do you know?’, it was all like we’d say something crazy like ‘I want this beat down to be incredibly long and brutal to the point that people will be uncomfortable watching it’ to the response of ‘Cool, let’s get some broken glass and kick her between the legs because you don’t see enough of that’.
None of your characters in DEAD HOOKER IN A TRUNK seem to find redemption. As a matter of fact, it’s like SEINFELD with gun play and amputations. What lessons are we to learn from these anti-heroes?
JEN: Ha ha, redemption can be so over rated. It’s true, they don’t really get what they deserve. I mean, they do some very naughty things. They do have to pay a price for their actions. I don’t want to give anything away, but Geek and Junkie definitely take a beating. Badass has a bit of a rough go at times, too. They all go through their own personal journeys, coming out as better versions of themselves in the end. They do learn that they are more a like than they may have guessed in the beginning. You can’t really judge someone before you get to know them. It’s amazing what people are capable of doing when they’re put in “sink or swim” situations. You find out what you’re made of. And our anti-heroes end up doing things throughout the film that they probably couldn’t have imagined themselves ever doing.
SYLVIA: The characters do go on a hell of a blood soaked, hooker by their side adventure, but the real journey is how these misfit fuck-ups actually relate to one another. These young people are not ‘good’ in any traditional sense, but they are deeply connected and caring for one another. Sometimes the people you see everyday piss you off or you feel like you don’t really have anything in common with them. Sometimes it takes finding a body in your trunk to realize, ‘Hey, I like you, man. I’m glad we’re friends. Now let’s get a shovel and hide these bodies.’
You star in the film, as well as serving as the writers, producers, and directors. Was wearing so many different hats a daunting task or did it offer you more creative control over the finished product? Did you find yourself favoring one role more than another? How does this affect your future projects?
JEN: We knew that this being our first film, and doing it independently, we had a lot of freedom. Who knows how many jobs we’ll be able to do in the future. We took this as an opportunity to prove how much we are capable of doing. Who knows if we’ll even get final cut in the future? We wanted to be involved in every aspect of making DHIAT. Nothing happened without our direct involvement. It was a lot to do, but it made the project so much more personal for us.
I love directing. Acting was my first love and I do enjoy getting roughed up. I’m a firm believer that an actor should do as many of their own stunts as possible. It’s something you don’t see enough these days. Remember Gene Kelly in “Singing In The Rain”? All he did in that film was incredible.
SYLVIA: When we decided to make ‘Dead Hooker in a Trunk’ as a feature we had a lot of heart and drive to create something that would be crazy and entertaining. We didn’t know how much work, how little sleep, or how broke we would get in the process – that said we would do it all again in an instant.
It was cool to be so involved in everything that came to pass. Like from writing a scene, to getting the location, casting the actors, directing the action, acting in the scene, then going home, and seeing it piece together. There is something hugely satisfying in being so involved.
I will always enjoy acting, but writing, directing, and producing has more of a sense of creative control which I love. I get a big kick out of telling stories through film. In the future, we will still do it all, but probably step back from acting. We have a lot of stories to tell and unfortunately they can’t all be about identical twins. Maybe a brief cameo here and there?
Can you elaborate on the creation of Twisted Twins Productions? How does CJ Wallis add into the equation with Forty FPS?
JEN: Twisted Twins Productions was always a dream of ours. We love movies and we love story telling. We knew instantly when we began Dead Hooker that this would only be the beginning for us. Sylvia was the one who came up with “Twisted Twins”. I originally wanted “Soska Sisters”. We agreed that we wanted alliteration, at least.
SYLVIA: I am so proud of Twisted Twins Productions. We have big ambitions. There are five projects ready to go – four features and a television series (that we have been working on since the ripe old age of 15). We want to create a good, interesting, and entertaining body of work, usually our interests lean more towards the horror genre so I thought ‘Twisted Twins’ would sum us up pretty well.
CJ Wallis and his production company, Forty FPS Productions, are just rad. Two days before filming, our original ‘Goody Two-Shoes’ (at that point, a female character) dropped out of the film. It was a out of our pockets indie and the script seemed too racy, so there was a bit of that unpleasantness. I was good friends with CJ at the time and we went to see some short films he had done. In one, he had a small role as a character that had the aspects of what I wanted for Goody. So, we had some drinks, I asked him to be Goody, and he said yes. I went home and rewrote the entire script – merging the Goody and love interest of Geek together. I have to say, I’m glad it went down like that because he is absolutely brilliant in the film.
The three of us got along really well of the film – us two in particular as we have been dating since a few months in to shooting, a couple months later the three of us moved in together. I remember looking over the shots from the Junkie monologue and he said he could cut the shit out of that scene. He did. He cut the shit out of the entire film actually. Not only that, he did all the sound, created tracks specially for the film, color corrected – he’s a one man post production team. There have been countless nights were the three of us sat in the kitchen cutting together a scene (if you check the credit scroll, we have the Kitchen Studios listed).
Jen plays the “Geek” and Sylvia plays the “Bad Ass”. How true to life is this? Which is a particularly favorite scene?
JEN: At the time that we were developing the story, I had been type cast as more serious than Sylv. I’d often be the bad guy, or bad girl, or bitch. I sort of have bitch face. It’s a more common condition than you’d think. When I’m not smiling or actively trying to “look happy”, my face just looks angry or intense. I often get, “what’s wrong, Jen?” or “what are you so upset about ?” I then have to explain, “oh, no, no, no. That’s just the way my face goes. I really can’t help it.” It happens a lot when I’m focused. I’ll be writing with Sylv and she’ll say, “what’s wrong?” and then I have to explain.
At heart, especially growing up, I was a nerd. Straight A’s. I had these huge glasses that took up most of my face. Actually, “little Geek” in the film wears my real childhood glasses.
Sylv is a really sweet person, but she can be a lioness when she gets pushed. Much like Badass, she doesn’t take shit and rightly so. She very rarely was getting cast as the Badass and it’s something so natural to her. She’s by far the strongest woman I know. But she has a heart of gold. I love Badass in the film. She proves a woman can be just as tough as “El” from the Desperado films.
My favorite scene? That’s a tough one. I love the “triad” sequence. As soon as the Titan Go Kings start to play, I get all excited. Every time.
SYLVIA: I think we’re both geeky badasses. When Jen was little, she totally looked more like a nerd with the big glasses, but maybe she was just being badass because I wouldn’t wear mine because I got teased. We both practice mixed martial arts, Jen’s got some very nice kicks that always give me a good smack when we spar and she collects weapons which she is pretty badass at. I collect tarantulas, but it’s not really that badass – it’s kind of geeky. The biggest tarantula recorded in captivity is eleven inches, I have three species that have been seen in the wild at thirteen inches, so my goal is to get them to that size (and love them, of course).
My favorite scene to shoot was probably the Cowboy Pimp showdown. The actor that played the Pimp, John Tench, is one of the classiest and coolest guys you could ever have to work with. It was a pleasure to fight to the death with him. There is a part where we drags Badass down the road by lassoing her and to do the trick, I was to be pulled down the road by a truck. I remember running around, getting everything perfect, and by the time I was tied to the truck I realized I didn’t really think about the stunt. So, Jen calls action and off I go cussing like a sailor, shooting at a cowboy, having a fucking rad time. Big props to our film’s stunt coordinator, Loyd Bateman, and my double, Maja-Stace Smith, who made it look really cool.
This feature blends cinematic styles of action, horror, and comedy. What are some of your favorite influences?
JEN: To be honest, I always felt Dead Hooker In A Trunk was a dark comedy. I guess our sense of humor is a little darker than the norm. Robert Rodriguez was a huge influence. El Mariachi and the book he wrote while making the film, “Rebel Without A Crew” was a huge inspiration. We just thought he couldn’t be more right. What is stopping people from going out and making their own films? No film school can prepare you like a real live set can. It’s one hell of a ride. Tarantino is a big influence, too. Aside from his definite style, I love how prominent his musical choices are in his films. You can’t hear “Girl, You’ll Be A Woman Soon” without thinking of that scene in Pulp Fiction.
We love Stephen King as well. Our mom has a huge collection of his novels and we began reading them in elementary school. We’d read them in class and have a dictionary close by to look up any words we didn’t know. Never could find “fuck” in there, though… I think we started to develop our sick sense of humor there. Instead of shying away from horror, we embraced it.
SYLVIA: It’s funny because we didn’t even realize that the torture, murder sequences were so horrific. It’s just how to like to handle violence in our films – gritty, raw, and real. I hate when films cut away from the ‘holy fuck’ moments, I want our audience to see the eyes coming out, the intestines in the evisceration, the bullets flying through heads – it’s part of the ride.
I have to say my parents have always been incredibly supportive of our horror and action fascinations, but they are the ones that we got our sense of humor from. If anything ever scared me as a girl, but mom would make this big joke of it and I wouldn’t be scared anymore.
I love Rodriguez. Working with Carlos Gallardo was a huge thrill- the man is such an indie badass. Quentin Tarantino, Takashi Miike, Wes Craven, Tim Burton, Lars Von Trier, Eli Roth, David Lynch, Peter Jackson are some of my favorites. But on Hooker, we walked around with ‘Rebel Without a Crew’ calling it the bible. It was a huge El Mariachi love-fest.
Sex and violence is the life blood of the horror genre. DEAD HOOKER IN A TRUNK definitely has its share of blood and gore, but there’s also a tender hearted little love story there as well. What’s up with that? How was this story pieced together?
JEN: Our most sincere wish from the very beginning was to make a film that was pure enjoyment for our audiences. The title Dead Hooker In A Trunk came to me like an old memory. Like it always existed, I just had to remember it. I hate films where you can see the ending and the series of events that will lead up to the predictable ending in the first five minutes. We wanted to keep people guessing, catch them off guard, all the while making them feel like they were there with the characters through the whole adventure.
We started DHIAT by making a faux trailer in film school. They pulled our funding and wanted us to ditch our project and just join with the other groups. We didn’t let a little thing like no support or money stop us. We decided to go ahead with our project on our own time using our own money and cast and crew. We also included everything on the schools “you’re not allowed to put this subject matter in your films” list.
SYLVIA: We wrote it down on cards, each insane scenario – which was something we read Rodriguez did for El Mariachi. Then we made some kind of order to it and filled in the pieces. The craziness was all the things we would like to see in a movie, the sentimental sweetness was there because we wanted there to be something there for people to enjoy. For me, I like a big kiss at the end of a film. In this case, there was a literal one. I get asked a lot how I feel about seeing my sister and my boyfriend make out in a movie. I think it’s hot.
As independent film makers, what was the largest challenge during production? What have you learned and what would you have done differently?
JEN: As with many other independent films, money was tight. We made DHIAT during the writers’ strike and there wasn’t much work going around. As a result, many people found themselves with free time and helped us tremendously. People with a real passion for film. We had only one camera to shoot with most of the time and limited space on our P2 cards. We could only shoot so much before we had to dump footage and recharge the batteries. We had only one set of wardrobe for each cast member, too, so we had to be very careful with it. Sylv’s jeans were absolutely destroyed come picture wrap.
Additionally we shot in fall and winter. And it was fucking freezing. I felt awful for Sylv and Badass’ tiny tank top. During the campfire scene, it was pouring rain. I amazed that you couldn’t see our breath in the air. I think a DHIAT sequel would take place in any season but winter.
SYLVIA: We would definitely need more costumes or copies of costumes. Towards the end of filming, Badass’s pants had to be sewn onto me by our key make-up and one of the hardest working ladies ever, Maryann Van Graven. She even cleaned actual horse shit out of my cuts, but that’s another story.
When we started working on the film, I thought I knew a lot about filmmaking. Looking back, I think I knew a little more than nothing and even now there is endless learning and forming of your skills. The most brutal thing was probably financially. It’s a bitch to not eat for months, have credit cards calling you everyday, and barely being able to pay the rent. It’s gotten better, but it’s a very expensive thing to do and there are a million little costs that come out of nowhere. I guess, I would have gotten a couple more credit cards to rack up to buy more stuff, heh.
The soundtrack tells as much of a story as your cinematography adding a sense of levity to some of your more disturbing visuals. How were these groups of musicians assembled?
JEN: The music was very vital to us. We wanted to showcase independent talent and ended up with some of the most incredible talent Vancouver has to offer. CJ, being a talented musician himself, lent us his music and introduced us to Fake Shark-Real Zombie! and The Awkward Stage. A bartender friend of mine suggested Incura over shots of Jack one evening. Sylv hunted online for the perfect indie Japanese punk music and found the sensational Titan Go Kings.
SYLVIA: We wanted a perfect blend of indie film making with indie music. It’s amazing how much talent is out there. The first band was Incura which open the film and are used in many of the action sequences. They are cool guys – they even let us kill two people in their band’s house. Now if that it’s pure indie, I don’t know what is.
Next came, CJ Wallis’ band The Stalls that plays the credits and over the campfire weed scene. I love their sound. After that, we went on a search for a Japanese punk band and found the Titan Go Kings – which have sadly broken up, but they have such a high energy feel. We got in contact with their manager and got the rights.
Next, we were introduced to Vancouver-based Fake Shark-Real Zombie! They have a rad punk rock edgy sound, are the raddest dudes ever, and let us use their music throughout. We used their stuff for most of the sexy parts – the rape, the seduction. The band The Awkward Stage is throughout the film, usually when an angelic or helpful character is about. One of my favorite tracks of theirs is ‘Heaven is for Easy Girls.’
The last addition is a solo project by Adam Nanji that we use for the more sentimental parts – Goody and Geek’s romance, the end. I love the soundtrack we have on the film, we got really lucky by getting in touch with some really talented people.
As sisters, identical twins even, does the stress of working together ever strain your relationship?
JEN: First and foremost, I love my sister. We’re one mind in two bodies. We finish each others sentences, know what the other is thinking with a simple look, and have similar tastes in almost everything. Every day I think how lucky I am to have her. However, we’re Hungarian and are both very passionate people. When we discuss things, to the untrained eye, it looks as though we’re at each others throats. Most of the time, that’s not the case. When we do fight, we don’t fuck around. It can be very intense, but thankfully doesn’t last long. It can be difficult when we don’t see eye to eye and when we both are passionate about two very different ideas, but we can always figure it out. We’ve become much more peaceful working together. Not to mention it’s nice to be able to cover twice as much ground and be in two places at once.
SYLVIA: It’s more stressful to have a relationship with someone who isn’t in the same line of work with you. Jen knows everything I do and I know everything she does. It’s nice. There’s two of us that think the same so we can multitask knowing everything is getting taken care of. For example, I am answering these questions and she and CJ just went to the post office to send out a bunch of Hooker screeners. More people working together is always better,
I love my twinnie. I have always had someone at my side, so it’s strange for me when we have to be apart. We share our stresses, but we’re in this together for the long run.
There’s some hardcore violence and some kickass stunts played throughout your film. Are you more inclined to practical effects or CGI with your storytelling?
JEN: I LOVE an actor that wants to do their own stunts. I’m certainly down to get smacked around if a script calls for it. I like to do things practically as much as possible. Even the best done CGI can feel cold and soulless and totally take your audience out of the moment. I loved John Carpenter’s The Thing. It was just so raw and real. There really is no substitute for the real thing.
SYLVIA: CG only if absolutely necessary. I just don’t like how it looks. Practical effects can stand the test of time better. When we decided to choke out Badass with a plastic bag, it looked awesome. My mom still gets upset by it, so I know we did good. It’s hard to make a scenario real if there are elements that are being added in after the fact to make it work. Besides, there are so many talented prosthetic artists – like our own Maryann Van Graven and Katie and Alyssa Satow of AlyKat FX- that it makes sense to do things practically as much as possible.
Most of the film was shot in Vancouver with the exception of one day in L.A. with EL MARIACHI star Carlos Gallardo. Do you have designs on moving to Hollywood or building an empire on your own turf?
JEN: Reading about Robert and Carlos making El Mariachi in Rebel Without A Crew and then being able to work with and become friends with Carlos has been a dream come true. I love LA. The first time I returned there in my adult life (we’d been there once before when we were little to go to Disney Land with our mom and dad), I felt like I was at home. You know that warm feeling you get when you get home and you cat runs up to you and you’re just so happy to be home? I was like that all over. If possible, I’d love to have a place here and in LA and have duel citizenship.
Realistically, I think we’d be able to do more in LA. We’ve dreamed of having a Twisted Twins Head Quarters down there.
SYLVIA: I love Vancouver and I love LA. The plan is to get to work down there in the future, but in the meantime there is so much talent here in Vancouver that you can make a lot of quality work here.
That said, we’ve been here our entire lives and just started going down to LA on a regular basis. I want to see what it would be like to work in the city that is famous for making movies. Regardless, I think we’ll always be going between Vancouver and LA. They are both too fabulous in their own ways.
What’s the current state of distribution for this feature? Are you fearful of the mommies and daddies at the MPAA? Are there plans for a sequel?
JEN: To date, we are still courting distributors. We’re doing a big push with the film this year and doing everything in our power to get it at every film festival and in every city.
Ha ha, no. I fear no censors. Honestly. The film’s called Dead Hooker In A Trunk. It’s independent grind house film making, Shame on you for watching this film and getting offended by the content. The title is practically a disclaimer. If this title offends you, perhaps you should go see Toy Story 3 instead.
We would love to do a sequel, the way Rodriguez did Desperado after El Mariachi. I’d love to see what we could pull off with a bit more of a budget. It would be really interesting to see.
SYLVIA: Right now, we are having our girl make her way through the festival circuit. We want to hear all of the offers before we make our final decision, but the response has been so positive that it seems to only be a matter of time.
I wonder what the MPAA has to say about forked penises? I think they like them! It’s nice to have the creative freedom to just create what you want without having to get an okay from someone because the material might be too edgy or gruesome. I imagine it’s a luxury we won’t get in the future.
We have had a joke about what the sequel will be and what we would do with a little more money and polish. There may yet be a sequel. The story is already figured out and such, but we have so many other stories we want to tell. I suppose that’s never a bad thing.
You’ve garnered attention from director Eli Roth and subsequently Ax Wound magazine. What has this exposure done for Twisted Twin Productions? Will you continue to make short films or are you more focused on feature?
JEN: Eli is an amazing person. He has endlessly supported us and our work. I hate to say it, but simply uttering the name “Eli Roth” throws doors open. I wish people would check out independent films without a celebrity endorsement, but that’s just not how this business works.
I think we both like to challenge ourselves and have an appreciation for all forms of the work. We’ll continue making shorts along with features. We’d love to direct music videos, as well. We even have a television series that we’ve been talking about since we were teenagers. It’s something we’re very passionate about and the day we get to make it will be a dream come true.
SYLVIA: I can’t thank Eli Roth, Ax Wound Zine, and so many more supporters from the horror scene enough for all that they have done for us. Eli watched our movie and promoted it to those he spoke to – it has generated a lot of hype and interest. His quote from an Ax Wound interview that we used in our trailer has gotten us invites to festivals around the world.
Hannah Neurotica of Ax Wound Zine that has not only been a huge help in getting the word out about the film and our work, but has become a good friend. There is one supporter named Avery that has told so many people in the horror scene about us, that we’vegotten a huge following. The exposure from people who dig the movie is what has given life to this film. Without people telling their friends, there would be no drive, no festivals, no nothing. It’s incredible what kind words from kind people can do.
As for short films, I think we may do a couple more here and there to just create something new, but features is where our real passion lies.
Your documentary PLEASE SUBSCRIBE follows and chronicles Internet stardom of those that have been voted into the spotlight. How did this project come about? What does it mean to you to be film makers in this Internet age?
JEN: I didn’t want to be type cast as a horror movie maker. Don’t get me wrong, I adore horror. I just wanted to show that it’s not all we can do. Like everyone in the world, we’ve collectively spent many a night on Youtube. You know, typing in some random words and seeing what comes up. With David Choi, we had been having a nostalgic night and been looking at old cartoons. We typed in “Ducktales” and found his Ducktales Music Video. If you haven’t seen it yet, go treat yourself now. Youtube is a collection of modern day film makers. That’s truly what they are. Masters of the independent and short films. It’s amazing what they do. However, there are people who aren’t all that comfortable with Youtube and don’t use it and as a result miss out on knowing about these amazing talents. Everyone watches movies. We wanted to bridge the gap and bring our favorite Youtube celebrities to a whole new audience that may otherwise never get to learn about them or see their work.
SYLVIA: I would love to be type cast as a horror movie maker. A lot of what we do is because it’s something that interests us. ‘Please Subscribe’ came from our love of YouTube. In particular, the videos from the four people that are featured in the film – Tay Zonday, David Choi, Happy Slip, and Daxflame. It’s amazing that these self-producing individuals have made such an impact on society through the newest form of media – the Internet. Sometimes, as it happened with these four, there is a video that is uploaded onto YouTube and it’s just got this something unique that makes it go viral.
We wanted to meet the people behind the videos. See what they are like in real life and film it for people who also love their videos and also to bridge the gap between people who may not really know about these internet sensations. What I can tell you, is these four individuals are so wonderful, so gracious, so talented – it was amazing to get to know them and their stories.
The Internet is the newest form of media, and, especially with YouTube, you can make an identity for yourself and your work just by uploading a video. It’s a real game changer. I think we’re going to see a lot more crossover and cross marketing between film/television and the Internet.
What can you reveal about your other feature film AMERICAN MARY? Will you return to play in front of the camera as well as behind? What else is on the horizon?
SYLVIA: ‘American Mary’ is going to be an absolute treat to make. It’s going to have a lot of things that you haven’t seen before, and drive into a type of subculture that hasn’t been showcased before. It’s dark, the prosthetics will be unreal, but there is a good story there and that we can’t wait to tell you all about.
We were aiming for it to be our next project, but we have a new opportunity for another horror film. It’s almost finished, we pitch it in its entirety soon. It should be finished and relatively soon. Then we’ll be sure to spill all the details. It’s a different take on a more traditional style of horror.
JEN: I think Mary will become a hero to a lot of women out there. I’m so excited to be able to bring the story to life. People are going to be blown away.
Additionally, we are writing a new high concept, very original horror film right now. It’s possible that we may be beginning production on it very soon. We also have a mini web series which will rejuvenate an old favorite from the past. There’s also a very special script that we’re completing now. It’ll be big especially with Dead Hooker fans. All I can say is it’s called “The Man Who Kicked Ass.”
A very big thank you goes out from me and all of the blackened hearts at Blood Sprayer to these wonderful and talented film makers. Are you itchy for more? I am…
Be sure to follow the Soska Sisters via:
Wander over to Ax Wound to pick up a copy of their adventures.
Show CJ Wallis a bit of love too by checking out Forty FPS Productions.