I am grateful and humbled and excited and expanded, and I have a lifelong community of friends, colleagues, creators, meditators, and fellow travelers. Forever. And memories enough to fill a galaxy. Much to do, new tools to do it. One thing to do, the impossible task - thank everybody who helped, believed in me, encouraged me, kicked my ass, said nasty things to me and compelled me to prove them wrong, folks who shared their talent, challenged me, put me through the ringer, closed their eyes with me and joined me in the unified field of consciousness as one. Sound easy? No. I'll leave someone out unintentionally because there are so many to thank, but if I'm ever going to make it to the Academy Awards, I need to learn how to do this stuff. And in the David Lynch Program as I've said many times in this blog and they affirm many times in the Program, we learn by doing.

So wish me luck and here we go.

Robert Young, my life partner and best friend, my fiancé, you put up with so much insanity and obsessive behavior and blatant wack-job activity from me, the late nights of work, the times apart at residency, allowing the space for meditations,  but you pushed me, believed in me, encouraged me, sat and listened to me read passages from scripts and watched movies with me that you never wanted to see, you did all this and more and I couldn't have done it without you. Thank you my love. I adore you for all time.

And now, like a movie, I'm going to mention thank-yous to people in the program in the order they appear.

Thank you:

Dorothy Rompalske, our program co-founder and fearless leader, I cannot thank you enough for accepting me into the program and putting this thing together.  Your indefatigable energy and spirit is a marvel to behold. I don't know how you do it, how you put up with us crazy writers and creative maniacs, how you subtly and not-so-subtly mold and shape and challenge us and facilitate us facing who we are to be who we can be. I am so grateful.

Erika Richards, the program administrator, our mom away from home, you nurtured us, facilitated our needs and concerns, partied at us, yelled at us, laughed with us, and lead us such that we were never wanting. You are amazing.

Master Class Instructor Dara Marks, thank you for teaching us the power of the Transformational Arc. I used that knowledge on a final and throughout my writing process - it is the way!

Dr. Rod Eason, June Humphreys, David Navarrete, and his wife, Jennifer for sharing your knowledge of the practice of TM.

Administration and Tech Wizard Ryan Marks - Ryan, you fixed everything, You're the glue that holds that college together. Thank you for our many talks and rides to the airport!

David Lynch, your Q&A's were the highlight of any residency - to be in your program and the extraordinary people who make it work, I hope you are proud of us as we are of you. I felt your presence at all times, and you will always inspire me and others and the world with your passion, your vision, and your art. This has been beyond the beyond, as you say. My gratitude.

(This is when they start playing the music to get you to stop saying thank you and leave the stage. Yet, we've only just begun.)

To Amine Kouider, our teacher and Professor of the Science and Technology of Creative Consciousness, I cannot even begin to thank you enough. I don't know where to start nor do I plan to end. You are the center of the Program to me. Your kindness and commitment to each and every one of us, I always felt heard in your presence. You exude righteous bliss and true humanity. When you allowed me to interview you, I just was so profoundly grateful. And on top of all that, your musicality blows my mind. You have enlightened me so profoundly. Endless thanks from my deepest self.

Thank you Dr. Fred Travis. Your illuminating lectures on TM and the Human Brain, how we think, feel, learn, create - just absolutely mind-blowing.

Dr. John Hagelin, the President of our College, having met and talked with you personally on several occasions and attended several of your addresses, I am so proud you are our President. As a scientist and a humanist, with boundless energy and the way you've put together the scientific with the Vedic knowledge, I become more intelligent and aware just standing next to you before you even speak. And then you speak and it's like mainlining the cosmos. To know you, as Paul McCartney says, "It's a joy it's a joy it's a joy joy it's a joy joy..."

Master Class Instructor E. Max. Frye - thanks for your lectures and advice, and especially for keeping it real.

Master Class Instructor Deb Norton, your work-in-the-book exercises in combination with Dara Marks gave us the experience of doing - put the mind in contact with the body and the pen and paper. Your gift of foundational exploration in the writing process is invaluable.

Master Class Instructor Director Susan Seidelman, your lectures and classwork really enlightened us all to the process of making and directing films. To sit next to you and watch your film Suddenly Seeking Susan in the Orpheum Theatre was the highlight of my experiences. Gonna' thank Joanna Plafsky here too because as the co-founder of the David Lynch program, you've given me and others this life-changing extraordinary opportunity to really "up our game" and get in the big picture.

Adam Nadler, I had the honor and privilege of you being my mentor twice for two scripts, Elmer's Saucer and Roach Buddy. I don't know if you've been reading the blog, but Elmer's Saucer is gonna' be a Hollywood Movie. Thank you!!! You taught me so much about how to get the script clean, real, how to utilize the best of my imagination, what works what doesn't, so many things. My favorite thing to tell people working with you when we started was, "My mentor is an editor at Vanity Fair." Ha ha. I know we'll be friends forever, and hope to see you at the premiere of Elmer's Saucer. Or if it ends up streaming on Hulu or something, we can teleconference in and avoid Covid.

Dr. Marty Peters - our Gainesville TM Instructor - it's been a real treat to group-meditate with you and your students locally here, and I hope to do much more of that now that I'm out of school and ready to go deeper with my practice.

Ron Peterson, writing instructor, you were a member of the thesis committee, you read my script, and took extra time to give me advice going forward and for that I am grateful!

Everyone who not only gave me encouragement and advice, but folks who supported with patronage - that truly meant a lot.

Jeff Compton
Joey Larson
Don Traub
Michele LeSure
Johnny & Elizabeth
Jodi Beranger
Crystal Baker
C. Ruda
Adam Clasen
Blue Lang
Michele DuBois
Chuck & Amy Lynn Martin
Fred Buhl
Lizzi Nehls
Dan Kahn
Cathy Jones
Saundra Holder
James Hales
Wendy Thornton
Megan O'Neill
Patrick Egan
Pablo Momene
John Nobles
Michael & Eileen O'Meara
Chris Thomas
Charlie McWhorter & RJ
Nichole Hamilton
Gregg Jones
Shawn Spencer
Alexander Davidowski
Kim Chalmers
Susan Moore
Mark Meisel
Michael Presley Bobbitt
Lara Krepps
Terry Fleming
Lauren Caldwell
David Dick
Farol Tomson
Chef Andy Faas
and Robert J. Ramsthaler for that ten-dollar loan without which I'd never have made it to Santa Fe to register for classes all those years ago. Ten bucks made all the difference!

And special thanks to Angel Tidwell. You stepped up to the plate and co-signed a student loan that kept me going. I certainly owe this opportunity in large part to you. Graduated with a 4.0. I wasn't kidding around, and you're gonna' be on my Christmas list every year going forward! They don't call you Angel for nothing! Thank you.

Dr. Paul Morehead, Ph.D, for explaining advanced Yoga and breathing techniques to us in his Master Class.

Sankari Wegman, T.M. Teacher and Ph.D. Candidate for her introductory presentation on AyruVeda.

Julie Goldstein - Artist, Animator, and Professor Nynke Passi for your Master Classes in animation and film-making, and creative writing.

Director Monica Demes for her Master Class Skype-Session Q&A about Directing her feature films.

Screenwriter Anya Leta for her Master Class.

Mentor Neil Stevens for escorting me through the gates of Hell writing The Tabernacle of Hedonism - my most personal and strangest screenplay. Neil, you kicked my ever-loving ass, made me cry on several occasions, whipped me into shape, and gave me untold secrets and gifts of screenwriting in exchange for the survival of your gauntlet. You were a favorite among our class, highly revered, because you provided NO BULLSHIT! And you also would not accept OUR BULLSHIT. And you are brilliant and funny and hardcore, and dangerous, and witty, and a gem of the program. My gratitude forever, and wishing you only the best! I don't say this proudly, and yet I do - not everybody survived your course. But I know for damn sure I did, and I'm grateful for the humbling. You sculpted me into a screenwriter.

Thank you Daniel Nearing, Filmmaker, for your Master Class, and for your insightful comments on my thesis project!

Thank you Professor Alex Kustanovich. Your film analysis course was a delight, your passion and joy for films and film-making infectious, and your humor and wit and intellect refreshing. I could spend many hours with you over coffee, or brandy, or you name it, discussing cinema. I hope I have the pleasure of your continued education and friendship.

Kate Purdy (Producer & Writer, BoJack Horseman), Matthew Weiner (Sopranos & Mad Men), and Ellen Sander (Writer & Producer for Everybody Loves Raymond, Coach, and a Writer for a primo double-episode of  Taxi) for your remarkable master classes!

Dr. Martha Nochimson, Ph.D. for your challenging, astonishing, mind-boggling Master Course: Going Deep with David Lynch.

Jonathan Lipman, Maharishi Vastu Architect for the tour of your lovely house and the lecture about Vastu Architecture.

Rebekah Del Rio for that extraordinary intimate concert, your heavenly voice, and your kind words and autograph for me and my beau.

Glenn Gers for your Master Class and your generosity with the time you took to personally interact with each and everyone of us.

Antonia Ellis for your Master Class and great insight into the world of television and feature writing.

Kathie Fong Yoneda for your Master Class on pitching. Just so you know, it worked!

To my Mentor, Matthew Kelil - I can't thank you enough. I truly loved your Master Class on creativity and writing. You have me born-again on the Re-Write and on collaboration. You took me through a new take on Elmer's Saucer, and now they're making it into a movie! I hope we remain friends. You've taught me so much, challenged and encouraged me, and what a damn lot of fun you are to boot! I just think the world of you.

Dr. Andrew Stenberg for your lecture on Maharishi Ayurveda and Self Pulse.

Professor Judith Kenny! Wow, what can I say? You tied the whole program together in actionable tools and knowledge that directly led to me optioning my script. I have your voice in my head as I organize, plan, and research with all the valuable skill-set you transmitted to me. I truly hope we keep in touch.

Joel Roodman, Producer, Creative & Development Executive, hearing your in-the-field experiences listening to pitches and sharing how we can be more effective was eye-opening and brilliant.

Joshua Blum (Film Producer), thank you for your Master Class as a guest of our Business of Screenwriting course. You gave, in a kind way, blunt no-bullshit real-deal stories and advice which have served me well and continues to serve to this day. Your kindness in accepting my continued acquaintance with your advice is so humbly appreciated.

To my peers and fellow students along this journey, you have all made me a better writer. You've challenged me, pushed me, shared with me, I am a better writer and person because of crossing paths with all of you. May your journeys lead you to great rewards, cosmic consciousness, and the betterment of the world through the sharing of your many gifts and talents.
Andrew Saxena
Anthony Ciccotelli
Bob Singleton
Christian DeLannoy
Desiree Gibbs
Edward Savago-Royal
Sophia Woodward
James Clabots
Jamie Roberts
Jesse Valencia
Jessica Heilig
Jodi Beranger
Joshua Salt
Juliet Jarmosco
Lee Davis
Lily Casille Tucker
Mary Ann Willoughby
Michael Freeman
Shawn Maus
Trevor Miller
Trevor Southall
Kit Krash

To my Professors and Mentors at UF who inspired me to continue:
Yanci Bukovec
Dr. David Young
Todd Bedell (Thank you, my man!)
Kathy Sara
Nichole Hamilton (A-) lol.
Tim Altmeyer
Dr. Ralf Remshardt
Dr. Judith Williams
Russ Shultz

To my Professors and Mentors at Santa Fe College:
Gregg Jones
Terry Klenk
Liz & Owen Reynolds

To ALL the Glorious Members of the Tabernacle of Hedonism Including:
The Reverend Angeldust
Michele LeSure
Michael Garvin
Alan Bushnell
Danarchy
George O'Brien
Tapewerm
Marvo Servo
Alyson Chadwick
Shamrock McShane
Sangs
Cinemike
Thanks Andy Krone & Pamela Lynn Smith  (Andy, you started me going on Roach Buddy with our improvised "Meatball" scene! I won't forget that: SEE THE SCENE HERE!

Thank you to my sister, Gwen Bowers for starting the ball rolling in my childhood with her introduction to me and RUTH FOREMAN - Florida's First Lady of Theatre (whom I really owe everything to...)

Nathan and Alfreda Miller (the parents!) and the angel, my Aunt Alice Miriam Reed for instilling in me an art of music, art, comedy, and Storytelling.

Maharishi Mahesh Yogi, for the gift of Transcendental Meditation and your wisdom which echoes forever through the infinite halls of Cosmic Consciousness, my deepest most humble gratitude for everything you have achieved and shared with me, and with the world. Jai Guru Dev.

If I screwed up and left you out, I'm 54, I drink a lot, I have maybe one good neuron still firing, and I apologize, and it's without any malice or intention, and please just send me a kind reminder of what a shithead I am so I can with great shame covertly add it into this list. I want you there.

The Academy Awards are now very angry I've gone on this long, and you've reached the end of this record of experience. Thank you for joining me on this journey, which having ended, begins right now.

Here are the final grades. Good night, and good morrow. "May the road rise to meet your wheels." -- Sherrif Frank Truman of Twin Peaks.

Covid-19 has made a good run in its attempt to destroy theatre, but theatre doesn't stop for such banalities. Macbeth and King Lear through Shakespeare's pen to the stage, came about during the Bubonic Plague of the early 1600s--audience members chomping on the snack of the day, Hazelnuts, which may have had some repellent qualities for disease-carrying fleas.

Storytelling is at the heart of culture and without culture, human beings do not survive on the face of the Earth. Therefore, as long as human beings survive, the theatre--always dying--will also survive. Each nurtures the other through the darkest of times; disease, war, and famine. The theatre is medicine, the theatre is healing. The theatre is the creative embodiment of our collective consciousness. The theatre always finds a way.

Enter The Black C Art Gallery and Performance Space with its founder Ani Collier - an international dancer, choreographer, director and visual artist joining forces with Creative Director Lauren Warhol Caldwell, actor, director, teacher, creative artist, former Creative Director of the Hippodrome Theatre for near three-decades, and former assistant to Liza freakin' Minnelli!

They call it an experiment, and it is generally agreed among reasonable people that science is a requirement for survival: Tea for Two: COVID-19 SOCIALLY DISTANCED THEATRE - 2 Actors, 2 Audience Members and now, an August Strindberg One-Act Play from 1889 (Influenza Pandemic) re-imagined and interpreted as a modern mashup of visual, sonic, psychological, theatrical dance & prose.

And I'm invited!

So imagine, I approach the facade of the space, almost invisible to casual passers-by, the windows blocked out with paper. There's no telling this is Gainesville's most diverse gallery and performance space Downtown from the looks of things.

A simple but tasteful sign indicates you have arrived:

I am to experience the latest incarnation of this play, to see something in the performance space that has never exactly happened before and will never exactly happen again. I am the only audience member this afternoon. Normally, there are two. And there is tea. And beer.

Inside, two actors at a respectful distance from me, the Director and a stage-manager/sound & light person. The stage is set. A table with iridescent shot glasses, each filled with a mysterious liquid. Umbrellas. Black tapestries adorn the wall. Two chairs on either side of the table. An array of lighting instruments spaced out along the ceiling. Even at the Covid-safe distance, with my face-mask secured, I feel finally a sense of true intimacy in this modest space - intimacy denied by our pandemic.  I am greeted warmly by the Director.

"Would you like some tea?"
"No thank you."
"How about a beer?"
"I can't say no to a beer."
"This is your seat."

And then we talk.

"Why?"

Actor Sara Morsey, elegant and brightly shining - I paraphrase: "This is needed. We need it. The audience needs it. We're performers, it's in our blood. We're made to do this. This is an experiment." Sara, by the way, is a treasure of an actor - capable of expressing the entire range of known emotions and occasionally those unknown. Classical, yet punk. Soothing, edgy, raconteur. To have seen her in the Hippodrome's Suddenly Last Summer, or Doubt, or as Amanda in Glass Menagerie is to see the craft in its highest form. I've told her many times that in Doubt, she was better than Meryl streep was in the film.

I ask her if, outside the stage, just knowing theatre continues is important? Is there a social consciousness on which Tea for Two and The Stronger is felt. Yes! To know theatre continues in the service of humanity's higher ideals, even outside the performance space, it is a healing matter one can experience even sequestered safely at home.

A reward just to know theatre still carries on.

"I have always been fascinated by the work of German playwrights," Lauren Warhol Caldwell tells me. "Robert Wilson, Anne Bogart, JoAnne Akalaitis, Richard Foreman, I can go on and on with these artists that I've really felt a connection to, to the kind of work that they're doing. In Black C Gallery, this is my chance to do that."

I gather the solidity of her point, say, versus the somewhat structured confinements of traditional regional theatre. Not that the Hippodrome, under Caldwell's creative direction, didn't experiment, break conventions, push boundaries, provoke audiences...they did. Beautifully so. They just didn't do it so damn close to your face, so personal, to the point that the line between actor and audience is all but removed and in a way, you as audience are in the play.

In Ani Collier's multi-faceted performance space, restrictions become freedoms, intimacy transforms into the unbounded expanse of imagination. Here, convention is upended, pushed, pounded, heated, tested, measured, this is an experiment; an experiment with art - the non-measurable. The measure is only the found and lost moment. This is where you mainline theatre directly into arteries which nourish the brain and thereby the soul. This is immersion. A particle and a wave, a mixture and a solution, all happening at the same time.

"It's highly collaborated with these two, since I've known them and worked with them for so long. It's a mash-up, and then I make the final call."

Lauren continues, "It was especially fun to come back to it. We did it about a year ago, but I didn't think it worked so well. Returning to this piece, there were a lot of things we tended to. The most gratifying is to always dig deeper. We changed quite a few things."

Indeed! The original play, a one-page short, the two characters are Mrs. X, who speaks. Ms. Y, who does not. On the one hand, a battle of wills over a marriage, on the other hand a reflection of self. In this collaborative modern retelling, we the audience hear Ms. Y's thoughts, some of which come from an entirely other piece, a short story called Mistress of Many Moons by Sylvia Brownrigg. Each work elevates the other. Brownrigg's story contains one of the most beautiful and moving passages I've ever heard articulated in any theatre. You should hear it.

Bringing unique and overlapping skill-sets to the piece, Sara and Ani speak to each other and to us in the forms of dance, mime, movement, light, words, music, and thoughts. The use of space is mesmerizing, especially given that within the bones of the structure, much of the choreography is improvised in the moment. This is true organic composition. Actors will literally leave the building, welcoming in the exterior ambience - light and sound from the streets, if only for a moment, to remind us of our collective agreement to suspend belief and welcome fantasy. They work with umbrellas, flashlights, glowing hula-hoops, and iridescent plastic shot glasses that remind one of either chess pieces or stars in the darker black-light scenes.

It's a short work, running about a half-hour, but the experience goes beyond. When the lights come up, there is a conversation - audience, director, actors, and stage manager. How was this music chosen? Which character had the power? Were they two facets of one character? Is it night or day or both? Where are we? Are the drinking of the shots a competition? Are the umbrellas for sunlight or rain? Why is this so meaningful in Gainesville 2020 as it was in Sweden in 1889?

Afterwards, we must have talked for an hour. The play went by in what seemed like twenty minutes, the conversation of an hour, in ten. I asked a few questions of the light and sound engineer.

"What is it like operating Bob Robins' lighting design and Lauren Caldwell's sound for this production? Are you just firing cues, or are also you a collaborative participant, an actor of sorts with the others?"

Laurie Tejada, who was seamless and perfection in her technical work, said there is emotion, there is timing, there is precision, there is a living relationship in how she comports with the performers and the show.

"That's the only way to do it!" Sara adds.

Of course Laurie Tejada is also the Stage Manager, a revered position of high authority after the Director has done her job. If you've not heard the quote, I'll share: "If all the world's a stage, then the Stage Manager must be God."

The music choices, courtesy of the Director, evoke nostalgia. Classic and classical moon songs, with a few ear-popping Caldwellisms. Ani's dance is evocative, resonate. Somehow, through movement alone, she draws us in, effortlessly balancing on one leg atop a precarious plastic chair - excitement, fear, the body as voice. If I tried to do that, I'd break a hip.

"I'd rather dance than speak," Ani assures me. And yet she speaks, powerfully so, with dance.

There is no experience like this. I dare say they reach something new.

Human beings have the capacity to engage creativity unlike any other living thing. To be faced with the menace of an invisible destructive force that dispassionately has the power to silence our voices, here an opportunity arises to speak more loudly, more clearly, more profoundly in new ways; ways discovered by the necessity of creativity. To die to survive.

An opportunity for just you alone, or you and a guest, maybe three if you're lucky but that's it, to enter into this shared space, safely, enjoy some tea and be welcomed to wonder, to marvel at the foundational magic of storytelling, and then to share your voice with the voice of theatre itself, this is what Black C Gallery and its multi-talented muses challenge you to experience.

For more information and to arrange tickets, contact:
www.blackcproduction.com/

On Facebook:
www.facebook.com/BlackCArtGallery/

BLACK C ART GALLERY
EVENT: Tea for Two Performance Series
 
The Stronger
(Based on August Strindberg's One Act Play)

Director and Playwright:
Lauren Warhol Caldwell
Stage Manager:
Laurie Tejada
Light Designer:
Rob Robins

CAST:

Mrs. X
Sara Morsey

Ms. Y / Emily
Ani Collier

You must understand, this is not what we do. This is who we are. You are mainlining art when you engage a Tabernacle of Hedonism show. You experience trust, fear, anger, resentment, joy, bliss, empathy, pathos, sadness, regret, transformation, and Doobietopia.

The Show has never been for those who aren't interested in a challenge. And yet, the show can comfort you like Macaroni and Cheese. The show is a right of passage, a landmark you know, a pathway through absurdity to truth. For those who have stories to tell and songs to sing, the Tabernacle is a stage. For those with or without faith, the Tabernacle is a Church. For those who seek the alternative and revel in the abstract, the Tabernacle is a community. But above all, the Tabernacle of Hedonism is an ongoing story in which you can contribute a verse.

Tonight's show is the longest of our Corona Shows, and features the longest segments. We provide this show as a safe alternative during this Corona Covid-19 challenge, so that you can be entertained, visit with new friends and old, share in creativity and culture, and generally waste a good hour or so where you don't have to worry about reality. We provide a service.

If you like what we do, it takes hours and hours of coordination, contribution, and some heavy drinking and drug use to get one of these things off the ground. Drugs are not cheap as you know (coffee, cigarettes, goofballs, and lobster.) So your feedback, in the form of a tithe, or what is also known in the religious community is "...some of your money..." is welcome. And you can contribute HERE:

http://reverendangeldust.weebly.com

What do we do with the money? We return it to the economy by way of the great green glory of Jamba. We need better broadcast equipment. We need to improve the quality of our sound. We need to reach more and more people with the message of the Goddess. We need to keep the Holy Dumpster loaded with stash and sustenance. Only through your participation can we bring about Doobietopia and save the cosmos from the Alien Motherhood.

So if you want to be a part of the show, discover our stage and share your work. If you enjoy the Tabernacle and applaud its mission, give us some money and encouragement, and buy the Reverend a cup of coffee, and buy Tom Miller a lobster, and buy our participants and cast members a beer, and share your green bounty. This is a modest request, and we're only doing that which is right.

This show comes on the heels of the graduation of Tom Miller from the David Lynch Screenwriter's MFA Program at Maharishi International University, and brings to a close Tom's 10-year Performance Art Piece, "Professor Miller". So this show will go down in history, as everything will. Thank you for being a part of it.

Goddess bless The Reverend Angeldust, our remarkable cast members over these 35-plus years of activity, and all that is left to do now is realize we are one, we are capable of great creativity and discovery if we just eliminate hate and divisiveness and embrace what we have in common while respecting our differences.

We can all have a sip on the Holy Doobie and join with the cosmos in the celebration of vibrations of light and laughter. The Upanishads say, "To eliminate the darkness in our world, be one who adds light." Join us in this mission, and thank you for your support and participation. On behalf of the Tabernacle of Hedonism, Enjoy.

Tonight's Show includes a long-form original short film by Andrew Saxena, a chapter from Tom Miller's new film based on Shamrock McShane's play, The Seven Sides of Shakespeare, and fashion advice and intelligentsia from The Minister of the Interior, Michael Garvin! We have music from Terrence Ho, Eddie Emmerson, Alan Bushnell, Michael Garvin, The Tabernacle Fairy - Michele LeSure shares snacks (with Tom Nordlie off-camera), even more music by Josh Lederman, Chuck Martin and The Righteous Kind, Marvo Servo and his band, Fag Rabbit, and a beautiful sermon from the Reverend Angeldust including great investment advice! We have eight more shows for this season II, and of course all Season I is available to see at the Tabernacle Web Page.

So join us tonight online, and every Wednesday online at 10:30pm EST, until we can return to the Hardback Cafe in Undertown, Gainesville, Florida - Home of the Fightin' Gators and the Brain Institute, where we belong.

You know what the Beatles said, "Don't be long. Don't be long." We'll be waiting for you.

-- Tom Miller, Host, Ordained Minister

FOR IMMEDIATE RELEASE - FOR IMMEDIATE RELEASE - FOR IMMEDIATE RELEASE

Item: TOM MILLER NEWS -


1.) Tom Miller and Alex Davidowski's Short Film "Nothing" is an official selection of the NYC Indie Film Festival - earning the picture its first laurel.


2.) Tom Miller concludes his 10-year Performance Art Piece, "Professor Miller" - is set to graduate from the David Lynch Screenwriter's Program at Maharishi International University on June 20, 2020 in a virtual Covid-safe online ceremony.


3.) On June 9, 2020, Tom Miller's screenplay, Elmer's Saucer was optioned by Hollywood Producer, Michael Caissie (Associate Producer and co-writer of Hangman, starring Al Pacino) to be directed by Agata Alexander (Director of Warning, with Annabelle Wallis & Rupert Everett).


Contact: Tom Miller 352-222-5401 or [email protected] for features and/or interview.


ABOUT TOM MILLER:

Tom Miller is a nationally recognized American Screenwriter, Performance Artist, Playwright, Actor, Sound Designer, and Musician living in Gainesville, Florida - the Known Center of the Universe. He holds a BA from the University of Florida in Theatre, and is currently pursuing a Masters of Fine Arts in the David Lynch Screenwriter's Program at Maharishi University of Management. Tom Miller has received national press for staring into the mouth of Ted Cruz for two hours without breaking eye contact. Tom Miller is the host of the longest running continuous open mic show in America, the Tom Miller Show (a.k.a. The Reverend Angeldust's Tabernacle of Hedonism.) More information is available at his "Secret" official webpage: http://millerworks.weebly.com


Also, working on turning Shamrock McShane's play, Seven Sides of Shakespeare into a feature film. Learn more about it at the official web site: http://sevensides.weebly.com/

More to come...