Mark Toma

“I think all in all it’s a more pro-feminist than anti-feminist film.  The people getting their panties in such a bunch are all pussy whipped men or women who are afraid of men, they’re just ruffled by animal sex or something, their criticisms of the film have little to do with the film, it’s more they’re threatened by somebody challenging their beliefs and a sacred cow, challenging current views of feminism, and so much of that is completely hypocritical.  But that was the point to provoke discussion of exactly that, the movie is enjoyable as a film, but that’s the real point is the emotions and discussions it provokes, however angry. There is definitely something to be angry about concerning feminism, especially something for men and real feminists (not the phony kind) to be angry about, but when you realize what it is, you’re not angry at my film, quite the contrary, you’re angry at the phonies and hypocrites.”

 Mark Toma

Nick Saglimbeni,
Director of Photography

Nick reached his 100th magazine cover in just 5 years, and he continues to shake up the photography world with a cinematic spin.  In 2009, he won the Blackberry Small Business Award for his work with the firm he founded, SlickforceStudio.  The National Association of Photoshop Professionals (NAPP) has awarded Nick with a staggering three Grand Prize Awards.  He currently shoots for a wide array of venues, including album covers, national and international ad campaigns, and many major magazines.  Nick also continues to shoot for TV and film, most recently on the History Channel’s Cities of the Underworld.

Rich Codding

’s credits include American Son and Guiliana & Bill, he’s served as a producer on the feature Lucid, and produced and directed his own short Edgy Swingset.


Michael Rochford

Michael’s editing credits include Rocketboy, Hot Java and Anniversus.  He’s also written, directed and produced his own feature Carpet Kingdom.

Gerhard Daum

Gerhard’s compositions include original music for Felon, Reflex Action, One of Us, Love Ltd., and Au Pair,

Dan Foegelle
Post Production Supervisor/
Visual Effects Artist

Dan’s work can also be seen on The Solicitor, Julia Has Two Lovers, and Carts.  Dan’s studio is in Culver City, where the visual effects wizardry takes place daily in the studio of his own firm, 

Victoria Bentley
Hair and Make-Up Stylist

Victoria’s work can be seen onscreen in Cold Play, Passage to Zarahemla, and Dog Lover’s Symphony.

Ryan Stuckey
Associate Producer/
Assistant Director/
Line Producer

Ryan is off drinking in Belgium now, decompressing after his herculean labors.  He’s also finishing his first script about the adventures of a California ex-pat in Europe:  Dude in Paris.

Victoria Kordysh
Associate Producer/
Production Coordinator

Victoria singlehandedly kept the production from hitting the wall, organizing the chaos, on the fly, as it was happening, staying one step ahead of the speeding train the entire way.  Oh and by the way, she’d never done this before.

Aaron Sawyer
Assistant Director/
Line Producer

Aaron started off as a PA, but then over the long course of production (the movie took four years to produce), graduated to almost every position on the crew:  boom operator, Second Assistant Camera, Grip and Lighting Assistant, until finally he’d learned production well enough from the bottom up to become First Assistant Director and Line Producer by the end of the shoot.

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