PERMISSION TO LIVE

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INSPIRATION TO IGNITE YOUR SPARK

"Inspiring, moving, edifying, beautiful! And maybe my favorite part is that I'm still thinking about it the next day!"

Mary Morrison, Comedian, Actor, Voice Actor & Writer

 

 

Be engrossed with this documentary that delves into the lives of 18 successful and working artists, offering an intimate view only an insider could access. Follow second generation artist and adventurer Mellissae Lucia into the wilds of the New Mexico desert. Be inspired by the candid and fascinating interview with the studio glass movement pioneers Mellissae grew up with, including her father Dick Weiss.

 

"I would start referring to it as a move for the artist's soul and never call it a documentary again! It was inspiring, refreshing and fun."

Robert Frazier, Artist & SFC

 

"I really liked it but I don't know why"

Anonymous

FEATURED ARTISTS

 

 

MUSICIANS

 

 

A DOCUMENTARY

 

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THAT'S REFRESHING, UPLIFTING & FUN

 

PLUS

A LITTLE DIFFERENT

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FREQUENTLY ASKED QUESTIONS

  • You're a first time director, how did you even think that you could do it?

    I am not intimidated by large projects. In fact, that makes it more fun for me. The wonder and possibilities are exciting. I never honestly thought I couldn't do it until I got to the sound editing. I like the different sound qualities mixed up but would love to have perfect sound to play with.

     

    Also, I come from a commercial, interior design background and ran huge projects. This helped a ton! I have experience with taking a design or idea and following it through even if I'm late with my "deadline." For the film, I set an unrealistic deadline for myself knowing that it would keep me on my toes. I tried really hard to honor that deadline and worked 10 to 12 hours, almost every day, for months trying to reach it. I was only 3 months late for a total of 9 months from the start of filming to the first screening. Mellissae and I are both proud of that.

  • The film has an unusual style and format. What were your influences?

    I have studied many, many different disciplines of art. I studied improv in Chicago, went to art school, I have a BS in interior design, have danced a bit, made websites, etc. etc. and I love moving an audience. This was one of my goals from the beginning was to move people. That is what draws me to Mellissae too. She is super intense and way more spiritual than I am (at least we have VERY different names and understandings for what we believe) and she moves people with her art. I wanted to present her in such a way that was approachable and respectful at the same time...even if the viewer doesn't believe in what she believes. Film lends itself to doing that. I have been doing 3D graphics since college and so I taught myself that again so I could show her dreaminess. It seems like around half the artists in the movie from the glass world, aren't that spiritual so I had to balance that out, and that helped define the look of the film too.

     

    Also, every time I would go to the 911 Media, DocuTalks hosted by Stuart Ferrier, there would be something that we were all trying to work out that inspired me. My friends, Ron Austin and Louise Amandes let me hang with them on a day shoot too. This helped so much more than they realize and was kind of a crash course in documentary making. Louise also did a quick overview on how to set up the software. I feel very lucky to have had these people helping so much.

  • We have heard mixed reviews on the sound since it's very raw. It has bothered some but others love it, why do you think it's an issue?

    I think since it's a feature length film, people think we did this with professional equipment and followed all the rules. We did neither of those. Their expectations are in some ways a compliment since they think it was a professional undertaking when it's all said and done. If I had to do it all over again, the movie would be exactly the same, I would have just made sure I begged and borrowed for better sound equipment from the get go. People in the business are going to flinch if they are reading this and haven't seen the movie...we used the built-in, camera sound equipment for the sound for the whole film. Please, if you're flinching, you'll get over it once you've seen it (80% sure).

  • I was very inspired and charged by the film. Was that your goal?

    Yes! I'm always disappointed when I see a movie and I feel worse afterwards. What was the point? I work really, really hard at the timing of things and hopefully that crossed over for you. I want to bring more authentic joy in the world and I'm thrilled that I found a way to do that which is fun for me too. A lot of people who don't even like the art have been inspired by the conversations in the documentary.

     

    If the movie doesn't inspire or charge you, you probably don't need anything in it. As Mellissae says, "If there is something in the film that is yours, you will be activated by it."

  • When did you get to the point where it all came together?

    When I had the beginning and the end done, I knew it was going to be good. When people gave their feedback, I knew I was going to be proud, and this is important, even if everyone didn't like it. I felt great about it regardless if the movie isn't for everyone. This was a huge, awesome breakthrough for me. I always had a strong skeleton for the outline which helped too.

     

    Something that is funny now, but not at the time, was when I gave Mellissae a half-done copy. I do NOT recommend this AT ALL! This was very traumatic for both of us because I had it done in my head but Mellissae couldn't see what the movie was supposed to look like since she couldn't see inside my head. I gave her warnings but she didn't read them because she didn't want to be influenced. She was very, very scared. My intentions were good; I wanted her to see herself on film, see the sad things before anything else and be able to recover from that. I didn't realize she would have to recover from the viewing...ha ha ha ha ha ha. Now it makes us both laugh but it was pretty bad at the time.

  • A lot of artists in the film mention "starving artist" and talk about spirituality. Was this intentional or did they happen to mention it?

    It was intentional. I had 3 questions I asked every single artist and those were 2 of them. We just asked those 3 for sure and then the other questions were more organic. It was interesting that the spirituality question opened most people up and closed others down.

     

    Since Mellissae grew up with these people or they are friends of hers, they had a tenderness for her that I think shows through in the film. They trusted that she was there with love. They didn't know me at all so I'm sincerely thankful for that opportunity.

  • "I was hoping for more about _______," seems to be a common comment abut a lot of the artists including Mellissae. Was this on purpose?

    Yes and no. I think if you are starved for the gifts that particular artist has to offer, the viewer is going to want more of that person. The flip idea to that is that if you are starved for one artist, there is going to be another one of the artists, guaranteed, that you're not as much interested in and might even think there is too much of. Even the people who loved the movie have all wanted more of one or more of the artists which is amazing.

  • You said you have done many different types of art and/or design in your career, what drew you to movies?

    I feel like I've been training myself in a secret squirrel way (even to myself), to make movies. The fact that I can do everything, putting the movie together myself (with help of course), is truly gratifying and fun. I love interior design and art but it's very quiet and there are a ton of things about it that can drag me down. Except for the sound, which is totally fixable in my next movie, there wasn't anything to drag me down. These are all enough to draw me to making movies.

  • You mentioned your budget was almost non-existent, do you think this effected the movie in a postive or negative way?

    Yes. Positive in that I learned how to do everything and I don't think it suffered too much for it. Negative in that we all wished we had better equipment from the beginning because then, we wouldn't have lost a lot of the footage and we could hear all the wisdom clearly.

  • You are calling these travel journals and I can't help noticing that the film isn't a travel guide. Why are you calling it that?

    I feel that when we travel, we are experiencing the world in a brand new way. It doesn't mean we have to live in the place we travel to, eat the food joyfully or even wear the clothes the locals wear. I think that when most people travel, they are comparing what is great abut the new place, what they'd like to take home with them and (hopefully) the great experiences and memories they are creating. In all likelihood, if the person is vacationing for pleasure and making a journal of it, they will have a sense of adventure and playfulness they might not have in the everyday. This excitement and sense of wonder without any expectations is what I hope to create in my films.

  • What draws you to a place when photographing?

    There was an intuitive training I went through to teach me how to find the locations. The process was all tied into the adventure travel I did during my seven-year vision quest after Chris's death. I was traveling throughout the western United States falling in love with horses, and I just naturally wanted to go check out interesting man-made and natural spaces. My parents were great explorers, infecting me with this passion for intriguing spaces. The guiding sensation tends to be like a little glimmer, a seductive whisper that says, "Hey, come over here, there might be something really cool that could enchant you." I became so attuned to the call that I would just drive down roads and know when to stop and get out. One of the fascinating things I also learned about artistic exploration is the carrot principle. Of ten what I was initially drawn to was simply the red-herring that got me high enough or over the next hill to be able to see where I was really meant to end up. I don't know about you, but my life often works on the carrot principle.

     

    The first time I clearly remember taking magical shots was at a highway construction storage lot that was filled with blinking signs in Sedona during my horse phase. I went at night and took a series of images of myself within the field of glowing orbs. I was reclaiming my youthful love of pushing the boundaries, of testing my courage by exploring abandoned and isolated places. It was so much fun that the focus of my trips became finding hidden magic and beauty. I have never been a marathon driver, rushing to get to my next destination, and being alone I could stop whenever I wanted to check things out. So these wanderings were not so much about covering massive ground as seeing and absorbing where I was.

  • It's hard to believe you do most of your photos with "monkey shots." (Holding the camera out at arms length and taking self-portraits blindly). When did you figure out this process presented that special quality in your photos?

    My childhood friend Terri Griffith and her partner Serena taught it to me. I love the quirky, irregular symmetry it offers, anything that has an element of surprise or off-the-cuff enchantment makes me very happy. I have such a controlling side that any artwork I do is trying to balance my willfulness with divine intervention and playful miracles. I started doing the monkey shots regularly as I traveled throughout the west falling in love with horses for three years. I would send pictures back to my mother, "Here I am on a horse in Montana,""Here I am at a Horse Dance Ceremony in Topanga Canyon." It also reminds me of my beloved photo booth pictures, goofy, irreverent, fun self-portraits you can do alone.

     

    I was spending a tremendous amount of time alone after Chris died re-calibrating and healing myself, so solo processes were essential. After years of doing the monkey shots, they had become second nature, and when I began the Earthen Body series of nude self-portraits on the land it was only natural to play that way. I'm not sure I even thought much about it, it just was. By the time I had done the Earthen Body work for a year and a half, I was so well trained that when I began the Painted Body series in the graffiti tunnels in New Mexico it ways MY way. There is a fluidity, a merging with the camera that allows a spontaneity and lack of self-consciousness that my work requires.

  • It was probably both a blessing and a hindrance to grow up with so many successful artists around you. We see in the film why it was great, but how was it also a challenge?

    The piece I had to come to terms with was that I had my own gifts as an artist. Since I was surrounded by people obsessed with beauty and design, I didn't know if I just inherited an affinity for appreciating it, or if I had my own mojo and should pursue it as a life path. My dad is such a strong presence in my life that at times I idolized him and his talent. He can draw really well, having spent a lot of time as a kid honing that skill. I did not draw a lot so detailed, life-like drawing are not one of my gifts. And at times I wished I had that skill, but as I grew I found that I had my own gifts. The horse collages, and then the animal watercolors were really the thresholds into my own confidence around my work. I knew they came together well, and I resurrected my dormant dream of a career as a visual artist. So I would say the life-long aesthetic training was invaluable, but then I had to sanctify myself to claim my own identity as an artist.

  • When someone is in love with the Southwest, they seem to have an extreme passion for it. Can you explain why that may be?

    The desert is an intense place. It's raw, wild, severe, subtle, barren, and expansive in its Technicolor glory. It is not the most nurturing of environments, so I think the folks who resonate with it have certain character traits that make them crave its intensity. Then when they actually find it, it fits them so well that their love of it becomes extreme like the climate itself. Many people abhor the desert, but the ones who love it feel like they finally got the nutrients they always wanted. Here is a quote from the book Crimes and Splendors: Desert Cantos of Richard Misrach from a fellow photographer and desert devote:

     

    "Deserts are generally seen as a zone of passage rather than as a place of habitation or extended study. Their inhospitable climate (intense heat and cold, glaring light, and lack of water or shelter) and vast scale discourage cultivation, or even lingering observation. Misrach, however, acknowledges that he enjoys working in there. "It is the heat," he told editor Melissa Harris, "the feel of the earth, the rich solitude and silence, and the remarkable scale of everything that makes being there so deeply fulfilling...Physically and mentally, that's where I feel the most alive." (Page 21)

  • MK and you both seem to have very different styles. Your work seems more sophisticated, intense and elegant while hers is more playful and fast-paced. How did you come to collaborate?

    We met through a mutual friend about eight years ago, and hit it off immediately. Along with my intensity I also have a very playful side, and MK is more intense than she lets on. We began working together on my early websites and found that we communicated very well, and with both our backgrounds in art and design we each brought a strong visual intelligence to the table. We found that we could collaborate beautifully, bounding ideas off each other, and coming up with something better than either of us could do alone. She was also able to translate some of my visual inspirations so well that throughout our years of projects we built up a lot of joy and faith in each other. I believe this is part of why the movie happened, I trusted her enough to do a respectful and skillful job telling my story. And when we began this project I was much more squeamish about how my work might be received by a larger audience. We also did butt heads about different styles. I have some very excitable and enthusiastic sides to myself, and have spent years chilling out. Sometimes now when music or images seem too kinetic or frenzied to me, I react viscerally in a negative way. I think MK sees a faster pace as being playful and fun, but at times I just get overwhelmed like being in a pinball machine. I did come around on a lot of it, I just needed to sit with it and let it sink in.

  • Why do you do your work naked and are you ever afraid being a woman alone on the land?

    I have always been a child of the earth. I grew up surrounded by wooded ravines, and my spirit is happiest in nature. For me being in nature is reconnecting with the essence of who I am beyond all the voices and ideas of other people and the larger culture. I am free there. and content. An extension of that earthen liberation became doing the work nude. The disrobing first emerged when I was teaching women's workshops with horses in rural west Texas. I was in love with the land there, and had found this huge bone that looked like a mask. It must be the Georgia O'Keefe muse coming through, because I have always adored bones and rocks, twigs and feathers, all of nature's sacred objects. Finding this bone became the conscious beginning of the Earthen Body self-portraiture series that lead to the Painted Body series. Soon after finding this outrageously beautiful calcified entity. I had an image fly into my mind's eye. I saw myself lying naked on the desert floor, taking pictures of myself with the bone. I had never done anything like this before, and the idea thrilled and scared me. It felt really erotic and radical as if the well behaved indoctrinated woman in me should never be so wild. But being a desert neophyte, I decided to compromise on the full prostration, and at dusk I took my tip off and stood as I clicked about twenty pictures with this epic bone. MY life would never be the same.

     

    Back to earthen genius Georgia O'Keefe, I later thought back to her Santa Fe Opera poster I grew up with that had a skull floating above the vast New Mexico landscape. That image always had a supernatural power to me, as if I was destined to go live out some desert dream. Georgia's profound effect on my psyche was now manifesting itself thirty years later through this horse pelvis mask. Those first pictures emerged right before I left the Northwest, and I printed them out larger when I returned to Seattle from Texas and was stunned. There was an energy, a presence that came through the land and myself that I had never seen before. There were vortexes in the photographs that wanted to pull me in. I was not ready to be Alice in Wonder Land yet, going down the rabbit hole, so I hid the images for four months until my thirty-ninth birthday. I didn't want anyone else's opinions or projections to spill something that I knew was very precious but new and vulnerable. That was the beginning of a year and a half trust-walk doing the Earthen Body work throughout the lush northwest coast, arid southwest desert and the magical south island of New Zealand.

     

    The whole Earthen Body and Painted Body photography series have been about building confidence and trust, and learning how to listen and follow. So four months later, on my birthday back on the northwest coast, I descended barefoot through the ancient Olympic Peninsula forest and danced with the elements and my camera again,nude. I went from he desert to the ocean. That seems to be a theme in my life. As I strode towards my dusting I heard a voice say, this is your work." I can be a smart as, so I thought, walking barefoot on the land? That second Earthen Body shoot confirmed that it was not a fluke, and that magic and mystery were being co-created in these photo shoots. The nudity is an offering, a prayer of surrender and sacrifice. It is becoming raw and transparent, exposed and thus safe, the paradox of giving up your protective armor and flying unencumbered into joyful union with the creative process. For me it always feels so right to be nude on the land. I feel like a happy toddler who has finally gotten what she truly desires, to move freely beyond the constrictions of clothing and property. To be a child of the mud and the steam, the wind caressing your entire body, the sun warming the hairs on your skin. It's very sensual and erotic in the grandest sense of full, passionate, embodied living.

     

    It was also a huge practice in believing in my own intuitive knowing as a woman doing this alone. I grew up with some of my family members struggling with anxiety. I took some of this on and in my teens and twenties had massive self-consciousness and fear. I now recognize that I am an empath, one who feels others emotions and energy very strongly, but then I just thought i was in a constant tempest of worry and angst (not realizing I was picking up everybody else's anxious atmosphere). So for me to be a woman and believe that my intuition and spirit guardians would keep me safe, or warn me if I needed to be the deer and flee was huge. HUGE. Probably one of the most freeing things in my entire life. So the nudity was both a home coming to my true essence and a cleansing of the years of anxiety I had inherited; true liberation. And to this day when I am alone in nature (which is a lot), I just check in, "Am I safe?" "Everything OK?" I trust that if I am not I will know and then react wisely We all have the god given gift of intuition, but most people have disregarded it for so long that its a little rusty. Apprentice to its wisdom, it may free you.

  • We heard you presented your work to everyone in the film, how was that for you?

    I was both intimidated and excited. We did not choose to show this in the film, but we gave my Oracle of Initiation divination deck to each of the glass artists we interviewed, and then discussed it on film. (We hope to share more of this footage at some point). I love the work I do, as Cappy and my father both said, they most of there own work, it has legs for them. And I also know that my Dad's friends are tough and real. They would not sugar coat it if they didn't like it. And the miracle was dome of them loved it. Paul Marioni and I spoke of his years of dream tending and his dreamtime visits from the Oracle. Cappy resonated with the glowing earthen spirituality. Bob Carlson's whole life is cross-cultural, indigenous myths studies as the Oracle deck taps into.

     

    We did get some reactions that didn't get the mystical aspects of it. Dick Marquis said he had to go sort nuts and bolts after seeing my works so he could come back down to earth from the cosmic-ness of it. But his wife Johanna fell in love with the Painted Body series, and if you notice in her studio she has an Ansel Adams B&Photograph of Georgia O'Keefe with a rangy looking Ghost Ranch hand behind her. She gets the desert, and the Mystery.

     

    The most precious part of sharing my work with everyone in the film was that I felt welcomed into the tribe as a sovereign adult artist. As I said earlier about some of the pitfalls of growing up surrounded by successful artists, you have to learn if you have your own talent, drive and magic. You can inherit some skill, but do your really have enough of the crazy compulsion and gifts to dedicate your life to it. And after offering who I had become as an adult to all of these folks who have know me thirty-five to forty years, I felt like I finally received the appreciation and recognition I had desired as a creator. This was one of the most precious parts of the entire process for me, the satisfaction of being honored by my elders.

  • How do you stay balanced and focused living a creative life?

    This is such an important question. Anytime a person goes off the beaten path, there has to be something to keep them dedicated to it, and tools and perspectives that allow them to sustain that life. As a young person I struggled a lot with insecurity, self-judgment, and anxiety mixed with depression. I do not share this as a way of wallowing, but of keeping it real that my life has not been a bed of roses, or it has, with major thorns. Chris's death was not the only struggle I have experienced. MY journey has been about loving and accepting myself. It seems to be a requirement for tapping into your deeper self that a person go through a series of initiations to break down the constrictions and allow more compassion and humility in. I got all of that in my teens and twenties. IN my youth I used drugs and alcohol to try to hold myself together and deal with my emotional sensitivity before I found intuitive/shamanic/creative/land/animal and Spirit based healing methods. In my early twenties I knew that drugs and alcohol were going to impede my integration,so I stopped them all (a strong will can have both constructive and challenging aspects).

     

    My entire life I have been ravenous for spiritual union. That drive was what actually brought me to concisely train in the intuitive arts, and that changed everything. When I surrendered to my path as a shamanic practitioner, my entire energy system shifted. For the the recognition of my gifts and direction was the gateway into my continued balance. It is different for each of us what will feed and nourish our soul. My path will never by yours, but I would hope you could draw from the pleasure and satisfaction I have tapped into to find your own bliss. It really is a process of learning to trust yourself and your yearnings. To embrace being guided by your intuitive signs an synchronicities that lead you to your true places. As Beatrex Quntanna the transformational Tarot master and astrologer says, "Follow the chi. Follow the the energy of your unique passions." It takes an astonishing amount of determination, and the ability to not be owned by others voices and agendas. As Joseph Campbell says, "It takes courage to do what you want. Other people have a lot of plans for you.

  • Are you working on any projects you can tell us about?

    I just finished my second book,Oracle of Initiation-Rainbows in the Dark, the story of the desert metamorphosis that created the Oracle of Initiation divination deck. The first book was a limited edition photography book of the Earthen Body series that Jak Wonderly from the movie helped me produce. The Oracle book and deck is a huge project off my plate, six years of work into that miraculous creation. For years I have felt a magical faery tale/heroines journey simmering in me. I had a very interesting childhood, and feel the deep need for more female stories to be available. This last winter the sections of the heroine's journey came through, and I am letting it emerge as it will. My dream is to have it be a motion picture with amazing special effects. I am also writing my next book on how to tap into your own passion and creativity. Like the marvelous book The Artist's Way, by Julia Cameron, it is a guidebook to move beyond habituated voices of constriction and uncertainty to claim your own brilliance. I love doing photography and art books, and want to move more into ritualistic film making on the land as well. We shall see how the world spins me now.

  • What did you enjoy most abut the process of making the film?

    I had wanted to collaborate with other people for some time, and this was the first large-scale project I have co-created. Most of my work is done alone, so this was a big deal to tackle such a massive undertaking with others.

     

    The most enjoyable parts were negotiating and cooperating with MK, being welcomed so graciously by the elder artists, learning I enjoyed interviewing, seeing myself grow in confidence during the process, being deeply enchanted by visiting the art is studios and homes again, showing off my beloved New Mexico, laughing a lot with MK and Frank, being proud of how professional our Kickstart campaign looked evening if we didn't make it, being excited about entering a new creative world through movie folks, hearing about the sincere and enthusiastic feedback Stuart and DocuTalk folks offered MK along the way (Stuart has come to the first two screenings of the movie-he should get a gold star!), all of the support we received in equipment (thanks Try and Daniel for the cameras), all of the folks who agreed to be part of this wild idea and previewed it, have a blast playing with my cousin Leela and the "mud truck incident" {***see below}, talking about grunge with And and her miraculous story "horses, Honeybees, and Me," enjoying Frank's brilliant equipment designs and camera knowledge (among his of the ten million skills and gifts-our sweet Renaissance man), seeing how MK actually manifested her original vision-and did it in only 9 months, doing more photo booth pictures, witnessing how inspired some folks are by the film, and to my Dad's willingness to let us pike around in his world for a while. Love you poppa.

     

    More on MK and I. She and I are both incredibly strong willed (Germans), and we both are also very sensitive and intuitive. The blunt, determined visionaries bump up against the tender softies and then we can get our feelings hurt. What was essential, and astonishing to me in this collaboration was how honest we both were. We laid it out when we were having struggles, owned our own stuff, and I felt so much stronger and cleaner after these candid talks. I am much more emotional than she is, ant at certain points during the process I was afraid of being seen thought he work I do. If you have met me, I am like David Lynch. I have a friendly, "saw shucks," Girl Scout persona, and then I do this raw, startling, nude, shamanic underworld work. So I dealt with my own insecurities about being judged for being who I am.

     

    The biggest thrill of all for me during the process came the night of our first public screening. We had it in a charming local pub called Naked City (no kidding), and what I came away with was NO FEAR about being seen. That alone has been totally worth all the things we have gone through, the liberation of my true self. Millie Grazie, a thousand thank yous to the blessing of this project coming into our lives. And BIG LOVE to MK and Frank for being such a blast to work with and spending so much time honoring this story.

  • The mud truck incident with my cousin Leela

    After filming the photo booth mayhem that opens the Painted in the Desert film, MK, Leela and I were driving back into Seattle, We had been n the north end of the city. and Leela need gas for her groovy Mustang convert able. I completely adore Leela, she is the twenty-one-year-old version of me. She is herself, and familial character traits must be pretty strong, because she and I are so much alike. She is sweet, sensitive, irreverent, goofy, creative, strong, intuitive, loves sugar, spirituality, and Marilyn Monroe. She is a kick ass girl. It is such a gift to see her growing into herself.

     

    When we returned to her car after the shoot she pulls out her "evening wear" for rollin' in the convertible. In her trunk she has a silk paisley smoking jacket that she co-opted from her father Karl. Uncle Karl is the life of the party, and home inner Hugh Heffner, so it was no surprise that he owned such a debonair article of clothing. So Leela pulls the pilfered robe on, fearlessly wearing Playboy Mansion lounge wear publicly, and then adds the piece de resistance. One of her muddies made her this huge, furry, black Russian trapper hat with ear flaps. She looks like a cross between a cherubic black bear and a dark mutant Tell a Tubby; it rulz., and that's all we need to say. Adding to the festive air of the excursion I still have on a vintage fur pillbox that with bright red lipstick and a baby blue down jacket. We are quite a dashing pair with MK laughing all the way.

     

    Leela's CD player will only play two discs, so we are rocking out to the rapper Gucci Mane. When e stop to get gas MK is filming our exchange, and I am joyfully praising Leela's rock star brilliant style. As we converse a mud covert truck with exaggerated wheels pulls up across the island from us. I was feeling sassy, so I started flirting with the young man who got out. I forgot I looked like a crazy person with an old woman's pillbox hat on, and was asking where He got his rig so muddy {I am obviously pro-mud}. As I was flirting away MK instructed Leela to head over the end of the pump closest to mud truck guy to get a shot of her with the full moon. As she saunters over in her big pimpin' hat and robe, the mud truck guy freaks out and drives away quickly. "Nine months later I am still laughing out mud because it was so f*#@in fun}. We figure he thought we were crazy drunks or drug lords with Uzi's below the robe. We almost passed out I was so much fun. Such are the things that will happen in Shoreline on a full moon it wild women filming a movie. When have a video of this too, for real...and it is HERE on youtube.

PAINTED IN THE DESERT DOCUMENTARY

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