Tag Archives: Video

“I See Dead People”

Hollywood Forever cemetery celebrated Dia de los Muertas in style on Saturday, November 2, 2013. Gia On The Move was able to get a few last minutes photos.


Happy Independence Day America!

Gia On The Move

Art & Fashion: Poetic Monday Mornings with Chanel



Our friend uber fashion film artist Trevor Undi is back.  This time he’s set us up with his newest film creation artfully showcasing the stunning elements of Karl Lagerfeld’s Métiers d’Art 2012/13 collection at Scotland’s Linlithgow Palace. Set against the poetic and emotionally haunting Retrograde from James Blake.

Kymera NYC

Quote of the Day: Dune

Kyle MacLachlan as Paul Atreides

Fear is the mind-killer.  Fear is the little death that brings total obliteration.  I will face my fear.  I will permit it to pass over me and through me.  And when it has gone past me I will turn to see fear’s path.  Where the fear has gone there will be nothing.  Only I will remain.

Banks And Trust: Music the the Ears


Banks and Trust: Music to the Ears at the LA Femme Film Festival

A chance meeting with a Wall Street pundit sends, Live My Life, the music video that created a flash-point around banks, trust and rock and roll, all the way to the 2010 LA Femme International Film Festival.

Live My Life Video Trailer

Los Angeles, CA (PRWEB) October 12, 2010 — The little video that could, and did rock Wall Street, is set to screen at the 2010 LA Femme Film Festival this week. Live My Life, the originally conceived low budget music video arrives with several awards and a push from the current media around TARP, music to the ears of the production team who spent 30 days of prep, 10 hours of straight shooting and one full year breaking through.

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“Sometimes, music and lyrics capture more meaning and heart than pundits and articles.” quoted Nomi Prins, from her blog last Wednesday, author of “It Takes A Pillage – Behind the Banks, Bailouts and Backroom Deals from Washington to Wall Street,” and Live My Life music video fan.

Director Michael Cornell, and Producer Tracey Paleo, in 2009, created an accidental flash-point around banks, trust and the American financial collapse, while developing a concept for a music track composed by then lead guitarist Kameron White of the Sonic Project. Inspired by the music and lyrics of White’s song, Cornell’s idea was to set Kameron (White) apart as a rock and roll artist without the usual stereotype and to create a brand around the musician who just happened to look like Treasury Secretary and former Goldman Sachs CEO, Henry Paulsen, orchestrating the heavily debated Wall Street Bailout.

What is really happening when no one else is looking? – has, ever since, been the driving anthem of this music video, which was almost entirely squashed by the media blitzkrieg surrounding the death of Michael Jackson, and nearly died on the vine, until the producers had the good fortune to meet journalist Nomi Prins. Ms. Paleo’s quickly put together “leave behind” which included a DVD of the video, a press release, photos and real dollar bill, the embodiment of the bailout debate, caught the immediate attention of Ms. Prins at a Los Angeles book-signing.

“Michael (Cornell) called me about the West Hollywood Book Soup appearance and insisted that we attend. He was very politically charged by the whole TARP issue and excited about Ms. Prins’ new book. And so I worked on this silly little thing all day, pulling apart the jewel case and putting it all back together thinking, ok, if nothing else, she’ll at least remember us when she uses the dollar bill to buy a cup of coffee or something,” says Paleo. The chance meeting began an ongoing loose dialog which, earlier this year culminated with a “coup de gras” statement by Ms. Prins for the filmmakers’ website. Ms. Prins will also be attending the festival in person.

Live My Life is set to screen on Saturday, October 16th, 2010 as part of the Sixth Annual LA Femme International Film Festival, held at the Renberg Theatre in Los Angeles, which runs from October 14th to October 17th and is expected to be attended by such Hollywood celebs as Steve Carell, Virginia Madsen, Angela Bassett, Rosanna Arquette, Laurence Fishburne and Amanda Seyfried.

LA Femme is dedicated to celebrating and empowering female artists creating work for a worldwide audience. LA Femme Film Festival highlights commercially-viable films written, directed or produced “by women for everyone”. Now in its sixth year, the festival is solely dedicated to nurturing a new breed of female filmmakers and providing opportunities for those careers to blossom.


Live My Life

Still rockin’

Tonight’s the night!  LA International Film Festival screens the music video that rocked Wall Street.  LIVE MY LIFE.    Next week LA Femme Film Festival.

What is most amazing about all of this is that even with all of the  puddles in the road, this little video has still managed to not only stay above water  but has begun to influence real Wall Street bankers who follow and tweet the producers and GiaMedia3 every now and again.  Some would say, “Is that actually a good thing?’ ‘Do you really want to piss anyone off?”  Well, actually, YES.  In a world full of apathy, isn’t it refreshing to be able to get someone to, for one moment, let go of their narcisism and pay attention?  A bit  harsh sounding sure.  However, we live in the Dancing with the Stars generation.  The fame generation.  The me, myself and I generation.  This little video is saying, ok, sure, be who and what you want to be.  Just don’t blame anyone else when you are not paying attention and around you the world starts falling apart, when you might have just given things a moment of your thought and focus. 

For today, however, we just say, enjoy.  And…LIVE YOUR LIFE!

View the trailer:

Visit the website:  http://www.LiveMyLifeVideo.com

The Model Critic Theatre Review: Mrs. Warren’s Profession


 Roundabout Theater, New York, New York

Reviewed by Carlos Stafford, The Model Critic
    Looking back to George Bernard Shaw’s comedy, Mrs. Warren’s Profession, you’d think the present times would differ vastly from those of Victorian England, when the play was set and finally presented in 1902.  What’s so amazing to realize, in this Roundabout Theater production, is that culture, along with accepted social morality, moves through time, and transforms as slowly as a huge ship coming about.
    Shaw, of course, is famous for poking fun at established shibboleths, false moral rectitude, and generally, for always pointing an accusing finger at hypocrisy.  He accomplished this with his genius for keen, penetrating views on humanity, combined with a laser wit.
    Cherry Jones, always wonderful, and a true gift to the stage, plays the eponymous Mrs Warren, or Kitty, a prostitute so successful, she has actually gone global with brothels all over Europe. ( Or, in a modern equivalent, she outsourced her enterprise, like McDonald’s, Google, or Starbucks.) The words prostitute and brothel are never mentioned, but the audience gets the picture quickly.  

Sally Hawkins and Cherry Jones

    Her daughter, Vivie has been away studying at Cambridge, and before that, at boarding schools.  Supported fully along the way, she is unaware of her mother’s profession.  The play opens with a rare meeting between mother and daughter; in a bucolic setting, at a cottage in the country.
    As Vivie awaits her mother’s arrival, we meet Praed, a dear old friend of Kitty’s.  He is kind, gentlemanly and as we see, an eternal optimist.  As they meet, he quickly sees Vivie is unaware of her mother’s life, and doesn’t know how to break the news to the poor girl.  Vivie, having just graduated, prim and proper, scholarly, with a fierce, cold independence, represents what was called the “New Woman” of her day; a young woman breaking away from the bondage of Victorian convention.
Sally Hawkins and Cherry Jones

 When Kitty arrives, flamboyantly dressed in red, with her sleazy friend, Sir George Crofts, Crofts is immediately smitten with Vivie. Rich, heartless, and a man of the world, he quickly turns his attentions to the young woman.  As he surveys the situation, he is struck with the idea that Vivie may actually be his daughter since Kitty never revealed to anyone who the father was. The local country pastor arrives looking for his good-for-nothing son, Frank Gardner, and to his chagrin, has an awkward moment when he recognizes Kitty from a dubious, long-ago encounter.  As he sees Vivie,  we now know that he too could be Vivie’s father as well.  Frank Gardner, the pastor’s son, having dropped by earlier, has also fallen for Vivie’s charm.  Little does he know, and is later revealed, that indeed Vivie is his half-sister, and his father, is also Vivie’s father.

    That evening, while alone in the cottage, Kitty and Vivie are able to talk quietly.  Kitty tries to explain to her daughter her life, and what led up to her choices; it’s a poignant tale of an abusive childhood, squalor, and economic privation, an individual corned by her status and gender.  She moves Vivie to sympathy and understanding as we see her struggle to drop her judgements, and temporarily at least, accept her mother.
    Shaw’s style of writing–unsentimental, unromantic, clear-eyed views of society was emblematic of the Naturalist Movement in literature.  Whores became whores because of political and economic realities, not because they were fallen angels.  This literary movement developed from the Realist Movement of mid-nineteenth century France with the likes of Emile Zola, who wrote about a Parisian prostitute in his famous work, “Nana.” Unadorned, he presented life as it was. The Naturalists did the same, but added the scrutiny of science to glean meanings from the economic, social, hereditary aspects of the human condition.  It was the time of Charles Darwin, and “survival of the fittest,” and Karl Marx.  Another fitting example in drama would be “A Doll’s House,” by Ibsen–a woman trapped in a marriage by social conventions, trying to escape.  Or “Miss Julie,” by August Strindberg, where social class is destiny.   In America, we had the novelist Jack London, Frank Norris, and Theodore Dreiser  Emotion was kept at a minimum, and bold, hard realities were presented. 

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    Back to the story:  Vivie is proposed to by the older  Crofts.  Repulsed, he wades in further to present his case.  He tells her that she would benefit by marrying him because he is extremely wealthy, and in any case, he will soon die, leaving her everything. He then informs Vivie, that Kitty has brothels all over Europe and that she too is very wealthy, and wants her to have all the riches of life. The young suitor, Frank Gardner enters, and they spar with words.  Crofts then reveals at the telling moment that they are both brother and sister, and that they could never marry.
    Crushed, but determined and confident, Vivie flees for the city to pursue her own life, and on her own terms.  Kitty desperately wanting her daughter’s respect, arrives at her office where they confront each other with shocking disapproval and opposing viewpoints.  As with another famous Shaw work, “Sister Barbara,” the characters pull no punches, as they philosophically fight from opposing corners, to determine what is Right. The audience is left stunned and challenged, and it’s not a cozy ending.
    This production was outstanding. The sets were charming and transporting.  Cherry Jones was superb as Mrs. Warren. Stephanie Jones, standing in for Sally Hawkins, was excellent as Vivie, as she stood her ground, and Mark Harilick, was perfectly sinister, unrepentant, and real. 
    Finally, Shaw combines many brilliant notes in his writing– he distills universal social principles, the comedy of human actions, and sympathy for the nature of man.  He is never vague and always robust in his well-crafted meaning, and bravely looks to the heart of the matter.  He surely came before “spin,” and even though at times one could take him as being dogmatic and preachy, he is certainly our cultural and artistic treasure.