Yesterday Was a Lie (2008)

Director:

James Kerwin

Writer:

James Kerwin (writer)

Genre:

Drama | Music | Mystery | Romance | Sci-Fi

Tagline:

The most powerful force in the universe lies within the depths of the human heart.

Plot:

Hoyle, a girl with a sharp mind and a weakness for bourbon, finds herself on the trail of a reclusive genius...

Plot Keywords:

Blonde Bombshell | Busty Heroine | Time Manipulation | Claim In Title | Neo Noir

Awards:

11 wins

Cast

Kipleigh Brown	...	Hoyle
Chase Masterson	...	Singer
John Newton	...	Dudas
Mik Scriba	...	Trench Coat Man
Nathan Mobley	...	Lab Assistant
Warren Davis	...	Psychiatrist
Megan Henning	...	Student
Jennifer Slimko	...	Nurse
Robert Siegel	...	Radio Interviewer (voice)
Peter Mayhew	...	Dead Man
Brian Carpenter	...	TV Shrink
Frank Payne	...	Coroner
John Ronald Dennis	...	Clerk
H.M. Wynant	...	Art Patron
Johanna McKay	...	Art Patron
Catherine O'Connor	...	Art Patron
Bill Dempsey	...	Cabbie
Joe Leroy Reynolds	...	Bartender (as Joe Leroy Reynolds Jr.)
Keri Holland	...	Waitress
Casey Alan Carver	...	Security Guard
Trevor Trout	...	Server
Howard Yeh	...	Newsie
Shadii	...	Medic
Amol Shah	...	Medic
Ed Cosico	...	Other Trench Coat Man
Osbie Shepard	...	Other Trench Coat Man
Amara Cash	...	Other Student
Brock Branan	...	Couple in Therapy
Claudia Croce	...	Couple in Therapy
rest of cast listed alphabetically:
Michael Q. Schmidt	...	Art Patron (uncredited)

Directed by
James Kerwin

Writing credits (in alphabetical order)
James Kerwin		writer

Produced by
Sarah Nean Bruce	....	co-executive producer
Andrew Deutsch	....	co-executive producer
S.K. Duncan	....	co-producer
Steven Hacker	....	co-producer
Daniel Henning	....	associate producer
James Kerwin	....	executive producer
Jill Kerwin	....	associate producer
Chase Masterson	....	producer
Louis Race	....	associate producer
Jay Thames	....	co-producer
Robb Thomas	....	line producer

Original Music by
Kristopher Carter

Cinematography by
Jason Cochard

Film Editing by
James Kerwin

Casting by
Victoria Anderson
Josh Waters

Production Design by
Jill Kerwin

Costume Design by
Sara Catherine Curran		(as Sara Curran Ice)

Makeup Department
Robert Bachelor	....	hair stylist: Ms. Masterson
Breanna Khalaf	....	hair designer
Breanna Khalaf	....	makeup designer
Lynda Nairne	....	assistant makeup artist
Judie Tallman	....	hair stylist: Ms. Brown
Cheryl Whitney	....	additional hair stylist
Cheryl Whitney	....	additional makeup artist

Production Management
Thomas J. Rasera	....	unit production manager
Rikki Lee Travolta	....	digital post-production supervisor

Second Unit Director or Assistant Director
Paul Bogh	....	first assistant director
Lawrence E. Dotson	....	second assistant director
Brenda Urquhart	....	first assistant director

Art Department
Andrew Deutsch	....	additional graphic designer: props
Charity Poore	....	assistant set dresser
Sarah Louise Wilson	....	original paintings

Sound Department
David Barber	....	dialogue editor
Melissa Bylsma	....	sound coordinator
Trevor Dowswell	....	sound coordinator
Gonzalo Espinoza	....	adr supervisor (as Gonzalo 'Bino' Espinoza)
Gonzalo Espinoza	....	foley supervisor (as Gonzalo 'Bino' Espinoza)
Paul Gebeau	....	boom operator
Sean Gray	....	sound designer
Sean Gray	....	sound effects editor
Steve Hunt	....	boom operator
David Kitchens	....	foley mixer
David Kitchens	....	sound supervisor
Jeff Merritt	....	sound effects editor
Stephen Nelson	....	sound mixer
Ian A. Thompson	....	sound mixer
Ben Zarai	....	dialogue editor
Ben Zarai	....	sound re-recording mixer
Ben Zarai	....	supervising sound editor

Special Effects by
Dwight Elliott Stone	....	special effects supervisor

Visual Effects by
Peter Allendale	....	digital compositor: Comen VFX
Lisa Annitti	....	controller: Comen VFX
Tim Carras	....	visual effects supervisor
Joshua D. Comen	....	visual effects producer
Saeed Faridzadeh	....	digital compositor: Comen VFX
Lori Freitag-Hild	....	digital compositor: Comen VFX (as Lori Freitag)
Michael Struck	....	digital compositor: NEO f/x

Camera and Electrical Department
Darrick Akey	....	first assistant camera (as Darrick C. Akey)
Josh Blakeslee	....	still photographer
Danielle J. Brown	....	additional best boy grip
Veronika Cernadas	....	still photographer
Andrew Deutsch	....	still photographer
Gabriel Diniz	....	additional first assistant camera
Brian Drown	....	video engineer: Keep Me Posted
Jacob Fleming	....	additional gaffer
Eddie Garcia	....	still photographer
Brian Griffith	....	best boy grip
Brian Griffith	....	still photographer
Eric Harp	....	grip electrician
Angelo Heredia	....	still photographer
Nicholas Kaat	....	additional gaffer
Luke Kalteux	....	best boy electric
Erik Knox	....	second assistant camera
Ben Kobbs	....	first assistant camera
Dale Marks	....	additional cinematographer
David M. Milstien	....	still photographer
Sean P. Neelon	....	grip electrician
Geno Nicholas	....	still photographer
Alfredo Serra	....	video engineer: Keep Me Posted
Dwight Elliott Stone	....	key grip
Sérgio	....	best boy grip
Aaron Torres	....	chief lighting technician

Costume and Wardrobe Department
Tania Pacheco	....	additional wardrobe

Editorial Department
Jason Cochard	....	colorist
J.M. Logan	....	post-production consultant
Nick Mundy	....	on-line editor
Rick Redick	....	post-production coordinator: Keep Me Posted
Mike Roey	....	post-production coordinator: Keep Me Posted
Ryan Sitter	....	on-line assistant

Music Department
Kristopher Carter	....	music supervisor
Kristopher Carter	....	orchestrator
Paul Frederick	....	soloist: saxophone
David Holladay	....	vocal supervisor
Dominique Preyer	....	music clearance
Mako Sujishi	....	score mixer
Olivia Tsui	....	concert master

Transportation Department
Don Althoff	....	driver
John Michael Sudol	....	driver (as New York Jake Smith)
Sérgio	....	driver
Marty Vites	....	driver (as Martin Vites)

Other crew
William A. Brown Jr.	....	production attorney
Lisa Cobb	....	payroll: PayReel
Josh Crawford	....	office production assistant
Andrew Gallagher	....	office production assistant
Tim Kanungo	....	medical consultant
Carrie LeGrand	....	production coordinator
Melissa Leonard	....	set production assistant
Paul Major	....	set production assistant
Kristen Brooke Martin	....	additional script supervisor
Dennis Middleton	....	production accountant
Charity Poore	....	set production assistant
Thomas J. Rasera	....	location manager
Gerry Schwartz	....	payroll: Team Services
Aprill Winney	....	script supervisor

Thanks
Richard Blacker	....	thanks
Brandon Blake	....	thanks
Scott Bosés	....	thanks
Russell Bowman	....	thanks
Joan Brennan	....	thanks
Dave Brown	....	thanks
Kimberley Browning	....	thanks
Damian Cabaza	....	thanks
Jeremiah Carafano	....	thanks
Michelle Carafano	....	thanks
Patricia Carafano	....	thanks
Vincent Carafano	....	thanks
Jerry Cates	....	thanks
Robert Cowee	....	thanks
Camellia Cox	....	thanks
Sue Czachowski	....	thanks
Drew Daniels	....	thanks
Griffin Davis	....	thanks
Tom Doogan	....	thanks
Claire Douglas	....	thanks
Ron Douglas	....	thanks
Jacqueline Eckhouse	....	thanks
Klaus Eiperle	....	thanks
Charlie Esteban	....	thanks
Paul Fenton	....	thanks
Robert Fingerman	....	thanks
John Finn	....	thanks
Thomas Finn	....	thanks
Mike Fisch	....	thanks
Louis Fricke	....	thanks
Steven Galloway	....	thanks
Ksana Golod	....	thanks
Gabriel Grunfeld	....	thanks
Dean Haglund	....	thanks
Michael S. Hall	....	thanks
Ric Halpern	....	very special thanks
Thomas Ethan Harris	....	thanks
Kara Harshbarger	....	thanks
Robert Harvey	....	very special thanks (as Bob Harvey)
Corey Hayes	....	thanks
Janet Hicks	....	thanks
P. Dirk Higdon	....	thanks
James Hill	....	thanks
David A. Hoffman	....	thanks
George Hollo	....	thanks (as George 'Stompy' Hollo)
Chris Horton	....	thanks
Marla Hudnall	....	thanks
Eddie Ibrahim	....	thanks
Kimberly Jaime	....	thanks
Lekha Kanungo	....	thanks
Donna Kerwin	....	very special thanks
Elara Kerwin	....	thanks
Joe Kerwin	....	thanks
John Kerwin	....	very special thanks
Regan Kerwin	....	thanks
Rhea Kerwin	....	thanks
Steven Kirk	....	thanks
Chris Knight	....	thanks
Roman Kopelevich	....	thanks
Frederick B. Kruger	....	thanks
Greg Laemmle	....	thanks
James Ellis Lane	....	thanks (as James Lane)
Lilas Lane	....	thanks
Ella Cowee Lee	....	in memory of
Phil Leirness	....	thanks
Michael Levine	....	thanks
Tony Llanos	....	thanks
Randy Lombardo	....	thanks
Susan Lombardo	....	thanks
Michael Lorre	....	thanks
Rich Mallery	....	thanks
Angie Mayhew	....	thanks
Anthony Meleca	....	thanks
Stephen Moelling	....	thanks
Ronald B. Moore	....	thanks
Shane Moore	....	thanks
Michael Morrell	....	thanks
Eddie Muller	....	thanks
Walter V. Nipiossian	....	thanks
Bob Nuchow	....	thanks
Larisa Oleynik	....	thanks
Judith Orr	....	thanks
Al Ortega	....	thanks (as Albert L. Ortega)
Dianne Patterson	....	thanks
Kevin Patterson	....	thanks
Miles Patterson	....	thanks
Dave Pell	....	thanks
Emo Philips	....	thanks
Connie Potersnak	....	thanks
Rick Potersnak	....	thanks
Craig Proffitt	....	thanks
Elsa Ramo	....	thanks
Jeff Rector	....	thanks
Summer Reese	....	thanks
Steve Runyon	....	thanks
Tim Russ	....	thanks
Brian Rutz	....	thanks
Larry Sapadin	....	thanks
Gary Sassaman	....	thanks
Michael Schlesinger	....	thanks
Walter Schmidt	....	thanks
Sue Schneider	....	thanks
Jason Sereno	....	thanks
Chris Sivertson	....	thanks
Suzy Soro	....	thanks
Steve Spiro	....	thanks
Amanda Sweikow	....	thanks
Timothy Swift	....	thanks
Jacques Thelemaque	....	thanks
A.J. Trujillo	....	thanks
Ben Trujillo	....	thanks
Mark Turner	....	thanks
Tina Turner	....	thanks
Carla Van Wagoner	....	thanks
René Vara	....	thanks
Jason Viteritti	....	thanks
Jody Wassel	....	thanks
R. Doug Werner	....	thanks
Al Winterbauer	....	thanks
Alice Winterbauer	....	thanks
Kaye Winterbauer	....	thanks
P.J. Wolff	....	thanks

Production Companies

• Helicon Arts Cooperative
• Kerwin Productions
• Masterson Entertainment

Distributors

• E1 Entertainment (2010) (USA) (DVD)
• Koch Vision (2009) (USA) (all media)
• Koch Vision (2009) (Canada) (all media)

Special Effects

• Comen VFX (digital visual effects)
• Neo f/x (additional visual effects)

Other Companies

• AJA Video Systems  digital post equipment
• Alternative Rentals  special thanks
• Alternative Rentals  thanks
• American Federation of Musicians (AFM)  thanks
• American Film Institute (AFI)  thanks
• Apple/Final Cut Pro  edited with
• Chancellor Hotel  thanks
• Chapman/Leonard Studio Equipment  cranes
• Chapman/Leonard Studio Equipment  dollies
• Cinespace of Hollywood  thanks
• Cinetic Media  thanks
• Eiperle CGM  thanks
• Escarpment, The  thanks
• FedEx Office  thanks
• Film Noir Foundation  thanks
• Filmmakers Alliance  thanks
• Fine Arts Theatre  thanks
• Goodfellas Restaurant  thanks
• Hollywood Picture Cars  thanks
• Hollywood Production Center  production office facilities
• Hollywood Studio Rental  thanks
• Juniper Post  sound post-production
• Keep Me Posted  post-production facilities
• Lacy Street Production Center  thanks
• Linda Vista Hospital  thanks
• Los Angeles City College  thanks
• M Bar and Restaurant  thanks
• MPRM Public Relations  publicity
• Metropolitan Transit System  thanks
• Other World Computing  digital post equipment
• Panavision  camera equipment provided by
• Paramount Studios  pre-production support
• Signature Entertainment  thanks
• Sloss Law Office  thanks
• Sofa Gallery  thanks
• Star Clipper  thanks
• Thunderbolt Spiritual Books  thanks
• USC School of Cinema and Television  thanks
• Universal Studios Wardrobe  costumes
• Valley Center Studios  thanks
• Women in Film  thanks

MPAA:

Rated PG for language, some violent content and smoking

Runtime:

USA:89 min

Country:

USA

Language:

English

Color:

Black and White

Aspect Ratio:

1.78 : 1

Sound Mix:

Dolby Digital

Certification:

USA:PG (certificate #45579)

Filming Locations:

Los Angeles, California, USA

Company:

Helicon Arts Cooperative

Movie Connections:

References The Big Sleep (1946)

Soundtrack:

The Very Thought of You

Fenestra Aeternitatus

A love story for cerebral cineastes. A delight to watch after dinner with a philosophy professor friend and three glasses of wine, and it belongs right up there with your volumes of Wittgenstein. Upon more sober viewing, my analytic mind felt challenged. Actually, this reflects the film's purposeful plotting. Being a psychiatrist, let's see what I can offer.

The film exemplifies Godard's maxim that all it takes to make a movie is a girl and a gun. In this case the lead female characters are two lovely blondes. Each so cleverly resembles the other that one is reminded of Discreet Object of Desire, the surrealist flick where two actresses played one character.

But adding layers of complexity here, these twin-like actresses are also playing the left and right sides of the brain of the feminine anima of one male character. Got that? They all meet at the Pigeon Hole lounge. The first character is the young Hoyle, a feminine Bogart/Sam Spade analytic detective - the left brain. Like Sam she likes the gin and the story straight. The second is a sultry, un-named singer who has a familiarity with the poetics of T.S. Eliot - the brain's right. Her music is entrancing, her wit intuitive and nonlinear. Together, these two provide the counterpoint of Jung's anima to the male animus of the main character, Dudas.

Whether Hoyle and her counterpart, Singer, convince us they are our anima is irrelevant as we so want them to be part of us. These lovelies draw us ever so seductively into imagining the dark recesses of our own beautiful unconscious, despite whatever misgivings. All we're here for is love, we are told. The shape of the universe is a relationship - functional or otherwise - whether with our inner parts or with our fellow beings. This makes for a strange little Jungian romp in luscious b&w footage. This is Lynch with an underlying premise. Somewhat like the film Pi, this low budget beauty was made at the cost of Pi (made at $60,000) times pi!

First time director James Kerwin makes for a Jungian fortune teller taking us on a trip to disentangle or re-entangle our male and female halves. Kerwin is an urban shaman who shows us the conventional mind as a "surge suppressor". Our conscious minds filter small broken bits of time in a lame attempt to tell a story. Does it matter whether they "add up"?

Beginning with some obvious allegory, the locks are broken off the allegorical unconscious and our character, curiously named Hoyle bravely walks into a poetic film noir journey to confront the Self. (Hoyle seems named after transcendental astronomer/physicist Fred Hoyle who was deeply intrigued by the "Anthropic Principle" of nature.) We begin with a look at Dali's surrealist masterpiece Persistence of Memory in a hallway. They meet Schrödinger's cat, the parable of which tells us there are opposite angles on everything and only by choosing do we arrives at any definitive perspective. Free Will is discussed. The film reveals a Jungian Fenestra Aeternitatus, a window to the eternal, that our characters need to navigate.

A variety of other cutting edge consciousness theories are peppered throughout the film to spice the intellectual interest of the knowledgeable viewer, including pondering Planck's constant, a number describing the fundamental vibration at the Ground of Being. For those less informed, the film literally goes back to the psychiatrist to explain itself. Jung, we are told, said a man needs to project his animus onto the feminine anima in order to unlock the secrets of the universe. This is a film for men who are in need of seeing themselves and for women who want a deeper look into those men. What does a man see in himself as a woman?

Hoyle goes into a dream within a dream (hasn't everyone had at least one of these?) to contact her animus, Dudas, who has a notebook of important thoughts or ideas. Meanwhile we are constantly asked, what if our theories, concepts of self, and common sense don't add up? And what does that tell us about our relationships? And what is the nature and consequence of the loss of "relationship"? The right-sided feminine asks the questions. Left-sided Hoyle tries to read the tea leaves, the pattern in the chaos. Hoyle and her doppelganger meet another aspect of their animus, a scientist who explains the nature of time and who feels these two sexy blondes are "better" and "better". They are also the choices that interface with reality. They will help us overcome our own guilt about our very existence and the broken promises to ourselves and to others.

A deep understanding of time is seen in this film's Feynman diagram writ large in cinema. Physicist Feynman showed everything else might be one mind/particle bouncing backwards and forwards in time, appearing as each and all of us trying to make contact with every part of experience over eternity, the very fabric of time. This reach for the eternal is countered by the Shadow, the dark side, who delivers a bit of lead poisoning in the form of bullets. Death's shadow is a terrifying/exhilarating lockdown on the many-sided reality of now, it haunts our Selves. It occurs when we bring our stories to a halt. We need to let go of our life-text and grab onto our fuller selves, leaving our memories to be what they are and move on to script ourselves anew.

This film is an ultimate romance with "The Other", a mix of the cosmos and the chaos, the order and the disorder, the male and the female. In this cocktail lounge of our emotions, letting go of our primordial selfishness lets our unconscious sing its own songs, reconciling the Self to itself. And pay attention to terrific music in here. Chase Masterson sings beautifully the lounge songs of our longing.