We made this movie for $200. There. I’ve said it. I’ll wait a moment for that to set in. No, I didn’t forget a zero or three; we had two hundred dollars to make this movie and yet we made a movie that looks like it could easily have cost a hundred or even a thousand times what we had to spend. How did we do it? An A+ crew, that’s how.

Of all the hard working people who have been involved in the creation of this little epic, it is undeniable that the MVP award has to go to Producer/Art Director Jasmine Koushki, who achieved the impossible again and again and again. From finding the perfect location, where we could shoot for free and leave our stuff set up throughout the two-week period of the shoot (five days of actual filming) to acquiring literally tons of costuming and props to overseeing the chaos, my Professor Firth Panama Hat is off to her.

Director of Photography Eric Angra showed real flair and skill in his cinematography and, especially, lighting, ably aided and abetted by AD Alison Walker and lighting tech Ray Leghart. This movie’s unique and distinctly non-"low-budget indie" look is due to their keen eyes and hard work.

Speaking of Alison, her organizational skills as Assistant Director were inessential (why is it that "inessential" and "essential" mean the same thing?) to keeping this complicated and time-strapped project moving swiftly and surely.

Also invaluable and valuable were David Kopcych and Mihai Dinulescu who served admirably as technical assistants. Kaytie O'Brien and Lisajeanne Theriault were also great help with costumes and food! Brian Griffin served as an authenticity consultant and worked the light show in an authentic manner! Hayley Crucitti did the groovy make-up design. Sam Rosenthal directed and shot the second-unit work seen to great effect in the film's opening credits. Thanks as well to our other production assistants Aurora Grabill and Carol Measor! Everyone did a great job and it really shows in every frame!