Here is 90% of Cannes!

There I was at the Festival de Cannes! Eagerly gripping all of the brochures and media in my hands, I took advantage of my day by waiting outside of the Grand Theatre Lumiere, for 12 hours… and that is pretty much the summary of my first two days.

Plot synopsis of my second day at Cannes: The day began beautifully as I had diligently been an early bird and managed to get 3 invitations to different screenings. I was ignorantly anticipating 3 great screenings throughout my day. At the end of the day, I had seen none. Each screening has massive lines and there is priority seating, bureaucracy, etc, you know—real world (embedded with the reel world…)!

In essence, Cannes is the Coliseum. We are all gladiators fighting through in order to survive and get the glory of our craft with the approval of the emperor’s thumbs up. Strangely enough, we are also all emperors approving of each other as we fight to survive. This demonstrates the great spectacle that is the film industry and more specifically, Le Festival de Cannes. In this day’s case, I was fighting with no true strategy or hearty weapons but merely with my love of the sport. I lost, well, at least at first sight.

Paparazzi, security, Red carpet.

However, by having time to think and read my copy of “How to Make a Good Script Great” I happened to bring (alongside the endless film magazines and newspapers around) I was oddly inspired by my endless hours of waiting. I had come to terms with how little I know about the industry. FILM SCHOOL DOES NOT prepare you for what I have witnessed here. The producers, the film market, the distributors, the filmmakers, the documentarians, the actors, the financiers, the networking, the fanatics, the media, the dropping of names, the tactics, the paparazzi, it IS ALL HERE. How all of these intertwine and function has astonished me. Of course I understand the great effort, work and drive that it takes to be in film but this has humbled me beyond any other film experience.

I realized how little we all are in the scope of film (I especially feel my smallness here). Now, I do not mean this in an Edgar Allen Poesque or neurotic way, it actually comes from a light side. We will all be a small part of this grand collective; the sooner we learn we are always this the better we will be. Cannes is a field leveler; some of the top producers and leading industry professionals still hustle around for their invitations into films and wait in lines, sweating amongst the rest of us. We will always be “hustlin’ and bustlin’”; scratching our way up to produce, direct, shoot and distribute powerful work.  If we are content knowing that this is our status forever (because even the greats here have to put incredible effort to see their work shine through), we will always be passionate filmmakers (and therefore create powerful work).

This festival has been a mirror of sorts, reflecting precisely what I need to become more knowledgeable on and has exposed me to the depth and layers of filmmaking I may not have been acquainted with. I am not discouraged… quite the opposite. Do not be afraid of coming to terms with your weaknesses, only by doing this can we grow.

(The title also alludes to starving because on my: "eating for less than 5 euro a day" budget. It has been innovative to say the least)

ENOUGH PREACHING TELL ME THE FUN DETAILS!

On the third day of the Festival de Cannes, I finally saw a film. Two actually. (My mom through her connections was able to get me a Market Pass, thank you Beatriz Martinez for always believing in me and for this splendid pre-birthday gift. I hope to make you proud!)

The Films I have Seen So Far:

Arirang by Kim Ki-Duk (Vietnam)

Festival de Cannes Description:

The View from "The Palais", "The Palace" where Cannes gets DOWN.

Arirang is
About Kim Ki-Duk
Playing 3 roles in 1
Through Arirang I climb over one hill in Life
Through Arirang I understand human beings
Thank the nature, and accept my life as it is now

This was the perfect first film to watch, as it was a documentary/narrative fiction blend of director Kim Ki-Duk that revealed the raw darkness you can have being an artist, saturated in your emotions and work.

It was an honest, crude film, which reflected on his career and current miserable life in a shabby cabin in Arirang. Around 95% of the whole film takes place intimately in his tent, as you see him go along his fiscally and emotionally impoverished life. In this state of his like, Kim-Ki-Duk has not produced a film in 3 years and he is completely artistically deprived. He puts the camera on himself to show what he has become.

Throughout he sings the same, repeating song about Arirang that Vietnamese sing they sing when in sadness. The layers of reflexivity in this film are fantastic as you see him watching his films or editing the footage you just watched. The song becomes an anthem of his misery, which becomes an eerie addition to the film.

His emotion is gut-wrenching. Although he briefly explains his circumstance, the visuals and mise-en-scene tell us all we need to know about the character. In addition, the monotony and repetition of the points he had, of the imagery in his cabin and of the song loathed you right alongside his misery.

The three roles that Kim Ki-Duk plays: himself in a documentary platform, the filmmaker creating this film within the film, and a last fictional character where Kim Ki-Duk exits his cabin and engages in a fictitious narrative of sorts (do not want to ruin it for you).

It is a very interesting blend of work.

OH MY GOD! IT IS CELEBRITIES ON A TV!

Fun Side note: As I exited the cinema, I noticed that there were large crowds, I was curious, what were they looking at? When I approached them I realized that they were people watching the press conference on televisions! Fascinating. People are crowding and pushing each other to watch a Television.  I have never been the type to follow artists or directors in a fanatical way, so witnessing the complete indulgence of fanaticism is amusing to me. As I kept walking I ended up at the front entrance where the individuals in the press conference come out. This particular press conference was for the latest Pirates of the Caribbean, which is in competition here for the Palm d’Or.

The justifications of it being selected include a new director, a shifted cast and an overall “facelift” of sorts. As I said, I was curious. So as a case study, I stayed to see the spectacle. When Penelope Cruz, Johnny Depp and others came out, the crowd was insane. It is quite surreal to watch the desperation around me.

He has no idea he met a future collaborator. Or not.

Ironically, as I stood calmly without jumping or screaming names, Depp approached where I was. I took out my hand, we shook hands and I said “Nice to meet you”. Diplomatic. Simple. Real. I mean, we are all the same people, but recognizing talent is appropriate. Perhaps we will work together someday. Perhaps he’ll think my work sucks. Who knows?

Okay, I’ll throw the Bone. Celebrity sightings include but are not limited to: Brad Pitt, Angelina Jolie, Ryan Gosling, Terrance Malick, Sean Penn… etc. Regardless, it is not about seeing them, but hopefully collaborating with them that is the goal, yes?

Other films I’ve seen with quick notes:

These are not official or extensive reviews, but quick summaries of what I felt from the films.

Miss Bala directed by Gerardo Naranjo (Mexico)

Festival de Cannes Description:

In Mexico, a lawless country,

Laura, a young aspiring beauty queen finds her dream turned against her when she unwillingly gets involved with a criminal group at war.

View of La Croisette

Contrast of Miss Bala beauty pageant, which is of beauty, façade, superficiality with the violence, and world that exists with the Mexico drug wars. I loved the opening, where for 6-7 minutes they do not show her face, knowing that she is to be a beauty queen this was a bold move.

Almost 2 hours (could be cut down). The film reminded me of the intent behind the short made by a Mexican colleague of mine at USC, Luis Iga, called "Accessory to Murder". (Be warned it has strong images)

The idea of the contrasts in Miss Bala are powerful, but the plot often jumped into a fantastical realm which I feel detracted from the realities it wanted to showcase.  Regardless, the film had incredible shots (often ambitious one shots that were executed really well) and was great at holding beats.

Hearat Shulayim (Footnote) directed by Joseph Cedar (Israel)

Festival de Cannes Description:

A great rivalry between a father and son. Both eccentric professors, they have dedicated their lives to their work. The father seems a stubborn purist who fears the establishment. His son, Uriel, appears to strive on accolades, endlessly seeking recognition. But one day, the tables turn. The two men switch places when the father learns he is to be awarded the most valuable honour one can receive. His desperate need for recognition is betrayed, his vanity exposed. Uriel is torn between pride and envy. Will he sabotage his father’s glory?

Well, that description is hefty enough, I am done here.

All right, all right, if you insist! The plot of this story really begins when it is revealed secretly to the son that the prize was accidentally given to his father when it was meant for him. So Uriel (the son) must now decide to either be honest and accept the award, or allow the lie to live on for the sake of his relationship with his father.

Although a drama, the story was told almost in a comedic way, with voiceover, fun music, graphics, titles and animation interweaved throughout. I feel that more powerful than the story is how it was told. I especially enjoyed how Footnote used diegetic voiceover (watch to see what I mean.).

Filmmaking is a Carnival, and I am amongst it. Look how reflexive and metaphoric I am. Or, this is a carnival right next to the festival. You decide.

Chronique d’un Ete directed by Jean Rouch and Edgar Morin (1960)

Festival de Cannes description:

In 1960, Jean Rouch and Edgar Morin undertook a new approach to documentary filmmaking, by posing direct questions such as “How’s your life going? How do you manage?” Both the filmmakers and their subjects (men and women of all ages) share in the experience of “cinema verite” thus raising basic questions about the nature of happiness—particularly the inevitable tension between the poetic and trivial facets of our experience.

This film is part of the “Cannes Classics”, which are projections of older films once featured at Cannes. For me, this has been such an enriching experience as a filmmaker because it opens your eyes to the vast language that has previously been made before you. As young filmmakers we assume we are being revolutionary, but so much was experimented on that we might not be aware of.

This Cinema Verite, experimental documentary of sorts is fantastic and seems as relevant and exciting today than it was when it was first screened in 1961.  I definitely recommend this one, probably one of the favorite films I have seen here.

Also present at the screening was Edgar Morin, and it was beautiful to hear him speak about his process and what he had hoped the film would be: a timeless representation of the youth’s questions and answers.  Talk about being successful at your intent!

Le Gamin au Velo (The Kid with a Bike) Directed by Jean- Pierre and Luc Dardenne

Festival de Cannes description:

Cyril, almost 12, has only one plan: to find the father who left him temporarily in a children’s home. By chance he meets Samantha, who runs a hairdressing salon and agrees to let him stay with her at weekends. Cyril doesn’t recognize the love Samantha feels for him, a love he desperately needs to calm his rage.

This is probably my favorite film of the official selection so far. It is a simple concept, with not much dialogue but it is a film that engulfed me in the emotions and in the story. The acting was incredible and the plot was subtle and realistic.

Although many have been drawing links to this and The Bicycle Thief, an Italian neo-realism film, I say that the only similarity is the plotline with a bicycle. To stretch this link, perhaps the connection exists in the plotline not being a modern Hollywood dénouement where all is perfect beyond all odds, but chronicles the cards people are actually dealt.

The strength in this is again, in the simplicity but exquisite execution of the characters and their development.

TREE OF LIFE directed by yes, Terrance Malick

Tree of life... Cannes. Too on the nose?

Festival de Cannes Description:

1950’s, the life journey of Jack, through the innocence of childhood to his disillusioned adult years as he tries to reconcile a complicated relationship with his father. Jack finds himself a lost soul in the modern world, seeking answers to the origins and meaning of life while questioning the existence of faith.

Unfortunately, this description does no justice to the 2 hour and 20 minute film I saw. I have been waiting to see this film since I saw a trailer back in the fall of 2010 (it reminded me of The Fountain, one of my favorite films). It is a massive artistic endeavor, and as Brad Pitt mentioned in the official press conference “it is a macro… and micro story”. Micro is that description of the film given by Cannes, but the macro is of the existence of the world, the history of time and of ourselves (and our role here). The imagery in the film includes the cosmos, cells dividing, even CGI DINOSAURS! (Many have been mentioning how this film gives a lot of the same mood of 2001: A Space Odyssey)

Tree of life is a 2 hour and 20 minute montage of abstractions, straightforward narrative and metaphors. The images are STUNNING. Nothing less is expected from Terrance Malick.  However, I do question the CGI dinosaurs, as their almost basic (honestly, I found them to look really fake) look took me out from the film.

A friend I made over here that works at MUBI said it best: “I am unsure if I just saw a masterpiece or a random collection of images. Time will only tell”.

I wish I could opine, but since the film is so condensed, I would need at least another viewing to render the film in my mind. At least two more. Three.

Too bad American audiences will probably hate this film, but kudos to Malick for sticking to artistic filmmaking.

CANNES VERITE

While at Terrence Malick’s Tree of Life Screening yesterday (which my professor Tom Abrahms got me an invitation for, thank you! Trojan Film Mafia!), we were joking around about creating a documentary about the real life of the locals; what they do here at Cannes, but especially during the festival. The truth is, evidence of their life, problems, concerns, beliefs are everywhere. It is great to be taken away from the representations of life and fantasy on the big screen and see life as it is outside:

On my way to figuring out my schedule one day, I ran into a protest for migrant workers to get their working papers and French Rights.

They Protest with Drums and Dance, America lets learn!

Some quotes:

“Watch the people walking by, the filmmakers, the tourists…the reality is that the Festival de Cannes could not exist without immigrant workers!”

Main Speaker.

“We have the right to work!” “We have our right to working papers!”

The protest was held by : Confédération générale du travail. Check out their work (in french) by clicking here.

Strange for the French to protest, right? (Sarcasm)

Also-- FRENCH HIP HOP AND DUBSTEP DANCERS!

And with all of the waiting time I have, yes I think!:

While here, I cannot help but to have existential film moments. What will be my role in all of this? I am turning 23, what have I done with my life? Etc, etc, blah.

Reflection... I know, I know. I think too much.

But there is also a macro-existential inquiry about the production of film. Do we make films for ourselves, for fellow filmmakers or for the audience? What is Cinema’s purpose? What is the purpose of the cinema I make?

I could bore you with my responses to these, but I feel it to be more powerful if each of us in this industry answered these questions to ourselves, especially in each step we take forward, or backward, right Kim Ki-Duk? His painful existentialism ended up bringing him into Cannes again, so, who knows!

All I know is, I am itching to collaborate with people who are progressive and interested in experimenting with the platform of cinema and multimedia to well… CHANGE THE WORLD!

…and world peace. (a left-field homage to Miss Congeniality)

Next on my radar:

More conferences, panel discussions and exploring of the Short Film Corner and short films. (And trying to sell Short Film!)

I also have a few screenings today, including a red carpet for Beaver. Yes, Beaver. Lets see what the next few days bring me. Let me know of your thoughts! The Internet is interactive, after all.

Two weeks ago, I was not going to Europe for the summer. I am currently in Europe for the summer. What quickly set my life in a completely different direction:

My trip went as follows: LA->Houston->Paris->Nice->Antibes->Jules des Pins->Cannes

My plans all changed when I found out that "Kaleidecorp", a short film I was a producer and Art Director on at the University of Miami, got into the "Court Metrage" (short film) area of Cannes (Congrats Director/Exec. Producer Brad Klipfel!). Although not in competition, this gave me the opportunity to get a pass. Deadlines had long come and gone, so I was in scramble mode.

The echoes of my cinematography professor's (and fellow Francophile) words looped in my head "Allez!", "You don't get these opportunities many times, just jump in! Deal with real life and credit cards after", "Allez!". Thank you Josh Morton, I definitely jumped.

The jump included finishing films, schoolwork, finals, finding places to stay and moving out my apartment in a matter of a week. I wish someone could have witnessed this, as it probably looked quite close to a Mack Sennett slapstick sequence.

Vivre le Cinema!

Rising Action

48 hours of Traveling later (with a quick stop in Paris and a needed meditation at the Eiffel Tower, thanks Valerie Duenas!) I found myself in my base camp at Jules des Pins, a small beach town right next to Cannes.  I could not have been luckier with the beautiful little apartment I found last minute. It includes a bathroom, kitchen, balcony (distant view of ocean) and a place to sleep (In Europe, this is all quite lavish). While scouting for a place to crash, people were selling floor space for hundreds of Euros a night in Cannes, so I am definitely counting my blessings here.

I now had to get ready, find my pass and figure out a strategy for the next 10 days of the Cannes film festival. This whole trip and attendance to Cannes has been a stereotypical "artist" move of sorts, where I just went on my intuition alone, or for a lack of a better word: a whim. Questions that you would ask before making this trip: What are the benefits of attending with your pass? What are the costs? Is it realistic to enrich yourself without the full pass to Cannes? Would it not be more beneficial to have a job and be producing rather than simply admiring films?

To answer these I will say that I am quite akin and familiar with logic, we have gotten along quite nicely since 1988. Although madness, there is method in it. The purpose of this journey will be answered after the lovely climax of this post which will begin in ...

The Climax

Getting Dressed. Getting Prepped. Finding the train station. Finding the train station. Knowing how to get to Cannes. How to get to film festival? Where do I get my pass? Where is the tent? Damn, my French is much worse than I had thought. This is not where I need to go. Tell me where I need to go. You were wrong, but maybe that person knows where to go. Nope, that is not my accreditation site. Where do I get my pass? Found it! Wait, you do not have my pass because my picture was corrupt? Back to original tent. They do not have access to my pass. How did my accent get so bad? I GOT MY PASS.

Enough dramatic action for you? That paragraph took around 2 hours of me running around the magic sea of film tents, cineastes, aspiring filmmakers and even some actors posing in the street to get picked up by some great production. Havoc? Yes. The parallel of this scene to a cinema brothel of sorts is quite on point.

Hip, fashionable or hippie; how you present yourself here indicates your artistry but also your role in the business: "I am a constricted and meticulously composed producer" or "I go with the wind of my artistic affection as an independent auteur"...   it is a sight to see. I wonder what mine is. There is an array of languages, styles, personalities and layers that I just want to dive into. However, they just quickly pass by you, as we are all on different missions and screenings throughout the day. I hope that I can tap into this world while I am here. What hinders this a bit? All you have to do is look down my neck to see my beautiful accreditation: Cinephile.

Cinephile- (noun) a lover of film.

Beautiful, to the point, romantic. So French. French= greatness. However, in a practical sense, this pass is pretty much bottom feeder. You do not have access to the main screenings, only your separate ones of the official selection and half a dozen other categories. Throughout the day you can check to see at the Cinephiles Tent if they have any extra passes to the main screenings (they give us remainders, first come first serve randomly throughout the day). This is what I was able to scramble, and my insanely romantic idea of Cannes was for the first time dimming.

[box]Here is the dramatic conflict: One aspiring filmmaker risks her finances and summer jobs to live a Cinematic Dream: attending the Cannes Film Festival. Upon her arrival, she realizes the basic status of her accreditation and now she must test her resiliency and put aside her comfort zone to milk this experience for all she possibly can. But can she overcome the limits of her mind and lack of risk-taking?[/box]

The Falling Action

I am incredibly inspired here. Having what I deemed a "Bottom Feeder Pass" is actually a beautiful gift. It is building up my drive and will to come back here with a film being projected in the Lumiere theatre (and consequently, a full-access accreditation!). More importantly, it has just reinforced my love of cinema.

Around my neck hangs the most honest of accredidations, I am a cinephile. I believe in the medium's power to move, inspire and change the masses. I am enamored by a powerful script, a great lighting set up and the complexity of a shot. I marvel at the infinite ways to shoot a scene, to direct an actor, to edit a sequence. Cinema is my life, and the energy of this place reinforces the career I have chosen. I say it for the first time with confidence and assurance: I am a filmmaker. My life is to inspire through the lens, and here are the top individuals in my field. Damn, how amazing.

The Resolution

[box type=info]This summer is in the Pursuit of Cannes, Cinema and Creativity; it is to fuel up the muses I have to come back with full momentum to the United States. I will immerse myself completely to study cinema and I hope to take you through my journey.[/box]

I will update this blog with the films I see, the experiences I have, because we are all in this together.

Thank you to all who have supported me, for the incredible people in my life, all the people I have collaborated with... and a special shout out to my fellow Filmmakers (which I have met over the years, GO MY TROJAN FAMILY!).

CHECK OUT THE TRAILERS OF THE CANNES OFFICIAL SELECTION HERE

Below are some images from Yesterday:

Antibes, as I waited for my ride to the apartment.

The Lumiere Theatre

The "International" of the International Film Festival

The Entire Festival is on The Beach

Panty lines, hoes, "bling-bling" and supercharged automobiles are the images many see when they think "Hip Hop".  To be honest, when I think of this generalization the first word I think is "tragic", because that is not the heart of hip hop. What drew me into raps, hip hop and slam poetry was the fact that it had lyricism and it had soul. It bled for humanity's progress and acceptance. Hip Hop was the modern philosophical and intellectual conversation the youth craved for. To its advantage-- it also came with a lot of great baggage: underlying beats, music talent and how can we forget: the rise of the Disc Jockey.

But somehow along the way it became about the image and the fame; the hardness and the gain. Whoever is the "badest", toughest and the biggest player wins as the beautiful inspiration it once gave to a struggling generation changed. The Youth now looks up to it for the wrong reasons and for the most part the great lyricists are left underground.

[pullquote align=right] "Because if the music wasn't there, I DEFINITELY wouldn't hear it"

-Bridget Gray[/pullquote]

As an undergraduate student at the University of Miami, I frequented the slam poetry nights they held once a month in our Rathskellar. One Wednesday night, after a lot of studying and working, I went there for some recharging. There, I saw Bridget Gray for the first time where she performed her "Letter to Hip Hop". I was taken aback, because this summarized it beautifully. Her live performance, in my opinion, is much better than her video but I do recommend you to watch:

If I had to send a letter to hip hop, it would be much more brief and slightly different:

[box]

Dearest Hip Hop,

Your melody, your beats make my body move and I feel the energy expand through my limbs to those jamming around me. When emotions take over my mind I write, I listen, and I must admit you have been a huge influence on me.

But when I look at some of the values you show, especially as a feminist, I can't but ask but why destroy what made you so powerful. Why take away the magic you have and use it to emphasize the wrongs and the judgements that you were born to battle against?

Regardless- I believe in you. There are so many rapping, producing and believing for that good soul you have.  You will be rejuvenated.

Thank you for keeping that side alive, may it thrive!

-Melanie

[/box]

]]> http://melaniedandrea.com/my-blog-post-to-hip-hop/feed 0 http://melaniedandrea.com/in-pursuit-of-an-american-education http://melaniedandrea.com/in-pursuit-of-an-american-education#comments Mon, 30 Aug 2010 14:16:37 +0000 Melanie http://melaniedandrea.com/?p=398 When I think of our American Education System-- it unfortunately suffers a lot of flaws. So the remedies, reforms and quick patches for these loose ends are created, but the system still fails. Our students are less interested, less prepared and are suffering from a widespread disease:  blindness to standardized testing.

They can not be blamed for this contagious and inevitable condition, for the rise and dictatorship of the standardized test has been established top down since the late 1980's. It has stripped a lot of diverse techniques and philosophies of teaching and has limited the subject and practical matter learned in schools. Teachers are limited to their methodology, and students are therefore disconnecting.

It is not the micro-systems we have, or funding; throwing money at a failed model will not create the wide-ranged school system we can be proud of as Americans, but the philosophy behind our education. What should our education be? What is an American Education? How can we educate diverse backgrounds, socio-economic statuses and ranging community resources? When we have answered these with an interdisciplinary and international approach-- we will be successful.

This TED talk below by Sir Ken Robinson was a great way to explain this phenomenon, and how we can bring back creativity and innovation back into the classroom for an EDUCATION REVOLUTION. (The prequel video, "Ken Robinson says School Kills Creativity" is a great summary of what is required of our students in the future and how our school system is truly not preparing them)

[pullquote align=right]Find it in your heartbeat, in your neurochemicals, in your religion or faith, and perhaps in your yoga. Whatever it is—find the focus. Be with others who are light-minded and can push you there. Lets not cure side-effects or the disease but the cause of it.[/pullquote]

Then, a moral slap in the face: I began doing Yoga. It has always interested me, and I did an occasional yoga class here and there but I had not engaged in the true yogic philosophy . Yoga always had drawn me in and this year it latched on to my core (and my core got quite , quite sore).

Yogis believe in acceptance, health and a pure soul and mind. The goal is translating this tranquility, love and god (power) within yourself to the exterior. How can I lead by example when I poison my body with processed foods and sweets? Now mind you, for this reason I don’t drink or do drugs (SAY WHAT!?) but its probably compensation to the carbs and sugar I like to ingest.

Awkward on the left? Me? NEVER.

The more yoga sutras I digest (sugar-free,  pun intended) the more I realize I have an external dependency that needs to go. Less and less do I look at a dessert in shame that I can not indulge and more and more I see it in disgust (to a limited point right now) for the consequences it has on my body.

Now—I do not write this to turn everyone into a yogi (sorry Christina) but more to motivate you to find a better “why”. Physical appearance is definitely a motivating factor, but a dangerous one. It is not connected to you spiritually; it is merely an end to a variety of possible means. For example, you can do cocaine and smoke cigarettes and be thinner… but where does this lead you? You can starve your body or purge what you ate using diuretics, throwing up or being obsessed with exercise— but are you healthy? Is your mind reinforced and is your perception of yourself a loving one? No. Therefore, you need a better focus and a better path.

Find it in your heartbeat, in your neurochemicals, in your religion or faith, and perhaps in your yoga. Whatever it is—find the focus. Be with others who are light-minded and can push you there. Lets not cure side-effects or the disease but the cause of it. By doing this, perhaps this weight-loss epidemic can die and with it emerge a wellness and prevention epidemic. The right spoonful of medicine I have needed for years.

Bikini-Bound Babe from the start!

I do not regret my journey, for I have learned and evolved my eating habits positively throughout it all, but I just wish I had found a better “Why?” sooner . My goal is to heal and fully engage my body to its potential while sustaining it for as long as possible.

Oh, and remember—shortcuts are temporary. Just as muscle memory in athletics, for prolonged habit change we need to rewire and retrain our brain through passion, positive purpose and priority changes. Did I just make up the four P’s of wellness? Please, no infomercials.