God Wears My Underwear
Encyclopedia
An experimental narrative film with documentary elements about reincarnation
, the Holocaust, and gender identity
.
Written and directed by Leslie Streit, produced by Robin Elaine McCain.
Starring Jaqueline Wiley, Tho Vong, Pat Everett and Masi Oka
.
, reincarnation
, human and moral responsibility, universal experiences of the 20th century.
Our lead character, Lavinia has been haunted all of her life by dreams about people and places she has never experienced. As she stands waiting for a train, she sees her childhood and ponders her confusion about her own sexuality.
Lavinia reviews her years in psychoanalysis. Under hypnosis, she recalls a past life as a Tibetan Buddhist monk, visiting Berlin in the 1930s. The monk, Brother Eo, did nothing to help friends and colleagues as the brutality of the Nazis began to unfold. Realizing his mistake, he returned to Tibet only to be among those massacred a few years later by the invading Chinese Communists. But death did not cleanse guilt. Instead he reincarnates as Lavinia and it continues into another lifetime.
In my childhood, I had dreams of being chased by people who wanted to kill me. Much later, after beginning work on the film, I came across the books of Rabbi Yonassan Gershom who discusses the relationship between similar dreams and souls that are reincarnated from the Holocaust. I felt that I was on a quest for the truth about my own soul.
The idea for the story came from a discussion with a friend. She claimed to be a reincarnation of a Tibetan Monk who was in Germany in 1933 and did not get involved in the struggle against the Nazis. My friend is a person who is confused about her sexual identity. She feels it was the consequence of having been this monk in the previous lifetime. It was a fascinating concept and one I wanted to explore.
The title “God Wears My Underwear” comes from the fact that everyone wears underwear. All people are the same underneath their clothing. I hope the audience finds the film to be beautiful, tragic and sometimes funny – very much like life.
The DV tape family (miniDV, DVCAM, DVCPRO, etc.) changed the way we make movies. Today's generation of digital video products based on HD and HDV formats put virtually the same tools of the big budget movies in the hands of the indie filmmaker. Budget constraints may limit us to $1,000 lenses on $3,000 camcorders, but the images captured are widescreen with up to 2k frames - not so different from a super 16 or 35mm image scan. Film still has the edge in dynamic range, but "good enough" now refers to video capture. Micro-mirror video projectors have brought the cost of video projection down to a reasonable level, and the major studios are packaging features for theatrical release in digital formats to bring down the costs of distribution.
As independent filmmakers embarked on a project that would have daunted Hollywood only a few decades ago, we embraced the possibilities of these newly affordable tools. Having just completed an 8 minute short mastered on BetaSP making extensive use of bluescreening, compositing and animated characters, we thought we knew the challenges ahead. We were wrong by an order of magnitude. Digital capture on DV tape gave us sharper source images, but the 4:1:1 compression made it more difficult to pull a good bluescreen mask, so we were forced to rotoscope or upgrade to higher end post production tools to compensate. Our production value expectations kept rising as newly released feature films set ever higher standards for clean visual effects, and we found ourselves revisiting effects segments we had previously completed, constantly buying more hardware and upgrading software. Some scenes hit the cutting room floor when it became clear they were not central enough to the story to justify the additional work.
Mixing archival film footage with our story created other problems. We had to compensate for varying degrees of flicker, film grain, inconsistent development, color fading and degradation resulting from decades of storage. Motion effects were used to bring still images alive.
Legal considerations also demanded considerable post production time. Archival materials rights research and permissions took over a year. Second unit shots often required removal of corporate logos or blurs of recognizable features of bystanders.
In a large production, many effects artists split the workload to shorten the post production cycle. Work is often divided between several effects studios, each of whom may specialize in a particular task. Large teams are assigned to complete particularly complex shots and insure that everything looks believable. Render wranglers keep the server farm operational. Large quantities of high end computer equipment and many terabytes of drive space are required to keep the work moving smoothly. Everyone works 40+ hours a week on the project, so the film is ready to release in only a few months.
This film had one visual effects artist, occasionally assisted by the director or the editor. This was both a blessing and a curse. The good part is that the work is the product of a small team, and thus maintains a consistent “look”. The bad part is that it took so long. We also had regular jobs that demanded much of our time. The amazing part isn't that it took 8 years, but that it exists at all!
Visual Effects include:
1. Wire and rig removals
2. Matte Paintings
3. Color & contrast correction
4. Film grain texturing
5. Logo removals
6. Pan and Zoom on still photos
7. 3D Animated characters composited with live action footage
8. Live action footage composited on historical footage
Dalai Lama
tulku
Thubten Gyatso
German – Tibetan connection Buddhism in Germany
The SS, Tibet and the Holocaust Heinrich Himmler
, Henry I the Fowler, Ahnenerbe Forschungs und Lehrgemeinschaft
The German Resistance Movement Widerstand, Martin Niemöller
Reincarnation
Gilgul
Gender Identity Transgender
Star Tribune - Colin Covert - April 2006
http://www.complicatedfun.com/ Peter S. Scholtes - April 25, 2006
http://www.filmfestivals.com/ Alex Deleon - May 2006
http://www.afterword.ca/ "The Story of a Tibetan Monk, the Holocaust and past lives" by Aaron Blair - Summer 2006
http://www.digitalcinemareport.com/ New Filmmakers Showcase - Nick Drager - November 2006
Official Selection - XXVII Festival Internazionale di Cinema e Donne, Firenze 2005
Official Selection - New York International Independent Film Festival, New York City 2005
Official Selection - Minneapolis St. Paul International Film Festival, Minneapolis 2006
Official Selection - Wine Country Film Festival, Napa/Sonoma 2007
Official Selection - International Festival of Short Films on Culture, Jaipur 2007
Reincarnation
Reincarnation best describes the concept where the soul or spirit, after the death of the body, is believed to return to live in a new human body, or, in some traditions, either as a human being, animal or plant...
, the Holocaust, and gender identity
Gender identity
A gender identity is the way in which an individual self-identifies with a gender category, for example, as being either a man or a woman, or in some cases being neither, which can be distinct from biological sex. Basic gender identity is usually formed by age three and is extremely difficult to...
.
Written and directed by Leslie Streit, produced by Robin Elaine McCain.
Starring Jaqueline Wiley, Tho Vong, Pat Everett and Masi Oka
Masi Oka
Masayori "Masi" Oka is a Japanese-American actor and digital effects artist.He has performed in numerous feature films and TV series, most prominently as Hiro Nakamura in the NBC TV series Heroes from 2006 until its cancellation in May 2010. He resides in Los Angeles, California.-Early life:Oka...
.
Synopsis
This film ties the Jewish Holocaust in the 1940s to the genocide in Tibet in the 1950s. It raises issues of sexual identitySexual identity
Sexual identity is a term that, like sex, has two distinctively different meanings. One describes an identity roughly based on sexual orientation, the other an identity based on sexual characteristics, which is not socially based but based on biology, a concept related to, but different from,...
, reincarnation
Reincarnation
Reincarnation best describes the concept where the soul or spirit, after the death of the body, is believed to return to live in a new human body, or, in some traditions, either as a human being, animal or plant...
, human and moral responsibility, universal experiences of the 20th century.
Our lead character, Lavinia has been haunted all of her life by dreams about people and places she has never experienced. As she stands waiting for a train, she sees her childhood and ponders her confusion about her own sexuality.
Lavinia reviews her years in psychoanalysis. Under hypnosis, she recalls a past life as a Tibetan Buddhist monk, visiting Berlin in the 1930s. The monk, Brother Eo, did nothing to help friends and colleagues as the brutality of the Nazis began to unfold. Realizing his mistake, he returned to Tibet only to be among those massacred a few years later by the invading Chinese Communists. But death did not cleanse guilt. Instead he reincarnates as Lavinia and it continues into another lifetime.
Director’s Statement
This film took seven years to make. It was a labor of devotion and often of despair. One entire year was devoted to obtaining the rights to the archival footage that we used. The story and characters continued to evolve over the seven years. If the film had been completed sooner, it would not be the same film it turned out to be.In my childhood, I had dreams of being chased by people who wanted to kill me. Much later, after beginning work on the film, I came across the books of Rabbi Yonassan Gershom who discusses the relationship between similar dreams and souls that are reincarnated from the Holocaust. I felt that I was on a quest for the truth about my own soul.
The idea for the story came from a discussion with a friend. She claimed to be a reincarnation of a Tibetan Monk who was in Germany in 1933 and did not get involved in the struggle against the Nazis. My friend is a person who is confused about her sexual identity. She feels it was the consequence of having been this monk in the previous lifetime. It was a fascinating concept and one I wanted to explore.
The title “God Wears My Underwear” comes from the fact that everyone wears underwear. All people are the same underneath their clothing. I hope the audience finds the film to be beautiful, tragic and sometimes funny – very much like life.
Producer's Statement
When production began on this film in 1998, digital production was still a virtual unknown. Independent filmmakers either used analog video formats such as 3/4", Betacam, VHS, 8mm (including the high resolution enhancements) or traditional film gauges - 8, 16, 35mm. Festivals distinguished themselves by being either "video" or "film". Digital mastering was in the experimental stages for a very few high end studio productions.The DV tape family (miniDV, DVCAM, DVCPRO, etc.) changed the way we make movies. Today's generation of digital video products based on HD and HDV formats put virtually the same tools of the big budget movies in the hands of the indie filmmaker. Budget constraints may limit us to $1,000 lenses on $3,000 camcorders, but the images captured are widescreen with up to 2k frames - not so different from a super 16 or 35mm image scan. Film still has the edge in dynamic range, but "good enough" now refers to video capture. Micro-mirror video projectors have brought the cost of video projection down to a reasonable level, and the major studios are packaging features for theatrical release in digital formats to bring down the costs of distribution.
As independent filmmakers embarked on a project that would have daunted Hollywood only a few decades ago, we embraced the possibilities of these newly affordable tools. Having just completed an 8 minute short mastered on BetaSP making extensive use of bluescreening, compositing and animated characters, we thought we knew the challenges ahead. We were wrong by an order of magnitude. Digital capture on DV tape gave us sharper source images, but the 4:1:1 compression made it more difficult to pull a good bluescreen mask, so we were forced to rotoscope or upgrade to higher end post production tools to compensate. Our production value expectations kept rising as newly released feature films set ever higher standards for clean visual effects, and we found ourselves revisiting effects segments we had previously completed, constantly buying more hardware and upgrading software. Some scenes hit the cutting room floor when it became clear they were not central enough to the story to justify the additional work.
Mixing archival film footage with our story created other problems. We had to compensate for varying degrees of flicker, film grain, inconsistent development, color fading and degradation resulting from decades of storage. Motion effects were used to bring still images alive.
Legal considerations also demanded considerable post production time. Archival materials rights research and permissions took over a year. Second unit shots often required removal of corporate logos or blurs of recognizable features of bystanders.
In a large production, many effects artists split the workload to shorten the post production cycle. Work is often divided between several effects studios, each of whom may specialize in a particular task. Large teams are assigned to complete particularly complex shots and insure that everything looks believable. Render wranglers keep the server farm operational. Large quantities of high end computer equipment and many terabytes of drive space are required to keep the work moving smoothly. Everyone works 40+ hours a week on the project, so the film is ready to release in only a few months.
This film had one visual effects artist, occasionally assisted by the director or the editor. This was both a blessing and a curse. The good part is that the work is the product of a small team, and thus maintains a consistent “look”. The bad part is that it took so long. We also had regular jobs that demanded much of our time. The amazing part isn't that it took 8 years, but that it exists at all!
Visual Effects include:
1. Wire and rig removals
2. Matte Paintings
3. Color & contrast correction
4. Film grain texturing
5. Logo removals
6. Pan and Zoom on still photos
7. 3D Animated characters composited with live action footage
8. Live action footage composited on historical footage
Background
TibetTibet
Tibet is a plateau region in Asia, north-east of the Himalayas. It is the traditional homeland of the Tibetan people as well as some other ethnic groups such as Monpas, Qiang, and Lhobas, and is now also inhabited by considerable numbers of Han and Hui people...
Dalai Lama
Dalai Lama
The Dalai Lama is a high lama in the Gelug or "Yellow Hat" branch of Tibetan Buddhism. The name is a combination of the Mongolian word далай meaning "Ocean" and the Tibetan word bla-ma meaning "teacher"...
tulku
Tulku
In Tibetan Buddhism, a tulku is a particular high-ranking lama, of whom the Dalai Lama is one, who can choose the manner of his rebirth. Normally the lama would be reincarnated as a human, and of the same sex as his predecessor. In contrast to a tulku, all other sentient beings including other...
Thubten Gyatso
German – Tibetan connection Buddhism in Germany
Buddhism in Germany
Buddhism in Germany looks back to a history of over 150 years. Arthur Schopenhauer was one of the earliest Germans who were influenced by Buddhism. Schopenhauer got his knowledge of Buddhism from authors like Isaac Jacob Schmidt...
The SS, Tibet and the Holocaust Heinrich Himmler
Heinrich Himmler
Heinrich Luitpold Himmler was Reichsführer of the SS, a military commander, and a leading member of the Nazi Party. As Chief of the German Police and the Minister of the Interior from 1943, Himmler oversaw all internal and external police and security forces, including the Gestapo...
, Henry I the Fowler, Ahnenerbe Forschungs und Lehrgemeinschaft
The German Resistance Movement Widerstand, Martin Niemöller
Martin Niemöller
Friedrich Gustav Emil Martin Niemöller was a German anti-Nazi theologian and Lutheran pastor. He is best known as the author of the poem "First they came…"....
Reincarnation
Reincarnation
Reincarnation best describes the concept where the soul or spirit, after the death of the body, is believed to return to live in a new human body, or, in some traditions, either as a human being, animal or plant...
Gilgul
Gilgul
Gilgul/Gilgul neshamot/Gilgulei Ha Neshamot describes a Kabbalistic concept of reincarnation. In Hebrew, the word gilgul means "cycle" and neshamot is the plural for "souls." Souls are seen to "cycle" through "lives" or "incarnations", being attached to different human bodies over time...
Gender Identity Transgender
Transgender
Transgender is a general term applied to a variety of individuals, behaviors, and groups involving tendencies to vary from culturally conventional gender roles....
Reviews
Minnesota Public Radio - Euan Kerr - April 2006Star Tribune - Colin Covert - April 2006
http://www.complicatedfun.com/ Peter S. Scholtes - April 25, 2006
http://www.filmfestivals.com/ Alex Deleon - May 2006
http://www.afterword.ca/ "The Story of a Tibetan Monk, the Holocaust and past lives" by Aaron Blair - Summer 2006
http://www.digitalcinemareport.com/ New Filmmakers Showcase - Nick Drager - November 2006
Awards & Festivals
Best Short Film - DNA Film Festival, Toronto 2005Official Selection - XXVII Festival Internazionale di Cinema e Donne, Firenze 2005
Official Selection - New York International Independent Film Festival, New York City 2005
Official Selection - Minneapolis St. Paul International Film Festival, Minneapolis 2006
Official Selection - Wine Country Film Festival, Napa/Sonoma 2007
Official Selection - International Festival of Short Films on Culture, Jaipur 2007