THE BUNNY GAME co-creator and lead actress Rodleen Getsic reflects on its controversy

THE BUNNY GAME is my Monsterpiece.  I co-created this horror film alongside Director Adam Rehemeier.  The United Kingdom has forbidden its distribution.  A cause rooted in this action, my film has become a controversy, a piece of cinema incorrectly deemed in the category of pornography.  The British Board of Film Classification claims that my film “might endorse or eroticize sexual violence.” On the contrary, my film actually has the ability to recourse someone’s potential for deviant behavior.  A sadistic portrayal of abuse is not typically considered erotic.  The improvised scenes are only “real” in the spirit of a live show.

I extend my condolences to the BBFC, and to the participants of the “sexual and sadistic” study conducted by the BBFC, and to any other viewers who watch my film without artistic interest.  THE BUNNY GAME is created for a specific audience.  It is bold performance art; transformative to society; a definite challenge to accepted filmic trends. My motive in creating THE BUNNY GAME is of high intention.  It is a spiritual endeavor.  It may seem paradoxical that I would have such a vision while creating a disturbing horror film, however it is my lifetime goal to edify the possibility for real world peace.  Through art, performance, and leadership, I aim to encourage and elicit positive, societal transformation.  THE BUNNY GAME is indeed more than just a film.  It is a mystical piece of art.

In its bare bones, my film is about a woman getting taken advantage of by a man.  Having personal experience with escaping potentially dangerous situations, the film allowed me to enact the ‘what ifs’ of a woman actually getting abducted without escape.

By way of shock and horror, THE BUNNY GAME warns the world to watch out.  Just as nightmares purge evil, my film has a way of sanctifying the mind.  However, in order to receive this experiential gift, it is crucial to follow the instructions set out by Adam, which are - to watch from start to finish, with no interruptions (all devices turned off), in total darkness, and with no children present.

Adam and I spent years preparing for this 13-day production.  Deeply devoted to our goal of creating this film together, we met all the time in order to synergize.  In the weeks leading up to the actual shoot, I religiously fasted (a practice I am accustomed to), and I strategically built my stylized character of Sylvia Gray.  In meditations for my film, I prayed my continual lifetime prayer:  I pray that I am instrument of God.

THE BUNNY GAME is a transfigurative phenomenon.  It is a tool to revolutionize culture.  Reports and studies done by scholars and groups unassociated with or distant from alternative platforms cannot understand the spiritual and artistic intentions that Adam and I hold.  The layers to this piece of art unfold in time, revealing messages and reason that transcend a casual viewing.  This is a piece of art, like a painting, hanging on a wall.

A Living Shockumentary
Neither Adam nor I intended this film to be related to sado-masochism.  Anyone seeking authentic S&M in my film would be disappointed.  Any parallels are completely by chance.  Our film is about torture.  We needed tools, and we discovered them at a shop in Hollywood.

THE BUNNY GAME is a unique experience, not a re-enactment, but a filmed live movie production.  In our theatrical interviews, Adam and I refer to the film as “real torture”, however no process caused any harm to our actors.  The “drugs” and “alcohol” were fake, and the tears and screaming were dramatized, although we consider it a “real” response to the actual events taking place in the film.  I received several awards from the independent horror community for my acting in THE BUNNY GAME.

Brands are like getting a tattoo.  Receiving the brand onscreen in THE BUNNY GAME did not cause me pain.  In fact, behind the scenes, and noticeably onscreen, the infliction of staged abuse and defilement caused my rival more grief and worry than Adam and I had ever expected.

I have been branded and tattooed many times before.  I have a high threshold for what most consider pain.  Since I was a child I have undergone spiritual initiations that have brought me transformation to withstand high levels of pain, such as, at two years old I stepped into a hornets nest and was stung thousands of times all over my body.  Therefore, receiving the brand did not phase me in the slightest, other than in a sacred way, for my horror film ceremony.  The reaction to the “pain” was a theatric consummation.

With precision and careful forethought, I designed my brand out of copper.  I chose the caduceus in its primordial image: a figure 8 with a vertical line down the middle.  The caduceus is an ancient symbol of alchemy, and in more recent times, it is an icon of money and medicine.

The extreme action and performed stunts in my film required my maintaining the same mental and physical toughness as I do in my other forms of career, such as event production, community disaster response, heavy metal music performance, inter alia, and likewise in my lifetime hobbies, such as long distance running, climbing mountains, paintballing, and skateboarding.  I have practiced yoga since age nine, and even prior to that learned the yogic arts of concentration and meditation, stilling the mind and body with the rhythms of Nature.  I am keenly aware, and capable of maintenance of inner peace amidst chaos.

I played an active role in guiding the antagonist in his attempts to portray abuse.  No one was hurt in THE BUNNY GAME, nor was anyone sexually aroused.  We took this film very seriously.  I did not suffer emotionally nor physically for the film.  In fact, although improvisational, I was well aware of everything as it happened. As the days went on, Adam and I found it increasingly difficult to get our co-star to show enough fierceness in his role.  The man was giving up.  Shame was holding him back.  I repeatedly had to ask Adam to stop filming so that I could instruct my opponent on giving more strength in his action.

Staging the 'Shockumentary': Rodleen Getsic in THE BUNNY GAME

THE BUNNY GAME is a shockumentary.  I came up with this term because we shot it like a documentary, and it is a shocking film.  The production was intense, and I put my body and soul into it.  It is true, that I made unusually high demands of myself physically and spiritually for my film, however, this is protocol for me.  Since I was born, I live my life to the fullest, constantly giving my all, and meanwhile, I am super conscious of caring for myself.

Some people who view my film assume that my body underwent dangerously severe conditions, yet there are elements that should be considered.  I have undergone years of body contortion practices which enable my frame and even my face to appear skeletal.  During film production, each night when I returned home, my personal masseuse worked to help prepare my body and mind for the next day’s events.  My private chef made sure that I was well-nourished, receiving the proper nutrients in my diet.  After production, I was a guest at The Canyon Ranch, a healing resort.  It is typical for actors to take time of respite following the making of a film.  My only wound, which I did not need treatment for, was a sliver in my foot.  Within one week, it emerged on its own.

Performance Art:  Influence on Culture
What is the purpose of art censorship?  Is it to protect society from deviant behaviors?  Theater, cinema, television, video games - all are subject to showing blood, gore, sex, violence, and death.  Rapists and murderers do not need encouragement.  Personal human conduct is an individual reflection of one’s own conditions.  How an adolescent or adult decides to respond to his or her upbringing can create change in familial behavioral patterns.

As a high school student, I was my mother's tutor for her Masters Degree in Child Psychology.  Because of her learning disability, dyslexia, and because of my academic excellence, I read her textbooks, helped her with assignments, and guided her in test preparation.  I continue throughout my life to educate myself on psychology. 

Psychological disorders are often a result of perverse experiential environments within the stages of childhood development.  It is true, that certain forms of media exposed to children at early stages can adversely influence a child.  Ideally, within community, it is the job of the parents to conscientiously raise their children free of child abuse.  Emulated systems of maltreatment are able to be broken.  The first step is recognition.  With this in mind, the halting of paraphilic disorders, root not in media but within the home.  The gruesome reality of someone like Jack the Ripper, spawning from Great Britain, echoes in time as one of the most ruthless killers in history, even before motion pictures were invented.

In Japan sexual deviance is openly presented in some forms of media, such as Japanimation.  Through the Washington State University (1990-1991), I studied Japanese culture and language.  I was the top of my state-wide class, receiving the highest A, and I served as the President of the Japanese Club.  My sensei, or professor, taught that because it is culturally accepted to experience deviant behaviors through media, Japan has less rapes and sexually violent crimes than the United States.

Adam refers to THE BUNNY GAME as a “cautionary tale”.  He juxtaposes the film to Pretty Woman (1990) starring Julia Roberts, which gives a fairy tale ending to the life of a sex worker.  Adam (2012) points out, “I think it is much more damaging for society to have rubbish like... Pretty Woman on the Family Channel:  a film where a prostitute ends up with the wealthy man of her dreams.”

Contrary to the opinion that my film may eroticize sexual violence, and contrary to the idea that a young man might be influenced by the antagonist’s alleged pleasure he is deriving from the infliction of torture in my film, in truth, it is obvious the old man becomes quite conflicted with his deviant tendencies.  From day one in the desert, he goes through stages of curiosity, contemplation, awkwardness, remorse, and finally, paralleling my character, he experiences hysteria, thereupon, the void.  The scenes in previous times of his life, flashing back in video recordings, as if in memory, showed him as a sexually charged deviant murderer.  Though as he gets close to me, his normal tactics of authoritarian victimization deteriorate.  The man is actually moralized by my presence, and instead of killing me, he spares my life.  He actually becomes anti-sexual.  It was his own rotting personality that drove him to a sick reality, and yet he underwent a transformation in the presence of a woman who challenged him at a soul level.

A remorseful mind: Jeff Renfro as the antagonist in THE BUNNY GAME

My film is clearly not pornographic.  Pornography is defined by having the purpose of sexual gratification.  THE BUNNY GAME is anti-porn.  Furthermore, it could not be classified as pornography simply because the sex scenes are all simulated (other than the opening act of fellatio).  The nudity, amalgamated with the elegant black and white cinematography, distinguish my film as an art film.  Anyone attracted to it with the expectation of pornography will get a lesson they never bargained for.  The playacted sexual deviance in this film, which transubstantiates as the story unfolds, is not something to mimic, but rather it is an educational, psychological experience.  And this is my goal:  to revolutionize the mind toward a higher way of thinking.

Although the scenes in THE BUNNY GAME are brutal and dark, the difficult scenes are all infused with love, care, intention, and a conscious drive to perform perfectly improvised, one-take scenes in a safe environment.  Each of the participants in my film - from the mystery person (my boyfriend), who owns the genitalia I adored on in the opening scene, to all of the other actors and actresses - every one of the people involved are dear to me.  So, although the scenes were challenging because of the extreme level of performance, the people involved in the film are all important people that I love and trust.  I was not in danger.  I was not afraid.  I went full force into creating this film, this super intense project that took everything I had, and then returned it to me in full spectrum:  A finished piece of art.  THE BUNNY GAME continues to speak and expound, even after I am finished.

The process of female degradation has culminated over time.  The burden of shame rooted in Christian values, the contradiction of Mother, Goddess herself being dishonored, and how this system of neglect plays out in modern day society, is portrayed in THE BUNNY GAME.  This extreme situational plot is considered by some as a lower class exposition.  Look again, and listen.  THE BUNNY GAME is an artistically stylized cultural stratagem, navigating its way across the globe to incite a societal metamorphosis.  In fact, this uproar of charge, inseminated by the BBFC's reaction to my film, is demonstrated in current events now concluding, as Prime Minister David Cameron presses onward in the name of child abuse for censorship of pornography.

By way of patriarchal governmental influence via religious indoctrination, human nature has diverged from its original anarchic, tribal nature into what is now a weeping hemorrhage of culture.  Native civilizations, family systems, and communities are being destroyed.  Mother is yanked from her place in the name of feminism.  Money has replaced spirituality, and the wealthy are winning a race with no competition.  My heart bleeds at the vivid sight of a global moral breakdown, unfurling Western culture, a self-proclaimed World Power, an anti-Christ, ad-Dajjāl, a beast devouring our world.

The Scariest Horror Film Ever
Adam and I have responded to several interviews, particularly in the American horror blog and podcast scene.  Study these interviews, and one will see the revelations for my film progress over time.  This expansion of reasoning is vital to comprehend when attempting to understand THE BUNNY GAME.  In a mystical way, Adam and I were the caretakers of this film.  Now it is a living piece of art.

At early inception, the story of THE BUNNY GAME was based on real experience, but the real experience in my life is hardly a fraction, one facet of a whole array of fractals, compared to what this piece of art has become.  The film itself is an actual unique experience in process.

In 2006, Adam and I united with the idea to make a horror film.  We were open to creating “the scariest horror film ever!”  At that magical moment, in my living room, in the vortex of La Conchita, we were spellbound by the exchange of a synchronized plot.  In excited conversation, we weaved together our converging story.  I told him about a man in a white van who kidnapped me when I was a teenager.  I escaped into the woods.  The man hunted me all night long.  (He did not catch me again.)  Separately, Adam had a similar idea about a man in a white van who steals a girl.  Another parallel in our talkstory was, the morning after I had been hunted all night, I attempted to knock at three different houses in the woods.  No one was home, until finally, at the third house, someone answered.  Prior to our meeting, when riffing on his own about horror scenarios, Adam had this exact idea, of knocking to no avail, on the doors of three cabins in the woods.  We were driven by this serendipity of inspiration and experience.  When it came down to it, we did embed some of that past concept, like the white van, but the story ended up taking a completely different path.

Adam and I never had an exact vision as to how our project would manifest.  Especially after our initial plan to film on Easter 2006 was devolutionized.  At that time, my original antagonist dropped out unexpectedly, claiming he was afraid he would murder me.  With the idea of creating something ultimately frightening, we allowed the film to formulate itself through innate, artistic prestidigitation.  The storyline came forward mysteriously through photo shoots and film experiments.  We moved forward with faith in our work, knowing what was happening between us was important.  Adam embedded our experiments into the film, expanding the depth of the plot by engulfing the present with the past through the framework of my character in milliseconds.  From deep in his editing bay, a year and a half after filming our production, Adam came up with the title for our film.  Prior to that, we named it HORROR_HORROR.

Adam and I cultivated this piece of art.  We are musicians.  How we create music is by improvisation.  This is a natural channeling of sound, word, and melody.  We created this film in the same manner as we do music, as artists, opening up our spiritual intuition to the flow of creating something tangible.

My film serves as a catharsis, a revolution in art for humanity.  Metaphysically, I integrated the evil on the Earth, all experiences of evil on the Earth, into THE BUNNY GAME.  I carefully infused this evil, including demon energy, with the all-pervading Light, including angelic energy.  Scientifically, electric power requires both a negative and a positive charge.  However, Light conquers darkness.  A light takes over any room unless there is an object casting shadow.

There are many purposes to my film.  They emerge as time moves forward.  This is the nature of art:  that throughout time, it can be interpreted and reinterpreted, and eventually it can mean something else to a whole new era.

Against Her Will, U.S. Humiliation
An infinite amount of stimuli exists in a lifetime.  For a perceptive person, for an artist, a scientist, or a child, reality without throttle is expansive.  And throw in technology, bursting with information, persuasion, and new colors...

Maybe it was The Muppet Movie (1979) when I was just a little girl that scared me first, when Doc Hopper had captured Miss Piggy.  I was scared wondering what would have happened to Miss Piggy if she was kept any longer against her will.  Cultural messages exposed to children via media can have a profound effect on a person’s life.  Like many Americans, as a child I was exposed to films that demonstrated male-driven dominance and suppression and subjectification of the female.  I was lucky to have the wherewithal to transcend the false teachings of modern day society.  I knew innately that women are just as equal as men.  Although we have different roles and abilities, all human beings are counterparts of each other.  By basic laws of physics, like the birds and the bees, we are interdependent.  

 Similar to my peers, at an early age, I acquired a daunting reception of an exposé of American culture.  Although, I was different, in that, I surged into the world to take it by the balls. I was briefly in the modeling industry at age 13, frequenting the city from my small mountain town by way of public transit.  I had acquired a modeling contract, but was quickly defused by the industry expectations, devaluing human individuality.  Thereafter, I traveled the nation on my own by reason of interscholastic leadership conferences and for pure exploration.  Meanwhile, I studied diligently in school, was always the top of my class, was in almost every club possible, held offices, did sports, gave speeches...

Through my work in journalism (I was Editor in Chief and Photo Editor of the high school newspaper), I began to rap my brain around the crookedness of government agenda.  It was an ominous day when I read the signs held by the marchers, “No blood for oil!”  I was the only photo journalist present at the first Desert Storm protest in Seattle.  I led the parade across the I-5 Freeway, walking backwards, snapping shots, and taking it all in.  I was drawing the conclusion, that my own microcosm of public school political corruption was merely echoing the world as a whole.

It is intense to be raised in America.  What a Catch 22 it is!  We are proclaimed as a free country, supposedly spreading “democracy” among nations, and yet we are entrapped by reason of terrorism within the bounds of anti-secrecy secrecy, conforming worldwide authoritarianism, media encroachment of belief systems, environmental poisoning, and other tactics of enforcement.

It is true, the underbelly of American culture is revealed in the scenes of THE BUNNY GAME.  A symbolic parable, in its bony cartilage, my film is about a prostitute who eats her last meal.  Evil decay of society goes beyond the city streets.  It goes beyond America.  It is visible everywhere, all over the world, lurking in the shadows of Westernized culture.  This monstrous reality is not only present as the underbelly.  This evil also exists as the overbelly.  The hypothetic panniculi, the morbidly obese gluttons who hold the lion’s share of global wealth, only appear to be in control.  These puppeteers are like the weak little man behind the Wizard of Oz.

We must end the bloodshed.  We must stop the bullying.  All creatures deserve free life.  Thou shalt not kill.  Commands for torturing and warring around the world are done.  It is wrong to hurt others.  Remember The Holocaust?  Remember Abu Ghraib?  And, still, Guantanamo Bay...  Torture must be abolished.  A purpose of my film is to expose this atrocity.  Yea, tho I walk through the Valley of the Shadow of Death, I shall fear no evil.

I was never a prostitute nor a drug addict.  These are extreme, base interpretations of corruption.  My life experience is widespread:  involving academic achievement, community leadership in disaster response, music production and performance in many genres, journalism, photography, fashion design, charity fundraising, and large-scale event production.

As a youth, I was passionate about devoting my life to America as a public servant.  I had aspirations to be a leader of my country, and I was a leader in my community.  However, at seventeen, I experienced a total disintegration in my perception of the role of the United States government.  I participated in a program called Presidential Classroom for future leaders of America.  One of the most pivotal moments in my life happened during that visit to Washington D.C., when I was given the opportunity to ask the President’s staff a question:  I asked why our government focuses on war and helping other countries, rather than on our own national internal problems, for instance, at the time, inner city crime, violence, and homelessness.  Dick Cheney (1992) chuckled at my parlance, then stated, “That is very sympathetic of you, but we are a World Power, and we need to maintain that status.”

I was crushed.  It was outrageous:  The United States was standing by profiting and warring, meanwhile our beautiful country was deeply suffering, deteriorating from the inside out.  I foresaw impending crises.

After my disillusionment with political leadership, I discovered my talent as a performance artist.  I come from a family of musicians, yet up until that time I had not considered myself one; not until that summer of 1992, when songs and poetry began to emerge from my soul.

Directly before Adam and I decided to make this horror film, I had to experience first hand the deadly lack of care our government has for the survival of its own people.  I served as Public Relations Chair and Spokesperson for the community of La Conchita (2005, 2006), my community, where a land failure caused death (my friends and family) and destruction at a major U.S. corridor.  Despite empty promises made by Governor Arnold Schwarzenegger, and despite proof of liability of local government zoning and watershed issues, nothing was ever done to clean up the mess of this National Disaster.  La Conchita still looks like a third world country.  Nothing has been done to award anyone motivation or legal ability to stabilize this hill.  It is an ignored, manmade, geological hazard.  During that time, I rewrote a song by The Grateful Dead called Built To Last.  In my heart of hearts, I devoted this music composition to my friends and family who died in the disaster, and also to We The People.  Today, it is a conspiracy in La Conchita, that rather than implementing stabilization of the hill, the State is actually constructing mud-ducts.  I am shocked government is not required to save lives.  But, wait...  Isn’t that what war is for?

The emergency of the situation in America was exacerbated in my life when Hurricanes Rita and Katrina blew through The South.  This echo of tragedy paralleled The La Conchita Mudslide, and I was drawn to offer support.  In The Gulf Coast, like in La Conchita, the corruption and fault in government agencies was all too obvious.  The unmaintained levy broke in the storm, and the Lower Ninth Ward, consisting of mostly poor black residents, was completely devastated.  Thousands of people died, and many more were displaced.  At a critical point, I was asked to be the coordinator of what is now known as the “Village”, the Lower Ninth Ward Community Center of New Orleans, but I could see there was no clear answer.  Ultimately the efforts for rebuilding the city of New Orleans were unorganized and unsupported from the top down.  The United States had literally begun to crumble.

After contemplating this work, to rebuild America, I was guided in dreamtime to focus again on being an artist, this time, an actress.  I knew, because of who I am or was, I could make a bigger statement through art.  It makes no sense to me, the lack of care for the common person.  We are in crisis mode on our own homeland here, and yet our leaders continue to war around the world before picking up his own fellow man.  America’s flag is upside-down in distress.  THE BUNNY GAME is my extreme response, a rebellion of culture.

Unlocking Chains of Abuse
Any person who watches THE BUNNY GAME (following the guidelines set out by Adam) will change elementally and will move in the direction of Light.  I believe this whole-heartedly.  I am an instrument of peace, but this piece just had to reflect and speak to the darkness.

My film challenges its audience, offering some sort of a strange healing, a clearing, if you will, relatable in a dark punk avenue.  This art helps move imperfect humans in a right direction.  Perhaps as time moves forward, the intensity of this film will not effect the average individual in such a strong way.

 THE BUNNY GAME is a story about a conspiracy.  (The definition of conspiracy is a secret plan to do something harmful.)  My film shows one person's microcosmic situation, and how she gets caught in the threshold of corruption.  It is an indirect reflection of the whole world.  It is a glimpse of caught events, naturally emulating the macrocosm of our current Earth status.  Whore reckons with the World.  Babylon!  Punished, tortured, humiliated, submissive to man, abused, given to greed, ashamed, shamed.

Prostitution is one of the oldest professions and an extreme example of exploitation.  Modern day exploitation of women has its roots in Western culture.  I grew up reading the magazines, watching the movies, and listening to the music.  Portrayal of the female in media influenced my concept of the role of a woman; to be sexy, skinny, and independent, yet subservient to man.  Like many young people in America, I was a child with a self-conscious body image.  This issue goes beyond gender, and it is a key element in my film:  empowerment transcending the exploitation of female.

Empowerment and exploitation imagery: complex codes of gender addressed

People who watch THE BUNNY GAME may experience shock.  Viewers respond in a profoundly personal way, and many claim appreciation for the message and the artwork it is.  Friends who see my film usually want to see it again.  However, most of my friends and family will never watch it.

Rape survivors proclaim empowerment upon viewing THE BUNNY GAME.  Just being a woman in American culture is to some extent sexually exploitative and mentally abusive.  One could even go so far as to argue that American children are exposed to sexual abuse just in watching television.  Children should absolutely never watch THE BUNNY GAME.

Adults are captivated by my film.  In Argentina a young woman recently tattooed Bunny on her ribcage.  Fans claim to watch my film over and over again.  For Halloween, some fans have begun to dress up as characters from THE BUNNY GAME.  This marks the birth of a cult classic film.  The praising of art has the power to transcend darkness.

In THE BUNNY GAME, we show the depths of the darkest regions of addiction, in the dank city, poor and dirty.  Drug addicts can drag down a nation.  But in America, there are many layers to this problem.

Clear as day, after the War on Drugs, Americans are left addicted.  Dangerous illegal drugs like bath salts and crystal meth are rampantly destroying the lower classes.  Other subcultures are addicted to heroin, cocaine, molly, and other designer drugs.  The masses are addicted to pharmaceuticals.  Doctors, teachers, lawyers, celebrities, mothers, children...  Everyone in America is being influenced by the health agenda.  Especially now, with Americans being required by the Federal Government to own insurance policies (Affordable Care Act).

Pharmaceutical addiction is in response to the growing issues infecting the nation, a direct result of chemical changes in our fragile environment like genetically modified foods, meat industry hormones, harmful fertilizers, experimental vaccinations, pollution, and other strange unearthly technologies generating microwave energy and radiation.  Not that petrol has anything to do with my film, but it could, because oil has become like a drug, and this drug is feeding the ferocious beast that is devouring our Earth.

The corporate privatization and command of everything natural, including personal privacy itself, is looming over our entire world.  Cloaked in the guise of security and democracy, the whole planet is being stolen, raped, and tortured.  The tragedy of surveillance in the name of terrorism is encroaching on us all.  This is captivity.  This is the real horror show.  Our Earth is in danger.  There is only one World Power, and it is not a nation.

I consider it international abuse when U.S. citizens are arrested and jailed for growing a garden in a yard (Michigan, 2013), or collecting rain water (Oregon, 2012), or for trading raw milk (California, 2011), or for growing a cannabis plant (Nationwide, over 20 million arrests, 1965-present).  We as humans need to speak out for our rights as individuals.

People:  All over the Earth, we have compromised our natural freedom.  No one is to blame anymore except ourselves, as we stand watch.  It is time to rise together on this planet in the name of Love and Truth.  All religions and cultures can unite on this endeavor.

In 1994 I was contacted by Archangel Gabriel.  He took me to the skies, to the edge of the Earth's orbit.  There he explained to me the process by which I was born into the perfectly imperfect set of parental hosts, a childhood environment that enabled me to be born as a Light being on Earth.   Others are born and being born, too, all throughout the planet, emanating brilliant blue rays of energy, white God energy, born into human beings.  Our souls are crystallizing.  By what Gabriel showed me, this powerful surge of Light spreads, connects, then fills the entire face of the Earth, as more and more Light beings are born.  The God energy expands, encompassing the entire planet.  You who are expecting a messiah, need to start looking within your own soul.

This is where we are now:  Unification in the name of God.   Even if you are atheist, consider, that God is Everything, All in All, and you must believe that Everything exists.

Times have changed.  Revolution is on.  Start in your own living room.  You do not have to watch my film.  The epoch for needless heedless violence is over.  Unlocking the chains of abuse is a natural awakening process that is already set into motion.  Anarchy is a state of mind.  It is the natural process of freedom in all of existence.  In the name of Divine Order, I call for World Peace.  I call for Anarchy Awakening.

Adults Can Make Decisions
Here we come to a point in time where government and the private interests of those in positions of control can kindly step aside.  In the wake of this new era, people can make their own decisions.  I urge Her Majesty's Kingdom and everyone in the world to feel free.

I strongly oppose censorship, yet in the beginning I was glad that the BBFC banned my film.  Not because it would give more publicity, worldwide and historically. I was glad because it heralded the message all over the world - that my film is a serious work of art.  However, it is time for the BBFC to realize that the citizens of the United Kingdom are educated enough to make their own decisions.  Nothing should be censored for the humanrace.  Controlling people will eventually breed revolt.  All banned films should be awarded release.  Adults, if they so choose, can watch films with respective, appropriate ratings.  My film deserves an 18 certificate.

In her dissertation, Karolina Anna Gruschka, of the the University of Aberystwyth, brings together the fusion of theater, performance art, and extreme cinema, with THE BUNNY GAME at its center axis.  She poses questions to the BBFC regarding censorship of the film.  Gruschka (2012) asks the BBFC to reconsider the banning, and suggests that the film be marketed “not as a gruesome ‘torture porn’ but an extreme body art film hybrid.” It is apparent in the photography of the filmography, the soundscape, the scenes, and my stylized wardrobe - that this film is an art film.  Die-hard fans all over the world are watching this film again and again.  THE BUNNY GAME is an experiment; a shockumentary.  It is my Monsterpiece.  Adam and I did not handle this like any normal film, and neither should you.