Cease and desist (part 2)

I fully intend to keep my cease and desist post from last week online. All I'm doing is saying that my material is copyrighted and to cease this attempt to make an unauthorised adaptation of my source material. Get to know the real me before attempting to steal my ideas. - I bared my soul and got told it needed a rewrite to be more palatable. That's hardly a ringing endorsement of their attitudes towards my real-life genderbending. I don't want their approval, or even their respect (though the lack of it is really fucking annoying); I want their basic tolerance: ie that I'm a human being and that my self-worth doesn't come from what people think of me; it comes from self-satisfaction of solving some puzzle or other. -

While the dark, twisted short stories have everyone salivating. That's why I'm insisting that people let the Tina project die, and let me do other projects that are viable: the short stories, my 2030 album, a proper sketch series that expands on AM Presents ... there's several other ideas (including real documentaries) that I could pitch to various institutional bodies, and I demand to be allowed to choose a project that I'm keen on if everyone's liberal guilt means that they want me to have a fair shot with a film that's decently funded.

Just Like Yesterday is something that I'm currently adapting to prose, so that means that I'm not prepared to make it as a movie, and please stop asking me to. People attempting to get that off the ground have made me suicidal: I think it's fair to say that if the prospect of being forced to do a script against my will actually makes me crazier than normal, then it's no longer fair to keep on attempting to force me to do it.

It's pretty simple: the people who want Tina to be real are also the same people that called me a perv, a sicko and have avoided me ever since I came out. Maybe they could bother to get to know me as Amanda by inviting me to social occasions -- a gig isn't a 'social occasion' - for me, as a reviewer, it's essentially work. 'social occasion' means something equivalent to a platonic date imo. - I also think that it would be fair to say that my detour into Wellywood stardom was mostly a huge waste of my time, and that neither me or my brother was best-served by the pressure of all those eyes on us. Instead, we both went crazy. Do not say that 'it'll be different this time' .. no tina ha, only Amanda refuses to license her copyrighted material, and that is her decision to make. 'tina ha' references a Noah Baumbach movie that I thought was mediocre. Frances Ha is lame in comparision to While We're Young. The very fact that my enemies think that I should be some twee mumblecore manic pixie dream girl suggests that they are many, many years behind the times, and also that they have no idea who I really am .. I'm much more into my magic and punk/anti-elite energy. And yes, I dug The Cosmopolitans, but that's just a pilot. I'd rather try my 2030 film. I've made enough slice-of-life stories for a bloody lifetime, but now it's time to prove to all those genre buffs that I'm not just some indie auteur that isn't able to tell stories that use violence and operatic plot twists and VFX. It's hardly as if Just Like Yesterday was a comedy of manners in that Whit Stillman style. Why did I bother with all those Ads? At the time, I wanted to be better-known, and Stephen was into the idea that he could write songs that were more popular than mine. Now, I miss the anonymity that I had when I was younger. A Night To Remember captures that feeling; personally, I prefer filming people and all this vocal or critical activism is probably a byproduct of not having a camera atm. 🎥 For the nerds: I'm pretty sure Andre used an FS7 to film Portrait of a Knight and Some Kind of Love.