LILITH (Hebrew: לילית; lilit, or lilith) is a Hebrew name for a figure in Jewish mythology, developed earliest in the Babylonian Talmud, who is generally thought to be in part derived from a class of female demons Līlīṯu in Mesopotamian texts of Assyria and Babylonia. The Hebrew term Lilith or “Lilit” (translated as “night creatures”, “night monster”, “night hag”, or “screech owl”) first occurs in Isaiah 34:14, either singular or plural according to variations in the earliest manuscripts, though in a list of animals. In the Dead Sea Scrolls Songs of the Sage the term first occurs in a list of monsters. In Jewish folklore, from the 8th–10th century Alphabet of Ben Sira onwards, Lilith becomes Adam’s first wife, who was created at the same time and from the same earth as Adam. This contrasts with Eve, who was created from one of Adam’s ribs. The legend was greatly developed during the Middle Ages, in the tradition of Aggadic midrashim, the Zohar, and Jewish mysticism. For example, in the 13th century writings of Rabbi Isaac ben Jacob ha-Cohen, Lilith left Adam after she refused to become subservient to him and then would not return to the Garden of Eden after she mated with archangel Samael. The resulting Lilith legend is still commonly used as source material in modern Western culture, literature, occultism, fantasy, and horror.
Filmmaking Tips: One of the Most Important Lessons You'll Ever Learn
I’ve been writing this blog for almost five years now and over those years I’ve extolled many a lesson I’ve learned during my journey as a filmmaker. I try to convey things as I learn them and never try to pretend that I know it all, there’s always something new to glean from personal experience.
Last night I had one of those moments of recollection, going back to 2003 when I started in the film business, reviewing the choices I’ve made. I do this to remind myself of the work I’ve accomplished and also the mistakes I hope not to repeat. I thought back to those first three years of trying to make it, of when I wrote a very ambitious screenplay called ‘Ceremony’ and spent years shopping it around with hopes that someone would give me the money to direct it, which never happened.
Ceremony was an interesting script, semi-autobiographical as most first-time screenplays tend to be, and really well written. I’d spent a year writing it, holed away in my apartment, devouring screenwriting books and watching countless movies for reference. The story had a tricky time travel element that weaved mythology and spirituality, and in hindsight it was actually a really beautiful script. I dug it out this morning before I started to write this post, and it really is quite well done, a bit idealistic perhaps, but nothing a few rewrites couldn’t solve.
And then I stopped myself right there. Having now made two feature films, and a third now in edit, I’ve learned a little something about the practicality of being an indie filmmaker, and this is likely one of the most important lessons I can pass on to you, my faithful readers.
And the lesson is this: when you write your first screenplay, write something you can make TODAY. It’s a tough one to follow because when we first start our careers as young filmmakers, our minds are overflowing with ideas and images, and we tend to overpopulate our first scripts with those ideas and images. We write things that are relatively expensive to pull off, requiring six and seven figure budgets, or the attachment of an influential actor or producer.
But I look at my current film, 6 Angry Women, and now realize that it was the type of film I should have made back in 2003. It is one room, seven actors, twelve crew, shot in six days on a five-figure budget. From greenlight to current edit, I’ve been at work for three months, and my goal is that by the end of January, my film should be mixed, conformed and ready to show. I was able to make it NOW, with little dependence upon others to make it happen.
Yours truly directing ‘6 Angry Women’ with my DoP Faroukh Mistry. Photo by Fawzia Mirza.
With Ceremony I needed to raise about two million dollars to realistically make it happen, and for someone with zero film credentials and no connections, that’s an impossible task. I was trying to sell a movie that I couldn’t make. It’d be a different story if I wanted to make a living as a screenwriter, where I could then write anything and try to sell the script to people who have the means to get it made, with a director and cast that are not of my choosing. But that’s not what I want to do. I want to direct. That’s always been my goal.
Write films that can be made today. Look at Shane Carruth’s Primer, which he made for $7,000. Or Evan Glodell’s Bellflower, which was made for $20,000. These were films that could be made now, today, without the aid of a studio or any kind of attachments. They are feasible, plausible, and exceptionally creative.
Note that I never said they were easy. It never is. Making a low / zero budget movie, if you’re serious about making a true creative statement, is one of the most difficult things you’ll ever do. Don’t settle for three people mumbling about being bored and listless in a room. Throw genre into it. Make it science fiction, make it horror, make it with wall-to-wall sex, or all three combined. But it should say something, and say it in the most inspired, intriguing and creative way possible. Come up with that script you can make right now and greenlight it tomorrow.
Wait- science fiction? That’s expensive! No, it really isn’t. Primer was about time travel but it used its narrative as special effects. Mike Cahill and Brit Marling’s Another Earth is essentially the same thing as Interstellar but one was made for $200k while the other was made for $200 million. Remember that the greatest special effect is the human condition. Show your creativity, your intelligence, your gusto on the page and you will see the universe expand in front of you. Then greenlight it.
Once you make that decision to greenlight, your work will be focused and determined because you’re working on something that you know is going to get made, as opposed to something that might get made. It’s a HUGE difference.
I can’t emphasize enough how important this will be in your career. I’ve heard countless times before the advice of “just go make a movie” and it seemed too easy, to fey to be of any value. Which is why it needed to be modified: just go make a movie that you can film today. Be in the moment, embrace your talent and hunger, and then look at the world around you. You’ll see resources you never knew existed emerge around you. Don’t depend on a Kickstarter, reserve that for post-production if you need it. Cobble funds through friends, family and small patrons. Ask for a hundred dollars here and there. Get five thousand dollars together. If you live in Canada or Europe, use your government funds. You can make magic if you trust your talent and push yourself into bold new territories. Don’t make boring, safe shit. Push push push until you’re convinced you’re doing something so batshit insane it’s almost suicidal to even try. Then shoot your movie. Edit it. Put it out there. See what happens.
I make a deal, I have to follow through. Those are the rules, and you know it. Are you really so arrogant that you would put your life before the lives of six billion innocent people? Maybe it’s all that demon blood pumping through your pipes. Man after my own heart.
If we needed to describe her, she would be the belly dancer with voluptuous curves, big eyes wide open. Goddess of sensuality that knows the long forgotten rhythm of the universe, rhythm that drums somewhere in every one of us, tribal dance, that starts gently and joyfully and then in a growing trance she gives herself up to frenzied passions, instincts and senses that vanquish the demons of night, darkness and death. Only those who have Lilith positioned here can establish contact with her, can awaken her! Fabulous sense of rhythm! Truly, these people will only with the help of joy, laughter, music, dance, sex, with the help of their talent to see beauty in everything, they will elevate their consciousness and find the divine within themselves!
Cassandra of Troy refuses Apollo.
How dare she?
Now she is nothing more than a
madwomen, a whisper of the disgraced.
Locked up by her family,
forced to watch her home fall
and only have wardress listen to her cries.
Raped by Ajax, holding tightly to Athena
praying, what did she do to be
punished like this?
She rejected a God;
and Apollo spit pain into her mouth.
Medusa had the audacity to be
raped in Athena’s temple by Poseidon.
Serpents to rob her beauty,
to replace it with fear.
A punishment well earned they will say.
The world came together to kill
a wounded women.
A innocent women.
All the Gods helped Perseus;
mirrored shield from Athena,
gold, winged sandals from Hermes,
a sword from Hephaestus ,
Hades’s helm of invisibility.
The echo of Medusa’s head falling,
can be heard across the sea.
she is worth nothing more.
Lilith was made of the dust,
the same dust of Adam.
How can I be less she asked,
What is worse than death?
She gave her soul to 200 children
from when Apollo rode his chariot,
to when night fell.
For her babies to perish to the wind
to become demons
to love each child,
only to be stolen
from her grasp.
They say be warned that Lilith will
steal your children in the night.
Instead, she was punished by a forgiving god
for refusing to be a housewife.
r | the worst thing to be in this world is a women