Rabbit Rabbit is still out with festivals, so we can’t release it into the wild just yet! However, if you know the magic word— I hope you enjoy our film!
Rabbit Rabbit
Maya Litvak is a woman at the end of her rope. Just when she thinks she’s finally figured a way out, an unexpected visit from her ex girlfriend turns everything on its head.
Shooting Format: Anamorphic SF
Aspect Ratio: 2.40:01
Run Time: 15 min
Trailer
Meet the Team
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Jennifer Graves
WRITER/DIRECTOR
Likes making stuff.
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Caitlin Carleton
Caitlin Carleton is an award-winning Filmmaker (Director, Writer, Producer, and Actor) from Cleveland, Ohio, living in Los Angeles. She is inspired by stories about second chances and she loves to find the comedy in things. She is currently in post-production for ARE YOU THERE (Director/Producer) A drama about how a woman begins to heal her broken life after listening to the calls on a telephone answering machine left behind by the previous, unknown tenant. Previous work includes FANTASY PONY (Director/Producer) a mockumentary about girls who collect model horses. It premiered at Dances with Films and won Best Ensemble, Best Parody, Best Mockumentary, and Emerging Narrative at various film festivals. DIFFICULT CONVERSATIONS (Director/Producer) Winner of Best Web Series at Toronto Intl. Film Fest is a comedic micro web series about life’s “difficult” conversations. BLACKOUT (Director/Writer/Producer) is a drama about a young woman spiraling downwards from addiction. When she isn't creating you can find her competing in triathlons and backpacking all over California. Stalk her on IG @bubblegal1234
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Tom Meredith
Tom Meredith began his film career in Detroit, MI. During the height of the Michigan Film incentives he worked in Camera Departments on projects such as SCREAM 4 under cinematographer Peter Deming, ASC, independent features like Malik Bader’s CA$H ONLY, and network television shows such as LOW WINTER SUN. With a passion for shooting short form narrative short films he was the DP for Daniel Casey (AFI Class of 2007) on the shorts CARGO, which premiered at the 2011 Slamdance Film Festival, and CHARON, which is currently in its festival run. After moving to Los Angeles he soon shot his first feature film PHILOPHOBIA which received distribution by Gravitas Ventures. In 2019 he received his Masters of Fine Arts in Cinema from the American Film Institute Conservatory. His experience on set has given him a deeper understanding of the importance of the collaborative process, with a cinematography style that focuses on the influence of color, and its ability to subconsciously alter the emotional experience of the viewer.
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Ray Valenzuela
EDITOR
Ray Valenzuela has been a film and TV editor for over two decades. He grew up in the small town of Selma, California where his parents introduced him to the joy of movies and TV and inspired him to pursue a career in film and animation. Ray has a Bachelor of Fine Arts degree from the School of Film/Video Character Animation at the California Institute of the Arts. The CalArts experience allowed him to view the world through many different artistic lenses and provided him with different perspectives from artists around the globe. The craft of editing has enabled him to support others in telling their stories to the best of their creative sensibilities. Ray has spent most of his professional experience working on animated shows such as Bee and Puppycat, Family Guy, and American Dad! as well as other animated shorts. Rabbit Rabbit is his first live-action short film endeavor, and he is looking forward to working on many more. When he’s not working you can usually find him spending time with his family, drawing, playing basketball or catching up on his favorite shows.
Ray’s a bad ass.
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Zoë Lustri
Zoë Lustri (she/her) is a UK-based film composer and music producer from Austin, Texas. Zoë has a Bachelor's Degree in Film Scoring from Berklee College of Music. Upon graduating, she interned for Bear McCreary and Henry Jackman. She has since worked with Joy Music House where she has worked in score production on a variety of projects including the Emmy & Oscar nominated RBG, and Emile Mosseri's Oscar nominated, BAFTA award winning score to Minari.
When she is not enveloped in music for media, Zoë is working on her personal songs and artistry. In 2020, Zoë Lustri shocked the world when she released her debut single Something Good. A song that a random Indie blog once said “[sounds] absolutely great, but unfortunately I feel it sounds a little too commercial for my playlist”. With an impressive 227 Instagram followers and 44 Spotify listeners, Zoë Lustri is redefining the word "icon". Her single Something Good was succeeded with EPs Down The River and Occult Sh*t.
Zoë proudly sits on the board of The Alliance for Women Film Composers, actively pushing for gender equity in the world of film composing.
Our Cast
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Liz Fenning
Maya
Film: Highlights include The Ghostmaker and Rumble Through the Dark (Lionsgate), Held (Hulu), To the Beat! Back 2 School (Netflix), San Andreas: Mega Quake (SyFy), and Recovery (Amazon Prime). Other credits include Twisted Date (Tubi) and The Sickness (Clive Barker/Seraphim Films).
TV work includes Hulu’s I Love You, America, HBO’s Californication and Laff Mob's Laff Tracks, Deadly Alibi (A&E), and The Seth and Avi Show (Funny or Die). Additional work includes The Dresden Files and Just for You (WQED).
Theater work includes Mina in Dracula (Virginia Stage Company,, Heather in Everything Will Be Different and Juliet in R+J=Love. Other notable performances include The House of Blue Leaves (Best Supporting Actress, Pittsburgh Post-Gazette) and live performances with Cirque du Soleil’s Kooza and Delusion.
Liz studied at the University of Rome, The Groundlings School, Anthony Meindl’s Acting Studio, and Carnegie Mellon University. An advocate for Autism awareness, Liz teaches young people on the Autism spectrum.
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Kim Alexander
James
Kimberly Alexander’s most recent film credits include sharing the screen with Michael Madsen in ‘Waking Karma’, and ‘Seeing Diane Arbus’, in which she played the famed photographer. She is also known for her work in Los Angeles theater and has performed on stage with the likes of Playwright’s Arena, The Triptych Group, The Road Theatre, The Victory Theatre, and Circle X. She has received Stage Raw and Robby Award wins and nominations for her LA Times Critics Choice stage work. Chances are, Kimberly is on your TV right now in a commercial. Perhaps it’s for Hyundai, Toyota, Verizon, 3M, Sleep Number, Hidden Valley, TJ Maxx or Spectrum. If Kimberly’s not pursuing creative work, she’s probably meditating or petting her dog.
Credits
Joel Schaeffer
Assistant Camera
Axtell Derrick
Steadicam Op
Kishan Patel
Gaffer
Daniel Castillo
Key Grip
Jonathan Scott
Sound Mixer
Mandy Mossman
Hair and Makeup
Andrew Brandou
Props
Katie Flaherty
Production Assistant
Eduardo Acosta
Still Photographer
Andrew Chase
Still Photographer
Thomas Horvath
Conform Editor
John Rampey
Additional Recording Mixer
Robert Reider
Re-recording/Mixer Supervising
Aaron Morgan
Dialog Editor
Daniel Rivas Perpén
VFX Artist
Tom Horvath
Title & End Credits
Arianna Shining Starr
Colorist
Insured by
Film Insurance Co.
Camera Equipment provided by
BECiNE and Prototype Collective Inc.
Grip & Electric provided by
Wooden Nickel
Here is where I’m going to take a moment and gush about my brilliant cinematographer Tom Meredith.
I wanted Rabbit to feel gritty and imperfect but have a soft, dreamy quality at the same time. Tom lit everything practically. This not only leaned into the naturalistic vibe I wanted, but it bought us some much needed time.
My shot list was substantial, but our budget didn’t allow us to get every shot that I originally storyboarded. Tom and I went over my shot list and we talked about how to get what I wanted within each 12 hour shooting day.
Friends, we shot for 3 days. We didn’t go one minute past our 12th hour on any of them and Tom Meredith delivered every shot on my list.
Tom and I spent a lot of time talking about how we wanted it to look. We’re pretty well aligned in terms of what we’re attracted to visually and thematically. The thing that made me want to work with him was that he had ideas and questions and was so engaged. The thing that makes me want to make another movie with him is all that stuff, but he’s also great on set. We had a great time making this film.
Tom is really good.
If you have the chance, hire Tom.








One of my biggest takeaways from making my first film is that if you’re going to ask people to work 12 hour days for little to nothing, those people need to believe in your project.
Rabbit Rabbit cost just under $25k US.
I think it looks a heck of a lot more expensive than that. And that’s because of the care and attention of the cast and crew. Every one of them was outstanding.
Behind the Scenes
Still photography by Ed Acosta















