Learn more about Mercy, her backstory and the mysterious world of Earlytown by reading the blog of Malina Dao, at www.whoismercyhawkins.com.

AOF hasn't released the full screening schedule, but they have let us know that MERCY will be screening at the Laemmle Theater, located at One Colorado Blvd Pasadena, CA during the Saturday July 26, 2008 10pm short film block.

You can reserve your tickets now by calling AOF directly at 626.355.6929 or you can order them online at aoffest.com. For a single program pass, tickets are $8 in advance and $10 at the door. There are also many other ticket packages available on their website.

We've just learned that "Mercy" will be making her world premiere at the Action on Film Festival. taking place from July 25-31, 2008 at the Laemmle Theaters in Old Town Pasadena, CA. We haven't received the official screening schedule yet, but we expect it in the next few weeks, and we'll keep this page updated.

If you'd like to signup for updates to screenings and other "Mercy" events, or would like more information on the film or the filmmakers please e-mail us at "mercy at whoismercyhawkins dot com".

"I have always been fascinated by mass hysteria," says writer/director Tony Teofilo.  "In groups, people do things they would never do as individuals.  Look at Jonesdown, the Branch Davidians...anytime folks mix the concept of utopia with a particular ideal, people die.  The power of the many over those that do not adhere to the status quo has always scared the hell out of me.  That is what is at work behind the events depicted in 'Mercy'.  I've always wondered what would happen if something truly supernatural were to occur within a cult.

Set in the fictional berg of Earlytown, the making of 'Mercy' is intended as a starting point for a much larger story. "Earlytown is full of secrets.  What happens to Mercy is the doom of an entire populace.  Heard only in a few voiceovers and seen briefly in the film, the town's mayor, Jeremiah Fordham, is a powerful psychic, and the man responsible for drawing the population of Earlytown together. While they don't all know it, the town's denizens nearly all share one common thread: supernatural talents and abilities that they struggle to keep secret from one another.  Fordham acts as a benevolent leader...but something is not right.  What if a powerful individual with the ability to control others' thoughts and actions suddenly developed a neurological disorder...like Alzheimer's?  The aggression and confusion of such a state presents fascinating story possibilities.

"Small towns are scary places," suggests Teofilo, "but if you're not from one, you probably wouldn't feel it right away.  Rumors and gossip run like a venom under a fresh patina of picket fences and farmer's markets.  As long as you don't rock the boat, as long as you behave, you're going to be fine.  It's when you're different that you single yourself out for rough treatment.

"The idea that two women raising a little girl could be seen as unnatural, and eventually lead to danger in a small town, is not that far off even in today's supposedly enlightened age.  People often ask me whether or not Mercy and Lily Hawkins are lovers or friends.  My answer to them is that they are mothers to Audra.  Back home, that sort of flat response to nosy questions is all it takes to get the rumor mill started.  Once it begins churning, it can get ugly quick."

The death and resurrection of Mercy Hawkins sets in motion a tale of betrayal, broken hearts, motherhood, and magic.  Watch the film closely. Is every member of the Hawkins family dead? What was their crime?  Who is the mysterious healer who brings Mercy back to life? And what happens to Earlytown in the end? The chronicles of Earlytown are dying to be told.

Just remember: after the death of Mercy Hawkins, no one leaves Earlytown.  Not even the dead.

"When I sat down to write the short script that eventually became Mercy, I had a lot of grand ideas. We wanted to create a a fanboy's dream, a character designed to appeal visually to an internet audience," says Tony Teofilo, writer/director of Mercy. "Emilee Harris and I were driving around, talking about how the world was ready for vulnerable heroes. I asked her if she would want to make a little fight film that took advantage of her looks, flexibility, and black belt in Kempo. It wasn't Shakespeare, but we knew we would have fun with it. "

"Em started work on the costume, and I began working out the story. Every few days she'd send me pictures of elements she added or subtracted from Mercy's look, and I'd send a few more details on the character's background. We didn't really know where it was going, but it was a blast to be making something uniquely ours. Once we had a good bead on the character, the production seemed to take on a life of its own. I was fortunate to have a small army of friends and collaborators bring their talents to the table."

Teofilo turned first to Producer / Editor Paul Cuoco. "I met Paul while working in the Creative Development department at Universal Studios Hollywood. If I'm the story behind Mercy, Paul is the production. He's unshakable, a brilliant diplomat, strategic thinker, and artistic mind. Without Paul, there's no denying Mercy would not look, sound, or play the way it does. I tell Paul what I see in my imagination, and he makes it a reality."

As scripting efforts continued, the story was tailored to fit into available shoot locations. Teofilo says, "One of my first jobs in LA was working in the underground props storage area beneath the LA Opera. If you've ever been in a props warehouse by yourself for a lot of hours, you'll know: it gets creepy.

"To keep myself sane, I used to wonder what kind of movie I could make in that space. Once we were ready to make the film, I asked Kirk Graves, who was head of the props department, if we could shoot there. Not only did he give us access, we were granted full run of the Opera's props department for hand props and scenic elements that show up throughout the film. (Demonstrating that almost everyone who helped make the film wore many hats, Graves also appears as the reporter, Alexander McGask, in the beginning of the film, and provided his home for the exteriors of the Hawkins residence.)

Once in production, Teofilo knew the actors and technicians faced serious challenges. "I really asked a lot of the cast and crew. Shooting at our locations was rough. Confined spaces, difficult angles, noisy fans, sparse power availability...the list goes on. That's where cinematographer Doug Delaney's expertise came in handy. He's an artist with light." Delaney, also an accomplished colorist (LOTR: Return of the King, The Matrix Reloaded) lit difficult sequences using only a few key lights, speeding along production with quick setups and inventive use of instruments.

During post-production producer Paul Cuoco, who also edited the movie, introduced novel ideas in storytelling through editing and special effects. Teofilo was surprised by the results. He says, "The film as originally written was more chronological. Once we got into the editing room, Paul opened my mind to the possibility that the story had opportunities to become a little more surreal, to play with time. Our audio engineer Jeff Folchinsky (who works as a Sound Designer for Universal Studios) also made it possible to add voiceover and sound effects that rounded out the landscape of the film, adding story elements and characters that we couldn't shoot because of time or budget parameters."

As the film neared about seventy percent completion, a composer who had been on board for many months was suddenly forced to leave the project. Enter Dave Marks, an old friend of Teofilo's based in London, England. "We were tremendously lucky to have Dave come on board when he did. As an experienced session, conservatory teacher, and touring musician, Dave attacked the original score for Mercy with aplomb. He not only scored the action sequences, but also wrote a beautiful lullaby for Audra (daughter of Mercy and Lily Hawkins) at my request. The song is a beautiful counterpoint to the darker elements of the film, and its melody shows up as a theme in many scenes.

Learn more about Mercy, her backstory and the mysterious world of Earlytown by reading the blog of Malina Dao, at www.whoismercyhawkins.com.

AOF hasn't released the full screening schedule, but they have let us know that MERCY will be screening at the Laemmle Theater, located at One Colorado Blvd Pasadena, CA during the Saturday July 26, 2008 10pm short film block.

You can reserve your tickets now by calling AOF directly at 626.355.6929 or you can order them online at aoffest.com. For a single program pass, tickets are $8 in advance and $10 at the door. There are also many other ticket packages available on their website.

We've just learned that "Mercy" will be making her world premiere at the Action on Film Festival. taking place from July 25-31, 2008 at the Laemmle Theaters in Old Town Pasadena, CA. We haven't received the official screening schedule yet, but we expect it in the next few weeks, and we'll keep this page updated.

If you'd like to signup for updates to screenings and other "Mercy" events, or would like more information on the film or the filmmakers please e-mail us at "mercy at whoismercyhawkins dot com".

"I have always been fascinated by mass hysteria," says writer/director Tony Teofilo.  "In groups, people do things they would never do as individuals.  Look at Jonesdown, the Branch Davidians...anytime folks mix the concept of utopia with a particular ideal, people die.  The power of the many over those that do not adhere to the status quo has always scared the hell out of me.  That is what is at work behind the events depicted in 'Mercy'.  I've always wondered what would happen if something truly supernatural were to occur within a cult.

Set in the fictional berg of Earlytown, the making of 'Mercy' is intended as a starting point for a much larger story. "Earlytown is full of secrets.  What happens to Mercy is the doom of an entire populace.  Heard only in a few voiceovers and seen briefly in the film, the town's mayor, Jeremiah Fordham, is a powerful psychic, and the man responsible for drawing the population of Earlytown together. While they don't all know it, the town's denizens nearly all share one common thread: supernatural talents and abilities that they struggle to keep secret from one another.  Fordham acts as a benevolent leader...but something is not right.  What if a powerful individual with the ability to control others' thoughts and actions suddenly developed a neurological disorder...like Alzheimer's?  The aggression and confusion of such a state presents fascinating story possibilities.

"Small towns are scary places," suggests Teofilo, "but if you're not from one, you probably wouldn't feel it right away.  Rumors and gossip run like a venom under a fresh patina of picket fences and farmer's markets.  As long as you don't rock the boat, as long as you behave, you're going to be fine.  It's when you're different that you single yourself out for rough treatment.

"The idea that two women raising a little girl could be seen as unnatural, and eventually lead to danger in a small town, is not that far off even in today's supposedly enlightened age.  People often ask me whether or not Mercy and Lily Hawkins are lovers or friends.  My answer to them is that they are mothers to Audra.  Back home, that sort of flat response to nosy questions is all it takes to get the rumor mill started.  Once it begins churning, it can get ugly quick."

The death and resurrection of Mercy Hawkins sets in motion a tale of betrayal, broken hearts, motherhood, and magic.  Watch the film closely. Is every member of the Hawkins family dead? What was their crime?  Who is the mysterious healer who brings Mercy back to life? And what happens to Earlytown in the end? The chronicles of Earlytown are dying to be told.

Just remember: after the death of Mercy Hawkins, no one leaves Earlytown.  Not even the dead.

"When I sat down to write the short script that eventually became Mercy, I had a lot of grand ideas. We wanted to create a a fanboy's dream, a character designed to appeal visually to an internet audience," says Tony Teofilo, writer/director of Mercy. "Emilee Harris and I were driving around, talking about how the world was ready for vulnerable heroes. I asked her if she would want to make a little fight film that took advantage of her looks, flexibility, and black belt in Kempo. It wasn't Shakespeare, but we knew we would have fun with it. "

"Em started work on the costume, and I began working out the story. Every few days she'd send me pictures of elements she added or subtracted from Mercy's look, and I'd send a few more details on the character's background. We didn't really know where it was going, but it was a blast to be making something uniquely ours. Once we had a good bead on the character, the production seemed to take on a life of its own. I was fortunate to have a small army of friends and collaborators bring their talents to the table."

Teofilo turned first to Producer / Editor Paul Cuoco. "I met Paul while working in the Creative Development department at Universal Studios Hollywood. If I'm the story behind Mercy, Paul is the production. He's unshakable, a brilliant diplomat, strategic thinker, and artistic mind. Without Paul, there's no denying Mercy would not look, sound, or play the way it does. I tell Paul what I see in my imagination, and he makes it a reality."

As scripting efforts continued, the story was tailored to fit into available shoot locations. Teofilo says, "One of my first jobs in LA was working in the underground props storage area beneath the LA Opera. If you've ever been in a props warehouse by yourself for a lot of hours, you'll know: it gets creepy.

"To keep myself sane, I used to wonder what kind of movie I could make in that space. Once we were ready to make the film, I asked Kirk Graves, who was head of the props department, if we could shoot there. Not only did he give us access, we were granted full run of the Opera's props department for hand props and scenic elements that show up throughout the film. (Demonstrating that almost everyone who helped make the film wore many hats, Graves also appears as the reporter, Alexander McGask, in the beginning of the film, and provided his home for the exteriors of the Hawkins residence.)

Once in production, Teofilo knew the actors and technicians faced serious challenges. "I really asked a lot of the cast and crew. Shooting at our locations was rough. Confined spaces, difficult angles, noisy fans, sparse power availability...the list goes on. That's where cinematographer Doug Delaney's expertise came in handy. He's an artist with light." Delaney, also an accomplished colorist (LOTR: Return of the King, The Matrix Reloaded) lit difficult sequences using only a few key lights, speeding along production with quick setups and inventive use of instruments.

During post-production producer Paul Cuoco, who also edited the movie, introduced novel ideas in storytelling through editing and special effects. Teofilo was surprised by the results. He says, "The film as originally written was more chronological. Once we got into the editing room, Paul opened my mind to the possibility that the story had opportunities to become a little more surreal, to play with time. Our audio engineer Jeff Folchinsky (who works as a Sound Designer for Universal Studios) also made it possible to add voiceover and sound effects that rounded out the landscape of the film, adding story elements and characters that we couldn't shoot because of time or budget parameters."

As the film neared about seventy percent completion, a composer who had been on board for many months was suddenly forced to leave the project. Enter Dave Marks, an old friend of Teofilo's based in London, England. "We were tremendously lucky to have Dave come on board when he did. As an experienced session, conservatory teacher, and touring musician, Dave attacked the original score for Mercy with aplomb. He not only scored the action sequences, but also wrote a beautiful lullaby for Audra (daughter of Mercy and Lily Hawkins) at my request. The song is a beautiful counterpoint to the darker elements of the film, and its melody shows up as a theme in many scenes.