CAST

cindy dolenc

“CELESTINA”

Cindy Dolenc has been called a chameleon-like actor with an award-winning international career in film, television and theater. She is best known for her Series Regular as Kate Quinn on La Femme Nikita and has appeared in productions including Stanley Kubrick’s Eyes Wide Shut, NCIS: LA, The River Murders, Casino Jack, and The Chicago 8.

Her recent work include award-winning films such as Masks, The Chair, The Last Take, Chasing Persephone and soon to be released, Lady America and The Impersonator. 

Known for bringing emotional depth, intelligence, and authenticity to complex characters, Cindy is equally at home in drama, mystery, thriller, horror, comedy and character-driven storytelling. 

Originally from Canada and the UK, and now based in Los Angeles, Cindy holds both British and Canadian passports, as well as U.S. permanent resident status (Green Card), allowing her to work throughout the UK, Canada, and the United States.

JOHN BADER

“ELVIS”

John L. Bader was most recently seen on the hit CBS show NCIS. Other recent credits include a guest spot on the Starz! Network show Survivor’s Remorse, as well as playing a corrupt detective in the feature film The Lost One. He is perhaps best known for his recurring role as Stanley Deeks on ABC’s The Practice. He was nominated for the Best Actor Award at the Midwest Film Festival in Chicago for his role as Al in Train Town, and was the voice of The Narrator in Keith Bearden’s The Raftman’s Razor, which garnered Best Film at SXSW, Chicago International Film Festival, Seattle International Film Festival, and was eventually inducted into the permanent film collection at the Museum of Modern Art in New York. He has performed in over 50 national television commercials. Onstage roles include Mortimer in The Fantasticks, Willy Loman in Death of a Salesman, as well as originating the role of Alan in the New York City production of JT Roger’s White People. In New York he studied with theatre legends Julie Bovasso and Morris Carnovsky. He attended the National Theatre Institute at the Eugene O’Neill Foundation for the Performing Arts in Waterford, CT and currently is coached in Los Angeles by Elizabeth Gamza.

  • PRODUCER - MOISES URIARTE

    DIRECTOR OF PHOTOGRAPHY - MATTHEW DEVLIN

    GAFFER - LUCAS DUDLEY

    BEST BOY, FIRST ASSISTANT CAMERA (BURBANK EXTERIORS) - BLAKE EVANS

    FIRST ASSISTANT CAMERA - MOISES URIARTE (INTERIORS)

    SECOND ASSISTANT CAMERA - SARAH CASPER

    SOUND RECORDIST - BLAKE EMERSON

    PRODUCTION DESIGN - CHANEL MOREHEAD

    COSTUME - NOE MONTOYA OF NOE MONTOYA ACADEMY TAILOR SHOP IN PASADENA, CA.

    CINDY DOLENC’S HAIR AND MAKEUP - PAVY OLIVAREZ

    JOHN BADER’S HAIR - HELEN R. EVANS

    JOHN BADER’S MAKEUP, ASSISTANT HAIR STLYIST - CAYCI JEAN

    FIRST A.D. - VINCENT TRUJILLO

    PROPS - AMANDA RAMIREZ, MELISSA YU, BRIE FERREIRA-DUNLAP

    SIGNS - LUCA AT PURE DESIGN

    PROCUCTION DEPARTMENT - RACHEL CADENA

    FIGHT CHOREOGRAPHY - TONI JAMES DICKENS

    MAGIC CONSULTANT - JEFF BLACK

    MAGIC ASSISTANT - SININDA SINCHAROEN

  • EDITORS - PATRICK LAWRENCE & SUSANA BENAIM

    MUSIC - MATTHEW ORENSTEIN

  • PETER FLOOD
    ACTORS STUDIO WEST
    JOHN HARRINGTON
    ELIZABETH GAMZA
    JOSEPH BENNETT
    MACK MUIR-JEFFRYES
    BILL BALZAC
    KEITH SAUTER
    MIANN WILSON & ZACH BENNETT OF WME AGENCY
    LYNNAE DULEY
    NILA FAITH OF NILA FAITH TATTOO, LOS ANGELES
    LUCAS CAPANEMA OF PURE DESIGN, MARGATE, FL
    NOE MONTOYA OF NOE MONTOYA ACADEMY TAILOR SHOP, PASADENA, CA
    LAUREN FONVILLE & ADORABLE ALICE
    HATTIE MUIR
    PAULETTE MUIR
    CHRISTINA MUIR
    ANN MAYO MUIR
    SUNBEAM VINTAGE, LOS ANGELES
    LAURA WEEKES
    RITCHIE PELLERIN
    CAFFE COTTAGE, LAFAYETTE, LOUISIANA
    MICHAEL NIGHTINGALE OF NIGHTINGALE STUDIOS, BURBANK, CA
    ALLEN HEAD
    DENNIS VIDAL
    MIKE CHRISTENSON OF CITY SIGNS IN MIDVALE, UT
    NATASHA SKORZANKA-FIFE
    CHET FRIAS
    TCP INURANCE
    YOUNG ACTOR’S STUDIO, NORTH HOLLYWOOD, CA
    VICTOR VEGA
    JOSEPHINE BUSH
    BILL MACOMBER
    AMY BODMAN
    JOHN SANDERS
    GEORGIA SCHREIBER
    DFI RENTALS, LOS ANGELES
    NICOLE FIORENTINO
    CHATEAU LEMONGRASS, LOS ANGELES
    SUPER COPY IN EAGLE ROCK
    KAREN “HOHNEE” GOLDSTEIN
    ADAM SANDLER
    ALLISON LANDA
    FERNANDO FAVELA
    KATHE MAZUR
    BRENDA REES
    JIM HUGHES
    & ROTUNDO THE WONDER TORTOISE

  • Certain obsessions tend to crop up in my work with regularity, whether I set out intentionally to engage them or not. One is the subject of entrapment—both mental and physical—and the ways people seek to escape it via the imagination. I’m drawn to inner worlds of characters living on the margins, outsiders who verge on holiness in their derangement— wildly damaged, appallingly alone, and violently ill-equipped to love… but who try, anyway. I’m visited by a steady stream of characters personifying Cioran’s "failure on the move” —figures who, although they may be plunging toward the inevitable crash-landing, insist nevertheless on unfurling their imaginations like raucous, brightly-colored parachutes to break the pain of the fall.

    Movies that left an indelible mark on me include: The Florida Project; Precious; Pan’s Labyrinth; Jesus’ Son; Laurie Collyer’s Sherrybaby; Benh Zeitlin’s Beasts of the Southern Wild; Casavetes’ A Woman Under the Influence; Visconti’s Bellissima; Fellini’s La Strada and Nights of Cabiria.

    Literary works that honed my sensibilities from an early age on include: C.S. Lewis’ The Chronicles of Narnia; Lewis Carroll’s Alice’s Adventures in Wonderland; Frank Baum’s Oz books; Vladimir Nabokov’s Lolita; and much later, Denis Johnson’s Jesus’ Son.

  • “THE GLITTER GIRL (A Tinsel Town Tale)” began as a short scene in a feature-length screenplay about a Marilyn Monroe impersonator who gets fired for the crime of aging out of the game; in reaction, she hits the road to begin life all over again; essentially, I thought I was writing a road movie. But life had other plans. One hot humid night in Lafayette, Louisiana, I ventured out to a watering hole by the name of Caffé Cottage, intent on drafting the scene where the agent issues the doomed Marilyn-impersonator her walking papers. I made my way to one of the old wooden booths that lined the back wall of the bar and knuckled down to work, the air around me thick with shadows and ghosts and cigarette smoke. But when I finally put pen to paper, a funny thing happened: the character of the agent began to speak in a markedly different voice from the one I’d meticulously planned. No longer was he the hard-boiled Hollywood hustler of my preconceived notions, but rather, a kind of ham-handed Mr. Lonelyhearts, a fellow misfit, not to mention a bit of a bumbler, who was desperate for love and terrified to admit it. The agent that emerged from the smoky gloom of that Louisiana bar was resolute, even dogged; he wasn’t going anywhere, my best-laid plans be damned. And while I was somewhat surprised to encounter this unheralded new version of the character, I wasn’t sorry—not one bit. After all, don’t all writers live for such moments when their characters practically materialize out of the ether, ghost-like and insistent, demanding we transcribe their every word like harried secretaries taking dictation? This agent had a different agenda to go with his newfound voice; rather than pushing his impersonator away, he wanted to draw her close. He wanted to renegotiate certain boundaries—not just the one that stood between them, but the fickle, flickering boundary between an impersonator and her impersonation, between performer and performance. In response, the impersonator had a thing or two to say in own right, so I threw up my hands, forsook my outline and let the two of them duke it out there in the humid night— left them to jab and parry, bob and weave, duck and cover, twist and shout. And before long, what had begun as a rather cursory scene in a story of a different stripe had transformed, transmuted, and transfigured into a mini-play in a minor key. A standalone.

    For Paulette
    09/23/1935-06/15/2026

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