SYNOPSIS
A makeup commercial brought to life through dance, INeasyOUTbreezy entices viewers to admire the charm of the models’ effortlessness and beauty. However, we soon see that behind the vision of effortlessness lies the models’ desperate need to receive the attention, infatuation, and yearning they desire and think they deserve. This is all performed through a FaceDance: a dance made entirely of facial expressions. While the girls try to showcase a happy, confident, and carefree attitude, they obsessively monitor if you are intently watching. When they see your attention drift elsewhere, they immediately scan to see if anyone else is nearby to watch them. If there is no one else, they will re-focus their efforts on winning your attention back through whatever means necessary: pouting, wining, complaining, crying, intentionally ignoring, and the silent treatment.
We then transition to the actual makeup commercial. Introducing the Verry Berry Collection: a hot new line of lipstick coming to you in 6 tantalizing shades of luscious pink! The commercial promotes the feel-good messages of ‘be empowered!’ ‘be confident!’ ‘be yourself!’—but as long as it’s in these 6 shades! The lipsticks are sold by showing all the unique women you can possibly be while wearing them: Rebel Berry, Sexy Berry, Cutie Berry, Glamor Berry, Alternative Berry, and Berry Chic. The commercial transitions into a celebratory, Macarena-style dance video, that encourages you, the viewer, to dance along with them! We end with the question this has all been leading towards: which shade will you buy?
Biographies
Caroline Liviakis
Director & Choreographer
Aakash Raj
Cinematographer
DIRECTOR’S STATEMENT
It’s rare when someone can cite such seemingly unrelated things as makeup advertisements, the Macarena music video, and airline safety videos as their inspirations for a film, yet INeasyOUTbreezy has just that. INeasyOUTbreezy began over two years ago as a performance piece that featured live dancing with a projected video as the backdrop. This film is the amalgamation of the live and video components of the original, with added characters and an additional advertisement section.
In this film I have tried to accomplish three things:
This is my second short film, both as the director and choreographer. This film features original music composed by my brother, Thomas Liviakis. During these challenging times we all need something that is uplifting and unifying. Art that is stimulating, innovative, and a delight to watch.
Our live performances of INeasyOUTbreezy have shown me the power this piece holds in bringing people together. I can’t wait for film audiences to experience the same.
Caroline Liviakis
FAQ
What is a FaceDance?
A FaceDance is a dance comprised of only facial expressions. While the face is traditionally used to convey meaning and emotion, it also can be used as a canvas to showcase intricately designed movement. The face can be choreographed the same as the body. I love creating FaceDances as they playfully convey so much about a character in such a short period of time.
What were your inspirations for this piece?
I modeled this film after several CoverGirl advertisements because of their bright colors and the use of choreographed hand movements around the face. The Macarena music video inspired the look of the audience participation section. I wanted to replicate the 90s editing style and the creative ways in which they spice up the same movements that are performed for 3 minutes straight.
Why did you decide to add an audience participation section?
The driving goal behind all of my dance creations is to capture and invigorate interest in dance from normally disinterested audiences. Including an audience participation section ignites the audience and converts passive observers into active engagers.
What are the pros of being both the director and choreographer?
Not only do I think being both the choreographer and director is preferable, in many ways I think it’s essential. I like directing my own choreographic work as it allows for one, seamless vision to manifest. I am able to manipulate the choreography with a preliminary shot list in mind and then develop specific camera movements that work with that choreography. The resulting film is more active, and specifically highlights each individual movement.
Who are all of those Liviakises in the credits?
Whenever I have any project, I always have my family completely on board. They are so incredibly talented I’d be a fool not to use them! My brother Thomas is the composer, my sister Audrey plays the role of Glamor Berry, my sister Katherine was our shot supervisor, my mother was our do-it-all superwoman behind the scenes, and my father took on the role as an unofficial Executive Producer.
