Thursday, November 24, 2016


Who is Jett Hollywood and what does he dream about? 
Jett is you, everyone can be a star. Well the one’s I remember or catch, some of mine are really mysterious and sensual, full of us rude degenerates having fun at midnight, a lot sighing going on. Other times their more like fairy tales with me flying like superman. The way I fly is by feeling total nirvana and that makes me shoot up.

Every Director has their techniques and process for directing a film can you share a little bit of yours with us? 
I just turn up and instigate a situation depending on the personality of the stars of the film. I'm not too pen and pencil about it. Cinema is a physical sport, like a mental action movie. Be a pirate and pillage peoples memories to show to the rest of the world. Cinema is a living memory.

How do you prepare for directing a film, you’ve mentioned before you hate scripts, is there any writing involved at all, if not how do projects evolve for you before we see them on screen? 
I only use breadcrumbs. There’s a cuddly yoda called Titi Jones, who is full of inspirational bits. To be fair, once in a blue moon they’re shit; although I now feel that        Austin Powers should be mandatory viewing for all judges. I interview the actor before we start filming and I get to know their history and then if they are brave and fantastic  enough they agree to bleed for the screen. You have to be brave to be in one of my films because you won't be the same afterwards. If you want to have a nervous breakdown then make a film with me.

If you agree to work with a writer and allow them to do the writing for your film what do you expect in return from them if they know you hate scripts? 
Nothing really, if their script is good I’ll follow their lead, I don’t mind collaborating, it’s just not my main way, I'm happy to go it alone and make every mistake imaginable, but Jett is the sorcerer side of me. He was a brilliant, selfish brat. But it was ok cose he got things done and with humor. A smarty pants cose he can do it all. I’d rather not plan too much, show up at an interesting location with an image and make it awkward but with a quality that says original bootleg.  

How do you prepare your actors or ‘’street superstars’’ for a shoot, is there any characterization involved, how do you develop your characters? 
Good question because there isn’t an answer.

What fascinates you about documentary and how does that tie into what’s great about your films? 
I don’t make documentaries, they're a lie. Because it’s almost impossible to do now, everyone is now media trained. As soon as the camera is made visible, it kills it. The person becomes politically correct. It’s actually becoming more and more rare to capture anything real on film. Unless it involves hidden cameras or if it's a force of nature, like a large crowd, babies or a natural disaster. The great truth sayers are becoming an extinct species.  

As a director what is your greatest fear? 
The absolute worst that could possibly happen is that the day of filming arrives and the cast is late and are a load of timid hipster fakes that are covered in tattoos and piercings wth nothing to say for themselves. I love to sit and talk ideas on the day and then do them right away. But they come to the film set only to take selfies of themselves on the film set!! (Laughing). It’s very surreal actually. Thanks for letting me re-live that nightmare. It’s already happened to me very early on so actually I'm not scared about it anymore.

What do you feel is the most difficult thing about film making and what has been the most challenging thus yet? 
Difficult is dealing with company people, that is the worst bit because they really kill the magic and joy that you feel when your filming and editing. It toughens you up and you become a shark for that side of each project. I guess you reflect the people that you are dealing with, but most of them aren’t passionate about cinema and are clueless. The problem is that they happen to work in a creative field, but don’t have an open mind. You’d expect them to be cool, but they’re not. Most of them are complete trolls (and you know who you are) who are jealous of you because they secretly want to be filmmakers themselves, but don’t have the balls to do it; just being honest. It’s really shit and a complete waste of energy someday’s, but you fight through it. And once every summer you finally meet a visionary in the industry who is passionate and actually cares about new filmmakers who are making interesting cinema instead of safe commerce. Those people are the angels who make it all worthwhile.

Which one of your films is your favorite to watch again and again, which one are you most proud of and why, what do you think you did during the film making process of that particular film that makes you feel this way? 
Yes, each month I spend a week watching my own films 24 hours each day and nothing else for a week. When it’s finished, I think LOON will be the greatest underground film of this century. It catches the wasted teenage dream. It’s a surprise for the future space children and the  revolution of a dream. Total freedom and the destruction of your naked identity. 

How do you find yourself dealing with love these days, is it inspiring at all or is it a distraction, tell us what drives you to love someone is it easy for you to fall in love? 
It’s a distraction, breakup’s are more inspiring than love. Unless you've made an oath to dedicate a film to that person it can be messy. It’s a great chat up line and romantic but I want more. Love makes you happy and the last thing you want to do is make a film while you're in love, because all you want to do is spend time with that person. Which is why Im taking so long with LOON. A muse is the greatest gift you could ever hope to find. For me falling in love has always been an accident, I’ve never looked for love, it finds you. 
So what’s going on in your world today that's been beating your brain lately have you been obsessed with anything in particular lately, any visions? 
Today I was reading about Lord Lucan and how he committed the perfect disappearing act after killing his nanny. The other day in Hungary my hotel room was burgled and they stole my laptop, luckily they were nice enough not to steal my passport, so lately I’ve been obsessed with seeing the CCTV footage and catching the thieving bastard and force feeding them curried grass.
What is in the future for you and your projects what's next?
The psychic Jeane Dixon thinks the world is going to end in 2020, so I’ve been living fast. I'm working on live shows more than ever before, Anarchy In The UK was received very well and the 2nd international Straight Jacket Film Festival is coming in 2017, which will create another circus around the world. 2016 was very similar to the energy of 1976, it’s been a year of absolute awakening, the world has gone collectively mad. The UK leaving the EU was a complete disaster. It’s as if someone said ‘’Time to wake up’’, a year with a lot of suffering in the air. But now, 2017 is going to be more like 1967 or 1996, I'm hoping for at least one last new enlightenment with lots of bright paint to happen before 2020. A society open and tolerant full of new opportunities with no barriers, a return to innocence. That's where I want to go to. 

What sort of things would you like to improve on as a filmmaker? How do you feel your style influence’s other young emerging filmmakers who are just getting started?
I hope they see the possibilities they can achieve by being different. To galvanize your oddest fantasies. It’s not about pleasing your parents, we’re the future. I don’t know how to be a filmmaker, I know how to misrule, but I guess I should probably invest in some new equipment, my last camera was held together by glue and gum.

 What kind of basic film making equipment do you use when you go out onto the street to film guerrilla style besides a camera phone? 
I really love DV tape camcorders. The creative part of me is more poetic than being obsessed with technological perfection. Too much equipment gets in the way when making hit & run cinema. The power and energy you can capture is more total. 

What’s the story with you coming back to the states to make another film? 
It’s outrageous, I want America to come to me.

Ok you walk into a bar and go up to the bartender to order a drink what does Fabrizio order on a good day what does Jett Hollywood order on a bad day?                      

A chocolate milk for Fabrizio and a snake wine for Jett.



Friday, November 18, 2016


Straight-Jacket Guerrilla Film Festival 2017 is now open for Feature Film submissions and Music Videos. It's FREE to submit till March 9th.
To submit your work for the 2017 Festival's consideration, simply email us a YouTube link to your Feature film (must be over 70min in length) or to your Music Video (must be for a gigging band).
Please also include your production info, bio, website and film synopsis to:
Submission Deadline is  Junke 3rd, 2017


DEAR Acid Junk


Counterfeit Film Manifesto 

Written by LAURA GRACE ROBLES Birthday Gurl

A Counterfeit Film may be a film funded, organized, or promoted by counterfeit capital

A Counterfeit film can be a film that is an imitation of another film or Script  with the same name
A Counterfeit Film can incorporate counterfeit wardrobe and or props
Any artist or persons working under this manifesto should consider themselves a street artist 
Counterfeit films can challenge, disregard, or provoke copyright infringement
Counterfeit Film is Anti-Art ACID JUNK ART-ART Film



Exit Through The Gift Shop



Tuesday, October 4, 2016



Dear Diary Here's where i start collecting the different bios ive written for myself overtime here's another
when the years pass id like to see how this turns out 

Laura Grace Robles is Birthday Gurl a San Antonio video artist who takes the anti film making approach to presenting moving imagery to become Anti-Art film as a contradictory to cinematography. By superseding the camera B Gurl manipulates video, by using real time video performances and video synthesis. Robles explores the anti film making process which she derives from her methods stated in her Anti-Art film making manifestos of conceptual ideologies. B Gurl forges film genre innovation by encouraging, taking risk by igniting and beginning an anti film genre, that breaks traditions as visual media art.  The artits’s unconventional film making manifestos such as the Acid Film Manifesto, Junk Film Manifesto, Fake Mockumentary manifesto and Counterfeit film manifesto which B Gurl pays homage to the UK New Punk Cinema movement honoring, Dogma 95 and Pink 8 to be apart of the new punk cinema movement.  In 2016 Robles and Fabrizio Federico founded The Straight Jacket Guerrilla Film Festival, an online festival that unites Texas and The United Kingdom by representing a collective of unhealthy films that irresponsibly aim to destroy Hollywood. Robles uses video installation and single channel projection to showcase her Anti-Art Acid films during live musical performances by her musical project Anti-Beauty and other national acts like Hip Hop Legend Rakim, the Producer of The Strokes and Grammy winner Marcel Rodriguez Lopez keyboard player of the Mars Volta. She has also showcased her films by sharing the stage with Com Truise, The Octopus Project and Machine Drum. Birthday Gurl has appeared in two foreign anti art films titled Pregnant directed by Fabrizio Federico  and Mondo Lizard a film about anti film makers directed by Rubber Cripple both directed in the United Kingdom. 

dear diary here's another bio from 2020 as i continue to document my life it brings me strength and self worth thank you

Laura Grace Robles started out playing lead roles in high school theater— like Katherina in Shakespeare’s Taming of the Shrew and the title role of Mary in The Insanity of Mary Girard by Lanie Robertson. Laura performed alongside her mother, a theater director who put her in charge of long, important rehearsals during her time of pregnancy near preparing for school shows for a room of nearly a thousand students. Laura was awarded All-Star cast on two occasions for her performances in district and area rounds of the annual University Interscholastic League One-Act Play competition for Kennedy High School.

Besides Theater, Laura was active in many other extracurricular activities such as student council, Varsity basketball, Sophomore class presidency, and San Antonio Youth Literacy, just to mention a few. This is where Laura first learned to use a VHS Camcorder, roaming the school for inspiration for her first music video assignment that she ended up organizing, in the middle of the street in front of her house, using a group of neighborhood kids that became the perfect outsiders to match the Guns and Roses song “Civil War” in 1997. When Laura graduated from High school, she was awarded many prestigious scholarships from The Lulac Foundation, The Hispanic Heritage Foundation for Leadership and Community Service, and Coca Cola for academic excellence.

Before Laura graduated from high school, she became motivated to find success as a theater camp reject who would eventually fail at film school and drop out to direct her first short film, a “Pulp Fiction” parody which she entered in a film contest created by Michel Gondry, one of her favorite directors. Unfortunately, Laura failed to fit with the other actors and film students due to the silly requirements she refused to take part in that clashed with her experimental and random avant-garde nature.


In 2007-2008, Laura moved into a 700 square foot studio that she turned into a live-in gallery and photography studio with no shower or kitchen. The artist continued her artistic explorations while enduring a Drama class she felt compelled to take at the time even though she knew changing her major to Drama after flunking out of Radio, Television & Film was a runaway effort to fulfill a dream her mother had of Laura becoming a famous actress. Instead, she became an obsessive vegan pseudo sumo wrestler named Yo Apples who fell in love with Bjork so much she almost became a Bjork impersonator herself, while surviving on a pudding mix made from Smart Water and rice protein powder .

Laura soon realized she wanted to make moving paintings from poetic visions of moving imagery contrived from NON ordinary footage that would resemble distorted abstractions of masked human identity. Laura used large-scale video installations with single-channel projection that would fill the entire space. The video installation consisted of a combination of broken mirrors found on the street while walking home from voice class, which became the point of projection for the infinite reflections of shapes, vivid shadows and mirrored light. Video feedback was produced from a cheap camcorder via a projector which Laura purchased with her entire student loan as the fun alternative for buying school books. The entire studio gallery was masked with a design of mixed-media that used many layers of additive and heavily painted white and clear shower curtains held together by the dried paint and random broken mirrors in a way that expressed the embodiment of multiple surfaces transformed into an atmosphere that created a mystical dream-like experience for a small visiting audience that became the spectators of an intimate display of performance with guitar playing and modern dancers, costumed in painted clothing where the painting of one another became the improvised choreography and movement. This performance maintained an ongoing pretense of reality for the entire opening night. This investigation took place at Blanco Studios, skating-distance from the college she attended. The entire piece was eventually documented and turned into a long sequence of moving imagery which became the visual poetry interactions titled “Discovery Mirror”.



This experiment was an expression of lyrical gestures that became embodied art—a blue wig holding the skeleton of what was left of the broken mirror and frame, in a hugging position with her torso as though it were a part of her—an encapsulated dream reenactment. A vessel to her soul was uncovered.

Robles studied painting for seven years at San Antonio College where she took her first Sculpture and Drawing II class with Mark Prittchet. At this time, she participated in multiple juried student exhibitions where she was the first art student to be selected to exhibit six paintings for one show. Robles was determined to venture out with her first solo exhibition where her paintings from the Additive and Subtractive process were collected by the office of President Ricardo Romo from The University of Texas at San Antonio.

After this major accomplishment, she became the only artist from Texas and other surrounding states to be invited to attend the private reception and lecture for The Gates exhibition by Christo and Jean Claude in New York’s Central Park.

Robles’ studying Art at The University of Texas at San Antonio with Leslie Raymond, a well-respected Art professor, video artist filmmaker, VJ, and critically-acclaimed Executive Director for the Ann Arbor film festival, opened up a whole new world of artistic expression that would eventually be the dedicated dream she felt destined to fulfill despite any obstacles.

At that point of study, Laura became inspired to incorporate her theatrical intuition to create an avant-garde study of self-actualization by identifying as a divine archetypal figure that would erase social class through a dance of body, devising a reenactment of the Turkish Bath, costumed as a Red Individual, a character Laura invented to transform herself.

The film was titled “In The Green” and was presented as a combined study of research and exploration, showcasing digital photography, theater, performance art, video and animation costumed as A Red Individual. The film was awarded first place in the category of Multimedia at the university’s College and Liberal Arts Spring Research Conference in 2006.

Laura mostly fantasized of living in the past during the underground guerrilla No Wave cinematic explosion of DIY street culture from no wave and punk rock musicians and artists of the Lower East Side of New York.​

Laura continued to pursue performance art experimentation even during a period of homelessness and on no budget, determined to direct films at no cost in order to live the dream of emerging as a highly regarded, DIY punk rebel avant-garde video artist. She allowed herself to be used as the subject of her video works and worked alongside a dear friend and model she took painting class with, Victoria Campbell, and talented community actor, Sam Mandelbaum.

This led to her public and spontaneous guerrilla performances on San Antonio’s River Walk as Lucky the clown and as a Red Individual, locked in a porto potty for thirteen hours sans clothing in the spirit of Contemporary Art Month at a location set up with many porta potties to be used as impromptu art galleries.

Among other endurance and public nude guerrilla acts of street art she directed by implementing her fake documentary film making manifesto for a film series mocked after the name Foxy and other words, she presented 16 different versions of the same 54 minute mock-performance to blur theater and performance art in short experimental takes of video art exploration, proving BA-HACK-ANANA—a fate of Bananas hacking into computers that came from a mystic cyber space of dream reality that manifested as a fake documentary faking what's fake in order to deliberately not be a fake documentary but the deconstruction of it.

Laura has approached the idea of conceptualizing a number of her films using her Anti Art-Art film making manifestos such as the Fake Mockumentary Manifesto, Counterfeit Film Manifesto, Junk Film Manifesto and Acid Video Art Film Manifesto—all of which pay homage to Lars Von Trier's Dogma 95 and Fabrizio Federico's Pink 8 Manifesto.

Robles eventually gave herself an official moniker that would inspire one of her many alter egos—Birthday Gurl Video Artist, a San Antonio native, experimental filmmaker with a name that let her fall in love with a toy birthday princess tiara she put on to make herself feel special and young. This name would define her identity as a dedicated artist practicing a career of party-gurl mentality to have fun, get crazy and cry when disrupted from escaping reality. The artist felt that it was her destiny to instinctively celebrate her imagination as though every day was a time to embrace new gifts of creativity as if it were her way of being reborn again and again.

At this point of long-inspired bodies of work, Laura developed somewhat of an internet presence on YouTube. This enabled the artist to emerge in public as a video artist for the first time with video installation and single-channel projections for highly-regarded national and international acts for 80s hip-hop legend Rakim, Grammy Award Winner Marcel Rodriguez Lopez of the Mars Volta, and Gordon Raphael, the Producer of The Strokes. She has also opened shows for Com Truise and The Octopus Project, exhibited in San Antonio's top gallery, Presa House Gallery, and The South Texas Museum of Pop Culture, and other venues, and participated in several underground street happenings.



Column: Gordon Raphael #28 - January 2011

18 Jan 2011

update:  for some reason, gordon’s in texas!  he hangs out with barefoot 18 year old musicians and artists!  he’s found a load of bands he wants you to hear!  and it’s brilliant to have him back. read article here:

​Laura's love for this No Wave Era of guerrilla film expression led to the founding of The Straight Jacket Guerrilla Film Festival, alongside Fabrizio Federico, United Kingdom's underground punk film legend and pioneer rebellion that forged the PINK 8 Filmmaking Manifesto. A manifesto that paved the way for many filmmakers to take risks. This became the style of films this film festival was encouraged to showcase in an attempt to destroy Hollywood's cage of standards that stifles many artists with dreams of movie making.

Later on a United Kingdom directors Fabrizio Fe3derico and  Rubber Cripple featured Birthday Gurl performing and talking about her films and film making philosophies in a feature foreign film titled Mondo Lizard A Guide To Gonzo CInema, a film dedicated to anti-film making pioneers that have proven themselves to be the rebels of DIY guerrilla film making.



The rebirth of the Anti-Art Art Film label for avant-garde and experimental cinema are true experimentalism that allows moving imagery the significance of freedom of interpretation and cannot be easily defined but are more of a spiritual media.

With this in mind, Birthday Gurl poses to herself a challenge to explode her creativity as a resource for the unlimited boundaries she sets for herself by her imagination, transforming ideas based on dream interpretation, using digital video as a way to distort the world with psychedelic rainbows that do not yet exist and that remain hidden beneath the pop diversions that infest the masses in order to supersede the camera she's always dreamed of having.
Unique traits: New Punk Cinema Avant-garde Cinema Experimental Video Art Moving Imagery Anti-Art Art Film Acid Pop Video Art Film Dream Experiments

DEAR DIARY TYPOS RULE!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!,,,,,ajsdhbHASdhag