From my earliest memories, darkened movie theaters were my safe havens, my sanctuaries.

The only time I felt comfortable with the structure of the world was when it flickered by at 24fps. While I felt eternally out of place in daily life, I had the ability to get my mind around the language of film, and it was reassuring to a scared kid in a bullying world. I spent as much time at the movies as I could, frequently seeing first-run features upwards of 15 times each. My mother was especially flummoxed by this behavior. She would say, “Haven’t you already seen that?” Nice way to miss the point, mom!

Like most families in the ’70s, we shot loads of 8mm home movies. We sometimes made our own little story films, using props and slapstick. I shot 8mm and Super 8 right up through 1988 after I had come to California.

To this day film/video remains a huge part of my life, and I married someone who has the same passion. You can often find us turning off the TV and projecting 8 & 16mm movies instead. There’s nothing like the hum of a projector to make one feel young again!

I love filmmaking and haven’t done nearly enough yet.

Stills from home movies

Mark and I are bundling these projects under the name Escape Velocity Productions.

An Experiment in Schlock

I attended film classes at De Anza College in 1987-88. While most of the work I did was scoring classmate’s short films, I made one film of my own, a basic experiment in schlock horror. I was a huge fan of horror films in the ’70s and ’80s (I even attended a Fangoria convention in NYC in 1984). I was a fan of makeup effects master Tom Savini. I purchased his book, and always looked for an opportunity to try some of the tricks outlined in the manual. My film professor, a nature documentarian simply did not “get it”. He was not happy with my choice of subject matter.

In 2014 I digitized the original Super 8 and added titles and music.


In 2010, my husband and I attended a series of workshops at Mispeninsula Community Media Center. We made a documentary short about the historic Hangar One at Moffett Field. Mark works at Ames Research Center, so the imminent un-skinning of Hangar One (due to Superfund cleanup) would spell doom for the structure, which we have both come to love a lot.

Media Center’s Becky Sanders encouraged us to submit the film for a regional community media award, which we won.

W.A.V.E. Award for Excellence in Local Cable Programming - 2010 - Documentary Events/CP

W.A.V.E. Award for Excellence in Local Cable Programming – 2010
click here to see full plaque

At this point, it looks like Google will finally save Hangar One by re-skinning it. We are waiting…

Industrial Videos & Voiceover

This is an oddball category. These video projects never aired on television, they have nothing to do with theatre and I did not produce or direct them myself. Also, I had a brief career in voiceover. I’m putting this info here since it doesn’t fit anywhere else.

When I finally decided (at 38 years old) that I wanted to finally attempt performing, I attended voiceover classes at The Voice Factory in San Francisco. Once I finished the appropriate classes I recorded a voiceover demo and acquired an agent. I was hired for a number of gigs and ended up in the union AFTRA (which later merged with SAG), but in general my heart wasn’t in it. However, the voiceover classes were the first professional acting training I had, and that served me in other areas as well.

For a few years I also performed in industrial videos. It was fun, but very difficult to make corporate tech-speak sounds natural as dialog. During this period I had San Francisco agent. Ultimately I found I didn’t like it enough to continue (and then, of course, there’s the whole gender thing), but it was interesting while it lasted.

Photo montage of Daya in industrial videos

Stills from industrial videos.