(as Pixxi De La Chasse)
Jaclyn Jonet plays Pixxi De La Chasse, the title role in Alex Cox’s REPO CHICK. This is their second collaboration; she was previously Cox’s leading lady in his 2007 film SEARCHERS 2.0. Both films world premiered at the prestigious Venice Film Festival. Jaclyn is also a young producer. She has optioned all Kellogg’s Cereal characters and is currently developing a family animation film with a major studio. Aside from acting, Jaclyn devotes herself to various non-profit organizations. She has raised over $50,000 for Doctors Without Borders and is a board member of SHARE. With her extensive charitable work, she has been able to start her own fund, Lend Your Hands, in order to donate to all. Jaclyn was born in New York City and raised in Bergen County, New Jersey. She is one of five children and both her parents are doctors. At a very young age Jaclyn began taking acting, dancing and piano lessons, focusing on ballet and jazz. Throughout high school she attended The Academy of Dramatic Arts in New York City. While studying at night, Jaclyn began an internship at “Saturday Night Live” and was hired to work full time. Since 2008, she has lived in Los Angeles.
Comments from writer-director PIXXI DE LA CHASSE
The leading character in REPO CHICK is Pixxi De La Chasse, a spoiled rich girl who must find a job or go to jail. Working for a small-time repo outfit, she discovers meaning and vigor in stealing from those poorer than she is. A scion of the ninth-most influential family in Los Angeles, Pixxi is the owner of numerous media businesses and a best-selling line of thongs, and the employer of several ungrateful assistants. She is an “overdog.” I like very much the way Jaclyn Jonet was able to accept this, and play Pixxi as the monster she is – albeit a very successful monster. A generation ago, actors were perhaps naively concerned about their image and tried to infuse a sentimental and often bogus notion of humanity into their roles. Jaclyn simply went for it and had fun.
L.A. FILM REPO CHICK, though filmed almost entirely on a green screen stage, feels to me like an LA film. It would be hard to imagine this story happening anywhere but the City of the Angels. But LA is also very specific and things happen there that wouldn’t occur elsewhere: the confluence of the oil business, the freeways and the movie business. Author and social commentator Mike Davis can describe the place better than I can, but for him it’s a dystopia and for me what’s interesting is that – despite its myriad horrors – LA continues to function and to have strange pockets of urban beauty and artistic brilliance. The full name of LA is La Señora de Los Angeles: why did it take so long for me to realize this? REPO CHICK seems to me contemporary and girly: women have most of the active roles and a mysterious female energy pervades. But this is also a story of plastic model railroad people living a precarious tabletop existence. Whether their concerns should be ours, only the viewer can decide.
VISUAL TOOLS For a long time I’ve wanted to make films that were as dramatically flexible and as visually striking, as a Doctor Strange comic book or an R. Crumb or a Freak Brothers cartoon. But this was always impossible. A movie packed with effects shots was just too expensive for the independent road. REPO CHICK is the first film where I’ve had those visual tools: the ability to entirely create environments, to have the characters drive not on a freeway but through a computer game or a cartoon. Choosing to work mostly on green screen made all this possible.
ALEX COX AS THE MAD SCIENTIST I decided to cast myself as the Professor, a mad scientist in REPO CHICK. It’s not the first time that I appear in front of the camera. I like acting because it is easier than directing. At least, the kind of acting which I have done, in which the dialogue is relatively sparse. The director has to be present on set pretty much all the time and must answer scores of questions. Whereas the actor is treated kindly, led to a chair and need only say, a couple of times, “And now you will die, as a result of your own egotistical schemes!” Job done! Where is the bar?
REPO CHICK IS NOT A SEQUEL TO REPO MAN It’s not a sequel to REPO MAN: that would be the further adventures of two middle-aged guys driving a beaten-up old Chevy across the firmament. REPO CHICK is something new for me: a girl film, with a different take on the age-old crisis of capitalism or how to make the most money out of fleecing the poor. The films also really differ in their visual aspect. REPO MAN is dark, almost naturalistic, very noir-ish: it was shot by Robby Muller. REPO CHICK was photographed by my friend Steve Fierberg in rich, bright colors and is visually far more extreme.
REPO MAN, as it progressed, went in a science-fiction direction. REPO CHICK becomes a sort of clock-ticking political thriller. Pixxi is made of heroic stuff and destined for a political career!
MUSIC I thought that “The Panic is On” was the perfect song to open REPO CHICK: a new comedy about yet another manufactured economic disaster. In the first part of the film, most of the score is by Kid Carpet, an extraordinarily talented British rock & roll musician (is this the correct formulation? How does one today describe the artist formerly known as Elvis?). He has created a musical environment for Pixxi and her crew, and provided a chase theme for the train. In the second part of the picture – after Pixxi and the dignitaries board the luxury train – Dan Wool has created a thriller score in what I think is the modern American style. Dan used to work as part of Pray For Rain and has scored most of my features and TV projects. But this is the first time he’s worked in this genre and I think what’s he’s done is spot-on. (It’s also his music which accompanies the documentary and the railroad graveyard sequence.) There’s also music by Danbert NoBacon, who I first met when he was part of the British anarcho-syndicalist band, Chumbawamba (Danbert also acts in REPO CHICK, playing a major in the bunker); Yorkie, the Liverpool rocker formerly of Space; Steven Hufsteter, who co-composed the score of REPO MAN; and Sexy Ultimatum, a Frisco-based combo.
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ING: R R STA
T ONE VAL J N O LY JAC L SAND ETTE E U QU MIG NA AR AN ROS EBB EW O L ASH CH BAR A I OLIV
CAST JACLYN JONET - PIXXI DE LA CHASSE MIGUEL SANDOVAL - ARIZONA GRAY DEL ZAMORA - LORENZO ALEX FELDMAN - MARCO CHLOE WEBB - SISTER DUNCAN XANDER BERKELEY - ALDRICH DE LA CHASSE ROSANNA ARQUETTE - LOLA WRITER/DIRECTOR ALEX COX
ROBERT BELTRAN - AGUAS KAREN BLACK - AUNT DE LA CHASSE ZAHN MCCLARNON - SAVAGE DAVE JENNA ZABLOCKI - EGGI DANNY ARROYO - SIXSIXSIX JENNIFER BALGOBIN - NEVAVDA ZANDER SCHLOSS - DOCTOR
PRODUCERS ERIC BASSETT ALEX COX BENJI KOHN AUSTIN STARK BINGO GUBELMANN DAREN HICKS SIMON TAMS
EDDIE VELEZ - JUSTICE ESPINOZA FRANCES BAY - GRANDMA DE LA CHASSE BENNET GUILLORY - ROGERS OLIVIA BARASH - RAILROAD OP TOM FINNEGAN - SENATOR FLETCHER LINDA CALLAHAN - RIKKI ESPINOZA
EXECUTIVE PRODUCERS CHRIS PAPAVASILIOU TOD DAVIES KEN MEYER
KAREN E. WRIGHT - COLONEL CY CARTER - LAWYER RENE “CANNONBALL” CARRASCO - TOW TRUCK DRIVER BIFF YEAGER - GOLF COURSE GUARD KARI FRENCH - REPORTER ANDRES CARRANZA - JOURNALIST
ALEX COX - PROFESSOR DANBERT NOBACON - MAJOR BARNEY BURMAN - CAPTAIN RUSSELL DARLING - HOMELAND SECURITY OLIVIA SANDOVAL - AD WOMAN SIMON TAMS - CIA OP
COMPOSER DAN WOOL
EDITOR ALEX COX
VISUAL EFFECTS PRODUCER ERIC LEVEN
ORIGINAL MUSIC KID CARPET
PRODUCTION DESIGNER NICOLAS PLOTQUIN
VISUAL EFFECTS BY COLLATERAL IMAGE
CINEMATOGRAPHER STEVEN FIERBERG
ART DIRECTOR AARON MEZIERE
RERECORDING MIXER RICHARD BEGGS
COSTUME DESIGNER ALEXIS SCOTT
Spoiled rich girl Pixxi De La Chasse has been disinherited by her family due to her numerous arrests for bad driving, her failure to get a job and her overall lack of some semblance of a responsible life. When her car gets repossessed, Pixxi ends up getting hired by repo men Arizona Gray and Aguas, and she soon becomes the best repo chick around with the help of her entourage punk girl confidante, model-looks bodyguard and flaming stylist. While on the hunt for some antique railroad cars which carry a million-dollar bounty reward (also being sought out by a secret government agency!), clueless Pixxi ends up on a wacky train ride which is actually a plot by a terrorist organization. If their demands for the criminalization of golf are not met, then the train (whose caboose is carrying long-missing growler bombs from the Soviet Communist era!) is headed straight for downtown Los Angeles. It’s up to Pixxi De La Chasse to save LA!
Pixxi De La Chasse to save LA!
IT’S UP TO