behind the scenes Becomes Him provides an intimate Drag Becomes Him follows Jinkx’s glimpse inside the life of internationally trajectory from a small stage in acclaimed drag performer . Portland, Oregon through a growing This raw and affectionate film follows the career in to the relinquishing passionate pursuits that transformed a of the crown one year after winning working class boy in a struggling family to RuPaul’s . an illustrious performer on a global stage. Expanded from the acclaimed five- Influenced by a grandmother with charm part web series of the same name, this school polish, Jerick Hoffer learned to cherished portrayal of Jinkx Monsoon fuse the sophistication of a southern belle peels back the layers on one of the with the crass behavior of a working brightest stars on the drag circuit. girl. Jinkx Monsoon has what RuPaul describes as “a stage left, off center kind of quality.”

alex berrydirector

lex Berry works filming Drag Becomes Him as as a freelance a web series in 2011, two years videographer and before Jinkx starred on RuPaul’s editor in Seattle. Drag Race. To make the feature OriginallyA from Kentucky, Berry documentary, Berry combined moved to Seattle after attending footage from the original web film school in Tempe, Arizona. series with new footage and Berry and Jerick Hoffer, aka interviews with Jerick’s family Jinkx Monsoon, have been friends and friends. Drag Becomes Him for several years and began is Berry’s first feature film. &

How did the idea for DBH come about? Is the rhythm different when you’re filming Jinkx versus film- QAI made this video for a local production company here in Seattle ing Jerick? called Quite Productions and they do different video projects each Yeah, there’s a difference. Jinkx is very on-fire and energetic and month on a different topic. They were doing one about gender and sharp and witty, and Jerick is more…he’s very quiet and he has a they asked me to submit a video. I thought of my friend Jerick very introverted side to him. He’s much more relaxed. He’s Jerick. because he explores gender with drag. I decided to post it on YouTube just for fun, and slowly it started to get a lot of views— What was the best aspect of filming this? and this was before he went on RuPaul. Somehow people were I really loved the fact that I was able to just experiment and come finding it and were interested in this totally unknown person. But into my own style more. I got to experiment a lot. I loved and was it was just for fun at the time—I never planned on making it a grateful that Jerick let me do whatever I wanted. He didn’t say, feature film. “cut that scene” or, “I don’t like the way I look in this scene.” He never made me change anything, and that humanizes it and allows The footage you shot is really intimate. real life to be seen. All the elements, which is what I try to capture. What was it like to film? The pretty and the ugly and the weird and the strange. Sometimes It felt really fun and natural. It reminded me of my childhood. I I would send my mom the episodes before I posted them because I started out shooting a lot of videos of my little sister when we were wanted her opinion. She always loved it, but sometimes she’d say, young. We’d make little short films. The way we shot it was very “Are you sure he’s gonna want you to use this shot of him in bed similar [to DBH] in that we made everything with his hair all crazy?” And I was like, up as we went along, we didn’t plan anything yeah, he’ll be fine with it, and that’s what or think anything out. We just let it happen, “It’s more about was so awesome. and that’s how I like to work. That’s how Jerick and I work together, so it just felt like There are a lot of getting-ready scenes I was filming my little sister again. The style feeling the scene in the film. What’s it like being in the that I used [when I was younger], I still use dressing room before a ? now. rather than thinking It’s a lot of commotion and it’s funny, because drag queens have crazy senses How would you describe that style? about it” of humor. There are some diva moments, I like really intimate, closeup, personal shots. where there’s some yelling and drama. I put an emphasis on emotion, so it’s more about feeling the scene But there’s always this unconditional love, like a family. They rather than thinking about it so much. I really like the camera to have their own slang, like their own language. They call each other feel like a character—like a person watching. I move the camera a out and read each other, but it’s all affectionate. It’s a totally differ- lot so that it feels like a person, I don’t use tripods or dollies. I’m ent communication style. Oh, and it’s always really hot. It smells also influenced by music, because I’m a musician. I think I shoot sweaty. And like perfume. But like, men’s sweat and perfume. and edit in the same way I write music, with a flow or a rhythm. What do you see as the theme(s) of the film? So how do you choose a rhythm for a scene? Relationships, and how important support is from the people I’ll find a rhythm in a scene—it’s musical in a way. With the you’re in relationships with. Everyone really believed in [Jerick]. camerawork and the cuts, it’s almost like I’m writing a song. It’s You just see something in him that you want to lift up. So I tried the same muscle. to capture that—the influence he’s had from his family and friends who have all woven their support into his life. It’s not just a drag Taking that into consideration, what’s your favorite scene in movie, it’s not just a gay movie. There’s a lot of layers to it. It’s the film? about an artist — a kid who has big dreams — who [achieves I really love the scene at the end, where [Jerick] is undressing. We them] by staying true to himself. I think it’s a story a lot of people see him all throughout the film getting ready, putting makeup on, will relate to. performing. And then at the end we see him take it all off. And I love the song I chose for it—it’s a song by my friend Intisaar and This is your first feature… Do you have more in the works? I really love her music. The song is called “Sequins,” and it just Yeah. I kind of want to do a narrative. To be honest, I never intend- fits perfectly with him deconstructing and returning back to Jerick. ed to make documentaries, but I guess I make documentaries now. And I like it a lot. ■ Premiere Night Photographs by Regan MacStravic, Nate Gowdy, John Martinotti, Brooklyn Benjestorf premiere night contributorsbasil shadid, intisaar jubran, brendan hogan, jedadiah bernards, producer songwriter sound design composer

What was the biggest chal- What was the best part of con- What was the most challeng- What was the best part of con- lenge producing the film? tributing to the film? ing part about the sound de- tributing to the film? The real challenge was in our I have had the pleasure of sign for this film? The best part was, well... mak- thinking about how to go from watching Jinkx’s incredible The most challenging part of ing the music. It was such a nice a popular web series to a fea- journey for several years now. the mix was wrangling the au- process to make small music ture film. They are both very Knowing that one of my songs dio from the interviews. The portraits of Jerick, someone I’ve different mediums. You can’t could elevate the film of her film was shot run-and-gun style known since I was just a brat in just slap together 5 episodes of story was a huge honor, be- with a one man crew in lots of Portland. Getting to step back a web series and call it good. cause she is a genuine artist and real world noisy environments. and really hear him in the notes When I first started working is truly inspirational to me. So getting that as cleaned up made me smile every time. on the project with Alex Ber- as possible and creating some- ry, we had to take a step back What is the song “Sequins” about? thing reasonably consistent was How did you decide how to and think of the whole story we Sequins is up for interpreta- the most time consuming and write music to each scene? wanted to tell. Then we had to tion, of course, since most of challenging aspect of the film. In each of the pieces made for make a plan for filling the gaps. the lyrics in it are image-based the film, the goal was to em- Who would we interview? How abstractions. But for me, it is a What part are you most proud of? body a sort of waddling, lus- would we incorporate the new journey through the emotion- The best part was working with cious, awkward charm. My footage? Could we get new al condition of being an artist. Alex Berry. I really appreciated memories of Jerick are thread- footage and keep it stylistical- Most of the time things are un- his unique take on documen- ed with that. I loved detuning ly consistent to the previously certain and you feel all of this tary film making as a whole things just enough against each shot stuff. Then, could we as- doubt, only to be rewarded and the creative license he gave other, using funny instrument semble it in a way that makes every once in a while with the me to take the sound design in combinations, and finding the people want to sit with the ma- euphoria of true, unfettered some rather strange directions. beauty in all of those unexpect- terial for a full hour and a half. self-expression. When you find I’m always appreciative and ed places. your medium and really get most proud of my work when What aspect of producing this into crafting it, it can feel as sound is given an opportuni- What’s the biggest challenge when film are you most proud of? if everything in your life, the ty to be a creative story telling composing music for a film? I’m most proud of the way that good, the unpleasant, the ugly, device and not just a technical Not getting to write more! Jer- we were able to stay true to the all of it, makes perfect sense. consideration. I would also like ick is such a muse to me and intimate style and approach to mention and thank Noah it was a challenge to navigate of the web series. The film re- What did you like most about Bonds who did the initial dia- such a flow of inspiration to a mains a testament to the close- the film? log edit and my business part- few minutes. Though, part of ness that Alex and Jerick share. I really loved how Alex Berry ner Jamie Hunsdale who per- me is glad I only got to wor- It truly gives us a deep view into chose his shots, and also how formed all the Foley for the ry about the right accessories, the life of Jinkx Monsoon. the sequence of events did not film. He would like everyone while everyone else ran around place Jinkx’s Drag Race win to know that the wedgie scene making the whole big outfit. as the pinnacle or climax of sounds so real because those her narrative. In truth, she is a are genuine custom performed multi-faceted artist whose po- ass grabs in there. tential reaches far beyond any television show. Alex captured her beautifully, and gave the impression of a story that is still very much alive and unfolding. I wanted to keep watching even after it was over. on camera interviews

Jerick Hoffer, Benjimen Blair, Deanne Hoffer, Jacob Hoffer, Jinkx Monsoon Sylvia O’Stayformore Jerick’s mom Jerick’s brother

Melissa Hoffer, Kevin Kauer, Editor in Marc Kenison, Zan Gibbs, Former Jerick’s aunt Chief of Nark Magazine Waxie Moon SMYRC Coordinator

Brian Daniel Peters, Amanda Russel, Nick Sahoyah, Jessie Underhill, Mama Tits Jerick’s friend Collaborator Jerick’s friend

Michelle Visage, Jason Wikander, Jeremy Wikander, RuPaul’s Drag Race Jerick’s dad Jerick’s brother DIRECTED BY PERFORMERS ARCHIVAL STILLS Alex Berry Jerick Hoffer film creditsRichard Andriessen Melissa Hoffer PRODUCED BY Justin Huertas Basil Shadid Jaxen Brown Zan Gibbs Peaches Christ Christopher Nelson STARRING Amanda Russel Jerick Hoffer as Jinkx Monsoon Jason Wikander Ben DelaCreme PRODUCED BY Sydni Deveraux ARCHIVAL MOTION PICTURES Michael Strangeways The Carol Burnett Show, Burngood Jacob Leander Fuchsia Fox Roseanne, A Stash From The Past, Lou Henry Hoover Carsey-Werner Company Married With Children, Embassy Television EXECUTIVE PRODUCERS Detox Icunt Antonio Hicks, Seattle Theatre Group: STGtv Lara Sanderson Kitten Larue LadyNormaJean12 Jeff Sanderson Aleksa Manila Logo TV The Beales of Grey Gardens, Maysles Films EXECUTIVE PRODUCERS Shanghai Mark Middleton, Sexual Minority Youth Re- DUAL POWER RuPaul source Center, Portland, OR billie rain Cherdonna Shinatra Kozzma Monsoon Alix Kolar Jamie Von Stratton Mommy Dearest, Paramount Pictures Nick Sahoyah The Luminous Pariah Rylee Stearns DIRECTOR OF PHOTOGRAPHY Tamara Thompson, Serious Take Productions Alex Berry Mama Tits Who Framed Roger Rabbit, Touchstone Pictures Frederick Tschernutter EDITING Death Becomes Her, Universal Pictures Alex Berry ASSOCIATE PRODUCER Perry Wales Basil Shadid Darcy Walker Kelly Walker Batman Returns, Warner Bros ON CAMERA INTERVIEWS PRODUCER SUPPORT World of Wonder Benjimen Blair, Sylvia O’Stayformore Beth Bristol Deanne Hoffer, Jerick’s mom Julia Hechler MUSIC Jacob Hoffer, Jerick’s brother Kit McGurn Bayangobi Melissa Hoffer, Jerick’s aunt Acid Mothers Guru Guru Kevin Kauer, Editor in Chief of Nark RESEARCHERS AMT Label Marc Kenison, Waxie Moon Katelyn Baron Zan Gibbs, Former SMYRC Coordinator Jodie Mae Finch Bozza Duettino for Two Bassoons Brian Daniel Peters, Mama Tits Edna Paulet Grossman, Ewell, Grainger Amanda Russel, Jerick’s friend Mary Trujillo Pandora Records Nick Sahoyah, Collaborator Jessie Underhill, Jerick’s friend NYC CREW Dangerous Thought , RuPaul’s Drag Race Eli Brown - Camera Operator Stingray Jason Wikander, Jerick’s dad Ron Lasko - Location Support Blue Dot Sessions Jeremy Wikander, Jerick’s brother Chip Duckett - Location Support Dirty 4 the DJ POST PRODUCTION SUPPORT SEATTLE INTERVIEW CREW Kitty Kitty Bang Bang by JAYA PRODUCTIONS Margaret Longley - Camera Operator Nikki Jones - Editor Riley Morton - Camera Operator Finish Lines Alex Perrault - Editing Supervisor Alix Kolar - Production Manager Jedadiah Bernards Kelsey Wood - Sound Mixer COLORIST Rory Emmons - Gaffer Foresight Joel Voelker Peaches Myers - Location Support Alex Berry

AUDIO POST PRODUCTION SUPPORT TEAM FOR JINKX MONSOON G-Rated by IMPOSSIBLE ACOUSTIC David Charpentier - Management Eric Goetz Brendan J. Hogan - Sound Designer Kenneth Lee, Assistant ASCAP Jamie “Foley Rambo” Hunsdale - Foley Artist Christine M. Bateman - Publicist Noah Bonds - Dialogue Editor Evan Rodd - Social Media Manager Hermit Song Jedadiah Bernards MUSIC That Hill It Has Already Gone Away Peter Gula Madame’s Theme adcBicycle Ross M. Hayduk filmJedadiah Bernards creditsSouthern City’s Lab Kendra Holmquist Kelly L. Inabnett Punks Not Dead It Just Smells Funny The Best Outfit for the Day Cielo Keller Lee Rosevere Jedadiah Bernards Sharon King Gabriela Ledezma Rain Down and Fall Away Transfiguration no. 1 Susan Littlefield adcBicycle Hanna Benn Isaac Lummis Southern City’s Lab Lori Madson Troll of the Mountain Swing Er Marie Riding in My 1950s Sedanette The Underscore Orkestra Craig McKenney Owl Oxidant Bad Panda Records Jill Morley Black Planet Records Douglas Naylor Weissenborn, Six Trios for Three Bassoons Erin O’Beirne Sequins Grossman, Ewell, Grainger Quiet Productions Intisaar Jubran Pandora Records Rational InteractionRoberta Ortiz Mary Rose Petrozola Sleepy Groove Wrinkled Wrinkled Little Star Eladio Preciado Asthmatic Astronaut Eric Goetz Aaron J Ranney Black Lantern Music ASCAP Christina Ravnholt Thairin Smothers Sticker Bushes THANK YOU Mary Elizabeth Trujillo Alex Berry Ryan Anderson Robbie Turner Cali Beintema Jessie Underhill Stingray Theme Sharyn Berry Brandon Voss Stingray Blue Dot Sessions Kelly Walker Blue Dot Sessions Noa Bonneh David Whisler Jane Buck Jordan White Summertime Ben Cunning Corey Wood Jedadiah Bernards Samie Detzer World of Wonder Mark R. Finley Swing Gitane Tatiana Folling COPYRIGHT © 2015, The Underscore Orkestra Rebecca Freer ALL RIGHTS RESERVED Bad Panda Records Anne Glickenhaus Dual Power Productions Jimmy Gonzalez

Dual Power Productions is an entertainment company in Seattle, Washington. We produce media that promotes understanding, critical thinking, personal development, and social change. Our work can be serious, fun, thought-provoking, educational, and absurd. We use a multi-faceted transmedia approach to getting the message out.

What’s the message? In the words of Alice Walker, “Surely the earth can be saved by all the people who insist on love.” In the words of Utah Phillips, “You’ve got to mess with people!”

Visit us online: http://www.dualpowerproductions.com “I feel like I have this responsibility to always be staying true to the message that I put forth at the beginning of all of this. To make the world a better place than you found it and to not let the little things get to you and to always be the kind of person that you want the world to perceive you to be.”

Jinkx Monsoon