NO LONGER/NOT YET
The Debut Feature Film
Written and Directed by
Gibson Frazier
Currently in Post-Production
Running Time: 77 minutes
A humorous and heartbreaking coming-of-age drama that peels back the veneer of the suburban middle class
and exposes the quiet violence and abuse that lie just beneath the surface of the American ideal.
Drawing stunningly authentic performances from his young cast while at the same time blending the subtle intensity of Truffaut’s THE 400 BLOWS with the absurdist subversion of Todd Solondz’s WELCOME TO THE DOLLHOUSE, Gibson Frazier’s debut feature delivers a refreshing and heartbreakingly human take on the deep rooted tradition of the coming-of-age genre while scorching the myth of American suburbia.
Synopsis
For 13-year old JP Morrison, navigating bullies, puberty, and the trials of eighth grade is challenging enough, but after he is sexually abused by his male babysitter, wild dreams invade JP’s sleep. As he struggles to find a way forward, the dreams empower JP to overcome the obstacles of school, family, and life. A bittersweet drama that turns the coming-of-age narrative on its head as it explores the dark demons and quiet desperation that live just under the surface of an idyllic suburban home.
Original Score by
Glenn Mercer and Bill Million
Featuring Music by
The Feelies
Since 1980, with the release of their first album CRAZY RHYTHMS (named one of the Top 50 Albums of the 80s by ROLLING STONE), The Feelies have been one of the truly independent rock bands of the last 45 years. Despite rarely playing live far from their home base of northern New Jersey, The Feelies did venture out on several tours opening for Lou Reed, R.E.M., and Sonic Youth. Their music has been featured in such films as MARRIED TO THE MOB, ROBOT DREAMS, and THE SQUID AND THE WHALE. With their unique relationship with filmmaker Jonathan Demme, the band even appears in his film SOMETHING WILD.
NO LONGER/NOT YET and David Bowie
NO LONGER/NOT YET is a film about identity. JP, the main character, has a great admiration for David Bowie, a musician noted for his chameleon-like career. But in a pivotal moment in the movie, JP realizes that what all of Bowie’s characters have in common is the singularly unique individual underneath the masks – that identity is not about covering up, but staying true to oneself.
The producers are honored to have received special permission from the estate of David Bowie to use music and memorabilia from the filmmaker’s personal collection in the film.
Starring
Anthony Rapp
(RENT, STAR TREK: DISCOVERY)
Mathew Maher
(FUNNY PAGES, IT’S KIND OF A FUNNY STORY)
Maury Sterling
(HOMELAND, SMOKIN’ ACES)
Marisa Ryan
(WET HOT AMERICAN SUMMER)
And Introducing
Dashiell Frazier
Gibson Frazier
(Writer/Director)
As an actor, Gibson Frazier has worked with such luminaries as Steven Spielberg, Steven Soderbergh, Noah Baumbach,
J.J. Abrams, and Sean Baker. A denizen of New York City’s downtown theater scene, Gibson has also originated roles in some of the most acclaimed original plays written in the last fifteen years. He was named one of the best off-Broadway actors by both THE VILLAGE VOICE and TIME OUT NEW YORK. Gibson co-wrote, produced, and starred in the indie cult hit feature film MAN OF THE CENTURY which was cited by the National Board of Review for Excellence in Independent Filmmaking. He was also an invited participant in Werner Herzog’s second Rogue Film school.
Director’s Statement
When I was molested by my babysitter as a kid, I didn’t think of it as a traumatic event. It held the same weight to me as failing my grammar test or getting rejected by my 5th grade crush. These incidents were all equally devastating to me back then. It wasn’t until I was an adult, peeling back the layers of my psyche, that I realized the impact my experience with the babysitter had on me. It was only then that I also realized that this idyllic American suburban life in which I grew up, the one that was so successfully popularized in the John Hughes movies that I loved, (and still do love), belies the loneliness and brutality that are also a part of this middle class “utopia.”
I wanted to make this movie not as an exposé or a recrimination of societal ills, but to tell an authentic coming-of-age story where humor and tragedy co-exist, where the protagonist DOESN’T get the girl, where the ups and downs of life are what make it so heartbreakingly beautiful.
They say the road to hell is paved with good intentions. Sometimes, in our desperation to build a fortress to protect us from the evils outside, we don’t see the demons that already exist within our walls. I grew up in a loving and supportive home, and yet still found myself in harm’s way. I hope NO LONGER/NOT YET gives audiences some reassurance that even if we have to live with our demons for the rest of our lives, there is still a vast expanse of agency, possibility, and individual expression that lies ahead.
Produced by
Gibson Frazier
Charles St. John Smith III
Susie Talbot
Editor
Kevin BIrou
Animations and Titles
Max Wolkowitz
Associate Producer
Andrew Buzin
Producer
Ray Ellin
Director of Photography
Jesse Sperling
Music Supervisor
Beth Urdang
Production Designer
Lily Guerin
Costume Designer
Alicia J. Austin
Executive Producers
David & Laura Palmer
