2015, HD (2.35:1), Drama/fantasy/horror/comedy, color, 66 minutes/72 minutes (extended edition).

Kendahl Light (Alison Wright), Jacob Schwartz (The Mad Hatter/Derek), Holly Schaff (The Red Queen), Aria David (The March Hare/The Cheshire Cat [voice]/The Four of Hearts/Inquisitor), Rebecca Howland (Molly), Eamonn McGrail (Dad/The Ace of Hearts), David Luce (Sid the Exceutioner/Seamus the Hunchback/The Caterpillar [voice]), Brina Healy (Mom), Diana Porter (The White Rabbit), Ray Boutin (Mr. Good), Maia Laperle (Kimberly), Jenna Kim (Servant Girl), Ray Florent (The Two of Hearts/Torturer), Jeff DeBiase (The Three of Hearts), Sebastian Konarski (The Five of Hearts), Jake Winer (The Six of Hearts), Nathaniel Gibbs (The Nine of Hearts), William Bloomfield (The President)

Producer/Director/Writer/Director of Photography/Editor/Special Effects/Sound: J.L. Carrozza, Producer: Nancy Carrozza, Music: Dave Klotz, Additional Music: Kevin MacLeod, Production Assistants: Rachel Prentki, David Price, Daniel Walker, John Carrozza, Visual Effects: David Luce, Fighting Instructor: Jeff DeBiase

Official Website

    This long standing and consistently troublemaking pet project began life after Dream House as simply Alice in Wonderland. I've had ideas for an Alice in Wonderland movie since I was a kid and ironically, Little Red Riding Hood and Alice in Wonderland were the two old school children's tales I was always the most attracted to when I was young. A decade later, when, after Dream House was less well received, I decided to go back once more to more fantasy-based fare like Little Red Riding Hood. I began planning for it during my uninspiring days at a poor, overpriced corporate art college. The script and its concepts were a bit stale, the inspiration just wasn't there and in the end the project blew up in my face. The actress I had cast walked off set after an hour of filming, everybody else was kind of resistant and by that time, I was so overwhelmed I decided to just give it up. However, a good story seldom lets go of a tenacious filmmaker and I decided to go back to the project with some fresher ideas and approaches. I retooled the script, revamped the concept and changed the title to Alison in Wonderland and then Alison. The film was no longer just a slapstick comedy like Little Red Riding Hood but has been retooled with more of a politically satirical edge. I've expanded upon the concept with a basic theme akin to Guillermo Del Toro's fantastic Pan's Labyrinth: a young person escaping a harsh reality and finding their true selves in a world of fantasy. The first incarnation was still at short film length with 15 and then 30 page scripts, but the final incarnation had around a 70 page script and was my first feature length dramatic movie. With Red Riding Hood, I sort of invented a type of a movie that people seemed to respond positively to: a "fractured fairy tale" film with an offbeat, grotesque quality, lots of pop culture influence and a ferociously macabre sense of humor. After you have invented a concept, you can then really fool around with it and create an expanded yet also more refined and perfected version of it. That was my biggest goal with Alison. Aesthetically and tonally however,  I opted for a more dramatic "dramedy" tone than Little Red Riding Hood's grungy slapstick horror aesthetic. I wanted something with a little more nuance and sophistication. On some level it will be sort of the ultimate low budget Carrozza film and Gen-Y Films production with many of my previous films' motifs: an epic of teen angst, classical music, talking puppets, medieval swordfights, politics and twisted hermetic pedophiles with gay sex slaves. With much influence from both my own life and peculiar obsessions, it's shaped up to be my most personal film to date.


      I'm not going to mince words here, making the movie took exactly five years and was kind of a nightmare at times. Making it was very fun at times but also horribly stressful. I had planned for the film to take about three months to film. It ended up taking three summers. I began building props and doing preparatory work in late 2010.  In July of 2011 it began shooting, most of the real world scenes were shot in July to October of 2011. Due to a variety of unfavorable circumstance we were forced to continue shooting into 2012, where most of the Wonderland scenes, the rest of the real world scenes and the first Queen scenes were shot. Sadly thanks to an actor proving unreliable and costing the shoot some time we really needed, we were forced to halt shooting again because winter set in faster than we had anticipated. Thanks to the efforts of those who were troopers and stayed loyal to me and my project, we finally were able to wrap shooting in August of 2013. Then around another two years of post-production would begin.

    Post production mostly entailed extensive sound work (that I ended up still making tweaks to as late as January of 2016), matching cuts made in DV to the HD footage, color timing and some CGI which was done by Dave Luce. I got all the actors back in late 2013 to early 2014 to reloop their dialogue. I wound up regretting not getting good on-set sync sound as using 99% ADR created as many problems as it fixed. I had a cut by May of 2015 but I wound up being unhappy with it so it was not until July of 2015 that I had a cut I was proud of enough to start submitting to festivals. However, when the festival rejections began to pour in I wound up doing further tweaks and overhauls to the film, including cutting the film down some more in September, October and then again in January. I am now about 80% pleased with the film and intend to continue promoting this improved version. I will also be releasing an extended edition of the movie and an extensive behind the scenes documentary in the next six months.

Copyright Gen-Y Films, 2007-16.