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Author: epiphmo

FAN: Mission Impossible: WWII Edition

FAN: Mission Impossible: WWII Edition

We all love Mission Impossible movies — action thrillers about a single man or team forced into an absurd struggle against overwhelming odds. This month, it is World War II. History is in the balance!  And to save the day are classic, flawed heroes.   […]

2018 Events Update

2018 Events Update

We have some fun artsy playdates planned for the coming weeks! coming in january/february: SUNDAY 1/24 | 7pm STORY NERDS Table Read Series with Rice Omary Nerd out with artist in residence Rice Omary’s monthly table reads. SUNDAY 1/28 | 7pm FAN Film Discussion with […]

FAN: Romantic Anime

FAN: Romantic Anime

Bren wants writers to start 2018 in a romantic mood, to inspire them to higher levels of creativity and originality, and we can’t get there by rewatching the latest big star-driven, derivative superhero spectacle or sequel.

Instead, feast on creative movies that haven’t gone through parody and cultural decline. Feast on tales unencumbered by formula and Hollywood committee: Anime!

No prior fandom required.

The following were selected for their varied approach to romance, involving young protagonists on the “cusp of an era,” moments of great change in their lives. Don’t miss the discussion!

The Girl Who Leapt Through Time

We began with this gem because of its charm, and its clever take on the time travel trope.  Unlike other time-twisting tales (Back to the Future, Terminator, X-Men something), this one keeps the jumps small, and allows our protagonist a Groundhog Day-like ability to make repeated, subtle changes to her life.

The Girl Who Leapt Through TimeMakoto is a likeable but unfocused senior in high school who pals around with two popular guys, Chiaki and Kosuke. While other girls wonder if she’s dating either or both of them, she enjoys playing baseball (catch, to be specific).

But as the note on the chalkboard says, “Time waits for no one.” Summer is coming, and the three will soon be separated.

Then Makoto falls on – let’s call it an acorn – which imprints something in her arm.  Then on the way home from school, her bike fails to break at the railroad crossing, and she’s killed.

Instead of dying, she leaps back to the beginning of the previous day. After several comic attempts,  she learns to stuff 11 hours of karaoke into one hour, get to time for class, ace that quiz she [recently?] failed, and so forth.

But as she changes her world, other people suffer. Makoto finds herself correcting gaffs while trying to dodge Chiaki asking her out, and setting up Kosuke with a junior who has a crush.

Then she realizes that she has a finite number of leaps, and she’s running out.

The FAN group loved the clever plotting and alternate take on the familiar time-travel conceit. What sold it was Makoto, her expressiveness, weaknesses, and her will to do the right thing.

The theme involves making the most of opportunities, because as everyone on the cusp of an era knows, time waits for no one.

Howl’s Moving Castle

If you love Pixar and always wanted to know where they get their inspiration, the short answer is: Hayao Miyazaki. Studio Ghibli is known for a number of gems, and Howl’s Moving Castle is among the best, bringing not only amazing animation, but romance (duh),and magic.

It’s the story of a young woman, Sophie, who is turned into an old woman by a witch and her only hope is Howl, a daring wizard on the run.

Howl's Moving Castle

Viewers immediately notice the intricate animation of the ornate walls and architecture, the tile on Howl’s side board, and the funny flying machines.  Billy Crystal’s delivery of the fire demon is an ingenious device that turns the story, and of course, the color dial over the door that serves as a portal for Howl and others.

These ideas themselves could decorate any number of magic movies, but then the writers layer them for impact:  Howl gives Sophie a guide ring to draw her back to Calcifer, which she uses to go through the portal into Howl’s past. Then as she reaches young Howl swallowing young Calcifer, the ring breaks, dropping Sophie back through time as she calls out: “I know how to help you now. Find me in the future!”

It’s height is Sophie growing younger as she stands up for Howl to his nemesis, Madame Suliman.

There are also some issues, like the reason why the Witch of the Waste turned Sophie into an old woman in the first place, and Howl’s girly tantrum: “I’m nothing if I can’t be beautiful.”

The two worst moments are the “hearts can change” comment tacked onto the end, along with Suliman canceling the war because Howl found his true love.

This last point brings up the perennial struggle for writers: how to resolve multiple story lines for the best impact.  For Howl, how would we resolve releasing the prince from his curse, ending the war, and restoring Howl’s heart?

I think a better ending would involve Sophie restoring Howl’s heart first, making him powerful enough to defeat Suliman (heroic ending), and in that grand scene, Sophie breaks the prince’s curse. Then Howl and Sophie rush into each other’s arms without the Witch of the Waste flirting with the lost prince.

That’s just me (Bren). We might also have Sophie break the prince’s curse first, whereby he can tell Suliman to call off the war while Sophie “wins Howl’s heart” for a final romantic punch.

We might carry that squabble through our Romantic Anime series.  But we all agree that Howl’s Moving Castle is rapturous entertainment for the whole family, and awe inspiring for storytellers.

When Marnie Was There

A lesser known, potentially depressing but ultimately uplifting “ghost” story is When Marnie Was There. It’s the story of Anna, an emotionally repressed, sullen teen (sound like anyone you know?) who is sent to the countryside for the summer.

She lives with her aunt, and gets bounced to an easy going relative in a seaside town. Anna spends her summer drawing in her sketch pad, and for reasons she doesn’t know at first, she’s drawn to an abandoned mansion on the water.

She insults some other teen, cutting off her social life, and then runs into Marnie – a pretty blond who lives at the mansion! When Anna’s with Marnie, the house is renewed. There is a party, with rich guests and servants.

Anna and Marnie bond immediately, and steal hours on the water, in the woods, and even dare to enter the abandoned tower that is assumed to be haunted. But Anna doesn’t know if Marnie is a figment of her imagination, or a ghost, or something else.

The FAN gathering found the tale powerful and cathartic, a gothic romance, if we can call it that, that works its way into our memories of the past, those close buddy relationships from childhood.

When Marnie Was There


We had a great discussion about the writer’s balance of Marnie as unfulfilled ghost that needed Anna’s forgiveness, and Anna’s memory of her grandmother she felt abandoned her.

The story doesn’t takes both sides and makes that realization emotionally satisfying.

We agreed that the first act moved rather slow, as Marnie doesn’t show up until 30 minutes in.

We disagreed somewhat on the use of exposition. Much of the backstory was conveyed by a minor character late in the film. This was probably done for the emotional effect, since giving away anything before would have given too much (ahem, Spoiler) and mitigated its impact.

For writers, it’s better to have the protagonist uncover exposition and backstory like an investigator rather than hear the details all at one like a spectator.  Bren mentioned Vanilla Sky (AKA Open Your Eyes) as another example of a plot that unfolds with many twists without conveying enough backstory, so it halts the narrative in order to give you the real story.

You never want to halt the narrative to explain things.  (See also Shelter Island).

We became more animated (pun intended) when we finally addressed the elephant in the tale: the lesbian-like obsession Anna had for Marnie. While some thought it was a step too far, as we’ve all had close same-sex friends, before and through puberty, who we cared for deeply, who seemed like held our world together.

But there was also Anna’s jealousy when Marnie danced with her male cousin. Some unhealthy obsession that left Anna confused.

Again, the writers didn’t apply labels, but the story works together for an engaging story and after discussion.

Ocean Waves

Another leap back into high school romance and nostalgia, Ocean Waves tells the story of Taku, a decent, hard-working guy whose social life is turned upside down by a hot transfer student from Tokyo, Rikako.

At first he thinks his buddy Yutaka was going to date her, and so he puts her out of mind. But Rikako hits up Taku for money on a class trip because she said she lost her money. Then Taku discovers she using the money to buy two plane tickets to Tokyo and Taku finds himself her chaperone!

Ocean Waves

Rikako’s parents divorced, and her surprise trip reveals that her father is living with someone else. She passes off Taku as her boyfriend, but Taku keeps getting a raw deal.

Even worse, Rikako tells their classmates that they spent the weekend in a Tokyo hotel (leaving out that Taku slept in the bathtub).

A few slaps later, and they’re not speaking.  It’s only the weekend of their class reunion, a year later, after finally running into her on a train platform, that Taku can admit that he was always crazy for her.

It’s a slice of life tale, with a teen “femme fatale” making waves.

While the incidents are not earth shattering, the story is well told, with characters that feel real.

But the real question for the FAN group is: is she really the one that got away or the bullet he dodged?

A case can be made for either. At a class reunion, our recollections soften, simply because we’ve moved past the emotions and the tension of the moment. We’re no longer bound by the school culture, as we’ve matured.

So Taku may be correct believing that the old rumors are not as important as her relationship. That while several experiences momentary frustrate, he can’t deny – and others confirm what perhaps he didn’t realize at the time –  that he has unresolved feelings for her.

On the other hand, he was probably right to let the hot, troubled girl go. Had he continued, he might have swallowed a heap more suffering for his troubles and ended up no better.

Plus, the movie doesn’t indicate that they will hit it off again in Tokyo, or that she’s overcome the emotional damage her parents’ divorce caused. It’s an interesting topic for discussion.

For writers, Ocean Waves provides an entry into our own backstories, and all those relationship “what ifs” left unresolved.

Whisper of the Heart

Miyasaki wrote and Yoshifumi Kondō directed Studio Ghibli’s Whisper of the Heart (1995), a story about a bookish girl, Shizuku, who connects with the boy who previously checked out all of the library books she chooses.

Whisper of the Heart

Actually, she starts by Shizuku wondering who the Seiji guy is while despising the “jerk” that teaser her, calling her song lyrics corny (yup, it’s the same guy).

Shizuku tries to set up her best friend Yuko with a baseball-playing guy, Sugimura, and then Shizuku follows a random cat from the subway into a shop owned by (you guessed it) Seiji’s family, where the antiquities, especially a cat baron statue, ignites her creative writing impulse.

Starting with such coincidences, Miyasaki’s story wanders, not quite able to stick to the love story’s “pride and Prejudice” dynamic. Shizuku accidentally (ie. NOT on purpose) leaves behind items for Seiji to return. The two finally connect over Seiji’s violin making (and her new lyrics for John Denver’s “Country Roads”), and then Seiji leaves to test for violin school and Shizuku falls into “proving herself worthy of Seiji” by writing the Baron cat story.

After swallowing the conceit of library cards listing the names of people who check it out, and that Japanese girls are obsessed with “Country Roads,” the group felt that the young love story was charming but unfocused.

The charming involves one aspect of young love: while Shizuku tries to set up her best friend Yuko with Sugimura, whose “too dense to notice,” Sugimura confesses that he’s always had a crush on Shizuku for years, which she failed to notice.  That was perhaps the best moment in the film.

This concept of clueless youth is then brought home when Shizuku discovers that Seiji had stalked her in the library for months and took out those books in the hope that she would notice.

Then the corny, on-the-nose love confessions ruin what good will the story built up.

The theme is good for kids. We not only have to dig deep to find the gems (talents/dreams/ goals) within ourselves, we also have to polish them with many years of hard work.

The studio seemed so enamoured by Shizuku’s Baron cat story subplot that it through our puppy-love story off balance. Seven years later, in 2002, the baron gets his own fantasy tale, The Cat Returns.

Your Name

The final installment in the romantic anime series is Your Name, which became a cultural phenomenon last year, becoming the 4th largest grossing movie in Japan’s history.

Your Name

The story involves Mitsuha and Taki, the country girl and city boy, who wake up in each other’s bodies several times over the course of a few weeks as a comet streaks across the sky.

But there’s more: their connection is related to a red cord, intricately woven, representing emotions and relationships intertwined, connecting and reconnecting, and the power of a god connected with the Saki that Mitsuha’s family has been making for generations.

But it’s basically an off-and-on gender switch story that allows the two to live interfere with each other’s awkward teen lives. That’s why it’s a great entry to our series.

Taki is an overworked student/waiter with a crush on a beautiful coworker. Mitsuha is the town mayor’s daughter, bored, living with her grandmother and burdened with the traditional saki-making process (which involves her chewing rice and drooling it back into a container and then buried in a cave near where the comet crashed 1200 years ago).

The two use their cell phones to trade notes on their switch days. Taki in Mitsuha’s body carries grandma to the saki-site, while Mitsuha as Taki asks out the hot girl on a date that Taki will have to deal with when he wakes as himself.

Director Makoto Shinkai makes the switch scenes and montages hilarious and engaging, until the switching abruptly stops.

Then Taki sets off to meet Mitsuha, and discovers that the comet destroyed the village 3 years ago. Everyone he met as Mitsuha is dead.

So he finds and drinks the buried saki, falls into a dream that sends him back to that fateful event again, in time to warn the village and tell Mitsuha that he loves her.

Several scenes convey their inter-connectedness perfectly. The FAN group loved Mitsuha’s casting Taki her red cord on the train, as well as their meeting at the crater site, as their 3-year time separation collapses in the magic hour.

Like John Woo’s Face/Off, the switched characters seem more effective in the other life because of their outside perspective. That is, Mitsuha can ask out the hot girl because unlike Taki, she hasn’t gone through the longing and rejection that guys cope with. Alternatively, her feminine side is more appealing to another girl. (Talk amongst yourselves!)

We struggled with the growing number of complications however. We have body switch with a surprise time shift, magic saki with time cords, and then memories and messages disappearing. It sort of works together but for writers, it’s dangerous to mix two separate odd elements in a story.

That said, what makes Your Name resonate is that final element of forgetfulness. We all have that sense of “Have we met before?” that inexplicably draws us to certain people. Never before have we thought that, yes, we have, and saved their world while we were asleep!

As an end note, the group noticed how many movies in the series deal with time leaping. Perhaps this is a Japanese thing, and perhaps it’s a feature of youth. As teens we all struggle with our growing independence, leaping toward adulthood while mourning our passing childhood, and realizing that our teen years and the time with school friends don’t last.

It’s one of the recurring themes that made our romantic anime series emotionally challenging and satisfying.

Join our ongoing FAN series and keep your creative fires burning in 2018!  Sunday nights at 7PM in the Epiphany Space co-working room.

Bren Smith story analyst in Los AngelesBren Smith is a story analyst and screenwriter in Hollywood. To share his story obsession, Bren taught workshops through the Haven in New York, the Act One Program in Los Angeles, and right here at Epiphany Space. Together with Peter Bishai, Bren co-wrote the award-winning comic adventure, The Dueling Accountant, and Rapid Eye Movement (now in post-production). To hire Bren as a script consultant, visit

Stay informed on upcoming FAN discussions with the Epiphany Space mailing list! A brief weekly digest of all the events, workshops, concerts, and retreats in your neighborhood creative workspace.

Meet Our Artists!

Meet Our Artists!

We are pleased and proud to announce the two new artists in residence at Epiphany Space! For the winter quarter, two members of our community will have one evening per month for three months to stage an event showcasing their work and the talents of […]

New Christmas Music!

New Christmas Music!

We are delighted to announce the release of O, Come – an acoustic Christmas collection of five songs from Epiphany staff member and music community leader, Cortney Matz. In addition to the beauty and drama of the songs – both originals and old favorites – […]

November FAN: Jean-Pierre Jeunet

November FAN: Jean-Pierre Jeunet

For November FAN (Film Appreciation Night), we’re exploring the absurd creativity of French director, Jean-Pierre Jeunet. He is the proud creator of several bizarre, whimsical, romantic, and fun films, some of whom are on film lovers’ favorites list.

Jeunet’s stories are full of unique characters and livid detail. The following should be an inspiration to all seeking to fill out your stories:


Jeunet’s first feature is a [okay, I’m going to stop saying bizarre] engaging black comedy of post apocalyptic France, where several people live in a tenement above a butcher shop. The butcher takes dried corn for payment, and he serves up, well, people. His last assistant tried to escape (and he was delicious), and his new assistant is Louison, an ex-clown with a rare ability to stay alive. And the butcher’s daughter Julie falls in love with him.

Each floor conspires to serve up Louison in the hallway after midnight, while Julie invites him for tea (which puts him to sleep). They play beautiful music together, she on the base, and he on a saw.

Meanwhile, troglodytes (yes, vegetarians who live in the pipe system below ground) conspire to steal the butcher’s corn stash.

Our group loved the story, and noticed familiar creative bits that will take larger reign in Amelie. We loved the charming romance, with “blind as a mole” Julie trying not to wear her glasses for their first date, and botching everything. We loved the boomerang knife that turns the plot, and Louison’s ingenuity for fixing the mattress springs, and using suspenders to help paint the ceiling, and ultimately combating the butcher and denizens by filling his bathroom with water.


City of Lost Children

Of the films on this list, City of Lost Children is the “younger brother.” It’s the story of a childlike strongman, One, who is on a quest to find his younger brother abducted by scientists trying to steal his dreams.

City of Lost ChildrenWait, what?

Yeah, so, on an oil derrick surrounded by mines, Uncle Irvin, a brain in a fish tank, instructs a series of clones to strap in children to a dream stealing machine in order to soothe a soulless doctor.  They get the children from a congregation of religious Cyclopses paid off by evil conjoined twins who also use orphans to rob houses. And let’s not forget the other carnival freak flea trainer who psychotropic flea stings and music grinder box makes his victims kill.

While City of Lost Children gets off-the-scale marks for originality, our group felt that Jeunet didn’t establish enough empathy for us to really sign on for this wild ride through dystopian melodrama/oddball comedy/thriller. While the film possibly mocks capitalism and religion as exploiters of child innocence, its themes involve finding family and belonging, something that might have been an easier sell if there were any sane people in the film besides Miette, the little girl who shows One around.

Our FAN group discussion pinged to various topics (as it always does) including the obligation of film makers not to glorify the dysfunctions they portray on screen.


The Must-See, feel-good movie of 2001, nominated for 5 Oscars in 2002, and on many people’s favorite movie list, Amelie is Jeunet’s most famous movie. It’s the quirky farce of a 23-year old waitress who was convinced by her “cold-fish” father that her heart isn’t strong enough for emotional relationships. Longing to embrace her humanity, she chooses to be a “do-gooder,” developing stratagems for improving other people’s lives.


Besides the night’s great attendance of people who have seen Amelie several times, we continued to love the movie’s irresistible charm,  the saturated look – a bold greens, the red dress in a red room – Amelie’s clever stratagems, and all those little details of the character’s lives.

From a writer’s perspective, however, Amelie is not a template. It’s an auteur’s labor of love – but we couldn’t submit the script anywhere. Our hero’s need too overcome her fear of intimacy is small, the stakes don’t rise above most high school break-ups, and she doesn’t have a focused journey or a clear goal. As a result, the middle feels episodic, as we bounce from one charming gag and reveal.

Also, it doesn’t quite work as a love story. Love stories are about two people learning to love, laying down their coping mechanisms in order to come together. Amelie and Nino begin on paper as quirky soul mate opposites, where she’s isolated and he’s not isolated enough (the narrator’s exact phrase is Nino had “too many” playmates as we watch them stick young Nino in a trash can on top of his school desk). However, Nino doesn’t have a coping mechanism. He’s doesn’t have an issue with people. He active, sociable, responsible, and playful. Consequently, he doesn’t have a character arc. He doesn’t give up anything to get the girl.

About the ending: we watch it as Amelie overcoming her false belief and daring to risk. That’s powerful and beautifully positive.  But if we look a tad deeper, she never really repeats of playing God with other people’s lives. Everything falls together as it should (the trickster’s “no harm no foul” rule), and the actual love story?  She pulls this rube Nino through the door and has her way with him.  Does it seem like he had a choice in the matter? No. Did they do the hard work of working through their quirks to grow into love in a way that doesn’t feel obsessive or stalkerish? No. Was her arc much more than psychological? Nope.

All that to say, despite its flaws, all’s well that ends well, and we still adore Amelie.  Writers, steal away ideas for all those character bits (the traveling gnome story line was real, taken from a Long Island family by their neighbors), but remember that not every trickster wins. Amelie and Jean-Pierre Jeunet are professionals.

A Very Long Engagement

I have recommended our final Jeunet FAN to many , and I tell them all that it’s a war movie, because, um, it’s a war movie. It’s WWI, trench warfare, a tale of five guys sentenced to death for “self-mutilation,” wounding their hands in the desperate hope of going home.

A Very Long Engagement (2004)

I have to mention the war stuff because the violence may startle those hearing my real reason for recommending it: that it’s one of the richest, most passionate mystery tales of romantic longing you will ever see. That after multiple viewings, you’ll still find more to adore.

Matilda receives the war department letter informing her that her fiance died, but she refuses to believe it. She would KNOW if he were really gone. So she sets off to find him.

She sends letters, posts a request in the newspaper, hires a private investigator, and steals official documents from the ministry of war, taking her down the rabbit hole of the execution along the front lines.

Five condemned but resourceful men are sent across No Man’s Land toward the German guns. The war department reported five bodies recovered, but the evidence conflicts. Witnesses describe a farmer blown up, but surviving, one with German boots escaping, the Corsian’s lover killing the leaders who sent her man to certain death based on other information, and witnesses describing her fiance Manech with one red glove carving “MMM” into a tree before an albatross gets him.

A Very Long Engagement is several love stories in one, and as each mystery unravels, Mathilda gets closer to the truth.

The FAN group found it awe inspiring — the kind of romance Hollywood doesn’t know how to make (challenge accepted, anyone?). They loved the details of each character, the beautiful compositions and set pieces, the symbolism of the hands, wood carving, albatross, the “MMM,” the spiral staircases, etc.

In fact, there’s almost too much. Jeunet begins with descriptions of each condemned man, but because we haven’t been introduced to the main story yet, we have no way of organizing all that information in our heads. We forget much and later have to ask “Wait, which one is he again?”

And then, the ending – beautiful as it is – is also a challenge. Is it a deus-ex-machina? Not exactly, since Matilda provides the requisite information for the investigator to chase down.

Can they rebuild?  Jeunet provides the right “call-back” line to suggest so, but one never really knows. Anders also mentioned the benefit that unlike Gordes, Manech won’t drag his wounds into the relationship.

For writers, Gordes represents another potential path for Manech, just as the vengeful Tina (the Corsican lover) represents a different path for Matilda as “war widows.”  In other words, Jeunet  demonstrates how to explore alternative character arcs through secondary characters.

It’s also great to watch the movie with who knows French well so we can hear how the subtitles fails to fully convey the beauty behind the end dialog and narration.


Join our ongoing FAN series and keep your creative fires burning this Fall!  Sunday nights at 7PM in the Epiphany Space co-working room.

Bren Smith story analyst in Los AngelesBren Smith is a story analyst and screenwriter in Hollywood. To share his story obsession, Bren taught workshops through the Haven in New York, the Act One Program in Los Angeles, and right here at Epiphany Space. Together with Peter Bishai, Bren co-wrote the award-winning comic adventure, The Dueling Accountant, and Rapid Eye Movement (now in post-production). To hire Bren as a script consultant, visit

Stay informed on upcoming FAN discussions with the Epiphany Space mailing list! A brief weekly digest of all the events, workshops, concerts, and retreats in your neighborhood creative workspace.

October FAN: Psycho Month

October FAN: Psycho Month

For October FAN (Film Appreciation Nights), we’re doing a small list of movies about people who belong in rubber rooms. The psychos and the misfits, the dangerous and the charming. First up, we did the great psycho of the 20th century, a movie everyone should […]

Making Music and Friends

Making Music and Friends

Monday Night Music at Epiphany Space Written by Kara Christensen I pour myself a delicious glass of lemonade; and notice the plate of still warm ginger snaps baked by Cortney Matz herself. A few regulars are gathered in a semi-circle holding guitars, ukuleles and sheets […]

Good News for Your Closet!

Good News for Your Closet!

Events coming up:

SATURDAY 9/16 | 10:30am
Exploring Our Creative Calling
with Korey Pollard, 1st AD

Nurture your soul with this creative cohort led by Creativity Catalyst.

SUNDAY 9/17 | 7pm
Film Appreciation Night (FAN)
with Bren Smith

It’s Billy Wilder month at Bren’s weekly movie nights!
RSVP on Facebook.

MONDAY 9/18 | 7pm
Open House Monday
& Cortney’s Songwriting Circle

Evening coworking and songwriting community every Monday.

SATURDAY 9/23 | 10am
Swap Til You Drop!

Clothing Swap fundraiser to benefit Epiphany Space.
Bring your clothing donations (tax deductible) anytime!

SUNDAY 9/24 | 7pm
Traveler in the Dark
by Marsha Norman

Live reading and discussion from The Play’s the Thing.

MONDAY 9/25 | 7:30pm
Music Under the Moon
Concert & Open Mic

Live performances in the courtyard. $5 cover includes refreshments.

ON THE BLOG: Film Appreciation Nights w/Bren

Bren Smith has been hosting weekly film nights at Epiphany Space. Here’s a quick recap of the summer series of thrilling comedies.

FAN Thriller/Comedy Nights in Summer

Planning an event? Need a place to host auditions? A table read? A screening? A film shoot? Epiphany Space is available at an affordable rate – and we provide free parking!

To learn more about the possibilities, kindly fill out this magnificent reservation form and events coordinator Becky Murdoch be in touch with rates and dates.

Monday – Friday 9 am-6 pm

Artist & Industry Professional Memberships:
$150 per month, $50 per week or $15 per day 
Dedicated desks/key access: $300 per month

Subscribe to our Facebook events for updates. We’re on Meetup and Eventbrite too.

Refer a friend – their first coworking day is free!

Spotlight on Short Films at the Inaugural Salute Your Shorts Fest

Spotlight on Short Films at the Inaugural Salute Your Shorts Fest

The First-Ever Salute Your Shorts Film Festival Written by Jake Thomas The first annual Salute Your Shorts Film Festival took place here in LA during the last weekend of August, and one of my favorite events was the opening night mixer on Friday night at […]