"AERODYNAMICS" details the eleventh-hour mission of Lil' Moe, the first African-American ventriloquist dummy in space, and his estranged relationship with his ex-partner, ventriloquist Willy Jefferson.

Lil' Moe, celebrity ventriloquist dummy and M.O.O.N. experimental test pilot, is launched into orbit to investigate the disappearance of several lunar teams. The diminutive astronaut soon uncovers the problem but his shuttle sustains fatal damage and begins to drift. A "point-of-no-return" is breached, taxing the limits of Moe's unique bond with the Earth-bound Willy. The narrative juxtaposes Lil' Moe's perilous mission with Willy and Moe's ventriloquist act backstory.

"AERODYNAMICS" is the opening segment for the sci-fi anthology feature, "APRIL LAND". The film will showcase a quartet of off-beat, pulp space adventures inspired by disparate Wasteland sources-- both T.S. Eliot's epic poem and Del Close's 1980's "adult" comic book.



"AERODYNAMICS" incorporates two major issues from the 1960's - the emerging space program and the civil rights movement (both Lil' Moe and his associate ventriloquist, Willy Jefferson, are African-American). Although there are comedic moments, the film's played straight. It's tragic allegory, not camp. It utilizes the science-fiction genre to present social commentary much like Rod Serling and Gene Roddenberry did on network television.


"AERODYNAMICS" was shot with the Panasonic DVX 100A 24p, incorporating the style of television's live "Golden Age" with classic B&W The Outer Limits and Doctor Who. It's a mix of real SAG and improvisational actors, puppetry, and hard-wired, non-CGI FX.

"AERODYNAMICS" appears like an old-fashioned sci-fi program you'd find on late-night cable complete with all the visual components: the antiseptic Mission Control Center with the clunky reel-to-reel machines, the space shuttle with the big, labeled buttons even a novice could figure out... even a classic "icky" space creature. In other words, the film looks disarming.


"AERODYNAMICS" is a puppet fable with a fresh twist. Lil' Moe's a ventriloquist dummy in a human world surrounded by real, living, breathing people, but he's treated as a sentient, albeit second-tier citizen. Also, he and the elderly ventriloquist, Willy, are African-American and moral, sympathetic characters, contrary to every other ventriloquist horror movie featuring a neurotic British protagonist/ antagonist combo ie. Anthony Hopkins/Fats in "MAGIC", Bryant Haliday/Hugo in "THE DEVIL DOLL", and Michael Redgrave/Hugo in "DEAD OF NIGHT".

Lil' Moe is considered expendable by the independently operated M.O.O.N space organization. He's a grunt doing the dirty work, along the lines of the all-black infantry in the Civil War film, "GLORY". Additionally, he's an experimental test subject, the culmination of all the mice and chimpanzee "pilots" launched pre-Mercury and Gemini space missions.

But the core of "AERODYNAMICS" is the unique relationship between Lil' Moe and Willy. Lil' Moe is Willy's super-ego, the positive, driving thrust and wish-fulfillment of the mild-mannered ventriloquist. The film examines the boundaries of their connection, and questions Willy's over-reliance on a construct, a "crutch" whose life appears more virile than his own.