After the hateful shootings at the Pulse nightclub, Cassils created a *must-see* short film. 103 Shots.

Cassils, 103 SHOTS

One of the most important, impactful, and heart wrenching shorts that I’ve seen in decades: 103 Shots. Please watch. The film, running just 2 minutes and 35 seconds, is unforgettable and the event it’s based on was unimaginable.

Artist, Cassils on 103 Shots:

Following the recent mass shooting at Pulse nightclub in Orlando, Florida I was struck by the testimony of one of the survivors, a man who said one of the reasons he did not react immediately to the gunshots was that he initially perceived them as first as the celebratory noises of “fireworks or balloons popping.”

I took this narrative as the starting point for 103 Shots, a short film shot at San Francisco Pride with the help of over 200 volunteers. Filmed in Dolores Park, the footage presents stark black and white imagery of a series of pairs of couples and friends bursting a balloon between their bodies with the pressure of an embrace; the soundtrack was created using foley recordings of balloons popping in a cement room.

The film references the visual style of Gran Fury’sKissing Doesn’t Kill” campaign and the signature typography of Queer Nation. The faces of the film’s participants register affection, surprise, pain, discomfort, and laughter; each embrace is a minor enactment of the disorienting effect of violence in the space of intimacy. 103 embraces, 103 shots, one for each life lost or irreparably altered.


Cassils is a gender non-conforming trans masculine visual artist. Cassils uses plural gender-neutral pronouns (they, them, their) and asks that journalists do likewise when referring to them. This plurality reflects through language the position Cassils occupies as an artist. For guidelines on writing about gender non-conforming people, please reference the GLAAD Media Reference Guide on Transgender Issues:

By Stephen Brockelman

As a Sr. Writer at T. Rowe Price, I work with a group of the best copywriters around. We belong to the broader creative team within Enterprise Creative, a part of Corporate Marketing Services. _____________________________________________ A long and winding road: My path to T. Rowe Price was more twisted than Fidelity’s green line. With scholarship in hand, I left Kansas at 18 to study theatre in New York. When my soap opera paychecks stopped coming from CBS and started coming from the show’s sponsor, Proctor & Gamble, I discovered the power of advertising and switched careers. Over the years I’ve owned an ad agency in San Francisco; worked for Norman Lear on All in the Family, Good Times, Sanford and Son, and the rest of his hit shows; and as a member of Directors Guild of America, I directed Desi Arnaz in his last television appearance— we remained friends until his death. In 1988 I began freelancing full time didn’t look back. In January 2012 my rep at Boss Group called and said, “I know you don’t want to commute and writing for the financial industry isn’t high on your wish list, but I have a gig with T. Rowe Price in Owings Mills…” I was a contractor for eight months, drank the corporate Kool-Aid, became a TRP associate that August, and today I find myself smiling more often than not.

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