Litza Bixler is a creative multi-hyphenate, interdisciplinary artist and scholar working across film, dance, theatre and the arts. She founded the touring company Litzabixler Performance and later established the production company Dust Baby Films, directing and producing numerous films, interdisciplinary projects and stage works. Litza creates absurd, visceral worlds populated by no-nonsense detectives, fallen angels, cowgirls, lonely aliens, talking birds, witches and water-sucking ghosts. She also explores liminal spaces, thresholds and metaphorical journeys in her work and her research focuses on performance studies, identity construction, and the creative industries.
With 30 years of experience in film and entertainment, Litza has coached actors while creating dance sequences and action for iconic film scenes, music videos, and commercials. She has choreographed across genres from ballet and commercial fusion to fight sequences, animation, and puppetry, including directing zombie movement for the cult film Shaun of the Dead and collaborating with Edgar Wright on Scott Pilgrim vs the World and The World’s End.
Her writing projects include a genre-bending musical mini-series using verbatim theatre techniques, an animated feature, a folk-horror TV pilot, and a body-horror feature. Her writing often explores what happens when worlds collapse—socially, politically, environmentally, and psychologically.
Recent recognition includes honorable mention for best choreography (Exeter International Dance Film Festival) for Masks All The Way Down, an I.S.A. writing fellowship for The City of Clouds, and multiple screenplay competition placements. She is a dual national (UK & US), a BAFTA member, and a founding member of the American Choreographer’s Guild.
Litza holds a BFA in Theatre and an MA (with distinction) in Dance. For her academic research, public speaking, workshops, mentoring, publications and courses, CLICK HERE.
For a full list of credits, please download her CV.
REVIEWS
The Festival, takes on the myths – mud – of Glastonbury, and though no characters cross over from The Inbetweeners universe, the film works as a kind of spiritual sequel, [particularly] when the boys perform an inspired, Magic Mike-esque striptease to David Guetta and Akon’s 2009 track Sexy Chick.
The Festival Review, The Observer, 2018
…one of [Man Up’s] most memorable sequences finds the duo on the dance floor, conducting an argument about Pegg’s failed marriage in the midst of an impressively choreographed dance-off to Duran Duran’s “The Reflex.” “It was just this idea that Tess had, that we all have a dance routine somewhere that we learned unconsciously as youngsters in the discos,” Pegg says, “and that Jack and Nancy, whilst they’re arguing, find this odd synchronization, which kind of hints at the fact that they are very much in tune with each other”
Interview with Simon Pegg & Lake Bell, Flavorwire, 2015
First off (and this is important) cynics need not apply. I say this because Walking on Sunshine approaches its remit with a delightful lack of pretense and seriousness…It’s shameless and hilarious in equal measure…featuring great dance sequences and choreography.
Walking on Sunshine Review, Entertainment Focus, 2014
(Frost’s) on-screen relationship with charming Rashida Jones is warm and easy, while his rivalry with the engagingly sleazy Chris O’Dowd (and especially their ‘dance-off’ battle in the office car-park) is one of the high points of the film.
Cuban Fury Review, Screen Daily, 2014
…there is one stand-out sequence involving a brilliantly choreographed dance-off in a car park that is worth the price of admission.
Cuban Fury Review, View London, 2014
…where a dozen other Bridget Jones imitators have failed, Simon Pegg and Lake Bell really hit it off. They’re fine partners in quick-witted repartee and goofy dance steps, yet both sympathetically fallible underneath
Man Up Review, The Guardian, 2014
The choreographer from the past few movies returns as well. Litza Bixler. She is wonderful and The World’s End is easily her crowning achievement… The World’s End can be summed up by the choreography and cinematography.
The World’s End Review, IHOG, 2013
This gleefully warm-hearted summer delight is silly, sentimental & sexy-the song & dance sequences are joyous and the Italian setting sheer perfection…
Review, Walking on Sunshine, The Mirror, 2014
TESTIMONIALS
Litza is one of the most original voices in choreography today: inspired and inspiring. Litza’s work effortlessly combines beauty and strength with storytelling.
Ronaldo Vasconcellos
Producer (Shaun of the Dead, Scott Pilgrim, Hot Fuzz, In Bruges)
As Choreographic Producer on Cuban Fury, Litza supervised all the choreography throughout the film and helped the Director to transform salsa routines into cinematic set pieces. Litza provided the Director, Editor and DOP with all the information they needed to make the most of each routine. As Lead Choreographer on the Car Park Dance, Litza blew us away with her ability to combine dance with comedy and characterful story telling. The dance fight is a hugely memorable comic routine and one of the most popular scenes in Cuban Fury and we have Litza to thank for that.
James Biddle
Producer (Cuban Fury, The World’s End)
Litza has the best taste in screenplays and is more spot on than any one I’ve worked with in the past. She’s a damn good writer, a brilliant collaborator and the most stunning choreographer if you’re ever in that market. And did I forget to mention, a total pleasure to be around.
Dan Ireland
Producer / Director (Jolene, Mrs Palfrey at the Claremont, Twister)
