A creative polymath: As a filmmaker, artistic director, and writer, Litza has produced work on stage, screen, mountains and in galleries. In her previous life as a film movement specialist, she crafted movement and action for iconic films and shows such as: “Shaun of the Dead”, “Peaky Blinders”, “The World’s End” and “Scott Pilgrim vs The World”. She also choreographed a musical film, a musical series for Disney, and produced a stand-out dance fight for the salsa comedy “Cuban Fury”.
Screenwriter: Litza is interested in how and why we tell stories, and how these stories influence the world around us. She believes a good story shows us the world as it is, as well as how it could be. She loves building interesting worlds and asking challenging questions. Litza specializes in high concept Horror, grounded Sci-Fi and Fantasy (animation & musical). Her work features strong female characters and ranges from light fantasy/adventure with universally resonant themes, to darker horror/sci-fi with sociopolitical and environmental themes.
Awards: Litza has collaborated on multiple award-winning films, commercials and music videos. As a screenwriter, she was recently awarded an I.S.A. fellowship for her ‘coming of age’ screenplay “The City of Clouds”. This screenplay was also a quarter-finalist in the Screen Craft Animation competition, and her screenplays “Blood, Water, Dust” and “Safety in Numbers” have been shortlisted in multiple competitions including Writer’s Lab UK (2021 finalist) Blue Cat, Screen Craft, Nashville, Capital Films Hot 100 and ISA Table-Read London.
Projects: She has written four spec screenplays and is developing several others. Most recently, she secured the development rights to a non-fiction book and is producing a documentary series inspired by it.
Themes: Litza creates absurd, whimsical worlds populated by fallen angels, cowgirls, lonely aliens, talking birds, witches and water-sucking monsters. Her work is embodied, visceral and set in visually evocative spaces, from desolate landscapes and crumbling rooms, to musical alternate realities, sinking ships and flying cities. In these worlds, her characters transform and move, they travel through wormholes, they fly and they fall, they drown in oceans and they disintegrate into dust.
Background: Litza has a deep background in contemporary dance, art, photography and theater. Her company Litzabixler Performance was awarded multiple grants, and she continues to work across the spheres of art, performance and film. She’s inspired by genre bending contempory art, German expressionism, absurdism, British & European contemporary dance, physical theater, genre movies, renaissance art, animation of all forms (especially the films of Hayao Miyazaki), graphic novels, and video-games.
Litza is a dual national and often explores liminal spaces, thresholds and metaphorical journeys in her work. She travels extensively and has lived in Mexico, London, Sheffield, Chicago, Los Angeles, Boulder and Wisconsin.
Agile, adaptive, and responsive: Litza believes that creativity comes from balancing expertise with a beginner’s mind. So she keeps herself creatively nimble by continuously learning new art forms and by questioning herself, the world, and her process.
A mentor and coach: Litza is trained in bodywork, hypnotherapy, counseling and coaching and uses her experience and knowledge to mentor and educate others. If you are interested in her speaking, workshops or coaching, CLICK HERE.
For a full list of credits, please download her CV.
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
Litza is one of the most original voices in choreography today: inspired and inspiring. Litza’s work effortlessly combines beauty and strength with storytelling.
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.
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.
Producer / Director (Jolene, Mrs Palfrey at the Claremont, Twister)