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A story of a woman, some lifeguards and her uterus.
126 backers pledged $15,741 to help bring this project to life.

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$15,741

126

$18k Stretch Goal

Thanks to our generous supporters we made our our goal and will be funded through principle production! Help us reach our stretch goal so we will be fully funded, including:

Post-production: animation, VFX, editing, sound editing/design/mixing, music licensing, color correction, and mastering/deliverables.

Festival submissions: submission fees for each festival can range from $25-$85 and for a year long run we typically submit to over 50 festivals. 

Promotional materials: part of maximizing the film's potential exposure at festivals includes creating movie posters, post cards, and other materials to engage our potential audience and increase attendance.  

Contingencies: every movie has a percentage of the budget set aside for unforeseen obstacles and expenses. Having a small 'rainy day' fund will help protect the project to be sure it is completed and we make good on our word to vendors and crew members. 

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THE STORY

Adapted from the short story by A.M. Homes.

**Writing, Directing, Cinematography, Producing, and Lead Role are ALL WOMEN!**

STYLE/TONE

GEORGICA will contrast the existence of a sunny, warm present with a cold, sterile past. Where life was once stagnant it is now flourishing. Sophie’s alternative reality will be illustrated by exaggerating her worldview. Using day for night techniques, I will show Sophie’s time at night on the beach as otherworldly and magical. During the day, however, the beach will be presented as a normal, inviting, sunny, and warm environment. Sophie’s flashbacks to her painful past will feel more clinical by enhancing cold blue/green tones. Stylistically, I’m drawing inspiration from the realistic, gritty look of directors Andrea Arnold and Susan Seidelman combined with the exaggerated feel and playfulness of John Waters and the Cohen Brothers. There will also be a short animation sequence in the spirit of the recent film LOVING VINCENT, and we're in talks with artist Valerie Suter about doing the animation work. Our friends at The Molecule will complete all VFX work on the film.

THE TEAM

Kim DeLise - Writer/Director

 Kim DeLise is a NY based Script Supervisor and former drama troupe geek. Kim’s journey into filmmaking started at the age of 12 when she borrowed her dad’s video camera and hosted her own “talk show” in a wood-paneled basement in the suburbs of New York City. She honed these skills while attending the Park School of Communications at Ithaca College, graduating with honors. Kim got her feet wet as a script supervisor in children’s television, and after years of solid work decided to make a professional leap into narrative features and TV on a grander scale, joining the ranks of IATSE Local 161 in 2010. In her sixteen years on set as a Script Supervisor, she’s worked alongside directors Chris Long, Tommy Schlamme, Lena Dunham, Jamie Babbit, Jesse Peretz, Richard Shepard, Roxann Dawson, Dan Attias, among many others. Her most recent credits include seasons two through six of HBO’s GIRLS and FX’s THE AMERICANS.

Alison Wright - "Sophie" & Co-Producer

Alison is best known for her role as FBI secretary Martha Hanson on the FX hit show THE AMERICANS (Emmy Award Nomination, Outstanding Guest Actress in a Drama Series). She also has roles on Ryan Murphy’s FEUD: BETTE AND JOAN and SNEAKY PETE on Amazon. On the stage, Alison was on Broadway last year in SWEAT (Pulitzer Prize Winner, Best Drama, Tony Nomination for Best Play) by Lynn Nottage, Dir. Kate Whoriskey. Her Off Broadway work includes MARIE & BRUCE and RAFTA RAFTA The New Group, Dir Scott Elliot. Alison has extensive work in film with credits like HBO's CONFIRMATION, Dir Rick Famuyiwa, THE ACCOUNTANT Dir. Gavin O’Connor, GROWING UP SMITH Dir. Frank Lotito, THE NANNY DIARIES Dir. Shari Springer Berman/Robert Pulcini. Alison will be featured in the forthcoming series SNOWPIERCER on TNT.

Tracey Scott Wilson - Co-Producer

TRACEY SCOTT WILSON is a writer and co-executive producer on THE AMERICANS on FX. Recent productions include PREP at Pillsbury House Theater; BUZZER at the Public Theater/NYSF; Pillsbury House Theater, Guthrie Theater, Goodman Theater and Cincinnati Playhouse THE GOOD NEGRO and THE STORY at The Public Theater/NYSF as well as the Goodman Theater. She earned two Van Lier Fellowships from the New York Theatre Workshop, a residency at Sundance Ucross and Sundance Theatre Laboratory. Her decorated writing career includes the 2001 Helen Merrill Emerging Playwright Award, the 2003 AT&T Onstage Award, the 2004 Whiting Award, the 2004 Kesserling Prize, the 2007 Weissberger Playwriting Award, the 2007 Time Warner Storytelling Fellowship, the 2014 Joyce Award and she was honored with the 2009 writer-in-residence at the O’Neil National Playwriting Conference. Ms. Wilson holds a Master’s degree in English Literature from Temple University.

Maria Rusche - Director of Photography

Originally from Boston, Maria honed her eye for visual storytelling at NYU’s Tisch School of the Arts where she focused on cinematography and lighting. Her narrative work includes ONE GOOD PITCH, which was an Official Selection at the Tribeca Film Festival in 2016 and STARRY NIGHT, a short film that was awarded the Alfred P. Sloan Production Grant and is currently being developed into a feature. Her commercial work includes clients such as Delta, Verizon, Smirnoff, Bank of America, American Express and more. Maria got her start as a gaffer and lighting technician on major feature films and television shows, where she developed her eye for lighting and the collaborative skills that are essential to a cinematographer. Most recently, she finished principal photography on the feature film BIG EXIT, Stephen Harris's directorial debut.

Nicky Styles (Smith) - Costume Designer

 Nicky Styles (Smith) is a fashion stylist and costume designer based out of New York and Miami. Ms. Styles has her MFA from the University of Tennessee in Theatrical Costume Design and a BFA from the University of Miami. Upon moving back to New York, Nicky began working at the Metropolitan Opera House as the Costume Shop Supervisor of Men's Chorus, Ballet, Supernumeraries and Children's wardrobe. After leaving the Met, Nicky went on to be the Associate Costume Designer on Venus in Fur, which won the 2012 Tony Award for Best Lead Actress in a Play. Seeking more television, fashion and production work, Ms. Styles went on to other projects such as working in the costume and wardrobe department of The Tonight Show, an assistant stylist for Brooks Brothers and wardrobe styling commercials, promo and a tv series with companies such as MTV, VH1, Comedy Central, Logo and NBC. In 2014, Nicky left freelancing for the more steady position of costume shopper for THE AMERICANS Season 3. She then went on to the position of In House Senior Fashion Stylist with VH1's New York offices. But, THE AMERICANS came calling again and for Season 4, Ms. Styles took the position of Assistant Costume Designer.

2.35 - Producing Company

 A Brooklyn based partnership consisting of industry veterans Nicole Cosgrove, Spencer Gillis, and Ludovic Littee. 2.35 believes in collaborating to create stories that move us to think, discover, and connect with others. With an impressive track record of producing award-winning work, 2.35 films have won awards and played at prestigous festivals such as Sundance, Palm Springs Shortsfest, Aspen Shortsfest, Seattle International, and many more.

WHERE THE MONEY WILL GO

We're calling in a lot of favors from our talented industry colleagues to make our film on a shoestring budget. Here is what we're budgeting to be covered with the $14k we will raise:

Pre-Production - location scouting, VFX/Animation storyboarding with our friends at The Molecule, logistical & equipment planning, casting, costume design, rehearsals, insurance, and all the other fun things it takes to put a film together!

Principle Photography - cast & crew meals & transportation, equipment rentals, picture cars, location fees, permits, still photography, expendables, and so much more!

Risks and challenges

WEATHER & LOCATIONS

Beaches can be pricey to rent and gain shooting access to. We will need to shoot right on the cusp of summer, before it is really warm out, in order to secure a beach that we can have control of for our shoot.

In conjunction the beach should double as a Hamptons beach. Which will prove to be tricky, however with proper support we should be able to successfully find a beachy haven that is near the city and looks like a million bucks.

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Funding period

- (30 days)