About this project
WE MADE IT! We are going to South by Southwest Film Festival! One of the 8 films chosen for the narrative competition!
A hybrid narrative film with doses of mockumentary, musical comedy and dance film, IMPROVEMENT CLUB traces a rag-tag Seattle performance group's attempt to expose the American Revolution's fatal flaws. When the ensemble loses their shot at a New York premiere, their desperate wish for an audience takes them into the backwoods of the Pacific Northwest on what becomes a surreal pursuit of trust, togetherness and the true motivation behind their work. Loosely based on the making of director Dayna Hanson's real-life performance, Gloria's Cause.
With a background in dance theater and short dance film, Hanson was inspired to fictionalize the making of her latest live performance into a decidedly non-formulaic narrative film. Though written, choreographed and directed by Hanson, Improvement Club reflects the talent and endless hours of so many individuals! Throughout the script development phase the cast gave input, improvising scenes that were reenactments of real events or complete fiction or somewhere in between. DP Benjamin Kasulke (Keyhole, Your Sister's Sister, Safety Not Guaranteed) brought his own distinct vision to bear on his close friend’s screenplay, having collaborated with Hanson on a number of dance films. Hanson’s bandmates, also in the cast, did double duty by providing tender, rough-edged rock music that runs throughout the film. Dayna produced along with Mel Eslyn (Your Sister's Sister, Touchy Feely, Treatment), and the film was edited by Sean Donavan (Treatment, My Effortless Brilliance). More than with many films, Improvement Club reveals the strengths and personalities of the entire cast and crew.
Why the fundraiser? In order to make this happen, we need to raise some funds to get the film there. These funds will go to creating our festival screener and publicity to promote the film, in hopes of acquiring a distribution deal! It's so easy to get lost in the shuffle at a big film festival, and we want Improvement Club to be seen! But creating a quality festival screener, and publicity on top of that, are both EXPENSIVE! That is why we need your help. Become a part of our SXSW experience, and help us get there! The funds will go to:
- Master our final film
- Creating our DCP screener for the festival competition
- Publicity for the film at the festival and beyond!
Who is DAYNA HANSON?
Dayna Hanson is a Seattle-based filmmaker, choreographer and dance theater director. Co-founder of dance theater company 33 Fainting Spells (1994-2006), Dayna has toured nationally and internationally since the mid-1990s, performing at such venues as REDCAT, Joyce Theater, Jacob’s Pillow Dance Festival, Walker Art Center, Miami Light Project, Kunstlerhaus Mousonturm, New York Live Arts, Fusebox Festival and many others. Her dance films have screened at more than 50 festivals worldwide, including New York Film Festival and Edinburgh International Film Festival. She co-curated an international dance film festival, New Dance Cinema, from 1999-2003. Called “a delicious dance theatre exploration of the ironies of the American Revolution” by American Theatre magazine, Dayna’s 2010 dance theater production, Gloria’s Cause, was commissioned by On the Boards and toured North America in 2011-’12. In 2010-11 she collaborated with Austin-based devised theater company Rude Mechs, creating choreography for I’ve Never Been So Happy. Her choreography can also be seen in Korean director Tae Yong Kim’s 2011 feature film, Late Autumn. Produced by ArKtype and On the Boards, Dayna’s new dance theater work, The Clay Duke, is inspired by a 2010 Florida school board shooting. Dayna’s work has received support from National Dance Project, MAP Fund, 4Culture, Seattle Office of Arts & Cultural Affairs and others. Dayna is 2006 Guggenheim Fellow in Choreography, a 2010 United States Artists Oliver Fellow in Dance and a 2012 recipient of Artist Trust’s Arts Innovator Award. She is 2013 Artist in Residence at Velocity Dance Center.
Risks and challenges
The beauty is, the film is done and premiering at SXSW! This means we are in, we just have to get there! The first challenge is to complete the screener. We have a post house ready to go on standby, and we are working with our post team to lock color and sound. We have set up deadlines for each step to ensure that we have ample enough time to deliver the media to our post house, in order to get the screener to the festival on time.
From there, we would like to put the money towards publicity. We are designing exciting new branding for our film, and plan to have this done in time to go out to printers for posters, post cards and merchandise. Should for any reason this branding not be completed in time, we have a backup marketing plan ready to go into effect in time for the festival.
There is always the risk of not completing a necessary task by the deadline, and our answer for this is to always have a backup plan!Learn about accountability on Kickstarter
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