The Goodnight Show is a late-70s set dark comedy following the melancholic chaos that pervades humanity as an asteroid, The Gipper, is confirmed to destroy the earth within hours. Across the US, people deal with their inevitable demise in a range of ways. Some surround themselves with those they love, others seek isolation to escape the emotional turmoil plaguing society and tearing their minds apart.
Sam just wants to get laid.
Through a pink neon, lava lamp filtered haze of existential crisis, Sam leaves his meager life behind, those of the family and friends who love him, and enters the world of debauchery and reckless abandon the youth in his neighborhood create as they throw a house party to lay down the shag carpeting for eternal oblivion.
To Sam, there must not be more to life outside of carnal instincts. That seems to be everyone's fixation anyway. On this odyssey through the end times, Sam watches on as individuals lose themselves in earthly pleasures, psychedelics aplenty, as he moves forward towards the goal already set for him.
As he stares into the void, however, he finds these experiences as hollow as anything else. At the apex of his immense personal conflict, he finds himself at the absolute bottom, a pit of whiskey, old men with graying beards, and exposed skin. Only in this all-encompassing blackness can Samuel find sight of the light in the world, an essence vaguely reminiscent of something that has always been near to him. Only in this decrepit strip joint, known as...
The Goodnight Show
Charlie Schwan, director / Adrian Siordia, producer
Arri Caviness, production design / Jackson Duneier, assistant director
Henry Davis / director of photography
The Goodnight Show is a relatively large production, requiring a good amount of investment towards production design and vfx work to create the apocalyptic world of the film. Naturally it's important to know where your contributions are going, to contextualize why it's important to give what you can. Presently, we've been able to narrow our most general but essential needs into four quarters of the $3500 budget.
This is a film set in the transitional period from the 70s to the 80s. In order to dress our sets and make our wardrobe decisions appropriately, we will need to invest properly in materials of the time. Where these resources cannot be found, and vintage pieces are not consistently inexpensive, they must be created, which adds an even greater expense to crafting the visual space of the film. The more we are able to contribute to the production design team, the more we can give legitimacy to the film's placement in its time period, and add to the surreal essence of this piece.
On that note, we require access to spaces themselves that will allow us to create the set that we would like. Our primary locations will act as the central hub of our production, housing all of our equipment and being our base of operations as the days go on. Options are available, but for adequate room to operate in the same location and keep the production scheduling moving while minimizing travel times and setup, our options are few and relatively costly. However, the allocated 25% will be just enough with our given locations to ensure dependable use and insurance for our associated studios.
In the world of less tangible things, the film of course takes place in a context somewhat outside of our physical capabilities. An asteroid is doomed to crash into the earth, and as the evening goes on, the oncoming danger is more apparent. We will be requisitioning the efforts of a very talented vfx artist to create the horizons of the apocalypse and craft an unsettling and uncanny depiction of the fiery ball in the sky, which will drive home our fatalistic narrative.
Finally, outside of the look of the film, our writers have spent hours through personal and public workshopping of the script to make our story, and most importantly our characters the most genuine and compelling they can possibly be. To convey the manic range of emotions in the script, we intend to invest heavily in talented performers who can carry the immense grief and chaotic anxiety of our world. The short is not just a visual experiment in surrealist period-pieces, it is a heartfelt story about seeking intimacy in a black hole of meaning, and with adequate professionalism from our acting department, we hop to touch the hearts and minds of our audience.
All of our backer rewards are listed on the bar to the left, but in short summary we have a few pieces of particular interest worth discussing.
At our very basic levels, there is still much we wish to give back to show how much we appreciate your contributions! The originally produced music of the film is incredibly important to the soundscape of the film, and we'd like to give our audience who will no doubt find it to be an enjoyable aspect of the film access to the songs themselves. We offer digital downloads of the music, but equally at a higher tier of contribution, we will be pressing cassette tapes with the music of the film with case art designed by our asset artist, which act as functional pieces of memorabilia as well as a medium for kicking back to the tunes themselves.
We're also very excited in printing Goodnight Show themed shirts to add the style of our film to your wardrobe, with art also designed by our artist Tanner Thompson. As well, we will be making prints for the Goodnight Show house party, to advertise your attendance there...or at least, your hypothetical appearance as part of the film.
Lastly, we require a substantial investment in order to make this vision come into existence. Your contributions are ESSENTIAL, and it goes without saying that we owe any success the film receives to our backers. Naturally, any contributors in our top two highest tiers will receive Producing roles in the credits of the film, engaging you in the network of individuals we hope to reach out to with the festival and public screenings we hope to take The Goodnight Show.
Risks and challenges
With independent film productions, the challenges are pretty consistent. We may run into issues with our locations, with scheduling, with equipment, a wide array of things to potentially go wrong and delay production within our relatively tight schedule.
We however plan contingencies to ensure everything runs smoothly minute to minute. Every member of the crew has dealt with poorly organized shooting days and watched as the hours pass without rolling, and none of us are interested in a repeat of that experience. Everyone on board is ready to work to make optimal use of the time we have maximize how far every dollar contributed gets us.Learn about accountability on Kickstarter
- (21 days)