About this project
What is Prom King, 2010?
Charlie is a New York, college student who loves love. He loves the way James Dean and Natalie Wood shove their mouths together with the sublime punctuation of a swelling orchestra, the way Audrey Hepburn’s Breakfast at Tiffany’s ended with an optimistic kiss-in-the-rain rather than Capote’s depressing, novel ending, and the way nothing turns him on more than Laurence Olivier’s vow to take Joan Fontaine behind a tree in Rebecca and make “violent love to her.”
But when Charlie finds his romantic pursuits leading him to discouragingly icky OkCupid dates, sticky back-rooms in leather bars, and the unexpected tears of cute freshmen boys who “aren’t really out,” Charlie starts to worry that his homosexuality—something he thought he was out-and-proud about—is an incompatible factor with the classic, Hollywood romance he’s aspiring toward.
Where did we get the idea?
Full disclosure: the film started with the title, which was drawn in tiny letters onto the Lennon Wall in Prague amidst motivational Beatles’ lyrics, colorful renderings of “peace and love,” and an onslaught of sharpied names: lovers, tourists, sorority girls, etc. After being chastised by a Czech guide for promoting an “obnoxious, American ideal,” it hit us (Christopher and Izzy)—this would be a great title for a movie.
Who would this person be? What would he be looking for?
From there we hit the core of the story we really wanted to tell: a romance not about two people finding each other but rather the idea of romance itself, and how it motivates someone. There is no better protagonist to explore this through than Charlie – important because he is a gay character who is neither a tragic subject to adversity nor a comedic sidekick, but rather a young man who, with maddening optimism, feels entitled to it all. The tension comes from the fantasy of where this “all” is coming from in the first place.
What will it look like?
Prom King, 2010 is entirely formed by what Charlie wants out of it, romantically speaking. Since he is not always successful, these fleeting "pops" of romance are sandwiched within a reality that is, overwhelmingly so, less ideal than Charlie would hope.
So imagine you're watching a Cassavetes film -- raw, seemingly free-formed -- that suddenly bursts with colors and expositions straight from a Douglas Sirk movie. Call it A Woman under the Influence of All That Heaven Allows.
Or, imagine Noah Baumbach went back in time and slapped a moment of blissful, manic romance from Frances Ha into the uneventful, mumbling world of Kicking and Screaming.
This self-influenced dichotomy between romance and reality is the world that Prom King, 2010 sits in...and it can hardly sit still.
Who are we?
Christopher Schaap (Writer/Director/Actor) is a graduate from Seattle University with a degree in film. In the last year, a stop-motion short that he produced and co-wrote, Out of Print, has been playing through the festival circuit. Most notably, the film won the Audience Choice Award at NFFTY -- the largest youth film festival in the nation. You can watch the short by clicking the link below.
He enjoys films from the 60's about ghosts, films from the 70's about satanic paranoia, and Granny Smith apples.
Izzy Jackson (Producer) graduated from the New School with a degree in film and dance. She recently worked with IFP's Independent Film Week for Emerging Storytellers, Web Storytellers, and Narrative Labs. She is currently interning on filmmakers Caveh's Zahedi's feature project, The Sky Is Blue Like an Orange, and his show premiering on BRIC TV, The Show about the Show. She will also be starring in Jack Dunphy's (dir: Serenity, prod: Stinking Heaven) feature, Living with Others.
She enjoys films about teenagers and murder, specifically together.
Cameron Christopher Dunn (Art Director) studied interior design and oils the cogs at VIMEO as senior manager.
He spends his weekends tackling all kinds of creative projects and working as a wildlife rehabilitation at NY's Wild Bird Fund, advocating for pigeons. He will ensure no pigeons are harmed on the set of Prom King, 2010.
Nicole Wood (Actor) studied drama at Vassar College. She's worked on indie films across the country and spends summers rehearsing alongside curious goats in Greece with One Year Lease Theater.
She is a Brooklyn-based actor, voice artist, and prancer extraordinaire. For clips and more visit www.nicolejaywood.com
Hannah Aronoff (Co-Producer) studies Dramatic Writing at NYU. She is currently editing a children's novel about imperialist China and spends her free time writing poetry with sexual undertones.
She has reviewed these facts and accepted her fate as a hipster, hoping to one day make her way onto the path toward recovery.
Risks and challenges
Our current budget is incredibly tight...but do-able. We've created a rough schedule, with every scene detailed, that calls for a 15-day shoot if we're efficient, and a 20-day shoot if unexpected challenges arise. With this in mind we've allotted for:
• 41% for our “Skeleton Crew” – paying our small, talented, and hard-working crew of essentials: the DP, lighting, sound, a script supervisor, and a part-time, remote production coordinator. The producer and director will also be taking small, “living stipends” from the budget that will aid us in the 3-4 weeks that we’re shooting the film full-time.
• 22% for equipment – while some is already taken care of, there are a few more basics we will need for renting.
• 15% for actors – many of the talent working on the film are doing so for free, but we need to pay some of the actors who are playing significant supporting roles, even if most of these roles only call for being on set 3-4 days maximum.
• 10% for locations and art direction – these are minimal, mostly because many of the sets are apartments of friends who are kindly giving us their space, but there are spaces and props that we will need to invest in.
• 10% for food – everyone needs to eat! This will be a safe, healthy work environment with constant snacks and hydration from craft service and daily lunches.
• 2% for rewards – to show our gratitude for supporters like you.
We are aware of the many risks of filming on a micro-budget, let alone a FEATURE FILM. But, everyone on board believes that our little project has a lot of heart, and therefore they are helping us not because of money, but because they know all our hard work will go into creating something well worth the time and effort.
Our goal right now is to shoot the movie. Post-production (color correction, score, editing, festival fees) will be an additional challenge and a monetary bridge that we'll cross once principal photography is completed -- showing everyone previews of a high-quality product that can speak for itself.Learn about accountability on Kickstarter
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