In early 2011, I was offered a guest starring role on NBC's Outsourced after a long hiatus from acting. At the time, I was proud to call myself one of the few out transgender actresses and the first of South Asian descent on network television. Since then, transgender visibility has grown exponentially with shows like TransParent and Orange is the New Black. Yet, I still find my ethnicity and story unrepresented. CRAVE is the story I've been longing to see told since I started looking for myself in the media I consume.
The pilot episode introduces Maggie, an actress trying to make her mark in show business. Her secret--being transgender--can be her greatest asset or her greatest liability on any given day. We also meet her two best friends: Bobbi, a gay man stuck in an abusive relationship and an unfulfilling job, and Karen, who suddenly finds herself in a loveless marriage when her husband returns from Afghanistan a changed man. And just when things couldn't get any harder, Maggie's estranged sister shows up, pregnant, seeking support from the sister she abandoned years ago.
Our cast is culled from Seattle's best and brightest talent, including Jeremy Behrens, DeRon Brigdon and Mighty Tripod's Angela DiMarco. Our crew comes from Honey Toad, whose webseries experience allows them to create a beautiful product on a budget like the one we're aiming for.
The passion and flexibility demonstrated by everyone involved in creating the pilot is overwhelming. We've determined that in order to pay them the minimum amount to produce the rest of the season, we need $5000 per episode. This may sound like a lot of money to people who haven't worked in film or television, but I assure you! It is just enough to pay Seattle's minimum wage. With $35,000, we can produce seven more episodes and give CRAVE a first season! For every additional $5000, up to $60,000, we will produce another episode!
Risks and challenges
As with any video project, there are plenty of risks associated with the production of CRAVE. The team from Honey Toad Studio has, however, worked under more difficult conditions in the past, producing their own series, WRECKED, for an even more modest budget than we're seeking, here. They are flexible and responsive, and I feel confident that they can meet production challenges.
We do, however, have an additional hurdle because of our decision to shoot the pilot in advance and then the rest of the series, later. It's always possible that actors will move, or book projects, or cut their hair. To address this, I, too, will have to be flexible. CRAVE is a labor of love and I will do whatever it takes to make it happen.Learn about accountability on Kickstarter
- (30 days)