Two men go to extreme measures to pay their rent.
The Articulators is a dark comedy that tells the story of two friends that find themselves in an unusual situation, and chronicles the adventures they have trying to restore normality.
Columbia College Chicago is the largest private arts school in North America, and from this vast talent pool we are assembling a team of filmmakers, of the highest caliber, to bring this project to life. Columbia’s cinematography program is among the most prestigious in the country, with notable alumni including two-time Academy Award-winning cinematographer Janusz Kaminski (Saving Private Ryan, Schindler’s List), and Academy Award-winning cinematographer Mauro Fiore (Avatar). Immersed in a highly creative environment, and inspired by former graduates of the school, we hope to match the successes of some of Columbia’s former films, which have gone on to screen at many national & international festivals, and have taken countless awards.
Paul - writer/cinematographer
Paul went to the College of Santa Fe, NM to study screenwriting but subsequently discovered cinematography as a field that he knew nothing about. Changing his field of study the school promptly went bankrupt and Paul returned home to Chicago to attend Columbia. Since then he has worked as the Gaffer on music videos for musicians like the Smashing Pumpkins and LeAnn Rimes. He also has been Gaffer on the feature film Nightlights and many many more short films. Now entering his final year of school Paul has been afforded the opportunity to make a film of his own and has seized upon it.
Conor - producer
Originally from Ireland, Conor first came to Columbia as an exchange student in 2011 as part of his undergraduate studies. He has written & produced a bunch of short films. In early 2012, while producing his undergrad thesis film 'The Red Bear' in Dublin, his screenplay 'Forever Young' went into production as part of Columbia's advanced production program. Both films kick off the festival circuit in Fall 2012, just as Conor settled back into his graduate studies, in Columbia's two-year creative producing MFA program.
In so far as the production is concerned, we are adopting a transparent approach to fundraising as we want you, as a potential funder, to know where your money is going. Our preliminary budget, which we will detail here once finalized, is coming in at roughly $3,500. To raise this amount, we have four fundraising ventures underway;
1. The crew is putting $1,000 into production of the film.
2. Jefferson Park’s ArtsAlive45 initiative is helping us source locations, and thus allowing cuts in the budget.
3. We are approaching local businesses for sponsorship, and where products appear in the screenplay, we are pitching businesses the idea of product placement.
4. Finally, our Kickstarter page will be the hub of our online fundraising for which we are aiming to raise $2,000. Donations, no matter how small, are hugely appreciated. We need your help to make this film a reality.
Thanks for your support.
Risks and challenges Learn about accountability on Kickstarter
In my experience anything can affect the making of a film, from weather to people to location limitations and a whole variety of other problems. I feel that the risks posed to us now are not very different from the risks that affect other short films in development. That being said this project presents us with some unique problems of our own. For instance we need 2 skeletons as props. It has proven difficult to find good realistic skeletons that photograph well (as in no seams or shiny plastic parts) and reasonably priced (or free!) I'm finding this to be the largest pain in the buns currently. I think one of the challenges I personally face is to communicate to my team just what it is I am seeing and what I want. I have found on many occasions that I am prone to change my mind the moment I tell someone to do something. As anyone whose helmed a project before knows creativity is a cruel muse and will slap you with inspiration right at the last second that changes everything, and when the 2nd meal is late cause no one planned to be shooting that long tempers are prone to flare. I want my vision to be clear and to communicate it clearly so that we are all on the same page and know what we're dealing with. At the same time I don't want anyone to think that I'm some megalomaniac diva who demands exactly what I see...yet (winky face). I understand the limitations that reality has on the dream that is The Articulators. It is a group effort to tell the story and that being said everyone is bringing elements that change what I had initially planned, but for the better in many cases (but not all of them, just saying). The biggest risk I feel could hinder this project is not enough preparation, as well too much preparation. We want to have things thought out but to be able to stay fluid. It is a strange gray area that I want to live in on this project. The Articulators is a film that lives in that uncomfortable middle. There is no moral victory at the end, I don't want people walking away feeling good or bad about what they've seen. I want them to leave with a sense of uneasiness, I want some people to be in disbelief that they would laugh at such a thing. My challenge will be to have this emotion come across and permeate the film. Every project has its risks and challenges and this one is no different. But as we know every movie is made differently and presents its own unique problems. These are just the ones I can for see, in the coming weeks new obstacles may present themselves and probably will, but we hope to roll with the punches and deliver a few of our own. Film making in itself is a gamble, and many challenges present themselves with all projects. But we as filmmakers are gamblers, and when the odds are against us that just means the pay out is bigger when we win.
Have a question? If the info above doesn't help, you can ask the project creator directly.