Stacy Has A Thing For Black Guys is an independent, feature film to be filmed in Dallas, Texas in March 2018.
Think Get Out meets Who's Afraid Of Virginia Woolf?
The film is an adaptation of Ruben Carrazana's stage play by the same name. The play was produced by the theater collective known as The Tribe in Dallas in the summer of 2016 where it had a successful run and was named an Outstanding New Play or Musical by the Dallas-Fort Worth Theater Critics Forum, Best New Play By A Local Writer by TheaterJones, and was recommended for the American Theatre Critics Association/Harold and Mimi Steinberg New Play Award.
The outpouring of love and support from the community was inspiring for everyone involved, and the play was entirely funded by the City of Dallas, which is unheard of. And now, we're turning it into a movie!
We've got our cast, our crew, and we've already raised a significant portion of our budget due to a grant from the City of Dallas Office of Cultural Affairs as well as a number of individual investors. All we need now is a little bit of extra dough, mainly for post-production.
Three people sit in a living room. A white married couple. And a black man. Drinking lemonade. And making small talk. However, as the night goes on, what started off as a seemingly safe and silly sex farce suddenly becomes slightly darker and more violent as hidden prejudices bubble up to the surface. In most contemporary films, the insecurities and anxieties that control our daily lives remain invisible, but Stacy Has A Thing For Black Guys operates with a heightened sense of awareness of the historical and social context in which we now live, offering a sharp and fiercely funny commentary on how we all choose to avoid honest conversations with others and ourselves about sex, gender, and race in America. TheaterJones called the script "a smart, funny, and layered look at marriage" that is "fiercely funny in unexpected ways" with "twists [that] are always surprising".
Press (for 2016 stage production)
“This play is fiercely funny in unexpected ways, and both the title and the substance have layers. All the more impressive considering that it is Carrazana’s first playwriting venture.”
- Mark Lowry, TheaterJones
“The play is a comedy, but Carrazana still wants the audience to hold up the mirror he feels all good theater should provide. In this case it might be more of a funhouse mirror.”
- Katy Lemieux, D Magazine
Here is a video interview with the playwright and director of the 2016 stage production:
- March 12 - March 31, 2018: Principal Photography
- April 1 - April 15, 2018: Editing
- April 16 - April 30, 2018: Color Correction/Sound Mixing
- May 2018: Public Preview Party
- June 2018: Private Screening
- June 2018 - June 2019: Submissions to Film Festivals
Risks and challenges
The major challenge facing any independent film is distribution. How do you get your movie out there for people to see? With the proliferation of streaming services and video-on-demand options, the opportunities are endless, but the goal for most filmmakers is still to get their film into theaters.
The most obvious way to do that is by submitting the film to film festivals and hoping someone picks it up for distribution. Many film festivals receive thousands and thousands of submissions, but can only screen a hundred or so (if that), which makes this route of seeking distribution very difficult. In order to better your chances of succeeding on the film festival circuit, filmmakers need to develop a film festival plan.
As part of our plan we have factored film festival submission fees into our budget. 20% of our festival submission budget will go towards major festivals (Sundance, Cannes, Toronto, etc.), 50% will go towards mid-range festivals (South by Southwest, Slamdance, etc.), and 30% will go towards smaller/local festivals (Oak Cliff Film Festival, Dallas VideoFest, Dallas International Film Festival, etc.).
We have also created a festival submission timeline where we have researched each festival in-depth (their eligibility criteria, programming from previous years, etc.) and prioritized the festivals that a) our film has a better chance of getting into, and b) actually screen films versus those festivals that merely accept your submission money but don't do anything to promote it or get it in front of people.Learn about accountability on Kickstarter
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