GO FOR ALAYNA is a short farcical comedy produced and written by Anna Castelaz, produced by Arianne Smith and directed by Madeleine Quarm. We're hoping to raise £5,500 towards the production costs with the help of YOU amazing supporters, friends and family.
Every pound pledged will make the world of difference in helping us reach our goal - please check out our 'rewards' to see what we're giving back in return for your generosity!
An aspiring filmmaker’s chance to make her first film is threatened by the feminist protest of a famous actress. Alayna is the 3rd Assistant director on the set of a reboot of the 90s thriller Basic Instinct. She’s been promised an investor for her film by Jim, her mentor and the first Assistant director. But when Gemma, the lead actress, refuses to shave her legs for the famous interrogation scene, Jim gives Alayna an ultimatum: get Gemma to set with shaved legs or lose your investor. Alayna and Gemma are pit against each other, each fighting for their own version of power in the industry.
“I don’t think there has ever been a better time to be a woman working in the film industry (and I have no doubt other industries) than right now. We now have the opportunity, thanks to global movements like Times Up and MeToo, to break the perceived gender boundaries traditionally imposed on female creatives. What it means to be a woman at this point in time is so open for exploration, leading to far more realistic female representation on screen, such as Sandra Oh’s Eve Polastri in Killing Eve, to Rachel Weisz’s Lady Sarah in the Favourite.
It’s an exhilarating period to explore topics like those in ‘Go For Alayna’, from how we assert ourselves in the workplace and the compromises we have to make to achieve our goals when stuck between a rock and a hard place. Using comedy as a vehicle for this is incredibly exciting and provides the freedom to express these ideas in a highly entertaining and relatable way. Watching Alayna suffer at the hands of her incompetent manager and wildcard counterpart, and then figure her way out of this impossible situation is something we can all relate too, and I’m so excited to dive into this story with such a brilliant and talented team.”
CREATOR / WRITER'S STATEMENT
Some say this film is timely because of #Timesup and #Metoo; I say it’s timely because we are finally ready as a society for a reboot of Basic Instinct. (I mean pants suits and turtlenecks have been back. Am I right??) But not just a reboot: a film about a reboot. That’s how far we’ve come! Skirting around the issue of sexism by reproducing it ironically, through pastiche, parody, exaggeration, self-reflexivity, without ever just facing it head on.
Maybe that’s why the current discourse is such a relief for so many women, and feels like a shock for so many people who are used to the way things are. Because it feels like we are facing it head on. But what the conversations have revealed is a much more complex web of power relations, even among women, than we could ever address through social media. The fact that #Metoo is a hashtag created by a black woman that didn’t get traction until famous white women co-opted it, the fact that the trailer for Wonder Woman, marketed as a feminist film, still opens with a shot of the heroine from the point of view of a male character, are just a few examples of the contradictions we are still dealing with.
Go For Alayna deals with these contradictions, and it does so by mocking them. Mercilessly. We’re doing it all: pretentious egos, stale remakes, men on power trips, performative feminists, period! This film is absurd, and so are its characters. But that absurdity arises from real human contradictions, and that’s what makes it believable, and real, and entertaining, and urgent. At the very least, we want you to laugh when you see this film. We want everyone to laugh. At the most, we want the humor to do what comedy does best – bring delightful and searing clarity to complex issues that are hard to face.
ABOUT THE DIRECTOR
Maddie was born in the UK and raised in Australia. She studied at The Royal Institute of Technology in Melbourne, before moving to New York to study Directing. After returning to the UK she studied at the acclaimed National Film and Television School before starting her career in the industry, turning her focus to Comedy TV and High-end Drama.
ABOUT THE PRODUCER
Arianne Smith is an American filmmaker born and raised in the Washington, DC area. She spent 8 years in Los Angeles prior to moving to London last fall. Her previous producing credits include WORDLESS, as well as working in development on television shows such as THE AMERICANS, SEVEN SECONDS, THE CHI, & QUEEN OF THE SOUTH.
ABOUT THE WRITER & PRODUCER
Anna Castelaz is an American filmmaker and writer from Downriver Detroit. She holds a BA in Film Studies from University of Michigan, where she produced and directed a collection of short narrative and experimental films. She has worked in Chicago, Los Angeles, Haifa, and London, on several independent features, and as a video producer, directing short form documentaries on community building and social justice. She holds an MA in History of Art from University College London, with a focus on race, gender, and representation in contemporary visual culture.
ABOUT THE DIRECTOR OF PHOTOGRAPHY
Daniela Velasco is a cinematographer from Guadalajara, Mexico. She has 5 years experience working as camera operator, video editor and camera assistant across shortfilms, brand films and music videos. In summer 2017 she was invited to join the video department at Domaine de Boisbuchet ( Lessac, France) to collaborate with diverse known european artists ( Studio glithero, Pierre Favresse, Block Research Group, etc.)
ABOUT THE CAMERA OPERATOR
Olga Lagun has been working as a videographer for several years on variety of short films, commercials and video art projects. Her works were selected for the London Short Film Festival, IndieWise Virtual Film Festival and International Video Poetry Festival in Athens.
ABOUT THE EDITOR
Jessica Halee is an editor from the United States having worked as an assistant and video editor for documentary projects. She is now doing her MA in film editing and recently completed work on the short film Wordless.
DONATING TO GO FOR ALAYNA
Your pledge could help to make GO FOR ALAYNA a reality - film is a costly business, and there are thousands of elements that must come together in pre-production, on set and in post in order to make the magic appear on screen. Your contributions will go towards:
- Camera, lighting & sound kit hire
- Crew fees
- Cast fees
- Travel expenses
- Unit van hire
- Hair & Makeup
- Post-production costs (composing, sound design, editing, colour grading)
We are determined to make a film of the highest quality and can't wait to update you on the journey - thank you in advance for anything you're able to give if you choose to back GO FOR ALAYNA.
Risks and challenges
As with all short films, the main challenge is bringing all the many elements together in a short space of time. In order to overcome this, GO FOR ALAYNA has a fantastic and enthusiastic Heads of Departments attached who are bringing their creativity and knowledge to the table in order to make the project run as smoothly as possible with a fantastic finished product. There are also challenges with our story. Mainly, we need to make the setting of this short look as closely like a legitimate big budget film set as possible while working with the small budget we actually have.Learn about accountability on Kickstarter
- (25 days)