Kieran awakes on a country road beside an unconscious priest. He lacks any recollection of whatever events of the morning that have culminated in this predicament. His bloody knuckles give him his first clue: he is responsible for the bruises and cuts on the priest’s face.
But why? What could have led him to such violence? As he searches his car, he finds more clues: a gun, an empty prescription, a necklace — objects that trigger faint recollections; flashbacks with vague imagery: a doctor, a kite, two teenagers on a train track, a boy in a trolley. From here, he must struggle to parse out these apparitions and piece together the scattered bits of memory as the priest regains consciousness and the local sheriff closes in.
The challenge that preoccupied me in making “One Last Stop” was how to create escapism firmly grounded in reality – an experience that allows an audience to temporarily inhabit the protagonist’s circumstances in a way that doesn’t end when the lights come up, but that leaves viewers reflecting on their own beliefs, their own convictions, and how they themselves would deal with the situation portrayed long after the screen has gone dark.
THE STORY'S STORY
I wrote this film over several months, expanding it from a simple story about a stranger who comes to town to a much more mysterious, ambiguous, and challenging narrative meant to satisfy without pandering and to be topical without preaching. After months of preproduction and meticulous casting, we ended up with a stellar team of professional actors and crew to carry out this ambitious shoot over eleven days in the stark, early Spring landscape of Pennsylvania Dutch Country.
We stretched our shoestring budget to the limit and beyond, shooting high stakes scenes involving live firearms and speeding freight trains in addition to the nuanced emotional scenes representing the core of the story, all on 35mm film -- a definite rarity in the short film world in these digital days.
After years of delays, setbacks, and creative roadblocks in the editing process, I fought my way to a final cut of the film that brings the story together in a much bolder and more dramatic way than I ever set out to do. Now, the only hurdle that remains is the process necessary to rescan and finish the film in HD. That's where I need your help!
WHO AM I?
I ask myself this every day. Click the See full bio link under the photo of me toward the top right of my page to try to figure it out!
This film is nearly complete; however, we need to master the film in HD before it is ready for festival submission and any subsequent screening and distribution. Below is a more visual explanation of my present obstacle (Please make sure the HD button is ON (blue) and your playback screen is maximized):
WHY SO EXPENSIVE?
The processes necessary to convert film to video or to a digital file that can then be edited, color corrected, and output is unavoidably expensive.
The monetary goal the I have set reflects a drastically reduced price on this process that I was able to secure by working closely with a professional colorist who has access to equipment and facilities at a discount. My original quote (included below) was over $11,000 not including a lot of necessary expenses that would add another $2,500.
The most expensive parts of this production are paid for: film, camera and lighting equipment, processing and development, etc. I mention this because I want you to rest assured that I am paying out of pocket for the parts of this film that I can afford myself.
I'm also not asking for money for festival-related expenses such as travel and accommodation because I can't guarantee being accepted to the festivals I apply for -- no one can guarantee that.
Your money will not be going to a laundry list of potential costs that I may or may not incur, but to a specific process whose completion is the last major element needed to finish this film and without which this film cannot succeed.
***WHAT WILL A DONATION REALLY DO?***
Your contribution isn't just funding some esoteric technical process, it's fulfilling the most fundamental goal a film can ever have: to be brought to an audience. So if you like what you've seen here and believe in this project, then I ask you to help me give ONE LAST STOP this one chance to finally be seen!
This is a film almost eight years in the making. Though I certainly didn't intend for this process to take so long, I am proud to have stuck with it through all the challenges that have threatened to unravel this film. I have overcome every one of these obstacles and ended up with a film that I can finally say I'm proud of, but none of it means anything if no one ever sees it. With your contribution, we will at last be ready to get ONE LAST STOP out there to find an audience.
SPREAD THE WORD
Getting the word out about this film is what will help ensure I meet my goal, so whether you contribute or not, tell your friends and family, link the page, email whoever might have an interest in independent film or the arts in general. I know you know someone, so take a second to help us reach an audience.
There are so many ways to do it: liking us on Facebook, Tweeting us, or following us on the ONE LAST STOP Facebook page, Twitter account, and official website, where you'll find even more info about the film. All of the links can be found below:
For Facebook, click here
For Twitter, click here
For our official website, click here
How does this Kickstarter thing work?
You will find to the right of the screen further up the page all the donation levels. Each level has a corresponding award(s) in return for your contribution. You will receive these awards in the timeframe listed below them. You'll notice I have structured a lot of the awards cumulatively, so that as the donation level increases, the awards for that level are combined with awards from the lesser contribution levels.
All or nothing
If I don't manage to raise the entire amount of my goal money, no donations will be processed and I won't receive anything. It would be really great if that didn't happen! Let's make this the real thing, not just a dress rehearsal!
If I do reach my goal, I can continue to raise funds until my time has expired, so there is no limit to how much I am permitted to raise. There are plenty of ways any extra money can be spent on this film (marketing, promotion, etc.), so just because I reach my goal doesn't mean we can't keep going!
THANKS SO MUCH FOR VISITING AND FOR YOUR CONSIDERATION!
Risks and challenges
Film is a risky investment by nature, even (and especially) at the highest levels of the business. In my case, the risks are these:
-If there is damage to the film negative, that could delay and hinder the scanning process necessary to remaster the film.
-Software compatibility issues between the file containing the information of my edit and the machinery involved in selectively scanning the right scenes could also threaten our progress. The task before us is highly technical and glitches in the communications between software platforms required to complete the job can happen.
-My colorist is working on this as a side project, so we may end up running into conflicts with his main day-to-day work schedule that extend the process.
-Though I have set my goal level based on the quote given to me by a post production professional who will be doing the job, unexpected expenses can arise because of any combination of issues like the ones explained above.
-Lastly, I cannot guarantee admission to any of the film festivals to which I apply, as they are top tier, extremely selective competitions that reject the majority of the submissions they receive.
The risks and challenges of a film this far along in the process are not nearly as daunting as those that face films just starting out, and though they do exist, I am confident that I will meet them with the same determination that I have met and surpassed the numerous obstacles that have arisen thus far.Learn about accountability on Kickstarter
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