It's a psychological thriller in the vein of Polanski's The Tenant. Small town KATIE meets heartthrob actor JAY. Jay charms Katie, brings her to L.A. where she falls hard for him. When Jay gets a movie and has to leave town, Katie awaits his return. That’s when everything begins to unravel. Katie is robbed, her keys and wallet taken. When she reports it, the police question and then attack her. Terrified, with no money, and stuck in L.A., she keeps calling her friends at home, but just gets a "wrong number." Frantically, she asks Jay to wire her money and come back, but neither he nor the money show. When Katie's home town newspaper is delivered to her door in L.A., it includes her obituary. And she realizes there is some greater evil at play.
A LITTLE BACKGROUND
Over the course of the last year, we worked on the script and put together our cast. We knew that finding Katie was our main priority; the film rests on her shoulders, and when we saw DOMINIK GARCIA-LORIDO's audition it was pretty clear we had found our female lead. She had a sadness in her eyes that belied her strength. Dominik created a very likable yet fierce Katie.
Finding the men in Katie's life was next up for us. In the process of auditioning we realized that our longtime friend BROCK KELLY was perfect for Jay, Katie's love interest. He had a an easy charm and good looks; it would be easy to see how Katie would get swept off her feet by him. He also gave an extremely layered performance with no ego attached.
The final piece was finding Father Bill. We had a list from the start and RAYMOND J. BARRY's name was at the top. I had worked with him before in "Just Married" and had been a longtime fan of his from "Dead Man Walking" and "Born on the Fourth of July."
Around this time I was introduced to DARIN MORAN, an extremely talented and successful Camera Operator and Director of Photography. I really hoped to have an expert to lean on behind the camera and Darin, having worked for 25 years on such great films as "Collateral," "The New World," and "Unstoppable," was the guy.
WHAT COMES NEXT
With your support, we will have the ability to tap into some amazing resources--people I have come to know through the years-- for the editing, sound, music, and coloring. It will definitely take the $57,000 to make it happen.
The editor, JOEL PLOTCH, has agreed to come on board. Plotch has been editing feature films for the last eighteen years. Included in the 32 films that he has edited is an ongoing collaboration with award-winning director and writer Neil LaBute that includes such films as “In the Company of Men,” “Your Friends and Neighbors,” “Nurse Betty,” “The Shape of Things,” “Lakeview Terrace,” and most recently, “Dirty Weekend.” He will raise the film to its highest level.
We are in negotiations with an amazing team of composers and a post house, who will handle the color timing and the sound mix and take us through deliverables upon sale to the distributor.
In the spirit of the film, I've tried to spice up the "rewards" offered with some fun personal touches, including Skype sessions, Tweets, one-on-one lunch meetings, and signed copies of "Newsies" and "Big" memorabilia.
I'll be deeply honored by your support.
AN ADDED THANKS
To my friends who helped make this Kickstarter with me:
- Ivan the Producer: Andrew Bilgore
- Greg: Greg Thomas
- Svletka the Girlfriend: Laura Hand
- Director: Eric Bross
- Writer: Nick Privitelli and Gregory Thomas
- Producer: James Sicignano
- Director of Photography: Ben Griffin
- Editor: Arron Yohe-Mellor
- Composer: Steve Watkins
- Sound: Brett Kerr
- Gaffer: Rocky Romine
Risks and challenges
I have dreamed for years about directing, but moving behind the camera has meant taking on a new, daunting role. As an actor, I had built up a support system and a reputation; as a director, I have been starting from scratch, stepping out of my comfort zone with no pre-existing support system and much to prove. As an actor, I am a storyteller. As a director I am both a storyteller and the leader and facilitator of a team of storytellers.
In addition, on an indie like "Desolation," the financial line between director and producers is not hard and fast. The producers and I have had to cope with a sudden external budget shock, a major investment promise that wasn’t fulfilled at the last minute, bringing us to the Kickstarter community.
Cinematically, the creative process is continuing into post-production. I am shaping the film into final form, supported by the editor and composer. Joel Plotch, the editor, and I worked together when I produced "Hellbenders," and we collaborate well. The sound mix will incorporate the film's mysterious building as a character with a bizarre musicality of its own--the grinding of the elevator, the humming of the pipes, bursts of electrical feedback--playing against a classical orchestral/choral score. An exciting composer is executing this vision. Although this is my directorial debut, my 28 years in film are informing the process, and I am confident that "Desolation" will be a great 21st Century classical thriller. But we need you to help us finish the job.Learn about accountability on Kickstarter
- (29 days)