Help us make Jacqueline Wright's acclaimed play EAT ME into a feature film!
An insightful, darkly hilarious and terrifying exploration of the extremity of human endurance, EAT ME is based on a play of the same name by Jacqueline Wright, who also stars. After it’s initial, critically acclaimed run in Los Angeles, Jacqueline had several opportunities to turn the play into a film -- the tone and subject matter’s inherent divisiveness attracted a number of filmmakers and financiers -- however, given the potential of it being made into something exploitative, she held back waiting until the right team of collaborators presented itself. Ultimately, Jacqueline and filmmaker, Adrian A. Cruz, decided that the best way of safeguarding the material was to make it themselves -- using their savings, shooting in their own house and calling in favors from a lifetime of collaborations in both the LA film and theater communities. Careful planning, rehearsal and a fearless attitude allowed them to shoot the entire film in 10 days -- without sacrificing quality, style or integrity.
TOMMY, despondent woman at the end of her rope, has a violent encounter with a home intruder, BOB, and together they discover hope, forgiveness and redemption.
NOTE: the film contains scenes of extreme brutality, raw emotion and difficult subject matter — but in the end, this is a story of healing and redemption.
GOAL: $29, 500.00
As we begin the post production process, we are searching for additional funding that will go toward:
SHOOTING: though the bulk of the film has already been shot, we still have two additional days of shooting to complete, including: one day of exteriors to be shot on location, to set the stage for the movie, and one day of interior pick-ups for inserts to fill in the interior landscape of the characters, smooth the editing and ensure clarity. Believe it or not, since we shot this in the house we live in -- we have kept the set in place for the last seven months so we can do it! Part of the funds raised will go to bringing back our amazing skeleton crew, renting the camera and film equipment and feeding the hard working Eat Me Family while on set.
EDITING: given the tone and subject matter, the editing of Eat Me is long a long and involved process that has to factor in a unique rhythm to the action, the big emotional journeys of the characters, and delicately balance the audience's sympathies. It's not easy and the more time we can get to fine tune the edit, the better. Part of the funds raised will go toward smoothing, sculpting and contouring of the edit.
SOUND: it's time to hire a composer and sound designer to help create the world and tone of the film. The score is going to go along way to setting the rhythm of the edit. Unlike most films, which lock picture before the score is written, we are doing both on parallel tracks so as to allow one to influence the other. Also, part of this film will be under-scored with the sound of the television, which plays in the background for a large chunk of the movie -- that means scouring the Public Domain libraries and/or licensing key bits of audio and picture. Part of the funds raised will go toward the writing of music, hiring of musicians, recording, mixing and limited audio/visual licensing.
COLOR CORRECTION: although our amazing Director of Photography created stunning images "in camera," the picture is not done -- Digital Color Correcting is needed to tie all the shots together, tweak the palate and heighten the feel of the movie. Part of the funds will go to renting a color correcting suite for five days to accomplish this.
STRETCH GOAL: 39,500 - any additional funds we are fortunate enough to receive will go toward:
ADDING PRODUCTION VALUE: additional music, a few key visual effects and more time in the mixing room and color suite.
PROMOTION MATERIALS: posters, trailers and press materials, festival submissions, attendance costs.
DISTRIBUTION EFFORTS: buyer screenings, travel to film markets and deliverables, such as foreign subtitles, etc.
Eat Me is a passion project for everyone involved. For me, the director, I was looking to sculpt raw emotion in a way that will hold an audience through even the most extreme dramatic turns. I'm exploring how to use the camera in a confined space -- without use of time compression or change in location -- and still be visually vibrant and arresting, pushing my creativity through the use of very strict limitations and testing my ability to work with actors on difficult subject matter. Now, in post production, we're focusing on exploring the possibilities of the sound design and editing to take an audience to the very limit of their emotional safety zone, push them over the edge and lead them back. We aim to take all their assumptions of where a story can go and shatter them.
Completion Goals & Challenges:
Though many of the hurdles to getting the film made have already been overcome -- thank heavens -- a new set are fast approaching. We are facing many weeks still of editing and sound design. The nature of the project necessitates careful consideration in the environmental sound, foley and, particularly, score. The tone of the film is very tricky and while we have an amazing composer / sound designer on board -- before we can get the project to him there are still two days of inserts and exteriors to shoot and color correction. Beyond that lies the most daunting obstacle -- festival submissions and marketing. We know how difficult this film will be to sell -- even to sales agents -- but we are confident that with enough care and vision, this film will find it's audience.
DIRECTOR: ADRIAN A. CRUZ
After attending USC, with a double major in Cinema/Television and Theater, Adrian began directing and workshopping plays in the LA theater scene. As Managing Editor for a French comic book company, he learned from working with comicbook legends Alejandro Jodorowsky and Alan Moore and eventually saw his graphic novel series SEED quickly optioned and passed around Hollywood. From there he wrote and produced Splinter, starring Edward James Olmos. Recently Adrian co-created Ascension for Syfy. He is a graduate of the WGA’s acclaimed SHOWRUNNER TRAINING PROGRAM and his script Alibi Guys was a semi-finalist in the Nicholl Fellowship.
WRITER/ACTRESS: JACQUELINE WRIGHT
Jacqueline Wright is a graduate of Cal Arts. She is a writer and actress. Her plays have been produced/developed with Theatre of Note, Ensemble Studio Theatre (New York & Los Angeles), Occidental College, California Institute of the Arts, Echo Theatre Company and HBO's Comedy Arts Festival. As a performer/playwright Wright has received numerous awards and nominations including two LA Weekly Performance Awards, writing nominations for Best Adaptation & Comedy Playwriting and an Ovation nomination and a LA Drama Critics Circle performance nomination for HOUSE OF GOLD. Her play EAT ME received six LA Weekly nominations, including best play and lead female performance. Her screenplay EAT ME was a finalist for the Sundance screenwriters lab. Wright can be seen in BURN AFTER READING, NORTH COUNTRY and an upcoming feature film FESTER. She is currently writing two feature scripts.
TOMMY - Jacqueline Wright (Burn After Reading, North Country), a woman disillusioned with the world and ready to leave it. During the course of the film she finds inner strength and drive to survive she never knew she had. She also learns the high price of forgiveness, both for herself and for another.
BOB - Brad Carter (True Detective, Ascension), plays Bob, a soul so lost he’s almost unaware of the horrors he inflicts on others. So desperate for human connection and understanding, that once he has it — he’ll do anything to protect it.
FRANK - Michael Shamus Wiles (Breaking Bad, X-Files, Fight Club), plays Frank, a monster in the truest sense. He’s a remorseless user and sees in Bob a reflection of himself that allows him to keep on doing what he’s doing.
DIRECTOR OF PHOTOGRAPHY: NICHOLAS TRIKONIS
Nicholas Trikonis began as a still photographer shooting for the music and fashion industries. He attended Cal Arts receiving his BFA in Fine Art Photography. Nicholas began working as a Cinematographer, shooting contemporary artist’s film installations. His work on these film installations have been show at the MoMA New York, The Venice Biennale, and many more. Completing his path into motion pictures, Nicholas attended The AFI Conservatory, receiving his MFA in Cinematography. He is currently based and works in Hollywood.
PRODUCTION DESIGNER: NOELLE MALINE KNIGHT
Noëlle Maline lives and works in Los Angeles, CA. as a Visual Artist and Production Designer. She graduated from California Institute of the Arts with a degree in Fine Art, Installation and Experimental Sound. Noëlle has received multiple awards for her art and sound installations, including the Art of California Gold Award. For over ten years, she has been the Concept Art Director for numerous stage designs and the Creative/Art Director of Musée16 Gallery and Museum in Oregon and Californina. Her most recent work has been as the Production Designer on Eat ME, a feature film written by Jacqueline Wright and directed by Adrian Alex Cruz and also continues exhibiting her art and interactive installations in galleries and on tour around the United States. http://www.noellemaline.com
FIGHT CHOREOGRAPHER: AHMED BEST
MFA: American Film Institute, Manhattan School of Music percussion and composition.
Theatre: Backyard (Ovation Award, Fight choreography. Echo Theatre Co.) Bob a life in Five Acts (Echo Theatre Co.) Buzzy Grosvenor’s Ding Dong, Jack, Uncle Toms Cabin (Sacred Fools Theatre Co.) Stomp ( NYC, London, International tour)
Film: Star Wars Episode I, II III (Director: George Lucas) Mother and Child (Director: Rodrigo Garcia).
Ahmed has Produced, executive produced and Directed projects, The DL Chronicles (GLAAD award winner for Best Anthology series) web series Bandwagon, This Can't Be My Life, and the Sci-fi comedy The Nebula.
PRODUCER: FLO SPEAKMAN
Flo Speakman is currently the Operations Manager of Sunset Bronson Studios and has produced four low-budget feature films, several short films, and an independent television show. She has worked as a production manager and line producer on numerous other projects. Her producing credits include “Strictly Sexual – The Series”, “The Nail: The Story of Joey Nardone”, and “Footsteps” and the award winning short film "Passing Darkness”. She received a bachelor's degree from Columbia College-Chicago with a concentration in film production.
PRODUCER: DENA HYSELL
A producer/director/writer for her work with top honors at multiple festivals (Toronto, Seattle, Indiana, NYFF). Beginning at Gold Circle Films, she decided to jump to a position that combined her creative and production skills, running Just Singer Entertainment where she sourced and completed movies for Disney's specific mandate. She worked on the SoapNet's flagship series ONE MINUTE SOAPS and ran the feature side of Slate of Eight, LLC developing a dozen film projects in budget ranges from 3 to 80 million. Her feature DOWN FOR LIFE premiered at the Toronto International Film Festival in 2009. She produced A LITTLE HELP, released theatrically in 2011 to rave reviews. She attended Stanford University (BA, MFA), serves on the Board of Directors for Stanford in Entertainment, and was named a 2009 Stanton Scholar and artist representative for The Aspen Institute’s Socrates Seminar on the relationship between business and government.
Check out the rewards section on the right of the screen to see some really cool items that will send you in appreciation of your donation -- scripts, prints, personalized audio messages from the cast, video Q&As, tickets to the premiere, script consultations and cool exclusive, memorabilia like these t-shirts by Production Designer and renowned fine-artist Noelle Maline!
Risks and challenges
Since this project is already mostly shot, the main risks involved in this project are unexpected expenses in the post production process. We have taken great pains to try and anticipate these and provide for them in our funding goal. Once the film is finished, we will be sending it out to festivals to help find distribution so we can get it out to the viewing public -- that takes time. But even if we don't find major distribution we have enough contacts in the VOD world to make sure our donor's friends and families can see the project they've helped see finished. The main risk here is time.Learn about accountability on Kickstarter
- (30 days)