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We're challenging gender norms in cinema as a couple deals with their heartbreak, leaving one heading back on a very lonely path home.
We're challenging gender norms in cinema as a couple deals with their heartbreak, leaving one heading back on a very lonely path home.
91 backers pledged AU$ 6,622 to help bring this project to life.

About this project

'Terminal 1': A Short Film project video thumbnail
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AU$ 6,622

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What do we want to say with this story?

This is a story about heartbreak and masculinity. Society tells us that men can't cry, that they can't show emotion in public. It's feminine. "Man up," they say.

We feel that there aren't enough stories in cinema that challenge this rigid gender norm. Perhaps a grown man showing an emotional reaction to heartbreak will show our fathers, brothers, and sons that it's all right to cry. Crying doesn't make you less masculine. It makes you human.

That's what we want to say with 'Terminal 1.'

What is the story about?

How alone can you feel all at once?

One of a couple is in a third-world country on business, while the other has been here for a visit. The Visitor has been utterly blindsided by their now hour-fresh breakup. They take a taxi to the airport with a completely oblivious cab driver who is too keen for an unwanted chat.

As the two approach the entrance to the airport, their time is excruciatingly cut short as the security guard tells them they can only enter the terminal with a valid passport. They hold each other for a moment, and the Visitor heads inside, looking back desperately for some last-minute change of heart as the other waits until he clears the doorway, then grabs a taxi home.

Once inside, his heart is throbbing, and it overwhelms him. He is completely alone: in this airport, in this beat-down country, and without his partner.

The Visitor's connecting flight has been cancelled. He can fly to Brunei tonight, stay there for two days before continuing on; or, he proposes, he could stay here two more nights and head back then.

He gives the other a call, but he is unrelenting. For a while, he had been trapped in the idea of “forever”. Was he ready to give away his life for “forever”? Letting the Visitor back in his room for two nights would only prolong the stress, worry, and that trapped feeling, so he tells the Visitor to go to Brunei and stay by himself... The ultimate betrayal.

Why? How can everything have seemed so normal not three hours ago, then lead to this definitive act of cruelty? Why? Why?

Heart throbbing, he walks down the airbridge. Will their love survive?

Harley's Colour Board
Harley's Colour Board

Who are we?

We’re Nigel (producer) and Harley (writer/director), and we’re Honey Bar Productions. We’ve always been storytellers, and we think we have a really beautiful and important story to tell that we hope will usher in many more. We may be new-ish in our roles with this film, but we’re about doing it all the way, no holds barred.

 

Nigel Huckle (Producer)
Nigel Huckle (Producer)

Nigel is Aussie-born and USA-bred. His background is strongly rooted in musical theatre, but it's the business that really gets him excited, which he translates to the job of being a producer. He has a Bachelor of Fine Arts in Musical Theatre from Shenandoah Conservatory in Virginia, and has worked with esteemed companies like the Utah Shakespeare Festival, Flat Rock Playhouse, and currently with Cameron Mackintosh Ltd. He's also really politically active. He's an artist, so guess his end of the political spectrum...

Harley Fothergill (Writer/Director)
Harley Fothergill (Writer/Director)

Harley is Aussie born and bred. At 17, he moved to Los Angeles to pursue a career in film and television, first at the American Academy of Dramatic Arts, then appearing in numerous shorts, and on FOX and Comedy Central, contributing the writing to his character CJ on the latter. It was from then that he discovered writing and directing could be another storytelling avenue for him. He spent some time back in Melbourne before moving to New York for a short while, where he studied a course in creative writing at New York University, and wrote his short film 'Love Substance', directed by Mary McCune. This is his premiere directorial venture. 

'Love Substance' dir. Mary McCune
'Love Substance' dir. Mary McCune

 


How much is it going to cost?

$6500 to cover 75% of typical production costs: equipment, catering, paying people (which we really believe in), etc.

However, we aim to focus on the following:

- Sound ($1000 est.) - This is often the most overlooked aspect of filmmaking. We simply want to make it brilliant.

- Location ($1500 est.) - We primarily have a car scene and an airport scene. Since neither of those are in the great, beautiful, and free outdoors, it’s going to cost a bit to hire the best studio to film the car scene, and to make the airport scene work for our story.

- Production design ($1000 est.) - Our setting is very specific. Manila is grungy and gutteral. We want to dedicate as many funds as we can to make our locations authentic.

Location Mood Board
Location Mood Board

What does our team look like?

- Producer (Nigel Huckle)
- Director (Harley Fothergill)
- Cinematographer (Lauren Arthur)
- 1st Assistant Camera
- 1st Assistant Director
- Production Designer
- Production Sound Recordist
- 1st Assistant Sound/Boom Operator
- Gaffer
- Key Grip
- Key Makeup Artist
- Production Runner
- Film Editor

What does our rough timeline look like?

- 1st week of August: First round of production team assembly.
- 2nd week of August: Location work.
- 3rd week of August: Rounding out the production team.
- 4th week of August: Casting! And production meetings.
- 1st week of September: Finalizing equipment list.
- 2nd week of S eptember: Finalizing locations.
- 3rd week of September: Finalizing production design.
- 4th week of September: Final week Prep!
- 1st week of October: PRODUCTION  - October and beyond: Post-Production!

What do we want to do with it?

Film festivals are where you send shorts like this for critique, and hopefully a bit of recognition and success! That’s what paves the way for the next exciting project! We aim to submit it to up to five festivals per continent, including ambitious ones like Cannes, Sundance, and Toronto. If you don’t try, and try hard, where does it get you?

 

Risks and challenges

What is standing in our way?

1. We don’t have Steven Spielberg experience. We have our youth, our vigour, and our experience from being on set as actors, but this is a newer venture for us. Still, with a fantastic team, and proper funding, Harley has a clear vision that we’re sure we can put on the screen.

2. We’re nervous about this damn car. Neither of us has ever worked with an interior car scene. Proper research is going to help us identify the best way for Harley to execute his vision, and the execution is going to take, yes, a bit of funding.

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Funding period

- (28 days)