“Does every road trip have to go somewhere?"
“The actress and the sexpert.”
“Sweet and sour like funny and sad?”
“Drink lots of tea, and go that way. In circles?”
“Sometimes having everything is not having everything.”
“It’s springtime, oooh-oh, ah-aaah, in the heartland.”
Writer and Director: Brigitta Wagner; Producer: Bianca Escobar; Executive producer: Andrew Krucoff; Director of Photography: Andreas Wagner; Sound: Eric Day; Editor: Matthew C. Hart ; Assistant Producers: Zollie Barnes and Ben St. John; Music: Emily Arin and Jacob Emery
Rosehill, a feature film about friendship at tertiary life starring acclaimed actress-filmmaker-performance artist Josephine Decker and New York actress and improviser Kate Chamuris. There’s childhood…there are the teenage years…there’s even young adulthood. But what happens in the great beyond (adulthood, the real thing)? When two 30-something old ‘besties’ reunite in Indiana, their planned weekend of adventure takes some surprise twists and turns. The road trip they embark on (in circles) ends up being a journey to themselves. Via despair, humor, unsolicited wisdom (watch out for those wise ladies), an unlikely farmer, and a blushing boy-ingénu. Have a cup of tea, and get in the car!
The style of the film will be shaped by two major strengths of our team: our shared roots in documentary production and our love of intelligent, subtle improvisation. The first has taught us all to respect realism and the relation between characters and authentic environments. The second introduces a layer of surprise and tension between the actors’ performances and the attentiveness of the camera. This heightened awareness on both sides of the camera gives scenes an elastic quality, somewhere between restraint and excess, a lot like life. All members of the team bring multiple skills to the production (actors who also direct; a director who writes and is a public speaker; a cinematographer who acts; a producer who can also step behind the camera, many of us also editors, with an eye to post-production). Our set (and already our rehearsals) will be a dynamic place to stretch and adapt this collectively nurtured story. A truly independent film that we hope to make with your generous support!
There has always been a vibrant independent American cinema—full of intrepid experimention, with energetic collaborators pouring their own resources into projects they believe in. Rosehill is American cinema in this tradition, and we’re all investing our own money in this project. But even small films, managed by producers and a crew who know how to stretch a dollar, require additional help!
Here are just some of the budget items that our Kickstarter funds will offset:
TRANSPORTATION: Because we’re flying in some of our talented cast and crew from other places, we’ll need to cover their plane tickets. Not to mention the fuel costs of our volunteer production drivers in Bloomington!!
FOOD: Nothing keeps a film production moving forward like nutritious food! As we work long hours to maximize our two-week production window, the cast and crew need to get some good, solid meals in them! Any local ideas? Donations?
EQUIPMENT: Not to be underestimated! In addition to the talent and collaborative vision of the film’s team, good camera, sound, and lighting equipment allows us to provide our editor with the best possible material for post-production! From these big ticket rentals to the memory cards in our camera to the hard drives we need to store the footage, good equipment is worth it in the long run!
CAST & CREW: Passion goes a long way, and, while some members of our fabulous team have offered to do donate their talents, labor is labor-----and we’d love to be able to do the right thing and pay people! It’s great for morale! With your help, all of this will be possible! $15,000 is a realistic budget for a film of this size and scope, especially in the hands of our competent team, whose members have not only managed numerous large start-to-finish projects, but whose collective output has included festivals screenings, major ad campaigns, international conferences and workshops, theater productions, web series, and anthologies.
And just so you know, here are a few other items we are eyeing: props (there are a handful!), wardrobe (got to get the right look for our characters!), lodging (anyone want to put up a few of us in Bloomington?), liability insurance (always a good idea in the world of production), music (think we should have some?), not to mention post-production (with our virtuoso editor)!!! Oooh, and it doesn’t hurt to be prepared for the little surprises along the way. Risks & Challenges: Anyone who started his or her professional life as a production assistant in film and television and lived through a few snafus knows how even the most well-planned shoots can take surprising turns.
Brigitta: the time (before every business had a website) I had 45 minutes to find a cowboy hat uptown and a hobby-horse downtown while delivering flowers to a former First Lady.
Bianca: the time when the pool the kids were supposed to be swimming in for a summer shoot was below freezing.
Andreas: the time I accidentally bought high thread-count Egyptian cotton sheets to cover dirty, old furniture.
Josephine: the time I had to carry a watermelon… (she's still waiting for you to catch the reference).
Kate: the time I had to make 2 prop cakes last through a 3-day shoot that included a knife fight destroying said cakes.
Risks and challenges
Luckily, we all have experience rising to the challenge of these unplanned events. Making a film means anticipating, reacting to, and resolving sudden changes. We feel confident that our budget, careful planning, and flexibility will allow us to respond to unexpected incidents (like unforeseen changes in weather, scheduling, etc.) creatively and economically.Learn about accountability on Kickstarter
- (34 days)