The Story

December, 1950. As American troops begin their retreat to the south of Korea's 38th parallel, enterprising reporter Lionel Cutter arrives at the front line. His assignment: make contact with the esteemed (and highly elusive) Colonel Bill Wexler to run a story that might restore the public's faith in the war effort.

In over his head and without a single lead as to the Colonel's whereabouts, Cutter falls in with a squad of quick-tempered American GIs. Promising to capture their good side on camera, the men agree to take him to the Colonel—so long as he accompanies them on their patrol of a nearby village without losing his head.

As the true nature of their mission begins to unravel, Cutter's impartiality is pushed to the limit. Ultimately, he is faced with an impossible task: how do you report the facts on the ground when the truth of the matter lies beyond belief?

The Impact

In the six months I spent working at the Los Angeles Loyolan, the student-run newspaper of Loyola Marymount University, there was an uneasy consensus that we could only cover current events if we framed them through rose-colored glasses. When I left the Loyolan, partly out of my personal distaste this "don't rock the boat" mentality, I found myself more aware of how selective our legacy news media is in its coverage of American policy issues—especially our interventions abroad.

I'm far from the first person my age to feel disillusioned by hawkish leadership; where I stand today, there were once thousands of young Americans speaking out against the Iraq War, and the Gulf War, and the Vietnam War, and the—well, you get the idea. It's precisely this historical through line that drew me to this story about the Korean War, which despite being hardly remembered today, essentially set the template for the next 75 years of American foreign policy.

In the same way that I leveraged the conventions of modern Sci-fi Space films to tell a deeply personal story through my junior thesis, Emissary, I will use the historical circumstances of the Korean War to tell a much more universal story about the importance of resisting cruel and unchecked authority. Ultimately, I want to get this film in front of just the right eyes, and the best way to do that will be to submit No More Targets at film festivals like the LA Student Film Festival, Seattle International Film Festival, San Diego International Film Festival, and more.

What We Need (& What's In It For You)

There isn't a lot of common ground between making great films and mobilizing for war, but the two certainly share one thing in common: they don't come cheap. Here's a look at how our funds will be allocated towards the creation of this film: 

Daily Meals: It's easy to overlook, but the cost of feeding a 25-person film crew adds up quick. With your help, this immensely-talented group of student filmmakers won't have to subsist off a meager diet of spare rations and MRE entrées.

Equipment Rentals: As students of Loyola Marymount's School of Film and Television, voted the Number 5 film school in the nation by The Hollywood Reporter, we are fortunate to have thousands of dollars worth of camera, sound, and lighting equipment at our fingertips. That said, we'll need a selection of equipment for this film that the school can't offer; namely, an Easyrig Vario 5 for smooth handheld shooting, a Reel EFX DF-50 Hazer to pull off cinematic streaks of light, and specialized lighting kits from Aputure to enhance Lionel's nightmarish foray into wartime journalism.

Craft Services: On a student film set, you can easily expect to work 12 hours a day for multiple days on end. We're going to need plenty of hot coffee and simple carbs for the crew to keep our spirits high and our eyelids open.

Locations: As ideal as it would be, we unfortunately can't fly our entire crew out to the Korean countryside on a $9,000 budget. The good news is that we CAN secure access to a standing set, a sound stage, and a sprawling ranch for a fraction of the cost!

Production Design: When constructing a barracks tent on a sound stage, props and decoration go a long way in turning that army infantry barracks into an army infantry home. 

Costumes: A period-accurate war film demands period-accurate attire—there's a reason you've never seen an old photo of an American G.I. wearing ripped jeans and a NASA hoodie.

Transportation: Our crew is working with a LOT of gear—camera gear, lighting equipment, and sound kits, not to mention a whole host of cumbersome props. We'll need to rent a U-Haul truck so that each time our crew has to pack up and move to a new filming location, we're able to mobilize effectively without getting stuck in the proverbial mud.

Post-Production: Shooting this film is only half the battle; in order to clinch victory, we'll need the talents of an editor who can jump into the trenches and cut everything together with the perfect pacing and sound design.

MEET THE CREW

Ian Belton (Writer/Director)

Ian Belton is a senior Film and Television Production student at Loyola Marymount University. After years spent working hands-on in the camera and production sound departments, serving as producer on numerous student sets, and directing his own sci-fi junior thesis film, Emissary, he could not be more excited to be working with this immensely talented team to bring No More Targets to life.

Simon Blaustein (Director of Photography)

Simon Blaustein is a 4th year Production student at LMU with a focus in cinematography. His values of Quality, Purpose, and People, along with a love for collaboration makes No More Targets a perfect fit! Having previous experience with Director Ian Belton allows for deeper trust in the creation of this film, bringing its visual message to life. His love for working with ambitious Directors, and to be trusted behind the camera drives him to make something special.

kv Van Buskirk (Production Designer)

kv Van Buskirk is a production designer and writer/director. They have been a part of the art department on numerous sets, production designed over a dozen shorts and music videos, and was the co-production designer of a feature film. kv is a first semester senior production major at LMU. They plan to continue freelancing in art department and directing after graduation.

Tanya Jaffe (Gaffer)

Tanya Jaffe (she/her) is a sophomore Film and Television Production major and has worked in various grip and electric roles on set. She is super excited to be gaffing No More Targets and very grateful to be a part of such an incredible film!

Sam Strachan (Producer)

Sam Strachan is a Los Angeles-based student producer and 1st AD, with experience on LMU MFA and undergraduate thesis films as well as AFI cycle films. His passion for filmmaking dates back to middle school, and he is incredibly excited to be a part of the No More Targets team!

Other Ways You Can Help

If you're not in a position to donate or simply want to take your contribution to the next level, we appreciate any steps you can take to get the word out! By clicking the Share button at the top of the page, you can post a link on Facebook, Twitter, or copy a link to send this campaign directly to friends or family that you think might be interested in supporting this film.