Above: Orlando Brooke (Jude) and Raffiella Chapman (Judgement). 

Above: Exploring one of our many locations. So much texture!

Hold on, what is this?

Above: From our pre-shoot, filmed prior to launching on Indiegogo. #SweetBrotherFilm

Henry Garrett & Maya Markelle in my second film Happy Thoughts (2014).

Dylan's Room, Happy Thoughts, Shopping, Epilogue, Mankind  (2012-2019).

Directing Gintare Parulyte in Happy Thoughts.

Epilogue (2017) with Lisa Moorish, and camera operator Adrian Ardelean. 

Above: Sophie Brooke is Bess

Above: Orlando Brooke is Jude

Above: Images from our mood board. 

Above: Raw, ungraded footage from our pre-shoot.

Above: Some of our many filming locations.

The devil is in the details.

So where’s the money going?

This is a time of great uncertainty for the creative arts and our aim is to ensure that all cast and crew are taken care of and equipped to make this film at the highest possible standard. Any funds raised will bolster our team and allow everyone involved to do what they do best, in the most supportive (and safest!) environment possible.

But still, making a film is far from cheap, even if there are nifty ways to cut corners, as my experience has taught me across five short films, all on micro-budgets, all from conception to completion and distribution. With this being a passion project, of course I’m already reaching into my own sore pocket, but this is a significantly larger project, with a larger cast. 

The cast and crew are a strong core-team with a lot of belief in the project, but still, the process does take a lot of time, dedication, skill, and of course, hard graft. Any generous contributions will go directly towards:

1. Cast + Crew - We are only a skeleton team compared to most film shoots, and those already dedicating their time to the project are doing so because they believe in it, but nevertheless, they deserve to be compensated.
2. Location Hire - As well as a vast number of exterior locations in and around Greater London, we are also looking at three days in a tower block apartment/stairwell.
3. Transportation - Mini-van hire for cast and crew, and also to cover cast and crew travel expenses within London.
4. Equipment + Lighting - We’re filming on the Blackmagic Cinema Camera - previously used for my previous project, Mankind. Another film (one you might have actually heard of) was also shot partly on the Blackmagic Cinema Camera: Avengers: Age of Ultron. While we'll be utilising daylight, additional lighting will be necessary. Both the Cinematographer and Gaffer will be our keys to creating the tone the script implies.
5. Props, Wardrobe, Hair + Makeup - Our unicorn horn is one of the many individual props that is currently being hand-made. I haven’t worked with a makeup artist on previous projects, but seeing as there will be some SFX makeup involved for this film, this is another expense.
6. Refreshments for Cast + Crew - It goes without saying that there's nothing like a balanced breakfast, snacks in between, and a healthy lunch to make a cast and crew happy and ready to give their all on the day.
7. Sound, Editing + Post-Production - Sound design can truly make or break a film, and this is the one area where I never cut corners previously, so certainly don't intend to start now. As well as a Sound Recordist on set, we will also be hiring a Sound Editor. And then of course, there's also the very complicated edit ahead, which will take time. Then there's the grading of the film. If we decide to keep the film monochromatic, it isn't simply a case of hitting the 'B&W' switch, but a painstaking process that requires the skill of a Professional Colourist.
8. Archive Footage - The film involves elliptical editing and digressions that bear strong relevance to the overall theme and story, and some of these will require the use of archive footage. The cost of licensing such clips can add up quickly, but we have been stringent with our choice and use of this additional footage so as not to oversaturate the frame but to richen the visual palette.
9. Insurance - We want to keep everyone safe, and this doesn’t only apply to the Covid-19 filming regulations. Filmmaking during this time is not impossible, but it does comes with an extra cost for safety.
10. Film Festival Submissions + DCP Package - The cost of multiple film festival submissions adds up rather quickly. It's also a full time job (as I've discovered now, five films and many spreadsheets later). However, I've learned that many film festivals like to welcome alumnus back (particularly when a filmmaker has won an award there) at either heavily discounted submission rates, or they will waive the submission fee altogether, which basically means from a strategic standpoint, we can perhaps enter more festivals than usual. Creating a DCP package for the film is also a tad costly (around the £100 mark) but this has also become  the standard delivery preference for film festival exhibition. 

And the perks?

• Your name appearing in the closing credits (and on IMDb) under Special Thanks.
• An invitation to join our private cast and crew screening next year.
• Give your voice to the film, so even if you're living in Tahiti, you too can join the credits.
• One of our specially designed hand-made props used in the film.
• One of our limited edition posters for the film, printed and signed by the cast/crew.
• The official treatment, notes & screenplay of the film, printed and signed by cast/crew.
• A private link to view the film ahead of its official release.
• An official IMDb credit: Associate Producer, Co-Producer or Executive Producer.
• An opportunity to sit-in on one of our cast & crew Zoom meetings.

What about us?

So then, overcoming some obstacles...

Our team has taken into account not only our strengths and the opportunities we have with the film, but also the risks and challenges that we may face along the journey...

• Covid-19 has caused issues with shooting regulations, however, we will be adhering to the current restrictions set by the government to ensure a safe workspace.
•  An ever growing number of films competing for an audience can make it difficult for any work to stand out, but with our tone, visual style and hard-hitting subject, we believe our film will have a real impact.
• If we are unable to reach our target, the film will still be made, regardless. We will have to make budgetary compromises that have the least impact on the production value, but as a team we are committed to this project and will ensure it's fruition either way.

#SweetBrotherFilm

Above: One last peek at our pre-shoot. And yes, that's real dog-poo. Thank you to whoever didn't clean up after their dog... it's just great for the film's bleak aesthetic.... very Pasolini. But next time, pick it up maybe? Our lovely lead actor nearly slipped on it.

#SweetBrotherFilm

Other ways you can help...

Anything you can do to help us promote this campaign is massively appreciated!

We understand that not everyone will be able to contribute financially to our project. These are difficult times after all. But there are other great ways you can help us reach our goal, simply by spreading the word and using the hashtag: #SweetBrotherFilm

• Please copy and share our campaign link to your social media pages.
• You can easily use the Indiegogo share tools to help spread the word.
• Follow our Facebook page: https://www.facebook.com/sweetbrotherthefilm
• Follow our Instagram page: https://www.instagram.com/sweetbrotherthefilm 
• Follow our progress on the IMDb: https://www.imdb.com/title/tt14316514/

After what has been a devastating year for our industry, the only remedy is to continue creating not only with, but also supporting our artistic allies in the making of SWƎƎT BRO†HƎR. 

#SweetBrotherFilm  #SupportIndieFilm