FYI - the graphics in the video pitch ARE NOT those being used. We will get a professional CGI person to do After Effects.

Short Summary

Our feature film is going to address socio-environmental issues, such as challenging our livestock farming systems, via using a Science Fiction film that subliminally pushes a message that sentient beings (e.g., animals) require welfare and rights. In this science fiction script, currently titled Alien Food, aliens conquer humanity and start raising us as a food source. These aliens, the Jartzopians, call us "primates" and "monkeys," a lesser animal in their mind and can therefore justify farming and butchering humans. They freeze our flesh in preparation for the arrival of the second wave of Jartzopians, who will settle the earth.

Jartzopia is a planet in another galaxy that is over-populated, underfed, and a civil war is raging to determine the best way to manage their complex societal issues. One political faction has been conducting secret missions to earth so they can relocate and start a new settlement as well as send resources back to Jartzopia to further their own political cause.

However, a few humans befriend a female alien named Zrawlnooqra who is testing a translation device. Zrawlnooqra doesn't eat meat, is academically minded, and doesn't fit into her culture. The humans engage Zrawlnooqra and hatch an escape plan that requires sacrifice, courage, and committing to a cause bigger than the individual. 

ABOUT ME:

I am a documentary maker who has recently realised the merit of addressing social issues via fiction films. The wider community is not interested in watching documentaries that challenge their behaviour and instead prefer to be entertained. Many vego films attract a vegan crowd and reinforce their values but often fail to reach new audiences. I believe our film will circumvent this issue and attract a new audience to think about how animals are treated.

I have made several short films as well as a feature documentary that won dozens of awards in the international film festival circuit. For examples of my work please see the following links:

- The dog meat trade in South Korea: https://www.youtube.com/watch?v=tEaa1GJo-Uo&amp...

Graphic violence to dogs: https://www.youtube.com/watch?v=o5DPHhBv-ME

Full feature just released online free (in accordance with our agreement with funders): https://www.youtube.com/watch?v=cCdTceduKcY&amp...

The dog meat trade documentary has been used by animal welfare groups, such as CARE, in South Korea to show to politicians and the public in order to shift public perception on animal welfare and rights.

Documentary series (videographer) for Channel News Asia, The Family Affair https://www.youtube.com/watch?v=FyuXUSbzPVk

- Several short films -

 2018/I Break the Cycle (Short) (post-production)

A fact based fiction film addressing real stories of abuse in the film industry in South Eat Queensland in Australia. https://www.youtube.com/watch?v=-3nGY1RdrGo

Clone Mad - A film that I wrote, filmed, acted, and edited myself within 48 hours. https://www.youtube.com/watch?v=pdMqH7Aqk94

Carnivore - https://www.youtube.com/watch?v=LFZqnrn76PA

Bitcoin for blow -  https://www.youtube.com/watch?v=m2iMzlRI_XI

2018 PAIGE (Short)

One Chance (Short) (post-production)

 2018 Powering On: Always Forward, Never Back. (Documentary short) (completed)

 2018/I Muted (Short)

 2018/II Diagnosis (Short)

 2018 ReplicaXion (Short)

 2017 Interview with a cocaine merchant (Documentary)

 2017 Korean dog meat exposé (Documentary short)

What We Have, Need & What You Get

What we have:

We have a full team of excited volunteers eager to get filming. We have a 100 page script that we've been constantly re-writing. We have about 30 actors wanting to be involved as well as a (nearly) complete crew in a voluntary capacity.

We have professional cameras, sound gear, and lights that we are offering without charge as well as an Australian producer, Kobi Louis. 

We have spoken with U.S. based film agents who are keen for us to start filming so they can represent the film and push for it to be in cinemas and VOD services.

What we need:

Props and costumes that will sell the storyline (we need to make or buy various props including human body part and fake blood), finances for Make Up Artists and Effects Artists to create prosthetic masks and costumes, computer graphic design work (for post production), colour grading (done externally), finances for film permits and insurances, sponsors who will provide vegan food (or money for vegan food) for the cast and crew while on-set, location assistance including volunteering locations (on the Gold Coast or Southern Brisbane areas), finance for location payments (we need to hire some places for some scenes), accomodation (we are thinking of camping in the bush somewhere to reduce costs but this is not suitable for all our cast and crew), transportation costs for our cast and crew (some are driving 150kms/100miles) to get to set, several times (I'd like to be able to cover some of their costs, and also car pool to reduce environmental impact), finance to submit the final edition to film festivals.

To achieve this story, we'd like to be able to cover most expenses which come to a bare minimum of US$8,000, which equates to AU$11,000. This doesn't pay any cast or crew and ONLY covers bare minimal expenses to get this production happening.

What you get:

Most importantly, you gain knowledge that you contributed to helping covertly get the general public thinking about animal rights by positioning themselves in the cages as food while being entertained. Subliminal messaging disguised as entertainment is a very powerful tool that is under-utilised by animal activists.

We will also name contributors on our social media pages and website once activated. For those contributing substantially, we will thank you in the credits as well.

For businesses that support our film, we will send a professionally designed certificate of thanks and a directors cut of the film that you can screen at your restaurant or business.

The Impact

While there have been a few fiction films that get people to think about humanities role as another animal on the food chain, these films mostly cater to vegans or those already questioning our food production systems. Our film seeks to influence a new population of people as it will entertain as well as address some key societial issues, mostly how animals are treated.

For example, Scene 24 and part of 25 is below (summarily and not scripted correctly yet):

Scene 24: INT. FARM PIG-PEN
John (Dad) slowly comes to. Jess is sitting there beside him. Sniper is still asleep and Robbo is sitting there observing them both. John's hand starts twitching a little bit and then his face. He then slowly but marginally opens and closes his eyes a slither. Jess grabs John's hand.
JESS (DAUGHTER 2)
"You're awake?"
ANGELA
"Daddie!"
John looks around slowly.
JOHN (FATHER)
"Hi girls." Said in a very weak tone.
JOHN (FATHER)
"What is this place?"
JESS
"I'm not sure. The butchers have us locked in here."
Grandpa starts coughing in the corner, watching on. He is coughing up blood into his hand.
JOHN
"Dad!"
John tries to sit up fast to greet him but he instantly gets dizzy and rolls his eyes and starts to fall back again.
GRANDPA
"Lay down son."
Jess grabs John and helps him lay down. She puts John's head on Jess's knee, looking back up at Grandpa.   
GRANDPA
"How do you feel?"
JOHN
"I feel okay, just dizzy."
GRANDPA
"I've got something to tell you."
Jess, John, Angela and Robbo look intently at Grandpa.
GRANDPA
"I've got cancer."
Grandpa holds up his hand with blood on it.  
GRANDPA
"I've had it for a while now. Before all this happened the Doctors gave me 6 months to live. My organs are dying in my body and I am in a lot of pain. It's time for me to die."
JOHN
"What do you mean?"
BEAT.
JOHN
"Help me up."
Jess and Robbo help John sit up against the wall.
JOHN
"You look great, Dad. Never better."
John says while smiling.
GRANDPA
"I look like a regular supermodel. Don't you think Angela?"
ANGELA
"I think so."
Grandpa looks at Robbo.
GRANDPA
"Be honest. How do you think I look?"
Grandpa smiles and blinks his eyes as if trying to be pretty.
ROBBO
"Like shit!"
Grandpa starts laughing and then coughing some more.
GRANDPA
"I like him. He's a keeper."
Said while smiling.
BEAT.
GRANDPA
"I have a plan where my death can  help you escape."

FASTFORWARD: Grandpa tells his plan - they listen.
Jess cries and so does Angela. Lea overhears the plan and looks across.
JOHN
"What you suggest isn't normal."
Grandpa looks around the room slowly (POV/FPV shot).
GRANDPA
"Nothing about any of this is normal. But I'm confident my plan will work. I'm dying now. At least this way I have some control over my death and it will be without pain. It will also help everyone here."
JOHN
"I don't like it."
Jess is crying softly.
GRANDPA
"What do you think, love?"
BEAT.
JESS
"I want what you think is best."
Jess looks at Dad (John) and moves over grabbing his arm.
JESS
"Dad. This could work. And if Grandpa dies without pain,,, it's better."
GRANDPA
"What do you think Robbo?"
ROBBO
"I think you're nuts. But so is all this. I say do it."
GRANDPA
"Son, with your approval, let's poison these bastards."
BEAT.
"John looks around. The other humans are looking up at him as they've overheard the conversation."
Lea moves over to John's other arm and pulls on it - opposite side to Jess.
LEA
"Mr, please help us escape. This place...it's not right what they are doing to us."
Grandpa puts his arm up to John.
GRANDPA
"Come here."
John gets down and goes under his Dad's arm.
GRANDPA
"Girls, why don't we give this place a little bit of culture while your Dad thinks."
JESS
"What were you thinking?"
GRANDPA
"Swan lake."
Angela and Jess's face light up.
LEA
"Are you ballet dancers?"
JESS
"Yes."
LEA
"So am I."
ANGELA
"Dance with us."
LEA
"Can I?"
JESS
"Of course."
Grandpa starts humming the Swan Lake song. Lea joins in as do the girls followed slowly by a few people in the pen, then everyone (slowly).
The girls dance ballet the best they can in the tight space, the composed swan lake song playing in the background.
Cross fade into the girls dancing in a studio/at home in front of their grandpa wearing the full ballet costume with shoes. (Fill with beautiful imagery and artistic choreography).  
Jess, Angela and Lea are dancing like it will be their last performance.
In the edit, fade in and out of the disgusting pig pen and into the ballet studio. Close ups of feet dancing in both spaces. Close up of spins and wide angels of choreographed jumps and moves in both spaces. Contrast the conditions and allow the audience to feel the lack of culture in the pig pen versus in human constructed reality outside of the pig pen.
The crowd keeps humming in the background to the music reminding the audience of the juxtaposition.  
Fade into the girls dancing back in the pig pen and everyone smiling and clapping loudly.
Scene 25: INT. FARM, COMMON SPACE - MOMENTS LATER
Clapping can be heard from the common space outside the door. Butcher 2 looks across to the Pig Pen door. With haste and an aggressive look on his face, the alien picks up the cattle rod and his blaster and moves toward the door.

BUTCHER 2

"Bloody feral monkeys."

This overtly puts people in the position of animals in our current society and covertly pushes humans to consider what it would be like to live in those conditions, where you become aware that your existence is to be killed for meat. It also subtly demonstrates that any animal, including humans, are going to exhibit docile and unimaginative behaviour when locked up without other activities. This scene reminds the "monkeys" (i.e., human primates) that they are capable of feelings, thoughts, creativity beyond but these feelings are surpressed when in captivity. The audience are also entertained through this process and, as such, are not defensive about the message.

This system works: https://www.dailymail.co.uk/tvshowbiz/article-2...

Risks & Challenges

Other Ways You Can Help

If you cannot contribute financially, please like our Facebook page, share our campaign and Facebook page, and offer any physical services that you may be able to provide.

Alternatively, if you have access to a farm, house, or shed on the Gold Coast or Brisbane please let us know as we may want to film there for a few days.