Milk Money


TYPE
: Narrative Feature
GENRE: Student Film
STATUS: Pre-Production

LOGLINE

Two men, bonded by the death of a mutual friend, test their limits when they discover lucrative business in selling milk infused with marijuana.

SYNOPSIS

Charles and Trey go into business together selling marijuana- however, to appeal to the underserved market of the ill, they create marijuana-infused milk: odorless, inconspicuous and potent. Trouble arises when their business is challenged by the O’Farrell clan and their friendship is strained by clashing ideals.

ARTISTIC STATEMENT

This film is built like a going-into-business film, rather than a crime/drug film. The logical steps in plot revolve around how Charlie and Trey will overcome their obstacles from a business standpoint; the same thing applies to the O’Farrells. The bulk of the drama will come when business priorities clash between Charlie and Trey, both seeking to achieve different things through their business. Charlie prioritizes the needs of the medicinal clients over the prosperity of the business itself, as they give him an authentic feeling of importance and achievement that he had been lacking. The service to the clients is also motivated by the emotional connection he had to Finney, his friend with Parkinson’s who had died; he sees this service in honor of Finney’s memory and an extension of his will. However, he also knows that he has to serve his friendship with Trey, as they are the only ones there to support each other. Trey, however, prioritizes the success of the business over the clients. He’s found something that he thrives in, that he’s built this business from scratch with his best friend. He treasures this business, so when the O’Farrells threaten to destroy it, he resists. The O’Farrells act as a motivator for the plot, but also as a mirror of the dynamic between Charlie and Trey. Papa O’Farrell is a patient man who earns his power with calculation and keeps it with respect. Buck, his son, seeks to fill his role as the lead of cannabis sales by matching the image of a gangster. Although the two of them are the only family that they have, Buck does not respect Papa’s decisions as a businessman and he faces more difficulty because his force against the O’Farrell system. Papa does not give Buck the affirmation in his position that he seeks, and Buck is forced further into his attempt to fill the role how he sees it, as a gangster. We want to avoid making the film center around the politics of medicinal marijuana; it’s just about medical marijuana. The film is an exploration of the realm of recreational usage. In most films, drugs are the center; in this film, it’s a factor. This film presents the usage on a more casual level, and illustrate the varied ways that the drug can be presented and administered. Examples of this are canna-capsules, weed-milk, dab syringes, desktop vaporizers, vapor inhalers, and so on. However not all of these products will be involved in their business, rather in a scene without context; this is due to the expensive production costs and/or the fact that some of these products would be too effective and remove any business conflict that Charlie and Trey may have.

KEY CREW

Jonathan Felix Carlson - Director of Photography

Felix Carlson is operating as both the cinematographer and the screenwriter for this feature, allowing him to design the visuals in tandem with the story needs. His short film “Okay” went on for selection in three film festivals, in one of which the film claimed two awards. In the past four years of his career, he has directed the photography for dozens of short film projects, several commercials, and a handful of documentaries. This will be his largest and best project to date.

Weston Crutchfield - Editor

Weston Crutchfield is a second year Film Studies major at UNCW with eight years of experience with writing, shooting, acting in, and editing short films. He has been making YouTube videos and short films in his free time since the fifth grade and won the regional short film contest for the International Thespian Society with his film “Eventually”. He has worked as an editor for well-known gaming youtuber “I Am Wildcat” as well as singer Nicki Taylor. Recently he has taken an interest in graphic design, acquiring an internship at the Cucalorus Film Festival. Proficient with Adobe Premiere, After Effects, Photoshop, and Illustrator, Weston’s goal is to create as many types of quality entertainment media as he can.

Shelby Marquardt - Assistant Director

Shelby Marquardt has been a stage manager and lighting operator for the past seven years, most frequently with The University of Georgia Opera Theatre, the Town and Gown Players, and Athens Creative Theatre. Ms. Marquardt has just finished a stage management internship with Opera Saratoga on Zémire et Azor, directed by James Ortiz. Her areas of focus in stage management are opera theater and burlesque. Some of her favorite projects include Die Zauberflöte (UGA Opera Theatre), The Last Five Years (Town and Gown Players), and Mammoriam (Bump & Grunge Burlesque). Her directorial debut was a parody production of The Help, produced by Boybutante AIDS Foundation. She recently began diversifying into film with Gonzoriffic’s The Stain on the Ceiling. She also has a long and diverse performance background in theater as well classical voice training from Sharon Carter and Dr. Stephanie Tingler. Ms. Marquardt made her Carnegie Hall debut in 2012 with the Cedar Shoals Concert Choir conducted by John Rutter.

William Harry Adams - Producer

Harry Adams has been producing short films and small sketches for half a decade. In the last year, he has placed local competitions with the two shorts “Buy our Burzben” and “The Car Talks.” Recently, Harry has focused on the business of film, talking with local businesses like TekMountain and Cucalorus, largely in production and financing. He now plans on taking what he’s learned to work on his second feature film.

Dani Rabinowitz - Director

Dani Rabinowitz has taken the roles of screenwriting and directing for the feature film Milk Money. Previously, he has six years of experience managing varying sizes of teams, one of which creating a winning entry for the Teen Dream video contest and another creating a winning entry for a Chevrolet commercial contest. Additionally, he interned with award-winning filmmaker Patrick McCullough in Budapest, where he worked on several client-based commercial projects for small businesses. Most recently, he co-wrote for the TealTV feature film On the Air. Milk Money will be his biggest production to date.

 

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