TITLE: We Only Go Backwards

LOGLINE: A female high school student holds her own investigation searching for the suspect who killed the CEO she met days before.

SYNOPSIS

Industrious 17-year-old Kennedy Rutherford is a charmer to the world as she goes above and beyond to help others before helping herself, yet she experiences an unexpected turn after randomly meeting the new CEO of Augustine Industries, Carter Augustine. While tutoring fellow classmate, Lucas Bradshaw, Kennedy receives a drunk-dial call from Carter to which she and Lucas take Carter in for the night with no idea of where else to take him by the end of the night. The following evening Kennedy pays a visit to her first social outing to a party that ends with her friend making a trip to the hospital, Kennedy encounters Carter one last time before he is pronounced dead. What everyone wants to know is who killed Carter Augustine? Kennedy sets out to find out as much as she can on Carter’s murder case without budding heads with the police department, but she slowly learns she is the next target the suspect is after. As Kennedy takes on the worst case scenarios, she encounters a state of hallucination that makes her see Carter as her conscious in which hurts Kennedy in the long run.

        "Being a female minority has its twists and turns when you cannot relate to the content produced by the entertainment industry, especially as a storyteller being held back by literary agents who make or break a writer’s career. Growing up became difficult, especially when you couldn’t relate to a majority of society bing that I was of Hispanic descent. The film and television work field did not have as many opportunities for Latinos working towards becoming actors, directors, screenwriters, and producers, so I took the time to stop and write for hours that turned into days and eventually become months of constant creating. WE ONLY GO BACKWARDS became the reflection of previous experiences and people I have grown up with that pushed me to complete two seasons worth of content for individuals itching for a new NETFLIX series to binge watch. With careful consideration to the target audience of all entertainment content, this project has received much attention on social media that encouraged me to work towards producing and directing WE ONLY GO BACKWARDS.

        WE ONLY GO BACKWARDS focuses on engaging an audience to hidden voices within the entertainment industry Hollywood has established over the years. This project is aimed to produce a trailer and pilot episode for a new television series in which solves the issue of the entertainment industry overlooking innovative individuals with massive creative strategies that take on the are of television and cinema storytelling. The series portrays personal experiences that reflect emotions and actions relatable to viewers. The traumatizing life of the protagonist represents a psychological appeal to a large audience seeking a drama-filled series. The storyline takes an opportunity to explore a broken character while witnessing the evolution of settings and supporting characters in which contribute to the dark and euphoric appearance and plot line of the show itself. The series will focus on raising awareness to the transition into young adulthood heavily equipped with learning how to love, letting go of the past, mental health, drug and alcohol abuse, violence, and a corrupt foster care system that can be successfully portrayed on screen."

The Budget

Funds will be used to cover costs of above-the-line costs (e.g. casting, director, producer), which could range between $30,000-50,000 alone. Below-the-line costs will include location expenses, such as the license and permission to film within the area, set construction and operations, camera equipment (e.g. camera, lenses, lighting, grip truck, DP, 1st AC, 2nd AC, gaffer, key grip), wardrobe, makeup, post-production (e.g. video and audio editing, color and FX) can reach up to $150,000 to cover the main costs of producing the pilot episode and trailer that will be filmed in the Los Angeles region. Camera equipment becomes extremely costly if not considered properly when scheduling a set timeframe for the cast and crew to work successfully.

ABOVE-THE-LINE COSTS

(Approximately $30,000-50,000)

1. Casting

2. Producer(s)
3. Director(s)

BELOW-THE-LINE COSTS

(Approximately $150,000)

(1) Production

   - Location expenses ($5,000)

   - Set construction/operation

   - Camera(s) equipment ($70,000)

       (a) Camera, lenses, lighting, grip truck

       (b) DP

       (c) 1st AC

       (d) 2nd AC

       (e) Gaffer

       (f) Key Grip

   - Wardrobe ($800)

   - Makeup ($300)

(2) Post-Production Costs ($7,000)

   - Editing (Video/Audio)

   - Color and FX

(3) Other expenses

CASTING

For confidentiality purposes, actors included in the project can be disclosed on an individual basis as they are A-list casting choices approved for this series. For further information on casting, feel free to email me at [email protected]

PRODUCTION CREW

Director: Giovanni Montalvo

Cinematographer: Michael Greenwood

Any monetary contribution is immensely helpful and

greatly appreciated. This production would be an

impossible task without the support of each and every

one of you. Thank you from the very bottom of our hearts

for reading and considering this pitch.