SYNOPSIS

Kelly, a 56-year-old ex-soldier with little hope for herself remaining, leads a numbingly monotonous life as a slaughterhouse worker, compartmentalizing the death she causes as “parts production.” Her carefully constructed emotional walls begin to crack when a distraught coworker, Mark, breaks down during his shift, no longer able to handle the brutal nature of their work. Kelly heads home, where she leads an equally repetitive, depressing life. She pushes the thought of what happened with Mark out of her mind. When the pair later run into each other out at a local diner, their conversation startles Kelly, as she never expected to find compassion from this stranger. They end up seeing each other again, and the second interaction forces Kelly to confront the weight of her actions and question whether redemption is possible for someone who has chosen a life of sanctioned killing.

The story is character-driven and thought-provoking, without any huge drama. The world is constructed to feel as accurate as possible to what Kelly's environment would actually look like, and I've striven for authenticity in every aspect of the script and pre-production. While the story isn't totally action-driven, it's a deep analysis into Kelly's character and the psyche of someone who might choose this lifestyle.

DIRECTOR'S STATEMENT

Abattoir is the final project that I will direct while at NYU. While this is a film that showcases the culmination of my education, it equally showcases many of the themes I have explored through writing and previous directing projects: human nature, redemption, love, and religion. This project initially started as a prose piece with the intent of becoming a short story, but now that there's the opportunity to bring this concept and Kelly's character to screen, I can't ignore the chance.

In writing this script, I've reflected on the idea of violence compounding upon violence, and how a lifestyle rooted in this could affect someone; hence, Kelly. Kelly is not particularly likable, nor is she significant to the world she lives in, and yet, this is exactly why I want to focus on her and her life: comprised of just going through the motions, suddenly uprooted. At its core, this is a character study with a focus on redemption, shown through mutual struggle and eventual compassion.

While characters like Kelly aren't often focused on within media, a character comp that comes to mind is Fern from Nomadland. Frances McDormand's portrayal of this character is extremely similar to what I hope to achieve in directing Kelly's actor, which I believe will really come through in the moments that we see Kelly alone.

But why now? In our current world, there is a growing disconnect between people, even members of the same community, or who work the same job–think of Mark and Kelly, who had never interacted at work before. The cause of this divide is debatable–maybe it's our phones, maybe it's the lack of group activities in the world–but the consequences are evident. What are the consequences of a society growing ever more isolated, and how do we all choose to compartmentalize these feelings?

CHECK OUT THE MOODBOARD:

https://pin.it/68HIWCPdP

WHAT WE'VE ALREADY ACCOMPLISHED

The script is on the cusp of being locked, the casting process has begun, and locations are starting to be locked! Much of the work to come is purely logistical and research-based, mainly to do with locations. Below is an image of the AirBnB we really want to rent, both for shooting Kelly's home as well as a place for the cast and crew to stay!

WHAT THE FUNDING WILL DO

As fun and unpredictable as shooting in New York City is, this story is set in the South, so we'll be traveling out of state as a crew. We plan to shoot in Eastern Pennsylvania (not quite the South, but it can look pretty similar, and saves a ton of money!), so your money will go towards transporting the crew and equipment safely to our locations, as well as providing comfortable accommodations and meals for the crew. Our priority is always with ensuring the comfort and safety of our cast and crew, so we've dedicated a large portion of our budget to these goals.

Additionally, a large portion of our budget is going towards camera rentals and production design. Creating a realistic environment where we can see Kelly actually living, including the car she drives, is essential to telling her story.

IF WE MEET OUR FUNDING GOAL:

• We can shoot in amazing locations that add to the film's authenticity and practicality
• We can provide cast and crew transportation, lodging, and food
• We'll be able to rent extra camera equipment that will help us further flesh out Kelly's world
• Once editing is complete, we'll be able to submit to 8+ film festivals–help us get our story out there!

OTHER WAYS YOU CAN HELP!

• Follow our Seed&Spark page! If you're into this project but aren't able to donate, you can still support us by clicking the heart at the top of the page near the countdown clock. When we reach 250 followers, the visibility for this page increases, AND unlocks benefits like access to production gear, film festival waivers, and assistance with digital marketing! Once you follow, it's also easier to stay in touch with the project and receive updates.
• Share this page! It takes a village to make a movie, so it helps when we actually have a village! If you're into this project, please send it to friends and family, whether you think they'd enjoy the subject matter or they're just film buffs. Every visit to our page matters, and every dollar makes an impact!
• Spread the word! Maybe you're chatting with someone at dinner and you think of this project... the more people who know what we're trying to accomplish, the better! Word of mouth is a great way to raise awareness.