A Mind Cannot Touch
Culver City, California | Film Short
Drama, Sci-Fi
A Mind Cannot Touch is a short film about loss and how one grieving mother will go to any lengths to bring her daughter back from the dead. The film asks, "What if you could bring a loved one back after their physical body has died?" and explores the moral implications of this hypothetical.
A Mind Cannot Touch
Culver City, California | Film Short
Drama, Sci-Fi
2 Campaigns | California, United States
Green Light
This campaign raised $13,015 for production. Follow the filmmaker to receive future updates on this project.
76 supporters | followers
Enter the amount you would like to pledge
A Mind Cannot Touch is a short film about loss and how one grieving mother will go to any lengths to bring her daughter back from the dead. The film asks, "What if you could bring a loved one back after their physical body has died?" and explores the moral implications of this hypothetical.
About The Project
- The Story
- Wishlist
- Updates
- The Team
- Community
Mission Statement
The Story
The inspiration for this story came from a fascination with holographic representations of musical artists that had passed away. Holographic performances from such celebrities as Tupac in 2012 at Coachella, Michael Jackson in 2014 at The Billboard Music Awards, and Elvis in 2017 on American Idol wowed audiences, but were also a stark reminder of how difficult it is for human beings to let something--or someone--go. A Mind Cannot Touch explores this theme at its extreme: what could possibly be more difficult to let go of than one's own child?
A Mind Cannot Touch is a hard sci-fi story about a mother, LEDA, who uses her expertise in neuroscience to bring her deceased daughter, AIRLIA, back from the grave as a sentient hologram—complete with Airlia's memories and consciousness via mind uploading. Not wanting her daughter to know that she died, Leda decides to lie to Airlia and say she merely recovered from a long-term illness... but how long can she keep up this charade when her daughter will never again be able to grow, taste and touch?
As a writer and filmmaker, I've always been drawn to stories that explore the ethics of science and technology, and how they can be used both to help—and to hinder—humanity. For every medical breakthrough and discovery about our universe that brings hope and happiness, there always seems to be one that brings fear and suffering.
As we've come to place more faith than ever in these pursuits, I've often wondered if the scientific and medical organizations doing this research are cognizant of the consequences of their actions, or only focused on achievement and monetary gain. And what about the individual scientists who work for these organizations?
A Mind Cannot Touch features a protagonist who, after experiencing the greatest loss imaginable, the loss of her only child, tries to circumvent her grieving process through technology. She can't accept the rules of nature and therefore sets out to break them to ease her own suffering. But blinded as she is by her own grief, she fails to consider how her daughter will feel about her new "life," and whether she will--or whether she will want to--adapt to a different kind of existence. Will it be worth it?
In the end, this story examines what would happen if death became an avoidable part of life. What would be the cost? And what agency, if any, would the deceased have in the decision to have them return? How far would we go to bring a loved one back, regardless of the form they would take, or the quality of their "life?"
On the logistical side, I wanted to make sure that this film could tell its story while still being feasible to produce at a high quality. Having just two lead actors and one location helps keep a tight production schedule, and allows for more time to craft the story and performances. It also simplifies the theme to its bare bones as we watch one protagonist grapple with the ethical questions that the film raises.
The aesthetic of the film, and the way it's shot, will track with the mindset of the protagonist, Leda. In the beginning, her only objective is to bring back her daughter, Airlia. So, in order to keep the truth of her "resurrection" from her daughter, the house will be completely void of creature comforts and furniture--things which her holographic daughter would not be able to touch--providing Leda with a blank canvas to project holographic representations of these things for Airlia to interact with once she has been "resurrected."
Stylistically, the lighting at the top of the film will be cold and sterile, mimicking Leda's mindset of grief and loss. There will be no natural light as this interferes with holograms.
Once the holographic world is rendered, the aesthetic style will shift to bright and colorful. As Leda crafts the world she wants for her daughter—and the one she thinks her daughter will want—bright colors will infuse the film to reflect her joy over having her daughter back. However, there will be an over-the-top quality that mimics the artificial life that she has created. This section will be dream-like with smooth camera movements and tracking shots. Leda at this point is floating in a fantasy world, and so too will the film.
As Airlia grows suspicious of the world around her, the style will gradually grow more chaotic and handheld to mimic the deteriorating grip of control that Leda has over the situation. This will build into a crescendo as the illusion is shattered entirely and give way to absolute stillness. Leda must confront the fact that Airlia doesn't want to exist this way, and is left with the choice of acceptance, or continuing to bargain for a life that is gone forever.
As everyone knows, making a film is hard work, and very expensive! The story lends itself to a low budget production, but as my wishlist and the pie chart above illustrate, it will still be a costly endeavor.
It is very important to me to pay everyone involved a fair wage. Your pledges will go toward: securing the ideal location, camera and lenses, production crew, actors, a graphic designer, a hair and makeup artist, wardrobe and props, Covid and PPE supplies to ensure a safe set, and entry fees for film festivals.
Seed & Spark requires at least 80% of the project to be funded in order to get the green light. We need to reach our goal during the 60 day campaign to make sure your contributions will go toward making the film instead of reverting back to you.
Glad you asked! The best way to help is of course by finding an incentive that works for you and making a pledge to help A Mind Cannot Touch get made.
In addition, it would be huge if you could share the link to this project with your followers. Feel free to copy and paste this template!
Just pledged to @amindcannottouch on Seed and Spark! It's a short film written by @golfpanther about a mother that brings her daughter back from the grave as a hologram. Support the campaign here: seedandspark.com/fund/a-mind-cannot-touch
Of course, we realize that not everyone will be able to donate monetarily! It would still be incredible if you could share the project—using this template, if you so wish:
Check out the Seed and Spark page for @amindcannottouch! It's written by @golfpanther and tells the story of a mother that brings her daughter back from the grave as a hologram. Support the campaign here: seedandspark.com/fund/a-mind-cannot-touch
In addition, we could also use your help securing the following things:
- A house to use as the location
- Craft services/catering
- Covid tests and PPE
If you or someone you know may have access to one of the bulleted points of above, please get in touch :)
Thank you to everyone that took the time to read this and learn more about the film.
Even if you don't contribute today, feel free to reach out to our writer, Geoff, with any questions—of if you have a lead on a location!—at [email protected].
We can't wait to make this film and share it with everyone and with your help we can do just that.
Wishlist
Use the WishList to Pledge cash and Loan items - or - Make a pledge by selecting an Incentive directly.
Cash Pledge
Costs $0
Camera and Lens Package
Costs $1,000
We have to shoot this thing and with this we can do that! Covers cost of camera and lenses.
Filming Location
Costs $3,000
House that's needed for three full days of production.
Production Crew Wages
Costs $4,000
Pay for AD, DP, gaffer, key grip, production designer, sound mixer, FX supe, script supe and PA.
Covid and PPE Supplies
Costs $500
Supplies to meet SAG's Covid requirements.
Pay for the Cast
Costs $1,500
Pay for cast that meets the requirements of SAG's short film agreement.
Hair and Makeup
Costs $1,000
Hair and makeup stylist and wardrobe to make our talent look great for their roles!
Wardrobe and Props
Costs $1,000
Assorted props and wardrobe needed for the film.
Film Festival Costs
Costs $1,000
Covers entry fees, distribution, reproduction and some travel expenses to festival locations.
Graphic Designer
Costs $500
Graphic designer to craft professional poster and marketing materials for film.
Share this update!
About This Team
Geoffrey Prather - Writer/Director
Geoffrey is an accomplished screenwriter with many screenplays and teleplays under his belt. He pitched his project, Children of Metal, to Netflix and has been a writer for the series Home Time and the short films, The Snallygaster Tale and 12 Steps. In addition, he worked as a script reader and consultant for many years and that experience sharpened his skills as a writer.
He is a seasoned producer that has worked across a variety of sectors, including: film, corporate, fitness, real estate and government. Currently, Geoffrey works for the Los Angeles County Board of Supervisors and his projects tackle such topics as homelessness and child trafficking.
Geoff's affable personality and dedication make him a joy to be around and insures every project will be fun and fruitful. He can't wait to engage with the Seed and Spark community in ways that help his dreams and others come to life.
Current Team
Incentives
- The Story
- Wishlist
- Updates
- The Team
- Community
Mission Statement
The Story
The inspiration for this story came from a fascination with holographic representations of musical artists that had passed away. Holographic performances from such celebrities as Tupac in 2012 at Coachella, Michael Jackson in 2014 at The Billboard Music Awards, and Elvis in 2017 on American Idol wowed audiences, but were also a stark reminder of how difficult it is for human beings to let something--or someone--go. A Mind Cannot Touch explores this theme at its extreme: what could possibly be more difficult to let go of than one's own child?
A Mind Cannot Touch is a hard sci-fi story about a mother, LEDA, who uses her expertise in neuroscience to bring her deceased daughter, AIRLIA, back from the grave as a sentient hologram—complete with Airlia's memories and consciousness via mind uploading. Not wanting her daughter to know that she died, Leda decides to lie to Airlia and say she merely recovered from a long-term illness... but how long can she keep up this charade when her daughter will never again be able to grow, taste and touch?
As a writer and filmmaker, I've always been drawn to stories that explore the ethics of science and technology, and how they can be used both to help—and to hinder—humanity. For every medical breakthrough and discovery about our universe that brings hope and happiness, there always seems to be one that brings fear and suffering.
As we've come to place more faith than ever in these pursuits, I've often wondered if the scientific and medical organizations doing this research are cognizant of the consequences of their actions, or only focused on achievement and monetary gain. And what about the individual scientists who work for these organizations?
A Mind Cannot Touch features a protagonist who, after experiencing the greatest loss imaginable, the loss of her only child, tries to circumvent her grieving process through technology. She can't accept the rules of nature and therefore sets out to break them to ease her own suffering. But blinded as she is by her own grief, she fails to consider how her daughter will feel about her new "life," and whether she will--or whether she will want to--adapt to a different kind of existence. Will it be worth it?
In the end, this story examines what would happen if death became an avoidable part of life. What would be the cost? And what agency, if any, would the deceased have in the decision to have them return? How far would we go to bring a loved one back, regardless of the form they would take, or the quality of their "life?"
On the logistical side, I wanted to make sure that this film could tell its story while still being feasible to produce at a high quality. Having just two lead actors and one location helps keep a tight production schedule, and allows for more time to craft the story and performances. It also simplifies the theme to its bare bones as we watch one protagonist grapple with the ethical questions that the film raises.
The aesthetic of the film, and the way it's shot, will track with the mindset of the protagonist, Leda. In the beginning, her only objective is to bring back her daughter, Airlia. So, in order to keep the truth of her "resurrection" from her daughter, the house will be completely void of creature comforts and furniture--things which her holographic daughter would not be able to touch--providing Leda with a blank canvas to project holographic representations of these things for Airlia to interact with once she has been "resurrected."
Stylistically, the lighting at the top of the film will be cold and sterile, mimicking Leda's mindset of grief and loss. There will be no natural light as this interferes with holograms.
Once the holographic world is rendered, the aesthetic style will shift to bright and colorful. As Leda crafts the world she wants for her daughter—and the one she thinks her daughter will want—bright colors will infuse the film to reflect her joy over having her daughter back. However, there will be an over-the-top quality that mimics the artificial life that she has created. This section will be dream-like with smooth camera movements and tracking shots. Leda at this point is floating in a fantasy world, and so too will the film.
As Airlia grows suspicious of the world around her, the style will gradually grow more chaotic and handheld to mimic the deteriorating grip of control that Leda has over the situation. This will build into a crescendo as the illusion is shattered entirely and give way to absolute stillness. Leda must confront the fact that Airlia doesn't want to exist this way, and is left with the choice of acceptance, or continuing to bargain for a life that is gone forever.
As everyone knows, making a film is hard work, and very expensive! The story lends itself to a low budget production, but as my wishlist and the pie chart above illustrate, it will still be a costly endeavor.
It is very important to me to pay everyone involved a fair wage. Your pledges will go toward: securing the ideal location, camera and lenses, production crew, actors, a graphic designer, a hair and makeup artist, wardrobe and props, Covid and PPE supplies to ensure a safe set, and entry fees for film festivals.
Seed & Spark requires at least 80% of the project to be funded in order to get the green light. We need to reach our goal during the 60 day campaign to make sure your contributions will go toward making the film instead of reverting back to you.
Glad you asked! The best way to help is of course by finding an incentive that works for you and making a pledge to help A Mind Cannot Touch get made.
In addition, it would be huge if you could share the link to this project with your followers. Feel free to copy and paste this template!
Just pledged to @amindcannottouch on Seed and Spark! It's a short film written by @golfpanther about a mother that brings her daughter back from the grave as a hologram. Support the campaign here: seedandspark.com/fund/a-mind-cannot-touch
Of course, we realize that not everyone will be able to donate monetarily! It would still be incredible if you could share the project—using this template, if you so wish:
Check out the Seed and Spark page for @amindcannottouch! It's written by @golfpanther and tells the story of a mother that brings her daughter back from the grave as a hologram. Support the campaign here: seedandspark.com/fund/a-mind-cannot-touch
In addition, we could also use your help securing the following things:
- A house to use as the location
- Craft services/catering
- Covid tests and PPE
If you or someone you know may have access to one of the bulleted points of above, please get in touch :)
Thank you to everyone that took the time to read this and learn more about the film.
Even if you don't contribute today, feel free to reach out to our writer, Geoff, with any questions—of if you have a lead on a location!—at [email protected].
We can't wait to make this film and share it with everyone and with your help we can do just that.
Wishlist
Use the WishList to Pledge cash and Loan items - or - Make a pledge by selecting an Incentive directly.
Cash Pledge
Costs $0
Camera and Lens Package
Costs $1,000
We have to shoot this thing and with this we can do that! Covers cost of camera and lenses.
Filming Location
Costs $3,000
House that's needed for three full days of production.
Production Crew Wages
Costs $4,000
Pay for AD, DP, gaffer, key grip, production designer, sound mixer, FX supe, script supe and PA.
Covid and PPE Supplies
Costs $500
Supplies to meet SAG's Covid requirements.
Pay for the Cast
Costs $1,500
Pay for cast that meets the requirements of SAG's short film agreement.
Hair and Makeup
Costs $1,000
Hair and makeup stylist and wardrobe to make our talent look great for their roles!
Wardrobe and Props
Costs $1,000
Assorted props and wardrobe needed for the film.
Film Festival Costs
Costs $1,000
Covers entry fees, distribution, reproduction and some travel expenses to festival locations.
Graphic Designer
Costs $500
Graphic designer to craft professional poster and marketing materials for film.
Share this update!
About This Team
Geoffrey Prather - Writer/Director
Geoffrey is an accomplished screenwriter with many screenplays and teleplays under his belt. He pitched his project, Children of Metal, to Netflix and has been a writer for the series Home Time and the short films, The Snallygaster Tale and 12 Steps. In addition, he worked as a script reader and consultant for many years and that experience sharpened his skills as a writer.
He is a seasoned producer that has worked across a variety of sectors, including: film, corporate, fitness, real estate and government. Currently, Geoffrey works for the Los Angeles County Board of Supervisors and his projects tackle such topics as homelessness and child trafficking.
Geoff's affable personality and dedication make him a joy to be around and insures every project will be fun and fruitful. He can't wait to engage with the Seed and Spark community in ways that help his dreams and others come to life.