AUGGIE
Fairfield, Connecticut | Film Feature
Drama, Sci-Fi
AUGGIE is a feature film using strong visual storytelling to explore marital infidelity and desire at a time when technology provides instant gratification, for better or worse.
AUGGIE
Fairfield, Connecticut | Film Feature
Drama, Sci-Fi
1 Campaigns | California, United States
Green Light
This campaign raised $41,501 for production. Follow the filmmaker to receive future updates on this project.
382 supporters | followers
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AUGGIE is a feature film using strong visual storytelling to explore marital infidelity and desire at a time when technology provides instant gratification, for better or worse.
About The Project
- The Story
- Wishlist
- Updates
- The Team
- Community
Mission Statement
The Story
At his “early retirement” party, Felix Greystone is given a pre-release version of an Auggie, a pair of augmented reality smart glasses that project a perfectly human companion onto his world. When Felix's wife Anne gets a promotion and his daughter Grace gets serious with her boyfriend, Felix suddenly feels very alone.
He opens up to his new companion, Auggie, and is recognized and appreciated by her. He feels the ache of loneliness dissipate. Auggie reawakens a passion in Felix, and to his own surprise, he begins to fall for her. In a world that feels too good to be true, it’s difficult for Felix to recognize his increasing addiction to the technology, losing sight of what truly matters. Eventually, reality catches up with his augmented experience and his two worlds collide, forcing him to make a choice.
“Technology is meant to enhance the human experience, not replace it.” ― Anonymous
Our approach is led with a strong visual concept involving jumping in and out of POV to create intimacy (and then distance) between Felix and Auggie. This colors how the viewer feels about the tryst. Inviting shots of Auggie looking straight into camera will entice the audience to develop a connection with her, much like Felix does, only to be reminded of how Felix is actually alone when we jump out of POV.
Felix's marriage with Anne has fallen into a holding pattern, which we intend to show through the repetition in their interactions. Routine can be comforting, but also monotonous. Auggie, as a projection of Felix's subconscious experience, changes how he sees his time with Anne.
Our intention with this project is to tell a contained, relatable, and topical story that explores infidelity in a time when technology outpaces our ability to fully understand it.
The film will tonally shift based on whom Felix is interacting with. In Felix's POV with Auggie, we will mostly feel warmth, safety, sometimes excitement. It’s when we see Felix's world outside of his interactions with Auggie that color is drained. We want the audience to experience a dimmer, more grey, more dusty world that justifies the frustration Felix feels and reflects the way he feels he is perceived by others. The cyclical state of Felix and Anne's marriage has created a staleness that’s reflected in the atmosphere of their home. The resentment Felix feels from his crumbling career and half-hearted support from Anne translates into a feeling of suffocation. Auggie provides a chance for escaping into something brighter. Something fresh.
Throughout Felix's journey, we worry, cringe, laugh and sometimes cry along with him as his actions affect his life and those around him.
Is there really anything more fascinating and important to us than our fellow human beings? For me, I've always liked getting beyond the surface level. We are complex, and I hope I never lose my curiosity about us.
It's rare for me not to find myself analyzing situations and interactions, trying to get to the bottom of an experience to establish how I feel about it. What I feel we have created in Felix is a character who frequently thinks about the way he is perceived, the amount he is appreciated and respected, and the amount he is disliked. Our story presents us with the opportunity to witness the silent conversations we have within our own minds, out loud.
The Auggie glasses project a personification of Felix's subconscious - essentially an imaginary friend. They give him an opportunity to act out his feelings and solve his problems with the apparent help of someone else. The problem is, Felix begins relying on Auggie instead of his wife - preferring the instant gratification this technology provides over the complexity of his marriage. The question we’re asking is: when does technology cross the line in fulfilling our desires?
It's almost as if Auggie, as well as being the object of Felix's desire, is also his conscience. She can be as complex and unpredictable as we are. I am beyond excited to work with our actors to explore the depth of their interactions and their relationship to technology, each other and themselves.
-Matt Kane, Director/Co-Writer
Felix is a creative introvert. He has invested years of dutiful commitment not only to his work as an architect, but to his marriage and fatherhood. He gets to a point where the time he has spent excelling in his obligations is thrown back in his face, losing his job and struggling to connect with his own sense of self. He begins to realize how important recognition, admiration, and respect are, particularly in his new routine.
Anne is driven, patient and social. She has a big heart, but doesn’t always know how to show her love in a way that Felix can interpret. She feels comfortable in the patterns established in their marriage, and her comfort sometimes comes off as lazy or neglectful. She grows suspicious of Felix’s change, but is distracted by the excitement from her new professional obligations, and the presence of a colleague who shows interest in her.
Auggie is a personification of Felix's subconscious. She listens. She provides insight and clarity for Felix. She knows him better than he knows himself. She is him in his purest form, a streamlined, concise companion. Her physical presence provides Felix a great deal of comfort - she knows exactly how to satisfy him, with words and actions.
Grace is an independent, strong-minded young woman. She has wisdom beyond her years, providing her the freedom to make decisions and live her life on her own terms. She is close with her parents, and never shies away from voicing her opinion. Grace’s vulnerability is exposed when she’s confronted with the depth of her parent’s issues. Despite that, she does her best to speak frankly about the negative impact this technology is having on Felix, ultimately desperate for her parents' relationship not to crumble.
We hope to raise our goal of $40,000 through a dedicated audience on Seed & Spark to cover the bare minimum costs of shooting the film. We're taking the experience we've gained from no-budget shorts and assembling a team of passionate, talented collaborators to bring this project to life.
Principal photography for Auggie will take place in Fairfield, CT (Marc's Hometown!) and is scheduled for January, 2018.
Please Follow & Share!
Our campaign is also participating in the Hometown Heroes Crowdfunding Rally, in partnership with Seed & Spark and Duplass Brothers Productions.
If by October 13th we are one of the top 10 campaigns with the most Seed & Spark Followers, we get to pitch to Mark and Jay - two members of the independent film community who inspired us to start creating our own content.
Sharing our campaign on your social media is as helpful as a donation. And doing BOTH goes a long way to helping bring 'AUGGIE' to life!
THANK YOU SO MUCH FOR CONSIDERING OUR PROJECT :)
-Matt and Marc
Wishlist
Use the WishList to Pledge cash and Loan items - or - Make a pledge by selecting an Incentive directly.
Camera Package
Costs $3,000
Great camera equipment is necessary to deliver on the visual concept for our film.
Flights
Costs $6,500
We are excited to team up with local crew but a portion of talent and crew must fly from LA to CT.
Cast & Crew
Costs $15,000
Even with a skeleton crew and a contained story, this section adds up quickly for a feature film.
Set Design & Props
Costs $2,000
The Auggie Glasses are a very important prop & the house needs to feel like Felix & Lauren's home.
Lights
Costs $2,000
We'll use lighting to highlight the visual contrast of what is augmented vs. what is real.
Sound Equipment
Costs $1,000
Good sound is critical to a film - when it's bad it detracts from even the most beautiful visuals.
Hair & Makeup
Costs $500
Hair and Makeup on set will dictate how Felix sees Auggie as something better than reality.
Additional Locations
Costs $700
This story mostly takes place in Felix and Anne's home, but expanding the story a bit is important.
Transportation
Costs $1,000
We need to get people from LGA to Fairfield and to locations when we aren't filming at the house.
Insurance
Costs $3,000
Marc's parents are graciously lending their home but we need to insure both the house and the film.
Wardrobe
Costs $1,000
We'll be borrowing clothes from actors mostly, but Auggie needs a few pieces to make her stand out.
Kosha's Living Room/Guest Room
Costs $250
Anne's friend Kosha is an artist. Her warm home provides comfort to Anne. 1 PM scene, 2 AM Scenes.
Grace's New Apartment
Costs $250
Grace and Ben's new apartment! 1 daytime scene, 1 long night scene.
Anne's Office
Costs $500
Anne's life outside of her marriage is important to establish. 6 daytime scenes, 1 evening scene.
Cafe
Costs $200
3 daytime scenes - Felix has lunch with Grace, and Felix gets coffee w/ Auggie, & Felix alone.
Share this update!
About This Team
MATT KANE (Director/Co-Writer/Producer) is based in Los Angeles. Born in Bristol, U.K, he got his start as an actor from a young age and worked in numerous television and film projects. After relocating to Los Angeles in 2012, he’s continued to work in film and TV as an actor, but has also been able to bring his written content to life as a director. IMDB
MARC UNDERHILL (Producer/Co-Writer) originally hails from Fairfield, CT. After studying Theatre at Northwestern University, he made the move out west to Los Angeles. There, he has appeared on TV (Scandal) and in film (The Blackout). His first collaboration with Matt Kane and Natasha Mullan, “Moving In” premiered at the Provincetown International Film Festival last year. IMDB
NATASHA MULLAN (Director of Photography) is a cinematographer based in Los Angeles. Originally from Ireland, she attended film school at the University of Westminster, London, specializing in cinematography. Shortly after relocating to LA in 2014, she began working with some of her favorite cinematographers in the industry. Since then, she has excelled in the camera department and now regularly works as a camera assistant on larger productions, utilizing time between movies to DP her own projects. IMDB
Current Team
Incentives
- The Story
- Wishlist
- Updates
- The Team
- Community
Mission Statement
The Story
At his “early retirement” party, Felix Greystone is given a pre-release version of an Auggie, a pair of augmented reality smart glasses that project a perfectly human companion onto his world. When Felix's wife Anne gets a promotion and his daughter Grace gets serious with her boyfriend, Felix suddenly feels very alone.
He opens up to his new companion, Auggie, and is recognized and appreciated by her. He feels the ache of loneliness dissipate. Auggie reawakens a passion in Felix, and to his own surprise, he begins to fall for her. In a world that feels too good to be true, it’s difficult for Felix to recognize his increasing addiction to the technology, losing sight of what truly matters. Eventually, reality catches up with his augmented experience and his two worlds collide, forcing him to make a choice.
“Technology is meant to enhance the human experience, not replace it.” ― Anonymous
Our approach is led with a strong visual concept involving jumping in and out of POV to create intimacy (and then distance) between Felix and Auggie. This colors how the viewer feels about the tryst. Inviting shots of Auggie looking straight into camera will entice the audience to develop a connection with her, much like Felix does, only to be reminded of how Felix is actually alone when we jump out of POV.
Felix's marriage with Anne has fallen into a holding pattern, which we intend to show through the repetition in their interactions. Routine can be comforting, but also monotonous. Auggie, as a projection of Felix's subconscious experience, changes how he sees his time with Anne.
Our intention with this project is to tell a contained, relatable, and topical story that explores infidelity in a time when technology outpaces our ability to fully understand it.
The film will tonally shift based on whom Felix is interacting with. In Felix's POV with Auggie, we will mostly feel warmth, safety, sometimes excitement. It’s when we see Felix's world outside of his interactions with Auggie that color is drained. We want the audience to experience a dimmer, more grey, more dusty world that justifies the frustration Felix feels and reflects the way he feels he is perceived by others. The cyclical state of Felix and Anne's marriage has created a staleness that’s reflected in the atmosphere of their home. The resentment Felix feels from his crumbling career and half-hearted support from Anne translates into a feeling of suffocation. Auggie provides a chance for escaping into something brighter. Something fresh.
Throughout Felix's journey, we worry, cringe, laugh and sometimes cry along with him as his actions affect his life and those around him.
Is there really anything more fascinating and important to us than our fellow human beings? For me, I've always liked getting beyond the surface level. We are complex, and I hope I never lose my curiosity about us.
It's rare for me not to find myself analyzing situations and interactions, trying to get to the bottom of an experience to establish how I feel about it. What I feel we have created in Felix is a character who frequently thinks about the way he is perceived, the amount he is appreciated and respected, and the amount he is disliked. Our story presents us with the opportunity to witness the silent conversations we have within our own minds, out loud.
The Auggie glasses project a personification of Felix's subconscious - essentially an imaginary friend. They give him an opportunity to act out his feelings and solve his problems with the apparent help of someone else. The problem is, Felix begins relying on Auggie instead of his wife - preferring the instant gratification this technology provides over the complexity of his marriage. The question we’re asking is: when does technology cross the line in fulfilling our desires?
It's almost as if Auggie, as well as being the object of Felix's desire, is also his conscience. She can be as complex and unpredictable as we are. I am beyond excited to work with our actors to explore the depth of their interactions and their relationship to technology, each other and themselves.
-Matt Kane, Director/Co-Writer
Felix is a creative introvert. He has invested years of dutiful commitment not only to his work as an architect, but to his marriage and fatherhood. He gets to a point where the time he has spent excelling in his obligations is thrown back in his face, losing his job and struggling to connect with his own sense of self. He begins to realize how important recognition, admiration, and respect are, particularly in his new routine.
Anne is driven, patient and social. She has a big heart, but doesn’t always know how to show her love in a way that Felix can interpret. She feels comfortable in the patterns established in their marriage, and her comfort sometimes comes off as lazy or neglectful. She grows suspicious of Felix’s change, but is distracted by the excitement from her new professional obligations, and the presence of a colleague who shows interest in her.
Auggie is a personification of Felix's subconscious. She listens. She provides insight and clarity for Felix. She knows him better than he knows himself. She is him in his purest form, a streamlined, concise companion. Her physical presence provides Felix a great deal of comfort - she knows exactly how to satisfy him, with words and actions.
Grace is an independent, strong-minded young woman. She has wisdom beyond her years, providing her the freedom to make decisions and live her life on her own terms. She is close with her parents, and never shies away from voicing her opinion. Grace’s vulnerability is exposed when she’s confronted with the depth of her parent’s issues. Despite that, she does her best to speak frankly about the negative impact this technology is having on Felix, ultimately desperate for her parents' relationship not to crumble.
We hope to raise our goal of $40,000 through a dedicated audience on Seed & Spark to cover the bare minimum costs of shooting the film. We're taking the experience we've gained from no-budget shorts and assembling a team of passionate, talented collaborators to bring this project to life.
Principal photography for Auggie will take place in Fairfield, CT (Marc's Hometown!) and is scheduled for January, 2018.
Please Follow & Share!
Our campaign is also participating in the Hometown Heroes Crowdfunding Rally, in partnership with Seed & Spark and Duplass Brothers Productions.
If by October 13th we are one of the top 10 campaigns with the most Seed & Spark Followers, we get to pitch to Mark and Jay - two members of the independent film community who inspired us to start creating our own content.
Sharing our campaign on your social media is as helpful as a donation. And doing BOTH goes a long way to helping bring 'AUGGIE' to life!
THANK YOU SO MUCH FOR CONSIDERING OUR PROJECT :)
-Matt and Marc
Wishlist
Use the WishList to Pledge cash and Loan items - or - Make a pledge by selecting an Incentive directly.
Camera Package
Costs $3,000
Great camera equipment is necessary to deliver on the visual concept for our film.
Flights
Costs $6,500
We are excited to team up with local crew but a portion of talent and crew must fly from LA to CT.
Cast & Crew
Costs $15,000
Even with a skeleton crew and a contained story, this section adds up quickly for a feature film.
Set Design & Props
Costs $2,000
The Auggie Glasses are a very important prop & the house needs to feel like Felix & Lauren's home.
Lights
Costs $2,000
We'll use lighting to highlight the visual contrast of what is augmented vs. what is real.
Sound Equipment
Costs $1,000
Good sound is critical to a film - when it's bad it detracts from even the most beautiful visuals.
Hair & Makeup
Costs $500
Hair and Makeup on set will dictate how Felix sees Auggie as something better than reality.
Additional Locations
Costs $700
This story mostly takes place in Felix and Anne's home, but expanding the story a bit is important.
Transportation
Costs $1,000
We need to get people from LGA to Fairfield and to locations when we aren't filming at the house.
Insurance
Costs $3,000
Marc's parents are graciously lending their home but we need to insure both the house and the film.
Wardrobe
Costs $1,000
We'll be borrowing clothes from actors mostly, but Auggie needs a few pieces to make her stand out.
Kosha's Living Room/Guest Room
Costs $250
Anne's friend Kosha is an artist. Her warm home provides comfort to Anne. 1 PM scene, 2 AM Scenes.
Grace's New Apartment
Costs $250
Grace and Ben's new apartment! 1 daytime scene, 1 long night scene.
Anne's Office
Costs $500
Anne's life outside of her marriage is important to establish. 6 daytime scenes, 1 evening scene.
Cafe
Costs $200
3 daytime scenes - Felix has lunch with Grace, and Felix gets coffee w/ Auggie, & Felix alone.
Share this update!
About This Team
MATT KANE (Director/Co-Writer/Producer) is based in Los Angeles. Born in Bristol, U.K, he got his start as an actor from a young age and worked in numerous television and film projects. After relocating to Los Angeles in 2012, he’s continued to work in film and TV as an actor, but has also been able to bring his written content to life as a director. IMDB
MARC UNDERHILL (Producer/Co-Writer) originally hails from Fairfield, CT. After studying Theatre at Northwestern University, he made the move out west to Los Angeles. There, he has appeared on TV (Scandal) and in film (The Blackout). His first collaboration with Matt Kane and Natasha Mullan, “Moving In” premiered at the Provincetown International Film Festival last year. IMDB
NATASHA MULLAN (Director of Photography) is a cinematographer based in Los Angeles. Originally from Ireland, she attended film school at the University of Westminster, London, specializing in cinematography. Shortly after relocating to LA in 2014, she began working with some of her favorite cinematographers in the industry. Since then, she has excelled in the camera department and now regularly works as a camera assistant on larger productions, utilizing time between movies to DP her own projects. IMDB