We're raising finishing funds to complete the post-production phase on our short film "Commercial for the Queen of Meatloaf"—an experimental narrative produced by a mostly-female crew—and we need your help to bring it to the screen!
We're raising finishing funds to complete the post-production phase on our short film "Commercial for the Queen of Meatloaf"—an experimental narrative produced by a mostly-female crew—and we need your help to bring it to the screen!
in partnership with
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Story
Mission Statement
This film was produced by a mostly female crew committed to pushing for more gender diversity and female-centric projects in the film industry. Your contribution will help women who are clearly invested in this mission continue to create work about women—while employing other women in the process!About The Project
Project Summary
"Commercial for the Queen of Meatloaf" is a short film based on the play by Emilie Feldenzer. Marge is a bored housewife. Rex, her inattentive husband. In an attempt to spice up their relationship, Marge employs the Queen of Meatloaf, an ephemeral concoction that seduces Rex and Marge into a state of slumber, while permeating the homes of consumers with her enchanting aura and addicting gustatory appeal.
Rex returns home from work to find Marge in the kitchen, where she has been slaving all day over dinner. But this will be no ordinary dinner. Tonight, Marge is serving the Queen of Meatloaf, “a gustatory experience altogether unlike ordinary meatloaf.” The Queen of Meatloaf emerges silently from the kitchen in bedazzled, human form. Rex is taken aback. Marge regales him with the Queen’s nutritional and nuptial benefits. They are so overcome by the Queen that they fall asleep at the table. The Queen, in direct address to the camera, explains her irresistible appeal. She begins to multiply, emerging in various other human forms and wreaking havoc on consumer TV sets, before disappearing with a slow buzz and a fading dot of white light on the black screen.
Ultimately, "Commercial for the Queen of Meatloaf" is about bodies getting away from each other and the minds they are attached to. In the dreamlike house it is set in, everyone’s relationships with food, desire, commodity, and each other are undermined by a fundamental inability to be present.
History
Each Spring, as part of a writing showcase, I direct a one-act play written by high school students from a local literary arts program. At the 2015 performance, I was introduced to Emilie Feldenzer's play, "Commercial for the Queen of Meatloaf", and was instantly struck by its poetic dialogue, themes, subtext and visuals. I approached Emilie on the spot about adapting it into a short film, and ever since, Emilie and I have collaborated on the film version of her brilliant play as writer and director.
A Personal Note from the Director
As a Director and Screenwriter, I am attracted to stories of women, with a psychological and subtextual component. I enjoy exploring what’s beneath the surface, what we hide from others, revealing an eventual cracking and unveiling of the truth. I am particularly attracted to this project not only because it fits these parameters, but because it presents a challenge as a surreal, absurd, post-modern “experimental narrative” with multiple layers of reality. I was initially struck by the dialogue, which is, like Mad Men, faceted with symbolism and humor. We laugh at the Saul Williams inspired rhymes while at the same time nodding our heads in recognition of their deeper meaning. Beneath the glossy veneer and lyrical dialogue of the commercial, there is much to explore, particularly with Marge and The Queen of Meatloaf, two complex and multi-dimensional female characters who bring the best (and worst) out of each other. I’m attracted to these two characters because they represent parts of me, the parts that struggle to balance my roles as a filmmaker, professor and mother.Is meatloaf going to solve Marge’s marital issues? No. But The Queen of Meatloaf is going to catalyze Marge’s growth as an individual, and help her “come into her own” as a strong, autonomous woman. The Queen is a manifestation of a part of Marge. The part of Marge that is non-conforming, powerful, independent. The Queen breaks Marge open, for Marge is a woman who does not fit the mold, but perhaps doesn’t know how to emerge from it without The Queen’s guidance.The Queen is different things to different audience members/consumers, which will be implicit in the casting of multiple queens. The different bodies through which her voice will manifest can be seen as a symbol of her fractured self, pulled in different directions by those who seek to profit from her existence, and/or those who seek to consume her. But even fractured, she is powerful, shifting, seductive, scary, supernatural.Although "Commercial for the Queen of Meatloaf" is a period piece, it’s also a social commentary on today’s world, and the 1950s housewife is a lens through which we can view modern issues regarding gender roles and the proliferation of consumerism and media. This is what makes it attractive to a modern audience, in the same way that Mad Men was so relatable and relevant, via its universal and timeless themes, wrapped in an eye-catching period setting. This film has a strong voice, narratively and visually, and I look forward to creating, as Marge would say, “a gustatory experience altogether unlike ordinary meatloaf.”Incentives
$10
Caesar Salad
A renowned recipe all the way from California!
We'll thank you personally on both our Facebook page and Twitter timeline—and send you an authentic 1950s recipe to make at home.
$25
Onion Soufflé
A wonderful side dish to accompany a light meal!
You'll receive a thank-you on social media, plus a film still signed by Director of Photography, Shannon Palmer, and a digital copy of the finished film.
$50
Deviled Ham Custard
The whole family will ask for seconds!
You'll receive a thank-you on social media and a digital copy of the film, plus an 11x17 poster designed by Derrick Cullen.
$100
Barbecued Frankfurters
A guaranteed hit at your next picnic!
You'll receive a thank-you on social media and a digital copy of the film, plus a Special Thanks credit in the finished film, and one of three custom bathing suits* worn by members of the cast.
*Bathing suits have all been claimed and are no longer available!
Claimed: 3/3
For the remainder of the campaign, the next person to pledge at this level will get the last 1950s dress (originally at the $250 level), the dress worn by Aya Cash, the bathing suit worn by Jenn Harris, the briefcase used by Will Rogers, or the vintage Pyrex meatloaf dish (all originally at the $500 level)!
Claimed: 0/5$250
Chili con Carne
Serve piping hot with your favorite crackers!
You'll receive everything at the "Barbecued Frankfurters" level, plus a 1950s dress* worn by a cast member.
*Dresses available only while supplies last!
Claimed: 1/2
$500
Tuna Noodle Casserole
An excellent dish to prepare in an emergency!
You'll receive everything at the "Barbecued Frankfurters" level, plus your choice of either: a dress worn by Aya Cash, a briefcase used by Will Rogers, a bathing suit worn by Jenn Harris, or the vintage Pyrex meatloaf dish used in the film. First come, first served!
*Costumes and props are only available while supplies last!Claimed: 0/4
$1,000
Pork Chops with Sour Cream
Guests will go wild for this gourmet delight!
You'll receive a thank-you on social media and a digital copy of the film, plus an Assistant Producer credit.
$5,000
Homestyle Meatloaf
Working girls absolutely love this recipe!
You'll receive a thank-you on social media and a digital copy of the film, plus an Associate Producer credit.
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Wishlist
Use the WishList to pledge cash and loan items - or - Make a pledge by selecting an incentive directly.
$10
Caesar Salad
A renowned recipe all the way from California!
We'll thank you personally on both our Facebook page and Twitter timeline—and send you an authentic 1950s recipe to make at home.
$25
Onion Soufflé
A wonderful side dish to accompany a light meal!
You'll receive a thank-you on social media, plus a film still signed by Director of Photography, Shannon Palmer, and a digital copy of the finished film.
$50
Deviled Ham Custard
The whole family will ask for seconds!
You'll receive a thank-you on social media and a digital copy of the film, plus an 11x17 poster designed by Derrick Cullen.
$100
Barbecued Frankfurters
A guaranteed hit at your next picnic!
You'll receive a thank-you on social media and a digital copy of the film, plus a Special Thanks credit in the finished film, and one of three custom bathing suits* worn by members of the cast.
*Bathing suits have all been claimed and are no longer available!
Claimed: 3/3
For the remainder of the campaign, the next person to pledge at this level will get the last 1950s dress (originally at the $250 level), the dress worn by Aya Cash, the bathing suit worn by Jenn Harris, the briefcase used by Will Rogers, or the vintage Pyrex meatloaf dish (all originally at the $500 level)!
Claimed: 0/5$250
Chili con Carne
Serve piping hot with your favorite crackers!
You'll receive everything at the "Barbecued Frankfurters" level, plus a 1950s dress* worn by a cast member.
*Dresses available only while supplies last!
Claimed: 1/2
$500
Tuna Noodle Casserole
An excellent dish to prepare in an emergency!
You'll receive everything at the "Barbecued Frankfurters" level, plus your choice of either: a dress worn by Aya Cash, a briefcase used by Will Rogers, a bathing suit worn by Jenn Harris, or the vintage Pyrex meatloaf dish used in the film. First come, first served!
*Costumes and props are only available while supplies last!Claimed: 0/4
$1,000
Pork Chops with Sour Cream
Guests will go wild for this gourmet delight!
You'll receive a thank-you on social media and a digital copy of the film, plus an Assistant Producer credit.
$5,000
Homestyle Meatloaf
Working girls absolutely love this recipe!
You'll receive a thank-you on social media and a digital copy of the film, plus an Associate Producer credit.
- Updates
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Current Team
About This Team
Leah Meyerhoff, Executive Producer
Leah Meyerhoff is a New York based filmmaker whose debut feature film I Believe In Unicorns premiered in the narrative competition of SXSW 2014. Her previous short films have screened in over 200 film festivals, won a dozen awards, and aired on several cable networks. She has been shortlisted for the Gotham Awards and received high profile grants from IFP, the Tribeca Film Institute and the Adrienne Shelly Foundation. Her short film Twitch was shortlisted for a Student Academy Award, won a Slamdance Grand Jury Prize, and was picked up by IFC, PBS, Hulu, and Skandinavia TV. She directed a commercial for Converse and music videos for Triple Creme, Joan As Police Woman And Luff, which aired on LOGO and MTV.
Leah participated in both IFP’s Emerging Narrative Labs and Narrative Finishing Labs. She was one of ten filmmakers chosen for the New York Film Festival’s Emerging Visions program, one of eight filmmakers in the 2013 Tribeca All Access Labs and was recently honored with the Adrienne Shelly Director’s Award. Leah is a Tribeca Film Institute mentor and the founder of Film Fatales, a female filmmaker collective based in New York. She holds a BA in Art-Semiotics from Brown University and is a Dean's Fellow in Graduate Film at NYU.
Melodie Sisk, Producer
After starring in Zach Clark's Modern Love is Automatic (SXSW 2009), Melodie Sisk quickly found a love for producing. Since then she has produced and appeared in Clark's Vacation! (Edinburgh 2010) and White Reindeer (SXSW 2013) and is a Story Creator and Producer on Clark’s newest feature Little Sister (SXSW 2016). Melodie also produced and can be seen in Onur Tukel's Summer of Blood (Tribeca 2014), and produced Tukel’s following film Applesauce (Tribeca 2015). Forthcoming projects include: Her directorial debut Ms. Guidance (a web series co-directed with Van Hansis), and Dusty Bias' The Great and the Small, starring Melanie Lynskey. Other credits include: The Ladies of the House (Sarasota 2014), and Drew Tobia's See You Next Tuesday.
Dina Fiasconaro, Director
Dina Fiasconaro is a Baltimore-based filmmaker. Her feature documentary, Moms and Meds, was recently picked up for distribution by Janson Media and Alexander Street Press. Her short films have screened at a variety of festivals, including Portland Underground, BlackStar, and NYC International, and she is a recipient of the ‘Generation Next’ screenwriting grant. Dina has a MFA in filmmaking from Columbia University, and a BS in TV, Radio and Film from Syracuse University. She is an Associate Professor of Film and Moving Image at Stevenson University, and recently co-founded the Baltimore Chapter of Film Fatales, a national organization working towards gender parity in the film industry.
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