DUCK Short Film
San Jose, California | Film Short
Drama
DUCK is thematically about rigid gender expectations, subtly explored through a story about two best friends, Ben and Ethan (6), nurturing rescued ducklings, portraying how they are pushed apart as family members pressure the boys to conform to traditional masculinity.
DUCK Short Film
San Jose, California | Film Short
Drama
1 Campaigns | California, United States
Green Light
This campaign raised $10,810 for production. Follow the filmmaker to receive future updates on this project.
42 supporters | followers
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DUCK is thematically about rigid gender expectations, subtly explored through a story about two best friends, Ben and Ethan (6), nurturing rescued ducklings, portraying how they are pushed apart as family members pressure the boys to conform to traditional masculinity.
About The Project
- The Story
- Wishlist
- Updates
- The Team
- Community
Mission Statement
The Story
The Story
DUCK is a subtle slice-of-life story, which invites the audience to examine how traditional gendered social norms affect the friendship of two young friends, Ben and Ethan.
The story follows Ben and Ethan from a chaotic school bus, where the cruelty of older bullies to smaller kids contrasts the sweetness of the boys friendship, back to Ben's house where we meet a family of ducklings the boys have rescued and raised together.
With Ben's teenage sister Sadie and her friend, the boys gather the ducklings into a crate and walk them to a nearby pond, talking about how the ducklings will learn to migrate by following the older birds who have learned the way. They release the ducklings at the lake, at first joyous, but walking home Ethan becomes tearful and Ben comforts him by holding his hand.
Back home that evening, Ben's parents come home and Ben's father separates the boys when he notices they are cuddled together on the couch while watching a movie. Ben's father shames him for 'acting like a baby' and the next morning, Sadie reinforces this shame as the boys walk to the school bus. Embarrassed by his sister's words, Ben's shame caused him to reject Ethan's friendship, and in the last scene the boys sit apart on the bus, each hurt, confused, and isolated.
Why make DUCK?
During my Master's film program, I worked as nanny of young boys. I was struck by the range in these boys personalities; I noted how often they were affectionate and nurturing towards each other, wanting to play house just as often as they wrestled or fought.
I also observed how the boys' parents sometimes discouraged the expression of their 'softer' traits. I suppose watching these young boys made me curious about when, and from what influences, many men lose the ability to express affection and nurturing instincts which were so natural to them when young.
Through reading about masculinity from authors including Robert Webb, Michael Ian Black, Grayson Perry, and Jared Yates Sexton, I deepened and developed by conviction that boys and men stand to benefit from the deconstruction of rigid gender expectations as much as anyone.
Inspired by the boys I cared for and also by examples of adult men who lacked emotional intelligence or language, I wrote DUCK in a style that I felt was subtle and asked the audience to witness the moment when shame enters these boys friendship, leaving them frustrated, confused, and isolated. It came from a place of hope that we can do better for by our sons and brothers.
I entered the DUCK in a small handful of script competitions and it did very well, receiving glowing feedback and placing as a semifinalist with ScreenCraft and a quarterfinalist with Atlanta Film Festival. I knew I had written something from the heart, that it was resonating, and that I needed to make this film.
I began reaching out to my filmmaking network, scouting locations, and organizing auditions... and then Covid-19 changed everything.
Why Now?
In terms of the pandemic, in 2023, we are finally in a place where the we have wide-spread vaccinations and organizing a small production with child actors feels responsible and safe.
Socially, I feel like conversations about gender are more open than they have ever been, and yet there are also many who want to close conversations about gender, sexuality, and spectrums of identity and expression that naturally exist. Even in 2023, legislation limiting teachers from talking about gender and sexuality in schools is passing in many parts on the country, along with a host of similar bills targeting the LGBTQIA+ community.
In a small way, I hope that DUCK opens up conversations about how homophobia and rigid ideologies around gender expression harm everyone, including boys and men.
Now is also the time for me to make the film on a personal level.
I've worked on a number of films since 2016: about a dozen shorts and even an independent feature film. While I loved working on those projects, and was privileged to work with some very talented creators, I believe in DUCK more than any other project I've ever worked on. It's time for me to put my energy into my own vision and into my own work, and not just be a supporting player in someone else's.
I've been fortunate through this somewhat delayed journey, that I've had the support of my friend and fellow filmmaker Davi Silviera. A stay-at-home father of three, as well as an incredibly talented, self-taught cinematographer, Davi has been an ideal partner for making this film. He has enthusiastically devoted time an energy to shooting and editing our pitch video, finding locations and recruiting additional talent.
We're excited to share with you more updates about our growing team.
With your support, we know we can make a powerful and touching film.
The goal of $13,500 will enable us to get through production (shooting), and pay for some key aspects of post-production.
While it may seem like a lot of money for a relatively simple film without a fantasy story-world or special effects, this budget goal covers the basic costs for equipment, locations, production design, insurance, as well as modest cast and crew wages for a two-day film shoot.
Our $13,500 is the bare minimum needed to get through production and make the quality of film which festivals accept for exhibition, and do so without exploiting the work of our crew and cast.
With additional funds above our campaign goal:
$24,000, we can fully cover post-production of the film.
$30,000, would fund our festival, distribution and promotional costs, enabling us to get this film in front of festival audiences over the next year.
$40,000, would allow us to pay the director/writer and producers (we are currently sacrificing pay for each of these roles, in solidarity to make the film). We would also be able to offer our talented team more respectable day rates, as they are all working for far below professional standards - also out of passion for the project and its message.
We hope that you will make a monetary gift or in-kind donation in support of DUCK, and also help us spread the word about this project through your social media and other networks.
THANK YOU!
Wishlist
Use the WishList to Pledge cash and Loan items - or - Make a pledge by selecting an Incentive directly.
House
Costs $1,000
A family home is another key filming location.
Production Crew
Costs $3,800
Production crew wages: DP, camera assistant, sound recordist, script supervisor/ 1st AD, set teacher
Set/Costume Design
Costs $500
Production and costume designer, set/costume pieces and basic makeup
Film score
Costs $2,000
Score will be an essential component of this film, driving the emotion of the story.
Insurance
Costs $650
Insurance!
Cast
Costs $2,400
Compensation for cast
Production rentals
Costs $500
Camera accessory and misc rental
Permiting
Costs $800
City permits are required for filming at public locations
Set animals
Costs $400
Production animals are required for this film.
Craft services
Costs $400
Simple set meals and snacks for cast and crew on a two day shoot
Cash Pledge
Costs $0
Bus
Costs $1,050
A school bus is one of the key locations, and adds tremendous production value to the film.
Direct link:
Share this update!
About This Team
Hilary Dunn - Writer/Director
Hilary holds an MFA in Screenwriting from London Film School and has worked on several shorts, including THE CLOSURE CENTRE on Amazon Prime, and the indie feature COAST, which was distributed by Cinedigm in 2022.
Her writing has placed in a number of national script competitions, including ScreenCraft, Atlanta Film Festival, SoCreate, and LA Screenwriter.
Hilary's scripts often feature dynamic female characters and feminist themes. The dual themes of isolation and connection are core to her storytelling.
She lives in the Bay Area of California, and plans to produce DUCK in San Jose and Los Altos Hills.
Davi Silveira - Director of Photography
Davi developed a passion for cinematography from the work of greats like Gordon Willis, Roger Deakins, Vadim Yusov, Emmanuel Lubeski, and many others. Davi's award-winning narrative short film, RADIOHEAD, screened at numerous festivals. His documentary feature, THE AUGMENTATION OF DOUGLAS ENGLEBART is streaming on Amazon Prime. He is currently editing his second feature documentary, MAOSANTA, about Hall of Fame Brazillian basketball legend, Oscar Schmidt.
Current Team
Incentives
- The Story
- Wishlist
- Updates
- The Team
- Community
Mission Statement
The Story
The Story
DUCK is a subtle slice-of-life story, which invites the audience to examine how traditional gendered social norms affect the friendship of two young friends, Ben and Ethan.
The story follows Ben and Ethan from a chaotic school bus, where the cruelty of older bullies to smaller kids contrasts the sweetness of the boys friendship, back to Ben's house where we meet a family of ducklings the boys have rescued and raised together.
With Ben's teenage sister Sadie and her friend, the boys gather the ducklings into a crate and walk them to a nearby pond, talking about how the ducklings will learn to migrate by following the older birds who have learned the way. They release the ducklings at the lake, at first joyous, but walking home Ethan becomes tearful and Ben comforts him by holding his hand.
Back home that evening, Ben's parents come home and Ben's father separates the boys when he notices they are cuddled together on the couch while watching a movie. Ben's father shames him for 'acting like a baby' and the next morning, Sadie reinforces this shame as the boys walk to the school bus. Embarrassed by his sister's words, Ben's shame caused him to reject Ethan's friendship, and in the last scene the boys sit apart on the bus, each hurt, confused, and isolated.
Why make DUCK?
During my Master's film program, I worked as nanny of young boys. I was struck by the range in these boys personalities; I noted how often they were affectionate and nurturing towards each other, wanting to play house just as often as they wrestled or fought.
I also observed how the boys' parents sometimes discouraged the expression of their 'softer' traits. I suppose watching these young boys made me curious about when, and from what influences, many men lose the ability to express affection and nurturing instincts which were so natural to them when young.
Through reading about masculinity from authors including Robert Webb, Michael Ian Black, Grayson Perry, and Jared Yates Sexton, I deepened and developed by conviction that boys and men stand to benefit from the deconstruction of rigid gender expectations as much as anyone.
Inspired by the boys I cared for and also by examples of adult men who lacked emotional intelligence or language, I wrote DUCK in a style that I felt was subtle and asked the audience to witness the moment when shame enters these boys friendship, leaving them frustrated, confused, and isolated. It came from a place of hope that we can do better for by our sons and brothers.
I entered the DUCK in a small handful of script competitions and it did very well, receiving glowing feedback and placing as a semifinalist with ScreenCraft and a quarterfinalist with Atlanta Film Festival. I knew I had written something from the heart, that it was resonating, and that I needed to make this film.
I began reaching out to my filmmaking network, scouting locations, and organizing auditions... and then Covid-19 changed everything.
Why Now?
In terms of the pandemic, in 2023, we are finally in a place where the we have wide-spread vaccinations and organizing a small production with child actors feels responsible and safe.
Socially, I feel like conversations about gender are more open than they have ever been, and yet there are also many who want to close conversations about gender, sexuality, and spectrums of identity and expression that naturally exist. Even in 2023, legislation limiting teachers from talking about gender and sexuality in schools is passing in many parts on the country, along with a host of similar bills targeting the LGBTQIA+ community.
In a small way, I hope that DUCK opens up conversations about how homophobia and rigid ideologies around gender expression harm everyone, including boys and men.
Now is also the time for me to make the film on a personal level.
I've worked on a number of films since 2016: about a dozen shorts and even an independent feature film. While I loved working on those projects, and was privileged to work with some very talented creators, I believe in DUCK more than any other project I've ever worked on. It's time for me to put my energy into my own vision and into my own work, and not just be a supporting player in someone else's.
I've been fortunate through this somewhat delayed journey, that I've had the support of my friend and fellow filmmaker Davi Silviera. A stay-at-home father of three, as well as an incredibly talented, self-taught cinematographer, Davi has been an ideal partner for making this film. He has enthusiastically devoted time an energy to shooting and editing our pitch video, finding locations and recruiting additional talent.
We're excited to share with you more updates about our growing team.
With your support, we know we can make a powerful and touching film.
The goal of $13,500 will enable us to get through production (shooting), and pay for some key aspects of post-production.
While it may seem like a lot of money for a relatively simple film without a fantasy story-world or special effects, this budget goal covers the basic costs for equipment, locations, production design, insurance, as well as modest cast and crew wages for a two-day film shoot.
Our $13,500 is the bare minimum needed to get through production and make the quality of film which festivals accept for exhibition, and do so without exploiting the work of our crew and cast.
With additional funds above our campaign goal:
$24,000, we can fully cover post-production of the film.
$30,000, would fund our festival, distribution and promotional costs, enabling us to get this film in front of festival audiences over the next year.
$40,000, would allow us to pay the director/writer and producers (we are currently sacrificing pay for each of these roles, in solidarity to make the film). We would also be able to offer our talented team more respectable day rates, as they are all working for far below professional standards - also out of passion for the project and its message.
We hope that you will make a monetary gift or in-kind donation in support of DUCK, and also help us spread the word about this project through your social media and other networks.
THANK YOU!
Wishlist
Use the WishList to Pledge cash and Loan items - or - Make a pledge by selecting an Incentive directly.
House
Costs $1,000
A family home is another key filming location.
Production Crew
Costs $3,800
Production crew wages: DP, camera assistant, sound recordist, script supervisor/ 1st AD, set teacher
Set/Costume Design
Costs $500
Production and costume designer, set/costume pieces and basic makeup
Film score
Costs $2,000
Score will be an essential component of this film, driving the emotion of the story.
Insurance
Costs $650
Insurance!
Cast
Costs $2,400
Compensation for cast
Production rentals
Costs $500
Camera accessory and misc rental
Permiting
Costs $800
City permits are required for filming at public locations
Set animals
Costs $400
Production animals are required for this film.
Craft services
Costs $400
Simple set meals and snacks for cast and crew on a two day shoot
Cash Pledge
Costs $0
Bus
Costs $1,050
A school bus is one of the key locations, and adds tremendous production value to the film.
Direct link:
Share this update!
About This Team
Hilary Dunn - Writer/Director
Hilary holds an MFA in Screenwriting from London Film School and has worked on several shorts, including THE CLOSURE CENTRE on Amazon Prime, and the indie feature COAST, which was distributed by Cinedigm in 2022.
Her writing has placed in a number of national script competitions, including ScreenCraft, Atlanta Film Festival, SoCreate, and LA Screenwriter.
Hilary's scripts often feature dynamic female characters and feminist themes. The dual themes of isolation and connection are core to her storytelling.
She lives in the Bay Area of California, and plans to produce DUCK in San Jose and Los Altos Hills.
Davi Silveira - Director of Photography
Davi developed a passion for cinematography from the work of greats like Gordon Willis, Roger Deakins, Vadim Yusov, Emmanuel Lubeski, and many others. Davi's award-winning narrative short film, RADIOHEAD, screened at numerous festivals. His documentary feature, THE AUGMENTATION OF DOUGLAS ENGLEBART is streaming on Amazon Prime. He is currently editing his second feature documentary, MAOSANTA, about Hall of Fame Brazillian basketball legend, Oscar Schmidt.