Generation Wrecks: a 90s Teen Comedy
New York City, New York | Film Feature
LGBTQ, Teen
Bridget & Victoria are professional child actors of 10 years starting their journey to become the next generation of inclusive, female filmmakers. Bringing their script to life will be an incredible experience for them and will result in an exciting and offbeat, teen film for audiences.
Generation Wrecks: a 90s Teen Comedy
New York City, New York | Film Feature
LGBTQ, Teen
1 Campaigns | New York, United States
Green Light
This campaign raised $17,000 for production. Follow the filmmaker to receive future updates on this project.
232 supporters | followers
Enter the amount you would like to pledge
Bridget & Victoria are professional child actors of 10 years starting their journey to become the next generation of inclusive, female filmmakers. Bringing their script to life will be an incredible experience for them and will result in an exciting and offbeat, teen film for audiences.
About The Project
- The Story
- Wishlist
- Updates
- The Team
- Community
Mission Statement
The Story
Storyline: Stacy Snyder and Liz Castillo-Campbell were best friends until the 7th grade when a mysterious event drove them apart. Stacy joins the popular crowd and Liz falls in with the freaks and becomes a goth. After years of antagonizing each other at school, Stacy is moved to repair the friendship when Liz's little brother accidentally drowns. Stacy invites Liz to join her for a getaway over memorial day weekend at her vacation home in the Sierras like she used to do when they were friends, but Liz insists she be able bring her own misfit group of friends. Stacy reluctantly agrees. Chaperoned by Stacy's slacker brother and his bubbly girlfriend, the eight 11th-grade Gen-Xers, are confronted by the future, adulthood and their individual personal issues. They realize they share more than feeling alienated and lost, and that friendships can be mended among the giant redwoods with a lot of music, games, and a little bit of love and weed.
My dad (Kevin T. Morales) wanted to write a story about being a teen in the 90s (more specifically being a junior in 1994). He asked if I would write it so that he could separate himself from the story, and because my writing captures the energy teens have. Together we wanted to provide better roles for teen girls (more speciffically queer teen girls, such as myself), as well as to teach me screenwriting and filmmaking. My dad already had a basic plot in mind revolving around; Liz, a 90s goth and forcibly outed queer girl given the d*ke label by her peers, and Stacy, a cheerleader, who wants to repair their broken friendship at Stacy's vacation home in the woods. This story isn't the only plot, but the motivator to get Stacy, Liz, and a cast of other teens to Stacy's cabin. Roles were created through dozens of interviews with Gen-Xers. It was fascinating reading so many different accounts of what it was like to be a teenager in the late 80s and 90s and to see what we had in common and how things were so different. We invited my good friend, Bridget McGarry, who I met working on Law and Order to collaborate with us. She's super talented, and really dedicated to becoming a working actress and filmaker. Bridget and I also played sisters for my dad's pilot, #TEXIT. We were looking for opportunities to create something together. My dad has listened to me complain about how I am type-cast in this industry, so part of Stacy's character is twisting Bridget's typical type-cast into something more dynamic and three-dimensional. Stacy comes off as a preppy, blonde, mean girl, but she's more than that 2-D archtype, like most teen girls. The character of Liz is really exciting to me because she isn't a victim, she's in control (or tries to be) and she's agressive. Since I am a small girl with a dollish face, I often go out for roles where my character is suffering, or is a victim of some sort. Rarely comedies, rarely anyone with agency in the story.
So my dad and I, after fleshing out the plot a little more than the simple premise he gave me, created the rest of the ensemble. Having Bridget's help was fantastic, her talent for editing was invaluable and she has a great ear for dialogue — probably because she's a great actress. It was a lot of fun writing together too. It's really been an amazing experience and we've learned a lot throughout this process, and we cant wait to learn more during the pre-production and production phases as well.
— Victoria Leigh
1.) Follow our campaign on Seed & Spark
Followers help us make it on to the main page, and help more people see our campaign. We can't stress enough how much we need you to join our team! A substantial number of followers will also help us when we try to secure distribution for the film.
2.) Post about it, and tag: #generationwrecks
Let everyone know, the more the merrier! If you know anyone who appreciates the type of film this story is for, please tell them about it. Audiences who love teen comedies, 90s nostalgia, young adults and LGBTQ stories are who we are making this for.
3.) Pledge
Buy a copy of the movie for $13, or pledge more if you're feeling extra supportive and want those sweet, sweet incentives!
What happens if you make it past your goal?
If we make it past our goal (fingers crossed) we get to spend more money on the production value of the film and those 90's details! We will also be able to compensate more crew members and ensure a higher quality film! We aim to meet the technical requirements asked for by platforms like Netflix.
What happens if you don't fully fund?
Luckly on Seed and Spark we get Greenlit (meaning we get to keep what is raised) at 80% funded! Though it is not ideal we have structured the budget so that we are still able to produce the movie at 80%. However, if we don't make it to the 80% mark your credit card will not be charged and you will not recieve your incentive.
When do I recieve my incentives?
After we complete principal photography on the film, but be aware, some rewards may take longer than others. Our primary incentive, the finished film, may be as far as a year away.
Why do you have a wishlist?
The wishlist is there so that you, yes you, are able to see how we are planning on spending our budget. It also allows you to donate equipment and other services directly if you so wish! If you don't see items on there, it's often because we have secured it already.
Am I really giving my money to two teenage girls?
I promise we're responsible, but more importantly the budget and expenses are being overseen by adults with producing experience. We will be as transparent as professionally acceptable about the expenses of the shoot. This is the second production by this producing team. They have all the legal entities in place to protect everyone involved and can assure you, no minors will be handling the funds ;)
I couldn't be more proud of Victoria and Bridget for meeting this challenge with courage and a collaborative attitude. We would talk through scenes and look at how to improve them, investigate what works and what doesn't, and how to build on the fundamentals of dramatic writing, namely: conflict, action and reversal. They are learning all the steps necessary to manifest and produce their own work with an understanding of what a flim requires, not only technically and artistically, but from a business point of view as well. I sincerely hope this is the first major step in a journey of being amazing filmmakers for decades to come.
— Kevin T. Morales
- everybody else is doing it, so why can't we? -
Like they say on PBS -- this is made possible by the generous support of viewers, like YOU!
Thank you!
Wishlist
Use the WishList to Pledge cash and Loan items - or - Make a pledge by selecting an Incentive directly.
Sweet 90s ride
Costs $2,000
If we are rollin' with the homies, we need wheels from the right time period.
Cash Pledge
Costs $0
Plane Tickets
Costs $4,000
It's really important to us that this is filmed in Big Trees, so we will be flying everyone to CA.
Catering
Costs $2,000
We want to provide our cast and crew with healthy and filling meals on set!
Costumes
Costs $1,100
We want to have the most accurate 90's fashion possible (for better or worse)!
Sound
Costs $2,600
We want to make sure this movie sounds crisp and clear!
Script Supervisor
Costs $2,000
We need someone with eyes on the script keeping it all consistant.
Props
Costs $250
We want to make sure we have those authentic 90's items like walkman's!
Rental Car
Costs $800
There are no subways in California :(
Share this update!
About This Team
KEVIN T MORALES
A writer and director working in L.A. and New York, Kevin is the creator of upcoming television series, Hollywoodland, produced by Alex Dinelaris and Richard Saperstein, as well as, Pretty Is Ugly, with fashion icon, Cheyann Benedict. For nearly a decade he was Artistic Director of two professional theater companies in the San Francisco Bay Area and has written seven plays and musicals that have been produced regionally. He wrote and directed the TV pilot for #TEXIT, and is the co-founder of Futuregraph Entertainment. His great uncle, Victor Fleming is the Oscar winning director of Gone With the Wind, and The Wizard of Oz, and is who his daughter Victoria is named for. He lives in Brooklyn with his wife, Sara, Victoria and his son Quentin who you can see on the HBO hit series Succession.
VICTORIA LEIGH
Victoria is a graduating senior at Professional Performing Arts School in New York City and a proud member of Actors' Equity and SAG-AFTRA. Victoria has been acting professionally since the age of seven. She has appeared in television series such as, Law & Order: SVU, Soderbergh's The Knick, Unforgettable and Black Box. She can be seen in Spielberg's, Bridge of Spies and Scott Derickson's, Sinister. She made her Broadway debut in Cat On A Hot Tin Roof with Scarlett Johansson and other productions like Julius Caeser. She is repped by Paradigm.
BRIDGET MCGARRY
Bridget is a young actor and writer from New Jersey. She has been acting for most of her life and has amassed an impressive body of work for a person her age including: a starring role in #Horror alongside Chloe Sevigny and Timothy Hutton, Louder Than Bombs, the lead in the upcoming short Hill of Hope, and the lead in the short Coffee Break. Guest starring spots include: Law and Order: SVU, Blindspot, a recurring role on The Jim Gaffigan Show, and Little Hope. She is a member of SAG-AFTRA.
Current Team
Incentives
- The Story
- Wishlist
- Updates
- The Team
- Community
Mission Statement
The Story
Storyline: Stacy Snyder and Liz Castillo-Campbell were best friends until the 7th grade when a mysterious event drove them apart. Stacy joins the popular crowd and Liz falls in with the freaks and becomes a goth. After years of antagonizing each other at school, Stacy is moved to repair the friendship when Liz's little brother accidentally drowns. Stacy invites Liz to join her for a getaway over memorial day weekend at her vacation home in the Sierras like she used to do when they were friends, but Liz insists she be able bring her own misfit group of friends. Stacy reluctantly agrees. Chaperoned by Stacy's slacker brother and his bubbly girlfriend, the eight 11th-grade Gen-Xers, are confronted by the future, adulthood and their individual personal issues. They realize they share more than feeling alienated and lost, and that friendships can be mended among the giant redwoods with a lot of music, games, and a little bit of love and weed.
My dad (Kevin T. Morales) wanted to write a story about being a teen in the 90s (more specifically being a junior in 1994). He asked if I would write it so that he could separate himself from the story, and because my writing captures the energy teens have. Together we wanted to provide better roles for teen girls (more speciffically queer teen girls, such as myself), as well as to teach me screenwriting and filmmaking. My dad already had a basic plot in mind revolving around; Liz, a 90s goth and forcibly outed queer girl given the d*ke label by her peers, and Stacy, a cheerleader, who wants to repair their broken friendship at Stacy's vacation home in the woods. This story isn't the only plot, but the motivator to get Stacy, Liz, and a cast of other teens to Stacy's cabin. Roles were created through dozens of interviews with Gen-Xers. It was fascinating reading so many different accounts of what it was like to be a teenager in the late 80s and 90s and to see what we had in common and how things were so different. We invited my good friend, Bridget McGarry, who I met working on Law and Order to collaborate with us. She's super talented, and really dedicated to becoming a working actress and filmaker. Bridget and I also played sisters for my dad's pilot, #TEXIT. We were looking for opportunities to create something together. My dad has listened to me complain about how I am type-cast in this industry, so part of Stacy's character is twisting Bridget's typical type-cast into something more dynamic and three-dimensional. Stacy comes off as a preppy, blonde, mean girl, but she's more than that 2-D archtype, like most teen girls. The character of Liz is really exciting to me because she isn't a victim, she's in control (or tries to be) and she's agressive. Since I am a small girl with a dollish face, I often go out for roles where my character is suffering, or is a victim of some sort. Rarely comedies, rarely anyone with agency in the story.
So my dad and I, after fleshing out the plot a little more than the simple premise he gave me, created the rest of the ensemble. Having Bridget's help was fantastic, her talent for editing was invaluable and she has a great ear for dialogue — probably because she's a great actress. It was a lot of fun writing together too. It's really been an amazing experience and we've learned a lot throughout this process, and we cant wait to learn more during the pre-production and production phases as well.
— Victoria Leigh
1.) Follow our campaign on Seed & Spark
Followers help us make it on to the main page, and help more people see our campaign. We can't stress enough how much we need you to join our team! A substantial number of followers will also help us when we try to secure distribution for the film.
2.) Post about it, and tag: #generationwrecks
Let everyone know, the more the merrier! If you know anyone who appreciates the type of film this story is for, please tell them about it. Audiences who love teen comedies, 90s nostalgia, young adults and LGBTQ stories are who we are making this for.
3.) Pledge
Buy a copy of the movie for $13, or pledge more if you're feeling extra supportive and want those sweet, sweet incentives!
What happens if you make it past your goal?
If we make it past our goal (fingers crossed) we get to spend more money on the production value of the film and those 90's details! We will also be able to compensate more crew members and ensure a higher quality film! We aim to meet the technical requirements asked for by platforms like Netflix.
What happens if you don't fully fund?
Luckly on Seed and Spark we get Greenlit (meaning we get to keep what is raised) at 80% funded! Though it is not ideal we have structured the budget so that we are still able to produce the movie at 80%. However, if we don't make it to the 80% mark your credit card will not be charged and you will not recieve your incentive.
When do I recieve my incentives?
After we complete principal photography on the film, but be aware, some rewards may take longer than others. Our primary incentive, the finished film, may be as far as a year away.
Why do you have a wishlist?
The wishlist is there so that you, yes you, are able to see how we are planning on spending our budget. It also allows you to donate equipment and other services directly if you so wish! If you don't see items on there, it's often because we have secured it already.
Am I really giving my money to two teenage girls?
I promise we're responsible, but more importantly the budget and expenses are being overseen by adults with producing experience. We will be as transparent as professionally acceptable about the expenses of the shoot. This is the second production by this producing team. They have all the legal entities in place to protect everyone involved and can assure you, no minors will be handling the funds ;)
I couldn't be more proud of Victoria and Bridget for meeting this challenge with courage and a collaborative attitude. We would talk through scenes and look at how to improve them, investigate what works and what doesn't, and how to build on the fundamentals of dramatic writing, namely: conflict, action and reversal. They are learning all the steps necessary to manifest and produce their own work with an understanding of what a flim requires, not only technically and artistically, but from a business point of view as well. I sincerely hope this is the first major step in a journey of being amazing filmmakers for decades to come.
— Kevin T. Morales
- everybody else is doing it, so why can't we? -
Like they say on PBS -- this is made possible by the generous support of viewers, like YOU!
Thank you!
Wishlist
Use the WishList to Pledge cash and Loan items - or - Make a pledge by selecting an Incentive directly.
Sweet 90s ride
Costs $2,000
If we are rollin' with the homies, we need wheels from the right time period.
Cash Pledge
Costs $0
Plane Tickets
Costs $4,000
It's really important to us that this is filmed in Big Trees, so we will be flying everyone to CA.
Catering
Costs $2,000
We want to provide our cast and crew with healthy and filling meals on set!
Costumes
Costs $1,100
We want to have the most accurate 90's fashion possible (for better or worse)!
Sound
Costs $2,600
We want to make sure this movie sounds crisp and clear!
Script Supervisor
Costs $2,000
We need someone with eyes on the script keeping it all consistant.
Props
Costs $250
We want to make sure we have those authentic 90's items like walkman's!
Rental Car
Costs $800
There are no subways in California :(
Share this update!
About This Team
KEVIN T MORALES
A writer and director working in L.A. and New York, Kevin is the creator of upcoming television series, Hollywoodland, produced by Alex Dinelaris and Richard Saperstein, as well as, Pretty Is Ugly, with fashion icon, Cheyann Benedict. For nearly a decade he was Artistic Director of two professional theater companies in the San Francisco Bay Area and has written seven plays and musicals that have been produced regionally. He wrote and directed the TV pilot for #TEXIT, and is the co-founder of Futuregraph Entertainment. His great uncle, Victor Fleming is the Oscar winning director of Gone With the Wind, and The Wizard of Oz, and is who his daughter Victoria is named for. He lives in Brooklyn with his wife, Sara, Victoria and his son Quentin who you can see on the HBO hit series Succession.
VICTORIA LEIGH
Victoria is a graduating senior at Professional Performing Arts School in New York City and a proud member of Actors' Equity and SAG-AFTRA. Victoria has been acting professionally since the age of seven. She has appeared in television series such as, Law & Order: SVU, Soderbergh's The Knick, Unforgettable and Black Box. She can be seen in Spielberg's, Bridge of Spies and Scott Derickson's, Sinister. She made her Broadway debut in Cat On A Hot Tin Roof with Scarlett Johansson and other productions like Julius Caeser. She is repped by Paradigm.
BRIDGET MCGARRY
Bridget is a young actor and writer from New Jersey. She has been acting for most of her life and has amassed an impressive body of work for a person her age including: a starring role in #Horror alongside Chloe Sevigny and Timothy Hutton, Louder Than Bombs, the lead in the upcoming short Hill of Hope, and the lead in the short Coffee Break. Guest starring spots include: Law and Order: SVU, Blindspot, a recurring role on The Jim Gaffigan Show, and Little Hope. She is a member of SAG-AFTRA.