Hit the Seat
Ventura, California | Film Short
Drama, Thriller
Audiences should support this film because it is made by local artists telling a story that reflects where our country is right now, divided, distrustful, and on edge. When people feel powerless, violence follows. Hit the Seat is a reminder that violence never restores balance. It reinforces power.
Hit the Seat
Ventura, California | Film Short
Drama, Thriller
1 Campaigns | California, United States
Green Light
This campaign raised $16,015 for production. Follow the filmmaker to receive future updates on this project.
49 supporters | followers
Enter the amount you would like to pledge
Audiences should support this film because it is made by local artists telling a story that reflects where our country is right now, divided, distrustful, and on edge. When people feel powerless, violence follows. Hit the Seat is a reminder that violence never restores balance. It reinforces power.
About The Project
- The Story
- Wishlist
- Updates
- The Team
- Community
Mission Statement
The Story
Have you ever felt powerless? Voiceless? Determined to restore balance no matter the cost?
Hit the Seat follows a group of passionate, everyday people who believe the system has failed them. What begins as a protest to reclaim their voices escalates into something irreversible when a faction within the group assassinates the leader of the oppressive opposition. The act is meant to finally make them heard. Instead, it fractures the movement, destroys trust, and delivers the opposite of what they were fighting for.
Set entirely in one confined location, the film traps the audience inside the aftermath of that moment. There are no heroes here. Only people forced to reckon with what power really costs.
THE FOUR Ws
Why Me
This story began when I asked myself what pushes a community toward terrorism-like responses. The answer was simple and frightening. People turn to violence when they feel unheard, stripped of their voice, or pushed into a corner with no clear way out.
My co-director Kevin Parks and I are working artists who wanted to contribute something meaningful to the political conversation. We are not pundits or politicians. We are storytellers. This was the story we could stand behind.
My background in theater and my experience writing and producing my previous short film A Trapdoor taught me how much collaboration, grit, and truth it takes to make a film happen. It also connected me to a community of artists in Santa Paula and Ventura who create for the love of it, often after long workdays and without funding. That grassroots energy is the backbone of this project.
Kevin brings a poetic eye for composition and visual storytelling. I bring years of acting and directing that have trained me to recognize emotional truth and demand it. Together, we are the right team for a film that requires both restraint and intensity.
Why This
Hit the Seat asks one central question. How far will people go to restore balance when they believe the system has failed them? The film holds all sides accountable. It does not argue for one political position. Instead, it examines how quickly a movement can lose its moral footing once violence enters the room.
The message is simple. Violence does not restore balance. It reinforces power. And once that line is crossed, the struggle that was meant to fight authority often recreates the same hierarchy it set out to destroy.
This story belongs as a short film because of its pressure cooker structure. The entire conflict unfolds in one space, with stakes that are immediate and personal. The audience has no escape, just like the characters.
Why Now
We are living in a moment of deep division and exhaustion. People across the political spectrum feel distrust toward leadership, institutions, and systems that claim to represent them. Wealth and influence openly shape elections, and many regular working people feel invisible.
We have witnessed assassination attempts and politically motivated killings that no longer feel abstract or distant. The fear is no longer theoretical. I worry that hopelessness will continue to be answered with violence instead of voice. I worry that more lives will be lost. This film is our attempt to ask hard questions before it is too late. How do we restore faith in each other? How do we disagree without destroying one another? How do we reclaim power without repeating the same cycle?
What scares me most is that some viewers may sympathize with the character who organizes the violence, while others will be horrified. That tension is intentional. Stories should make us uncomfortable enough to question ourselves.
What feels healing is the voice of Lillian in the film, a woman who has lived through past movements and understands that violence only breeds more violence. She challenges her daughter to face the truth that some lines cannot be uncrossed. That is the heart of this story.
If this film brings even a small group of people from different sides of the aisle together to talk, disagree respectfully, and recognize shared values, then it has done its job.
Where We Are Now
The script is locked.
Our cast is set.
Our directors and producers are in place.
Our location is secured.
A community of talented artists is ready to make this film.
We are fully prepared to shoot.
CONTEXT AND OUR PROMISE TO YOU
How This Campaign Moves the Film Forward
Funds raised through this Seed&Spark campaign will directly support production, post-production, and festival distribution. Specifically, your support helps pay for:
- Set construction and lighting
- Camera support and sound recording
- Feeding cast and crew during the shoot
- Wardrobe and hair and makeup
- Professional sound design and color grading
- Festival submissions and promotional materials
- A contingency buffer to protect the integrity of the film
Every dollar raised goes on screen.
Production Timeline
- Shoot: Last weekend of March 2026
- Sound Design and Color: Completed by May 2026
- Cast and Crew Screening: July 2026
- Festival Run: Late 2026 through mid 2027
What Supporters Can Expect
- Digital perks and acknowledgments delivered within two weeks of a successful campaign
- Weekly campaign and production updates
- Early access to the finished film for qualifying supporters
- Transparency at every stage of the process
If the campaign exceeds 100 percent, additional funds will go toward an enhanced sound mix, festival travel, and a stronger contingency cushion.
How You Can Help
- Pledge if you are able
- Follow the campaign
- Share the project using our social posts
Every action helps this film reach the screen.
Thank you for believing in grassroots storytelling and for helping us tell a story that matters.
Wishlist
Use the WishList to Pledge cash and Loan items - or - Make a pledge by selecting an Incentive directly.
Grip and Rigging
Costs $1,000
C-stands, flags, nets, clamps, etc. We need all the tools to make this film efficient!
Cash Pledge
Costs $0
Contingency Fund
Costs $1,669
This fund acts as padding for any last-minute purchases we need or emergency funds to get us out of a hole.
Color Grading
Costs $1,000
After we finish filming, we need a colorist to elevate our film so it looks like a film our audience would expect to see on the big screen.
Wardrobe
Costs $504
Most of our wardrobe will be supplied by actors but we need to purchase some key components that help us build this world of Hit the Seat.
Craft Services
Costs $1,440
We plan on shooting for 3 days so we'll need snacks for up to 40 people!
Expendables
Costs $320
This supports all of the materials we need on the office supply side of things for production.
Audio
Costs $350
Great sound or nothing! We need lavs, and booms, so our sound designer can have proper sound to work with.
Camera Support
Costs $1,600
Dollies, tracks, sliders... We need these tools to help make our film look dynamic.
Production Insurance
Costs $1,500
Production insurance is a must-have. It protects cast, crew, and production from any unforeseen accidents.
Promotional Materials
Costs $500
Posters, cast photos, web design, etc. We need to promote the hell out of this project.
Festival Submissions
Costs $1,000
Festivals are expensive and we need help for all of their submission fees!
Set Construction
Costs $500
We need to make our set look like a lived-in environment and we're gonna need materials!
Hard Drives
Costs $400
We need hard drives to store all the footage we shoot.
Catering
Costs $2,880
Feed our team for the weekend! Our artists are working for food and we want to make sure they're well-fed.
Lighting
Costs $1,200
Great lighting is essential. We want our film to look beautiful and professional!
Sound Design
Costs $3,000
Quality sound design can cost tens of thousands. Sound can make or break any film and we want to male sure we get great sound!
Direct link:
Share this update!
About This Team
ABOUT THE TEAM
CREATIVE TEAM
Kevin Parks
Director / Producer
Kevin Parks is a designer and photographer whose career spans image-making across multiple disciplines. His interest in filmmaking began early, shooting and editing 8mm films as a child, and later expanded into directing, designing, and animating large-scale multi-projector multimedia productions combining photography, film, interviews, and music. In recent years, he has focused on commercial video work for local clients. Hit the Seat marks his narrative directing debut, where he brings decades of visual storytelling, composition, and art direction experience to the project.
James James
Writer / Director / Producer
James James is a writer, director, and actor focused on character-driven stories with emotional weight. His award-winning short film A Trapdoor screened on the festival circuit and helped shape his grounded, performance-forward approach to filmmaking. As the writer and co-director of Hit the Seat, James brings his background in theater and long-form storytelling into a tighter, more cinematic format, emphasizing ensemble work, honest dialogue, and stories that live at the intersection of humor and pain.
Matt Fore
Director of Photography
Matt Fore is an award-winning cinematographer with over 20 years of professional experience. Trained on film at the Brooks Institute of Photography during the transition from celluloid to digital, Matt developed a dual-format foundation that continues to inform his technical and artistic approach. He prioritizes story and mood over aesthetics alone, weaving technical precision and emotional intent into every frame. His work spans more than 15 feature films, documentaries, commercials, music videos, and action-unit camera operation on major studio films, as well as projects for ESPN, CBS Sports, NFL Films, VICE, and more.
Shannon McNally Ham
Executive Producer
Shannon McNally Ham is an actor, writer, director, and producer whose work spans film, theater, commercials, and voiceover. She has been a director and board member of Fractured Actors Theater Company for over a decade and has contributed to productions across California. Her creative background includes classical and contemporary theater, new works development, and long-term artistic leadership. As Executive Producer, she supports the vision and storytelling of Hit the Seat.
Meredith Newcom
Producer
Meredith Newcom is a graphic artist working in both traditional and digital mediums, with a creative focus on storytelling and the human condition. For more than a decade, she has collaborated with theater artists on set design, props, makeup effects, and promotional materials. Her production work reflects a strong understanding of visual narrative, collaboration, and practical problem-solving in independent productions.
Kira DeLand
Producer
Kira DeLand is a Los Angeles–based producer and production coordinator working across film, commercials, and music videos. Her credits include the award-winning short A Trapdoor, commercial projects for AT&T and PrizePicks, and music video work involving major recording artists. She supports productions through development, scheduling, logistics, and post-production coordination, bringing structure and clarity to fast-moving creative environments.
Jessi May Stevenson
Associate Producer
Jessi May Stevenson is the Artistic Director of the Santa Paula Theater Center and a filmmaker, director, and performer. She holds an MFA in Theater from UC Irvine and has trained with institutions including Harvard University, Moscow Art Theatre, and South Coast Repertory. In addition to directing extensively for the stage, she created and starred in the award-winning one-woman show and short film Isn’t That Just My Life, which screened internationally and earned multiple acting awards. As Associate Producer, she brings leadership, artistic insight, and production experience to Hit the Seat.
Aaron Orbit
Composer
Aaron Orbit is an art-rock songwriter and composer whose work blends cinematic synth textures, post-punk influences, and character-driven sound design. His compositions balance tension, atmosphere, and emotional depth, supporting narrative storytelling across music and film. His score for Hit the Seat helps shape the film’s psychological and emotional landscape.
CAST
Jessi May Stevenson (Harlow)
Jessi May Stevenson is an award-winning performer and filmmaker whose work spans theater and film. She has appeared in numerous stage productions and feature films, including Time Capsule, and created the internationally recognized short film Isn’t That Just My Life. Her recent theater credits include Blanche in A Streetcar Named Desire.
James James (Jacob)
James James is an actor with extensive experience in theater and film, known for emotionally grounded performances and ensemble-driven storytelling. His work often centers on complex characters navigating moral tension and personal stakes.
Derek Petropolis (Cato)
Derek Petropolis is an actor and voiceover artist originally from Tucson, Arizona. He earned a BFA in Theater from Cornish College of the Arts and has worked with theater companies in Seattle and Los Angeles, as well as appearing on Netflix, Lifetime, and in feature films. His voice work includes video games, commercials, and animated projects.
Sindy McKay-Swerdlove (Lillian)
Sindy McKay-Swerdlove is an Emmy and BAFTA award-winning writer and actor. Her early career included film and television acting before shifting focus to writing, where she earned multiple Emmy and Humanitas awards. In recent years, she has returned to acting, performing extensively on stage. Hit the Seat marks her return to independent film.
Martha Benavides (Senny)
Martha Benavides began her acting career in theater before training at the American Academy of Dramatic Arts in New York City. Her film credits include Up the Junction, The Heiress, and Late for the Sky. On stage, she has performed with Santa Paula Theater Center, Fractured Actors Theater Company, and The Alcazar Theatre. In 2025, her one-act play 12 Hours premiered at Santa Paula Theater Center’s Backstage.
Harper Róisín (“Rose”) Ham (Alex)
Harper Róisín Ham is a singer and actor who grew up performing in theater, with credits including productions at Rubicon Theatre Company and Fractured Actors Theater Company. Trained as a vocalist and percussionist, she makes her screen debut in Hit the Seat.
Amber Shea Hodge (Kylie)
Amber Shea Hodge is an actor, choreographer, and theater director with over 15 years of experience. Their work includes stage performances, choreography, and teaching in Los Angeles, as well as recent roles with Santa Paula Theater Center and Elite Theatre Company.
Layne Allen (Lyle)
Layne Allen is an actor whose recent work includes stage productions such as A Streetcar Named Desire and The History of Fire. Hit the Seat continues his collaboration in politically and socially engaged storytelling.
Current Team
Incentives
- The Story
- Wishlist
- Updates
- The Team
- Community
Mission Statement
The Story
Have you ever felt powerless? Voiceless? Determined to restore balance no matter the cost?
Hit the Seat follows a group of passionate, everyday people who believe the system has failed them. What begins as a protest to reclaim their voices escalates into something irreversible when a faction within the group assassinates the leader of the oppressive opposition. The act is meant to finally make them heard. Instead, it fractures the movement, destroys trust, and delivers the opposite of what they were fighting for.
Set entirely in one confined location, the film traps the audience inside the aftermath of that moment. There are no heroes here. Only people forced to reckon with what power really costs.
THE FOUR Ws
Why Me
This story began when I asked myself what pushes a community toward terrorism-like responses. The answer was simple and frightening. People turn to violence when they feel unheard, stripped of their voice, or pushed into a corner with no clear way out.
My co-director Kevin Parks and I are working artists who wanted to contribute something meaningful to the political conversation. We are not pundits or politicians. We are storytellers. This was the story we could stand behind.
My background in theater and my experience writing and producing my previous short film A Trapdoor taught me how much collaboration, grit, and truth it takes to make a film happen. It also connected me to a community of artists in Santa Paula and Ventura who create for the love of it, often after long workdays and without funding. That grassroots energy is the backbone of this project.
Kevin brings a poetic eye for composition and visual storytelling. I bring years of acting and directing that have trained me to recognize emotional truth and demand it. Together, we are the right team for a film that requires both restraint and intensity.
Why This
Hit the Seat asks one central question. How far will people go to restore balance when they believe the system has failed them? The film holds all sides accountable. It does not argue for one political position. Instead, it examines how quickly a movement can lose its moral footing once violence enters the room.
The message is simple. Violence does not restore balance. It reinforces power. And once that line is crossed, the struggle that was meant to fight authority often recreates the same hierarchy it set out to destroy.
This story belongs as a short film because of its pressure cooker structure. The entire conflict unfolds in one space, with stakes that are immediate and personal. The audience has no escape, just like the characters.
Why Now
We are living in a moment of deep division and exhaustion. People across the political spectrum feel distrust toward leadership, institutions, and systems that claim to represent them. Wealth and influence openly shape elections, and many regular working people feel invisible.
We have witnessed assassination attempts and politically motivated killings that no longer feel abstract or distant. The fear is no longer theoretical. I worry that hopelessness will continue to be answered with violence instead of voice. I worry that more lives will be lost. This film is our attempt to ask hard questions before it is too late. How do we restore faith in each other? How do we disagree without destroying one another? How do we reclaim power without repeating the same cycle?
What scares me most is that some viewers may sympathize with the character who organizes the violence, while others will be horrified. That tension is intentional. Stories should make us uncomfortable enough to question ourselves.
What feels healing is the voice of Lillian in the film, a woman who has lived through past movements and understands that violence only breeds more violence. She challenges her daughter to face the truth that some lines cannot be uncrossed. That is the heart of this story.
If this film brings even a small group of people from different sides of the aisle together to talk, disagree respectfully, and recognize shared values, then it has done its job.
Where We Are Now
The script is locked.
Our cast is set.
Our directors and producers are in place.
Our location is secured.
A community of talented artists is ready to make this film.
We are fully prepared to shoot.
CONTEXT AND OUR PROMISE TO YOU
How This Campaign Moves the Film Forward
Funds raised through this Seed&Spark campaign will directly support production, post-production, and festival distribution. Specifically, your support helps pay for:
- Set construction and lighting
- Camera support and sound recording
- Feeding cast and crew during the shoot
- Wardrobe and hair and makeup
- Professional sound design and color grading
- Festival submissions and promotional materials
- A contingency buffer to protect the integrity of the film
Every dollar raised goes on screen.
Production Timeline
- Shoot: Last weekend of March 2026
- Sound Design and Color: Completed by May 2026
- Cast and Crew Screening: July 2026
- Festival Run: Late 2026 through mid 2027
What Supporters Can Expect
- Digital perks and acknowledgments delivered within two weeks of a successful campaign
- Weekly campaign and production updates
- Early access to the finished film for qualifying supporters
- Transparency at every stage of the process
If the campaign exceeds 100 percent, additional funds will go toward an enhanced sound mix, festival travel, and a stronger contingency cushion.
How You Can Help
- Pledge if you are able
- Follow the campaign
- Share the project using our social posts
Every action helps this film reach the screen.
Thank you for believing in grassroots storytelling and for helping us tell a story that matters.
Wishlist
Use the WishList to Pledge cash and Loan items - or - Make a pledge by selecting an Incentive directly.
Grip and Rigging
Costs $1,000
C-stands, flags, nets, clamps, etc. We need all the tools to make this film efficient!
Cash Pledge
Costs $0
Contingency Fund
Costs $1,669
This fund acts as padding for any last-minute purchases we need or emergency funds to get us out of a hole.
Color Grading
Costs $1,000
After we finish filming, we need a colorist to elevate our film so it looks like a film our audience would expect to see on the big screen.
Wardrobe
Costs $504
Most of our wardrobe will be supplied by actors but we need to purchase some key components that help us build this world of Hit the Seat.
Craft Services
Costs $1,440
We plan on shooting for 3 days so we'll need snacks for up to 40 people!
Expendables
Costs $320
This supports all of the materials we need on the office supply side of things for production.
Audio
Costs $350
Great sound or nothing! We need lavs, and booms, so our sound designer can have proper sound to work with.
Camera Support
Costs $1,600
Dollies, tracks, sliders... We need these tools to help make our film look dynamic.
Production Insurance
Costs $1,500
Production insurance is a must-have. It protects cast, crew, and production from any unforeseen accidents.
Promotional Materials
Costs $500
Posters, cast photos, web design, etc. We need to promote the hell out of this project.
Festival Submissions
Costs $1,000
Festivals are expensive and we need help for all of their submission fees!
Set Construction
Costs $500
We need to make our set look like a lived-in environment and we're gonna need materials!
Hard Drives
Costs $400
We need hard drives to store all the footage we shoot.
Catering
Costs $2,880
Feed our team for the weekend! Our artists are working for food and we want to make sure they're well-fed.
Lighting
Costs $1,200
Great lighting is essential. We want our film to look beautiful and professional!
Sound Design
Costs $3,000
Quality sound design can cost tens of thousands. Sound can make or break any film and we want to male sure we get great sound!
Direct link:
Share this update!
About This Team
ABOUT THE TEAM
CREATIVE TEAM
Kevin Parks
Director / Producer
Kevin Parks is a designer and photographer whose career spans image-making across multiple disciplines. His interest in filmmaking began early, shooting and editing 8mm films as a child, and later expanded into directing, designing, and animating large-scale multi-projector multimedia productions combining photography, film, interviews, and music. In recent years, he has focused on commercial video work for local clients. Hit the Seat marks his narrative directing debut, where he brings decades of visual storytelling, composition, and art direction experience to the project.
James James
Writer / Director / Producer
James James is a writer, director, and actor focused on character-driven stories with emotional weight. His award-winning short film A Trapdoor screened on the festival circuit and helped shape his grounded, performance-forward approach to filmmaking. As the writer and co-director of Hit the Seat, James brings his background in theater and long-form storytelling into a tighter, more cinematic format, emphasizing ensemble work, honest dialogue, and stories that live at the intersection of humor and pain.
Matt Fore
Director of Photography
Matt Fore is an award-winning cinematographer with over 20 years of professional experience. Trained on film at the Brooks Institute of Photography during the transition from celluloid to digital, Matt developed a dual-format foundation that continues to inform his technical and artistic approach. He prioritizes story and mood over aesthetics alone, weaving technical precision and emotional intent into every frame. His work spans more than 15 feature films, documentaries, commercials, music videos, and action-unit camera operation on major studio films, as well as projects for ESPN, CBS Sports, NFL Films, VICE, and more.
Shannon McNally Ham
Executive Producer
Shannon McNally Ham is an actor, writer, director, and producer whose work spans film, theater, commercials, and voiceover. She has been a director and board member of Fractured Actors Theater Company for over a decade and has contributed to productions across California. Her creative background includes classical and contemporary theater, new works development, and long-term artistic leadership. As Executive Producer, she supports the vision and storytelling of Hit the Seat.
Meredith Newcom
Producer
Meredith Newcom is a graphic artist working in both traditional and digital mediums, with a creative focus on storytelling and the human condition. For more than a decade, she has collaborated with theater artists on set design, props, makeup effects, and promotional materials. Her production work reflects a strong understanding of visual narrative, collaboration, and practical problem-solving in independent productions.
Kira DeLand
Producer
Kira DeLand is a Los Angeles–based producer and production coordinator working across film, commercials, and music videos. Her credits include the award-winning short A Trapdoor, commercial projects for AT&T and PrizePicks, and music video work involving major recording artists. She supports productions through development, scheduling, logistics, and post-production coordination, bringing structure and clarity to fast-moving creative environments.
Jessi May Stevenson
Associate Producer
Jessi May Stevenson is the Artistic Director of the Santa Paula Theater Center and a filmmaker, director, and performer. She holds an MFA in Theater from UC Irvine and has trained with institutions including Harvard University, Moscow Art Theatre, and South Coast Repertory. In addition to directing extensively for the stage, she created and starred in the award-winning one-woman show and short film Isn’t That Just My Life, which screened internationally and earned multiple acting awards. As Associate Producer, she brings leadership, artistic insight, and production experience to Hit the Seat.
Aaron Orbit
Composer
Aaron Orbit is an art-rock songwriter and composer whose work blends cinematic synth textures, post-punk influences, and character-driven sound design. His compositions balance tension, atmosphere, and emotional depth, supporting narrative storytelling across music and film. His score for Hit the Seat helps shape the film’s psychological and emotional landscape.
CAST
Jessi May Stevenson (Harlow)
Jessi May Stevenson is an award-winning performer and filmmaker whose work spans theater and film. She has appeared in numerous stage productions and feature films, including Time Capsule, and created the internationally recognized short film Isn’t That Just My Life. Her recent theater credits include Blanche in A Streetcar Named Desire.
James James (Jacob)
James James is an actor with extensive experience in theater and film, known for emotionally grounded performances and ensemble-driven storytelling. His work often centers on complex characters navigating moral tension and personal stakes.
Derek Petropolis (Cato)
Derek Petropolis is an actor and voiceover artist originally from Tucson, Arizona. He earned a BFA in Theater from Cornish College of the Arts and has worked with theater companies in Seattle and Los Angeles, as well as appearing on Netflix, Lifetime, and in feature films. His voice work includes video games, commercials, and animated projects.
Sindy McKay-Swerdlove (Lillian)
Sindy McKay-Swerdlove is an Emmy and BAFTA award-winning writer and actor. Her early career included film and television acting before shifting focus to writing, where she earned multiple Emmy and Humanitas awards. In recent years, she has returned to acting, performing extensively on stage. Hit the Seat marks her return to independent film.
Martha Benavides (Senny)
Martha Benavides began her acting career in theater before training at the American Academy of Dramatic Arts in New York City. Her film credits include Up the Junction, The Heiress, and Late for the Sky. On stage, she has performed with Santa Paula Theater Center, Fractured Actors Theater Company, and The Alcazar Theatre. In 2025, her one-act play 12 Hours premiered at Santa Paula Theater Center’s Backstage.
Harper Róisín (“Rose”) Ham (Alex)
Harper Róisín Ham is a singer and actor who grew up performing in theater, with credits including productions at Rubicon Theatre Company and Fractured Actors Theater Company. Trained as a vocalist and percussionist, she makes her screen debut in Hit the Seat.
Amber Shea Hodge (Kylie)
Amber Shea Hodge is an actor, choreographer, and theater director with over 15 years of experience. Their work includes stage performances, choreography, and teaching in Los Angeles, as well as recent roles with Santa Paula Theater Center and Elite Theatre Company.
Layne Allen (Lyle)
Layne Allen is an actor whose recent work includes stage productions such as A Streetcar Named Desire and The History of Fire. Hit the Seat continues his collaboration in politically and socially engaged storytelling.