• little white lies •
Los Angeles, California | Film Short
Comedy, Drama
RAISING 20k TO FUND POST PRODUCTION! Set against the backdrop of an LA house party, “little white lies” follows a young dreamer who was recently manipulated into an unwanted sexual encounter with her crush. To cope with the abuse, she seeks to define and solidify their relationship.
• little white lies •
Los Angeles, California | Film Short
Comedy, Drama
1 Campaigns | California, United States
Green Light
This campaign raised $16,056 for production. Follow the filmmaker to receive future updates on this project.
211 supporters | followers
Enter the amount you would like to pledge
RAISING 20k TO FUND POST PRODUCTION! Set against the backdrop of an LA house party, “little white lies” follows a young dreamer who was recently manipulated into an unwanted sexual encounter with her crush. To cope with the abuse, she seeks to define and solidify their relationship.
About The Project
- The Story
- Wishlist
- Updates
- The Team
- Community
Mission Statement
The Story
We have a goal of raising 20K to retro-fund production from last month and to move into post production. The first 12K is allocated to production, the remaining 8K will go towards post production. This includes editing, visual effects, color grade, sound design, motion graphics, titling, music, and score.
December 19th at 7:00 AM we wrapped production on little white lies after four long, cold, overnight shoots.
And i'm thrilled to say, I believe we are going to have an incredible movie on our hands.
Here is a first look at some production stills and behind-the-scenes moments.
Below is a small sampling of what you'll find in that link.
Our team is thrilled with the look and feel of the film. What you can't tell from these photos is how phenomenal our actors were.
In an ensemble of 12 there were no weak links. Everyone brought their A-game. Each cast member's bio is up on our Instagram, if you're curious to learn more.
As much as I want to dive head-first into editing this film, I need to get post production funded. So, please read on and support if you can!
When I was 22 years old, I skipped class and went to the theater alone to see a film that would forever change my life — The Devil Wears Prada. The film found its legs at the box office, was praised by A.O. Scott, and earned Meryl Streep an Oscar Nom. I’d like to think it also defined a generation.
On paper, the lesson of The Devil Wears Prada was simple. Miranda Priestly is the devil. Full stop. Everything she says or does is in her self-interest. She cannot be trusted. Her priorities are in the wrong place. We probably shouldn’t work for her. We certainly should never become her.
But Meryl was soooooooo good in this movie. She made you love her. And she made you love Andy. And just as the film fell short in its critique of the arbitrariness of beauty standards, it also failed to convince me that “the dream” [literally insert whatever dream] wasn’t worth sacrificing my self-respect for. In fact, it did the opposite.
As a Millennial coming of age in 2006, I missed the intended point of this movie entirely. This film was my introduction to hustle culture. It normalized 80-hour work weeks. It glorified the idea of enduring a toxic boss. And it convinced me to give blunt-cut bangs a try.
Here we are 18 years later and I’m still carrying all three of these consequences around.
While this abuse is universal to the millennial experience, mine was contextualized in the entertainment industry. Whether I was enduring a 23-hour work day (and asking my mom who flew out to visit me for Easter to sleep on the office couch) or getting told by my [male] boss that I “better not get pregnant” because it would have been a “waste of” the time [probably mere hours] he spent “investing in me” — I quickly learned that I was “lucky to have a career at all” in an industry that everyone wanted to break into.
Over the years, my friends and I have wrestled with the excruciating choice of whether to abandon our dreams or possibly die trying. We continue pushing forward based on the idea that someday if we “make it”, everything we went through will have been worth it. I’m not just talking about sweat equity or paying dues — I’m talking about actual abuse. Predatory and exploitive labor and hiring practices. Corporate monopolies. Staggering income inequalities.
The older I get, the more I feel that the deck is stacked against those of us who dream. Those of us who care. Those of us who pursue unapologetically.
And so I ask myself…
Is it possible to chase what you want in this life without getting f*cked in the process?
This question is the inspiration for little white lies.
At a party in Los Angeles Sophia (24) arrives determined to define the relationship with her crush Jacob (28), the prince of mixed signals. She’ll process this dilemma with anyone who will listen. But this proves difficult, as every young dreamer she encounters is caught up in their own chase: Whether suffering their way to the top of a coveted career or trying to make it as an influencer, they have all inflated their hope so big that they have made themselves vulnerable. Maybe even as vulnerable as Sophia.
By the end of the party Sophia must face the reality she’s been swallowing down all night: A month ago Jacob manipulated her into sex… and she wasn’t ready. Sophia can’t help but wonder, “If I can just make him my boyfriend, was it really rape?”
I make dramas that masquerade as comedies until the final emotional gut punch. By placing the story of Sophia's assault against the backdrop of a party full of exploited dreamers, little white lies offers commentary: Just because we get the job, the exposure, or the promotion — it doesn’t undo the abuse.
little white lies explores the relationship between cognitive dissonance and exploitation and challenges the "ends justify the means” mindset many of us employ in our uphill trek for success. The title refers to the question that every character in this ensemble traumady answers: “What is the lie you believe that allows you to continue being abused?”
little white lies feature a 30-minute continuous shot, featuring 12 cast members, 9 settings, flashy dialogue, a flash mob, and a flashback. It's ambitious AF. The single-shot construction is more than just a gimmick though - it is the best way to tell this story. There is a single cut at the end of the film: when
Sophia, no longer caught up in the whirlwind of the party, finally acknowledges her rape.
Our team has a goal of raising $20,000 to retro-fund production and fund post-production. At a minimum, we need to raise $12,000 to reach our production budget, which is still extremely tight. Our asks are simple:
- Contribute financially to our campaign
- Share our campaign with others
- Interact with our Instagram and Facebook accounts,
to help us spread the word about this project, and spark discussions
around the exploration in our workplace culture and gig economy.
Wishlist
Use the WishList to Pledge cash and Loan items - or - Make a pledge by selecting an Incentive directly.
Lighting
Costs $2,000
The film takes place at night. We will set the white walls ablaze with practical lights & projected images.
Production Design
Costs $1,000
Wall textures and party props add visual interest and set the scene for a vibrant LA party.
Catering
Costs $2,000
Filming days are 12 hours long. A quality mid-day meal is crucial, for each of our four shooting days.
Camera Accessories
Costs $1,500
Lenses, Matte Boxes, and Microforce help us keep the film in focus (and pretty).
Wardrobe
Costs $200
Outfits for our leads.
Grip and Electric
Costs $4,000
A fully outfitted grip and electric truck. For rigging and powering the lights! (dancers not included)
looks + vibe
Costs $1,350
Hair, makeup, and wardrobe for our cast of 11.
Cash Pledge
Costs $0
Direct link:
Share this update!
About This Team
Every person on the little white lies team will be integral to the success of the project, and most of them I've worked with before.
For starters, my producers.
Olivia and I are in the middle of a successful festival run with our last project [subtext], which Olivia produced, wrote, and acted in.
The film has been lucky enough to be accepted into 25 festivals this fall alone, including Jury Award wins at FilmQuest and Lonely Seal, Audience Award wins at Walla Walla Movie Crush, San Jose International, and Highland Park -- and an Enderby Fellowship nomination from Austin Film Festival.
Olivia has been a wonderful creative producer during development and will continue to be a strong organizational force during pre-production and production.
•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
Elle Shaw has been my partner in crime in more ways than one. First, she co-runs Salute Your Shorts Film Festival with me. Making programming decisions with her over the last four years has helped us develop similar artistic tastes and acquire a shorthand.
Here we are below with the 2023 panelists for SYSFF's opening night, Daniel Scheinert and the EEAAO VFX team!
(photo by Emily Sandifer)
Elle and I also had the opportunity to travel to Cannes Film Festival together to celebrate the screening of A Question of Service, a proof-of-concept short which screened in the Emerging Filmmaker Showcase. Elle was the sole producer in production on AQOS, which also took home top TV awards at Catalyst Story Institute and Hollyshorts.
•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
Beth and I have worked together over a dozen times. She's an incredible DP who has shot Rekindled, [subtext], A Question of Service, Hotwire, Feeling Flush, and most of the Versatile Assassins films. This is hardly an exhaustive list. Needless to say, I love working with Beth!
Here we are working together on the set of A Question of Service. Beth was kind enough to let me sit during this shot.
•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
Ciarra and I met through Second Draft, a cold reading series in Los Angeles. I immediately took note of her comedy chops and included her in the cast of [subtext]. Here she is below acting along side Olivia (yes, that Olivia!).
Ciarra also joined a monthly directing actors workshop that I'm a part of and through that experience, the desire to work with her on something meatier grew. We co-penned little white lies together.
•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
I first met Hayden working together on [subtext]. It was an awesome experience. Not only is he a very skilled trinity operator, but he also is a strong storyteller who understands humor and pacing so well.
When I had the idea for little white lies, he was one of the first people I reached out to, not only as an operator but also as a creative producer. His ideas during our initial location scout helped shape the script and will continue to help us refine blocking as we move into rehearsals in early December.
•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
Emily and I met through our mutual admiration of Hans Obma, the star of A Question of Service. We became fast friends and found that we share a lot of taste in movies and television. The moment I realized I had an ensemble project in the works, I thought of Emily.
Current Team
Incentives
- The Story
- Wishlist
- Updates
- The Team
- Community
Mission Statement
The Story
We have a goal of raising 20K to retro-fund production from last month and to move into post production. The first 12K is allocated to production, the remaining 8K will go towards post production. This includes editing, visual effects, color grade, sound design, motion graphics, titling, music, and score.
December 19th at 7:00 AM we wrapped production on little white lies after four long, cold, overnight shoots.
And i'm thrilled to say, I believe we are going to have an incredible movie on our hands.
Here is a first look at some production stills and behind-the-scenes moments.
Below is a small sampling of what you'll find in that link.
Our team is thrilled with the look and feel of the film. What you can't tell from these photos is how phenomenal our actors were.
In an ensemble of 12 there were no weak links. Everyone brought their A-game. Each cast member's bio is up on our Instagram, if you're curious to learn more.
As much as I want to dive head-first into editing this film, I need to get post production funded. So, please read on and support if you can!
When I was 22 years old, I skipped class and went to the theater alone to see a film that would forever change my life — The Devil Wears Prada. The film found its legs at the box office, was praised by A.O. Scott, and earned Meryl Streep an Oscar Nom. I’d like to think it also defined a generation.
On paper, the lesson of The Devil Wears Prada was simple. Miranda Priestly is the devil. Full stop. Everything she says or does is in her self-interest. She cannot be trusted. Her priorities are in the wrong place. We probably shouldn’t work for her. We certainly should never become her.
But Meryl was soooooooo good in this movie. She made you love her. And she made you love Andy. And just as the film fell short in its critique of the arbitrariness of beauty standards, it also failed to convince me that “the dream” [literally insert whatever dream] wasn’t worth sacrificing my self-respect for. In fact, it did the opposite.
As a Millennial coming of age in 2006, I missed the intended point of this movie entirely. This film was my introduction to hustle culture. It normalized 80-hour work weeks. It glorified the idea of enduring a toxic boss. And it convinced me to give blunt-cut bangs a try.
Here we are 18 years later and I’m still carrying all three of these consequences around.
While this abuse is universal to the millennial experience, mine was contextualized in the entertainment industry. Whether I was enduring a 23-hour work day (and asking my mom who flew out to visit me for Easter to sleep on the office couch) or getting told by my [male] boss that I “better not get pregnant” because it would have been a “waste of” the time [probably mere hours] he spent “investing in me” — I quickly learned that I was “lucky to have a career at all” in an industry that everyone wanted to break into.
Over the years, my friends and I have wrestled with the excruciating choice of whether to abandon our dreams or possibly die trying. We continue pushing forward based on the idea that someday if we “make it”, everything we went through will have been worth it. I’m not just talking about sweat equity or paying dues — I’m talking about actual abuse. Predatory and exploitive labor and hiring practices. Corporate monopolies. Staggering income inequalities.
The older I get, the more I feel that the deck is stacked against those of us who dream. Those of us who care. Those of us who pursue unapologetically.
And so I ask myself…
Is it possible to chase what you want in this life without getting f*cked in the process?
This question is the inspiration for little white lies.
At a party in Los Angeles Sophia (24) arrives determined to define the relationship with her crush Jacob (28), the prince of mixed signals. She’ll process this dilemma with anyone who will listen. But this proves difficult, as every young dreamer she encounters is caught up in their own chase: Whether suffering their way to the top of a coveted career or trying to make it as an influencer, they have all inflated their hope so big that they have made themselves vulnerable. Maybe even as vulnerable as Sophia.
By the end of the party Sophia must face the reality she’s been swallowing down all night: A month ago Jacob manipulated her into sex… and she wasn’t ready. Sophia can’t help but wonder, “If I can just make him my boyfriend, was it really rape?”
I make dramas that masquerade as comedies until the final emotional gut punch. By placing the story of Sophia's assault against the backdrop of a party full of exploited dreamers, little white lies offers commentary: Just because we get the job, the exposure, or the promotion — it doesn’t undo the abuse.
little white lies explores the relationship between cognitive dissonance and exploitation and challenges the "ends justify the means” mindset many of us employ in our uphill trek for success. The title refers to the question that every character in this ensemble traumady answers: “What is the lie you believe that allows you to continue being abused?”
little white lies feature a 30-minute continuous shot, featuring 12 cast members, 9 settings, flashy dialogue, a flash mob, and a flashback. It's ambitious AF. The single-shot construction is more than just a gimmick though - it is the best way to tell this story. There is a single cut at the end of the film: when
Sophia, no longer caught up in the whirlwind of the party, finally acknowledges her rape.
Our team has a goal of raising $20,000 to retro-fund production and fund post-production. At a minimum, we need to raise $12,000 to reach our production budget, which is still extremely tight. Our asks are simple:
- Contribute financially to our campaign
- Share our campaign with others
- Interact with our Instagram and Facebook accounts,
to help us spread the word about this project, and spark discussions
around the exploration in our workplace culture and gig economy.
Wishlist
Use the WishList to Pledge cash and Loan items - or - Make a pledge by selecting an Incentive directly.
Lighting
Costs $2,000
The film takes place at night. We will set the white walls ablaze with practical lights & projected images.
Production Design
Costs $1,000
Wall textures and party props add visual interest and set the scene for a vibrant LA party.
Catering
Costs $2,000
Filming days are 12 hours long. A quality mid-day meal is crucial, for each of our four shooting days.
Camera Accessories
Costs $1,500
Lenses, Matte Boxes, and Microforce help us keep the film in focus (and pretty).
Wardrobe
Costs $200
Outfits for our leads.
Grip and Electric
Costs $4,000
A fully outfitted grip and electric truck. For rigging and powering the lights! (dancers not included)
looks + vibe
Costs $1,350
Hair, makeup, and wardrobe for our cast of 11.
Cash Pledge
Costs $0
Direct link:
Share this update!
About This Team
Every person on the little white lies team will be integral to the success of the project, and most of them I've worked with before.
For starters, my producers.
Olivia and I are in the middle of a successful festival run with our last project [subtext], which Olivia produced, wrote, and acted in.
The film has been lucky enough to be accepted into 25 festivals this fall alone, including Jury Award wins at FilmQuest and Lonely Seal, Audience Award wins at Walla Walla Movie Crush, San Jose International, and Highland Park -- and an Enderby Fellowship nomination from Austin Film Festival.
Olivia has been a wonderful creative producer during development and will continue to be a strong organizational force during pre-production and production.
•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
Elle Shaw has been my partner in crime in more ways than one. First, she co-runs Salute Your Shorts Film Festival with me. Making programming decisions with her over the last four years has helped us develop similar artistic tastes and acquire a shorthand.
Here we are below with the 2023 panelists for SYSFF's opening night, Daniel Scheinert and the EEAAO VFX team!
(photo by Emily Sandifer)
Elle and I also had the opportunity to travel to Cannes Film Festival together to celebrate the screening of A Question of Service, a proof-of-concept short which screened in the Emerging Filmmaker Showcase. Elle was the sole producer in production on AQOS, which also took home top TV awards at Catalyst Story Institute and Hollyshorts.
•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
Beth and I have worked together over a dozen times. She's an incredible DP who has shot Rekindled, [subtext], A Question of Service, Hotwire, Feeling Flush, and most of the Versatile Assassins films. This is hardly an exhaustive list. Needless to say, I love working with Beth!
Here we are working together on the set of A Question of Service. Beth was kind enough to let me sit during this shot.
•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
Ciarra and I met through Second Draft, a cold reading series in Los Angeles. I immediately took note of her comedy chops and included her in the cast of [subtext]. Here she is below acting along side Olivia (yes, that Olivia!).
Ciarra also joined a monthly directing actors workshop that I'm a part of and through that experience, the desire to work with her on something meatier grew. We co-penned little white lies together.
•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
I first met Hayden working together on [subtext]. It was an awesome experience. Not only is he a very skilled trinity operator, but he also is a strong storyteller who understands humor and pacing so well.
When I had the idea for little white lies, he was one of the first people I reached out to, not only as an operator but also as a creative producer. His ideas during our initial location scout helped shape the script and will continue to help us refine blocking as we move into rehearsals in early December.
•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
Emily and I met through our mutual admiration of Hans Obma, the star of A Question of Service. We became fast friends and found that we share a lot of taste in movies and television. The moment I realized I had an ensemble project in the works, I thought of Emily.