Survival Job
Los Angeles, California | Film Short
Drama, Crime
If you've ever worked a thankless day job while yearning to do something you actually love, then you're our people (& we need your support)! Survival Job exposes how late-stage capitalism makes disposable commodities of our people and planet in a neo-realism slice-of-life film with an explosive end.
Survival Job
Los Angeles, California | Film Short
Drama, Crime
1 Campaigns | California, United States
Green Light
This campaign raised $26,791 for production. Follow the filmmaker to receive future updates on this project.
135 supporters | followers
Enter the amount you would like to pledge
If you've ever worked a thankless day job while yearning to do something you actually love, then you're our people (& we need your support)! Survival Job exposes how late-stage capitalism makes disposable commodities of our people and planet in a neo-realism slice-of-life film with an explosive end.
About The Project
- The Story
- Wishlist
- Updates
- The Team
- Community
Mission Statement
The Story
On a routine day selling luxury water to supermarkets, a struggling actor witnesses an act of desperate violence.
Survival Job follows a day-in-the-life of Gracie as she navigates her job working as a Bottled Water sales rep (while sneaking in calls to agents, in pursuit of her actual dream — becoming an actor). Gracie weaves in and out of the supermarket, interacting with the beating heart of the city—the minimum wage workers who make the wheels turn—before an act of desperate terror changes the trajectory of her day… and her life.
But here's why I truly want to tell this story...
I feel inspired to tell this story as an Australian transplant to LA, who has seen firsthand what life is like beyond the glitz and glamour of this city. Throughout the pandemic, I worked as a sales rep, driving all over the city, and meeting the hourly workers who put their lives at risk to keep the city running and the economy moving, all for $16.90 an hour. The script poured out of me and I realized it was a visceral response to where it feels like we are as a society. I am fascinated by the question: How do we function and take back power in a system that has complete disregard for our humanity?
Capitalism is at the heart of America, and when you first experience LA? It can be blinding. Billboards larger than studio apartments promise wealth and fame, if only you buy their product. The Hollywood sign looms high over the city as a constant reminder that if you just stay in the game, you too can eventually become one of the lucky ones. What all of this is blinding you from is the all too common exploitation of humans and natural resources in order for the wealthy and lucky to stay that way.
The film is both dystopian, and neo-realist. Drawing inspiration from the Italian post-WWII Neorealism cinema movement of the 40’s & 50’s — which is characterized by stories of the poor and working class, filmed on location and reflecting harsh economic realities — while elevating the feel of the film into a post-apocalyptic reality. It’s not that the world has necessarily ended, but the film plays with the perception that perhaps, the world as we know it is on its way out. Much like the eerie quiet and emptiness that LA experienced post-pandemic and post-fires.
The color & feel of the film is inspired by films such as Nomadland, Tangerine, and Uncut Gems. The film takes reference and inspiration from the stark blue, yellow and almost fluorescent feeling shots of the Amazon facility in Chloe Zhao’s Nomadland. The use of raw environmental light in Tangerine and the frenetic cuts and energy of Uncut Gems.
We’re utilizing a single location: a supermarket—this will lend itself to the neo-realism feel and stark tone of fluorescent-lit aisles, and packaged foods branded with pro-America slogans. Supermarkets are also natural intersections of society, culture & humanity, which will ground our plot in reality.
Here's How We're Using Our Funds:
SURVIVAL JOB is a contained film with ambition bigger than its footprint. We’re shooting primarily in a single supermarket location, which allows us to keep production costs lean while putting the money where it actually shows up on screen: performances, our camera team & production crew, and post-production.
Our largest investment is in crew and above-the-line team members, because this story lives or dies on execution—grounded performances, realistic production design, and a team that can move fast inside a real, living environment. Camera & equipment and locations, permits & insurance ensure we can capture the raw, immersive feel of the film without cutting corners on quality or safety for our hardworking team!
Post-production is where the film is shaped and we have some exciting prospects with sound & music to create the beating heart of the film on screen. Our resources will be spent on editing, color-grading and sound composition/design to create the visceral experience we're dreaming up.
And because our producers have been there & done that - we’ve of course allocated for the realities that indie films can't ignore: contingency funds for the inevitable unexpected surprises of a film shoot, and of course our festivals & marketing budget, because making the film is only half the job. Getting it seen is the other half.
This film doesn’t get made without your support!
It gets made because a group of people (hi - you!) decide this story matters enough to back it.
Survival Job is about the people who keep the system running while being slowly crushed by it. The ones you pass by every day. The ones rarely centered. The ones expected to endure.
This has to be a grass-roots endeavor, and we are thrilled to take you on the journey - every step of the way.
We’re making this film with intention, precision, with a team that knows exactly how to stretch every dollar into something that feels immediate and unflinchingly honest.
If this story hits something in you. If you’ve ever felt caught between survival and the life you actually want. Then this is your moment to step in and be part of bringing this project to life.
Back the film. Share the campaign. Be part of the reason it gets to exist.
Because films like this don’t happen by accident. They happen because people like you decide they should.
Thank you in advance! And let's make something truly special together.
Wishlist
Use the WishList to Pledge cash and Loan items - or - Make a pledge by selecting an Incentive directly.
Paying our Crew!
Costs $5,950
Without the crew, there's no film!
Camera & Equipment
Costs $3,550
To capture the shots & make them beautiful
Locations & Permits
Costs $2,250
So we can tell the story we want to tell, where we want to tell it.
Paying our Cast!
Costs $1,820
Without our cast, there is no story!
Paying Our Creatives!
Costs $3,000
Without our creatives, there would be no script & this film would not be getting made.
Production Insurance
Costs $750
Cause insurance, ya know? Everyone should have it
Art Department
Costs $1,200
To create a believable, naunced world & characters
Transport
Costs $250
Getting there!
Post Production
Costs $4,000
They say you make a film 3 times. Once when you write it, once when you shoot it & once when you edit it. This will cover editing & post.
Miscellaneous & Contigency
Costs $1,500
For all the things we don't know we need until we need them.
Catering & Crafty
Costs $800
Cause you can't work on an empty tum!
Poster & Festivals
Costs $1,500
So all our hardwork can be seen!
Cash Pledge
Costs $0
Direct link:
Share this update!
About This Team
Gemma Scoble is an Australian actor based in Los Angeles, known for her sharp comedic instincts and grounded, compelling performances. She gained recognition for her work in festival favorite This Will Destroy You (2020), as well as appearances in House of Hancock and The Dream Channel, the latter of which screened at the Cannes Film Festival.
In 2019, Gemma relocated to Los Angeles to further pursue her career, training at UCB and performing stand-up comedy, where she developed her improvisational skills and distinctive voice. While studying at the Lesly Kahn studio, she met Anais Blake, with whom she went on to co-found the comedic sketch group No You Hang Up First, a creative partnership that continues to shape her work as a writer and performer.
Gemma’s screen work spans short films, commercials, and music videos, including international campaigns for Holden and Fuji Film and national spots for McDonald’s, AMP, and Ancestry. Most recently, she has been touring internationally with My Chemical Romance, performing in their live show Phantom, bringing her work to large-scale audiences around the world.
As a creator, Gemma is particularly interested in walking the line between comedy and darker subject matter, often exploring themes of late-stage capitalism, ambition, and disillusionment. Her work is driven by a desire to find humor in discomfort while still delivering an emotional gut punch. With international roots and a strong, evolving creative voice, Gemma Scoble continues to carve out space for herself as a dynamic and thoughtful performer.
Izzy Stevens is an Australian/American award-winning director, actor, and the founder of Indie Spunk, where she’s helped bring over 60+ films to life while guiding creatives to build sustainable businesses that support their artistry.
Her work on screen and behind the camera has been showcased on Netflix, Amazon Prime, and ABC, and at top festivals including Fantastic Fest, HollyShorts, Cannes (Diversity), TROPFEST, and the LA Independent Women’s Film Awards. As an actor, Izzy is known for her lead roles in Underbelly: Razor, Puberty Blues, and the global sci-fi franchise Occupation (starring alongside Ken Jeong & Temuera Morrison), which premiered on Netflix after a worldwide theatrical release. She recently reprised her role in Occupation: Rainfall, starred in Another Mother, and in 2024, executive produced and starred in gothic noir feature The Hermetica.
As a director, her work includes the TROPFEST-finalist Phenomena, the award-winning Leap, and the Cinema Australia Selection, Placidyl (Or the Diary of a Madwoman). Her most recent short, SEAFOAM, selected by Fantastic Fest which described it as “a deftly disorienting psychological thriller.”
Now based in Los Angeles, Izzy is a WIF member and leverages her dual citizenship to pursue opportunities in the U.S. and Australia, championing filmmaker autonomy and fiercely original storytelling.
Beck Bennion is a producer, actor, and award-winning screenwriter who spent a decade in corporate marketing, rising through the ranks to become one of the youngest director-level colleagues at her firm. Her success in that space not only honed her strategic and creative skills but also built her reputation as a leader in branding and storytelling.
She is currently in development of James on Rage, a psychological thriller written and directed by Izzy Stevens. Her producing work also includes the film Getting to That Age starring Sharon Lawrence, Matt Walsh, Romy Reiner, and Carter Jenkins; and the critically acclaimed one-man show Unsavory Fellow, which sold out 15 performances in Santa Monica and received critical acclaim. Beck made her short film debut with Headshots, a hilarious take on the world of casting, which she wrote, directed, and produced. Due to the strong interest in the short, she and her co-writer adapted Headshots into a television series, Outcasts, with the pilot script winning multiple festival awards both nationally and internationally.
Since then, Beck has produced two additional short films, She Was, She Is, She Never Will Be [PROOF, Short Film Collective] and The Line, both currently on the festival circuit.
Current Team
Incentives
- The Story
- Wishlist
- Updates
- The Team
- Community
Mission Statement
The Story
On a routine day selling luxury water to supermarkets, a struggling actor witnesses an act of desperate violence.
Survival Job follows a day-in-the-life of Gracie as she navigates her job working as a Bottled Water sales rep (while sneaking in calls to agents, in pursuit of her actual dream — becoming an actor). Gracie weaves in and out of the supermarket, interacting with the beating heart of the city—the minimum wage workers who make the wheels turn—before an act of desperate terror changes the trajectory of her day… and her life.
But here's why I truly want to tell this story...
I feel inspired to tell this story as an Australian transplant to LA, who has seen firsthand what life is like beyond the glitz and glamour of this city. Throughout the pandemic, I worked as a sales rep, driving all over the city, and meeting the hourly workers who put their lives at risk to keep the city running and the economy moving, all for $16.90 an hour. The script poured out of me and I realized it was a visceral response to where it feels like we are as a society. I am fascinated by the question: How do we function and take back power in a system that has complete disregard for our humanity?
Capitalism is at the heart of America, and when you first experience LA? It can be blinding. Billboards larger than studio apartments promise wealth and fame, if only you buy their product. The Hollywood sign looms high over the city as a constant reminder that if you just stay in the game, you too can eventually become one of the lucky ones. What all of this is blinding you from is the all too common exploitation of humans and natural resources in order for the wealthy and lucky to stay that way.
The film is both dystopian, and neo-realist. Drawing inspiration from the Italian post-WWII Neorealism cinema movement of the 40’s & 50’s — which is characterized by stories of the poor and working class, filmed on location and reflecting harsh economic realities — while elevating the feel of the film into a post-apocalyptic reality. It’s not that the world has necessarily ended, but the film plays with the perception that perhaps, the world as we know it is on its way out. Much like the eerie quiet and emptiness that LA experienced post-pandemic and post-fires.
The color & feel of the film is inspired by films such as Nomadland, Tangerine, and Uncut Gems. The film takes reference and inspiration from the stark blue, yellow and almost fluorescent feeling shots of the Amazon facility in Chloe Zhao’s Nomadland. The use of raw environmental light in Tangerine and the frenetic cuts and energy of Uncut Gems.
We’re utilizing a single location: a supermarket—this will lend itself to the neo-realism feel and stark tone of fluorescent-lit aisles, and packaged foods branded with pro-America slogans. Supermarkets are also natural intersections of society, culture & humanity, which will ground our plot in reality.
Here's How We're Using Our Funds:
SURVIVAL JOB is a contained film with ambition bigger than its footprint. We’re shooting primarily in a single supermarket location, which allows us to keep production costs lean while putting the money where it actually shows up on screen: performances, our camera team & production crew, and post-production.
Our largest investment is in crew and above-the-line team members, because this story lives or dies on execution—grounded performances, realistic production design, and a team that can move fast inside a real, living environment. Camera & equipment and locations, permits & insurance ensure we can capture the raw, immersive feel of the film without cutting corners on quality or safety for our hardworking team!
Post-production is where the film is shaped and we have some exciting prospects with sound & music to create the beating heart of the film on screen. Our resources will be spent on editing, color-grading and sound composition/design to create the visceral experience we're dreaming up.
And because our producers have been there & done that - we’ve of course allocated for the realities that indie films can't ignore: contingency funds for the inevitable unexpected surprises of a film shoot, and of course our festivals & marketing budget, because making the film is only half the job. Getting it seen is the other half.
This film doesn’t get made without your support!
It gets made because a group of people (hi - you!) decide this story matters enough to back it.
Survival Job is about the people who keep the system running while being slowly crushed by it. The ones you pass by every day. The ones rarely centered. The ones expected to endure.
This has to be a grass-roots endeavor, and we are thrilled to take you on the journey - every step of the way.
We’re making this film with intention, precision, with a team that knows exactly how to stretch every dollar into something that feels immediate and unflinchingly honest.
If this story hits something in you. If you’ve ever felt caught between survival and the life you actually want. Then this is your moment to step in and be part of bringing this project to life.
Back the film. Share the campaign. Be part of the reason it gets to exist.
Because films like this don’t happen by accident. They happen because people like you decide they should.
Thank you in advance! And let's make something truly special together.
Wishlist
Use the WishList to Pledge cash and Loan items - or - Make a pledge by selecting an Incentive directly.
Paying our Crew!
Costs $5,950
Without the crew, there's no film!
Camera & Equipment
Costs $3,550
To capture the shots & make them beautiful
Locations & Permits
Costs $2,250
So we can tell the story we want to tell, where we want to tell it.
Paying our Cast!
Costs $1,820
Without our cast, there is no story!
Paying Our Creatives!
Costs $3,000
Without our creatives, there would be no script & this film would not be getting made.
Production Insurance
Costs $750
Cause insurance, ya know? Everyone should have it
Art Department
Costs $1,200
To create a believable, naunced world & characters
Transport
Costs $250
Getting there!
Post Production
Costs $4,000
They say you make a film 3 times. Once when you write it, once when you shoot it & once when you edit it. This will cover editing & post.
Miscellaneous & Contigency
Costs $1,500
For all the things we don't know we need until we need them.
Catering & Crafty
Costs $800
Cause you can't work on an empty tum!
Poster & Festivals
Costs $1,500
So all our hardwork can be seen!
Cash Pledge
Costs $0
Direct link:
Share this update!
About This Team
Gemma Scoble is an Australian actor based in Los Angeles, known for her sharp comedic instincts and grounded, compelling performances. She gained recognition for her work in festival favorite This Will Destroy You (2020), as well as appearances in House of Hancock and The Dream Channel, the latter of which screened at the Cannes Film Festival.
In 2019, Gemma relocated to Los Angeles to further pursue her career, training at UCB and performing stand-up comedy, where she developed her improvisational skills and distinctive voice. While studying at the Lesly Kahn studio, she met Anais Blake, with whom she went on to co-found the comedic sketch group No You Hang Up First, a creative partnership that continues to shape her work as a writer and performer.
Gemma’s screen work spans short films, commercials, and music videos, including international campaigns for Holden and Fuji Film and national spots for McDonald’s, AMP, and Ancestry. Most recently, she has been touring internationally with My Chemical Romance, performing in their live show Phantom, bringing her work to large-scale audiences around the world.
As a creator, Gemma is particularly interested in walking the line between comedy and darker subject matter, often exploring themes of late-stage capitalism, ambition, and disillusionment. Her work is driven by a desire to find humor in discomfort while still delivering an emotional gut punch. With international roots and a strong, evolving creative voice, Gemma Scoble continues to carve out space for herself as a dynamic and thoughtful performer.
Izzy Stevens is an Australian/American award-winning director, actor, and the founder of Indie Spunk, where she’s helped bring over 60+ films to life while guiding creatives to build sustainable businesses that support their artistry.
Her work on screen and behind the camera has been showcased on Netflix, Amazon Prime, and ABC, and at top festivals including Fantastic Fest, HollyShorts, Cannes (Diversity), TROPFEST, and the LA Independent Women’s Film Awards. As an actor, Izzy is known for her lead roles in Underbelly: Razor, Puberty Blues, and the global sci-fi franchise Occupation (starring alongside Ken Jeong & Temuera Morrison), which premiered on Netflix after a worldwide theatrical release. She recently reprised her role in Occupation: Rainfall, starred in Another Mother, and in 2024, executive produced and starred in gothic noir feature The Hermetica.
As a director, her work includes the TROPFEST-finalist Phenomena, the award-winning Leap, and the Cinema Australia Selection, Placidyl (Or the Diary of a Madwoman). Her most recent short, SEAFOAM, selected by Fantastic Fest which described it as “a deftly disorienting psychological thriller.”
Now based in Los Angeles, Izzy is a WIF member and leverages her dual citizenship to pursue opportunities in the U.S. and Australia, championing filmmaker autonomy and fiercely original storytelling.
Beck Bennion is a producer, actor, and award-winning screenwriter who spent a decade in corporate marketing, rising through the ranks to become one of the youngest director-level colleagues at her firm. Her success in that space not only honed her strategic and creative skills but also built her reputation as a leader in branding and storytelling.
She is currently in development of James on Rage, a psychological thriller written and directed by Izzy Stevens. Her producing work also includes the film Getting to That Age starring Sharon Lawrence, Matt Walsh, Romy Reiner, and Carter Jenkins; and the critically acclaimed one-man show Unsavory Fellow, which sold out 15 performances in Santa Monica and received critical acclaim. Beck made her short film debut with Headshots, a hilarious take on the world of casting, which she wrote, directed, and produced. Due to the strong interest in the short, she and her co-writer adapted Headshots into a television series, Outcasts, with the pilot script winning multiple festival awards both nationally and internationally.
Since then, Beck has produced two additional short films, She Was, She Is, She Never Will Be [PROOF, Short Film Collective] and The Line, both currently on the festival circuit.