The Party at Clarissa Dalloway's
Los Angeles, California | Film Short
Drama, LGBTQ
Mrs. Dalloway hosts a dinner party, while two of her oldest friends contemplate life, aging, and Clarissa. One hundred years after Virginia Woolf's novel, we are still dealing with the same inner conflicts, the same sense of a life that is so much bigger than we can handle.
The Party at Clarissa Dalloway's
Los Angeles, California | Film Short
Drama, LGBTQ
1 Campaigns |
Green Light
This campaign raised $11,077 for production. Follow the filmmaker to receive future updates on this project.
52 supporters | followers
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Mrs. Dalloway hosts a dinner party, while two of her oldest friends contemplate life, aging, and Clarissa. One hundred years after Virginia Woolf's novel, we are still dealing with the same inner conflicts, the same sense of a life that is so much bigger than we can handle.
About The Project
- The Story
- Wishlist
- Updates
- The Team
- Community
Mission Statement
The Story
"Mrs Dalloway is always giving parties to cover the silence."
Hello, my name is Conner Wilson. I am a graduate film student at Loyola Marymount University, currently raising funds for my thesis project, The Party at Clarissa Dalloway's.
As soon as I read Mrs. Dalloway, I instantly started trying to write something based on that final party scene, mostly just to see if I could. At first, I didn’t really have any plans to make something from the script; I was happy with it as a little stylistic exercise. But the more I thought about it, the more I realized just how much this story speaks to my understanding of life, both in what it says and in how it says it.
I think identity is a very permeable thing. Who we are, and how we feel that sense of self, changes with time, with situation, with the smallest events of the day. As someone who is neurodivergent, and has other aspects of my identity that can have profoundly different meanings and implications depending on the situation, this is something I am always thinking about.
The Modernist writers, like Virginia Woolf, depict that interchange better than most. We bounce from person to person, from moment to moment, and nothing is ever quite the same. There are few things more exciting and worthwhile than trying to discover how we can live in the bodies of other people, even if just for a few moments, through hearing their words and hearing their stories.
And that's why I wanted to make The Party at Clarissa Dalloway's:
To spend some time living in these characters.
More than anything, to spend some time living in Clarissa,
The host of this party, a woman swimming always upstream,
Who wants nothing more than to feel this world forever.
One hope for this project is that it can serve as a proof of concept for a longer adaptation of Woolf's entire novel, either as a feature film project or a miniseries. Separate from that, I hope that this film can stand on its own as a character piece, exploring relationships and aging with depth.
"Mrs. Dalloway said she would buy the flowers herself."
There are a few aspects that we need to fund, but most especially:
- Wardrobe/Makeup — While this film is a modern adaptation, it's still important that this fancy party... looks like a fancy party!
- Location — Our Clarissa Dalloway lives in a nice East Coast home, and while we can't fly across the country, there are houses in L.A. that can stand in exceptionally well. They do carry a price-tag, however, so it's important to raise enough funds to rent a nice location.
- Actors — While there are only a few speaking roles, we want to make sure that people are as compensated for their time and effort as possible.
- Catering — Our cast and crew need lunch!
- Sustainability — It is important to me as the filmmaker that we run as sustainable a production as we can, and so we'll need some funds to cover things like purchasing water filters, coffee makers, etc.
Even if we don't reach the entire goal listed on this project, all funds raised will go into production and post-production costs while we search for other funding streams. If we raise extra funds — great! It will go towards making an even stronger project, with a higher level of production quality.
Backers will have access to the finished film as early as possible!
We are hoping to go the festival route, but it will be uploaded to a secure viewing platform once it's ready to be distributed.
"It was very, very dangerous to live even one day."
Mrs. Dalloway is a novel that means very much to me; it speaks to something deep within the human soul. When I started writing a screenplay adaptation of the final party, it was just to see if I could. I never expected to be trying to actually make the thing, but I'm so glad I am.
The team we've started building around this project is extraordinary, and so I remain supremely confident that this adaptation, while challenging, is not only achievable, but that it can be done with skill.
I cannot overstate my gratefulness to anyone who helps to fund this project.
"It is a thousand pities never to say what one feels."
If you are unable to contribute financially, but still want to help get this film made, please spread the word on social media, and just through reaching out to your networks directly!
Everything is appreciated.
Thank you all!
Wishlist
Use the WishList to Pledge cash and Loan items - or - Make a pledge by selecting an Incentive directly.
Cast Payment
Costs $600
Peter, Sally, and Clarissa are demanding roles, and we want to be able to get the best actors for them!
Wardrobe
Costs $400
The costumes these characters wear are vital to setting the scene and understanding the social dynamics at play.
Location and Set Dressing
Costs $8,000
Clarissa's house is practically a character in and of itself.
Post-Production Costs
Costs $500
Nothing can make or break a film like editing.
Craft Services and Lunch
Costs $3,050
People need to eat!
Festival Applications
Costs $750
We want to make sure this film has a chance to find the audience it deserves.
Cash Pledge
Costs $0
Direct link:
Share this update!
About This Team
Conner Wilson (Writer/Executive Producer) is a filmmaker and writer with a deep and abiding interest in finding new routes to old stories. As a student of screenwriting and theology at Loyola Marymount University, he learned the power of a good story to reveal human nature. Now in the MFA program for Writing and Producing Television at LMU, he hopes that The Party at Clarissa Dalloway’s goes some way towards keeping Virginia Woolf's beautiful work alive. Wilson grew up a second-generation American in rural Southwest Missouri with a parent from each coast. This mixing of backgrounds and perspectives has meant that Conner has always been attracted to stories that don’t resort to neat divisions or easy answers. The world is a profoundly, shockingly, beautifully weird space. Why not have fun with it? In addition to film, Conner writes poetry, often focused on experiments in form.
Megan Whitham (Director) is a multidisciplinary artist whose life and work is best summarized with the adage “variety is the spice of life.” A voracious consumer and creator of old and new media alike, Whitham previously lived throughout the diverse Washington Metropolitan Area and Dublin, Ireland before settling (as much as a traveler can) in Los Angeles, California where she predominately spends her days writing, producing, directing, and editing both fiction and non-fiction films. While her medium of choice has been known to shift, Whitham’s dedication to thoughtfully telling diverse stories, particularly those of women and people with disabilities, is constant.
Yiran Chen (Cinematographer) earned her MFA in Cinematography from Loyola Marymount University in Los Angeles, where she studied under renowned Hollywood cinematographer Amy Vincent, ASC—recipient of the ASC President’s Award and Sundance Best Cinematography Award. During her time at LMU, Chen received the Ian Connor Award for Outstanding Cinematography from the School of Film and Television. Her film To Kill the Chicken (2014) was selected for the Magnetic Field Section of the FIRST International Film Festival—often referred to as “China’s Sundance”—as well as Q Fest St. Louis, presented by Cinema St. Louis, the organizers of the Academy Award–qualifying St. Louis International Film Festival. Her short ACTION was nominated by the Oscar-qualifying Urban World Film Festival. Chen’s thesis film Toad Song was nominated by the BAFTA-qualifying Iris Prize LGBTQ+ Film Festival and the Scottish Queer International Film Festival in the UK, as well as the Newport Beach Film Festival. Her short Spring was selected by both the Academy Award– and Canadian Screen Award–qualifying LA Shorts International Film Festival and the Burbank International Film Festival. Her short Ornamental Oriental screened at the Houston Asian American Pacific Islander Film Festival, while her documentary Prison Is Cool was featured at LandShut International Short Film Festival, Myrtle Beach International Film Festival, Doc.London Documentary Film Festival, and the New York Super Shorts Film Festival. In the commercial field, Chen has collaborated with brands including BeatBot, Lynk & Co, and Coconut Island Games. Her projects have been supported by leading industry sponsors such as Cooke Optics, Panavision, Tiffen, LiteGear, and Sony. Currently, Chen works as a cinematographer for vertical series platforms including ReelShort and DramaBox. Her recent mini-series credits include Don’t Miss Me When You Are Gone, Someone Loved is Never Lost, and Crossing the Line to Love.
Pedro Guzmán (Producer) is a filmmaker from South Florida and a recent graduate from LMU’s School of Film and Television. His work is informed by his time spent as a seasonal worker with the Student Conservation Association, which draws him to stories of people for whom the world as-is isn't really working, and who seek alternative paths. With experience in documentary and fiction films, he brings a grounded approach to filmmaking, and seeks to elevate stories that ask us to reflect on our own lives and decisions. He’s excited to partner the rest of the team to bring this story to life!
Charlie Reisman (Producer) is an experienced writer, actor, and director. He hails from Connecticut, where he developed a passion for telling stories and the collaborative nature of film, television, and theater. In college, he majored in Theater Performance with a minor in Creative Writing, then spent three years teaching theater at an all-boys school in Connecticut. In his free time, you can find Charlie writing while his cat tries to delete all his work, being disappointed by his beloved New York Mets and Jets, and trying to expand his physical media collection. Charlie has dedicated his life to telling stories, believes it is the best job in the world, and wonders why anyone would want to do anything else.
Jessica Skinner (Producer) is an MFA candidate in Writing and Producing for Television at Loyola Marymount University. She earned her undergraduate degree from Barnard College, the historically women’s college affiliated with Columbia University. While at Barnard, she deepened her passion for telling stories that center on complex, multifaceted women, a focus that continues to inspire her work and fuels her excitement for this project. In her limited free time, she enjoys listening to podcasts about cults, pointing out cute animals she sees, and considering learning to crochet and then deciding against it.
Ariel Qin's (Production Designer) journey began at California College of the Arts, where she built a strong artistic foundation. From woodshop and painting to hands-on 2D crafts, she developed a love for creating with her own hands. Courses in art history and design sparked her deep interest in the artistic expressions of different cultures around the world, while also nurturing her unique imagination and aesthetic vision. Later, at LMU’s graduate film program, Ariel sharpened her storytelling mindset—learning how production design can become an essential part of a director’s vision. Earlier this year, her short film Spring, which she wrote and directed, was officially selected by six film festivals, including Fine Cut Film Festival, Burbank International Film Festival, and LA Shorts. Now, Ariel is excited to bring her creativity, cultural perspective, and directorial sensibility to the world of Clarissa Dalloway’s party!
Kim Gomez (Costume Designer) is a San Fernando Valley born and raised designer who graduated from Cal State Northridge with a degree in Apparel Design. After interning in theaters, they made a slight shift into the costuming world by working for theme park companies like Six Flags and Disney. Now working for the theater department at Los Angeles Community College, they have begun their journey into film with student productions such as this! Creating those initial impressions of a character that stick with viewers from the moment they see a simple outfit is what drives them to design. They are very honored to be brought onto the team, and are excited to collaborate!
Alyssa Landrith (Assistant Costume Designer) is an award-winning writer, producer, and designer that was adopted by the LA community nearly a decade ago! Her training in acting, costume design, animation, and screenwriting has given her a detailed understanding of production needs. Her specialties are comedies and dramedies surrounding health, women, and LGBTQ issues. Previous projects include the shorts The Underlining Pain, St. Marvek, and play Just for the Record.
Max Page (Assistant Director) grew up as a child star in Hollywood, portraying the Darth Vader kid in the 2011 VW Super Bowl ad, and Reed Hellstrom in The Young and the Restless. He soon turned his passion for entertainment to behind the camera, and began producing. Max has extensive experience working with Disney, Johnson and Johnson, the American Heart Association, and more. Max is president and founder of Lion Production Company, the largest LMU film organization, helping diverse and talented filmmakers produce their projects. Currently, Max is developing several indie-projects as a producer and director, and using his voice to help shape the next generation of stories.
Bailey Crowe (2nd Assistant Director) is a skilled production assistant, writer, and artist from Los Angeles, and as a graduate from Loyola Marymount University's School of Film and Television, she has continued to tell stories with her degree in screenwriting. She is an eclectic creative who finds inspiration in fantasy and science fiction settings, metal music, and horror media. Bailey believes that the best stories to tell are ones that unsettle us in constructive ways and challenge our perspective of the things that we take for granted. If there's any set or project that she enjoys working on, it's that. You can often find her at underground shows all over LA, and if not that, she's most likely playing some flavor of Tabletop RPG with her friends. She's incredibly excited to work with so many accomplished people on this project and story!
Emma Adamcik (Unit Production Manager) is a first year WPTV student at LMU. Originally from Tennessee, she graduated from UT Knoxville in 2022 with a double major in English and Geography. During that time, she studied Virginia Woolf under the guidance of Professor Urmilla Seshagiri, a leading Woolf scholar. Emma's hobbies outside of school include reading (obviously), pickleball, wine tasting, and painting. Emma is thrilled to be part of this awesome project!
Brittany Fossey (Script Supervisor) is a script supervisor and independent filmmaker. She graduated from Sydney Film School with a Diploma of Screen and Media in 2020, and is pursing an M.F.A. in Writing for the Screen at Loyola Marymount University (expected year of completion: 2026). As a female filmmaker, she is interested in making films about women that explore their relationships and roles in the world. Before studying film, she completed a Bachelor of Psychology (Honours) at the University of Sydney. Her knowledge and interest in psychology strongly informs the films she makes.
Macey Austin (Sustainability Officer) is passionate about environmental sustainability and believes storytelling and organization can go hand in hand. She loves finding approachable and meaningful ways to reduce a production’s footprint! She’s excited to help this team make thoughtful choices throughout the process.
Current Team
Incentives
- The Story
- Wishlist
- Updates
- The Team
- Community
Mission Statement
The Story
"Mrs Dalloway is always giving parties to cover the silence."
Hello, my name is Conner Wilson. I am a graduate film student at Loyola Marymount University, currently raising funds for my thesis project, The Party at Clarissa Dalloway's.
As soon as I read Mrs. Dalloway, I instantly started trying to write something based on that final party scene, mostly just to see if I could. At first, I didn’t really have any plans to make something from the script; I was happy with it as a little stylistic exercise. But the more I thought about it, the more I realized just how much this story speaks to my understanding of life, both in what it says and in how it says it.
I think identity is a very permeable thing. Who we are, and how we feel that sense of self, changes with time, with situation, with the smallest events of the day. As someone who is neurodivergent, and has other aspects of my identity that can have profoundly different meanings and implications depending on the situation, this is something I am always thinking about.
The Modernist writers, like Virginia Woolf, depict that interchange better than most. We bounce from person to person, from moment to moment, and nothing is ever quite the same. There are few things more exciting and worthwhile than trying to discover how we can live in the bodies of other people, even if just for a few moments, through hearing their words and hearing their stories.
And that's why I wanted to make The Party at Clarissa Dalloway's:
To spend some time living in these characters.
More than anything, to spend some time living in Clarissa,
The host of this party, a woman swimming always upstream,
Who wants nothing more than to feel this world forever.
One hope for this project is that it can serve as a proof of concept for a longer adaptation of Woolf's entire novel, either as a feature film project or a miniseries. Separate from that, I hope that this film can stand on its own as a character piece, exploring relationships and aging with depth.
"Mrs. Dalloway said she would buy the flowers herself."
There are a few aspects that we need to fund, but most especially:
- Wardrobe/Makeup — While this film is a modern adaptation, it's still important that this fancy party... looks like a fancy party!
- Location — Our Clarissa Dalloway lives in a nice East Coast home, and while we can't fly across the country, there are houses in L.A. that can stand in exceptionally well. They do carry a price-tag, however, so it's important to raise enough funds to rent a nice location.
- Actors — While there are only a few speaking roles, we want to make sure that people are as compensated for their time and effort as possible.
- Catering — Our cast and crew need lunch!
- Sustainability — It is important to me as the filmmaker that we run as sustainable a production as we can, and so we'll need some funds to cover things like purchasing water filters, coffee makers, etc.
Even if we don't reach the entire goal listed on this project, all funds raised will go into production and post-production costs while we search for other funding streams. If we raise extra funds — great! It will go towards making an even stronger project, with a higher level of production quality.
Backers will have access to the finished film as early as possible!
We are hoping to go the festival route, but it will be uploaded to a secure viewing platform once it's ready to be distributed.
"It was very, very dangerous to live even one day."
Mrs. Dalloway is a novel that means very much to me; it speaks to something deep within the human soul. When I started writing a screenplay adaptation of the final party, it was just to see if I could. I never expected to be trying to actually make the thing, but I'm so glad I am.
The team we've started building around this project is extraordinary, and so I remain supremely confident that this adaptation, while challenging, is not only achievable, but that it can be done with skill.
I cannot overstate my gratefulness to anyone who helps to fund this project.
"It is a thousand pities never to say what one feels."
If you are unable to contribute financially, but still want to help get this film made, please spread the word on social media, and just through reaching out to your networks directly!
Everything is appreciated.
Thank you all!
Wishlist
Use the WishList to Pledge cash and Loan items - or - Make a pledge by selecting an Incentive directly.
Cast Payment
Costs $600
Peter, Sally, and Clarissa are demanding roles, and we want to be able to get the best actors for them!
Wardrobe
Costs $400
The costumes these characters wear are vital to setting the scene and understanding the social dynamics at play.
Location and Set Dressing
Costs $8,000
Clarissa's house is practically a character in and of itself.
Post-Production Costs
Costs $500
Nothing can make or break a film like editing.
Craft Services and Lunch
Costs $3,050
People need to eat!
Festival Applications
Costs $750
We want to make sure this film has a chance to find the audience it deserves.
Cash Pledge
Costs $0
Direct link:
Share this update!
About This Team
Conner Wilson (Writer/Executive Producer) is a filmmaker and writer with a deep and abiding interest in finding new routes to old stories. As a student of screenwriting and theology at Loyola Marymount University, he learned the power of a good story to reveal human nature. Now in the MFA program for Writing and Producing Television at LMU, he hopes that The Party at Clarissa Dalloway’s goes some way towards keeping Virginia Woolf's beautiful work alive. Wilson grew up a second-generation American in rural Southwest Missouri with a parent from each coast. This mixing of backgrounds and perspectives has meant that Conner has always been attracted to stories that don’t resort to neat divisions or easy answers. The world is a profoundly, shockingly, beautifully weird space. Why not have fun with it? In addition to film, Conner writes poetry, often focused on experiments in form.
Megan Whitham (Director) is a multidisciplinary artist whose life and work is best summarized with the adage “variety is the spice of life.” A voracious consumer and creator of old and new media alike, Whitham previously lived throughout the diverse Washington Metropolitan Area and Dublin, Ireland before settling (as much as a traveler can) in Los Angeles, California where she predominately spends her days writing, producing, directing, and editing both fiction and non-fiction films. While her medium of choice has been known to shift, Whitham’s dedication to thoughtfully telling diverse stories, particularly those of women and people with disabilities, is constant.
Yiran Chen (Cinematographer) earned her MFA in Cinematography from Loyola Marymount University in Los Angeles, where she studied under renowned Hollywood cinematographer Amy Vincent, ASC—recipient of the ASC President’s Award and Sundance Best Cinematography Award. During her time at LMU, Chen received the Ian Connor Award for Outstanding Cinematography from the School of Film and Television. Her film To Kill the Chicken (2014) was selected for the Magnetic Field Section of the FIRST International Film Festival—often referred to as “China’s Sundance”—as well as Q Fest St. Louis, presented by Cinema St. Louis, the organizers of the Academy Award–qualifying St. Louis International Film Festival. Her short ACTION was nominated by the Oscar-qualifying Urban World Film Festival. Chen’s thesis film Toad Song was nominated by the BAFTA-qualifying Iris Prize LGBTQ+ Film Festival and the Scottish Queer International Film Festival in the UK, as well as the Newport Beach Film Festival. Her short Spring was selected by both the Academy Award– and Canadian Screen Award–qualifying LA Shorts International Film Festival and the Burbank International Film Festival. Her short Ornamental Oriental screened at the Houston Asian American Pacific Islander Film Festival, while her documentary Prison Is Cool was featured at LandShut International Short Film Festival, Myrtle Beach International Film Festival, Doc.London Documentary Film Festival, and the New York Super Shorts Film Festival. In the commercial field, Chen has collaborated with brands including BeatBot, Lynk & Co, and Coconut Island Games. Her projects have been supported by leading industry sponsors such as Cooke Optics, Panavision, Tiffen, LiteGear, and Sony. Currently, Chen works as a cinematographer for vertical series platforms including ReelShort and DramaBox. Her recent mini-series credits include Don’t Miss Me When You Are Gone, Someone Loved is Never Lost, and Crossing the Line to Love.
Pedro Guzmán (Producer) is a filmmaker from South Florida and a recent graduate from LMU’s School of Film and Television. His work is informed by his time spent as a seasonal worker with the Student Conservation Association, which draws him to stories of people for whom the world as-is isn't really working, and who seek alternative paths. With experience in documentary and fiction films, he brings a grounded approach to filmmaking, and seeks to elevate stories that ask us to reflect on our own lives and decisions. He’s excited to partner the rest of the team to bring this story to life!
Charlie Reisman (Producer) is an experienced writer, actor, and director. He hails from Connecticut, where he developed a passion for telling stories and the collaborative nature of film, television, and theater. In college, he majored in Theater Performance with a minor in Creative Writing, then spent three years teaching theater at an all-boys school in Connecticut. In his free time, you can find Charlie writing while his cat tries to delete all his work, being disappointed by his beloved New York Mets and Jets, and trying to expand his physical media collection. Charlie has dedicated his life to telling stories, believes it is the best job in the world, and wonders why anyone would want to do anything else.
Jessica Skinner (Producer) is an MFA candidate in Writing and Producing for Television at Loyola Marymount University. She earned her undergraduate degree from Barnard College, the historically women’s college affiliated with Columbia University. While at Barnard, she deepened her passion for telling stories that center on complex, multifaceted women, a focus that continues to inspire her work and fuels her excitement for this project. In her limited free time, she enjoys listening to podcasts about cults, pointing out cute animals she sees, and considering learning to crochet and then deciding against it.
Ariel Qin's (Production Designer) journey began at California College of the Arts, where she built a strong artistic foundation. From woodshop and painting to hands-on 2D crafts, she developed a love for creating with her own hands. Courses in art history and design sparked her deep interest in the artistic expressions of different cultures around the world, while also nurturing her unique imagination and aesthetic vision. Later, at LMU’s graduate film program, Ariel sharpened her storytelling mindset—learning how production design can become an essential part of a director’s vision. Earlier this year, her short film Spring, which she wrote and directed, was officially selected by six film festivals, including Fine Cut Film Festival, Burbank International Film Festival, and LA Shorts. Now, Ariel is excited to bring her creativity, cultural perspective, and directorial sensibility to the world of Clarissa Dalloway’s party!
Kim Gomez (Costume Designer) is a San Fernando Valley born and raised designer who graduated from Cal State Northridge with a degree in Apparel Design. After interning in theaters, they made a slight shift into the costuming world by working for theme park companies like Six Flags and Disney. Now working for the theater department at Los Angeles Community College, they have begun their journey into film with student productions such as this! Creating those initial impressions of a character that stick with viewers from the moment they see a simple outfit is what drives them to design. They are very honored to be brought onto the team, and are excited to collaborate!
Alyssa Landrith (Assistant Costume Designer) is an award-winning writer, producer, and designer that was adopted by the LA community nearly a decade ago! Her training in acting, costume design, animation, and screenwriting has given her a detailed understanding of production needs. Her specialties are comedies and dramedies surrounding health, women, and LGBTQ issues. Previous projects include the shorts The Underlining Pain, St. Marvek, and play Just for the Record.
Max Page (Assistant Director) grew up as a child star in Hollywood, portraying the Darth Vader kid in the 2011 VW Super Bowl ad, and Reed Hellstrom in The Young and the Restless. He soon turned his passion for entertainment to behind the camera, and began producing. Max has extensive experience working with Disney, Johnson and Johnson, the American Heart Association, and more. Max is president and founder of Lion Production Company, the largest LMU film organization, helping diverse and talented filmmakers produce their projects. Currently, Max is developing several indie-projects as a producer and director, and using his voice to help shape the next generation of stories.
Bailey Crowe (2nd Assistant Director) is a skilled production assistant, writer, and artist from Los Angeles, and as a graduate from Loyola Marymount University's School of Film and Television, she has continued to tell stories with her degree in screenwriting. She is an eclectic creative who finds inspiration in fantasy and science fiction settings, metal music, and horror media. Bailey believes that the best stories to tell are ones that unsettle us in constructive ways and challenge our perspective of the things that we take for granted. If there's any set or project that she enjoys working on, it's that. You can often find her at underground shows all over LA, and if not that, she's most likely playing some flavor of Tabletop RPG with her friends. She's incredibly excited to work with so many accomplished people on this project and story!
Emma Adamcik (Unit Production Manager) is a first year WPTV student at LMU. Originally from Tennessee, she graduated from UT Knoxville in 2022 with a double major in English and Geography. During that time, she studied Virginia Woolf under the guidance of Professor Urmilla Seshagiri, a leading Woolf scholar. Emma's hobbies outside of school include reading (obviously), pickleball, wine tasting, and painting. Emma is thrilled to be part of this awesome project!
Brittany Fossey (Script Supervisor) is a script supervisor and independent filmmaker. She graduated from Sydney Film School with a Diploma of Screen and Media in 2020, and is pursing an M.F.A. in Writing for the Screen at Loyola Marymount University (expected year of completion: 2026). As a female filmmaker, she is interested in making films about women that explore their relationships and roles in the world. Before studying film, she completed a Bachelor of Psychology (Honours) at the University of Sydney. Her knowledge and interest in psychology strongly informs the films she makes.
Macey Austin (Sustainability Officer) is passionate about environmental sustainability and believes storytelling and organization can go hand in hand. She loves finding approachable and meaningful ways to reduce a production’s footprint! She’s excited to help this team make thoughtful choices throughout the process.