Three Chicken Dinners is a fish-out-of-water comedy about a film production assistant from the city who spends his first day on the job securing food services from a small-town dive bar. Inspired by a contrast between the rapid pace of life as a twenty-something and the stillness of life in the Midwest, our story explores themes of innocence vs. experience, power dynamics, and the alienating feeling of being the only stranger in the bar.  

Grayson’s reputation among his brand-new colleagues rests in his ability to come through on his only task of the day: getting three chicken dinners for craft services. When his partner, Kaia, drops him off in the middle of nowhere, Wisconsin, Grayson must confront his fear of communicating with the townies of a local dive bar known for its “Cheep Cheep Chicken.” 

Immediately skeptical of Grayson’s request for the large amount of chicken and his misunderstanding of the side options, Judy, the bartender and chicken server, battles with Grayson as the bar’s regulars grow more and more impatient to be served. Facing unyielding pressures from every angle, Grayson struggles to adapt as a stranger until Kaia comes back to calm tensions.  

Our generation is anxious, and life in your twenties is confusing. There are more things competing for our attention than ever before, leaving us lost when we’re forced to engage with new people in the real world. We hope this story comically speaks to the anxiety many of us feel while in conversation with people who have distinguishable differences from us.  

The heart of conflict in Three Chicken Dinners comes between Grayson – the young production assistant – and Judy, the older bartender and server he must order from. Both characters immediately display discomfort; Grayson for being in a very unfamiliar setting, surrounded by people that clearly see him as an outsider, and Judy, impatient having to deal with a stranger that has disrupted her predictable and comfortable routine. 

The story also contains a range of supporting characters that further intensify the pressures Grayson faces while wating for his chicken. Back at the film set, his production manager, Marcus, has high expectations that he comes through on his first day. At the bar, the regulars are suspicious and frustrated that a stranger has slowed down their service, then bar owner Lance comes to check in. These individuals help to form the liminal world Grayson finds himself in.  

While this is Grayson’s story, Kaia is the true hero as the only one capable of seeing through some of the nonsense of both her film peers and small-town locals. Her experience is deeper than Grayson’s, but her empathy and stern understanding create a bridge of communication between extremes.

Is it a little pretentious to tell you this is inspired by a true story? Probably! But ever since I picked up chicken for a film crew of my Senior friends as a Junior in college, I’ve felt this unexplainable urgency to bring the experience – and the feeling it gave me – to life for others. Sure, there are plenty of creative liberties taken here in the dialogue and characters, but I promise you that the feeling they contribute to is still so authentic.  

I don’t think I’ll ever forget that grocery run, and I don’t want to. Did I ruin someone’s day because of my request for 24 pieces of chicken and my incompetence regarding side availabilities? I’m still not sure.  

As students in Wisconsin, it’s easy to feel a connection to the stories of the Coen brothers. Their ability to use unexplored cultural settings to motivate a sense of liminality is something worth studying throughout a lifetime. The amount of adversity they launch upon their characters suggests that the correct path through life will always be cloudy and confusing – a precedent that only has become more relevant for our generation that is so often lacking guidance.  

From a technical level, the Safdie brothers are constant inspirations. Their use of handheld camera movement, dirty frames, and long lenses creates images that radiate stress and claustrophobia. We hope to draw inspiration from their anxiety-inducing films like Good Time and Uncut Gems to craft an urgent, overwhelming tone in our film, juxtaposing the stillness of the Midwest.

We'll use these storytelling and cinematography strategies in combination quick cut insert shots to motivate the anxious edit, as seen effectively in works such as The Bear.

This is a student production, so we’re keeping our budget as tight as possible. We've already put some money towards the film during pre-production, but we are seeking $3,000 to cover necessities during production - slated for the second week of March. This money will immensely help us craft the vision that is laid out in our script.

After Three Chicken Dinners is complete, we plan to submit it to film festivals around the United States and beyond. We see this step as vital for showcasing our work, meeting industry professionals, gaining exposure, receiving feedback and networking with other filmmakers. Our crew is made up of filmmakers who have seen previous works achieve recognition around Wisconsin. Ethan Kulinski's Good Stuff, Thomas Stahl's Roswell and Cow Boy, and Bennett Johnson's Vessel have marked steps forward for us individually as writers and directors, each screening at various festivals in and outside of Wisconsin. Any amount of money that surpasses our funding goal will be put directly towards our festival submission fees.

We are extremely grateful for every contribution, and we look forward to you joining us on this journey. All contributors of $25 or more will be thanked in the credits, with higher-tier credits available and laid out on the incentives page.