Ultimate World
Austin, Texas | Film Feature
Comedy, Drama
Ultimate World references a specific moment in Austin culture, yet tells a story with universal themes. It captures the feelings of an old life slipping away while looking for a new one, and it follows a journey of events that are colorful, quiet, frantic, hilarious, heartfelt and unexpected.
Ultimate World
Austin, Texas | Film Feature
Comedy, Drama
1 Campaigns | Texas, United States
Green Light
This campaign raised $20,588 for post-production. Follow the filmmaker to receive future updates on this project.
244 supporters | followers
Enter the amount you would like to pledge
Ultimate World references a specific moment in Austin culture, yet tells a story with universal themes. It captures the feelings of an old life slipping away while looking for a new one, and it follows a journey of events that are colorful, quiet, frantic, hilarious, heartfelt and unexpected.
About The Project
- The Story
- Wishlist
- Updates
- The Team
- Community
Mission Statement
The Story
The Story
Teddy and Phoebe are a young, recently split couple trying to survive the last few weeks of their lease together. When Phoebe gets a tip to call a mysterious number written on an arcade bathroom, it sends her on a sprawling, often surreal journey down a series of rabbit holes. In the meantime, Teddy navigates a new love (with the help of the kindly old man living in his closet). With their old lives coming to an end, both Phoebe and Teddy must do everything they can to find new ones.
Genesis of the World
This film was borne out of the anonimity of life in a new city (Austin, Texas), from late night encounters with interesting characters we never saw again, to seeing valued friends we once saw constantly, now only for a night or so as they passed through town onto bigger things. As writers and directors, we’ve pushed each other to be more personal, more precise, funnier, and to make less obvious creative choices. After several shorts and scripts, as well as years of bouncing ideas big and small off of each other, we decided we felt ready to create our own feature film. We wanted to channel universal emotions, but through a film that took chances and handled things differently than a standard micro-budget feature (such as having about 300,000 locations and a vast array of colorful characters).
Growing the Population
What began as a synthesis of our two voices became something much bigger than the two of us, as we approached other key creatives for the project. We found that others were responding to what we’d come up with, relating to the feelings we’d baked into the script, sizzle reel, pitch slideshow. A line we dropped in our first meeting with our producer echoed something she’d been told a week before at a strange moment in her life. We went to bars with our lead actors and talked about the project, and were moved to see how much they were willing to open up to us to help build it. Our cinematographer even turned down working on the camera department of Martin Scorsese’s upcoming The Irishman, so if an insert of someone’s hand turning a doorknob in that film looks a little out of focus, feel free to yell at us. Our (Ultimate) world expanded as the cast and crew came together.
The Shoot and Beyond
The shoot was an exhausting, exhilarating experience, everyone on set working half a dozen positions to get what we needed, while squeezing in new, important scenes into our already packed schedule because we knew the film would be better for them. We captured things with this film - the talents of a variety of people we’ve met over the years, some of the places that make Austin what it is (including a beloved video store the day before its closing). And since this vision grew beyond the two of us into this, we’re ready for it to grow more in the hands of our friends and other professionals. That’s why we’re here, raising money for post-production. We’re ready for people to experience the extreme specificity of the film, while feeling less alone with the weird transitional moments in life where certain things we’ve taken for granted seem to slip away from us, and we either fight to hold on or to hurry the process up. We hope you can all become a part of this, whether you simply watch it or enjoy it, show it to others, get inspired in some way, or make weird anime fan art (why not - we’d be glad to see it). It’s been great so far, but we know the best is yet to come!
The Ultimate Future
Since we have all of our footage already shot, all we need are those final elements of post production to make this film the best it can be. With your help and pledges we can raise our goal of just under $25,000 to ensure that this film utilizes every penny to pay our dedicated post production staff as well as engage viewers at film festivals across the world and streaming platforms available in your hometown.
Join our pride in this Ultimate World as we seek to expand our community of artists, friends, and viewers across all walks of life!
Wishlist
Use the WishList to Pledge cash and Loan items - or - Make a pledge by selecting an Incentive directly.
SAG Voice Actor
Costs $250
Pay for 2 days studio time according to the modified low budget SAG agreement.
Editing
Costs $4,000
In order to ensure our talented and dedicated editor is given the compensation she deserves.
Color Correction
Costs $3,000
Compensation for 5 days of professional quality color correction.
Great World of Sound Design
Costs $1,600
Max, our brilliant sound designer is a diy, work for love artist and deserves proper compensation.
Dialogue Clean Up
Costs $250
Two days studio time will greatly impact our the quality that low budget films often suffer from.
Foley World
Costs $1,000
Every footstep, door slam, and foley crafted sound helps make the Ultimate World more of a reality.
A.D.R
Costs $350
12 hours is all we need to record our actors voices for when those pesky airplanes fly over on set.
Music Licensing
Costs $3,000
Most of the films music will be from local artists but a few key tracks will cost licensing fees.
Titles
Costs $200
Titles are the first and last things the audience will see and we want to make a good impression.
Visual Effects
Costs $1,500
When a boom pole dips in frame or a light from a lapel mic flashes, we rely on vfx to fix this.
Closed Captioning
Costs $200
It's important that this film be made available for 12 languages and the deaf or hard of hearing.
Poster and Promotional Stills
Costs $100
A discounted rate from a known collaborator will give us a ton of production value on a low budget.
Shipping
Costs $500
Will include the shipping for the incentive gifts as well as limited self distribution fees.
Advertising
Costs $500
For the use of social media advertising, local radio, and blog campaigns to grow our audience.
Aggregator
Costs $1,395
Exact amount needed to ensure our film winds up on the proper film streaming sites and Itunes.
Festival Fees
Costs $1,200
Enough of the budget included for submission to 30 meaningfully chosen film festivals.
VHS
Costs $500
Enough money to ensure all of our incentive backers will receive the copy of the tape they ordered.
DVD
Costs $750
Enough to ensure all incentive backers will receive the dvd copy they ordered from the campaign.
Electronic Press Kit
Costs $300
A modest fee to ensure we put our best foot forward submitting the film to festivals.
Contingency
Costs $1,500
For all those little snares that pop up along the way. When knocking on wood isn't enough.
Post Production Supervisor
Costs $500
While we take pride in our scrappy ingenuity, life costs money and every job deserves recognition.
Director's Fees
Costs $1,800
The directors will need unpaid time off from their day jobs to finish the film and still have bills.
Crew Food
Costs $100
Just enough for sustenance while the crew slaves away in dark editing rooms.
Gasoline
Costs $100
Gasoline costs for a trip from NYC to Philadelphia to save on flight costs.
Flight
Costs $400
These cover the most basic fees for travel during the color correction and sound mixing process.
Share this update!
About This Team
THE CREW
SPENCER LUCAS & NATHANIEL HENDRICKS
Writers/Directors
AMANDA PARKER
Producer
JACKSON WARNER LEWIS
Cinematographer
CHINWE OKORIE
Editor
LILLY BYRD
Production Designer
VERONIKA PAYTON
Post Production Supervisor/Backrow Films Representative
MAX WILDE
Sound Editor
THE CAST
ELYANA BARRERA
Phoebe
ZACH DESUTTER
Teddy
CIARA PEACOCK
Victoria
DOUG HEINZ
Pigeon
FRANNY HAROLD
Megan
JAZMYNE MORENO
Zaria
LES BEST
The Closet Man
BABE MCGUIRE
Clementine
JOHN GHOLSON
The Stranger
VANESSA GONZALEZ
Brenda
GABRIEL GUNDACKER
DJ
Current Team
Incentives
- The Story
- Wishlist
- Updates
- The Team
- Community
Mission Statement
The Story
The Story
Teddy and Phoebe are a young, recently split couple trying to survive the last few weeks of their lease together. When Phoebe gets a tip to call a mysterious number written on an arcade bathroom, it sends her on a sprawling, often surreal journey down a series of rabbit holes. In the meantime, Teddy navigates a new love (with the help of the kindly old man living in his closet). With their old lives coming to an end, both Phoebe and Teddy must do everything they can to find new ones.
Genesis of the World
This film was borne out of the anonimity of life in a new city (Austin, Texas), from late night encounters with interesting characters we never saw again, to seeing valued friends we once saw constantly, now only for a night or so as they passed through town onto bigger things. As writers and directors, we’ve pushed each other to be more personal, more precise, funnier, and to make less obvious creative choices. After several shorts and scripts, as well as years of bouncing ideas big and small off of each other, we decided we felt ready to create our own feature film. We wanted to channel universal emotions, but through a film that took chances and handled things differently than a standard micro-budget feature (such as having about 300,000 locations and a vast array of colorful characters).
Growing the Population
What began as a synthesis of our two voices became something much bigger than the two of us, as we approached other key creatives for the project. We found that others were responding to what we’d come up with, relating to the feelings we’d baked into the script, sizzle reel, pitch slideshow. A line we dropped in our first meeting with our producer echoed something she’d been told a week before at a strange moment in her life. We went to bars with our lead actors and talked about the project, and were moved to see how much they were willing to open up to us to help build it. Our cinematographer even turned down working on the camera department of Martin Scorsese’s upcoming The Irishman, so if an insert of someone’s hand turning a doorknob in that film looks a little out of focus, feel free to yell at us. Our (Ultimate) world expanded as the cast and crew came together.
The Shoot and Beyond
The shoot was an exhausting, exhilarating experience, everyone on set working half a dozen positions to get what we needed, while squeezing in new, important scenes into our already packed schedule because we knew the film would be better for them. We captured things with this film - the talents of a variety of people we’ve met over the years, some of the places that make Austin what it is (including a beloved video store the day before its closing). And since this vision grew beyond the two of us into this, we’re ready for it to grow more in the hands of our friends and other professionals. That’s why we’re here, raising money for post-production. We’re ready for people to experience the extreme specificity of the film, while feeling less alone with the weird transitional moments in life where certain things we’ve taken for granted seem to slip away from us, and we either fight to hold on or to hurry the process up. We hope you can all become a part of this, whether you simply watch it or enjoy it, show it to others, get inspired in some way, or make weird anime fan art (why not - we’d be glad to see it). It’s been great so far, but we know the best is yet to come!
The Ultimate Future
Since we have all of our footage already shot, all we need are those final elements of post production to make this film the best it can be. With your help and pledges we can raise our goal of just under $25,000 to ensure that this film utilizes every penny to pay our dedicated post production staff as well as engage viewers at film festivals across the world and streaming platforms available in your hometown.
Join our pride in this Ultimate World as we seek to expand our community of artists, friends, and viewers across all walks of life!
Wishlist
Use the WishList to Pledge cash and Loan items - or - Make a pledge by selecting an Incentive directly.
SAG Voice Actor
Costs $250
Pay for 2 days studio time according to the modified low budget SAG agreement.
Editing
Costs $4,000
In order to ensure our talented and dedicated editor is given the compensation she deserves.
Color Correction
Costs $3,000
Compensation for 5 days of professional quality color correction.
Great World of Sound Design
Costs $1,600
Max, our brilliant sound designer is a diy, work for love artist and deserves proper compensation.
Dialogue Clean Up
Costs $250
Two days studio time will greatly impact our the quality that low budget films often suffer from.
Foley World
Costs $1,000
Every footstep, door slam, and foley crafted sound helps make the Ultimate World more of a reality.
A.D.R
Costs $350
12 hours is all we need to record our actors voices for when those pesky airplanes fly over on set.
Music Licensing
Costs $3,000
Most of the films music will be from local artists but a few key tracks will cost licensing fees.
Titles
Costs $200
Titles are the first and last things the audience will see and we want to make a good impression.
Visual Effects
Costs $1,500
When a boom pole dips in frame or a light from a lapel mic flashes, we rely on vfx to fix this.
Closed Captioning
Costs $200
It's important that this film be made available for 12 languages and the deaf or hard of hearing.
Poster and Promotional Stills
Costs $100
A discounted rate from a known collaborator will give us a ton of production value on a low budget.
Shipping
Costs $500
Will include the shipping for the incentive gifts as well as limited self distribution fees.
Advertising
Costs $500
For the use of social media advertising, local radio, and blog campaigns to grow our audience.
Aggregator
Costs $1,395
Exact amount needed to ensure our film winds up on the proper film streaming sites and Itunes.
Festival Fees
Costs $1,200
Enough of the budget included for submission to 30 meaningfully chosen film festivals.
VHS
Costs $500
Enough money to ensure all of our incentive backers will receive the copy of the tape they ordered.
DVD
Costs $750
Enough to ensure all incentive backers will receive the dvd copy they ordered from the campaign.
Electronic Press Kit
Costs $300
A modest fee to ensure we put our best foot forward submitting the film to festivals.
Contingency
Costs $1,500
For all those little snares that pop up along the way. When knocking on wood isn't enough.
Post Production Supervisor
Costs $500
While we take pride in our scrappy ingenuity, life costs money and every job deserves recognition.
Director's Fees
Costs $1,800
The directors will need unpaid time off from their day jobs to finish the film and still have bills.
Crew Food
Costs $100
Just enough for sustenance while the crew slaves away in dark editing rooms.
Gasoline
Costs $100
Gasoline costs for a trip from NYC to Philadelphia to save on flight costs.
Flight
Costs $400
These cover the most basic fees for travel during the color correction and sound mixing process.
Share this update!
About This Team
THE CREW
SPENCER LUCAS & NATHANIEL HENDRICKS
Writers/Directors
AMANDA PARKER
Producer
JACKSON WARNER LEWIS
Cinematographer
CHINWE OKORIE
Editor
LILLY BYRD
Production Designer
VERONIKA PAYTON
Post Production Supervisor/Backrow Films Representative
MAX WILDE
Sound Editor
THE CAST
ELYANA BARRERA
Phoebe
ZACH DESUTTER
Teddy
CIARA PEACOCK
Victoria
DOUG HEINZ
Pigeon
FRANNY HAROLD
Megan
JAZMYNE MORENO
Zaria
LES BEST
The Closet Man
BABE MCGUIRE
Clementine
JOHN GHOLSON
The Stranger
VANESSA GONZALEZ
Brenda
GABRIEL GUNDACKER
DJ