Currently in preproduction/funding phase.
Kipling, 18, is not ready for the world. She’s been raised by her divorced parents, a protective Mom and a tired Dad, Josh. Just after her graduation from High School, Kipling’s Dad was killed in an accident, and his best friend since childhood, Amelia, 45, swoops in to take Kipling to college, and provide Kipling with the life lessons Josh had intended to provide during the trip, as outlined in a letter he wrote with a ‘Life Lessons’ list.
As they embark, Kipling quickly discovers that Amelia is wildly charismatic, a woman who commands a big spotlight wherever she goes, but she’s also prone to frightening darkness, terrifying moments where their lives are in danger, and sharp anger at how Kipling is dealing, or perhaps not dealing, with the loss of her father. Kipling is hurt by Amelia’s stinging words and undermines one of the tactics Amelia uses to cope - Kipling lets her mother know that it’s okay to cancel her Dad’s cell service, even though Amelia uses his voice on the outgoing message to maintain the illusion that he’s still alive.
Amelia changes tack, showing Kipling how to really live out loud, to aggressively seek adventures, to meet the world head on - learning to use a camera, write in a journal, swim in a river, meet people with an open heart. Amelia tries to have a one-night stand in front of Kipling, but it doesn’t work out. They spend a freezing night in a camper shell in the mountains, sharing a sleeping bag for warmth, and Kipling misunderstands the closeness she feels as attraction, and Amelia explains how intimacy has a lot of meanings. Amelia abandons Kipling in a river, in fly-fishing gear, and Kipling has to befriend a young fisherman to save herself, and they hit it off.
By the end of the journey, Amelia and Kipling are best friends, which makes it incredibly difficult when Kipling realizes that the letter with the list wasn’t written before the trip, but before Kipling was born - her father was contemplating suicide because of Kipling’s impending birth, and wrote the list to guide Amelia in how to help raise Kipling. Kipling, overwhelmed by this, runs away into the city. Amelia finds her, explains how he stayed alive until she was born, and he never looked back. They cry a good cry. They find themselves at a diner, exhausted and not eating, when a man at a nearby table grabs a waitress harshly. Amelia, as if by rote, spins out of the booth and launches herself at the man, only to be caught by the throat in his powerful grasp. Out of nowhere, Kipling flies through the air, landing on his chest and pinning him to the table. She has won the moment, and the spotlight is drawn to her power, her energy, in the way Amelia commanded it at the beginning of the film. As they triumphantly return to their motel room, Amelia goes into the bathroom to call Josh, only to discover that his phone is disconnected - his voice is gone! - he no longer is alive!! She has a breakdown, and Kipling comes to her side, consoling her, feeling her pain, and helping to relieve it, much in the way her Dad used to.
They arrive at the University, and when Kipling says goodbye, Amelia points out that the list said nothing about a two-week trip, or college, and anything. Amelia lets Kipling now that they’re buddies now, and stuck together from now on, and that she’ll see her on Thursday, because she is the professor for Kipling’s creative writing class.
Kipling Harris, 18, might not have any friends. She has trouble with eye contact, she rubs her finger and thumb incessantly, her mouth almost never opens, and her eyes fear everything the world has to offer. She has lived a protected, safe life, which has never really inspired introspection, so when her father died, she has no idea how to handle it, so she just doesn’t.
Only after spending time with Amelia does Kipling see how powerful it can be to express yourself, to face your fears, to be brave, to feel for others. As Kipling learns these new skills, she begins to discover the father she never really understood,and the loss she was trying ignore, and as this happens, the loving caring human being she didn’t know was inside of her.
The part of Kipling should be played by a newcomer, someone with some experience, but new to audiences. Kipling is odd, quirky, so we’ll search for an actress who is not mainstream, slightly on the odd side. We’ll plan on lots of auditions and plenty of time to find just the right actress.
Amelia Bouret, 45, is a free spirit, a force of nature, a whirlwind of charisma,and a psychological fun-house. She has known Josh since high school, and he has been there for her all the while, providing the stability to her artistic,reckless life. When she found out Josh had died, she immediately threw herself into helping Kipling, ready to take her across the country, but also help her deal with the loss of her father. The list of life lessons Josh wrote made the perfect guide to Amelia’s plan for the trip, and ultimately, to help Kipling blossom into a thinking, feeling, mature human being.
But life lessons from crazy people may be hazardous to one’s health. The character of Amelia goes from being a big strong hero to a crumbling mess, from kind to scathing, from powerhouse to completely broken, and every color of the rainbow in between. This could be a breakout role for an established actress, to be seen as a serious actress who can handle a very wide range of performance, instead of the roles they get offered over and over.
The target audience for Kipling and the Checklist is women, 13-54, which pulls in men 18-54 with it. This is a teenager film, a ’young woman’ film, a date film, a girlfriend film, and is aimed at the people who actually decide which film the couple will go to see. Recent research shows that films which have women in lead roles earn more money that films with male leads, at all budget levels.
Quality dramas are one of the four most profitable types of low-budget films. With few effects, effecient scheduling, and smart use of studio space and locations, we are able to keep the budget focused on the quality of performance and production.
Girls and women are more likely to go to the cinema when there is content to which they can relate.
We are an experienced team, having over 100 productions under our belt. From camera to actors to lighting to make-up, we have established a family of professionals who are intimately and passionately familiar with our work flow.
Our streamlined production schedule saves time and increases set productivity, enabling the film to require fewer than thirty shooting days.
Amalgamated Grommets Film Productions
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