Behind the Scenes Table of Contents

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BEHIND THE SCENES TABLE OF CONTENTS

ABOUT ...... 3

CREDITS ...... 4 . .

SPECIAL THANKS ...... 5 . .

STILLS ...... 6

CAST & CREW Q&A ...... 7 . .

VIDEOS ...... 19 . .

MOOD BOARD ...... 20

DESIGN PROCESS ...... 21. .

STORYBOARDS ...... 22 . .

SCREENPLAY EXCERPT ...... 23

ORIGINAL SONG LYRICS ...... 28 .

DOWNLOADABLES ...... 29. . ABOUT

This World Alone is an independent feature film about three women living in seclusion following a cataclysmic event that left the Earth without technology or power. Sam (Belle Adams), a book- obsessed girl in her late teens, is raised by her strict, “only the strong survive” mother, Connie (Carrie Walrond Hood), and their optimistic, earthy friend Willow (Sophie Edwards). After Willow suffers a life-threatening injury, it’s up to Sam to head out of her protective home for the first time and journey to a settlement a few days away to collect medical supplies. Along the way she meets Dart (Lau’rie Roach), a weak young man out on a “walkabout” attempting to prove himself to his community. The two of them come of age together as they face the physical and emotional challenges of a world reclaimed by nature.

The film was shot over 10 days in beautiful Hiawassee, Ga in August of 2017 with a cast & crew of 25 people living and working together under one roof. A final cut of the film was completed by February 2018, followed by a successful Seed & Spark crowd-funding campaign in April to raise finishing funds. These funds are currently being used to finalize visual FX, color correction, score, and sound design with a finished film estimated for July. A film-festival and sales campaign will begin in Fall 2018.

3 CREDITS

Directed by ...... Jordan . Noel A Camera Operators . . . . . Josiah Morgan Written by ...... Hudson Phillips ...... Trisha Solyn Produced by . . . . Terri. Measel Adams Steadicam Operators . . . . . Brian W . Hall ...... Mandy Campbell ...... Aaron King ...... Hudson Phillips ...... Josiah Morgan Executive Producers . . . . Elle . Campbell First Assistant Camera . . . . Jason Carroll ...... Kenny Campbell Second Assistant Camera . Brandon. Adams ...... Evan Chasteen Drone Operator ...... Blake . Guffin ...... Jerusha Gordon Costume Supervisor . . .Maryelle . St . Clare ...... Matt Gordon Key Make-Up ...... Vii Kelly ...... Mark Gordon Chief Lighting Technician . Chase Yarbrough ...... Patricia Gordon Key Grip ...... James Myerscough ...... Marilyn Howard Sound Mixer ...... Lou . Rosado ...... Ben Swilley Boom Operator ...... Lou Rosado Director of Photography . . .Trisha . Solyn Special Effects Assistant . . Chase Yarbrough Production Designer . . . . Maryelle St . Clare Property Master ...... Vii . Kelly Edited by ...... Jordan. . Noel Unit Publicist ...... Jessica Coleman Music by ...... William Wright Still Photographer . . .Michelle . Moreland Sound Designer . . . . . Mason. Brown Production Assistant . . . . Stephen Simon Special Effects Supervisor ...... Vii Kelly Assistant Editor ...... Sonya A May Associate Producers . . . . .Lance . Herd Score Produced and Recorded by ...... Michelle Moreland ...... Matt Honkonen ...... Mike Kaplan Visual Effects ...... Chris Higgins ...... Kelly & Oleg Ivutin ...... David Robertson ...... Mark Maynard ...... Annie & Scott Whiteside CAST Production Managers . . .Mandy Campbell Sam ...... Belle . . Adams ...... Jessica Coleman Dart ...... Lau’rie. . Roach Line Producer . . . .Terri . Measel Adams Connie . . . . . Carrie. . Walrond Hood Stunt Coordinator . . . .Rich . Thompson Willow ...... Sophie Edwards Fight Choreographer . . .Rich . Thompson Levi ...... Brandon . O’Dell Set Decorator ...... Maryelle St . Clare Wilbur ...... Pudge Script Supervisor ...... Sonya A May

4 SPECIAL THANKS

Abbey Myszka Emily Gregory Katherine Lines Nikalos Kage Adrian Correia Erica Eby Kathleen Block Paden Fallis Alex Fraser Erica Switzer Kathleen Block Paige Travis Childs Alex Lukens Erin Mitchell Kathrine Owens Patrick Ryss Alison Umbarger Erin Wilson Katie Rodgers Patrick Stubbers Allie Lemco Toren Erin Wright Kellie Vinal Paul Gordon Ally Shwed Floyd Manny Kim Oberheu Paul Phillips Alyssa Padia Grace Davis Kristi Porter Paul Zeidman Amy Cantando Gregory Tankersley Kristie McCollister Peter Dale Andrew Willis Hal Philipson Lance Herd Pia Sen Andy Hull Harry Woolway Lauren Kamal Raven Henderson Ariel Gordon Holly Crawshaw Lauren Varkey Rebekah McElleney Auli Fisk Hugh Kaplan Laurie Roach Richelle Gosman Austin Hayes Ingrid Magnuson Leah O’Bryan Ron Beyers Barbara White Jacob Hunt Lindsay Ann Roy Powell Ben Dowell Jacob York Lisa Waring Ryan Adams Ben Walters James Nichols Liz Attaway Ryan Mullins Bertis Downs Jamie Howard Lou Rosado Sammy Measel Blair Harris Jamshad Zarnegar Lukas Strautins Sandra Lawrence Bob Fernandez Jason & Mary Ann Yarbrough Lyn Waldron Sandy Foster Bonita Elery Jason Boutwell Lynne Hansen Sarah Anderson Brett Talley Jeanna Bagley Marc Lulkin Sarah Sorvas Brian Davis Jeff Gibson Margie Yeung Scott Burland Brian Delaney Connell Jeff Shipman Mark Opel Scott Duke Brian Teague Jennifer Blanchard Mark Leidner Shelley Orr Bryan Coley Jennifer Crawford Mark Maynard Sherri Lunsford Carol Matysiak Jennifer Green Mary Genovese Sidney Brinson Chad & Jennifer Johnson Jennifer Smith Mary Maumus Stefanie Ebben Cheryl Cate Jenny Gunn May Mitchell Stephanie Wyatt Christine Vannus Jim Stapp Meg Darnell Stephen Davis CJ Palmer Jimmie Gose Melanie Beighley Stephen James Cody Manning Joanna Brett Duke Melinda Edwards Steve Choy Colby McHugh Jocelyn Negron Melissa Lowe Steven Grubbs Craig Sheldon Jodi Benaroch Melissa Simpson Susan Cooper Craig Shook Joe Parisi Michael Collin Odom Susan Crayton Crystal Casey John Carroll Michael Kaplan Susan Haselden Crystal Chiang John Dermot Woods Michael Keene T .J . Edmons Dahl Brinson John Estes Michael Noel Terry Price Dan Gastineau John Rees Michael Stagliano Thomas Wedge Dan Scott John Sewak Ray Michelle Davis Tim Gachot David Berkey Jonah Berkowitz Michelle Moreland Tim O’Keefe David Bryan Jonathan Carl Michelle Perrien Tom Penrod David Matysiak Jonl Steinke Michelle Ralston Tom Penrod Davy Gibbs Josh Lamm Mickie Holder Tom Rittenhouse Deke Phillips Joshua & Katie May Mike Davis Tom Schulte Dennis Adams Joyce & Ron Hall Mike Stoudt Toni Senory Derek Carter Julia Phillips Mike Walrond Travis Fitts Dowd Simpson Julie Garner Mitchell Jarrett Trent Hope E . Thomas Stuart Julie Roquemore Natasha Husein Tyler Lemmel Elaine Tarpley Julie Tiemann Natasha Murphy Valerie Dunn McBee Elloa Davis Kacey Lanier Nate Vacher Will McIntosh Emily Dorio Karen Wilson Nick Failla Zayani Mandigo

5 STILLS

6 CAST & CREW Q&A

THE GENESIS

Q: Where did you get the idea for this film? Q: What drew you to the project?

Hudson Phillips (Writer / Producer): This World Jordan Noel (Director / Editor): Before I even Alone started off by Jordan Noel and I asking read the script it was my relationships with Hud- “what’s the cheapest we could make a movie for?” son (writer/producer), Trisha (DP), Mandy (pro- Of course, most people’s answer to that question ducer), and Terri (producer)–all of which I’ve been wouldn’t be “a post-apocalyptic drama where the lucky to work with since the very first short film I majority of the film takes place outside,” but it’s directed in 2011. We’ve all been working towards in our DNA to dream big and shoot for the stars. a feature project together. Which feature we were I love the “high concept, low budget” genre and going to make has shifted and switched over the the limited schedule and budget really forced me years, but I knew when I read this one that it was to focus on character over plot. With all the fun the one. Hudson really knocked it out of the park. post-apocalyptic stuff going on, at its core, This World Alone is an emotionally-driven mother/ Trisha Solyn (Director of Photography): The daughter story. It’s something that everyone can team of The Brother’s Ray and Jordan Noel drew relate to–since all of us are someone’s child and/ me to the project, but after the read-through, I or parent. knew we had something special. Once we locked locations, I knew this was going to be an interesting and beautiful film.

7 CAST & CREW Q&A

Terri Adams (Line Producer): Hudson and Jor- dan! I was looking for an opportunity to work with them. And the female-centered storyline. And they cast my child (daughter and star, Belle Adams).

Lau’rie “Re” Roach (Actor, “Dart”): I am a fan of post-apocalyptic fiction, sci-fi, and it was my very first feature! Also, I wasn’t given the usual “Thug”, “Drug Dealer,” or “Troubled Teen” role. Dart had layers to him that I could relate to and it was a character that I thought I would never get the opportunity to play.

Carrie Walrond Hood (Actor, “Connie”): Ice Belle Adams (Actor, “Sam”): Initially the team cream. They offered me lots of ice cream. Oh... of people is what drew me. I was excited to work and the fact I liked the concept of the film, the alongside The Brother’s Ray and their talented people involved. And I wanted to create the life of crew. Then after the first table read I was all in. this character. With the film explosion in Atlan- Sam spoke to me as a beacon of light in a desolate ta, it has been wonderful to audition for so many world. I was attracted to her hope, curiosity, and amazing studio films and network/cable TV epi- deep desire for growth and change. Her ultimate sodics. But those don’t always afford us local ac- struggle to resist the temptation of ruthless sur- tors with the opportunity to sink our teeth into vival and revenge was very powerful to me. I was lead or supporting roles in film projects. Yet, as an also drawn to the female relationships in the story. actor, this is what I crave. This project gave me the The relationship arc between mother and daugh- opportunity to just that. So I jumped at it. ter and Sam’s sisterhood with Willow hit me in a vulnerable place.

8 CAST & CREW Q&A

THE STORY

Q: You wrote this film very quickly. What was take a break and then repeat. You’ll quickly find that process what like? how productive you can be when procrastination isn’t an option! Phillips: I wrote the first draft of the screenplay in just one week. Which sounds impressive, but Q: This film really celebrates strong, independent you didn’t read it! Like most of my first drafts, it women. In fact, it’s really these women against was terrible! But we went through multiple drafts the world—or what’s left of it. In what way does and table reads, rewrote with the actors on set, the film (and others like it) have the ability to and even wrote a ton of new material in post. But help shift the narrative or perception of what knowing it was necessary to move fast in order to types of roles women can portray in film? make our shoot date, I had to figure out how to write faster. Luckily, I had just read Lauren Gra- Phillips: We’ve seen characters like James Bond ham’s book about something called the “Kitch- on screen for 50 years now and I think audienc- en Timer” method. I set a timer for 30 minutes. es are bored with “stoic white male action hero.” During that 30 minutes, I NEVER STOPPED I think the mistake a lot of female-fronted genre TYPING. I had two documents open: my script films make is that they write the roles for wom- and a “notes” doc (with brainstorms and bullet en as if they were men. I’m way more interested points for the script). And I was always typing in in stories where women show their vulnerabil- one or the other. At the end of the 30 minutes, you ity, where they get to be funny and tough at the

9 CAST & CREW Q&A same time, where they use their intelligence and en portraying strong or diverse characters. I think even empathy to get out of situations. And that’s the problem has always been that writers have not something we really tried to capture in This World been writing these roles for women; only for men. Alone, with the three main female characters Hudson is a fantastic writer who gives women showing the full range of emotions. characters strength and depth. And I think you get some amazing characters and performances Noel: Everything we see and hear and watch and in This World Alone because he created a world experience plays into our perception of the world, where every gender had to become their best and who we are, and what we can be. There is no lim- strongest selves, and he chose not only to write itation to what types of roles women can portray from their perspective but also to let them flour- in film (or anywhere). The problem is that we just ish. don’t see nearly enough of that range. Even the most unique and confident among us have role Roach: All I can say is IT’S ABOUT TIME! As I’m models and characters that we, sometimes un- starting to see more films and productions being consciously, hope and shape ourselves to be like. made with strong female leads, it is truly inspiring Film, because of it’s immersive and multi-sensory to witness women finally getting their rightfully nature, can be such a potent tool for that purpose. earned accolades. I was brought up around strong It’s imperative that we tell all kinds of stories with independent women all my life and being part of a all kinds of people. If we can begin to experience a project that edifies something like this is exciting. wider breadth of stories and people we might just be able to start understanding not just other but Walrond Hood: Oh wow. Big question. So here ourselves a little more. More specifically, I think is what I loved about my character... it wasn’t as the idea of the “strong, independent” woman has if I had to go somewhere else to find what mo- too often become a caricature of a woman who tivated Connie to be such a fighter... it’s there. In acts like a tough guy. Sometimes that’s awesome. every mother. Mothers will fight for their own... But there’s much more to explore and portray and their own children, their own spouse, their own present than just that. I believe as storytellers we siblings, their own parents, to find a way... at all have a privileged platform with which we can costs. Mothers have a primal, instinctual nature to make an effort to balance the scales and portray selflessly protect their own, to figure out solutions the under-portrayed. Sam, Willow, and Connie to problems, to DO something, to not stand still, are all strong and independent women but each to not just stand by and watch. Those are things uniquely so. I think there’s an assumption that we, as mothers, already know. Thankfully this film movies focused on women are chick-flicks made knew this too. I hope we see through films like this solely for women. This is a pitiful and antiquated that we as women are layered, complex, interest- idea. I’m deeply interested in telling stories that ing and capable of being celebrated in film in this women and girls can see themselves in and relate way. So darn capable. to and feel represented by the characters and performances. B. Adams: There is not one woman that is exactly like the next. I believe female characters deserve Solyn: I think the problem has never been wom- specificity and depth, especially in the way they

10 CAST & CREW Q&A

are depicted in such an influential medium as film survival has meant a conscious choice to sacrifice and TV. This World Alone offers audiences a look so many of the things her daughter holds so tight- into the lives of women who vary from each other ly to–things from a former world. Things which in deliberate and specific ways. do not keep you alive in this world. She is at her core a mother terrified of losing her daughter. Q: Can you tell us a little bit about your character And even more terrified of leaving her daughter in the film? alone in this world. As a means of survival, she has had to turn off a part of her heart that dreams B. Adams: Sam is Connie’s daughter. She was an and hopes. Dreams and hopes are things from an- infant at the time of The Fall (the apocalypse) and other world which bring no reward in this new grew up living off the land in a house buried deep world. Survival. That is all there is. I immediately in the woods with her mom and Willow, who was thought after the first read of the script that people taken in as a young girl during The Fall by Connie. will hate Connie because they do not understand Sam believes everything in existence contains life her. And that is what made me want to play this and that that life is sacred and should be treated character even more. with kindness and love. However, under her cir- cumstances, survival can call for brutality, sacri- Roach: Dart is a young teen who definitely goes fice, and violence. Sam has lived a contained life. through a lot in his family life and town/tribe he Growing up in the same house, and only allowed currently resides in, and yet with all the setbacks, within a certain distance from it. She is hungry he’s still strong enough to carry on and conquer all and curious to know more, to experience more, the troubles placed upon him. There was a “man- and ultimately to have her own freedom. hood code” or should I say “mold” that his community and his step-father tried to force him to fit. Walrond Hood: Connie is hardened by this Even though he knew he couldn’t fit in, he took it post-apocalyptic world. She is a survivor. But sur- upon himself to be a “man” in his own right, in his viving hasn’t come without a cost. For Connie, own definition.

11 CAST & CREW Q&A

THE PRODUCTION

Q: The film had a very aggressive shoot schedule. but I think the schedule significantly impacting How did that impact your role during produc- the movie-making magic in a positive way. tion? Solyn: The very aggressive shoot schedule forced Phillips: It impacted my sleep more than any- me to take on the hat of AD/DP, driving everything! We had some VERY long days and VERY one forward and doing my best not to compro- short nights. On these kind of lower-budget films, mise art with the schedule. But sometimes I had it requires everyone to wear multiple hats. So in to force myself to let some imperfections stand addition to my role as a writer and producer, I also in the image because of the budget and schedule. had to drive the van, move furniture, carry lights, Sometimes “fix it in post” is a reality on a film with and intercept the cops when they tried to run us limited budget and schedule. I wish we had more off. time, more crew, and more gear, but my goal is to never let those things compromise the storytelling Noel: The aggressive shooting schedule was an im- of the camera or performance, and I think we did mense blessing. It allowed me to completely focus a good job balancing both under such tight con- on directing. There were essentially no distrac- straints. tions. I wouldn’t have turned down more shoot days and I certainly don’t want to ask another cast B. Adams: The 5 AM wake up calls and late wrap and crew to work another schedule this aggressive times were actually an incredible gift. Spending

12 CAST & CREW Q&A almost every waking hour of the day immersed our amazing team. in the environment that Sam learns and grows in gave me little time for distraction. It cultivated in- Noel: Oh man, no directing experience I’d had tense focus, drive, and presence. even compares. It’s all-consuming, pure focus and dedication for days on end. I wasn’t at all prepared Roach: I was ok with the schedule. One of the for the life-altering, transformative effect this things that saved me a bit was that I’ve been per- would have on both my creative and personal life. forming almost all my life, and I am used to heavy Every project is so different but surrounding my- scheduling and fast pace atmospheres. So once self with brilliant, talented, hard-working, diligent I put eyes on it, saw how many scenes we were people allowed me to approach the characters going to shoot per day, and I got into the flow of and the actors with a real vulnerability that I don’t things, it was like second nature. Yes, there were think I would have been prepared to do previous- times when I was tired and sore, but I just used ly. I really walked out of this experience a different that when I played Dart. person than when it began. At the risk of sound- ing hyperbolic, I lost and found myself during the Walrond Hood: I’m all about aggressive shooting process. Which was exhilarating! schedules because when you are in as an actor, you are all in. So to keep going works for me. Personal- Q: How did you approach directing a cast full of ly though, I had a 15-month old and a 6-yr old at strong women? home, so that was an interesting balance with an aggressive shooting schedule. Noel: My approach with any actor is one of collab- oration. I don’t believe in director as puppet mas- Q: You’ve been involved in creating successful ter. I believe that if I can create a supportive, safe, short films. What was different for you when it creative, inspiring environment for an actor then came to doing a feature film? she or he will do their best work. Belle, Carrie, and Sophie are all amazing actors and incredible wom- Phillips: I’d written a lot of features before, so I en. All three of them are brilliant and intuitive and was used to telling long-form stories on the writ- ridiculously talented. I was constantly in awe of ing side. But on the producing side, it was com- their work and we had wonderful, constructive pletely different than anything we’d done before. discussions about their characters that were an A lot of responsibility! On a short, you’re maybe enormous benefit to me and the film. I learned borrowing a few people’s time for a couple of days, more about acting and directing from them than I but on a feature, you’re all of a sudden responsible could have ever anticipated. for paying the rent for 25 cast and crew members! There’s a lot of pressure to make sure everyone Q: How did you pick Hiawassee, Ga as your loca- feels valued and taken care of. A lot of financial tion for the film? responsibility to our investors. Time and money are valuable things and to see everyone sacrifice Phillips: It started off as a “throw a dart at the map both for our vision, it was truly humbling and in- and see where it lands” kind of thing. We knew we spiring. I’ve got so much respect and gratitude for wanted to shoot in the North Georgia mountains

13 CAST & CREW Q&A and I had found a few AirBnB’s that looked ap- Phillips: It was truly a “Summer Camp” experi- pealing to shoot in. It just so happened that Jordan ence. Just no shaving cream fights (though occa- (our director) knew the owners of one of them in sionally a fight over who got the shower first!). I Hiawassee. So we went up to scout the area and think it really gave us a very quick bonding expe- completely fell in love. It’s gorgeous and truly rience that allowed us to see everyone’s true colors a hidden gem. Beautiful views everywhere you on day one (all good colors, thankfully!). I think look, but a lot of history as well. Then, as it turns it was the only way to do a film like this on such a out, one of our lead actresses (unbeknownst to us) tight budget and schedule. LIVES in Hiawassee! And if that wasn’t enough of the Universe yelling at us to shoot in Hiawassee, I Noel: I spent a hefty chunk of my 20s touring took a trip to San Diego Comic-Con last Summer. around the U.S. in 15-passenger vans as musician, We were a week away from shooting. Our place roadie, and documentarian. I miss touring almost to stay had fallen through, as had a few of our every day and shooting This World Alone bunked key locations. So I start talking to the woman sit- up with all these amazing movie people was the ting next to me on the plane and she informs me closest facsimile to touring I’ve had. It was the glue she owns a house on 200 acres IN HIAWASSEE! of this production, I have no doubt. It was import- That woman was Michelle Moreland, who ended ant to Hudson and me from the start that we fos- up working on the film as an associate producer ter an environment of equality and team-playing. AND we shot half the film on her property! I like On tour, you can often judge how good the tour to say “we didn’t choose Hiawassee, it chose us.” will be based on how well the bands, often strang- ers, mesh together in the first few days. Halfway Q: All of the crew bunked up in a house together through the first day of shooting, I knew we had a while filming? How did that help everyone bond truly special team and we really became a family. together as a team?

14 CAST & CREW Q&A

Solyn: I think anytime you do a schedule this ex- cal position of a Cinematographer. That is slowly treme you are forced to bond pretty quickly be- changing but is still a real issue in today’s studio in- cause you spend so many hours together in such dustry. As more women become Directors, I think a stressful situation. But our shoot was relatively there will be a slow shift to allow more women to relaxed and fun, and I think that this was because be Cinematographers. But in Hollywood, even the crew did bond so well. We had time to un- on films that are directed and produced by wom- wind together because we were all holed up in one en, there is a belief that a woman Director needs house. a male Cinematographer in order to watch her back, keep crew in line, and keep her on sched- Roach: Well, we all had a respect for the work that ule. I have seen men on union sets disrespect and we did. And in my opinion, when I find a group of question choices of female Directors and female people that like the same things as me and want Cinematographers in a way they would never do to work hard and are passionate about what they to a man. And when you have such a stressful do, it’s quite easy to build a team/family. We had and important job and are being undermined by a mission and that mission would not have been your crew, the project can suffer and that is always completed had we not come together as a team as blamed on the Director or Cinematographer, not quick as we did. the inherent sexism that exists in our industry. So I think when women are successful Directors and B. Adams: I mean, after the first day or two of Cinematographers, it shows how much stronger shooting, the entire cast and crew began to meld they are at their jobs because they can rally past all into this single amoeba. There was so much ded- those issues and turn out fantastic work. ication, focus, and positivity from everyone involved, and living together so closely made com- Q: Sam has a pet pig that is very dear to her. Was munication and unity feel nearly subconscious. it fun to play opposite an animal? It really felt like a family, and as an actor, it gave me so much space and freedom to be vulnerable B. Adams: Yes! Also hard! I’ve never worked with and seen. I felt very nurtured and loved. There an animal on film before and it was challenging to was a high level of respect from everyone, towards keep Pudge where he needed to be for the scenes everyone and a lot of that stemmed, at the start, he was in. The thing they don’t tell you about pig from proximity. actors is that they are very experimental and don’t take notes very well. In fact there’s really no point Q: Why do you think there is a lack of female cin- in trying to give them any acting direction what- ematographers? Is it that they are just not given soever because they only interpret it as a creative the same opportunities? challenge and will take any opportunity to make a “bold choice,” which doesn’t pan out well when Solyn: I do think that because men tradition- you need them to follow exact blocking. Aside ally hire crew above and below the line, there is from that we are good friends and had a lot of a distinct “boys club” that women have to break great discussion between takes about how good through in order to get hired on a film crew at all, cucumbers are. and especially in such an important and techni-

15 CAST & CREW Q&A

THE MESSAGE

Q: What do you hope people will take away from ing us to ask what we would’ve done in a similar the film? situation. As a parent who is still often in disbelief that apparently I’m a grown-up with kids of my Phillips: I want people to walk away continuing to own, I relate to many of the characters. That’s a explore the big questions we ask in the film. The huge draw for me and I think allows for a deeper questions of nature vs. nurture, of what separates discussion of motivations, intentions, decisions, humans from the animals, of how we hang onto a and consequences inside the script and beyond, sense of optimism in a dog eat dog world. I think into my own life. This World Alone echoes many these questions don’t have easy answers and they of the questions that I have to ask myself as a par- require a little bit of time and thought and expe- ent and a child. That’s largely what I want from the rience to fully explore. But those thoughts can movies I watch–a springboard of questions and turn into action and if enough people take action, perspectives to discuss with friends. I hope the big we can start to make a dent in the overwhelm- questions in This World Alone are starter logs for ing sense of negativity currently permeating our discussion and debate. world. T. Adams: When you hide a child away to protect Noel: My ultimate hope is that people walk away them you will stifle their growth. It’s freaking hard with a desire for discussion and conversation. I to be a parent and no one is perfect at it. believe that film can be a powerful mirror–push-

16 CAST & CREW Q&A

Roach: Walk with confidence! Fear cripples us fighting for the ones you love can look like a lot of and it causes us to think irrationally. Things get things to a lot of people. I love that Connie is easy hard, yes. But fear shouldn’t be the ultimate feel- to dislike, yet really, I found her so relatable. She’s ing to deal with these type of hardships. You never doing what she thinks is best for her daughter, know what you can overcome once you are confi- whether you think she’s misguided or not. And I dent enough to tackle it head-on. think each of the women in this film is doing what their heart is leading them to do. Walrond Hood: I’m biased because I look at this film to some degree through the lens of my char- B. Adams: Hope, a hunger for growth and discov- acter. Connie is personal to me because... well... ery, grace towards others, and unconditional love. it was personal to me. I hope that people see that

17 CAST & CREW Q&A

THE FALL

Q: What would you miss most living in a in some capacity. It’s powerful stuff. I can hardly post-apocalyptic world? imagine the deafening silence of a world without recorded music. Phillips: Indoor plumbing! Heating and air condi- tioning! Fast food! I feel like all the great things in Solyn: I would definitely miss the internet the life require technology and/or power. But maybe most. I am amazed every day that you can get the we’d adjust to all that. Honestly, the toughest thing answer to almost any question or problem at the for me would be no longer being able to watch stroke of a few keys. I would also miss running movies, especially sitting in a movie theater with a water. Hot showers and flushing toilets are much popcorn, Coke Zero, and Buncha Crunch. There’s more important than you realize until you are something so unique about movies and their abil- camping and don’t have the luxury of them! ity to allow for empathy. Movies have been there for me all my life, and now I finally get to MAKE Roach: Everything! Sidewalks, electricity, bug them! It’d be hard to say goodbye. spray, and food at your fingertips!

Noel: Recorded music. I’ve been a fiendish mu- Walrond Hood: 1) Wine. 2) Clean water 3) Wine sic collector since I was 12 years old and there’s rarely a moment when I’m not listening to music B. Adams: Going to the theatre! n

18 VIDEOS

GAG-REEL Outtakes and bloopers from our shoot in Hiawassee, GA .

link: CLICK HERE or visit vimeo .com/258018408

password: T WA

TABLE READ A look at an early table read with Belle Adams, Carrie Walrond Hood, Sophie Edwards, Lau’rie Roach, and Jon Williams .

link: CLICK HERE or visit vimeo .com/224728601

password: T WA

19 M O O D B O A R D

20 DESIGN PROCESS

Mark and Patricia Gordon present a production of The Brothers Ray

NATURE HAS A WAY OF TAKING THINGS BACK

Belle Adams Lau’rie Roach Carrie Walrond Hood Sophie Edwards Brandon O’Dell original score by WILLIAM WRIGHT editor JORDAN NOEL production designer MARYELLE SAINT CLARE sound designer MASON BROWN produced by TERRI MEASEL ADAMS MANDY CAMPBELL HUDSON PHILLIPS associate producers MICHELLE MORELAND LANCE HERD executive producers ELLE CAMPBELL KENNY CAMPBELL EVAN CHASTEEN JERUSHA GORDON MARK GORDON MATT GORDON PATRICIA GORDON MARILYN HOWARD BEN SWILLEY director of photography TRISHA SOLYN written by HUDSON PHILLIPS directed by JORDAN NOEL

21 stor y boards

22 EARL Y S C R E E N P L A Y E X C E R P T

FADE IN:

1 EXT. CABIN YARD - MORNING 1 A light fog hangs in the air in that "not quite night, not quite morning" hour. Close on WILLOW (early 30s), on her knees in the dirt, singing softly. Her hair a mess, she makes no attempt at being fashionable. In front of her lies a DEAD CHICKEN CARCASS. She's leans in close, looking for some sign of life, but it's too late. She cries a tear. Pull back to reveal why: across the yard-- A dozen slaughtered chickens. CUT TO BLACK.

2 INSERT: 2 A series of old newspapers, magazines, and drawings on random sheets of paper-- SAM (V.O.) Before the fall, you could spend your whole day—working, eating, socializing—and not see another human being. You could work from home on your computer—sending letters, having conversations through thin air—all without leaving your chair. You could order food to be delivered to your home, pre-killed and pre-packaged. You could carefully choose your interactions and share only the most picturesque moments of your life on something called the internet. A magical, invisible device that allowed you to access any person or any piece of information anytime you wanted. You’d post perfect pictures of your lives, your kids, your loves, your food. (MORE)

23 EARL Y S C R E E N P L A Y E X C E R P T

SAM (V.O.) (cont'd) You could connect with anyone, no matter how far away they lived… all in a matter of seconds. Or at least as much connection as you could have with someone you can’t touch or look in the eye. Of course all that came crashing down. All their photos, all their comments, everything that was ever posted, shared, or catalogued ... was suddenly gone. No more internet. No more telling friends their kids are adorable. No more pictures of food. No more wedding photoshoots. The only memories they had were the ones inside their heads. The only ideas they had were the ones they read in books. The only thing that mattered any more was staying alive for just one more day. CUT TO BLACK. SAM (V.O.) And millions of us didn’t.

3 INT. CABIN, SAM'S ROOM - DAY 3 Sam wakes up to the sounds of an argument outside. She rolls over in her bed. It's a mattress on the floor surrounded by blankets and books of all styles and times. She sits up. Sam is in her late teens, in many ways advanced for her age (smarts), and in many ways not (experience). She looks out the window to see Willow and CONNIE (her mom) arguing. Sam hears faint lines ("she knew this would happen" "she's not ready") but nothing clearly. They see Sam, and Willow attempts to smile, but pulls Connie further away, now arguing out of earshot. Sam frowns and lays back down. In her face is a PIG. SAM Good morning Wilbur. You're some pig. She scratches his nose. SAM What do you wanna do today?

24 EARL Y S C R E E N P L A Y E X C E R P T

4 INT. CABIN, SAM'S ROOM - DAY 4 Sam is wearing a dress and Wilbur is wearing a flow-y shirt. She speaks with a British accent. SAM "I had not known you a month before I felt that you were the last man in the world whom I could ever be prevailed on to marry." And for good measure she pretend-slaps him.

5 INT. CABIN, SAM'S ROOM - DAY 5 Sam is now dressed up like an old man, wearing all green. SAM "The true courage is in facing danger when you are afraid, and that kind of courage you have in plenty." Wilbur is dressed up like a Lion.

6 INT. CABIN, SAM'S ROOM - DAY 6 Sam dressed up like a hobbit. SAM "I will not have him slain. It is useless to meet revenge with revenge and heal nothing. Go, Saruman, by the speediest way!" Wilbur is dressed out in wizards robes.

A KNOCK on her door. Sam looks up at Connie, embarrassed by her fantasy world. Her mom is no nonsense. Hardened. CONNIE Grab your bow.

7 EXT. CABIN YARD - DAY 7 Sam walks out with her bow and arrows. She sees the slaughtered chickens for the first time.

25 EARL Y S C R E E N P L A Y E X C E R P T

Willow is working on cleaning up while Connie waits with her rifle. CONNIE Foxes or coyotes probably. Sam holds a hand to her mouth. On the verge of tears. She leans down next to a chicken carcass. SAM We should bury them. CONNIE They're just food, Sam. She stares daggers at Connie. SAM "I saw deep in the eyes of the animals the human soul look out upon me." WILLOW (to Connie) What would it hurt? Connie stares back Sam. CONNIE "He was a killer, a thing that preyed, living on the things that lived, surviving triumphantly in a hostile environment where only the strong survive.” SAM "The love for all living creatures is the most noble attri--" CONNIE "Attribute of man." Which Darwin wrote long before the fall. The luxury of sanctifying all life died out a long time ago. Survival is all that matters. That means treating every relationship, with animals, with nature, as if it's temporary. Willow raises her eyebrows in jest. WILLOW Every relationship?

26 EARL Y S C R E E N P L A Y E X C E R P T

Willow whispers in Sam's ear. WILLOW If only we could eat her high horse... we wouldn't have to hunt for months. Connie doesn't hear, but Sam stifles a laugh. WILLOW Good luck. Try not to bring home any strays this time. She winks at Sam.

8 EXT. CABIN YARD - DUSK 8 Connie and Sam step out of the woods. Willow is digging in the dirt. WILLOW Nothing? Connie shakes her head, frustrated. CONNIE We had a deer. WILLOW What happened? Sam ignores the exchange, walks into the cabin and slams the door behind her. CONNIE She couldn't "bring herself to do it." Willow's head sinks. She knows what's coming. Surrounding Willow are a dozen tiny marked graves.

9 INT. CABIN, LIVING ROOM - NIGHT 9 The fireplace brings the room to life. Sam sits on their makeshift couch with Wilbur in her lap. Connie and Willow act out a scene in front of her. Connie in her normal attire, phoning in her performance, but Willow is full-on dressed out as Peter Pan, really chewing up the scenery.

27 ORIGINAL SONG L Y RICS

MOVE ON AND BE SILENT Written by Steve Grubbs

Oh mother, be silent My loved one, rest easy Let me dream a little more Don’t fear your separate way I’m awake here in the moonlight You’re bone of my bones and I can hear you at my door You’re hair from my head Move on and be silent Move with me in silence Won’t you drop into your sleep We’ll pass into a rest With morning coming on With morning coming on What darkness I’ll need In peaceful darkness I’ll be gone when i am able I’ll be gone, and you’ll be gone I’ll be free to laugh at death We’ll be arm in arm with death Cause death sure ain’t a mother Our love will be a perfume on the air And a mother beats you best It’s all that’s left Move on and be silent Move with me in silence Won’t you drop into your sleep We’ll pass into a rest With morning coming on With morning coming on What darkness I’ll need In peaceful darkness

My girl, don’t you doubt me Don’t think you’ve learned it all Protect your heart and money And don’t walk this world alone Move on and be silent But harden at the breeze With morning coming on What darkness I’ve seen I’ll be gone by the fall But I’m not afraid of death Cause death becomes your mother And a mother knows that best Move on and be silent But harden at the breeze With morning coming on What darkness I’ve seen