A story of an improbable friendship between a Santa Barbara socialite, suffering from ALS and her caretaker from Senegal. While on tour promoting his latest movie "Son Of The Sheik", Rudolph Valentino, the Hollywood silent screen icon, suffers a sudden collapse and is hospitalized at the New York A getaway driver finds himself in harm's way when he gets caught up in a job involving casino heist money leading to a debt over his head.
In a gripping psychological thriller, Sam Carter is a wild-card detective with rage in his heart; he drinks too much and his drive to catch the bad guys often runs afoul of the law. One man stands between America and anarchy as the War on Nudity battles to the end - here on the streets of Bakersfield. Les McCubbin spent his whole life in his twin brother Addison's shadow. When Addison severs their psychic connection, Les doesn't just lose his brother - he begins to lose himself.
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Production Notes from IMDbPro
Please reload or try later. Keep track of everything you watch; tell your friends. Full Cast and Crew. Jack Black on Jack Black. See more production information about this title on IMDbPro. Learn more More Like This. For Entertainment Purposes Only. In our search for Addison , we needed to find someone larger than life- someone who could be a comedian or a superhero within the space of a breath.
He needs to be an Adonis who could sweep you off your feet with a word or a reflex. We asked Joel Walker to take the role after he read for us, proving himself to be as charming as he is a model of athleticism—a musical theater performer with a background and training in multiple dance disciplines.
Beyond superficial qualifications, Joel has an eager curiosity and interest in the subject matter and themes of Losing Addison, and in our ongoing development, we're excited to build a deeply nuanced and multifaceted individual who is as ethereal and whimsical as he is broken and human. At the end of the day , Losing Addison is about brothers. It's about family, and friendship, love, and loss. It's a story about pain, and what happens when something essential is removed from your soul. It's an allegory for the horror of inner conflict, and the struggle to be fully oneself under any circumstances.
It is a work of fiction, but we expect to honestly and passionately explore the deeper truths the story is about.
With the components we have assembled, and continue to gather and develop, we will tell a story that is not only dark, haunting, and at times disturbing, but also relevant to our place and time in history as a work of art, and a commentary on the themes of the human condition we explore. We would like to invite you to be a part of this story, and to help us tell the best story possible. With everyone we have involved already, and everyone yet to join our team, we have the highest expectation of creative excellence, and believe that we will rise up together in integrity and accountability to tell a story that will be truly impactful, engaging, and intrinsically valuable from the ground up.
The filmmaking process is notoriously a time-consuming and valuable venture that investors and artists the world-over come together in partnership to engage in, and to create art that can be a bought and sold commodity that transcends status, race, religious beliefs, sex, language, and political boundaries. Film is the bridge between every island on the planet.
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Because of the movies, our heroes can be anyone, and they can come from anywhere, and they can be heroes to the man on the street and the woman in the mansion equally. When people set out to make a movie, there are two great questions asked at the outset: The fact is, actors and directors are expensive if you want them to be household names. Locations can be epic and free, or minimal and exorbitant, or some other balance of cost and value. Other details that factor in are the equipment used, cameras, lights, film expensive, risky, but beautiful in the right hands or digital cheaper, safer, quality ranging from poor to near-film in the right hands , sound gear, post-production and marketing hiring a colorist or a publicist could be the difference between getting the movie distributed or accepted into festivals, for different but equally important reasons , permits, licenses, fees, rentals, and more.
Understandably, many people have difficulty rationalizing the often vast expense that goes into making a feature film, but if you account for long working hours by even a small cast and crew including meals on days that can run twelve hours , equipment rental, wear and tear, the value of expertise and experience in any particular area, the investment many of the individual cast and crew have made into their own equipment and training, keeping up with current technology to create the best cinematic experience often for less money than the prior technology's cost , and even the abstract nature of art itself, those costs begin to become justified, and the extremely high value of even a massive Hollywood tentpole feature begin to make sense.
With the question of projected earnings, it all comes down to who watches the movies. Dramas are often the cheapest movies to make and thus earn the biggest returns , but are much more difficult to sell, especially without a recognizable name attached. Horror, Sci-Fi, and Action are significantly easier to sell, even without a big name, but with special effects come costs that can quickly inflate a budget beyond most people's expectations.
In addition to types of films and how they sell, where they sell is the other major factor. The majority of films make their greatest profits through DVD and digital sales overseas- due to the population concentrations of certain regions, the general eager love of American cinema, and yes, even a well-made movie. Locally, movies are sold mainly through one or two of a handful of avenues: Distributors open up unique access to DVD sales and more exclusive markets including theatrical releases both at home and abroad, and are generally recognized as offering the greatest potential for income or ROI.
Filmmakers have greater chances of simply getting the movie out there by self-distributing through VOD or streaming services Netflix, Amazon, Hulu, etc. While there is a lot to consider that goes into funding the making and selling of a feature film, every film is different, and presents its own opportunities to do things a little differently- to make the best film possible while mitigating the risk.
This is a shoestring budget for a psychological thriller, and we have taken several measures to ensure that an excellent and entertaining movie is made, despite the budgetary limitations. The first and most obvious is that we aren't using big names for any of the main roles. Our actors are very talented, very experienced, and do have fan-bases of their own, but are simply not Brad Pitt or Jack Nicholson yet. Another cost-saving measure we are employing is a fully-digital production. This means we won't be dealing with the time and cost inflation that comes with analog recording and processing.
To shoot on film means expensive and time-consuming retakes, extremely costly processing, higher risk of potential catastrophic damage, and long, complicated, and outdated editing practices. Instead of the glamour of shooting a feature on film, we are opting for a shoot that relies on the latest in digital cinema camera technology, lenses, and techniques. This option ensures that our turnaround time in the editing room is much faster, the risk of damage to footage decreases as the ability to back it up and protect it increases, retakes may be done instantly at no greater cost, etc.
In this way, we are protecting investment in the film, by avoiding unnecessary risks in favor of the latest in digital technology. It's noteworthy that this cost doesn't include the cost of the film camera equipment. Other cost-saving strategies include working with friends and family to provide set location resources, vehicles, catering, etc, where the cost offset will be most beneficial while still retaining value. While we will take every appropriate measure to keep production costs low, we still must treat our hosts and donors with respect, and do our very best to take good care of them and the relationships.
Another strategy we are utilizing to lower our production costs is the hiring of student interns from the film programs at the local universities and art schools. In doing this, we are able to offer a tangible benefit to working on the production- experience and class credit- while keeping our own staffing costs manageable, and using the balance of that savings in other areas. It is through these and other measures that we are able to keep the production and post-production costs to a minimum, and shoot a psychological thriller- a genre where films normally run into the millions- for a fraction of the cost.
Our distribution goals for this film are fairly simple, compared to the deep logistics of the production budget. Our two-pronged approach is festival submission- which will lead to distributor acquisition and sales upon a successful festival run- and digital distribution—Netflix et al, VOD, and so on—in order to release Losing Addison independently, to begin promoting it and growing its audience via a grassroots social media marketing strategy.
If there is festival and distributor interest, we will delay our independent release until we are given an all-clear to promote our work ourselves, within our networks, friends, and family. While the success of any particular film is impossible to predict, one thing is certain: With the writing, directing, acting, production value, and strategies for our film's release and distribution, it is certain that our film will find its audience, and its success.
With your help we can make an amazing film. We are a team of experienced storytellers and creative professionals, and as a production company, making our first feature film produced fully in-house. You aren't investing in the film With the successful funding and production of Losing Addison , we will be able to grow and continuously provide compelling stories, well-told, on a consistently greater, more-frequent basis. We hope you'll join us for this journey, and look forward to showing you what we have in store!
With making any film- particularly a feature- come many challenges and obstacles. Some of these obstacles, we've accepted as inevitable- cost of certain production items, and a casual shoot schedule, for example.
Other challenges, we've courted willingly; they are opportunities to rise above the status quo, and we are confident we will meet this adversity with grace and excellence. Some of our more critical assets include our relationships- we have dedicated our efforts to creating strong and long-lasting relationships with everyone we interact with.
It is in this and other similar capacities that we are able to overcome many of our obstacles. One of the obstacles we've invited as an opportunity to rise up and excel beyond expectation is in our condensed shooting schedule. It is very fast production, even for an easy-to-shoot feature film.
Losing Addison () - IMDb
Despite this challenge, we are committed to bringing on talent to the cast and crew alike that is capable of handling this type of schedule. Everyone on our crew has come highly-recommended, and is not only fully aware of the challenges ahead of us with regards to the schedule, but is eager to meet this challenge fully prepared and equipped to succeed. We have one of many pre-production and pre-visualization meetings on September 21st, for example, and we are taking this and every opportunity to really have every detail squared away come production.
Another obstacle we meet eagerly, with confidence in our capacity to handle, is the fact that this film is being helmed by a first-time director. The solution to this seemingly daunting conflict is that Marty- the director- will be closely assisted by Adam, the lead performer and Portland-based acting coach, in the event Marty requires assistance, guidance, or moral support. We are certain that this partnership will eliminate any difficulties that could arise in any new director's process. Additionally, since Adam himself is a veteran performer, as is Joel- who plays Addison- between the two off them, the rapport and confidence assembled will ensure a smoother filming process than if the two lead actors- who share the significant burden of screen time- had less experience, or a less close relationship with each other and with their director.
We will be shooting in the Portland Metropolitan area in Oregon. We'll keep everyone eligible posted. Extras must also be over If you are appearing in the film, you will have to sign a release, etc. That's all there is to it!
Thank you for reading this far, for your support, and for keeping up with Losing Addison! Questions about this project? Check out the FAQ. A print copy of the Losing Addison novella, a Losing Addison football, and a thank you in the film credits. A movie poster signed by the lead actors and others, plus a meet-and-greet with cast members at the film's Portland premiere. Three sessions at the Actor Experiment, a drop-in acting class for actors of any skill level; plus other rewards as listed.
Get a limo ride and admission to the Portland premiere and dinner with selected cast members and producers, plus other rewards as listed. One four-hour acting intensive cold-read, scene study, monologues, etc.