Red, White, & Blue ...

a NonDē Film Journey

THE BACKSTORY

Some news events are so powerful that, if you were alive and of a certain age, you remember exactly where you were when you first heard them. For Baby Boomers, it was the assassination of President Kennedy. For older Gen Xers, it was the Challenger explosion. For younger Gen Xers and older Millennials, it was September 11, 2001, the day the Twin Towers fell.

I remember that morning vividly. I was in college in San Francisco, still asleep, when my roommate burst into my room. She shook me awake, panicked, repeating, “We’re being attacked. We’re being attacked.” I laughed and told her to “fuck off”, thinking it was a joke of course, then I saw the seriousness in her face. Disoriented and half-awake, I stumbled into the living room just in time to see the first tower burning, then collapsing into the ground. Classes were cancelled, and the four of us sat on the couch all day, transfixed by the endless, horrific replays on TV.

My uncle worked next to the World Trade Center, and for hours I feared he might not have made it out. Finally, my mom called to say he had survived. But he was never the same. That morning, as he sat at his desk eating a bagel, he looked out his window and saw people choosing to leap to their deaths rather than be burned alive. He was evacuated soon after, and in the chaos managed to help save a few lives before escaping himself.

Needless to say, the country was never the same after the attacks. Anxiety around national security spiked, an extreme wave of patriotism swept the nation, and soon the so-called “war on terror” began. The government seized the moment to pass sweeping legislation that greatly expanded its surveillance and counterterrorism powers, often at the expense of civil liberties. The Patriot Act granted broad surveillance rights with little oversight. Due process was trampled as immigrants suspected of terrorism were detained or deported without fair hearings. Islamophobia and xenophobia surged, and discrimination, under the guise of patriotism, became disturbingly commonplace.

Witnessing the harm unfold, I felt an urgent need to act, but struggled to know how. Finishing up college in San Francisco, I immersed myself in the protests, documenting them through my photography whenever I could. At the same time down in Los Angeles, ten filmmakers from Filmmakers Alliance joined forces to confront the turbulent cultural and political climate in the way they knew best, through art. Their project, Red, White, & Blue, was a collaborative feature project comprised of ten cinematic stories by ten different filmmakers, each inspired by one of the amendments in the American Bill of Rights, exploring them as lived experiences that provoke deep questions about democracy. Its aim was to motivate social engagement without being didactic.

Red, White, & Blue was deeply influenced by Krzysztof Kieślowski’s Dekalog, a series of ten films, each loosely inspired by one of the Ten Commandments. Kieślowski’s work is subtle and nuanced, examining the moral complexities embedded in the commandments without ever passing judgment. Instead of offering answers, his films invite questions.

In the same spirit, Red, White, & Blue examines the Bill of Rights not through legal arguments or political rhetoric, but through human stories. Following ordinary people, the film shows how freedoms, justice, and responsibility play out in everyday life, revealing the complexities of rights we often take for granted. Its goal is to tell relatable stories while sparking reflection on justice, identity, responsibility, and freedom in a modern democracy.

The project spent years in development and was endlessly workshopped, but funding was never secured. Some of the original filmmakers had to move on from the project for various reasons, but their impact and even some of their stories stayed, and for that we are incredibly grateful. I moved to Los Angeles and when one of the filmmakers went and I was fortunate enough to come on board. Time went on and on, and slowly motivation faded and the project got pushed to the back burner. Then, with Obama’s election in 2009, there was a renewed sense of optimism, a feeling that things might finally move forward. So, we put Red, White, & Blue away.

Photo by Kalea on Unsplash

But in 2017, the world shifted again. Re-inspired by the urgency of the moment and the need to spark change, we dusted off the old scripts and reworked them to reflect the issues of the day. For a while, it seemed within reach. A company loved the script, drew up a budget in the millions, and promised big industry connections. It felt like the time had finally come. But after months of waiting, the greenlight never came.

By 2021, we thought perhaps the moment had passed, that maybe the project wasn’t needed anymore. And with that, it seemed destined never to be made.

I really wish that was the case. I wish we could have kept it away.

But now, more than ever, a film about the Bill of Rights must be made. The very freedoms it enshrines: speech, press, assembly, due process, equal protection, checks and balances, are being eroded before our eyes. We see leaders intimidating dissent, undermining the First Amendment, weaponizing law enforcement, and disregarding due process in ways that threaten the foundation of our democracy. Courts once trusted to uphold these rights are bending under political pressure, while lawmakers look the other way. The Bill of Rights was written to protect citizens against exactly these abuses of power, and reminding people of its meaning is no longer optional, it is urgent.

Photo by Markus Spiske on Unsplash

No matter which side of the partisan divide we stand on, we are bound together as Americans by the rights guaranteed in the Bill of Rights. These freedoms are not abstract, they shape our daily lives, our choices, and our future. This film calls us to remember that these rights are worth defending, and that only by standing together can we preserve them. Through personal stories, it seeks to inspire not just awareness, but action, so that we rise as one people to protect the democracy we share.

This project at the peak of its relevancy and so is our passion for finally bringing it to fruition.

Because of its urgency, we’re approaching it differently this time. No more waiting on gatekeepers or chasing a green light that may never come. Instead, we’re bringing Red, White, & Blue into existence the NonDē way and I’ll be sharing the process with you every step of the way.

THE PROCESS: Funding

The NonDē path isn’t easy, though no filmmaking path is, but at least this time we will have control over pushing it forward. Well, at least some control, as we still need to rely on support from others, especially where funding is concerned. We are going to be launching a crowdfunding campaign, my very first, and it’s proving far more challenging than I imagined. We’re working with Seed&Spark, whose team has been incredible. They offer detailed, thoughtful feedback at every turn. We created a video we were proud of, then shortened that video per some notes (that version is below), only to learn it wasn’t quite landing as a pitch, so back to the drawing board for this, time to make it more “pitchy”.

I’ll admit, asking for money has never come naturally to me. Crowdfunding pushes me out of my comfort zone in ways I didn’t expect. But it’s also a necessary lesson if I want to keep creating work that matters. “It doesn’t hurt to ask,” they say and I’m learning to believe that, and trying even harder to practice that.

One thing I didn’t realize about crowdfunding is how crucial the pre-launch phase is. Success isn’t just about what happens after you go live, it’s about building momentum beforehand. The rule of thumb is that you need to hit at least 30% of your goal in the first week. Campaigns that do almost always succeed; those that don’t usually struggle. This is especially true for large crowdfunding campaigns.

We’re creating this film from the ground up, keeping it as grassroots as possible. Every dollar raised goes directly onto the screen; covering locations, production equipment rentals, props, costumes, paying our cast and crew a fair living wage, and providing healthy meals for everyone on set. Those last two, wages and meals, are where the majority of the budget is going.

If we’re fortunate enough to exceed our fundraising goal, additional funds will fuel marketing and a grassroots NonDē distribution campaign, ensuring this film reaches the widest and most diverse audiences possible. In order to educate people across the country about the Bill of Rights and show them how it impacts their lives personally.

I’ll do posts on all those steps when we get there, for now back to crowdfunding.

As I said, we are now focused on gathering pledges, people willing to commit in advance and donate on day one to help us start strong and show immediate engagement. Our official launch date will be September 17th , which is Constitution Day, the date it was signed on in 1787. A fun fact we learned recently and with great timing since we were planning to launch mid September anyway.

We created a PLEDGE FORM for free using Google forms. There is a link to the draft of the upcoming campaign on the form. We made this form to be able to track how our prelaunch outreach is going. Also, since we are a team of 10 filmmakers all working together we can use it as a way to hold each other accountable for putting in the work.

If you are interested in seeing what we put on it, and/or if the mission of this project speaks to you and you want to pledge, you can do so HERE.

I also learned that not all outreach is created equal. Email lists and personal messages are by far the most effective. Social media may look powerful, but on average, only about 1–2% of followers actually convert into backers. That’s why we all love Substack, right?! It allows us to connect directly and meaningfully with our community, rather than just shouting into the void. Don’t worry, I promise not to spam you about this project!

We’ve also secured Fiscal Sponsorship for this film through the Alliance of Women Directors, a 501(c)(3) nonprofit organization. This means all donations made to this campaign are fully tax-deductible to the extent permitted by law.

Fiscal sponsorship is a common path for Indie or NonDē films and many nonprofits offer it, including but not limited to The Film Collaborative, Film Independent, the International Documentary Association, and From the Heart Productions. The process is pretty straightforward: you submit materials like your script, budget, and project objectives to an organization whose mission aligns with your film. Donors then donate directly to them on behalf of your project and in return, they typically take 5–8% of the funds raised.

It’s a small percentage for a big benefit: tax-deductibility makes giving more appealing to donors, and many sponsors also help promote your project within their own communities, expanding your reach far beyond your immediate network.

That brings you up to speed on where we are right now. I look forward to sharing this journey with you as we move forward and keep you updated on what we learn and experience along the way. Below is more information about the project, the stories we are telling, and the filmmakers who are bringing it to life.

Thank you so much for taking the time to read this, I’m deeply grateful for your support and interest!

The 10 stories/ Amendments*

KEVIN (The First Amendment) - A young boy, mired in the grief of losing his father, reads an article about reincarnation which gives him hope that his father will come back. But freedom of speech is questioned when reincarnation does not fit with his family’s religious beliefs.

DAVEY (The Second Amendment) - A boy’s journey toward manhood is accelerated through a generational passing down of hunting traditions in an American landscape that once depended upon them for food and survival.

MARGARET (The Fourth Amendment) - A novelist, ready to submit her latest work to a publishing contest, encounters unexpected and unwelcome guests at her doorstep who inquire about her in-depth research, revealing she’s being monitored by authorities.

ARACELI & ALI (The Fourth Amendment) - Araceli is a teenage girl struggling with the responsibilities of managing a skateboarding team for the company owned by her dads, Gabe and Ali. When a computer error at the DMV lands Ali on an ICE target list, Araceli learns he may be deported to Iran.

JANAE (The Fifth Amendment) - A glamorous, self-possessed Lady Justice, Janae dominates the streets in her city tow truck, controlling the parking chaos of New Orleans. When her older sister Jasmine, an emotionally unstable single mother, crashes her world with an impossible request, Janae must choose between her future and her family.

ELIZABETH (The Sixth Amendment) - A woman’s struggle with her judgmental inner voice, her view of society, and others.

FRED (The Seventh Amendment) - Fred will go to any lengths to avoid serving on a jury, which is a reflection of the pointlessness and powerlessness he feels in his own life.

MARIE (The Eighth Amendment) - An immigrant woman's husband is wrongly accused of a crime and is executed via lethal injection. A year after his death, the truth of his innocence is revealed. In her pain and anger, she seeks to torment the Judge, but instead, they reach an understanding.

ASH (The Ninth Amendment) - Ash is the story of a transgender boy struggling with the physical, emotional, and social isolation that comes with being denied equal access to the school facilities that match his gender identity.

JOY (The Twelfth Amendment) - Joy, who is Navajo, and her wife Lucy run a small lodge on the edge of Bears Ears National Monument. Lucy, fighting to be heard, is an elector of the electoral college representing one of the six votes from Utah.

*The Third and Tenth Amendments have been replaced. Please reach out for more details on this creative choice.

The Filmmakers

Top Row from left to right: Hanelle M. Culpepper (Kevin), Jessica Janos (Araceli & Ali), Deborah Lemen & George Zaverdas (Elizabeth), Amanda Sweikow (Ash), Elyse Couvillion (Janae)

Bottom Row from left to right: Shaz Bennett (Joy), Gabriela Tollman (Marie), Manjari Makijany (Margaret), Jacques Thelemaque (Fred), Cain DeVore (Davey)

Hanelle M. Culpepper (Kevin) is an award-winning director whose credits range from superhero action adventures to thrillers to character-driven dramas. Hanelle helmed the pilot for Star Trek: Picard, making her the first woman to launch a new Star Trek series in its 53-year history. She also helmed the pilots for Kung Fu and Anansi Boys. Hanelle earned her B.A. from Lake Forest College and her M.A. from USC, but it was her selection for AFI's Directing Workshop for Women (DWW+) that launched her as an emerging director to watch. After directing independent features, Hanelle's television career took off when she participated in NBC Universal’s Directing Initiative. Her credits include Paradise, The Acolyte, Westworld, Neuromancer, Matlock, NCIS: Origins, Parenthood, Sorry for Your Loss, Counterpart, Mayans M.C., American Crime, The Flash, Gotham, NOS4A2, S.W.A.T. and many more. Full credit list at IMDB.

Jessica Janos (Araceli & Ali) has recently directed Suburban Swingers Club and Seduced for Lifetime as well as the award winning film she wrote and directed, Prettyface, a coming-of-age thriller starring Karsen Liotta, Annalise Basso and Patrick Schwarzenegger, produced by Academy-Award winner Fred Roos. She has also directed several music videos including Acid Waves for Pale Blue, From The Lotus for Prince and the recently released Do You Really Want to Hurt Me by Jesika von Rabbit. Her recent commercial work includes the Dr. Jaime Rutland interview with Grammy-Award winning musician Raphael Saadiq for Nike and a multi-spot campaign for The California Ballet. She is currently writing several screenplays, including a Henry Miller biopic she is co-writing with fellow director Gabriela Tollman. Janos began as a painter and photographer, where she was accepted into CalArts School of Fine Arts at the age of 16. She later went on to earn her BA in Film from the University of New South Wales in Sydney and her MFA in Directing at the AFI Conservatory.

Deborah Lemen (Elizabeth) has worked 25 years in the entertainment industry and is a working actor, teacher, writer, director and producer who is established in both New York and Southern California. Deborah has developed a well-known reputation as an actor, appearing in over 50 plays in both New York and Los Angeles and in film, working opposite Rob Schneider, Seth Rogan, Patrick Swayzzee and others. Film Credits include DEUCE BIGELO, POINT BREAK, WHISTLESTOP GIRL, A SECRET THING, written by MALIA SCOTCH MARMO with Griffin Dunn, and Judd Apetow's “Pineapple Express”, directed by David Gordon Green.

George Zaverdas started as a drama major at the H.S of Performing Arts in NYC and is a graduate of the Califoria Institute of the Arts. George has since worked 26 years in the entertainment industry, starting in film market research test screenings for Nielsen, NRG, Ipsos, MPG & Indee.tv. George has directed and written numerous award-winning shorts such as “David And Goliath” which won audience awards all over the world including Manhattan Fest, Palm Springs Shortsfest and the LA Jewish Film Festival. “Unspoken”, his 2nd short film, won Best Dramatic Short at the St. Lawrence Int. Film Festival. George has also directed music videos and is currently shooting a documentary.

Amanda Sweikow (Ash) is former Executive Director of Filmmakers Alliance and an award-winning writer/director with films such as, “That’s Not My Mother” (Beaufort International Film Festival, Garden State Film Festival), and “Plus or Minus: A Few Things I Thought I Should Consider” (Winner Best Women’s Short Cleveland International Film Festival). She has also produced many films including, “My Last Day On Earth”, “Quetzal”, and “The Red Hourglass”. She most recently completed her second feature script “What Keeps You In”, and is currently working on the next one. She holds a B.A. in Cinema from San Francisco State University.

Gabriela Tollman (Marie) is a native of Johannesburg, South Africa and holds a BFA from U.C.L.A.'s theater and film department, and an MFA from David Lynch’s Screenwriting Program at Maharishi University. She has directed over ten short films; which have played in festivals worldwide including; The Cannes Short Film Corner and The Sundance Film Festival. Several of her films have aired on television networks including HBO. Her first feature film titled "Somebody's Mother" was released theatrically in October 2017 to rave reviews. According to the Los Angeles Times, "Somebody's Mother tackles a terrible loss and its aftermath with knowing empathy." "Somebody's Mother" is now available for streaming on Amazon Prime. Tollman recently directed the short film LOVELY, co-wrote a feature about writer Henry Miller, and is attached to direct the award-winning screenplay titled APART.

Shaz Bennett (Joy) Shaz’s debut feature film ALASKA IS A DRAG, that she wrote & directed was highlighted as one to watch in Vogue, Filmmaker and OUT magazine. Winning best feature film and Jury awards for Best Director at New Filmmakers LA, Leeds, Chattanooga, Urbanworld and the Smithsonian African American Film Festival among others. Bennett's first television writing job was on THE GLADES on A&E. She later joined the writing team for UnREAL on Lifetime and produced the popular spin off THE FAITH DIARIES. Shaz currently writes on the police procedural BOSCH on Amazon and directed on Ava Duvernay's QUEEN SUGAR on the Oprah Winfrey Network, currently on Showtime’s BILLIONS.

Elyse Couvillion (Janae) Elyse’s film school took place on the sets of big-budget and independent features and commercials. After working in the live-action visual effects unit at Lucasfilm, she worked camera on studio features where she could first-hand observe Academy Award and ASC award winning directors and cinematographers at work. She soon after began making her own short films and - from the whimsically experimental to existentially ironic - her short films have screened at every major film festival, and broadcast, screened and streamed in the US and internationally. Her Sundance award-winning short film “Sweet” is still being used as a teaching example film schools all over the United States. She’s currently she's in post production on her first documentary, “Steel Soul”, an exploration into the strong attachments humans can have for their automobiles and what this means as AI and robotics become more integrated into our lives.

Cain DeVore (Davey) is the co-writer and Executive Producer of “Cold Brook”, the directorial debut of renowned actor William Fichtner. Other features include “Interstate 5” (Producer & Lead Actor) and “Sand Trap” (Associate Producer). Cain co-wrote and directed the award winning short film “Mitzi & Joe” and produced the short film “Melancholy Baby”. He also co-directed the short form documentary “Pablo Ferro – Untitled”. “Home”, a short that he co-directed and co-shot won the Canon SHOOTOUT filmmaking competition. Cain has shot, edited, produced and/or directed numerous dance videos for renowned dance choreographers such asNicole Berger and Doriana Sanchez as well as shooting and edited music videos for the bands Black Windmill and the Swedish Jam Factory. He is also the Cinematographer on the web series “Tales of the Universe”. Cain teaches all levels of BFA Acting for the Camera, Dance Senior Reels and Kinetic Storytelling at AMDA as well as directs and edits AMDA Narrative Short and Dance Concert Films.

Manjari Makijany (Margaret) is an Indian Writer-Director whose film I SEE YOU, an action drama, won the 40th Asian American International Film Festival in New York and was awarded the Will and Jada Smith Family Foundation Grant and the Adrienne Shelly Foundation Grant by AFI. She was handpicked for the Universal Pictures Directors Intensive Program and the inaugural Fox Filmmakers Lab. She’s written and directed critically acclaimed shorts, THE CORNER TABLE and THE LAST MARBLE that was featured in the BEST OF FEST at Clermont Ferrand Film Festival and the Emerging Filmmakers showcase at the American Pavilion in Cannes among others. Her feature script, CITY OF GOLD, was nominated for the Nate Wilson Award at the Professional Program in Screenwriting at UCLA. She's currently working on her debut feature, DESERT DOLPHIN, a sports drama on skateboarding inspired by true events. She’s constructed India’s largest skatepark in a village to drive social change and inspire girls through her film.

Jacques Thelemaque (Fred) Jacques’ films include “Transaction" (Sundance Film Festival, Grand Prix du Jury Award, Clermont-Ferrand International Short Film Festival) and “The Dogwalker” (Los Angeles Film Festival, Best First Feature Film, Cinequest Film Festival, Best Cinematography, Ashland Independent Film Festival). In 1993, Jacques co-founded the global filmmaking community Filmmakers Alliance and created FA Productions in 2004. He was also Chief Community Officer of Withoutabox.com in 2005 and held that same post in 2018 at ConsciousGood.com. He was recently named Head of Production for the new streaming platform Menace TV. Jacques was a programming associate for the now defunct Los Angeles Film Festival since 2011 and has been an advisor, board member, programmer, juror or invited speaker at numerous film-related organizations and events.