The dinner table.
A short film about the most ordinary days.
A boy and his mom spend their lives in transit, as she drives him from one place to the next. Every time he gets back in the car, he gets a little bit older. Every time they talk, it means a little bit more. And they wouldn’t change a minute of it.
Chad Morgan as BECKY / Carson Boatman as TEEN CLARK
Jacob Sandler as YOUNG CLARK / Drew Highlands as BLAINE
I wish we had teleporters. I could be under the covers right now, and still get to school on time.
Yeah? So, just to be clear, you’re telling me - you could teleport ANYWHERE IN THE WORLD, and you’d teleport - back to bed? For 30 seconds of sleep?
A lot can happen in 30 seconds.
THE DINNER TABLE is a
film about perspective.
Taking place entirely within the family van, we follow the contrarian CLARK in conversations from age 9-16 with his optimistic mother BECKY. He talks about HARRY POTTER, she talks about AFGHANISTAN – each unknowingly helping the other through life’s ups and downs.
As Clark becomes increasingly skeptical of the world around him, Becky becomes increasingly concerned for her son, and increasingly aware of just how little time they have together.
Mirroring my own experiences growing up in a military family forever on the move, the film is a reminder that these seemingly inconsequential conversations, these everyday bits of life in transit, form the foundation of Becky and Clark’s relationship. As Becky concludes when she prepares to drop off the newly driver- licensed Clark for the last time, it’s these “most ordinary days” that mean everything.
Clark can’t see it at first, his perspective is one of cynicism, of doubt. But even in the face of adversity, Becky’s perspective is one of thanks. She thanks God for the quiet days, for the small conversations, and for this time with Clark, even as it comes to an end. And that perspective is one that can make a difference, even on us cynics.
A conceptual trailer, created using
visual and tonal references for the film.
I just don’t think I like momentous occasions. You know, I don’t really care for birthdays, I hate graduations. All of these moments of - projected happiness, feel like they’re testing me, and waiting for me to fail. And I guess I just feel like I’ve been grading on a curve, for a long time.
Yeah. I know what you mean. I know what you mean.
A combination of existential talk cinema, experiential filmmaking, and coming of age drama, THE DINNER TABLE is a film for thinking, relating, and feeling – sometimes all at once.
Consequent references include: the chatty witticisms of MY DINNER WITH ANDRE and Richard Linklater’s BEFORE TRILOGY. The minimalist discipline of LOCKE (also set entirely in a car) and TWO DAYS, ONE NIGHT. And the heartbroken handheld cinematography of dreamy, tone-poem romances CHUNGKING EXPRESS and LOST IN TRANSLATION.
Visual references for the film’s final look.
And I just thought that was it, our lives were on a crash course, and this was just the next step, that I’d finally collapsed and it was only going to get worse. But I looked over to check on you, and make sure you were alright, and I saw you were saying something. And you were telling me that it was okay, I’d just the hit the rail. I’d only hit the guardrail and we were okay.
WRITER/DIRECTOR - Andrew Bryan Scott
Per his father’s time in the Air Force, Andrew grew up in WWII hotspots Hawaii, Japan, and Germany. A graduate of NYU's Film program, his thesis film, about a 6-year old girl trying to save her sick dog, won NYU craft awards for Lead Actress and Production Design. His original teleplays have been honored in various festivals, his critical reviews have been published by numerous outlets, and he once wrote a poem that made his (ex)girlfriend cry. His on set credentials include shoots in New York, Ireland, and Kenya, and he's currently based in Los Angeles, where he’s worked as an assistant at The Gersh Agency, Development Coordinator for Ideate Media (DIRK GENTLY), and as a freelance writer in features. Goals include winning back his (ex)girlfriend and writing/directing a film as good as BEFORE SUNSET.
PRODUCER - Kyle Bowles
Kyle is an assistant to director Michael Mann (HEAT, COLLATERAL) at Forward Pass Inc. He joined FPI from Gersh and previously began his career at Peter Guber's Mandalay Pictures. An LA native from Inglewood, Kyle fell in love with movies early on. At Villanova University, he co-produced LIMBO, a social justice documentary that explores the lives of West African migrants held at a reception center in Italy. He also wrote and directed a narrative short, SHADOW IN THE SHADE, which won an award at the 2016 Long Beach Indie International Film Festival. Kyle believes in the power of diverse, cinematic storytelling to bring people together and aspires to a career making damn good movies that do just that.
PRODUCER - Emma Taylor
Emma began her career in television on the east coast, working at NFL Films on the shows Inside the NFL, All or Nothing, and NFL's Top 100. From there she ventured into historical documentaries and true crime television, working on shows for CNN, Investigation Discovery, and Oxygen. Now, she lives and works in Los Angeles as an assistant on the ABC comedies The Goldbergs and Schooled. Emma aspires to being a comedy TV writer and also hopes to produce independent films that tell stories their audiences will connect with. Growing up Emma started making outrageous YouTube videos with her friends and while she didn't think it would be possible to turn goofing off with a camera into a career, no one has stopped her, yet.
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