Female Festival Feature Script: Flowers Don’t Grow In England, by Tanecia Britt

6b63ac727a posterAbandoned by each of their parents, they were raised by their elderly aunt. Chloe, Vera, and Autumn, At a young age lose their Aunt tragically. That fateful night sets the three ladies down a path of no return.

Project Summary: For Chloe, Vera, and Autumn – life has not always dealt them a decent hand, but the one constant that has remained with them since childhood is the impenetrable bond that they share. Abandoned by each of their parents, they’ve been raised by their elderly aunt. At a young age, when a late night visit by Autumn’s junkie father results in a tragic death, the girls must look to each other for strength and become, in many ways, a mother, a cousin, sister, and father to each other. A tragic night that leaves each of them with the only family that they have.

Parallel to the three women, is a retired school teacher, Rose. She has dedicated her life to her only child and son, Rich. At 23 years old, he’s dipped in and out of trouble but has always managed to stay on the better path of life. A humble and simple woman, she has a high tolerance for many but little when it comes.

To her half-brother, Gram. Though she loves Gram, she doesn’t like his street influences on Rich. However, as the only father-figure that a 23-year old Rich has had, she tolerates Gram and loves her brother for the void he has filled with her son.

A rave. A dirty bathroom stall. An ominous man. Three cousins. And, a fight to the death.

When one of the cousins is attacked, Chloe, Autumn, and Vera discover how viciously they fight when someone attempts to break their bond. Killing a man with their bare hands becomes a new found talent. A talent that does not go unnoticed by one of East London’s most notorious gangsters. Recruited to murder, they become a ruthless trio. They’re good at what they do and enjoy it. But when a routine hit goes wrong, one loss will intertwine the world of Chloe, Vera, and Autumn with Rose. The impermeable bond that holds Chloe, Vera, and Autumn together will now be tested. Everything that Rose has stood for and once believed will now be questioned. Four women – challenging the depths of love, the loyalty of family, and the boundaries of trust – but only one will survive while the others fall victim to the frightening truth.

The creative process for me will never be complete until this project is completed. I am thankful at this point to be in the development stages of the process. Due to this film being based in another country, there are a few global resources that I will be utilizing to help the production of this project. Being accepted into this program would create networking opportunities that spearhead potential lifetime connections.

Director Statement: My adrenaline was through the roof after completing my first feature film in London, so much that I needed a creative release. With all my accomplishments, including graduating with a Masters, life was still painful – amusing and deeply inspiring. I channeled that energy into creating “Flowers Don’t Grow in England.” This story drives my passion for filmmaking and creating visuals for narratives abroad. I want the audience to feel inspired to discover their moral premise at the end of this film. It is this conflict of values that describe what the movie is about. “Flowers Don’t Grow in England” has so many different layers that it will allow the audience to come to their emotional conclusion.

This script was developed with the belief that I could use my experiences while living and traveling abroad to create universal narratives that will make it more powerful and more emotional for a broad audience. The detailed specs of my experiences and struggles give the film an authenticity that I hope will help this project to be considered. The pivotal background laid in the script connect these characters to the more massive story arch. There are two narratives in the writing that run parallel. The impermeable bond that holds characters, Chloe, Vera, and Autumn together will be tested when their worlds intertwine with Rose, a retired school teacher. Everything that Rose has stood for and once believed will be questioned. These four women challenge the depths of love, the loyalty of family, and the boundaries of trust. The inspiration for this film came from living in East London. Though I do not have a taste for killing like my main characters, I did develop a sense of family while living abroad, and my friends became my family. For example, a dear friend hired me as a “shampoo girl” in her East London salon. I had no experience, and she didn’t care. She knew I had bills, a dream, and that’s all that mattered to her. I am looking for a mixture of raw untapped talent and seasoned talent willing to believe in the project.

Just as the story, the sound design will run a parallel narrative. It is essential that the sound design compliments the storyline by laying the groundwork for the visuals. The project will work with different independent UK artists to compile a structured yet enjoyable soundtrack.

While this film has graphic violence, it’s about beginnings, family, change, and how fragile the human connection is. This film will deal realistically with love, family, violence, and other aspects of the human condition, broken parts, and all.

Writer Biography – Tanecia Britt

98de1ca6ed headshot

“Your thoughts write the script to your history.” – Tanecia Britt

Screen gems begin to fill their treasure chests with tools to help them express the pictures that reel through their brain at various points in their life. It’s the ‘how’ and ‘why’ that makes each visionary different. For director Tanecia Britt, pictures are a constant flow of concepts through her hands and eyes, depicted with more emotion than what can be seen in real life. Born in Washington, DC, Britt grew up in nearby Hyattsville, MD watching films and instilling imagined life into inanimate objects. Once it became apparent that producing images were innately within her design, pursuing film was the desired goal for college. After graduating from Johnson C. Smith University, reality became the foundation for her movies. Britt’s drive placed her in various locations post-undergrad.

Living strictly off of her determination to become a full-time director, the self-forming entrepreneur hit the country. Working as a marketing and campaign administrator for the Joffrey Ballet in Chicago then freelancing in Atlanta, Britt soon found herself networking among some of the sharpest eyes in the South. Celebrity photographer Donna Pernell shared insight about the inner workings of the industry which motivated Britt to declare herself as an assistant director and production assistant. Continuously networking and building her name, she found herself under the direction of Eyal Sivan and Haim Bresheeth, professors, and mentors at the University of East London. Under them, she learned to shoot with a purpose and to take her time with film-making. Her creativity and a relentless drive to succeed opened a niche for Internet films in which she began to market herself on the web.

Though free-spirited, Britt’s reality stood like walls around her in which she could only battle, and battle alone. Her loyalty to her family brought her back to the United States, where she has emerged as one of the most rouge, yet promising film-makers in the area. To date, Tanecia Britt has been a never-ending machine, cranking out films including her feature “School Without Walls” along with a multitude of shorts and music videos. Currently, she is working hard to bring forth “Flowers Don’t Grow in England,” a ruthless caricature telling the lives of three East London women. Seeing the elements of life which could quickly destroy a woman was only clay for Britt, permitting her to mold these experiences into cinema while influencing others to see life with more than just the natural eye. Lifestyle it has become, Tanecia Britt is a portal for all things film can reveal by way of life, cycling images through the lenses of her crafted mental.

“Life isn’t about just seeing. It is directing what is unseen.” – Tanecia Britt

Writer Statement

My adrenaline was through the roof after completing my first feature film in London, so much that I needed a creative release. With all my accomplishments, including graduating with a Masters, life was still painful – amusing and deeply inspiring. I channeled that energy into creating “Flowers Don’t Grow in England.” This story drives my passion for filmmaking and creating visuals for narratives abroad. I want the audience to feel inspired to discover their moral premise at the end of this film. It is this conflict of values that describe what the movie is about. “Flowers Don’t Grow in England” has so many different layers that it will allow the audience to come to their emotional conclusion.

This script was developed with the belief that I could use my experiences while living and traveling abroad to create universal narratives that will make it more powerful and more emotional for a broad audience. The detailed specs of my experiences and struggles give the film an authenticity that I hope will help this project to be considered. The pivotal background laid in the script connect these characters to the more massive story arch. There are two narratives in the writing that run parallel. The impermeable bond that holds characters, Chloe, Vera, and Autumn together will be tested when their worlds intertwine with Rose, a retired school teacher. Everything that Rose has stood for and once believed will be questioned. These four women challenge the depths of love, the loyalty of family, and the boundaries of trust. The inspiration for this film came from living in East London. Though I do not have a taste for killing like my main characters, I did develop a sense of family while living abroad, and my friends became my family. For example, a dear friend hired me as a “shampoo girl” in her East London salon. I had no experience, and she didn’t care. She knew I had bills, a dream, and that’s all that mattered to her. I am looking for a mixture of raw untapped talent and seasoned talent willing to believe in the project.

Just as the story, the sound design will run a parallel narrative. It is essential that the sound design compliments the storyline by laying the groundwork for the visuals. The project will work with different independent UK artists to compile a structured yet enjoyable soundtrack.

While this film has graphic violence, it’s about beginnings, family, change, and how fragile the human connection is. This film will deal realistically with love, family, violence, and other aspects of the human condition, broken parts, and all.

Ratings

Author: pitchstory

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