Right now, we’re working toward a lean production target of $36,000, with early development already underway. Every dollar we raise goes directly into putting the film on screen—paying cast and crew, securing locations, handling post-production, and making sure the final product can stand alongside the films that inspired it. And those ambitions are real. The goal is to take Odie through the festival circuit, starting with discovery-driven festivals like SXSW and Austin F

Every film has a second script written in the margins of the continuity log. ODIE's is full of numbers: 35mm, 25mm, 50mm, 6K, 4K. DP Lester Platt walks through the DJI Ronin 4D, the Blazar Mantis anamorphic primes, and why the sun became the lighting department.

First AD Michelle Ragay ran all seventeen shoot days of ODIE across Austin. She talks scheduling 77 scenes, replanning mid-shoot without the crew feeling the turbulence, and the call she is proudest of: keeping everyone safe in the Texas heat.

ODIE opens where Austin looks its most beautiful and least forgiving: Zilker Park and the free side of Barton Springs, where a handyman named Odie wakes up 294 days into life on the street. A spotlight on the park that plays the film's first face.

The website still thinks we're shooting in May. Time to fix that. A summer refresh for odiemovieaustin.org, an IMDb page that now exists, and a look at what the rest of post holds.

The final post in our prep series: the real Day One welcome letter Nick Barr handed the ODIE crew before shooting his Austin film, and the tone it set for a story about homelessness.

ODIE takes place over a single day but shot across fifteen. Part three of our prep series: the cast matrix that tracked 24 physical states of one man, and how 70-plus scenes got locked across Austin, sometimes in Nick's own backyard.

This film was made with Austin, not just in it. A thank-you to the partners who opened their doors, and an honest look at the festival groundwork already underway.

Nine days before the shoot, Nick Barr wrote four autopsies of an imaginary failed film called ODIE. Then he spent the last week of prep making sure none of them came true. Part two of our prep series.

One week before cameras rolled, Nick Barr sat his department heads around a table with a printed packet and walked all 77 scenes of ODIE, day by day, prop by prop. First in a series on how this film got prepped.

The drives are in the editor's hands and the movie now exists in that strange in-between state: shot but not yet a film. A dispatch from the quiet part of making a movie.

The main block wrapped June 4. Pickups wrapped June 10. Seventeen shoot days, 674 takes, and one production diary graduating from daily to weekly. Here's what the end of a shoot actually looks like.

Photography ends where the movie begins: the dream sequences. Scenes 1, 24 and 53, shot silent at 60 frames per second, Kenzie Klem as Monica, and a final wrap after 17 shoot days and 674 takes.

An appendix to the reshoot day: a tiny insert unit, seven takes of montage material on a shared roll, and Odie walking through Austin one more time.

Pickup week begins with a full reshoot of Scene 15. Thirty-one takes, rolls A030 and A031, and a small lesson in what it means to care more about the movie than the calendar.

The main stretch was supposed to end Friday night on Elmont Drive. The rain had other ideas, so it ended Saturday night instead. Same time, same place, one day later.

The main unit wraps back at the Sunrise Homeless Navigation Center: Scenes 70, 76, 77 and the 78 series, 42 takes, and a camera note for the ages on the very last setup. A few small pickup days remain.

The film's final act begins, downtown on the Trinity block. Scenes 69, 71, 72 and 75, a lean 26 takes, Mirtha Martinez as Miss Vaughn, and Roderick McDaniel's return.

The biggest page count on the original board finally shoots: clinic interiors at Trinity Center on East 7th, Scenes 37 through 41, 52 takes, and a receptionist character who shares my name.

Angela's interiors, Scenes 61 through 64, shot inside the actual home of Mathew Mitchell, the actor who plays Gerald. Forty-eight takes, a pre-lit set, and the strangest location credit of the shoot.