Mini Productions present the award winning, BAFTA and Oscar qualifying Annie Waits, a vignette to the TV series currently in development.
We’ve all waited for ‘the one’. The one who catches our eye, the one who keeps our interest, the one who won’t expect us to trudge down that conventional path. Annie Waits tells the story of lust and disappointment, as a twenty-something waits for her adult life to begin.
The vignette stars Andrew Simpson (Notes on a Scandal, Rebellion, Road Games), Sam Swainsbury (Mum, Fearless), Moses Gomes-Santos (Youngers), Sam Gittins (The Smoke, Ripper Street, Mr Selfridge), Matthew J Ovens (Humans) and April Kelley (Road Games, Upstart Crow).
Marnie Paxton Harris’ extensive experience as a script supervisor makes her directorial debut both overdue and highly anticipated. Working with the likes of Tom Harper, Richard Laxton and Jeremy Web, her credits span across high-end TV and film, and include War & Peace, The Woman in Black, Silk and Merlin to name but a few.
Writer Chris Anastasi, is quickly making a name for himself as ‘one to watch’ in 2017, with his raw, honest and charming writing. Method in the Madness, his debut feature, is set to release in 2017. It was directed by Jason Mewes and stars Kevin Smith, Teri Hatcher, Stan Lee and Vinnie Jones.
Annie Waits is co-produced by Christian Cooke, who continues to emerge as one of Hollywood’s most engaging and sought after talents. His acting credits include: Cemetery Junction, Hello Carter, The Art of More and Romeo & Juliet.
Annie Waits is a 30-minute returnable scripted comedy, giving an honest voice to twenty-something year olds. Ringing true to people who feel alone in London and making us all feel ok that we haven’t quite figured out life yet. A voice we all know, yet very rarely allow to go any further than a thought process. Being hailed as the UK version of Girls with a dash of New Girl, Annie Waits will bridge the gap between mainstream television and the online world by developing into trans-media content.
“In total, ‘Annie Waits’ is a wonderfully written, intelligently delivered portrayal of striving for love in a modern world wrapped in a satirical blanket whose message might just be worth learning from when it comes to the ever-elusive search for Mr. or Mrs. Right.” - One Film Fan
“Marnie Paxton directs “Annie Waits” with a savvy style that confidently hits every note, bringing Chris Anastasi’s script into a vivacious existence. In all, “Annie Waits” tells a wry story that makes you care about how Annie moves forward.” - Electic Pop
“Annie Waits is funny, lively and it’s relentlessly pleasurable to watch a young, free-spirited and headstrong Brit take the lead. The whole film is modern with quick cuts, vibrant colour, style and that classic London romance setting.” – Film Carnage
“Annie Waits is refreshing in its perspective, not to the females out there who will be nodding their head in agreement, but to the audience who finally get to see that not all women are fighting to catch the bridal bouquet.” - Mulderville
“The script shows a strong taste for great situational humor as it explores the, at times, vicious circle of dating. The direction complements the material perfectly, and April Kelley shows she has a bright future ahead of her with a subtle but amusing performance.” - Silver Screen Analysis
“It’s very modern and humorous, and Kelley is delightful, definitely a face to look out for.” – Wild Fire
“It is in this honest portrayal of tackling your twenties that Annie Waits truly finds its stride, with not only the fears of its central character being identifiable, but the ways in which those fears are presented via the picture and the voiceover being utterly encapsulating of many a young woman in today’s society.” - The Film Magazine
A living room filled with people in the midst of celebration over the birth of a new baby. Everyone is happy except for the antagonising voice over of Annie, a mid twenties girl feigning enjoyment at the edge of the room. Her need to express her reluctant views about children and marriage can only be heard by us. As the celebration continues and she can’t take any more she excuses herself for a moment outside with a cigarette.
Annie’s thoughts reflect the honest views of twenty something girls refusing generations of expectation. She explains this by taking us through her relationships starting with a handsome man she meets at a friends house. They chat as she continues to overture her thought process. She finds him funny, interesting and attractive as they spend their days together hanging out and having sex. As time goes on we see the repetitiveness of relationships seep in and her disdain grow through audible thoughts until eventually he makes the mistake of bringing up commitment tropes such as marriage and children. This cycle repeats with various different guys, with her ending the relationship every time to return to a content single life.
One night she see’s Patrick, a geeky looking guy who’s a little below her usual standard but decides to engage with him anyway. On a regular date with Patrick she’s continues to remain in her own head when suddenly he mentions marriage. At first this doesn’t sit well with her usual opinions until the fear of age setting in crosses her mind again, she reconsiders her stance and engages with the concept.
A year later Annie finds herself at yet another friends celebration of their new born child only this time it’s with Patrick. Disgusted by the basic pageantry of the event, she now considers how she would have a child but in a new and individual way to suit her personality. She decides to tell Patrick what she thinks. We then switch to the thought process of Patrick who reveals his reflective reluctance at the idea.