Americans try to do something about a chain-reaction holocaust.

The genesis of “Victory” began in 2011. I was reading Marc Reisner’s non-fiction book “Game Wars.” It’s about undercover game wardens battling poachers in a netherworld of American ecocide. Reisner details a pivotal event in which he goes undercover with a game warden on a nighttime canoe ride through a drowned forest with Cajun alligator hidesmen. The Cajuns start shooting at overflying ducks, hitting one that falls into their canoe. The duck is able to flop out of the canoe and swim away, but they chase it down by slamming its wings and feet with an oar. A Cajun grabs the duck’s head and twists it off, and the rest of the duck flaps convulsively into the bottom of the boat with its neck bone sticking out. In the Cajun’s hand, the duck’s bill continues to open and close like an automated toy. “It was, for a moment, a creature twice dying,” describes Reisner.

“Victory,” in part, is about that duck. This is a film about underdogs sticking up for the little guy. It’s about what happens when people become situationally-motivated enough to resort to violence. I’m interested in where that violence occurs in its embryonic state. I must make “Victory” to discover this.

The script was completed years ago, the cast is nearly set, and we can’t wait to make this! Help us create a fascinating look inside a mysterious urban insurgency. Made in Seattle.