Fair Game - The Official Movie Site

The urban romantic comedy FAIR GAME, directed by Michael Whaley, provides a universal look at the world of relationships and honesty. Hip, smart and sexy, FAIR GAME takes an amusing look at how people play games when it comes to feelings and emotions, and how at times, they are crazy enough to think they can get away with it.

The cast, a gathering of well-known African-American talent from television and film, includes radio and television personality Mother Love, Gina Torres (Serenity, Alias, The Matrix Reloaded and The Matrix Revolution) Christopher B. Duncan (The Jamie Foxx Show, Veronica Mars, The District and Soul Food), Terri Vaughn (The Steve Harvey Show and All of Us), Kellita Smith (The Bernie Mac Show, Roll Bounce and King’s Ransom), Michael Jace (The Michael Jordan Story, Great White Hype and The Shield), Mark Christopher Lawrence (The George Wendt Show, Christmas with the Kranks and Fear of a Black Hat) and Michael Whaley (CSI Miami, Early Edition, Profiler and Sisters).

While working late one night, colleagues Michael and Stacey share an intimate moment that was not supposed to happen. As Stacey regains her composure and returns to her work, Michael wants to know what just happened. Stacey’s perspective, “It was a one time flukish thing that goes no further than this office.” The next night “it” happens again leaving Michael totally confused. Michael’s struggle with understanding Stacey gains momentum once he learns from his disgruntled landlord that his apartment needs to be renovated and he must immediately find a temporary place to stay.

As Michael scrambles to find accommodations, Stacey encounters her own set of problems. She too is moving and has less than two weeks to pack up her house. Further complicating her life is, Senior Executive Marcus Pemrose, who is scheduled to visit her department to audit the project she is overseeing. Since she is in line for a major promotion, Pemrose’s visit is of monumental importance.

Meanwhile, Michael, looking for a place to stay, turns to his running buddies, Wesley, a “Dating Game” reject and “E,” a self-centered womanizer. However, as his life continues to unravel, he is unable to stay with either. With nowhere else to turn, Michael shows up at Stacey’s front door asking if he might stay a single night, and she reluctantly agrees.

The following morning, as she’s leaving the house, Stacey discovers that Michael has neatly packed up her dining room. She offers him a proposition; he can stay if he packs up her house, provided that no physical involvement is allowed. Michael agrees.

The arrangement initially works for Michael and Stacey. Living together as platonic roommates, they discover how much they have in common and awkwardly begin to develop a true connection with each other. Michael’s life, however, becomes intensified once his buddies find out about his new living arrangement and he begins to fall in love with Stacey. To make matters worse he finds himself competing for Stacey’s attention in a no-win situation against Pemrose.

In March 2000, while shooting a television series in Chicago, Michael Whaley created the concept for a full-length feature film based on a script that he and his writing partner, J.M. Winters, had written entitled The Croquet Game. The Croquet Game , written as a short film, centered around three couples playing out their relationships during a croquet match. As Michael began writing the full-length script he immediately decided he would raise the money independently, and he would produce and direct the film in the most cost-effective way while showcasing recognizable talent.

By August of 2000, Whaley had a completed draft of the script. That same summer Whaley came up with a different approach to finance the development of the project. He sent out a letter to family, friends and foes asking them to give up one night of going to the movies and donate the money to the project. By the end of the summer he had raised over $2,000 and began independently developing the production. He then began to explore “the simplicity of digital filmmaking” and after several months of research and test shoots, he decided to shoot the film on high definition video.

By May 2001, Whaley had secured three investors to finance the film and commitments from Gina Torres to star as Stacey and Mother Love to play the role of Phyllis. After securing the rest of his cast, principal photography began in Los Angeles on September 8, 2001. However, after the first three days 9/11 happened. After the terrorist attacks on September 11, Whaley managed to continue filming for a short time, but could only complete half of the film. His biggest investor, financially devastated by the events of 9/11, had to pull out and filming ceased.

Once production halted, Whaley was faced with the difficult decision of whether to try to get the film on its feet again or terminate the project. Simultaneously, he, along with his editor and a few friends working in postproduction, began experimenting with an offline editing process with which to edit the film. The resulting footage convinced Whaley to continue. While his editor began piecing the film together, Whaley focused on raising money.

In April 2002, while meeting with independent producers and production companies to secure money to finish the film, Whaley’s determination was challenged. He discovered most people had little confidence he could get the film back on its feet. “Just let the whole thing go, it happens all the time”, he was told. As he continued to update the investors who were still on board, their words of encouragement and understanding motivated him.

Shortly after the vote of confidence from his investors, Whaley went through some experiences that were unimaginable. First, he discovered that someone was posing as a producer of the film and “stealing” money from people who agreed to invest in the film. At the same time Eugene “Doboy” Williams, the directing consultant on the film and a very closed friend passed away, as well as Whaley’s grandfather. He next encountered a husband-and-wife team who secured funds from an independent record company in Atlanta; the couple and money disappeared. “It was the most unbelievable experience. The most important thing for me at the time was not completing the film, but clearing my name and helping the record company get their money back.”

Whaley eventually got a call from the CEO of the record company who expressed continued interest in the film. He pledged to replace all of the stolen funds if Whaley would agree to finish shooting the film in Atlanta. Principal photography was completed in July 2003.

“I am most proud of is the fact that there was a warm environment created during production, and the integrity of the whole process was never compromised,” adds Whaley. “Challenged, yes, but never compromised.”