PHARMACOPEIA is an independent feature film written and to be directed by
Daytime Emmy award-winning filmmaker and influencer Kit Williamson.

Shant Joshi is producing. Dr. Kalvin Brewer-Yu is executive producer.

The project is represented by the Buchwald Talent Group.

A quirky and queer ensemble drama set in a free clinic in Brooklyn during the Christmas season.

The film is best described as "Thank You for Smoking" meets a modern day "Dallas Buyers Club."

The project has raised $50,000 in financing and we are seeking an additional $200,000 to go to production!




After having lost his boyfriend to AIDS, Dr. Steven Quan joins a team of misfit doctors, nurses, and volunteers at a free clinic in Brooklyn during the Christmas season.

Amongst his new set of patients are a gay couple: one is HIV-positive, the other is negative. Due to financial hardships, they are unable to afford their medication.

Determined to save his patient’s life, Dr. Quan compromises his ethics to collude with a pharmaceutical company to secure his patient’s spot on a new drug trial.



Shortly before I met Dr. Kalvin Brewer-Yu I watched the acclaimed documentary "How to Survive a Plague." I was incredibly moved by the film, both as a filmmaker and a member of the LGBT community, and seeing how the founding members of Act Up fought for their lives inspired me to turn my attention towards the experiences of individuals living with HIV today. I was struck by how complacent my generation has become; why aren't we insisting upon better treatment options, affordable care, or even a cure?

It almost seemed like fate when Kalvin emailed me a personal essay he had written about his struggles working in a free clinic system. The story that inspired "Pharmacopeia" is decidedly modern, and it tackles the issues plaguing the healthcare system that doctors and patients must navigate on a daily basis, from dealing with corrupt pharmaceutical companies to falling through the cracks of assistance programs and the Affordable Care Act.

John and Robert’s story could easily have been mine. I was born and raised in Mississippi, a state with a wait list for drug assistance programs. I received abstinence only education and convinced myself that I could contract HIV from kissing, compounding the fear and shame I felt about my sexual orientation as a child. I deeply connected with the story behind Pharmacopeia and I will approach the characters with empathy and care.

In recent years filmmakers have turned their attention to the AIDS crisis, with movies like "The Normal Heart" and "Dallas Buyers Club" powerfully reflecting on an era where American medicine refused to come to the aid of a dying community. While it is important to remember our history, it is equally important to hold a lens up to the problems we face today.

Our current healthcare system thrives off our complacency. It is my hope that "Pharmacopeia" will inspire those who watch it to connect with and understand HIV and AIDS patients and to participate in the ongoing discussion about how to fix this broken system.


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KIT WILLIAMSON - Writer/Director

Kit writes, directs, and stars in the

Emmy-nominated web series EASTSIDERS,

which was released on DVD and VOD through Wolfe Video and has brokered distribution deals with Netflix, Hulu, Amazon, Logo and Vimeo.

The series has 8 nominations for Daytime Emmys, has won the LA Weekly Award for Best Web Drama, the Indie Series Award for Best Ensemble, and was nominated for a Satellite Award from the International Press Academy.

In EASTSIDERS’ 4 season run, the series has collected over 3000 donations and over $400,000 through crowdfunding.

Kit was the recipient of the National Arts Club's Playwrights First Award and received his MFA in Playwriting from UCLA. He is a regular contributor to The Advocate, Out Magazine, Out Traveler, The Huffington Post Queer Voices and Indiewire.  

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SHANT JOSHI - Producer

Shant Joshi is a queer Indo-Canadian film producer based out of Toronto & Los Angeles. His work is geared towards engaging audiences with stories rooted in the perspectives of the Other.

In the world of feature films, Shant was Associate Producer on the fem-queer coming-of-age tale PORCUPINE LAKE (TIFF, Busan, Rome, Outfest). Shant worked with New Queer Cinema director, John Greyson, as a line producer on his features LAST CAR and JERICHO.

On digital platforms, Shant produced the queer film PINK : DISS for the Canadian Broadcasting Corporation, produced the second season of the Dekkoo Original series I’M FINE (Newfest, Queerties), and production managed the second season of the hit Canadian web series TEENAGERS.

An entrepreneur at heart, Shant co-founded a film festival in 2014, the Future of Film Showcase, to  highlight emerging talent in Canada. The festival is gearing up for its sixth year at Toronto’s largest multiplex, the Scotiabank Theatre.


DR. KALVIN BREWER-YU - Executive Producer / Medical Consultant

The story at the heart of Pharmacopeia is based on Dr. Brewer-Yu’s real life observations from his time working at a free clinic treating patients with HIV and AIDS.

He has been involved in HIV and general infectious disease research for over 15 years, publishing most recently on antimicrobial stewardship implementation, Clostridium difficile, and infection control patient safety improvement/cost avoidance.

He was the regional chief of the department of infectious diseases for Southern California Kaiser Permanente from 2009-2014 during which he implemented system wide programs for its 4.3 million membership across 14 hospitals. He was also a Professor at the Global Institute of Public Health at New York University. Dr. Brewer-Yu now works independently in Los Angeles.




We are seeking a total of $250,000 in private equity investments to take the film to production.

We have raised $50,000 so far in equity investments and are actively seeking out our final $200,000.

There are many advantages to becoming an investor in I DON’T LIVE TODAY.

It is an opportunity for you to:

  • diversify your financial portfolio through a creative entertainment product,

  • potentially grow your wealth through an investment with preferred return rates of 20%,

  • receive ongoing returns on investment for years to come through a profit participation scheme,

  • join the team responsible for this radical new entry into Queer Cinema,

  • witness the magic behind the movies on a pre-scheduled set visit during filming, where you and a guest have the opportunity to be behind and in front of the camera,

  • walk the Red Carpet and be a VIP for a film premiere at a major film festival,

  • receive a major on-screen credit on a movie.

Please see below for our finance plan, budget, recoupment structure, revenue sources, and comparable profitability projections.


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Once your investment is in and the film is made, how do you retain a return?



At completion, a film becomes a creative product, available to sell to buyers.

Sales agencies are third-parties who are well connected, versed, and networked with distributors. They have the expertise and understanding of where and how to best sell the film to a distributor and retain the best return.  

Through a commission incentive, sales agencies will take on the task of selling the film to buyers, including domestic and foreign, theatrical and home media, television and streaming.


There are virtually 65 industry-recognized sales territories in the world for which a film can sell to.

There are around 8 forms of media for which a film can sell to: theatrical, television, DVD, Blu-Ray, Video-On-Demand (VOD), ad-based Video-On-Demand (AVOD), transactional Video-on-Demand (TVOD), and subscription-based Video-on-Demand (SVOD).

One could sell the worldwide distribution rights for all media to a singular buyer. Or one could sell each individual media right to different buyers, as well as sell each territory to different buyers, exclusively and non-exclusively, to potentially amounting to 520+ deals. Generally, the latter is not exactly the case, however the current market does allow for a diverse variety of options when it comes to the number of sales a film can make to distributors.



Distributors seek out content that they can sell to their audience. Whether it is screening the film at a giant multiplex, selling DVDs, or placing the film on a streaming platform, distributors are in the business of entertaining their audiences through content that they have acquired.

As the film gains popularity on the festival circuit and earned press, the sales agency will court offers from buyers. In order to compete, distributors must offer attractive minimum guarantees.

The minimum guarantee is an initial sum of money offered to the producer to acquire the exclusive right to distribute the film within their respective territory and/or platform.

This is usually the first stream of revenue that is returned to the production. Depending on the territory and the media, minimum guarantees vary. For example, a worldwide acquisition in all media could be a $6 Million minimum guarantee, whereas a streaming acquisition in France could be a $30,000 minimum guarantee.



Once a distributor has acquired the film, they then can use their resources and staff to market and sell the film to their respective audiences.  

Usually, the distributor retains the right to collect all revenue until they have a return on their minimum guarantee, corporate overhead, and cost of marketing and distribution.

Once the distribution company has retained the costs of distributing the film, the net profit is then split with a certain percentage to the distributor as a distribution fee, and the remaining becoming the net proceeds to the production.

Following a sale to a distributor and a successful sale of the film to audiences, investors will then see an additional return in the form of net proceeds from the distributor.