The Front PageThe Film of the DayThe Latest Radio BroadcastThe Latest PostsThe Latest Comments |
THE CALL Completion: Finished
http://onthelamproductions.blogspot....
My role(s) in this film: Director Writer Producer Cinematographer Editor Actor
|
why is the video not
Weird, before it wouldn't show on the page, now it does.
Very good film!
I liked it!
You have good pacing! Most of all, you have a grade-A actress there, she completely sold it, made it believable, made the audience care, etc. Its not every day you get a laughter combining fear, relief, hope, desperation.. all at the same time, and it works. It worked (the scene when she finds the cellphone). Very good. Your own acting is very good too, although is easy to hate your character for not wanting to help her :)
Now question though, since your character does have a point: why didnt she dial 911? The Kim Bassinger movie CELL I believe was called, got around this by making her dial a number at random with bare wires or something. Also, did she ever get to explain to him why she was calling? I never heard it, but I'm not sure.
Very nice the way you kept your villian's image in the shadows. Nice machete too! (or you were just glad to see her? badabing!)
All in all, very nice movie man, you definitely got the chops!
P.S. Myspace is the only provider that doesnt give KC a thumbnail, and if you write myspacetv instead of vids.myspace in the address, we have trouble too. My suggestion is to go Revver!
Anyway, kudos man!! Good work!
Why doesn't she call 911?
Why doesn't she call 911? Because 911 can't do anything for her. Since, SPOILER: Her husband Andrew was the only person there who could wake her up. Basically she was aware that she was in a dream.
That's not me playing husband by the way Marco. That's the actor Justin. I'm the killer who's face you never see. Actually me and my friend Irving took turns playing the killer.
Great Job
I like it
good acting, editing and peace
I think she didn´t call 911 becouse it is the same girl in both places, is his wife who try suicide
but before diying in her nigthmare before die (her husband is the guilty, he comes back from an infidelity...) and she try to call him from this other dimension to help her, still is on time
even finally he was close to touch her and notice what happens
I don´t know if I got the idea
otherwise very good job
congrats Brendan
Victor, YOU GOT IT! Thanks.
Victor, YOU GOT IT! Thanks.
Brendan
Good job.
I liked the dungeon scenes, those were as as good as I have seen. You definately nailed those. The actress did really good.
Great sound (in the basement).
What happened to the guy getting dragged from ealier clips?
To give honest feedback, I watched this 4 times and I am not sure what happened or what this about.
Guess one: The guy answering the phones wife committed suicide and this a nightmare he is having? The dungeon is a metaphor for her mental illness she suffered which led to her taking an overdose, and the "call" the guy fails to understand was his wife calling out for help prior to her death?
Guess two: The guy answering the phone has a woman trapped in a dungeon and he has, somehow, set her phone him, and only him, and some how he gets a joy from that, but the pressure is getting to him so he cant put it out of his mind?
Guess three: A woman is trapped in a dungeon and she just randomly calls a guy who is clueless.
None of these match the tagline above though.
Also, there is another actor credited, I am not sure if I noticed more than you and the actress.
Please don't take my comments the wrong way.
I am trying to give you honest feedback, cause thats what I want from people.
;)
JOHN MEREDITH
WWW.MEREDITHFILMS.COM
I'll explain it. I'm glad
I'll explain it. I'm glad most people though seem to get it. I was hoping the last line of the film "wake me up" would make it obvious but I guess not. Plus I guess Tania in bed vs Tania w/blood on her don't look a lot alike. hmm....
SPOILERS:
Andrew comes home after cheating on his wife Michelle and he is seen getting into bed with her. Fade to the boiler room scenes with the woman being held captive by the serial killer. She finds the cellphone and starts calling Andrew but we don't know why. Then suddenly at the end when we see Michelle for the first time in bed, the reveal is that the woman in the boiler room and Michelle are the same person. She is basically calling her husband from within her dream to ask him to wake her up, but he doesn't recognize her voice over the phone since they have been so distant from eachother. In the end Michelle fails in reaching her husband and she dies within her sleep.
The bottle of pills I added in for a little something extra. You ever hear that thing about "if you die in your dreams you die in your sleep?" That's just superstitution so I started thinking about how I could make it realistic. What if she was dreaming about dying because she really was dying in her sleep from an overdose of pills? And then when I started thinking of reasons for why she would want to kill herself, I starting thinking about maybe the husband Andrew should be cheating on her.
And the scene with the
And the scene with the dragging body I cut out because it didn't fit in with the rest of the film for pacing reasons.
It did look pretty cool though.
Mr. B
Guess one: The guy answering the phones wife committed suicide and this a nightmare he is having? The dungeon is a metaphor for her mental illness she suffered which led to her taking an overdose, and the "call" the guy fails to understand was his wife calling out for help prior to her death?
Okay, I guess I did get it after all.
Yes, the "drag" scene was good.
JOHN MEREDITH
WWW.MEREDITHFILMS.COM
Wow, I liked it!
I wasn't really sure what to expect. Admittedly I skimmed through the comments first and it sounded like it might be a little artsy/psychological drama for me.
Then I started watching, and the first thing I noticed was the handheld camera and some slow pacing in the editing. I didn't think I'd like it very much. But I found myself getting drawn into it. Especially when we cut to the dungeon (very good performance there as everyone else said). And I found myself starting to get invested and wonder where this is going. But I figured it would be an obvious ending or super ambiguous, etc. But then, when it ended...when she said "Wake me up!" I realized I really enjoyed the movie.
I think it's very clear what happened. I won't spell it out in case other people like me skim through the comments before watching the movie. But it's pretty clever, and really creepy when you think back on it (He's sleeping next to her the whole time this is going on!)
The music was good, acting good...after the opening the pace picked up nicely. The only suggestion I'd make is to get a tripod before your next shoot....or if this was a choice, than to use a tripod. I know it's easier to move quickly when you're just shooting hand-held...but that small bit of equipment adds a whole other level of prefessionalism to a film. Plus then when you do decide to go handheld, it's more effective (like, I might've shot the basement handheld, and all of the guy on sticks.). Anyway, well done. And I feel confident now in handing Hellion over to you. :)
Nice...
Better video!
http://blip.tv/file/543810/
333mb
Nice
SHIT! We were talking about
SHIT! We were talking about that too before he put it on and we we had that question about which hand it was.
To tell you the truth, I agree about Justin. He was a friend and he was all I had at the time. He's no aspiring actor, Tania is. He's I guess been in school plays in High School and I used him in a school project once.
He's all I had at the time but my next project I plan on going out of the way to find more people who have experience in theater.
Thanks for the compliments and criticism. This is sort of my first short (digital) film. Everything before this I've done has all been school projects.
And all the flaws bother me more than it does anyone else.
Hey Marco
Hey Marco. I tried to change the myspace video to the revver video but it doesn't seem to be showing up. Do you think its possible to fix it?
This is the link.
http://revver.com/video/529940/affiliate/104255/the-call/
Fixed it...
Oh man, for some reason revver changed its address from one.revver.com to just revver.com and it messes everything up... I'm not even sure how can I fix it long term, but I'll try. In the meanwhile, I fixed this one manually... looks way better than the youtube one!
Marco / Brendan
Whoops. I had the same problem with Revver in posting the splashhouse ad and the campaign ad. I just took the embed URL from another video, replaced the video ID and then it worked. The URLs they offer at Revver had changed at that point, I just made it match the previous URL formats we were using here. So "one.revver.com" still works, but you have to do a bit of editing to the URL they provide.
I meant to tell you about that, Marco, but then it slipped my mind until now. I apologize for that.
By the way
By the way...nice job on the video.
Other than some audio mixing issues, this is really good.
The audio should be better
The audio should be better on the blip.tv one. For the others I was trying my best to fit it under 100 mb.
Blip it be!
So, I just updated your film, changed it from revver to blip, it works gud! :)
URL formatting
So, instead of:
revver.com/video/529940/affiliate/104255/the-call/
It would be:
one.revver.com/watch/529940/flv/affiliate/104255
So, for those who post new films, they can replace their numbers from Revver's new URL, to the format we've been using.
Fixy Daisy!
No need for that even, its all fixed :)
http://www.karmacritic.com/node/2414
:)
Revver
Revver pays for views.
Has anyone ever received pay and if so how much?
JOHN MEREDITH
WWW.MEREDITHFILMS.COM
That's not for all videos,
That's not for all videos, is it?
Not yet
It actually pays for advertising connected to views.
Oddly enough over the past two weeks my film Shades has received over 100 hits on Karma, but revver has only posted 8 of those hits to my account.
I will have to contact them, something is not right.
Steven Gladstone
Director/Cinematographer
http://www.gladstonefilms.com
Free money? Hmmm... I don't
Free money? Hmmm... I don't know. Doesn't sound right to me.
Re: veenotph
I don't think it's all based on view counts. I think it's a combonation of ad impressions and ad clicks. A smaller percentage would be view numbers. The eight might be for ad clicks.
It's confusing I know. I read about it through their FAQ. That's where I found out it's not based on number of views, which is fine for me becuase I never saw Revver as a way to make an income (or a living). I really only put my videos up there becuase it's better quality than YouTube. I use Revver as a glorified host, to embed the videos either to here, or back to my own site, for my video samples/resume for showing prospective employers.
According to my account at Revver, on all 11 or so of my videos I have up, and over the past 12 months, I've made like $.93 Maybe even something more than $1.00 I don't know, but it's not much. I would almost bet those who get millions of hits, probably only make $100 - $300. That's nothing to sniff at, I guess. It's better than nothing. But, it's not something I expect to make much from either.
Anyway, the FAQ provides some good information for anyone who wants to read how they do things.
Click the link to your own
Click the link to your own video a 100 times per day. See what happens.
I don't know
I am just wondering how it works myself.
Is it like you get a million views and get a check for 50 bucks?
JOHN MEREDITH
WWW.MEREDITHFILMS.COM
The Nitpick
I'm going to nitpick here, because your film is really very good. There are somethings that just kill it, and are in many cases minor.
Overall it is good. More importantly it is really close to being polished.
The man is too young to be married (discussed it, I know) casting is really important.
Wedding rings go on the left hand. A man gets out of his car and remembers to put his wedding ring on apologizing to a woman who isn't there. he is a cheater, but wedding rings go on the left hand not the right. Short film, no time to spend on the little nuance of the meaning, so you confuse the audience or they think it is a mistake, and that affects how they watch your film.
Lighitng - Kitchen, bad, we see the light reflected in the door. Also it isn't cinematic, when he goes screen right it feels good, when he goes screen left too bright.
Bedroom. My big problem is with the lamp being on. It is great to have a practical source, but it is so bright. Light is good on her, the fall off to shadow, but I couldn't sleep with a light that bright next to me, and I can sleep in broad daylight. Keep working on it, You have a good idea with sourcing the light, now you have to work on control and shaping, "Smoking" a bulb works really well if you can't use Nuetral Density gel on the shade. Always be careful about how much light is on the walls, big empty bright areas tend to be distracting.
Basement - Great lighting, really. Good, It felt dim, but you had exposure, and sourceness.
The clock - Clock is blinking, later in the basemen it is not blinking.
"You have four hours" doesn't feel right, the presence is off (Too close. It sounds like he is whispering in her ear.) Feels like a mistake. I would believe that kind of presense if it was a close up shot of her and she was reacting. It could be us hearing it through her mind, with the wide shot of him, it just feels wrong.
Jump Cuts, didn't get into a rhythm of them. they were jarring. Good idea, but jarring (although you could have been going for that.)
Didn't feel passage of time, her rising terror, and the pay off of the relief of finding the phone. Felt like almost no time had passed, and yet it was more than 2 hours.
The guy sees his (we find out later) wife dead in the tub (Usually we see what he sees in the mirror and the whop pan shows it isn't there - this was different, not sure how well it worked.) he sees her, but doesn't go check on her????? Man this marriage is in trouble. I know at some point he reached for her and stopped, but I needed a little more there.
Also a hint for camera work.
1. Get a tripod. Fluid heads are better than friction heads.
2. For shots like that where you are panning. Position yourself so you are most comfortable at the finish of the shot, even if at the beginnnign you are uncomfortable. It is easier and smoother to relax into a position than force yourself into an uncomfortable position.
3. For shots where the camera is not following action. There is a 5 second rule, which means it should take 5 seconds for something to cross the frame, this depends of course on what is in frame, but it is a place to start.
4. If you are panning and not following action, don't look through the eyepiece or LCD screen when panning. This will give you a smoother pan or tilt Yes I know, but your eye is following a lot when using the viewfinder and it interferes with your pan, if your eye hangs on something in frame. A trick is to put a piece of masking tape on the tripod, near the axis of the pan, then you can make marks for start and finish, and just concentrate on going from mark 1 to mark 2. Figure out how long it will take, count down in your head, and ease in and out of the move.
5. If you are handholding - well light weight cameras are a pain for handholding - but find your end frame and a comfortable position there, then twist your body to get to your first position. Figure out how long it will take from start to finish, and count down in your head as you untwist. Remember you always want to go from uncomfortable to comfortable.
I didn't like that she was bloody from dying from the pills. Once I saw the pills I got it, but why should she have a bloody head?
A good sound mix would make a difference.
Just call it Crew. don't write Crew assistance.
It is so close to getting to the next level. It is really very good, and you ought to be proud to have pulled it off.
Didn't not noice serial killer was played by two different people, and did not notice any problems with her blood continuity.
Hope this helps, sorry to nitpick, but these little things really bring your film down. Even though it was very good.
Keep making films, and keep expanding. I don't know about where you live , (near Boston?), but put an add out for actors, and you might be surprised how many apply.
Steven Gladstone
Director/Cinematographer
http://www.gladstonefilms.com
Steve, I don't know if I'm
Steve, I don't know if I'm going to read all that because I'm already aware of everything right now and don't feel like being reminded of my mistakes I'm already aware of. I know Justin looks young for his age. He's the only person I had on hand at the time. Use what you got, ya know? I'm not going to cast him anymore though. I had that in mind though long before I showed it to people. I made DVD copies of this and the girl is getting about two dozen. She's a theater major so I expect her to give them to as many aspiring actors as humanly possible for my benefit.
I did read through some of these though. I don't know what you mean by pills making her bloody....... She's in a dream and she's dreaming she is being held captive by a killer. Why can't the dream be different from what's really going on? Why can't it be an exaggeration? The husband is killing her by being so distant from her and then she's dreaming of being tortured by a guy with a machete.
I wanted it to be misleading so people would expect its a slasher movie and then get more of a twilight episode sort of thing. That's the first time I heard that criticism and the only one I would not go back and change.
The alarm clock wasn't battery powered. We plugged it in off screen while he touched the button.
Thanks for taking the time Steve.
Batteries
The alarm clock wasn't battery powered. We plugged it in off screen while he touched the button.
ROFL, brilliant.
Brendan, I didn't want to bring you down with the nitpicking. If your film had sucked, no one would have bothered to point out the problems, because no one would have cared, or watched it.
I'm glad you are aware of the issues, we are all aware of the issues with our own films, so welcome to the club. For me, it didn't work seeing her head bloody like that in the bed at the end, one out of millions, it means nothing.
The other thing is, and it is becoming lost in todays age, is the watching of dailies, and finding one's mistakes, and learning them, and not making them again. Ohhhhh it hurts, but it is good for the filmmaking soul. Dailies also give you a chance to find out what works really well. For example in the original Terminator the D.P. liked how the blue gel on the lights made Arnold look during one of the scenes. So he continued that where he could.
I hope you found the camera tips useful.
This is clearly an excellent film, in conception, design, and many facets of production. Looking forward to watching your next one.
Steven Gladstone
Director/Cinematographer
http://www.gladstonefilms.com
OOOOOOOOOOOOOOOOHHHHH!!!
OOOOOOOOOOOOOOOOHHHHH!!!
You're talking about the blood on her face in the very last shot! I thought you were talking about the blood on her in the dream. In the original script it says that the character sheds a tear drop of blood and I wanted to keep that. All I did for that was just put a red line coming down from her eye and have her pose as a corpse. I actually read some other comments from other people who liked the last shot. Not from karmacritic.
Heres Blood in your eye
Oh, I didn't see it from her eye, that sounds cool.
Steven Gladstone
Director/Cinematographer
http://www.gladstonefilms.com
SAW IT!
Going to film school is always a good idea. For you, it probably doesn't matter cause your film is better than senior film school student work. Casting. You already know the deal. You don't need to hear it again.
Editing. You've got style kiddo. But stay consistent. The only reason it seems jarring sometimes is because it sort of just happens. The film should have started out that way to set the tone and feel.
You had a vision. You stuck to that certain vision--that's great. What you have to do now, is go make another film.
I'm against short films. But for you, I would say, go bang out three more. Take the best 45 seconds of each one, and slam out a demo reel that is about three minutes long. Go get an internship at a major studio, get to know everyone and pass your demo around. However, DO NOT USE THIS FLICK IN YOUR DEMO. It isn't up to par to impress anyone in Hollywood---it shows your potential--and I see your potential. And hollywood doesn't really care about potential. So you have to take your talent, save up some money, make another film that at least looks cinematic. Right now, you have a cool ass above average student film. And listen, my first 5 short films were as good as yours--and what people saw was POTENTIAL. And so I took that potential and worked and worked on it so that it wasn't potential anymore--until it became my craft.
You are also at the perfect age. Take advantage of it. And give your talent moments to evolve--and those moments come from being critical of yourself and what it is exactly that you want to put on screen--and listen to what people say--whether they are wrong or right, it will make you a better judge of your audience and what it is they are being captivated by, or what is boring them. I think you sort of have that instinct--the instinct to glue someone to the screen, but it isn't fully developed.
And listen to your heart most of all. When there are things you put on screen, and something bothers you and you're not quite sure why or what it is, watch it over and over and over and over, or get a second opinion, a third opinion or whatever. Then recut recut recut and recut until there is nothing in there that subconcsiouly bothers you anymore. And you'll know when you got it right cause you'll start kicking and screaming and a big huge smile will stretch across your face without you even thinking about it. Trust with your feelings, not your thoughts.
Brendan, I don't watch anyone's films, or read anyone's scripts and blah blah blah, but Marco recommended that I see this, and I finally did--I didn't want to--but I'm glad I did because I see a blossoming young filmmaker in you.
-e
EZEQUIEL
Thanks Ez, that means a lot
Thanks Ez, that means a lot to me hearing that from a busy guy who's already reached the goals he set out to achieve. I think that just opened up my mind to listening to all the criticism I can get. Even if its the same thing I've heard the billionth time over.
Hey Steve, do you have any
Hey Steve, do you have any advice for me on lighting for the next film? I have access to a couple of digital lights that we used for most of this but the batteries tend to die after awhile. They are also made to be attached to the top of the camera and I did that for the kitchen scenes and in the scene where the girl climbs into the tunnel to find the phone.
There is also an electric studio light that is much brighter than the battery powered ones. It would burn up the diffuser material we'd put over it so instead we opened an umbrella in front of it to make it less bright.
The scenes where we did that was when she was crying, and also when the killer enters the room at the end when the phone was busy.
Hope to help
Some of the things I'm suggesting may be a stretch, or just not possible. If my "tips" don't help you out, then I'm really sorry about that. I'm going to give you a bunch of tips, some you may find helpful, some not.
The first thing is to find someone who has a visual style you like and get them on your shoot. Have them do the lighting or camera work. The concept is to have someone responsible for checking how the lighting works, while you direct. It is a collaboration, and it isn't automatic or easy, and sometimes it is contentious and confrontrational. Trust this person, but be firm in getting what you want. It takes time, and is another skill you will master as you work on your films.
The advantage of having someone else "responsible" for lighting or camera work is another set of eyes. I tend to light shoot and direct my own footage, but I have problems because of that, either with framing or not seeing reflections in the shot, or not being able to concentrate on performance. I keep doing it to practice, but soon I will probably be hiring camera operators, and possibly a D.P. It is a process.
I think the footage in the basement was awesome. Perhaps in the area she found the phone it could have been "more appropriate", but overall the basement footage was great.
Things to watch out for - Autofocus (can be your friend, can kill you, I prefer focus on manual, but you may not be able do that depending on the camera and the crew and the shooting situation. I haven't noticed autofocus hunting in any of your films, so you seem to have that well in hand.
WALLS - Big White Walls. These are killers. So be really careful about having light fall on walls. Using barn doors, or "Flagging" lights off of walls can make a huge difference.
Lighting in general. Beware the "flat"look. In the call for example there is a shot with the guy sitting in the car, his face is sort of lit, the source of of the light the dome light inside the car. It is beautiful. There is darkness on his face, texture, contour. Then a moment later another shot I think, he is leaning forward and that is gone. It is difficult.
I don't know if this is helpful.
Amazing what you pulled off with the battery powered lights.
Some quick thoughts, bounce light (with powerful enough lights) can give you exposure, but will spill everywhere and look flat.
Light sources within the frame are great. Use low wattage bulbs, 25 or 15 if you can find them. If you can't get ND gel, then "Smoke the bulb". That is with the bulb free in your hand, light a candle and hold the flame of the candle close to the glass of the bulb. This will make black smoke, too close and you will put out the candle, not close enough no smoke. A the soot deposits on the bulb rotate it so you cover the entire bulb. Sometimes you will only want part of the bulb smoked, you can wipe off the soot where it is not neaded. Then screw the bulb in to the socket. It will be hot, but not so bad - use gloves.
With lighting, especially horror films, often times less is more. The black areas give our mind the space to fill in the black, and realy go to town. Sometimes what sn't seen is more improtant than what is.
If you want I can look up some books I have on lighting. For a horror film you most definetly want to look at the paintings of Carravagio -The Chiarascurro school of lighting. Don't forget the back light.
hope this is helpful.
Steven Gladstone
Director/Cinematographer
http://www.gladstonefilms.com
Thanks. That was a lot of
Thanks. That was a lot of help. You gave me the most criticism on lighting so that is why I went to you with the question. ;)
With the shadows not being on the actors face while he as in the car, that was due to the light being on the camera. The CU I was up close in his face with the camera (light pointing upwards) and the other shot I was farther away.
Gotta use the criticism to my advantage.
Tip # 1
I should have mentioned this first.
Unless you are doing news, DON"T put the main source of light on the camera.
As with all rules, it is made to be broken, but it is a great rule to start with.
Your "Key" (main source for the scene) light as a general rule is from 3/4 around and from above.
Something you can do which will help. Grab an actor, and a light. Figure the actor to be the centor of a clock. Look straight at the actor, and have someone put the light in different times. 12 o'clock would be being the actor lighting their back. 6 o'clock from where you are looking straight at them, etc, ect. Alsways shining the light on the actor. Notice the shadows on the actors face. Play with Diffusion, or even bouncing. Do this in a white room, then do it again in a black room. Might as well take some stills, and slate the stills so you know what is going on. Then do it again, this time wth the light High, and again, this time with the ligh shining on them from the floor. Then do it again this time with two lights, to see what happens when you use one light at 7:30 and one light at 1:30 (for example.) Then try again with one light that is much brighter than the other.
I know it sounds like a lot to do, and it is. However you don't have to do it all at once. Just do one series, or maybe two. Then take a day to forget it, and then look at the results. Then do more tests and take your time. Practice and experiment, try weird and bizzare things that can't possibly be good, one day you will be shooting and need something truly weird and beautiful, and have done it in one of these tests, and know how to do it again.
Just remember we watch our films and learn from them. On another list, someone mentioned that when Akira Kurosawa received his Oscar, he began his speech by stating that he knew nothing about film, and ws only beginning to learn. It is a process, you are making great strides. Keep it up, and enjoy your youth, it becomes harder to be able to devote time to this as you get older.
Steven Gladstone
Director/Cinematographer
http://www.gladstonefilms.com
Very Cool
Finally made time to watch The Call and I'm glad I did.
The film shows real potential. You've got IT Brendan. Now you have to
make sure to surround yourself with others that can live up to
realizing your vision.
"The greatest journeys are the ones that bring you home."--The Namesake
Thanks Jan. I'll try my best
Thanks Jan. I'll try my best to find those people.
post the zombie script
post the zombie script
where do you live again....
where do you live again.... would like to help you next time.
Brad, FableForge is writing
Brad, FableForge is writing the script. Its The Longest Detention:
http://www.karmacritic.com/node/2019
The script isn't finished though because Marco is going to continue and conclude the story so its going to be a bit longer than the one on that link.
Working on it!
Actually, The Longest Detention is likely to stay as it is (save minor things, like fixing the "shenanigans" line now that its no longer needed for any contest) and what I'm doing is writing another 7 or 8 pages for the sequel, tentatively called WHAT FRIENDS ARE FOR :)
Then maybe a threequel DAY ZERO .... all in all it should be good 20ish minutes of zombie goodness! Cant wait to see it! :)
Well I was thinking of
Well I was thinking of editing all of them together as one feature but posting them online as episodes. That's what I meant by continuing and concluding the story. So when am I going to see any parts of the other script or an outline?
I've already started to look into how to make the zombies:
Me likey the sound of that!
Well I was thinking of editing all of them together as one feature but posting them online as episodes.
I. Love. That. Idea. (my eyes comically change into dollar signs too; Ka-Ching!)
You've raised my energy level real high with this. You shall have an outline tomorrow! :)
Overall, its still going to
Overall, its still going to be roughly 15 pages, right? Or I guess if we do a trilogy you said 20 minutes which would probably be more of a challenge for me.
I think 15 minutes is best though. I'm not sure if festivals are big into 20 minute shorts.
Sorries, I didnt have time to make the outline
But to make up for it, I wrote the script:
http://www.karmacritic.com/node/2469
:P
How to make a Zombie - Buy the Kit.
I've already started to look into how to make the zombies:
I was going to suggest a trip to Haiti, but that might be out of the budget.
My wife suggests taking care of a newborn, the lack of sleep wil do the trick.
However a quick trip to Google finds us this.
http://www.fuckinzombies.com/make-real-zombie.php
Steven Gladstone
Director/Cinematographer
http://www.gladstonefilms.com
Um.... That's not exactlty
Um.... That's not exactlty what we were talking about though, but thanks Steve.
Droll, oh so Droll
I must have the most Droll sense of humor.
Thankfully my wife gets me - which is pretty much why I married her.
Steven Gladstone
Director/Cinematographer
http://www.gladstonefilms.com
Did you have to turn her
Did you have to turn her into a zombie?
Just kidding.
Droll Humor Detected!!
:)