Way back in February 2008, not long after I started writing this blog, I mentioned a project I was working on called Dark Future. Sometime in 2007 the director of the project, Glenn Salvage, had decided to put together a trailer to generate some interest in the film. At some point near the end of last year the trailer was finished (long story). It had its first public screening at the Moviebar launch in February this year. And now, courtesy of Ross Boyask who edited the trailer, it's online for everyone to see:
I'm not sure whether there's any life in the project attached to this trailer now (it's been a long time and a lot of zombie films have been released since) but you never know. I'm glad it's out in the world anyway - a lot of hard work went into producing it from all involved so it deserves to be seen. When we showed it at MovieBar I had a whole list of things I was going to talk about regarding the making of the trailer, but we showed it quite late in the evening and I was running out of steam so only mentioned half the things I was planning to say. Now it's online this is the perfect opportunity for a long, involved blog post telling the whole story...
...only I'm still supposed to be finishing two scripts by the end of the month and right now I'm halfway through one and a quarter of the way through the other. So I need to get back to work...
Showing posts with label Dark Future. Show all posts
Showing posts with label Dark Future. Show all posts
Thursday, 24 March 2011
Monday, 13 April 2009
Everything and nothing...
...is kind of what my workload feels like at the moment. If I make a list of everything I could be working on it's huge. But if I make a list of things I need to do right now, it's kind of short. I'm sort of getting ideas and pitches together for Cannes, which actually isn't that far off.
I did mange to finish off the new draft of Dark Future which ended up being two new drafts instead of one - first time I've had to do that, but I guess that's what comes of thinking something will be easy and not planning ahead. Or just a necessary part of the process. Anyway, it's on draft five now which will hopefully be it for the time being. There is a website being constructed at the moment so hopefully I'll be able to reveal a bit more about that project shortly.
I also finally got a new phone after having my old one for eight years. This was mainly due to needing one that would work abroad. I miss my old phone already. It was chunky and had been dropped more times than I can remember without ever being permanently damaged. And it had a Spider-Man cover which was ace.
My new phone looks like it would probably smash into a thousand pieces if I dropped it. My old phone also didn't do anything except make calls and send texts, and it did both those things very well. My new one does lots of things I never thought I needed a phone to do and am still not sure I do. Ultimately I think my real problem is with the idea of mobile phones themselves rather than my new phone. I'm still a phonophobe at heart (or is that a fear of sound?) - I've never been comfortable with the idea of people being able to get in touch with me whenever they want to. And I kind of miss the days when people used to just turn up to meetings on time rather than call to let you know they were going to be late, and real life conversations didn't have to be put on hold the moment someone else calls.
Still, at least I can do all the things that will help me out of a supernatural thriller situation, as described here. And I can have the Hawk the Slayer theme as my ringtone which has yet to get annoying.
Went to see Supersuckers and Nashville Pussy last night out which was ace - a proper ROCK gig. We went right to the front which I haven't done for ages and I now can't hear anything.
I did mange to finish off the new draft of Dark Future which ended up being two new drafts instead of one - first time I've had to do that, but I guess that's what comes of thinking something will be easy and not planning ahead. Or just a necessary part of the process. Anyway, it's on draft five now which will hopefully be it for the time being. There is a website being constructed at the moment so hopefully I'll be able to reveal a bit more about that project shortly.
I also finally got a new phone after having my old one for eight years. This was mainly due to needing one that would work abroad. I miss my old phone already. It was chunky and had been dropped more times than I can remember without ever being permanently damaged. And it had a Spider-Man cover which was ace.
My new phone looks like it would probably smash into a thousand pieces if I dropped it. My old phone also didn't do anything except make calls and send texts, and it did both those things very well. My new one does lots of things I never thought I needed a phone to do and am still not sure I do. Ultimately I think my real problem is with the idea of mobile phones themselves rather than my new phone. I'm still a phonophobe at heart (or is that a fear of sound?) - I've never been comfortable with the idea of people being able to get in touch with me whenever they want to. And I kind of miss the days when people used to just turn up to meetings on time rather than call to let you know they were going to be late, and real life conversations didn't have to be put on hold the moment someone else calls.
Still, at least I can do all the things that will help me out of a supernatural thriller situation, as described here. And I can have the Hawk the Slayer theme as my ringtone which has yet to get annoying.
Went to see Supersuckers and Nashville Pussy last night out which was ace - a proper ROCK gig. We went right to the front which I haven't done for ages and I now can't hear anything.
Thursday, 2 April 2009
Character amalgamation...
Amalgamating two characters is something I often find myself either suggesting as feedback on other peoples' scripts or doing in rewrites of my own. One of the first major developments in the Ten Dead Men script was the amalgamation of two of the main characters who essentially performed the same function. It's something that is often quite easy to spot from an objective point of view and can be an effective way of simplifying an over-complicated script.
Sometimes it's not that simple, especially when you get into it in the later stages of a script as I'm finding now. Dark Future, the zombie project I've been developing with a director for a couple of years now, is currently at three drafts and I'm in the process of writing the fourth with the main change being the amalgamation of two characters - as I don't really like getting into specifics we'll call them Jim and Bob for now. At first I thought this was a great idea - Jim was always a bit of a problematic character to begin with and Bob had been criticised for being far too similar to a third character...let's call him Cecil. It also seemed like something that would be fairly straight-forward to implement.
It's not.
Both characters are bad guys, but Jim starts out as a potential hero who is slowly revealed to be a bit wrong, while Bob is a vile, malicious character from the moment we meet him. So it's not a case of just changing the name of one to match the other and working round the bits where they interact. Except I was daft enough to think this might help so the first thing I did was change the names round. So I now have two characters in the script called Bob and am working from memory as to which was which. This can be annoying but I'm too lazy to change it back.
The other problem is there is a lot of exposition in the film. I'd forgotten that in the second or third draft I'd changed Jim's occupation into one that would give him an excuse to deliver a lot of that exposition. Fine, give Bob that occupation instead, but the problem with that is that Bob's character is tied closely into Cecil's story arc, and without him Cecil has no one to talk to and becomes a lot less interesting. They may have been very similar but the two of them were necessary so it's still easier to merge Jim into Bob rather than the other way round. And the Bob that is partnered with Cecil can't have Jim's occupation - it just wouldn't work.
There are two conclusions I've come to as a result.
1) Time-consuming as it is, there are advantages to doing a full, page-one rewrite rather than just a pass at the script. In this case it's a small enough change that it doesn't really warrant a page one rewrite and I don't really have time to do that anyway, but it is also the kind of change that's difficult to keep track of when doing it like this. And this leads me onto point two.
2) It's easy for a reader (and I'm really talking about the casual reader rather than the professional script reader - as a somewhat casual reader myself I often recommend changes to people's scripts without any idea of how I would go about implementing them) to say 'I know what the problem is here - these characters are essentially the same!' Working that into a script is much harder. A lot of things in film making, at all levels of development and production, are about hiding the process - making the behind the scenes stuff invisible so your audience isn't aware of it. We all know there is a three act structure and with plot points and character arcs and so on, but we don't want to be reminded of that when we're watching a film. Just like we don't want to be reminded of the crew and the lights and the cameras.
So the machinery beneath the surface of the script shouldn't really be visible to the casual reader. But when you take out one of the elements on that surface there are all kinds of repercussions below - it's like taking a gear out of a complex machine and hoping it still works the same way. So the page one rewrite is when you disassemble the whole thing and put it back together again making sure everything works the way it should. Or you do it the way I'm doing it - running tests, finding the parts that used to work and now don't anymore and then changing them too, only to find that now some other part somewhere else has broken down as a result.
It's hard work, but that's also what I enjoy about it - it feels like hard work. Although it's also why I've been putting off doing it on this script for so long.
Sometimes it's not that simple, especially when you get into it in the later stages of a script as I'm finding now. Dark Future, the zombie project I've been developing with a director for a couple of years now, is currently at three drafts and I'm in the process of writing the fourth with the main change being the amalgamation of two characters - as I don't really like getting into specifics we'll call them Jim and Bob for now. At first I thought this was a great idea - Jim was always a bit of a problematic character to begin with and Bob had been criticised for being far too similar to a third character...let's call him Cecil. It also seemed like something that would be fairly straight-forward to implement.
It's not.
Both characters are bad guys, but Jim starts out as a potential hero who is slowly revealed to be a bit wrong, while Bob is a vile, malicious character from the moment we meet him. So it's not a case of just changing the name of one to match the other and working round the bits where they interact. Except I was daft enough to think this might help so the first thing I did was change the names round. So I now have two characters in the script called Bob and am working from memory as to which was which. This can be annoying but I'm too lazy to change it back.
The other problem is there is a lot of exposition in the film. I'd forgotten that in the second or third draft I'd changed Jim's occupation into one that would give him an excuse to deliver a lot of that exposition. Fine, give Bob that occupation instead, but the problem with that is that Bob's character is tied closely into Cecil's story arc, and without him Cecil has no one to talk to and becomes a lot less interesting. They may have been very similar but the two of them were necessary so it's still easier to merge Jim into Bob rather than the other way round. And the Bob that is partnered with Cecil can't have Jim's occupation - it just wouldn't work.
There are two conclusions I've come to as a result.
1) Time-consuming as it is, there are advantages to doing a full, page-one rewrite rather than just a pass at the script. In this case it's a small enough change that it doesn't really warrant a page one rewrite and I don't really have time to do that anyway, but it is also the kind of change that's difficult to keep track of when doing it like this. And this leads me onto point two.
2) It's easy for a reader (and I'm really talking about the casual reader rather than the professional script reader - as a somewhat casual reader myself I often recommend changes to people's scripts without any idea of how I would go about implementing them) to say 'I know what the problem is here - these characters are essentially the same!' Working that into a script is much harder. A lot of things in film making, at all levels of development and production, are about hiding the process - making the behind the scenes stuff invisible so your audience isn't aware of it. We all know there is a three act structure and with plot points and character arcs and so on, but we don't want to be reminded of that when we're watching a film. Just like we don't want to be reminded of the crew and the lights and the cameras.
So the machinery beneath the surface of the script shouldn't really be visible to the casual reader. But when you take out one of the elements on that surface there are all kinds of repercussions below - it's like taking a gear out of a complex machine and hoping it still works the same way. So the page one rewrite is when you disassemble the whole thing and put it back together again making sure everything works the way it should. Or you do it the way I'm doing it - running tests, finding the parts that used to work and now don't anymore and then changing them too, only to find that now some other part somewhere else has broken down as a result.
It's hard work, but that's also what I enjoy about it - it feels like hard work. Although it's also why I've been putting off doing it on this script for so long.
Friday, 20 March 2009
What do I do again?
So it seems like ages since I actually posted about writing. That's partly because I haven't done much recently. There are things going on in the background, but mostly they are things I either can't really talk about or don't want to jinx by talking about here. How cryptic is that?
But I did actually finish something this week - the second draft of a treatment for a horror film that I think I was referring to as Jimmy House. It's not perfect but I've been working on it on and off for about three weeks so I'm just glad it's finished for now. More specifically it was finished at 2am this morning. There is a sense of triumph when you finish something at 2am in the morning, as if you're at the end of some kind of epic writing montage like in Misery. It's not the same when you finish something at 4pm in the afternoon on a Saturday - 2am in the morning feels like you've worked for it. This is swiftly crushed by the realisation that you have to be up for work in 5 hours. That's how it goes for me anyway.
Other Jimmy Scripts:
The Jimmy Fight treatment has been approved and is currently with Brother Pete for draft one.
I haven't made any progress at all on Jimmy Horror which is my fault. It's at second draft treatment stage. Essentially Jimmy Fight is one of my projects that Pete is helping me out with, and Jimmy Horror is one of his projects that I'm supposed to be helping him out with. My part isn't going too well at the moment.
Jimmy Sci-fi is still in no position to be discussed in depth here but hopefully there will be news on that in the next month or so.
This weekend I need to redraft Dark Future - the zombie project that like its namesake refuses to die. I promised the producer/director I'd get it done ages ago but other things kept coming up first. It's not a major rewrite, more like a character pass, so hopefully that will be done by next week.
That's where I am at the moment - yes, this has mostly been for my benefit.
But I did actually finish something this week - the second draft of a treatment for a horror film that I think I was referring to as Jimmy House. It's not perfect but I've been working on it on and off for about three weeks so I'm just glad it's finished for now. More specifically it was finished at 2am this morning. There is a sense of triumph when you finish something at 2am in the morning, as if you're at the end of some kind of epic writing montage like in Misery. It's not the same when you finish something at 4pm in the afternoon on a Saturday - 2am in the morning feels like you've worked for it. This is swiftly crushed by the realisation that you have to be up for work in 5 hours. That's how it goes for me anyway.
Other Jimmy Scripts:
The Jimmy Fight treatment has been approved and is currently with Brother Pete for draft one.
I haven't made any progress at all on Jimmy Horror which is my fault. It's at second draft treatment stage. Essentially Jimmy Fight is one of my projects that Pete is helping me out with, and Jimmy Horror is one of his projects that I'm supposed to be helping him out with. My part isn't going too well at the moment.
Jimmy Sci-fi is still in no position to be discussed in depth here but hopefully there will be news on that in the next month or so.
This weekend I need to redraft Dark Future - the zombie project that like its namesake refuses to die. I promised the producer/director I'd get it done ages ago but other things kept coming up first. It's not a major rewrite, more like a character pass, so hopefully that will be done by next week.
That's where I am at the moment - yes, this has mostly been for my benefit.
Tuesday, 6 May 2008
Zombies...
Finally finished the third and hopefully final (for now) draft of Dark Future this weekend. Despite taking forever to get it finished, I didn't rewrite that much in the end. I added a couple of extra scenes and cut a couple of unnecessary ones, but mostly it was an overall dialogue polish.
Part of the reason it took me so long is that I was toying with the idea of changing the script completely. This was partly due to recently seeing Flight of the Living Dead, Diary of the Dead and the rather excellent [REC] in that order (and also in that order of quality). What I realised from seeing those films was that I really didn't care about zombies anymore. The genre had been fairly limited to begin with and now even Romero had seemingly failed to do anything interesting with it. And while I do think [REC] was brilliant and innovative, I found the set up and creatures as tedious as ever - we've all seen zombie films, we're not surprised when the dead bodies get up for the tenth time. But the characters have to be surprised because in real life we would be too, and that's really the essence of the problem. While there's a case for arguing that similar sub-genres of horror such as the vampire film have managed to sustain itself over the years through constant innovation (The Hunger, Near Dark, Blade etc.) I can't say that's true of the zombie film. Which is a problem when you're asked to write one.
Back when I was asked to work on the film the first thing I did was read a lot about zombie films and the origins of the creature in Haitian folklore, and then watch as many of the films as I could. I saw a lot of bad films, and didn't really learn anything more than I already knew - essentially the only zombie films worth watching are White Zombie (the 1932 Bela Lugosi film), Plague of the Zombies (the 1966 Hammer film and my personal favourite) and Romero's first three films (which I don't think have lost any of their power over the years). There are odd films of note - some of the European zombie films (Zombie Flesh Eaters, the Blind Dead series) are worth seeing for their innovative use of gore and occasionally interesting ideas, the Romero re-makes aren't bad (Savini's Night of the Living Dead has some nice moments and Zack Snyder's Dawn of the Dead was a solid film), and even 28 Days Later which I personally never got on with, at least tried to do something a bit different with the genre. But really the only ones that you need to see, as in they would go on one of those daft list things like 1000 films to see before you die, are the five I mentioned first. At least I thought that was the case until I saw two films by Andrew Parkinson - I, Zombie and Dead Creatures.
Although they suffer from extremely low budgets Parkinson's two films were the first I'd seen that tried to do anything truly different with the genre. While Romero's zombies can be seen to represent the decay of civilised society, Parkinson's films were much more concerned with the decay of the civilised individual. I, Zombie tells the story of one man struggling to cope with the fact that's literally falling to pieces, Dead Creatures tells a similar story but this time about a group of women who are similarly afflicted. Bleak, challenging and original, Parkinson's films are the best thing that came out of my research into the zombie film and I only hope he goes on to make more films.
The effect this research had on the Dark Future script was to make it the first script I've ever written completely to the specification of the director. I toyed with the idea of crossing the traditional Romero-esque story with some of the I, Zombie ideas and having the main characters in a state of constant decay whilst also fighting for their lives. I also considered bringing in some of the ideas from the Resident Evil series and having the virus evolve beyond the walking dead into mutant creature territory (speaking of which I do think the first Resident Evil film is underrated - it's not a masterpiece and nowhere near as good as any of the other films mentioned here, but the creepy atmosphere and practical gore effects made it watchable. Also it was the first time we'd seen zombies on screen for a long time - without Resident Evil I doubt the zombie revival of the last few years would ever have happened). I included a bit of mutation in the script, but in the end both these ideas would have increased the budget and I was having trouble fitting them into the story we'd already decided on.
So I decided instead to put originality to one side for a moment and concentrate on writing a solid, entertaining horror film. Glenn had spent a lot of time on the synopsis meaning it had good characters and a nice structure before I'd even looked at it. The rest came out of discussions we had about the film. And in the end I think it works as a straightforward horror film - it's fast-paced, the characters are interesting and there's a lot of zombie action. Anyway, it's out of my hands now, although I haven't ruled out the probability of working on more drafts in the future. It's a script that will need a lot of time and money to film so it all depends on being able to get funding, but Ross is taking the idea to Cannes along with several others I might be working on, so hopefully I'll have some news in the next couple of weeks.
Part of the reason it took me so long is that I was toying with the idea of changing the script completely. This was partly due to recently seeing Flight of the Living Dead, Diary of the Dead and the rather excellent [REC] in that order (and also in that order of quality). What I realised from seeing those films was that I really didn't care about zombies anymore. The genre had been fairly limited to begin with and now even Romero had seemingly failed to do anything interesting with it. And while I do think [REC] was brilliant and innovative, I found the set up and creatures as tedious as ever - we've all seen zombie films, we're not surprised when the dead bodies get up for the tenth time. But the characters have to be surprised because in real life we would be too, and that's really the essence of the problem. While there's a case for arguing that similar sub-genres of horror such as the vampire film have managed to sustain itself over the years through constant innovation (The Hunger, Near Dark, Blade etc.) I can't say that's true of the zombie film. Which is a problem when you're asked to write one.
Back when I was asked to work on the film the first thing I did was read a lot about zombie films and the origins of the creature in Haitian folklore, and then watch as many of the films as I could. I saw a lot of bad films, and didn't really learn anything more than I already knew - essentially the only zombie films worth watching are White Zombie (the 1932 Bela Lugosi film), Plague of the Zombies (the 1966 Hammer film and my personal favourite) and Romero's first three films (which I don't think have lost any of their power over the years). There are odd films of note - some of the European zombie films (Zombie Flesh Eaters, the Blind Dead series) are worth seeing for their innovative use of gore and occasionally interesting ideas, the Romero re-makes aren't bad (Savini's Night of the Living Dead has some nice moments and Zack Snyder's Dawn of the Dead was a solid film), and even 28 Days Later which I personally never got on with, at least tried to do something a bit different with the genre. But really the only ones that you need to see, as in they would go on one of those daft list things like 1000 films to see before you die, are the five I mentioned first. At least I thought that was the case until I saw two films by Andrew Parkinson - I, Zombie and Dead Creatures.
Although they suffer from extremely low budgets Parkinson's two films were the first I'd seen that tried to do anything truly different with the genre. While Romero's zombies can be seen to represent the decay of civilised society, Parkinson's films were much more concerned with the decay of the civilised individual. I, Zombie tells the story of one man struggling to cope with the fact that's literally falling to pieces, Dead Creatures tells a similar story but this time about a group of women who are similarly afflicted. Bleak, challenging and original, Parkinson's films are the best thing that came out of my research into the zombie film and I only hope he goes on to make more films.
The effect this research had on the Dark Future script was to make it the first script I've ever written completely to the specification of the director. I toyed with the idea of crossing the traditional Romero-esque story with some of the I, Zombie ideas and having the main characters in a state of constant decay whilst also fighting for their lives. I also considered bringing in some of the ideas from the Resident Evil series and having the virus evolve beyond the walking dead into mutant creature territory (speaking of which I do think the first Resident Evil film is underrated - it's not a masterpiece and nowhere near as good as any of the other films mentioned here, but the creepy atmosphere and practical gore effects made it watchable. Also it was the first time we'd seen zombies on screen for a long time - without Resident Evil I doubt the zombie revival of the last few years would ever have happened). I included a bit of mutation in the script, but in the end both these ideas would have increased the budget and I was having trouble fitting them into the story we'd already decided on.
So I decided instead to put originality to one side for a moment and concentrate on writing a solid, entertaining horror film. Glenn had spent a lot of time on the synopsis meaning it had good characters and a nice structure before I'd even looked at it. The rest came out of discussions we had about the film. And in the end I think it works as a straightforward horror film - it's fast-paced, the characters are interesting and there's a lot of zombie action. Anyway, it's out of my hands now, although I haven't ruled out the probability of working on more drafts in the future. It's a script that will need a lot of time and money to film so it all depends on being able to get funding, but Ross is taking the idea to Cannes along with several others I might be working on, so hopefully I'll have some news in the next couple of weeks.
Thursday, 6 March 2008
Quick update…
Haven’t updated this for a while as my brother Pete was visiting last weekend. He was a finalist in a competition for E4 to design a new E-Sting (the bits of animation they play between programmes) so we went up to London to a big party where the results were announced. Pete didn’t win, which was really annoying as his was clearly better than a good majority of the others, but we had a good night and it was nice to see his name plastered all over the walls and big TVs in the Design Museum. And there was a nice moment earlier in the day when we saw a complete stranger watching his entry on a big screen and laughing in the right places. There was also lots of free food and booze so I was pretty happy! We spent most of the rest of the weekend watching films and discovered that Howard the Duck is not as bad as I remember it from seeing it as a kid but definitely much weirder.
While I haven’t managed to write much there have been a few developments on a couple of projects. I finally met up with Glenn on Saturday to discuss the final draft of Dark Future. Unfortunately I hadn’t had time to read the script beforehand so I’m not sure I mentioned everything I wanted to, but Glenn had some useful feedback so I’m confident I can get on with the next draft now. I don’t know whether the Dark Future trailer is going to Cannes this year or not, but I’m using Cannes as an overall deadline for everything at the moment. And it’s not that far away!
Not much Ten Dead Men news at present, although I did get a proof pdf of the spin-off comic which is fantastic. It’s turned out really well considering it was a bit of a rush-job on my part written at a time last year when I was busier than I’ve ever been. The script definitely would’ve benefited from another draft but for the most part it makes sense and should be a really strong prequel to the film. It features most of the major characters from the film and has some important story points such as how Ryan met Amy and how Axel saved his life. This will probably make no sense right now but it will once you’ve seen the film! Anyway, the comic will hopefully be going up on the Ten Dead Men website at some point so I’ll post a link when it does. Until then I've posted one page below and there are a couple of pages on the official blog here:
While I haven’t managed to write much there have been a few developments on a couple of projects. I finally met up with Glenn on Saturday to discuss the final draft of Dark Future. Unfortunately I hadn’t had time to read the script beforehand so I’m not sure I mentioned everything I wanted to, but Glenn had some useful feedback so I’m confident I can get on with the next draft now. I don’t know whether the Dark Future trailer is going to Cannes this year or not, but I’m using Cannes as an overall deadline for everything at the moment. And it’s not that far away!
Not much Ten Dead Men news at present, although I did get a proof pdf of the spin-off comic which is fantastic. It’s turned out really well considering it was a bit of a rush-job on my part written at a time last year when I was busier than I’ve ever been. The script definitely would’ve benefited from another draft but for the most part it makes sense and should be a really strong prequel to the film. It features most of the major characters from the film and has some important story points such as how Ryan met Amy and how Axel saved his life. This will probably make no sense right now but it will once you’ve seen the film! Anyway, the comic will hopefully be going up on the Ten Dead Men website at some point so I’ll post a link when it does. Until then I've posted one page below and there are a couple of pages on the official blog here:
http://tendeadmen.blogspot.com/
Other than that I’ve just been working on the Vicious Circle script which is coming along nicely. My main dilemma at the moment is whether to plan it out scene by scene to ensure a strong first draft, or to write a rough first draft based on what I’ve got so far and hope I have time to write a second. I’m leaning towards the latter although anyone who ever taught me scriptwriting would advise the former!
Sunday, 24 February 2008
Dark Future Trailer - first viewing...
Ross showed me the first cut of the Dark Future trailer yesterday and it looks fantastic. Back in August when we filmed it, we spent most of the day sorting out the lighting, dressing the set and setting up the opening crane shot. I can now say that it was definitely worth the effort. The combination of excellent cinematography, amazing make-up effects, tight direction and two outstanding performances from our leads has produced a very professional-looking promo. Also, my girlfriend, Andrea, features heavily as a corpse! I probably shouldn't sound quite so excited about seeing my girlfriend as a zombie, but I'm just glad she made it into the final cut as it was originally intended for her to be mostly off-screen. Anyway, I can't wait to see it finished now and hope it's done in time to go up on the big screen.
Thursday, 21 February 2008
Dark Future Trailer is GO!
Had some fantastic news today. I got a call from Glenn who's directing the zombie project I wrote last year and he and Ross finally got down to editing the trailer today! Yes, I do recall writing the same thing about a month ago, but this time it actually happened! The visual cut is finished, but there's some ADR, grading and music to be done so it's still a while off. But the main thing is the project seems to be starting up again. Of all the things I'm working on at the moment I think that's the one I've enjoyed writing the most and the script is very nearly at final draft stage. Also, if the trailer is finished on time it will get it's big screen premiere in front of Ten Dead Men!
Now I just need someone to put it on IMDB so I can be level with Chris Regan (IV)...
Now I just need someone to put it on IMDB so I can be level with Chris Regan (IV)...
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