Archive for the ‘Industry’ Category

So Amazon have now launched a new VOD service called Amazon Video Direct, which will allow filmmakers to charge for their work and has been labelled as a cross between Netflix and YouTube.

This is an interesting new wrinkle in amongst the VOD options available to filmmakers and indies. We’re planning on trying it out this week, so I’ll let you know how things progress.

We’re in an interesting and probably fairly unusual position at the moment. As a small independent company, we have a back catalogue of four features which have all seen significant distribution of one kind or another and have had the rights return to us after previous distribution deals have expired. One of these, The Devil’s Music, we’ve discussed in some detail already. Before we get back to Amazon Video Direct (and start talking about Vimeo on Demand, too), I’ll take you through the other three one by one.

First up, TrashHouse.

TrashHouse DVD

The first Jinx Media film to be released

Our first feature was shot in 2004, and it shows. The film exists only in standard definition, because that was the way it was filmed. It was shot on 4:3 DV, then masked to a 16:9 ratio in post. The film was released in the UK on DVD on February 20th, 2006. The release ended up in every Blockbuster in the country, which was incredibly gratifying. It was described as having “clever ideas but dodgy tech credits” by the mighty Kim Newman in Empire magazine. It turned up on the torrents on a scale that I wouldn’t, frankly, have predicted at that point, meaning that tens upon tens of thousands of people watched it with no context whatsoever and absolutely hated it (the fact that the torrent apparently had buggered up sound presumably didn’t help). The widescale torrenting torpedoed a US deal which was scheduled for later in 2006 and the movie’s reputation as a weird, fun little micro-budget midnight movie went into the toilet under the onslaught of negative commentary people who downloaded it expecting the next Saw. The UK release was the only official one the movie ever saw (although it got re-released in the same territory on a budget label the next year). The rights came back to us about two years ago, and I’ve never quite worked out what to do with the movie. There are certainly people out there who absolutely love the flick and we still get nice emails about it to this day. Apparently, there are bootleg versions of it knocking around in other territories too.

Jinx has never seen a single penny of our investment from TrashHouse back, and it would be really nice to monetise the flick in a way that works out for us this time around.

Next up, KillerKiller.

KillerKiller

KillerKiller was shot in HD but has thus far only ever been released in SD, and in most territories it’s been released as a 4:3 pan and scan crop rather than in the original aspect ratio (this kind of madness was still happening 10 years ago. Go figure). It’s had a little cinema release in Germany, lots of festival screenings and been released in at least half a dozen different territories on DVD, sometimes under exciting different titles (as you can see below). It’s been fairly heavily pirated, but not as badly as TrashHouse was (largely because by the time KillerKiller hit the shelves, the boom in independently produced horror had started to kick in, and there was more choice of movies to nick).

Jinx has never seen a single penny of our investment from KillerKilller back, and it would be really nice to monetise the flick in a way that works out for us this time around.

Finally, Hellbride.

Hellbride

Now, as you may be aware if you follow this blog, this is the one we’re concentrating on this month. Shot back-to-back with KillerKiller but released later because of a longer post-production, Hellbride was shot in HD but, as with KillerKiller, has only been released in SD prior to this year. It was released on DVD in both the US and the UK, and then licenced out by our distributor to various streaming platforms. Our best guess, judging by the figures that we have available to us, is that around a third of a million people have seen Hellbride on one platform or another by this stage.

You’ll never guess what. Jinx has never seen a single penny of our investment from Hellbride back, and it would be really nice to monetise the flick in a way that works out for us this time around.

Those were the first three movies we filmed. Hundreds of thousands of people saw the films. Many tens of thousands actually paid to see the films. Yet not a penny ever came back to the people who made them.

We’ve got wiser as the years have gone by, I hasten to add. Both of the Death Tales movies that Jinx co-produced, and indeed our fourth feature The Devil’s Music, have made money back from their investment. We’re playing the long game with House on the Witchpit, but it’ll definitely make its meagre budget back if all goes to plan.

But those first three movies, man…

Now they’re back home, we’ve had a period of taking stock and looking at the options available to us. We decided a few blog entries back that we would set a re-release date for our fourth film The Devil’s Music of October 21st, and get it out in as many different platforms and territories as possible. It’s our most critically acclaimed movie, and we want to make sure that we do it right in terms of the rerelease.

As for Hellbride, KillerKiller and TrashHouse, that gives us an opportunity to try new things.

The first one up to bat is Hellbride, of course.

We uploaded it to Vimeo on Demand and made it available in HD for purchase or rental a few days ago. We used the functionality of Vimeo on Demand to send out review screeners to review websites who hadn’t already reviewed the movie, and hoped for the best. On the first day that Hellbride was up on Vimeo on Demand, we made six sales totalling about $20. That might sound like a laughably small amount for a movie that still represents a hole in the company’s bank account to the tune of thousands and thousands of pounds, but let’s not forget that out of the 300,000 or so people who’ve seen the movie, that $20 represents the first money that will actually come back to Jinx from Hellbride.

Ten years after the movie filmed.

So, with the Vimeo experiment just getting underway, Amazon throws its hat into the ring with Amazon Video Direct. We’ve already got a nice HD version of the film sitting ready to rock that we prepped for Vimeo, so it looks like we might as well take a punt and upload it to that platform too. Looking over the details, though, it seems to be the usual trade off; increased exposure via Amazon’s collossal reach, in exchange for a reduced cut of the money (50% on Amazon’s platform vs 90% on Vimeo on Demand).

Well, since we managed 6 sales on our first day with Vimeo on Demand, let’s see how we fare on Amazon.

Since I’ve started talking openly about this stuff (we used to hide it behind a curtain like the Wizard of Oz for fear of devaluing the perception of our movies) I’ve been lucky enough to chat to several other wonderful filmmakers and share their experiences. So, once you’ve done buying yourself a copy of Hellbride, go and check out Matt Jackson’s amazing Bigfoot-flavoured romp Love in the Time of Monsters, MJ Dixon’s entire goddamn catalogue and Bin Lee’s rocking Office Ninja.

More to come. I’ll keep you posted.

 

 

Hi folks, Pat here.

You may have seen my entry a couple of weeks back about how the release of The Devil’s Music fell through. We’ve been doing a lot of thinking about the movie and the situation, and I want to share my plan with you.

Quick recap: The Devil’s Music is our rock and roll horror mockumentary which an awful lot of people think is very cool. It’s described as ‘magnificent’ in MJ Simpson’s Urban Terrors book, ‘swiftly paced and visually inventive’ in Stuart Willis’ The New Flesh and is even positively namechecked a couple of times in Kim Newman’s magnificent Nightmare Movies. AintItCoolNews called it ‘highly recommended’ and namechecked the director’s cut in their countdown of best horror movies of the year. It won Best Independent Feature at the Festival of Fantastic Films. And more. And more.

the-devils-music

We had a short UK release of the original cut when it was streamed by IndieMoviesOnline, a really ahead-of-its-time streaming site which has now unfortunately gone under. IMO treated the film really well, taking out full page ads in the press and (gasp) actually paying us some money. The US release was handled by a company called Lono, who were lovely and wonderful and ceased trading almost as soon as the film came out, effectively deleting it before it had properly hit the shops. All of this meant that by the end of 2010, our film was effectively ‘lost’, (in that, there was no legitimate way for the public to buy the movie very easily) and all the rights came back to us because both IMO and Lono were lovely, honourable companies.

We started setting up a special edition UK DVD release in 2012, working with the wonderful Cine du Monde, which ended up getting delayed for reasons outside of our control until it ran straight into the ridiculous BBFC situation in 2014 that you probably already know about. That DVD special edition, therefore, also remains in limbo. It sits as a pre-order on Amazon but is unlikely to ever materialise in that form. So if you’ve ordered it, you might as well cancel it.

Since running the last piece about this situation, people have emailed me with a lot of suggestions. We’ve looked at everything people have suggested and examined every possibility.

The following is what we’ve come up with..

We’re going to launch the movie on October 21st 2016 on as many platforms as we can afford, in as many territories as we can. And rather than doing my usual magician’s trick of keeping all this under wraps, I’m going to be honest about it as it comes together. Ask me questions on Twitter, make suggestions via the comments here or wherever. I’m been looking at the usual platforms and making the usual kinds of decisions. I’ve been eyeing up aggregators, particularly Distribber, and would love to hear from other filmmakers’ experiences with them.

We don’t have much money in the bank, but we’ve got a cool movie and a handful of people who’ve really enjoyed it.

Let’s see whether that’s enough.

If you’re interested in helping, there are a bunch of things you can do. If you’re a producer who has worked with distribution platforms anywhere in the world that you’ve had a positive experience, it’d be great to hear about it. If you run a genre-based website, magazine or blog, it’d be brilliant if we could generate as much coverage for the movie as possible for the month of October; if you’d like to review a screener, or run an interview, or feature an exclusive image or whatever we’d love to arrange it. Just contact us via Twitter either on my account or the Jinx Media one.

Anything else? Well, we’ll be firing up the long-dormant Facebook page for the movie too, so if you feel like liking and sharing that page (and the Jinx Media one while you’re at it!), that would be awesome. The more visible support the film has, the more possibilities we have in terms of sorting international platforms.

I’m really sorry you guys have waited so long. I’ll be honest about the way this shakes down, so that people can either cheer at this success story or wince at how NOT to do it in future.

We love you guys. Now let’s finally get this goddam movie out there.

 

Between them, they killed the release of our film The Devil’s Music.

It’s a good film that people like, and they killed it.

The Devil's Music

I was worried this would happen when the BBFC introduced changes to their exemption criteria as a result of a DCMS consultation. I hoped that calmer heads would prevail, and the misguided legislation wouldn’t go through.

It did.

The way the BBFC implemented the DCMS changes within their fee structure took our movie from being ready for release in autumn 2014 to being financially non-viable on UK DVD. The additional charges levied against special features meant that the upfront fees to get it through the BBFC went from being a manageable risk to being potentially suicidal from an investment point of view. You can read all about this in an article I wrote for the Huffington Post back at the time. Back when I hoped it might not happen after all.

Back when the DVD was listed as a pre-order on Amazon.

Two years later it’s still listed as a pre-order, but it’s unlikely to ever be fulfilled. The disc had been put together already by the wonderful people at Cine du Monde, but the disc as created would now cost £2000 or more to put through the BBFC. Given that the DVD market is shrinking almost by the week, that kind of an upfront investment in addition to replication costs and so on rendered the disc non-viable. It’s a real shame. It’s a beautiful disc. I’ve got a test pressing of it.

So what? I hear you cry. The future isn’t DVD anyway. Damn the man, skip the BBFC and just go direct digital distribution!

That was my instinct, too, until I began to try and unpick the additional legislative nightmare that is VATmoss – forcing digital distributors to deal with absolutely impossible requirements for tiny companies. It was apparently created to stop massive companies using loopholes, which it doesn’t really do. What it DOES do quite spectacularly, though, is to close all of the options for direct digital distribution for the little guys by creating such an astonishing amount of legal difficulties and paperwork that nobody could ever properly unpick and administer it all without investing thousands.

So, between the BBFC and the insanity of VATmoss, The Devil’s Music was killed dead. The UK DVD release never happened and the intended direct digital release was binned. Here at Jinx, we’ve been concentrating on House on the Witchpit together with our various screenwriting classes and festival shows. Our most critically acclaimed movie has been hanging in limbo; an unfulfilled pre-order and an unreplicated master copy.

Back in 2014, AintItCoolNews reviewed the intended release, saying “The buildup of tension and horror that takes place in here is outstanding and Higgins makes the entire thing feel like the real thing“.

Just last month, WhatCulture listed it as one of the great modern horror films shot for next to nothing.

I hope we’ll find a new way forward. It strikes me as pretty heartbreaking that the release of a movie we worked so hard on, and that so many people seem to really connect with, got strangled by two pieces of ridiculous and ill thought-out legislation.

If you’re hoping to join the one-day screenwriting workshop/masterclass on June 4th, you’d better get moving. This is a small-scale event, and tickets are limited.

So, if you want to spend a day with like-minded souls in a jam-packed one-day crash course designed to take your writing to the next level then order a ticket RIGHT NOW!

 

Screenwriting with Pat Higgins

 

 

 

Screenwriters get introduced to the idea of the ‘elevator pitch’ with the following scenario:

Imagine that you found yourself in a lift with a Hollywood power-player, and you only had that 60 seconds or so to sell them on the idea of your movie. 60 seconds to convince them that the idea might be worth further investigation. 60 seconds to make them care.

This scenario works quite well as a means of making people think about the hook of their story. Amazingly gifted screenwriters can still be amazingly poor orators, and those words that flow so beautifully on paper can often dry up to a series of splutters and false starts when someone asks what their brilliant movie is actually about. Focusing on communicating the essence of a proposed movie in an incredibly short space of time can be a really useful exercise, but the idea of actually pitching in a lift is largely meant to be a metaphor.

Nonetheless, last year I accidentally found myself pitching in a lift to Joel Schumacher. And, hey, I was a teenager when The Lost Boys came out. It’s one of those movies that made me who I am; everything I’ve ever written has contained elements of both comedy and horror. There’s strands of Lost Boys DNA running through every screenplay to leave my office. I owe Joel Schumacher a lot, and I finally got to repay him by babbling for around a minute about a screenplay that I’m extremely proud of called Your Lying Eyes.

Let me back up a bit. First of all, I’m not one to engineer meetings with people whose work I admire. I feel much happier watching and listening to such people rather than speaking to them. There’s a speech about never meeting your heroes in my script for The Devil’s Music which sums up largely how I feel about it. There’s simply too much riding on it for it to be any fun. Look, I’m a massive Springsteen fan, but if you gave me the chance to sit and have a drink with the guy I’d probably run a mile. Not because I’d be intimidated (people are just people, after all), but what if it went badly? What if we simply didn’t get on? Would I still feel the same way about Thunder Road, or would there be a nagging ‘but…’ in the back of my head every time I listened to it?

So, in the interests of never getting a nagging ‘but…’ every time I watched Falling Down, I probably wouldn’t have engineered a situation where I got to pitch a movie to Joel Schumacher in a lift. But the London Screenwriters Festival had other plans.

If you haven’t heard of the festival, it’s now the largest screenwriting festival in the world. 800-odd screenwriters and speakers, plus a fair few producers and agents knocking about. Lots of people drinking coffee and talking about movies, lots of interesting events and cool stuff. On the Sunday of the festival, I had a meeting about Your Lying Eyes lined up which I was excited but mildly stressed about. It’s a really good script, probably the best thing I’ve ever written, and for this particular meeting I was determined to bring my A-game.

My mate Jim Eaves and I grabbed coffee, and we ended up in a queue for The Elevator Pitch. This was a thing set up by the festival where screenwriters could do the elevator pitch thing for real, usually to somebody connected with the UK industry. I figured it might be a nice little dry-run prior to my meeting. I figured it might be with someone I’d spoken to previously (either at the festival or in the world at large).

It wasn’t, of course. It was Joel Schumacher.

Joel Schumacher in a lift getting babbled at

I think it’s safe to say that my tight-as-a-drum pitch got punctured somewhere on its way out of my mouth and emerged as a bundle of jumbled character motivation and messy beats. Seriously, though, what do you want from me? Dude directed The Lost Boys, for chrissakes.

So elevator pitches are sometimes very real. And not just at orchestrated events at screenwriting festivals. My mate Jim I mentioned? On another occasion, he ended up randomly in a lift with a certain notorious Hollywood mega producer. But that’s his story to tell, not mine.

What floor do you want?

I got thinking about horror aimed at kids over the last week or so, partly due to a discussion I was having of Facebook regarding the original rating of Poltergeist. It prompted me to write this article for Huffington Post, which recycles a paragraph from a blog post I wrote for this site a couple of years back but is otherwise new stuff.

The first draft of the blog post also had a bit about Joe Dante’s The Hole, which is another fascinating kid-orientated horror; very much a descendent of The Gate which, shit, I really would have written about too if I’d thought of it.

Basically, the piece would have ended up book length given half a chance. Go check it out.

Had a great weekend at Horror-on-Sea, a festival that we’ve supported since day one. It’s fantastic to see it going from strength to strength. Every year, there are fewer and fewer empty chairs (both in the large room where we tend to do the live shows and in the main auditorium), and the atmosphere is upbeat, buzzy and engaged.

Didn’t catch as many of the films as I’d intended to (partly due to an outbreak of chicken pox in the family suddenly throwing childcare plans into disarray), but at least this year I managed to get to my own show on time…

I really love doing shows like this. We’ve filmed this one, and hope to get it online before too long. This one features pre-recorded video contributions from an assortment of other independent horror filmmakers (and we were lucky enough to have at least couple in the audience, too, in the form of MJ Dixon and Dani Thompson)

The new show goes through an A to Z of different nightmares that might be faced by indie horror filmmakers, covering everything from dodgy small print in contracts through to appalling weather. It lasts about an hour and a half, and if you’re interested in booking the talk for a film festival, university event or children’s party (ok, probably not the children’s party) then feel free to get in touch via Jinx Media’s Facebook or my own Twitter account.

Some photos of myself and Paul Cousins in action below (courtesy of the awesome deVere Photography – check out their site and be sure to look through the portfolio for more Horror-on-Sea goodness.

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Weird thing about Jinx Media still being in business after ten years; we’ve got the rights for our first movie back.

We signed a seven year distribution deal for Trashhouse back in February 2006. We signed the UK and the US, but the US elements of the deal went wonky when one of the companies involved folded, and that release never happened. The UK release, however, was pretty damn great and saw us on shelves of stores all over the country, not to mention our first review in Empire. ‘Clever ideas but dodgy tech credits’ if memory serves.

TrashHouse_DVD

And now the film has come back to us. It’s the first time ever that we’ve owned the rights to a movie that has a valid BBFC certificate in this country, meaning of course that if we fancied knocking out a cheapo rerelease it would cost us pretty much nothing to do so, provided the film was in exactly the same form as it was when rated in 2006. And there, of course, lies the rub.

I’ve talked about revisiting movies and recutting them before on this blog. My re-edit of The Devil’s Musicwas signed to Cine du Monde last year and we’re just waiting for a shelf date. My director’s cut of KillerKiller should be along later in the year too.

But TrashHouse… Aah, TrashHouse is a different case.

Whereas doing new versions of KillerKiller and The Devil’s Music was really a matter of recutting some scenes – tightening some bits and adding a handful of elements that hit the cutting room floor and perhaps shouldn’t have done – if I were to revisit TrashHouse it would be a big job. As I mentioned in last week’s blog, the flick is a total product of its production context. Some awful special effects, dodgy grading, iffy pacing. The problem with revisiting TrashHouse is that if I started tinkering I just wouldn’t want to stop.

All the things I hate about it (watching it back now) could be fixed. Things that were waaay out of our reach in 2004 could now be dropped into the mix with relative ease, and considering the number of special effects bits that were put together as cutaways or against green screen, I genuinely think we could make the sucker fly like it never has before. Last week I installed Adobe CS6 on my laptop and I tested how well the software was running by tinkering with a couple of shots from the TrashHouse rushes. Shots that had taken me DAYS to get a pretty poor result with in 2004 looked about a hundred times better after I’d worked on them for 20 minutes with my 2013 software (and skillset). Plus, I’ve still got nearly all of the wardrobe and props, so additional cutaways wouldn’t be out of the question either. Perhaps the film could finally look like I’d always wanted it to; it was, after all, the most ridiculously over-ambitious micro-budget movie to ever actually get completed.

I was talking about this situation with Paul Cousins, who was very much my right-hand man throughout Nazi Zombie Death Tales and was the director and editor of the filmed version of my live show Werewolves, Cheerleaders & Chainsaws. What’s that, you say? You’ve never seen it? Why, click the link below…

Anyway, I was discussing what to do with TrashHouse with Paul. Paul suggested that I might be better to remake/reboot the movie rather than trying to tinker with such a flawed flick. He thought I’d be better leaving it as a product of its time and shooting the whole damn thing again at some point. He might well be right, but I can’t help feeling that I’ll never get the chance. That if I leave it to attempt a reboot at some point in the future I’ll never actually do anything with it at all.

Of course, as soon as I start tinkering with the movie it becomes unreleasable on DVD under the old BBFC rating; we’d have to resubmit it and swallow all the costs associated with that. Right now (considering that TrashHouse is still a LONG way in the red overall) we’re really not in a position to do that.

Weirdly enough, I had another idea which is the most radical of the lot; I thought of making the entire rushes available for people to have their own crack at re-editing. Let all the bedroom SFX gurus loose on green-screen footage of poor blood-splattered Lucy and her heavy artillery and see what they could come up with. Let people recut the whole goddamn film as a showreel piece or just for fun. Release dozens of hours of rough footage into the wild and just see what happened.
I liked that idea for about ten minutes and then the control freak in me kicked back in. It’d be a fun experiment, but I suspected that nobody would ever bother to recut the whole film (a couple of people might have a go at the big fight scene with the blood up the walls and the chainsaw, but that would probably be it) and then I’d never be able to get the genie back into the bottle.

But, damn, I really liked those couple of shots I put together with CS6 last week. It gave me a sense of the movie that TrashHouse always wanted to be but never was due to the fact it was shot by a first-time filmmaker in 2004.
Maybe the project’s time will come. Maybe I’ll remake/reboot when I’m about 70, as the last film of my career as a kind of bookend. Or maybe I should learn to let the past stay there, and concentrate on the fact that I’m hurtling into a project-packed future and already can’t keep up with my own schedule.

PS. Incidentally, I’m being interviewed for new documentary about micro-budget horror called Making Monsters this evening. You can check out the teaser trailer below.

As I’ve mentioned before, there’s pretty much only one reason that my shot-on-miniDV first feature ended up getting decent commercial distribution (which, in turn, led to me being considered a ‘proper’ filmmaker albeit one on a very, very low rung of the ladder).

I climbed an obstacle.

Cutting footage on a home PC was tough at the beginning of the century. It wasn’t something that the average home PC could do straight out of the box; it required a souped-up kit, capture cards and software that certainly wasn’t standard issue. It cost money, time and patience.

 

 

I cut Trashhouse on a home PC with a 20GB hard drive, (which at the time was a ridiculously huge amount of storage space and cost me a whole load of money). The flick is completely a product of its production context; the average film student watching the movie now would be dumbstruck at how amateurish certain elements of it look. From a technical point of view it’s all over the place; the grade is inconsistent, the compositing is shocking and there are CGI elements that look laughably poor in 2013 (and didn’t exactly look brilliant by 2004). It doesn’t look like the commercially released indies of 2013, which are within spitting distance of Hollywood in terms of visual qualities and technical expertise. But, in 2004, it didn’t really have to. The fact that it existed at all was enough to at least get a few potential distributors to watch it; there were only a tiny number of indie features getting produced in the UK each year.

There are some good things about TrashHouse, which ultimately meant that I got the chance to keep making films. These good things are the stuff aside from the technical stuff. It’s got a pretty decent script and some interesting ideas in it. If people go to it looking for a mainstream horror flick with high production values they’ll be bitterly disappointed, but if they go to it looking for a lo-fi oddity they’ll hopefully still find stuff to enjoy.

It’s a product of the obstacles I had to climb to get it made, and it only found its way onto the shelves of major stores because I had to climb those obstacles.

At the risk of sounding all “Eeh, in my day it were all fields around here”, which is never a good look, (especially when the day you’re talking about was only about a decade ago), I think what the new generation of filmmakers need more than anything else is some obstacles.  Otherwise every brave new voice is competing with EVERYONE who can pick up a camera and produce something that looks perfectly great without really putting in any particular effort. The democratisation of film production comes at a price; if you give everyone a voice, you fast discover that an awful lot of people have got fuck all to say but they keep shouting anyway. The voices that would otherwise have immediately stood out get swept away on the tide of mediocrity. Bark bark bark.

At the time that clerks hit, Kevin Smith was an original voice. The reason that people heard him was because (can you guess?) his movie had to climb huge obstacles to get made. Shooting a movie wasn’t something that guys who worked in convenience stores could easily do, and Smith’s determination just to get the bastard made meant that at least a couple of people watched his flick out of curiosity. The fact that it existed meant that at least a few sets of eyes would be interested in watching it. As it happened, that was enough to set the ball in motion and make sure that the original voice got heard.

 

Pat outside the Quick Stop, where Kevin Smith shot his debut.

Pat outside the Quick Stop, where Kevin Smith shot his debut.

 

Nowadays, there are a hell of a lot of guys who work in convenience stores who are making movies. Some of those movies look close to professional. Very few of them are an original voice waiting to be heard, and my worry is that the ones that are have no way whatsoever of standing out. The average member of the public isn’t just going to keep watching no-budget movies looking for a diamond in the rough; they’ll decide they don’t like ‘them’ as if ‘they’ were a homogenous mass and go straight back to watching Hollywood product. There is nothing inherently interesting about making a 90 minute movie for no money, because it’s literally something that an eight year-old can do.

In the past, there were potential gems that never got made.

Now, they’re getting made and nobody’s actually watching them.

In a way, I think that’s worse.

PS. Despite all this, I still encourage people to go out and shoot movies. Go figure. My hour-long live show Werewolves, Cheerleaders & Chainsaws is full of advice about how and why to do it. It’s a bit NSFW (gore, nudity and naughty words) and is embedded below.

I’ve been trying a bit of a smartphone detox lately, which makes a lot of sense given that we’re deeply involved in the development process for our smartphone horror Evil Apps. I’ve been attempting to stick the iPhone in a box as soon as I’m home, and to only use it when out and about. This is basically a strategy to stop the goddamn thing sucking every single second of unallocated attention out of my life; I realised that all the little pockets of time that I used to spend thinking (from waiting for a kettle to boil through to taking a crap) had become pockets of time during which I just plunged straight back into twitter/facebook/whatever and I never got the chance to just let my mind wander. If you never let your mind wander, the thing just stays wherever you left it and you never get any new ideas. So the phone goes in the box and I give my brain some breathing space.

A direct result of this is I’ve found myself grabbing books off the shelf, just to dip into them for a few minutes, for the first time in years. Over the weekend, the one I happened to grab was The Greatest Sci-Fi Movies Never Made. It’s a cracking read, and well worth dipping back into. I was reacquainting myself with the story of various failed attempts to film I Am Legend, when I stumbled across a phrase that stuck in my mind a little bit.

The film only finally made its way to the screen because it found a champion (in that case, Will Smith).

The first thing this reminded me of was Harvey Keitel getting hold of the script for Reservoir Dogs, and that being the key to raising the $1.5M the production needed. We’ve never worked that way around. We’ve always raised our budget and then sorted out our cast on that basis. As I mentioned in the last post (well, I hinted it, but I was hardly subtle) we’re currently planning on raising at least part of the budget for Evil Apps through Kickstarter and making sure that it’s the most kick-ass Kickstarter campaign we can possibly put together for you guys. The Will Smith line, however, made me wonder whether changing the order in which we do things would change the nature of the campaign.

EVIL APPS

Evil Apps has two fantastic lead roles and a whole bunch of meaty supporting roles too. We’ve approached the budgeting on the basis that we’ll cast newcomers and people with a bit of genre experience, but it crossed my mind over the weekend that doing this in reverse might be a valid approach too. If we can raise £x amount of money for a movie starring talented people with fairly low-profiles, might we not be able to raise £y amount of money to do the movie in a slightly bigger fashion if we had a ‘name’ attached? We’ve got a decent enough track record at this game now. We’ve won some strong awards, we’ve had some great reviews, we’ve proven time and time again that we can bring in genre movies on time and under budget. I’m tempted to even boast once again that Penny Dreadful in SFX magazine called me “The Tarantino of budget gore flicks, for both style and dialogue”, but that would probably be a bit guache so I won’t. If a higher profile performer than we’ve previously worked with decided that they rather fancied taking a lead role in a cracking indie rather than a supporting role in a tepid larger movie, mightn’t that change the landscape of what we’re planning to do?

I’m really just thinking aloud in the form of a blog post at this point. I haven’t formulated a game plan or even decided if this is genuinely something that we’d want to do. After all, with a higher profile performer a lot of other considerations with the production might change too. But it’s got to be worth at least considering, which is something we’d never done before. After all, money isn’t the only motivating factor for a performer contemplating a role, and our script is pretty goddamn cool. Put it side-by-side with the script to most British movies scheduled to go into production any time soon, and I’m quietly confident that ours can hold its head up high as sharper, funnier and generally more interesting.

In other words, if you’re the sort of person to have people, have your people talk to my people. Except I’m not the sort of person to have people, so I guess your people will just have to talk to me instead.

PS. Needless to say, I’m going to use the end of this blog post to plug my live show again. It’s packed full of anecdotes and advice for no-budget filmmakers, rare clips and a few jokes. It’s not really safe for work, since there’s a bit of nudity, gore and strong language along the way. It’s free, so be sure to let us know if you like it or find it interesting. If you want to give me feedback or ask questions directly, I can always be found on Twitter.