I have edited together a teaser trailer for fracture now that we are 2/3 weeks away from completion
http://youtu.be/sXXcyn4KkIU?hd=1
Saturday, 23 April 2011
Friday, 8 April 2011
its a wrap...well 50%
Fracture live action filming has now officially wrapped, it has been an extended period of filming starting on the 21st March & ending 6th April. I had to re-cast the part of Kal 8 hours before filming his scenes due to acto illness, and almost had to re-cast hte part of doctor luminal for the 3rd time, on the last two days of filming I had to use body doubles for the reverends interrogation scene due to rich jack & David conatybeing unavailable to shoot their scene at the same time.
I also had to fight health & safety precautions when filming the corridor scenes with a tight timeframe. Due to conflicting attitudes from members of university staff we were originally going to shoot some scenes over the weekend of the 2nd/3rd but finally a memeber of staff blocked us from filming in the university room set we'd been using.
Lines were changed, scenes trimmed or aborted, elaborate shots were jettisoned for time & cinematography reasons & innocuoss little mistakes from crew almost caused massive problems....HOWEVER Fracture live action wrapped & some brilliant performances & lovely cinematography was caught on camera.
Now its back to animation for me & Andrew, the two animator graduates we enlisted to help have dropped out without having helped out yet, so its back to square one of long nights animating. I will be supervising the editing whilst animating next to our editor Kiara next week. I have been talking with Dean Cuthbert on our media course about helping me with the workload of colour grading the footage to help free up some animating time again.
I need to check up on the musical score for Fracture from Josh Todd also a.s.a.p
finally I have to follow up on the framework I have set up for marketing Fracture before may 4th
Theres alot on & a lot at stake, but so far the live action directing & producing has been a massive challenge that has been overcome, so with a good work ethic, bit of technology, luck & a few sleepless nights, We should still be on schedule for may 4th
I also had to fight health & safety precautions when filming the corridor scenes with a tight timeframe. Due to conflicting attitudes from members of university staff we were originally going to shoot some scenes over the weekend of the 2nd/3rd but finally a memeber of staff blocked us from filming in the university room set we'd been using.
Lines were changed, scenes trimmed or aborted, elaborate shots were jettisoned for time & cinematography reasons & innocuoss little mistakes from crew almost caused massive problems....HOWEVER Fracture live action wrapped & some brilliant performances & lovely cinematography was caught on camera.
Now its back to animation for me & Andrew, the two animator graduates we enlisted to help have dropped out without having helped out yet, so its back to square one of long nights animating. I will be supervising the editing whilst animating next to our editor Kiara next week. I have been talking with Dean Cuthbert on our media course about helping me with the workload of colour grading the footage to help free up some animating time again.
I need to check up on the musical score for Fracture from Josh Todd also a.s.a.p
finally I have to follow up on the framework I have set up for marketing Fracture before may 4th
Theres alot on & a lot at stake, but so far the live action directing & producing has been a massive challenge that has been overcome, so with a good work ethic, bit of technology, luck & a few sleepless nights, We should still be on schedule for may 4th
Friday, 25 March 2011
getting the cavalry in
We have enlisted some fellow animators Darren hammond & Bernice Hobson who are animation graduates from sunderland university & friends of Andrew. They will help out with parts of the day to day animation process such as line & background clean up. So far I have sent them a guideline to clean up on the reverends tale
With the live action shoot only 6days away, I am having to start to devote my energies back to producing & directing again. I am creating shotlists, call sheets & organising new locations & possibly havng to replace an actor within the week. This means having the new animators take on some of the tedious work frees up my time without completely burdening andrew.
We have put together a rough cut of the film (minus some live action scenes) so we have a rough idea of timing & what needs cutting, to accomodate our 10/11 minute finished cut. The Hermits tale is coming along well for the basic animation before tidy up & effects, here is an example:
With the live action shoot only 6days away, I am having to start to devote my energies back to producing & directing again. I am creating shotlists, call sheets & organising new locations & possibly havng to replace an actor within the week. This means having the new animators take on some of the tedious work frees up my time without completely burdening andrew.
We have put together a rough cut of the film (minus some live action scenes) so we have a rough idea of timing & what needs cutting, to accomodate our 10/11 minute finished cut. The Hermits tale is coming along well for the basic animation before tidy up & effects, here is an example:
Sunday, 20 March 2011
moving to promotion
Despite being busy with animating, producing on two projects & preparing for directing the live action shoot in April, I have started to look ahead towards marketing & promotion for fracture, both digital & traditional.
I met up with Richard Thompson the design graduate who I have asked to help with posters & promotional material, after a Designers conference. Talking through Idea's I wanted to include elements of the films story & iconography such as tarot cards, graphic style, title sequence design & I wanted ot include a prop trinket I had bought for a promotional item (as well introducing it into the film). Richard picked up on the idea of havin Kal dragging Alices hand in a dark alleyway as a poster idea, I thought it was a strong image added in the idea of having tarot cards & other iconography as items or in the text of the poster. We also came to the idea of using the missing girl posters of Alice on the walls of the alleyway.
I sent a starter idea to Richard, who will refine it over the next couple of months.
To richt_biscuits@hotmail.com
From: rich white (ricardo_blanco@hotmail.co.uk)
Sent: 18 March 2011 17:15:02
To: richt_biscuits@hotmail.com
Hey dude psyched to get your design-age skills on board for promotional poster & marketing designs!
ive attached 3 instances of animated character & background tests to give you an idea of the animation styling, Ive also attached the script for the film (Fracture) for when you have a spare time to look through the story.
theres also a very quick & crappy mock up idea of a poster just to have some kind of starting point for thoughts!
I also would like to use along with the main Fracture website which will be online in a few weeks, a viral promotional website using the idea of the police investigation into the dissappearance of Alice, this would be similar to campaigns such as whysoserious.com for the dark Knight & the blair witch project. I would also like to engage street artists to draw, paint, post up & chalk fracture art around Newcastle, this would involve easily removed/ temporary art (eg chalk drawings, posters) so we would be within the limits of the law.
I met up with Richard Thompson the design graduate who I have asked to help with posters & promotional material, after a Designers conference. Talking through Idea's I wanted to include elements of the films story & iconography such as tarot cards, graphic style, title sequence design & I wanted ot include a prop trinket I had bought for a promotional item (as well introducing it into the film). Richard picked up on the idea of havin Kal dragging Alices hand in a dark alleyway as a poster idea, I thought it was a strong image added in the idea of having tarot cards & other iconography as items or in the text of the poster. We also came to the idea of using the missing girl posters of Alice on the walls of the alleyway.
I sent a starter idea to Richard, who will refine it over the next couple of months.
To richt_biscuits@hotmail.com
From: rich white (ricardo_blanco@hotmail.co.uk)
Sent: 18 March 2011 17:15:02
To: richt_biscuits@hotmail.com
Hey dude psyched to get your design-age skills on board for promotional poster & marketing designs!
ive attached 3 instances of animated character & background tests to give you an idea of the animation styling, Ive also attached the script for the film (Fracture) for when you have a spare time to look through the story.
theres also a very quick & crappy mock up idea of a poster just to have some kind of starting point for thoughts!
I also would like to use along with the main Fracture website which will be online in a few weeks, a viral promotional website using the idea of the police investigation into the dissappearance of Alice, this would be similar to campaigns such as whysoserious.com for the dark Knight & the blair witch project. I would also like to engage street artists to draw, paint, post up & chalk fracture art around Newcastle, this would involve easily removed/ temporary art (eg chalk drawings, posters) so we would be within the limits of the law.
Photos of the production process on facebook
http://www.facebook.com/album.php?id=582260365&aid=569491
Wednesday, 16 March 2011
Tuesday, 15 March 2011
animation process
we have started the animation process for fracture using the greenscreen footage we have as a guide.
As seen by the concept Art andrew had a style for the lover he wanted to try out using photoshop cs4. I have decided to use illlustrator cs4 for the reverends tale to have a graphic black & white style.
Hermit Jacks tale is using the life size armature so Andrew assisted with the face casting process, then I have been working on the latex face with paints, make-up & pencils to create a lifelike look.
The reverends tale appears to be working smoothly using a background colour layer as the foundation, copying that layer & adjusting it to be black & white & more of a inked graphical look.
The lover/ Jessicas tale didnt go as smoothly...using the photoshop method looked good but took a ridiculous amount of time (around 5 hours a frame) using brushes, layers, and the lasso, dodge & burn tools. the 2nd attempty with photoshop favoured filters to minimise the brush & lasso work, however the filters were too random & innacurate & changed wildly the colours & shadows inbetween frames. With the illustrator cs4 work going well I persuaded andrew to embrace Illustrator for the first time. Using the live trace & brush tools in illustrator, the images kept the colour profile & did not vary so wildly.
After a talk about the background animation for the Hermit, we decided to use the greenscreen footage behind the hermit in a semi-pixillated style. the armature will speak the voice over & the filtered footage & motion graphics added will comprise the final product.
Saturday, 5 March 2011
festivals
- waterloo film festival
- fantaspoa festival (brazil)
- gerardmer film festival
- BIFFF (brussels)
- SOPOT film festival (poland)
- Fantasia film festival
- Leeds int'l film festival
- Winnipeg animation festival
- dead channels film festival
- titanic intl film festival (budapest)
- singapore int' animation film festival
- dead by dawn festival (edingburgh)
- Puchon int' fantastic film festival
- SITGES int' catalonian film festival (Barcelona)
- The Angel Film competition
- Super Shorts Film Festival
- Exposures: new talent in moving image
- Wood Green International Short Film Festival
- fantaspoa festival (brazil)
- gerardmer film festival
- BIFFF (brussels)
- SOPOT film festival (poland)
- Fantasia film festival
- Leeds int'l film festival
- Winnipeg animation festival
- dead channels film festival
- titanic intl film festival (budapest)
- singapore int' animation film festival
- dead by dawn festival (edingburgh)
- Puchon int' fantastic film festival
- SITGES int' catalonian film festival (Barcelona)
- The Angel Film competition
- Super Shorts Film Festival
- Exposures: new talent in moving image
- Wood Green International Short Film Festival
updates, plans & changes
So far we have filmed 90% of the green screen animation footage for our film, we are re-shooting the 1st day of green screen filming on monday 7th as it was of a inferior quality.
after discussions with our original D.O.P. about filming shcedules and after our doctor luminal actor sally, couldnt make the shooting dates, I decided to re-arrange the live action shoot til the 31st-3rd April as we can have a fully manned sound & camera crew which would leave me with just producing, directing & animating the project (freeing me from camera work &make up). Andrew Binns, chris andrew, Simon mcgaun, Drew mastromartino, Dave reed & rachel nesbitt would be available to add to our current crew. I am hoping to persuade some photography students I know to act as stills photographer for live action.
although filming has not yet finished I am looking at styles for websites, posters & other promotional materials. the danish crime writer Jo Nesbo has an interesting website design for his bestselling novels. there is also the website for feature length animation FromInside
http://jonesbo.com
http://www.frominsidemovie.com/index.html
after discussions with our original D.O.P. about filming shcedules and after our doctor luminal actor sally, couldnt make the shooting dates, I decided to re-arrange the live action shoot til the 31st-3rd April as we can have a fully manned sound & camera crew which would leave me with just producing, directing & animating the project (freeing me from camera work &make up). Andrew Binns, chris andrew, Simon mcgaun, Drew mastromartino, Dave reed & rachel nesbitt would be available to add to our current crew. I am hoping to persuade some photography students I know to act as stills photographer for live action.
although filming has not yet finished I am looking at styles for websites, posters & other promotional materials. the danish crime writer Jo Nesbo has an interesting website design for his bestselling novels. there is also the website for feature length animation FromInside
http://jonesbo.com
http://www.frominsidemovie.com/index.html
Saturday, 26 February 2011
whats one step less than a skeleton crew?
Due to the excessive amount of 3rd year projects being shot at the moment, We have not been able to get a full crew until the 3rd March & have been forced to film with barely a skeleton crew. This has meant I have had to take on the mantle of Live-Action Director & D.O.P as well as Make up, producer & later on co-Animator & post-production sound. Andrew has took on the mantle of sound recordist & Production stills photographer (as well as later Animator). Callum has fulfilled the roles of sound recordist, Lighting artist & 1st A.D. (as well as one of the major scriptwriters)
It has been a case of working full days shooting and then going home & going through the paperwork during the early hours of the morning.
It has been a case of working full days shooting and then going home & going through the paperwork during the early hours of the morning.
Sunday, 20 February 2011
Kit booking
21st-24th Feb= 416 mic kit + Tascam DR100/ 5D Mk2 kit
25th Feb 8.30-13:00 = 416 mic + Tascam DR100 + boom pole/ 5D Mk2 kit/ Dexel Flourescent light kit, Dedo light kit, Red Head 3light kit
25th-28th 13:00- 15:30 = Blonde light kit, Z7 camera kit, 5D MK2 kit, Dexel fluo kit, dexel L.E.D
23rd-28th = manfrotto tripod
24th-28th = AKG Mic, Rode video mic + Tascam
28th- 4th March = Steadicam, cable kit, clapperboard
1st- 4th March = 416 mic kit + boom pole + Tascam DR100/ 5D Mk 2 kit/ Dedolight kit, 2 Dexel fluorescent light kit, redhead 3 light kit, manfrotto Tripod
3rd-7th March= Hague Jib Arm, Hague dolly & track, Manfrotto tripod/ 5D Mk2 kit
4th - 7th March = 416 mic kit + boom pole + tascam/ 5D mk2 kit/ dedolight kit, redhead 3light kit, 2 dexel fluorescent light kit, cable kit
AVID SUITES - 4TH-8TH APRIL 9:00 - 16:00
25th Feb 8.30-13:00 = 416 mic + Tascam DR100 + boom pole/ 5D Mk2 kit/ Dexel Flourescent light kit, Dedo light kit, Red Head 3light kit
25th-28th 13:00- 15:30 = Blonde light kit, Z7 camera kit, 5D MK2 kit, Dexel fluo kit, dexel L.E.D
23rd-28th = manfrotto tripod
24th-28th = AKG Mic, Rode video mic + Tascam
28th- 4th March = Steadicam, cable kit, clapperboard
1st- 4th March = 416 mic kit + boom pole + Tascam DR100/ 5D Mk 2 kit/ Dedolight kit, 2 Dexel fluorescent light kit, redhead 3 light kit, manfrotto Tripod
3rd-7th March= Hague Jib Arm, Hague dolly & track, Manfrotto tripod/ 5D Mk2 kit
4th - 7th March = 416 mic kit + boom pole + tascam/ 5D mk2 kit/ dedolight kit, redhead 3light kit, 2 dexel fluorescent light kit, cable kit
AVID SUITES - 4TH-8TH APRIL 9:00 - 16:00
organisationnn
I have completed the production schedule for Fracture based on availability of kit, actors & crew it can be viewed here https://www.google.com/calendar/render?hl=en&tab=wc&gsessionid=OK
I have also completed the call sheets for the next 2 weeks shoot which I will put up later
I have also completed the call sheets for the next 2 weeks shoot which I will put up later
A funny ol' week
after a good pre-production period, the start of the first shooting weekend was a damage limitation exercise.
Pearl Legay Clarke pulled out of filming on 17th Feb leaving us short a Dr. Luminal a week before her scenes were being filmed. The day after, my agreement to face cast Peter over the weekend fell through with yvonne boyle due to some misunderstanding on Yvonnes end. I was also told by majority of university staff it would be impossible to film on the university premises on the weekend. So a challenge accepted I set about to change these problems!
i asked Kiara to email a list of actors I sent her who had applied for either alice or luminal earlier. I then asked Andrew to see Peter Dillon about any actors he knew of who were of a good calibre. After A mass emailing an actor, Sally Collett replied, who we will audition (and most likely cast) on Monday.
I bought in some replacement liquid latex, rigid collodien & assorted pariphernalia needed to do a quick head cast, however I managed in the end to persuade Peter to come back up again later at the star of march to film the bulk of his scenes & to do the head cast.
I rang around the different departments of the university and managed to Beg/Borrow favours from some helpful staff members (Hazel reynolds & Brenda Arkley were heroes) managed to rent out the main Conferencing room for a pre-production meeting on Friday, rent out a room in the library & a room in Ellison building for saturday & sunday.
some of our equipment had been locked in the pre-production meeting room on friday evening, so I spent much time ringing porters to access the room. There was no access to the greenscreen we needed to use, so I had to quickly erect a greenscreen from many pieces of emerald green A1 card. We filmed some animation reference shots of peter clatworthy & then persuaded him to take the next day off & head back in March.
Pearl Legay Clarke pulled out of filming on 17th Feb leaving us short a Dr. Luminal a week before her scenes were being filmed. The day after, my agreement to face cast Peter over the weekend fell through with yvonne boyle due to some misunderstanding on Yvonnes end. I was also told by majority of university staff it would be impossible to film on the university premises on the weekend. So a challenge accepted I set about to change these problems!
i asked Kiara to email a list of actors I sent her who had applied for either alice or luminal earlier. I then asked Andrew to see Peter Dillon about any actors he knew of who were of a good calibre. After A mass emailing an actor, Sally Collett replied, who we will audition (and most likely cast) on Monday.
I bought in some replacement liquid latex, rigid collodien & assorted pariphernalia needed to do a quick head cast, however I managed in the end to persuade Peter to come back up again later at the star of march to film the bulk of his scenes & to do the head cast.
I rang around the different departments of the university and managed to Beg/Borrow favours from some helpful staff members (Hazel reynolds & Brenda Arkley were heroes) managed to rent out the main Conferencing room for a pre-production meeting on Friday, rent out a room in the library & a room in Ellison building for saturday & sunday.
some of our equipment had been locked in the pre-production meeting room on friday evening, so I spent much time ringing porters to access the room. There was no access to the greenscreen we needed to use, so I had to quickly erect a greenscreen from many pieces of emerald green A1 card. We filmed some animation reference shots of peter clatworthy & then persuaded him to take the next day off & head back in March.
Wednesday, 9 February 2011
Fracture production update
as previously posted the Fracture cast is now complete, and pre-production is moving speedily!
In addition to the production crew, actors, composer & hair & make up stylist Im happy to add that we have included the services of Chris Andrew, a behind the scenes documentary director, and I have also enlisted Richard Thompson, a graphic design artist graduate from central saint martins to create our promotional materials & DVD sleeve work.
I am currently working through all the release form, & call sheet paperwork, as well as setting up the framework of a video-conference pre-production meeting through the Uni's facilities plus skype on a laptop. Andrew has managed to book equipment for our shoot from the 18th to 21st Feb after having problems obtaining lights. He has also doctored the script for camera direction in all the animated parts.
We have completed our location recce's with Andrew Binns and now have all locations confirmed.
I am using a new app for Ipods to speed up the shot storyboarding process while Im busy with other production detail. It saves on drawing out detailed storyboards and free's up time for organisation & animation concept art.
- http://vimeo.com/6125851 -
I have arranged the costume production for our film with Sue Quigley, who will help us with doctors overcoats, psychiatric patient clothing etc. for the film.
On Monday myself & the make-eup stylist Jonny will go in for a workshop session with yvonne learning how to rig up the face casting of the hermit so I can operate it like a puppet. Also I will learn about alternate methods of getting a unique semi-realist look by using prosthetics on the actors face & then animating a layer on top of that.
Jonny will be learning how to use prosthetics & make-up to superficially age a person on camera.
In addition to the production crew, actors, composer & hair & make up stylist Im happy to add that we have included the services of Chris Andrew, a behind the scenes documentary director, and I have also enlisted Richard Thompson, a graphic design artist graduate from central saint martins to create our promotional materials & DVD sleeve work.
I am currently working through all the release form, & call sheet paperwork, as well as setting up the framework of a video-conference pre-production meeting through the Uni's facilities plus skype on a laptop. Andrew has managed to book equipment for our shoot from the 18th to 21st Feb after having problems obtaining lights. He has also doctored the script for camera direction in all the animated parts.
We have completed our location recce's with Andrew Binns and now have all locations confirmed.
I am using a new app for Ipods to speed up the shot storyboarding process while Im busy with other production detail. It saves on drawing out detailed storyboards and free's up time for organisation & animation concept art.
- http://vimeo.com/6125851 -
I have arranged the costume production for our film with Sue Quigley, who will help us with doctors overcoats, psychiatric patient clothing etc. for the film.
On Monday myself & the make-eup stylist Jonny will go in for a workshop session with yvonne learning how to rig up the face casting of the hermit so I can operate it like a puppet. Also I will learn about alternate methods of getting a unique semi-realist look by using prosthetics on the actors face & then animating a layer on top of that.
Jonny will be learning how to use prosthetics & make-up to superficially age a person on camera.
Monday, 7 February 2011
Auditions Update
All auditions are done and all the roles have been filled. Here is the cast list:
Jen Nelson - Alice Lane
Philip Routledge - Kal Wayne
Richard Jack - Detective Kane
Pearl Legay Clarke - Doctor Luminal
David Conaty - Reverend Derrick Horne
Natalie Johnston - Jessica Cobb
Peter Clatworthy - Jack Summers
Jen Nelson - Alice Lane
Philip Routledge - Kal Wayne
Richard Jack - Detective Kane
Pearl Legay Clarke - Doctor Luminal
David Conaty - Reverend Derrick Horne
Natalie Johnston - Jessica Cobb
Peter Clatworthy - Jack Summers
Saturday, 5 February 2011
concept art
Over the weekend Richard and I will be working on concept art for the characters to help make a firm decision of what we want the animation style to look like. We first decided to look at The Lover character and how people are percieved in her tale:
The Lover - played by Natalie Johnston, we have based the character on her looks essentially, exaggerating them and working heavily with colour and contrast to achieve a Sin City style film noir theme. We really wanted to accentuate her curly, flowing red hair which symbolises the character's fiery passionate attitude as well as her femininity. The idea is to make her look as much like the stereotypical femme fatale of film noir as possible but also keeping to an exaggerate animation style that accentuates curves and anything that would be considered attractive in a woman.
Alice Lane- Played by Jen Nelson. Again Film Noir Sin City esque style. This time I aimed to make her appear brighter, a genuinely warm, friendly, naive character. She is less femme fatale, more femme attrapé. She is innocent, whereas The Lover is far from it. 
Sunday, 30 January 2011
Pre-production folio
I've been organising the scheduling for the shooting of Fracture, casting, confirming roles & locations.
Kiara found us a back-up actor for detective kane, who has an impressive CV & showreel, I am meeting him on monday to talk through the scheduling because he has a busy february but he has the most screen time, However our Dr Luminal actor, Pearl, has paid work on her original dates, so we are re-scheduling their time schedule to match each others because they share all their screen time. So late february/start of March will be most viable for the live action scenes involving them.
I am meeting the owner of a small amusement park at south sheilds (Ocean Beach amusement park) to use that as a visual video reference for the Hermits animated tale, I have found a warehouse location for the finale of the Film, Our original hospital location is in Ryhope and I am concerned about getting actors and crew there and the time off our schedule it will take to travel, So I am looking at options round Newcastle itself (possibly Newcastle RVI or a corridor in South Sheilds Town Hall) as a back up or replacement.
Kiara found us a back-up actor for detective kane, who has an impressive CV & showreel, I am meeting him on monday to talk through the scheduling because he has a busy february but he has the most screen time, However our Dr Luminal actor, Pearl, has paid work on her original dates, so we are re-scheduling their time schedule to match each others because they share all their screen time. So late february/start of March will be most viable for the live action scenes involving them.
I am meeting the owner of a small amusement park at south sheilds (Ocean Beach amusement park) to use that as a visual video reference for the Hermits animated tale, I have found a warehouse location for the finale of the Film, Our original hospital location is in Ryhope and I am concerned about getting actors and crew there and the time off our schedule it will take to travel, So I am looking at options round Newcastle itself (possibly Newcastle RVI or a corridor in South Sheilds Town Hall) as a back up or replacement.
Saturday, 22 January 2011
title seq test shoot
We have completed a test shoot with one of our camera operators ,Ben, and Andrew will take this footage away and do a basic test version of the title sequence style over the weekend
Thursday, 20 January 2011
Final draft of script
FADE IN:
INT. PSYCHIATRIC HOSPITAL, CORRIDOR - DAY
DOCTOR LUMINAL and DETECTIVE KANE proceed down a long bleak corridor.
KANE carries a briefcase as he walks.
DOCTOR LUMINAL
Detective, I must reiterate the seriousness of his condition.. He's in a delicate state.
DETECTIVE KANE glances over at her.
DETECTIVE KANE
I understand that his welfare comes first to you. But a girl is missing, and he's the only lead I have.
DOCTOR LUMINAL
I know you need to find this girl. But if you go in there and push him, he'll regress and become useless to you.
KANE glares at her.
DETECTIVE KANE
That bastard shouldn't have been let out of his cell. It was one of you, who cleared that arsehole for re-entry into society.
DETECTIVE KANE comes to a standstill and LUMINAL turns to face him.
DETECTIVE KANE (CONT'D)
Do you want me to find her?
DOCTOR LUMINAL
Of course I do.
LUMINAL walks away from KANE and approaches a door.
She peers inside.
KAL WAYNE is sat behind a large table with his head clutched in his hands.
LUMINAL twists round and stares at KANE.
DOCTOR LUMINAL (CONT'D)
Just so you know Detective, I'm the arsehole who released him.
KANE looks away momentarily embarrassed.
DOCTOR LUMINAL (CONT'D)
Wait here.
She opens the nearby door and enters.
CUT TO:
INT. INTERROGATION ROOM
As DOCTOR LUMINAL enters, KAL takes his head out of his hands and looks at her.
KAL WAYNE
Luminal?
DOCTOR LUMINAL
The Detective is here, he wants to ask you some questions.. Do you remember why?
LUMINAL crosses the room and stops in front of KAL.
KAL WAYNE
Yes.. I still don't know where she is.
LUMINAL turns back to the door and opens it part way.
KAL WAYNE (CONT'D)
Where are going? Don't leave me?
DOCTOR LUMINAL
Don't worry I'm staying here.
She leans out the door.
DOCTOR LUMINAL (CONT'D)
Kane.
LUMINAL comes back into the room and stands to the side as DETECTIVE KANE enters.
He makes his way over to a chair sat in front of the table closest to the door.
KANE sits down and opens his case, whilst LUMINAL positions herself on a seat in the corner of the room.
KAL appears restless and troubled as KANE pulls out a case file.
He opens the file and places a photo of ALICE LANE onto the table surface.
KAL looks from KANE to LUMINAL
DOCTOR LUMINAL (CONT'D)
It's alright Kal, just answer his questions.
DETECTIVE KANE
Do you remember her?
KAL sits motionless looking at the picture.
DETECTIVE KANE (CONT'D)
Her name is Alice Lane, surely you recognise her?
KAL returns his gaze onto the DETECTIVE.
DETECTIVE KANE (CONT'D)
You were the last person seen with her.
(He jabs his finger at KAL.)
KAL visibly tenses at this gesture before looking away.
DETECTIVE KANE (CONT'D)
Maybe this will jog your memory.
DETECTIVE KANE pulls out a pack of Tarot cards and places them in front of KAL.
He stares at the cards.
DETECTIVE KANE (CONT'D)
This was the only thing found on you, care to tell me why?
KAL shakes his head and picks up the cards.
DETECTIVE KANE (CONT'D)
Why not?
He revolves the pack in his hands before opening it.
KAL thumbs through the cards and picks out The Moon card.
He places it on the table followed by The Chariot, The Lover and The Hermit.
KAL places the cards in a line directly underneath the Moon card.
KAL WAYNE
Do you like apple pie?
DETECTIVE KANE
Excuse me?
KAL WAYNE
I don't, I prefer blueberry.
DETECTIVE KANE slams the his hand down on the table startling KAL and LUMINAL.
DOCTOR LUMINAL
What are you doing?
KANE glances back at her before returning back to KAL.
KAL WAYNE
I'm scared.
KANE jumps out of his seat knocking it backwards onto the floor.
DETECTIVE KANE
Your scared, what about Alice.
KAL WAYNE
Please I -
DETECTIVE KANE
You took her didn't you Kal?
KANE moves round the table to KAL.
DETECTIVE KANE (CONT'D)
You forced her to go with you. But she didn't want to, so you hurt her.
KAL WAYNE
No.. I didn't.. I can't remember.
DETECTIVE KANE
Where Is She?
KANE pulls KAL'S seat out from under him.
LUMINAL suddenly moves from her chair towards KANE.
As KAL slams down onto the floor, KANE positions himself over him.
DETECTIVE KANE (CONT'D)
Tell Me Where She Is You Bastard.
KAL cowers on the ground.
LUMINAL grabs KANE'S arm and he spins round to face her.
DOCTOR LUMINAL
Outside Now.
CUT TO:
INT. CORRIDOR
DETECTIVE KANE crashes out from the interrogation room closely followed by DOCTOR LUMINAL.
DOCTOR LUMINAL
What the hell is wrong with you?
DETECTIVE KANE
I Have No Time For This, That Girls Life Is At Stake.
DOCTOR LUMINAL
Well Done Detective, thanks to you that girl is going to die.
KANE stares intently at LUMINAL.
DOCTOR LUMINAL (CONT'D)
I'm going to have you escorted from the premises.
DETECTIVE KANE
I have to find out where she is. If you stop me she'll never be found.
DOCTOR LUMINAL
And how do you purpose to do that. Since you couldn't keep your composure, It'll be impossible to talk to Kal now.
DETECTIVE KANE
I'll talk to one of the others then.
DOCTOR LUMINAL
Fine, I'll set it up.
LUMINAL turns away from KANE and looks back towards KAL.
CUT TO:
INT. CHURCH - EVENING
ON SCREEN TITLE - REV. HORNE'S TALE
O.S SFX. - Rain
REVEREND DERRICK HORNE is sitting on a church pew, deep in thought. Alongside him rests a paper, its headline reads 'Priest's Son Diagnosed With Autism'.
HORNE appears deeply tormented and restless.
The sound of the church door opening breaks HORNE from his brooding state.
He turns to see ALICE LANE entering the church, whose clothes are soaked through.
ALICE stands hesitantly in the main aisle.
REVEREND HORNE
Do you want something?
She timidly moves forwards, leaving a trail of water behind her on the floor.
ALICE LANE
Father -
REVEREND HORNE
I'm not doing confession tonight.
REVEREND HORNE turns his back to ALICE and resumes his sullen posture.
ALICE is clearly shaken at HORNE'S tone and demeanour.
She glances back towards the church door and looks back at HORNE.
Alice slowly approaches Reverend Horne.
ALICE LANE
Please, Father.. I need help.
Horne reluctantly faces her as she comes to a standstill beside him.
He gets up from his seat and proceeds into the confession booth.
ALICE follows his movements before heading into the adjacent booth.
CUT TO:
I/E. CONFESSION BOOTH & CHURCH INTERIOR
REVEREND HORNE
What is it my child?
ALICE shifts uneasily on her seat.
ALICE LANE
..I ..
She wipes tears away from her eyes.
REVEREND HORNE remains silent behind the curtain separating the opening in the booths.
ALICE LANE (CONT'D)
..This is.. Difficult for me, Father.
REVEREND HORNE
Take your time.
ALICE takes a deep breath.
ALICE LANE
I haven't spoken to anyone about this.. Why did it have to happen?
She glances in HORNE'S direction.
ALICE LANE (CONT'D)
I don't understand.. Why did God allow this?
REVEREND HORNE appears troubled and distracted.
ALICE LANE (CONT'D)
..That Man, why should I have to face this burden?
HORNE isn't paying attention.
ALICE LANE (CONT'D)
Does God not recognise my pain?
HORNE looks agitated as he catches ALICE'S final question.
ALICE LANE (CONT'D)
..Father?
REVEREND HORNE opens the curtain and stares at ALICE.
REVEREND HORNE
Pain. You don't know pain, child.
ALICE LANE looks across at HORNE amazed at his outburst.
REVEREND HORNE (CONT'D)
My Son Is Autistic, he'll never lead a normal life.. Why him, why me. His life will be a constant struggle, I want to bring him home from Redhill Hospital. He's had enough tests.. He'll never get better.. My faith, hasn't done me any good, and it won't for you.
ALICE turns away from him and slams out the confession booth.
She removes a crucifix from around her neck and hangs it on the edge of a pew.
ALICE runs straight out the church wiping her tears from her eyes as she leaves.
CUT TO:
I/E. CONFESSION BOOTH & CHURCH INTERIOR
REVEREND HORNE is slumped against the back of the confession booth wall.
A dawning realisation crosses over his features and he hurriedly exits the booth.
HORNE catches sight of ALICE'S crucifix necklace and lifts it of the pew; he contemplates it for a moment before looking in the direction of the church entrance.
He starts to run towards it.
CUT TO:
EXT. ROCKY OUTCROPPING
REVEREND HORNE chases after ALICE'S lone figure in the distance.
REVEREND HORNE
Alice, Wait!
HORNE follows after ALICE into a fog ridden rocky outcropping.
REVEREND HORNE (CONT'D)
Alice, I'm sorry. Please forgive me.. Alice!
He makes his way though the twisting labyrinth, straining to see Alice Lane.
CUT TO:
INT. INTERROGATION ROOM
DETECTIVE KANE's jacket rests on the rear of his seat as he leans into its back rest.
His arms are folded across his chest as he watches REVEREND HORNE.
DOCTOR LUMINAL remains guarded as she watches KANE and HORNE.
REVEREND HORNE
I couldn't find her, I swear..
HORNE looks from KANE to LUMINAL pleadingly.
REVEREND HORNE (CONT'D)
I failed her Detective. It was my fault, I should have seen it in time. But I was to caught up in my own problems to realise, what she was telling me.. God forgive me.
DOCTOR LUMINAL
It's okay Derrick. Thank you for telling us.
DETECTIVE KANE
Excuse me Reverend, I need a piss.
KANE walks out of the interrogation room.
CUT TO:
INT. PSYCHIATRIC HOSPITAL, CORRIDOR
Visibly agitated DETECTIVE KANE composes himself as he leans against a wall.
As DOCTOR LUMINAL emerges out into the corridor, KANE looks over to her.
DOCTOR LUMINAL
Kane? Are you alright?
DETECTIVE KANE
No, I'm not. How the hell am I supposed to find her with that.
DOCTOR LUMINAL
I'm sure you'll figure it out.
DETECTIVE KANE
..Maybe.
KANE pushes himself off the wall and proceeds down the corridor.
CUT TO:
EXT. LUXURY HOME - NIGHT
ON SCREEN TITLE - JESSICA COBB'S TALE.
JESSICA COBB moves past a street sign reading 'Redhill Boulevard' as she heads up to the front gate of a luxurious house.
The security guards at the gate check her invitation and she is let through.
She proceeds up the drive way to the large building.
CUT TO:
INT. LUXURY HOME
JESSICA progresses smoothly amongst glamorously dressed people, as she makes her way upstairs with a drink in hand.
As she slinks her way past, JESSICA eyes both men and women provocatively.
Upon reaching the top of the stairs, JESSICA heads outside onto a balcony.
CUT TO:
EXT. LUXURY HOME, BALCONY
ALICE stands leaning against the balcony stone railing looking over a lit swimming pool.
Several large houses dominate the immediate landscape, in front of an expansive city.
JESSICA catches sight of ALICE in her figure hugging blue satin backless dress.
She gazes over her body and moves towards ALICE, as a young couple head past JESSICA inside.
They are completely alone.
JESSICA COBB
Hello.
ALICE peers over her shoulder and notices JESSICA.
ALICE LANE
Hi.
JESSICA comes over to ALICE and leans sideways against the railing facing her.
She becomes transfixed at her beauty.
ALICE shifts uncomfortably under her gaze.
JESSICA COBB
Your very beautiful.
Shyly ALICE turns to JESSICA.
ALICE LANE
..Thank you.. Your pretty as well.
(Shyly)
JESSICA lightly runs her hand over ALICE'S arm; she appears nervous.
JESSICA COBB
So, where do we go from here?
ALICE LANE
Excuse me?
JESSICA smiles mischievously at her.
She places her hand tenderly onto the side of ALICE'S face and she blushes in embarrassment.
JESSICA moves her hand to the back of ALICE'S neck and pulls her towards herself; she kisses her tenderly on the lips before pulling away.
ALICE looks away timidly before returning her gaze into JESSICA'S eyes.
JESSICA takes her hand in hers and pulls her towards the balcony exit.
CUT TO:
EXT. LUXURY HOME, STREET
ALICE leads the way closely followed by JESSICA.
She rounds a corner out of JESSICA'S view and screams.
JESSICA halts in her stride before dashing round the corner to see a Van driving away at speed.
CUT TO:
INT. INTERROGATION ROOM
JESSICA leans forwards in her chair facing DETECTIVE KANE.
DETECTIVE KANE
Do you remember anything unique about the van?
JESSICA COBB
No, I don't. I've had enough of your questions detective
DETECTIVE KANE
Well Jessica, the questions are going to keep on coming. Till I'm satisfied -
JESSICA COBB
How about we do something exciting all three of us, together.
DETECTIVE KANE
What are you talking about?
JESSICA bends towards the table so that her cleavage is on display.
KANE looks away unimpressed.
JESSICA appears disappointed but she turns her attention towards LUMINAL.
JESSICA COBB
How about you? I've seen you with Doctor Sonia Paige. We could have some fun together.
KANE glances back over his shoulder at LUMINAL and sees her blushing slightly.
LUMINAL shifts uncomfortably in her seat.
DOCTOR LUMINAL
No thank you, I'm quite alright.
JESSICA COBB
Maybe later then.
KANE gets up from his chair and presses his fists down onto the table.
He stares hard at JESSICA.
DETECTIVE KANE
Shut up and leave her alone.
LUMINAL glances over at KANE.
DETECTIVE KANE (CONT'D)
And listen to me you hedonistic slut. Answer my questions and you can have all the fun you want.
JESSICA laughs contemptuously at KANE and he moves back from the table clenching his fists.
JESSICA COBB
Is that a promise?
DETECTIVE KANE
If this girl dies, I'm going to relish bringing the full weight of the law down on you.
JESSICA looks upon KANE full of anger and hate.
CUT TO:
EXT. WOODLAND - EVENING
ON SCREEN TITLE - JACK SUMMERS' TALE
JACK SUMMERS emerges from a ramshackle hut situated on the edge of a wood.
He smartens his dark green wool coat and proceeds away from the hut.
CUT TO:
EXT. CARNIVAL
Inside a ticket booth, JACK accepts money and hands over tickets rhythmically to customers.
He gives them little attention until ALICE arrives at his booth, alone.
JACK looks up mesmerised at her exquisiteness, his different coloured eyes stare transfixed.
He nervously makes a gibbering sound.
ALICE is briefly startled at the noise before relaxing.
ALICE LANE
One please.
JACK takes her money and gives ALICE a ticket.
He watches her form disappear under a large banner which has 'Welcome to Redhill Carnival' emblazoned across it.
CUT TO:
I/E. CARNIVAL
JACK follows ALICE discreetly as she comes to a BEARDED LADY dancing a jig.
ALICE watches the LADY with amusement before moving on.
JACK makes a rambling sound that causes ALICE to spin round.
He narrowly manages to hide from her view.
She looks over the crowd of people and attractions before continuing on.
JACK resumes shadowing her.
Upon reaching SHARK BOY'S water tank. ALICE marvels at the spectacle tacking place as the BOY dives though numerous rings.
CUT TO:
INT. ABANDONED OFFICE BUILDING.
JACK SUMMERS, neatly dressed in a suit and long black coat moves with purpose, clutching a short barrelled pump action shotgun.
He heads vigilantly down a wet corridor strewn with debris.
JACK SUMMERS V.O
I knew that the job would be weird one. But I couldn't be prepared for what I was about to face.
Fire embers materialise abruptly out from a hole in the wall causing JACK to dart through an open doorway.
JACK glances behind himself and sees the fire course past.
LISA
Help.
(Strained)
JACK twists round to see LISA suspended in a large water tank.
JACK SUMMERS V.O
Lisa, she was my objective. I had to save her, help her.
JACK SUMMERS
Don't worry I'm not going to hurt you.
LISA
NO, Stay Away From Me. Please, don't touch me.
(Sobbing)
As he moves towards LISA a creature emerges through a large gap in the far left wall.
JACK opens fire with his shotgun into the creature.
DETECTIVE KANE V.O
Stop.
CUT TO BLACK:
I/E. BLACK SCREEN
DETECTIVE KANE V.O
What the hell are you going on about?
CUT TO:
INT. INTERROGATION ROOM
KANE glares at JACK as his hands mimic a shotgun.
JACK SUMMERS
I'm telling you a story aren't I.
(Confused)
DOCTOR LUMINAL
Jack, Kane wants to know about Alice. I'll hear this story later, so -
DETECTIVE KANE
Stay Focused, and tell me what I want to know. Not some fantastical tale about you and Lisa, Okay.
JACK SUMMERS
Are you sure you don't want me finish?
KANE folds his arms over his chest.
DETECTIVE KANE
Yes, please continue telling me about Alice.
CUT TO:
I/E. CARNIVAL
JACK moves after ALICE as she passes by a scantily clad young WOMAN.
ALICE comes to a stop and watches with amazement as the WOMAN performs fire Poi.
JACK does not notice as ALICE begins to head away from the WOMAN.
Upon looking away from the WOMAN, JACK spots ALICE walking off.
Suddenly a bright shaft of white light erupts down from the sky.
The light flickers away leaving a grey skinned ALIEN in its place.
ALICE reels at the sight of the ALIEN and falls backwards.
The ALIEN looks at her with interest before pointing his gangly arm at her.
ALIEN
You, You will make an excellent specimen.
ALICE crawls away from the ALIEN as he approaches her.
JACK marches forwards in their direction
JACK SUMMERS
Leave her alone!
ALICE twists her head round and appreciatively gazes on JACK.
The ALIEN glares at JACK and draws his raygun.
ALIEN
You dare stand against me, human.
JACK sidesteps to the right into an open space and is followed by the ALIEN.
JACK SUMMERS
I won't allow you to hurt her.
A ferris wheel towers over the ALIEN, as he comes to a halt several yards in front of JACK.
Whilst JACK and the ALIEN stare at each other. JACK pulls out a grenade from his coat pocket.
The ALIEN smiles to himself and raises his raygun; he fires simultaneously as JACK dives throwing his grenade.
JACK is grazed across his shoulder as his grenade detonates at the ALIEN'S feet.
He groggily comes to his feet and heads towards ALICE, who rushes up to JACK and wraps her arms around him.
She kisses him just as a bright white light envelops them.
CUT TO:
EXT. OVERGROWN CARPARK - DAY
JACK slowly pulls himself upright and observes that he is in the middle of a carpark. Where grass has sprouted out from numerous holes across it.
He gets to his feet and begins to walk off into the horizon.
CUT TO:
INT. INTERROGATION ROOM
DETECTIVE KANE sits across form JACK SUMMERS.
He pushes his seat backwards and sits forwards resting his arms on the table, whilst DOCTOR LUMINAL looks at them both.
DETECTIVE KANE
Is that it? Aliens took her.
JACK stares at KANE.
JACK SUMMERS
Yes, the damn alien took her. We have to speak to NASA right away -
DOCTOR LUMINAL leans forwards in her chair and rests her arms on her knees.
DETECTIVE KANE
Aliens don't exist!
DOCTOR LUMINAL
You don't know that? Do you know there isn't any more life in the universe?
KANE glares at LUMINAL.
DETECTIVE KANE
No, I don't. Is is okay for me continue?
He turns away from LUMINAL to look at JACK SUMMERS
DETECTIVE KANE (CONT'D)
Where's the car park?
JACK SUMMERS
I don't know, I've never been.
DETECTIVE KANE
Then how could you describe it in such detail?.. Tell me that?
JACK looks distracted as he gazes past KANE and LUMINAL.
DETECTIVE KANE (CONT'D)
Jack, focus. Where was it?
JACK remains deep in thought.
DETECTIVE KANE (CONT'D)
Jack!
(KANE slams his fist on the table)
JACK SUMMERS
I didn't like the wet, bloody textile place. It kept pouring in through the holes
(Whisper)
DETECTIVE KANE
What did you say?
JACK SUMMERS
What?
KANE jumps to his feet knocking his chair onto the floor.
LUMINAL follows suit and guardedly watches KANE'S movements
DETECTIVE KANE
Don't play games with me. I don't' have the patience for it, or the inclination.
He moves round the table and stands next to JACK
DETECTIVE KANE (CONT'D)
Tell me what you said you bastard.
DOCTOR LUMINAL
Kane!
Detective KANE stares menacingly at LUMINAL.
JACK SUMMERS
The Textile place was wet.
KANE snaps his head towards JACK and a moment of realisation crosses over KANE'S features.
CUT TO:
INT. CONFESSION BOOTH
ALICE LANE
..That Man, why should I have to face this burden?
CUT TO:
INT. CONFESSION BOOTH
REVEREND HORNE
I want to bring him home from Redhill Hospital. He's had enough tests..
CUT TO:
I/E. CARNIVAL
JACK watches ALICE discreetly as she walks.
CUT TO:
EXT. LUXURY HOME, STREET
JESSICA rushes round a street corner as a van drives away.
CUT TO:
INT. INTERROGATION ROOM
DETECTIVE KANE
I didn't like the wet, bloody textile place. It kept pouring in through the holes
(Whisper)
CUT TO:
I/E. INTERROGATION ROOM
DOCTOR LUMINAL
What is it?
DETECTIVE KANE
I know what happened to her.
KANE crashes out the interrogation room into the corridor and begins to sprint.
LUMINAL quickly emerges out after DETECTIVE KANE.
Behind LUMINAL JACK SUMMERS transforms into JESSICA COBB, REVERED DERRICK HORNE and reverts back to KAL WAYNE.
DOCTOR LUMINAL O.S
Kane!
KAL WAYNE reaches for the stack of tarot cards, he pulls out the Death card and he TREE OF LIFE CARD.
KAL overlaps the cards.
CUT TO
EXT. TEXTILE FACTORY - DAY
CREDITS BEGIN TO ROLL
KANE pulls up outside the abandoned factory and hastily exits his car.
He glances up at the factory sign 'Redhill Textiles' and runs for the main entrance.
CUT TO:
INT. TEXTILE FACTORY
KANE roams down a wet corridor searching.
DETECTIVE KANE
Alice!.. Alice.
KANE looks through an open doorway before continuing forwards.
DETECTIVE KANE (CONT'D)
Hello!
KANE appears increasingly worried as he progress to a large heavy door.
He yanks the door open and steps inside the room.
DETECTIVE KANE (CONT'D)
My God.. Alice.
FADE TO BLACK.
INT. PSYCHIATRIC HOSPITAL, CORRIDOR - DAY
DOCTOR LUMINAL and DETECTIVE KANE proceed down a long bleak corridor.
KANE carries a briefcase as he walks.
DOCTOR LUMINAL
Detective, I must reiterate the seriousness of his condition.. He's in a delicate state.
DETECTIVE KANE glances over at her.
DETECTIVE KANE
I understand that his welfare comes first to you. But a girl is missing, and he's the only lead I have.
DOCTOR LUMINAL
I know you need to find this girl. But if you go in there and push him, he'll regress and become useless to you.
KANE glares at her.
DETECTIVE KANE
That bastard shouldn't have been let out of his cell. It was one of you, who cleared that arsehole for re-entry into society.
DETECTIVE KANE comes to a standstill and LUMINAL turns to face him.
DETECTIVE KANE (CONT'D)
Do you want me to find her?
DOCTOR LUMINAL
Of course I do.
LUMINAL walks away from KANE and approaches a door.
She peers inside.
KAL WAYNE is sat behind a large table with his head clutched in his hands.
LUMINAL twists round and stares at KANE.
DOCTOR LUMINAL (CONT'D)
Just so you know Detective, I'm the arsehole who released him.
KANE looks away momentarily embarrassed.
DOCTOR LUMINAL (CONT'D)
Wait here.
She opens the nearby door and enters.
CUT TO:
INT. INTERROGATION ROOM
As DOCTOR LUMINAL enters, KAL takes his head out of his hands and looks at her.
KAL WAYNE
Luminal?
DOCTOR LUMINAL
The Detective is here, he wants to ask you some questions.. Do you remember why?
LUMINAL crosses the room and stops in front of KAL.
KAL WAYNE
Yes.. I still don't know where she is.
LUMINAL turns back to the door and opens it part way.
KAL WAYNE (CONT'D)
Where are going? Don't leave me?
DOCTOR LUMINAL
Don't worry I'm staying here.
She leans out the door.
DOCTOR LUMINAL (CONT'D)
Kane.
LUMINAL comes back into the room and stands to the side as DETECTIVE KANE enters.
He makes his way over to a chair sat in front of the table closest to the door.
KANE sits down and opens his case, whilst LUMINAL positions herself on a seat in the corner of the room.
KAL appears restless and troubled as KANE pulls out a case file.
He opens the file and places a photo of ALICE LANE onto the table surface.
KAL looks from KANE to LUMINAL
DOCTOR LUMINAL (CONT'D)
It's alright Kal, just answer his questions.
DETECTIVE KANE
Do you remember her?
KAL sits motionless looking at the picture.
DETECTIVE KANE (CONT'D)
Her name is Alice Lane, surely you recognise her?
KAL returns his gaze onto the DETECTIVE.
DETECTIVE KANE (CONT'D)
You were the last person seen with her.
(He jabs his finger at KAL.)
KAL visibly tenses at this gesture before looking away.
DETECTIVE KANE (CONT'D)
Maybe this will jog your memory.
DETECTIVE KANE pulls out a pack of Tarot cards and places them in front of KAL.
He stares at the cards.
DETECTIVE KANE (CONT'D)
This was the only thing found on you, care to tell me why?
KAL shakes his head and picks up the cards.
DETECTIVE KANE (CONT'D)
Why not?
He revolves the pack in his hands before opening it.
KAL thumbs through the cards and picks out The Moon card.
He places it on the table followed by The Chariot, The Lover and The Hermit.
KAL places the cards in a line directly underneath the Moon card.
KAL WAYNE
Do you like apple pie?
DETECTIVE KANE
Excuse me?
KAL WAYNE
I don't, I prefer blueberry.
DETECTIVE KANE slams the his hand down on the table startling KAL and LUMINAL.
DOCTOR LUMINAL
What are you doing?
KANE glances back at her before returning back to KAL.
KAL WAYNE
I'm scared.
KANE jumps out of his seat knocking it backwards onto the floor.
DETECTIVE KANE
Your scared, what about Alice.
KAL WAYNE
Please I -
DETECTIVE KANE
You took her didn't you Kal?
KANE moves round the table to KAL.
DETECTIVE KANE (CONT'D)
You forced her to go with you. But she didn't want to, so you hurt her.
KAL WAYNE
No.. I didn't.. I can't remember.
DETECTIVE KANE
Where Is She?
KANE pulls KAL'S seat out from under him.
LUMINAL suddenly moves from her chair towards KANE.
As KAL slams down onto the floor, KANE positions himself over him.
DETECTIVE KANE (CONT'D)
Tell Me Where She Is You Bastard.
KAL cowers on the ground.
LUMINAL grabs KANE'S arm and he spins round to face her.
DOCTOR LUMINAL
Outside Now.
CUT TO:
INT. CORRIDOR
DETECTIVE KANE crashes out from the interrogation room closely followed by DOCTOR LUMINAL.
DOCTOR LUMINAL
What the hell is wrong with you?
DETECTIVE KANE
I Have No Time For This, That Girls Life Is At Stake.
DOCTOR LUMINAL
Well Done Detective, thanks to you that girl is going to die.
KANE stares intently at LUMINAL.
DOCTOR LUMINAL (CONT'D)
I'm going to have you escorted from the premises.
DETECTIVE KANE
I have to find out where she is. If you stop me she'll never be found.
DOCTOR LUMINAL
And how do you purpose to do that. Since you couldn't keep your composure, It'll be impossible to talk to Kal now.
DETECTIVE KANE
I'll talk to one of the others then.
DOCTOR LUMINAL
Fine, I'll set it up.
LUMINAL turns away from KANE and looks back towards KAL.
CUT TO:
INT. CHURCH - EVENING
ON SCREEN TITLE - REV. HORNE'S TALE
O.S SFX. - Rain
REVEREND DERRICK HORNE is sitting on a church pew, deep in thought. Alongside him rests a paper, its headline reads 'Priest's Son Diagnosed With Autism'.
HORNE appears deeply tormented and restless.
The sound of the church door opening breaks HORNE from his brooding state.
He turns to see ALICE LANE entering the church, whose clothes are soaked through.
ALICE stands hesitantly in the main aisle.
REVEREND HORNE
Do you want something?
She timidly moves forwards, leaving a trail of water behind her on the floor.
ALICE LANE
Father -
REVEREND HORNE
I'm not doing confession tonight.
REVEREND HORNE turns his back to ALICE and resumes his sullen posture.
ALICE is clearly shaken at HORNE'S tone and demeanour.
She glances back towards the church door and looks back at HORNE.
Alice slowly approaches Reverend Horne.
ALICE LANE
Please, Father.. I need help.
Horne reluctantly faces her as she comes to a standstill beside him.
He gets up from his seat and proceeds into the confession booth.
ALICE follows his movements before heading into the adjacent booth.
CUT TO:
I/E. CONFESSION BOOTH & CHURCH INTERIOR
REVEREND HORNE
What is it my child?
ALICE shifts uneasily on her seat.
ALICE LANE
..I ..
She wipes tears away from her eyes.
REVEREND HORNE remains silent behind the curtain separating the opening in the booths.
ALICE LANE (CONT'D)
..This is.. Difficult for me, Father.
REVEREND HORNE
Take your time.
ALICE takes a deep breath.
ALICE LANE
I haven't spoken to anyone about this.. Why did it have to happen?
She glances in HORNE'S direction.
ALICE LANE (CONT'D)
I don't understand.. Why did God allow this?
REVEREND HORNE appears troubled and distracted.
ALICE LANE (CONT'D)
..That Man, why should I have to face this burden?
HORNE isn't paying attention.
ALICE LANE (CONT'D)
Does God not recognise my pain?
HORNE looks agitated as he catches ALICE'S final question.
ALICE LANE (CONT'D)
..Father?
REVEREND HORNE opens the curtain and stares at ALICE.
REVEREND HORNE
Pain. You don't know pain, child.
ALICE LANE looks across at HORNE amazed at his outburst.
REVEREND HORNE (CONT'D)
My Son Is Autistic, he'll never lead a normal life.. Why him, why me. His life will be a constant struggle, I want to bring him home from Redhill Hospital. He's had enough tests.. He'll never get better.. My faith, hasn't done me any good, and it won't for you.
ALICE turns away from him and slams out the confession booth.
She removes a crucifix from around her neck and hangs it on the edge of a pew.
ALICE runs straight out the church wiping her tears from her eyes as she leaves.
CUT TO:
I/E. CONFESSION BOOTH & CHURCH INTERIOR
REVEREND HORNE is slumped against the back of the confession booth wall.
A dawning realisation crosses over his features and he hurriedly exits the booth.
HORNE catches sight of ALICE'S crucifix necklace and lifts it of the pew; he contemplates it for a moment before looking in the direction of the church entrance.
He starts to run towards it.
CUT TO:
EXT. ROCKY OUTCROPPING
REVEREND HORNE chases after ALICE'S lone figure in the distance.
REVEREND HORNE
Alice, Wait!
HORNE follows after ALICE into a fog ridden rocky outcropping.
REVEREND HORNE (CONT'D)
Alice, I'm sorry. Please forgive me.. Alice!
He makes his way though the twisting labyrinth, straining to see Alice Lane.
CUT TO:
INT. INTERROGATION ROOM
DETECTIVE KANE's jacket rests on the rear of his seat as he leans into its back rest.
His arms are folded across his chest as he watches REVEREND HORNE.
DOCTOR LUMINAL remains guarded as she watches KANE and HORNE.
REVEREND HORNE
I couldn't find her, I swear..
HORNE looks from KANE to LUMINAL pleadingly.
REVEREND HORNE (CONT'D)
I failed her Detective. It was my fault, I should have seen it in time. But I was to caught up in my own problems to realise, what she was telling me.. God forgive me.
DOCTOR LUMINAL
It's okay Derrick. Thank you for telling us.
DETECTIVE KANE
Excuse me Reverend, I need a piss.
KANE walks out of the interrogation room.
CUT TO:
INT. PSYCHIATRIC HOSPITAL, CORRIDOR
Visibly agitated DETECTIVE KANE composes himself as he leans against a wall.
As DOCTOR LUMINAL emerges out into the corridor, KANE looks over to her.
DOCTOR LUMINAL
Kane? Are you alright?
DETECTIVE KANE
No, I'm not. How the hell am I supposed to find her with that.
DOCTOR LUMINAL
I'm sure you'll figure it out.
DETECTIVE KANE
..Maybe.
KANE pushes himself off the wall and proceeds down the corridor.
CUT TO:
EXT. LUXURY HOME - NIGHT
ON SCREEN TITLE - JESSICA COBB'S TALE.
JESSICA COBB moves past a street sign reading 'Redhill Boulevard' as she heads up to the front gate of a luxurious house.
The security guards at the gate check her invitation and she is let through.
She proceeds up the drive way to the large building.
CUT TO:
INT. LUXURY HOME
JESSICA progresses smoothly amongst glamorously dressed people, as she makes her way upstairs with a drink in hand.
As she slinks her way past, JESSICA eyes both men and women provocatively.
Upon reaching the top of the stairs, JESSICA heads outside onto a balcony.
CUT TO:
EXT. LUXURY HOME, BALCONY
ALICE stands leaning against the balcony stone railing looking over a lit swimming pool.
Several large houses dominate the immediate landscape, in front of an expansive city.
JESSICA catches sight of ALICE in her figure hugging blue satin backless dress.
She gazes over her body and moves towards ALICE, as a young couple head past JESSICA inside.
They are completely alone.
JESSICA COBB
Hello.
ALICE peers over her shoulder and notices JESSICA.
ALICE LANE
Hi.
JESSICA comes over to ALICE and leans sideways against the railing facing her.
She becomes transfixed at her beauty.
ALICE shifts uncomfortably under her gaze.
JESSICA COBB
Your very beautiful.
Shyly ALICE turns to JESSICA.
ALICE LANE
..Thank you.. Your pretty as well.
(Shyly)
JESSICA lightly runs her hand over ALICE'S arm; she appears nervous.
JESSICA COBB
So, where do we go from here?
ALICE LANE
Excuse me?
JESSICA smiles mischievously at her.
She places her hand tenderly onto the side of ALICE'S face and she blushes in embarrassment.
JESSICA moves her hand to the back of ALICE'S neck and pulls her towards herself; she kisses her tenderly on the lips before pulling away.
ALICE looks away timidly before returning her gaze into JESSICA'S eyes.
JESSICA takes her hand in hers and pulls her towards the balcony exit.
CUT TO:
EXT. LUXURY HOME, STREET
ALICE leads the way closely followed by JESSICA.
She rounds a corner out of JESSICA'S view and screams.
JESSICA halts in her stride before dashing round the corner to see a Van driving away at speed.
CUT TO:
INT. INTERROGATION ROOM
JESSICA leans forwards in her chair facing DETECTIVE KANE.
DETECTIVE KANE
Do you remember anything unique about the van?
JESSICA COBB
No, I don't. I've had enough of your questions detective
DETECTIVE KANE
Well Jessica, the questions are going to keep on coming. Till I'm satisfied -
JESSICA COBB
How about we do something exciting all three of us, together.
DETECTIVE KANE
What are you talking about?
JESSICA bends towards the table so that her cleavage is on display.
KANE looks away unimpressed.
JESSICA appears disappointed but she turns her attention towards LUMINAL.
JESSICA COBB
How about you? I've seen you with Doctor Sonia Paige. We could have some fun together.
KANE glances back over his shoulder at LUMINAL and sees her blushing slightly.
LUMINAL shifts uncomfortably in her seat.
DOCTOR LUMINAL
No thank you, I'm quite alright.
JESSICA COBB
Maybe later then.
KANE gets up from his chair and presses his fists down onto the table.
He stares hard at JESSICA.
DETECTIVE KANE
Shut up and leave her alone.
LUMINAL glances over at KANE.
DETECTIVE KANE (CONT'D)
And listen to me you hedonistic slut. Answer my questions and you can have all the fun you want.
JESSICA laughs contemptuously at KANE and he moves back from the table clenching his fists.
JESSICA COBB
Is that a promise?
DETECTIVE KANE
If this girl dies, I'm going to relish bringing the full weight of the law down on you.
JESSICA looks upon KANE full of anger and hate.
CUT TO:
EXT. WOODLAND - EVENING
ON SCREEN TITLE - JACK SUMMERS' TALE
JACK SUMMERS emerges from a ramshackle hut situated on the edge of a wood.
He smartens his dark green wool coat and proceeds away from the hut.
CUT TO:
EXT. CARNIVAL
Inside a ticket booth, JACK accepts money and hands over tickets rhythmically to customers.
He gives them little attention until ALICE arrives at his booth, alone.
JACK looks up mesmerised at her exquisiteness, his different coloured eyes stare transfixed.
He nervously makes a gibbering sound.
ALICE is briefly startled at the noise before relaxing.
ALICE LANE
One please.
JACK takes her money and gives ALICE a ticket.
He watches her form disappear under a large banner which has 'Welcome to Redhill Carnival' emblazoned across it.
CUT TO:
I/E. CARNIVAL
JACK follows ALICE discreetly as she comes to a BEARDED LADY dancing a jig.
ALICE watches the LADY with amusement before moving on.
JACK makes a rambling sound that causes ALICE to spin round.
He narrowly manages to hide from her view.
She looks over the crowd of people and attractions before continuing on.
JACK resumes shadowing her.
Upon reaching SHARK BOY'S water tank. ALICE marvels at the spectacle tacking place as the BOY dives though numerous rings.
CUT TO:
INT. ABANDONED OFFICE BUILDING.
JACK SUMMERS, neatly dressed in a suit and long black coat moves with purpose, clutching a short barrelled pump action shotgun.
He heads vigilantly down a wet corridor strewn with debris.
JACK SUMMERS V.O
I knew that the job would be weird one. But I couldn't be prepared for what I was about to face.
Fire embers materialise abruptly out from a hole in the wall causing JACK to dart through an open doorway.
JACK glances behind himself and sees the fire course past.
LISA
Help.
(Strained)
JACK twists round to see LISA suspended in a large water tank.
JACK SUMMERS V.O
Lisa, she was my objective. I had to save her, help her.
JACK SUMMERS
Don't worry I'm not going to hurt you.
LISA
NO, Stay Away From Me. Please, don't touch me.
(Sobbing)
As he moves towards LISA a creature emerges through a large gap in the far left wall.
JACK opens fire with his shotgun into the creature.
DETECTIVE KANE V.O
Stop.
CUT TO BLACK:
I/E. BLACK SCREEN
DETECTIVE KANE V.O
What the hell are you going on about?
CUT TO:
INT. INTERROGATION ROOM
KANE glares at JACK as his hands mimic a shotgun.
JACK SUMMERS
I'm telling you a story aren't I.
(Confused)
DOCTOR LUMINAL
Jack, Kane wants to know about Alice. I'll hear this story later, so -
DETECTIVE KANE
Stay Focused, and tell me what I want to know. Not some fantastical tale about you and Lisa, Okay.
JACK SUMMERS
Are you sure you don't want me finish?
KANE folds his arms over his chest.
DETECTIVE KANE
Yes, please continue telling me about Alice.
CUT TO:
I/E. CARNIVAL
JACK moves after ALICE as she passes by a scantily clad young WOMAN.
ALICE comes to a stop and watches with amazement as the WOMAN performs fire Poi.
JACK does not notice as ALICE begins to head away from the WOMAN.
Upon looking away from the WOMAN, JACK spots ALICE walking off.
Suddenly a bright shaft of white light erupts down from the sky.
The light flickers away leaving a grey skinned ALIEN in its place.
ALICE reels at the sight of the ALIEN and falls backwards.
The ALIEN looks at her with interest before pointing his gangly arm at her.
ALIEN
You, You will make an excellent specimen.
ALICE crawls away from the ALIEN as he approaches her.
JACK marches forwards in their direction
JACK SUMMERS
Leave her alone!
ALICE twists her head round and appreciatively gazes on JACK.
The ALIEN glares at JACK and draws his raygun.
ALIEN
You dare stand against me, human.
JACK sidesteps to the right into an open space and is followed by the ALIEN.
JACK SUMMERS
I won't allow you to hurt her.
A ferris wheel towers over the ALIEN, as he comes to a halt several yards in front of JACK.
Whilst JACK and the ALIEN stare at each other. JACK pulls out a grenade from his coat pocket.
The ALIEN smiles to himself and raises his raygun; he fires simultaneously as JACK dives throwing his grenade.
JACK is grazed across his shoulder as his grenade detonates at the ALIEN'S feet.
He groggily comes to his feet and heads towards ALICE, who rushes up to JACK and wraps her arms around him.
She kisses him just as a bright white light envelops them.
CUT TO:
EXT. OVERGROWN CARPARK - DAY
JACK slowly pulls himself upright and observes that he is in the middle of a carpark. Where grass has sprouted out from numerous holes across it.
He gets to his feet and begins to walk off into the horizon.
CUT TO:
INT. INTERROGATION ROOM
DETECTIVE KANE sits across form JACK SUMMERS.
He pushes his seat backwards and sits forwards resting his arms on the table, whilst DOCTOR LUMINAL looks at them both.
DETECTIVE KANE
Is that it? Aliens took her.
JACK stares at KANE.
JACK SUMMERS
Yes, the damn alien took her. We have to speak to NASA right away -
DOCTOR LUMINAL leans forwards in her chair and rests her arms on her knees.
DETECTIVE KANE
Aliens don't exist!
DOCTOR LUMINAL
You don't know that? Do you know there isn't any more life in the universe?
KANE glares at LUMINAL.
DETECTIVE KANE
No, I don't. Is is okay for me continue?
He turns away from LUMINAL to look at JACK SUMMERS
DETECTIVE KANE (CONT'D)
Where's the car park?
JACK SUMMERS
I don't know, I've never been.
DETECTIVE KANE
Then how could you describe it in such detail?.. Tell me that?
JACK looks distracted as he gazes past KANE and LUMINAL.
DETECTIVE KANE (CONT'D)
Jack, focus. Where was it?
JACK remains deep in thought.
DETECTIVE KANE (CONT'D)
Jack!
(KANE slams his fist on the table)
JACK SUMMERS
I didn't like the wet, bloody textile place. It kept pouring in through the holes
(Whisper)
DETECTIVE KANE
What did you say?
JACK SUMMERS
What?
KANE jumps to his feet knocking his chair onto the floor.
LUMINAL follows suit and guardedly watches KANE'S movements
DETECTIVE KANE
Don't play games with me. I don't' have the patience for it, or the inclination.
He moves round the table and stands next to JACK
DETECTIVE KANE (CONT'D)
Tell me what you said you bastard.
DOCTOR LUMINAL
Kane!
Detective KANE stares menacingly at LUMINAL.
JACK SUMMERS
The Textile place was wet.
KANE snaps his head towards JACK and a moment of realisation crosses over KANE'S features.
CUT TO:
INT. CONFESSION BOOTH
ALICE LANE
..That Man, why should I have to face this burden?
CUT TO:
INT. CONFESSION BOOTH
REVEREND HORNE
I want to bring him home from Redhill Hospital. He's had enough tests..
CUT TO:
I/E. CARNIVAL
JACK watches ALICE discreetly as she walks.
CUT TO:
EXT. LUXURY HOME, STREET
JESSICA rushes round a street corner as a van drives away.
CUT TO:
INT. INTERROGATION ROOM
DETECTIVE KANE
I didn't like the wet, bloody textile place. It kept pouring in through the holes
(Whisper)
CUT TO:
I/E. INTERROGATION ROOM
DOCTOR LUMINAL
What is it?
DETECTIVE KANE
I know what happened to her.
KANE crashes out the interrogation room into the corridor and begins to sprint.
LUMINAL quickly emerges out after DETECTIVE KANE.
Behind LUMINAL JACK SUMMERS transforms into JESSICA COBB, REVERED DERRICK HORNE and reverts back to KAL WAYNE.
DOCTOR LUMINAL O.S
Kane!
KAL WAYNE reaches for the stack of tarot cards, he pulls out the Death card and he TREE OF LIFE CARD.
KAL overlaps the cards.
CUT TO
EXT. TEXTILE FACTORY - DAY
CREDITS BEGIN TO ROLL
KANE pulls up outside the abandoned factory and hastily exits his car.
He glances up at the factory sign 'Redhill Textiles' and runs for the main entrance.
CUT TO:
INT. TEXTILE FACTORY
KANE roams down a wet corridor searching.
DETECTIVE KANE
Alice!.. Alice.
KANE looks through an open doorway before continuing forwards.
DETECTIVE KANE (CONT'D)
Hello!
KANE appears increasingly worried as he progress to a large heavy door.
He yanks the door open and steps inside the room.
DETECTIVE KANE (CONT'D)
My God.. Alice.
FADE TO BLACK.
Casting
I have emailed the final bunch of actors asking them to come in for audition, next week. We decided previously that we would cast Pearl Legay Clarke based on the huge strength of her professional work in the industry, and after emailing her today I am pleased to confirm she is cast in the role of dr luminal.
I am currently discussing how to minimise peter clatworthy's costs as he is keen to take the role of the hermit and is another actor with alot of professional work in the industry and would be a bonus to our project.
I am currently discussing how to minimise peter clatworthy's costs as he is keen to take the role of the hermit and is another actor with alot of professional work in the industry and would be a bonus to our project.
film score composition
I have started the process of composing the soundtrack with our main composer Josh. I have emailed him with a guide to the meaning for the music for each sequence of fracture & will hear back from hin with his opinions on how to achieve the audio & music style as well as him sending me an early test composition in the next week to see if we are both thinking the same way musically
No worries wouldnt head to anyone else first for composing man!
and you cant be an extra cos we dont have any crowd scenes :P but i can certainly make you an animated extra in one of the animated sections...how about that eyyyy ;)
so far the composition as i can imagine it, will be:
starting titles - who is she_Imonster your remix/cut/version this with undertones of dark sounding synth/bass
interview scenes in hospital
very understated music that builds an uneasy atmosphere http://www.youtube.com/watch?v=i4nnDwyc4PU thinking kind of UNKLE's stuff for Sexy Beast/ Hans zimmers recent electronical scores (dark knight etc.) http://www.youtube.com/watch?v=znBnZaWabdw&feature=related
http://www.youtube.com/watch?v=iKMkhMjLQCk&feature=related (williamson & kolbike - midnight meat train)
http://www.youtube.com/watch?v=lNOov8Njf7o (music for marcel duchamp)
Reverends story
the rev.s story is the intro animation story, the music could be kind of meditative/dreamy
http://www.youtube.com/watch?v=BqwqguIuU2Q&feature=related
http://www.youtube.com/watch?v=v8EqhO7s1J8&feature=related
http://www.youtube.com/watch?v=tun_Ot5VtN0&feature=related
http://www.youtube.com/watch?v=9TRskpDol_4&feature=related
lovers story
the Lovers/jessica's story is set in a glamorous location, she is a very sexual character but there is something dark about her. this should dictate the music = the music might be sampling sultry female noises or vocals? you will have better ideas on how to get this kind of track (without it ending up sounding like porn music!)
Luther titles/ massive attack
http://www.youtube.com/watch?v=m_Qg1pQSOa0
heaven- Imonster
http://www.youtube.com/watch?v=VS3Jk4rh33A
Hermits story
the hermits story is the most light hearted story in the film & his imagination runs wild with alien abductions and such...this means maybe a pastiche/influence from old fashioned sci-fi pieces (dramatic chords, use of a theremin?). this is the most playful section for music and can include action movie style music as well as sci-fi & comedic music
final revelations/ending
the ending is fast in pace and dramatic once again this should dictate the pace and drama of the music for this part of the film
james newton howard - the fugitive
http://www.youtube.com/watch?v=VaxFOA5B6lQ&feature=player_embedded#!
Edward sheamur
http://www.youtube.com/watch?v=X8j9H7h89is&feature=related
--------------------------------------------------------------------------------
From: povlja@hotmail.co.uk
To: ricardo_blanco@hotmail.co.uk
Subject: RE:
Date: Tue, 18 Jan 2011 18:45:56 +0000
Thanks for this! Currently skimming slowly through. Do you want short skits/sounds through it all, as well as actual pieces of music? Or just actual pieces of music at the right time? Yeah, I'll definitely have to SEE first so I can get the feel of what I'll be writing too. But from what I'm reading it sounds like it should be dark/mysterious. More electronic than acoustic. So I'll be working on computer based instruments more than actual instruments.
...Currently on my music programs now conjuring up some stuff. If I sent you a little piece of music when I've done with it. Could you tell me IF this is the kind of thing you'd want for it OR if it sounds too music program-y (A bit cheesy - If you get what I mean)
Looking forward to be a part of it. Cheers Richard for saving me from deadly boredom aha.
Can I be an extra? (Yokes)
Ciao for now and let me know when you want to hear what I'm coming up with.
No worries wouldnt head to anyone else first for composing man!
and you cant be an extra cos we dont have any crowd scenes :P but i can certainly make you an animated extra in one of the animated sections...how about that eyyyy ;)
so far the composition as i can imagine it, will be:
starting titles - who is she_Imonster your remix/cut/version this with undertones of dark sounding synth/bass
interview scenes in hospital
very understated music that builds an uneasy atmosphere http://www.youtube.com/watch?v=i4nnDwyc4PU thinking kind of UNKLE's stuff for Sexy Beast/ Hans zimmers recent electronical scores (dark knight etc.) http://www.youtube.com/watch?v=znBnZaWabdw&feature=related
http://www.youtube.com/watch?v=iKMkhMjLQCk&feature=related (williamson & kolbike - midnight meat train)
http://www.youtube.com/watch?v=lNOov8Njf7o (music for marcel duchamp)
Reverends story
the rev.s story is the intro animation story, the music could be kind of meditative/dreamy
http://www.youtube.com/watch?v=BqwqguIuU2Q&feature=related
http://www.youtube.com/watch?v=v8EqhO7s1J8&feature=related
http://www.youtube.com/watch?v=tun_Ot5VtN0&feature=related
http://www.youtube.com/watch?v=9TRskpDol_4&feature=related
lovers story
the Lovers/jessica's story is set in a glamorous location, she is a very sexual character but there is something dark about her. this should dictate the music = the music might be sampling sultry female noises or vocals? you will have better ideas on how to get this kind of track (without it ending up sounding like porn music!)
Luther titles/ massive attack
http://www.youtube.com/watch?v=m_Qg1pQSOa0
heaven- Imonster
http://www.youtube.com/watch?v=VS3Jk4rh33A
Hermits story
the hermits story is the most light hearted story in the film & his imagination runs wild with alien abductions and such...this means maybe a pastiche/influence from old fashioned sci-fi pieces (dramatic chords, use of a theremin?). this is the most playful section for music and can include action movie style music as well as sci-fi & comedic music
final revelations/ending
the ending is fast in pace and dramatic once again this should dictate the pace and drama of the music for this part of the film
james newton howard - the fugitive
http://www.youtube.com/watch?v=VaxFOA5B6lQ&feature=player_embedded#!
Edward sheamur
http://www.youtube.com/watch?v=X8j9H7h89is&feature=related
--------------------------------------------------------------------------------
From: povlja@hotmail.co.uk
To: ricardo_blanco@hotmail.co.uk
Subject: RE:
Date: Tue, 18 Jan 2011 18:45:56 +0000
Thanks for this! Currently skimming slowly through. Do you want short skits/sounds through it all, as well as actual pieces of music? Or just actual pieces of music at the right time? Yeah, I'll definitely have to SEE first so I can get the feel of what I'll be writing too. But from what I'm reading it sounds like it should be dark/mysterious. More electronic than acoustic. So I'll be working on computer based instruments more than actual instruments.
...Currently on my music programs now conjuring up some stuff. If I sent you a little piece of music when I've done with it. Could you tell me IF this is the kind of thing you'd want for it OR if it sounds too music program-y (A bit cheesy - If you get what I mean)
Looking forward to be a part of it. Cheers Richard for saving me from deadly boredom aha.
Can I be an extra? (Yokes)
Ciao for now and let me know when you want to hear what I'm coming up with.
Tuesday, 18 January 2011
Monday, 17 January 2011
script update
our final script has been completed by Callum and I have sent it to kiara and asked her to update the actors with the revised script.
the characters stories have been fleshed out and the link between the tales that allows the detective to crack the case has been improved. The hermits wilder story gives us alot to play around with visually in animation, plus the addition of alien effects/ explosions etc will allow us to use particle animation/ compositing techniques.
14/01/2011
From:ricardo_blanco@hotmail.co.uk
To: Callum Hogg
cheers callum, the scripts really good, and having it early will help us with casting so much thanks!
:)!
--------------------------------------------------------------------------------
From: callumhogg@hotmail.com
To: ricardo_blanco@hotmail.co.uk
Date: Thu, 13 Jan 2011 14:12:08 +0000
Hi there attached is the complete first draft of Fracture plus the location list.
the characters stories have been fleshed out and the link between the tales that allows the detective to crack the case has been improved. The hermits wilder story gives us alot to play around with visually in animation, plus the addition of alien effects/ explosions etc will allow us to use particle animation/ compositing techniques.
14/01/2011
From:ricardo_blanco@hotmail.co.uk
To: Callum Hogg
cheers callum, the scripts really good, and having it early will help us with casting so much thanks!
:)!
--------------------------------------------------------------------------------
From: callumhogg@hotmail.com
To: ricardo_blanco@hotmail.co.uk
Date: Thu, 13 Jan 2011 14:12:08 +0000
Hi there attached is the complete first draft of Fracture plus the location list.
final audition list email
From: rich white (ricardo_blanco@hotmail.co.uk)
Sent: 15 January 2011 19:22:45
To: Kiara Michelini (princesskiara@hotmail.co.uk)
--------------------------------------------------------------------------------
http://www.StarNow.co.uk/davidjameshopper - audition (dt. kane or rev.)
http://www.StarNow.co.uk/pearllegayclarke - hopefully cast (dr luminal)
http://www.starnow.co.uk/lucakane - audition (alice/luminal?)
http://www.StarNow.co.uk/PhilRoutledge1972 - audition (rev.)
http://www.starnow.co.uk/AlanHawdon - audition (Kal)
http://www.StarNow.co.uk/samanthamoorhouse - audition (alice/lover)
http://www.starnow.co.uk/simoncraig - audition (for a fire poi character not main character)
http://www.StarNow.co.uk/simonmanley - audition (dt. kane)
http://www.starnow.co.uk/NadineJ - audition (dr luminal)
http://www.starnow.co.uk/Clatters - cast (Hermit... would depend on travel costs)
http://www.starnow.co.uk/StephBurton21 - audition (lover)
http://www.starnow.co.uk/georgem67150 - cast (kal/ dt kane ....would depend on his costs)
we still will try and cast john grundy as the hermit if clatters costs are high
Sent: 15 January 2011 19:22:45
To: Kiara Michelini (princesskiara@hotmail.co.uk)
--------------------------------------------------------------------------------
http://www.StarNow.co.uk/davidjameshopper - audition (dt. kane or rev.)
http://www.StarNow.co.uk/pearllegayclarke - hopefully cast (dr luminal)
http://www.starnow.co.uk/lucakane - audition (alice/luminal?)
http://www.StarNow.co.uk/PhilRoutledge1972 - audition (rev.)
http://www.starnow.co.uk/AlanHawdon - audition (Kal)
http://www.StarNow.co.uk/samanthamoorhouse - audition (alice/lover)
http://www.starnow.co.uk/simoncraig - audition (for a fire poi character not main character)
http://www.StarNow.co.uk/simonmanley - audition (dt. kane)
http://www.starnow.co.uk/NadineJ - audition (dr luminal)
http://www.starnow.co.uk/Clatters - cast (Hermit... would depend on travel costs)
http://www.starnow.co.uk/StephBurton21 - audition (lover)
http://www.starnow.co.uk/georgem67150 - cast (kal/ dt kane ....would depend on his costs)
we still will try and cast john grundy as the hermit if clatters costs are high
I have started organising definite scheduling for the production of Fracture after talks with crew members, so far the schedule is
25th 28th january = final auditions and role casting
5th-24th february = live action shooting
later this week we plan to shoot a footage test for use in the title sequence, I have asked our 2nd camera operator Ben to shoot it using my newly acquired fig rig, to see how smooth a 'floating' camera shot over a large cluttered desk will be. we will then compoiste a rough title seq. mock up to composite over the shot.
25th 28th january = final auditions and role casting
5th-24th february = live action shooting
later this week we plan to shoot a footage test for use in the title sequence, I have asked our 2nd camera operator Ben to shoot it using my newly acquired fig rig, to see how smooth a 'floating' camera shot over a large cluttered desk will be. we will then compoiste a rough title seq. mock up to composite over the shot.
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