Cold and it's 98.46 % completion, or something

It's been hard to write about Cold until it's almost finished. I did originally say that I would post regular updates charting the film's progress, and I haven't exactly followed through on that, but for those of you who have been asking and patiently waiting for some form of progress report, I will claim a form of temporary anti-blogging madness.
It's been quite a journey to bring Cold this far, and I'm actually a little overwhelmed at how it has gone and how it managed to get here thus far. At this present moment, the time of writing as it's appropriate to say, the film is about 98% complete. The film has been written, organised, shot, dragged through post production, edited, re-edited, re-re-edited, had a sound design, been graded, been re-edited, had a score written, then been graded again, and had the sound design and final sound mix completed. Now all that is left is for the final sound mix to be synched up with the final image and then for the credit sequences to be designed with some little VFX shots. Then of course, we have the trailer, the posters, the marketing promotional materials, the festival circuit to navigate, the right distributors to excite, the festivals, the screenings, the cinema.....oh dear.....




This blog is interspersed with random stills of behind the scenes. There is no coherent pattern. Just so you're aware.



There is a massive amount of work that goes into making a film, that is making a film in the correct manner. Previously I have done the vast majority of the film's workload myself, from making the actual film to the editing and grading and sound mix, with the exception of the music, as my good compadre Kevin Whyms, and the lads from Evora, namely Alan Rickard have always created and provided exceptional music. This film is very different, I got the pleasure of working with a wonderful editor in Vicky Tooms, who painstakingly spent over 3 months editing the film's scenes to a tea, and you would be surprised (if you have never been involved in a film's process), how much of a difference an extra second or two of a look, or an extra line, or removing a line, or speeding up a scene, can make. In the context of a 90 minute film all these tiny subtle differences add up to something huge. Vicky put her heart and soul into the film to the point that I think she may know the film as well if not better than I do at this stage, and together I think we created an edit which is pretty much as perfect as it can be for this film. It took a while, we went through some early edits that were over 2 hours and 20 minutes long, and after some test screenings (more on these later), we managed to get the right pacing and balance within the film and cut it down to just shy of 85 minutes. The remarkable thing is that initially I was aggressively opposed to the idea of cutting certain scenes, such as one of my favourite ones with myself and Tom, and a whole entire plot strand with a wonderful actor and dear friend, and other scenes and actors and friends and musicians who did me a huge favour in the first place, but once they were cut the film took shape and you wondered how they might have actually fit in to the story in the first place. Which means that we found the right balance. I did have to make hard decisions, and there is over 60 minutes of film and scenes that is simply not in the film, so I will find a way of getting them onto the deleted scenes. Anyway, I have digressed again. Vicky did a remarkable job, and so a few days ago when I showed her the final film with grade and sound mix she was blown away and ecstatic with joy, which was a huge relief as she had not seen the last 7 weeks of work since she let go of her edit and passed if on to the sound, music and colour grading....




The wonderful thing about making films in my experience, and this one has been no exception, although it has been the most enjoyable project that I have ever had the fortune to make, is the people you meet, work with and become friends with. I never knew Vicky, the editor, Ian Di Bri, the colour grader and post production man of extraordinary capabilities, and Nicolas Paul aka Chips who has done such a remarkable job on the sound design.



It is at this point that I have begun to realise that this blog is in danger of becoming a eulogy to those involved in making the film so if that holds no interest for you then I suggest that you skip to the last paragraph, have a gander at a few photos and watch myself and Tom's little video. I will judge you eternally if you do that however. So don't.

Ian, has now become a good friend of mine, he doesn't know it yet of course, and he may disagree but he's actually not a bad bloke and grows on you like a solid stale pint of lager. You just don't quite realise how much you actually enjoy it even though you fight it a little. Ian has done a wicked job on the colouring of Cold, adjusting the aspect ratio, and all in all polishing the film until it actually looks like a film, and without his expertise the film simply wouldn't be what it is. It helps that he listens to me sometimes, or least pretends to. Either way we seem to get on well enough and with his help the film now looks like the beautiful piece of art that I think it should be, and hopefully is. I think so anyway, and that's all that matters. Seriously.




The score. The music. I don't know what to say about it actually, I just want to post one of the songs, or even 30 seconds of it, which I maybe will do just for the Cold Supporters, because Kevin Whyms has created a truly exceptional soundtrack. I mean this with absolutely no exaggeration. When we were editing the film we found it very difficult to find the right temporary music that would fit the tone of this film as it veers from beauty to violence, to mystery, to sadness, to fear, to intrigue, to cold blooded disdain mixed with deep love. So finding the appropriate musical score was, suffice to say, fucking hard. I had planned on using much of Evora's new album, which is a work of art itself, but once Kevin began writing, the entire tone changed. We re-edited sections of the film based on his music such was it's power and beauty. He has created a film score that really has to be heard to appreciate how good it is, and as always I am indebted to his genius. Maybe I will put up a little something for you guys soon....Of course in addition to his music, there are the best songs from Evora there too, which will hit the spot....just wait.




It is the sound design which I am most excited about however. I had never met 'Chips' before, despite the fact that he worked on Merlin doing the sound design for the last few years. It's a strange quirk of acting that you never actually really mingle or meet the post production side of the screen, which is actually the biggest part of it. Once the filming has been done the hard work really begins. So in a bizarre twist of fate I was drawn to Chips via his wonderful wife, Carmen, who found me on twitter. We began communicating on blogs and eventually I gave her the script, she loved it, brought Chips on board, who thankfully also loved it, and so began a journey that began with me meeting the two of them for the first time last Autumn for a drink - myself and Carmen had only ever spoken on email or twitter up to that point - and culminated in a final sound mixing session in a studio in Soho last friday. It really is remarkable when you think of it like that, and for me that epitomises how this film has come to fruition. I have been lucky enough to now count Chips and Carmen as good friends, although like Ian, and probably Vicky they may dispute that publicly, but I know deep down that they harbour a vague soft spot for me as I do for them, much like an over ripe peach. Anyway. Carmen has cleaned up the dialogue, painstakingly fixing any aberrations, and creating a foley bed with Chips, who I should mention is her husband, that has given the film a breadth of depth and richness that I had never even imagined when we were filming. So I am still in shock as to the job that they have done. Chips then went a bit mental. He was a being respectful and careful initially with the sound design until I informed him that I wanted the crazy to be brought into the film more. He really took that to heart! The result is a sound design, that has needed no ADR (additional dialogue recording - which is unheard of in making a film, and this is because the sound recording of Henry Milliner is simply perfect, he has no peers this guy), and is quite simply perfect. Chips and Carmen have created a world of sound that has brought the images to life in such a way that I can only describe as excitingly exhilarating.

I actually don't feel that I have gone overboard here to be honest. I may have to commend them all some more.

So to finish this rather epic blog - just wait til I get to the actual blog on filming and post some more behind the scenes stuff - the film is almost done. So close, and yet from a cinema and viewing perspective, so far....I know that this will simply whet your appetites and make the anticipation worse, but trust me when I say that it will be worth it....and by the way, THANK YOU, for all your support from the beginning and to this point with your enthusiasm at the conventions, and on twitter....it has meant an awful lot, and from the bottom of my heart it has been genuinely inspiring to not be on this film journey alone but to have you guys along too, and I am really excited for you all to finally see it....




The bizarre thing about all of these photos that you see on the blog, is that they are all from the initial filming block in August, which was prior to the Indiegogo campaign and before any of you reading this had any knowledge of the existence of Cold. The interesting thing is that there is never any photos of the people behind post production, so unfortunately I don't have any to post, but I will get some! I will do another blog about the actual filming itself, and throw some more photos and stories related to it and all the wicked crew, and cast that were involved, from the indomitable Alec Moore, to Henry and his crazy boom op Miles, the Barry Doyle who just never stops, the crazy Spaniard Tess, super happy Sue, happy chappy Steve Daly, little old Aoiffe Hewson and of course wicked Eimear Ennis Graham.....who shot the damn movie....very well it must be said...

http://www.youtube.com/watch?v=Fq5mE6C4UXI&feature=youtu.be

Much love all...

Eoin

There is a Weight

There is a weight in my legs
that I'm not privy to.
I stretch them to release
the heaviness.
Then I walk around
until the sun shines upon my face.

I see people.
Men. Women.
Each sex seeing each other different.
The sun hits each visage in
a different way,
reacting to lines and contours.

None move the same, thoughts
different, but beyond basic.

Sad eyes stare at the walls
inside the tunnel,
drunken jeans low on the hips
leaving the glare of a thong
that is left in peace by the idiosyncrasies
of strangers thoughts.

Two girls skip up the elevator
weightless in the air
freed of momentary thinking.
Mock heels clattering
across the floor at three steps
back for one dance forward.

Hair grows unfettered across
richly worn skin,
greyed at the edges with experience
that cannot be found in his book
but learned
from the wind and sea.

Each sees the air move
in a different circle.

My legs feel calm now.
Blood flows through them
casually.

I can't make the blood stop.
Nor change the direction that
it flows,
but I can direct the sun
to hit my skin where I want it to.

So I do.

Cold - The Post Production Road to Perdition

Where to begin? That's usually the most pertinent question relating to a story, or script, and after the first few paragraphs it generally flows. Maybe. Hopefully the same with this blog then.
This journey on having 'Cold' as a completed film is nearing it's initial end. I place emphasis on the word 'initial'. With film being what it is, and the collapse of HMV is a case in point, distribution is akin to the task Bilbo had in getting rid of that pesky ring, (although my thoughts being that he should just have flown on one of giant eagles and dropped it off like a Fedex package may negate that analogy as in that case I should just put 'Cold' out on youtube thus foregoing the whole journey), it means that it may be a while before the film is actually available to be seen.

Now any projected timeline may be completely incorrect, although I would use my horror film 'The Inside' as a recent example, which was a significant reason in my placing of small shorts online whenever possible. That film was shot in 2009, and due to various issues in completing post and then getting distribution etc, will only now be released this March, almost 2 years later then I had initially wanted, and expected it to, although whether it will still go ahead as planned without HMV now will be an interesting question. This should not happen with 'Cold', as it is an entirely different beast, a different genre, different film, and I am a different film maker, but just as a comparison to how long things can take to kick off after a film is actually finished it is worth mentioning.

The first stages of 'Cold' were obviously the script, which was a relatively painless affair, as I was writing it with Tom in mind, and then when I got various other actors who I had worked to come on board I was able to re-evaluate certain characters and extend aspects of the story. People such as Liam Carney, Charlotte Atkinson, Yare Jegbefume, Melia Kreiling and of course Jack Reynor, meant that we could discuss the characters and bring more colour in at various points. Then of course there is Helen Pearson, who will be seen in a very different role to anything she has played before, and she is quite remarkable. The cast then, is very strong, and the acting impeccable, and hopefully thus very marketable with such young and upcoming actors there. However one never knows in film.

One of the hardest things in film making is to not make a constant retrospective analysis of what could have been done differently. The film was shot in barely 15 days, with the first block of 8 and a bit days done back to back, and we had barely any sleep. The second block in Dublin was much easier but was still equally intense. Part of the problems inherent in this is that there is no time to reflect on scenes and footage and very little rehearsal time to explore different elements of scenes, and also very limited time to explore other aspects of the storyline and maybe create fall back options. Thankfully that hasn't really been a problem, but there was very little prep time and I had a limited window to shoot with certain people, myself and Tom included as we both worked within days either side of shooting on Cold (Black Sails, and After Hours), so while this was my first film with any sort of budget, however limited, (and irrespective of the amount raised, you would be surprised at how quickly money gets eaten up once you have it), there was still that massive indie manner of film making. This is still indie film making of the highest order, only with a hugely talented cast, and a ridiculously super crew.

As it stands, Vicky Tooms, who I am very lucky to have found and who has such a love of film and a passion for this project, has spent the last 2months cutting the film from just bare rushes, syncing up the sound, and then cutting it together into a initial 3 hour cut. This wasn't a typical assembly whereby scenes are just a few shots to show the rough story, Vicky had cut all the scenes with much of the right pacing and sound so that even as a 3hour story it was a watchable film. Although being as long as the Hobbit may have been a little taxing....those self indulgent close ups between lines do get a little much eventually. So from a 3 hour initial cut, we worked on it over the last few weeks and got a first cut at under 2 hours. This was hard, there is nothing worse than cutting out scenes, and characters that you love, but unfortunately that is what I have had to do, cut out almost a straight 10 minute sequence which had so much work put into it, but simply didn't add enough to the story to justify it, and when it came down to getting the pacing correct, it had to go. I will put additional endings on a dvd when it is eventually released, and all the deleted scenes and explanation of these strands, but for now there is no choice but to remove them. As an example, I had to remove two of my favourite scenes between myself and Tom Hopper, simply because they slow the story down, and are not needed in the overall context, the same with a lovely scene with myself and Jack Reynor. As stand only scenes they are great, but at the wrong place they can take away from the story rather than add to it. So from this first cut, we had a little test screening and have now cut it down to just over 90 odd minutes, which is the target time, optimal from a viewing point of view, and hopefully with enough space to continue with the original style.

Funny things happen when editing films, as they do when shooting them, in that they can come alive, or die depending, and elements that you were so certain of, no longer work. When a film is put together as a whole things can change. Thankfully so far it is following the vision I had when first trying to put it together last May/June. But you never know. On that note, if the film is completed within the next month or so, it will complete a remarkable turn around from less than 10 months of having a rough script to a finished film. Whether that is a commendable thing or not remains to be seen!

So, to continue, as I have most likely digressed at this point, once myself and Vicky have found a cut that we are satisfied with and we have had some opinions on it, so it's not just the two of us in our little cloud bubble land surrounded by marshmallows thinking it's magical and is an actual solid cut in reality, then we begin the sound mix. With a quite wonderful sound designer on board this is quite exciting as there is nothing more unpalatable than watching something that doesn't sound correct, it's simply tiring on the senses and impossible to watch. Which as an aside does make test screenings very hard as without the correct music, and sound design, and even the right colour grade, can make the film hard to view correctly as you have to be gentle with your opinions. Once all the above elements are in place, a very different film can emerge. To this end, the colour grade, being done in Dublin, is very exciting as it looks beautiful as it is, God Bless Eimear Ennis Graham my cinematographer, and then the music, with some sublime tracks by the Evora, and then a soundtrack score by the irrepressible Kevin Whyms, who's soundtrack for The Inside completely changed the mood and tone of that film, should really elevate it.

But you never know.

As it stands I am hoping to have a finished version, (lacking in a few things, but to all extents and purposes fine for initial viewing and festivals), by the middle or end of February, and then it is to the sky I shall look to see where we go next. It really is a 4, maybe even a 5 stage process, from the conception and writing, to the actual pre production and organisation, to the physical shooting, and then to the hard part, the post production, where the film either flourishes, or withers away and dies. Then, with a finished film, the marketing has to occur, the selling, the discovering of a sales and distribution agent. With Charlie Casanova, an interesting template for indie films, albeit an exception in many ways, the film took two years to get physically released in cinemas, as I shot that for Terry only a few weeks after shooting The Inside. But Charlie did it's festival run, and then, after garnering sufficient accolades and acclaim, it got a theatre run. So with Cold, it is unknown yet the route we will take. Most films have a certain element of distribution planned out and most of the time pre-sold, but with Cold this film has no big production or distribution company behind it, just an idea, some inspiration and very talented film makers.......

So that is where we are at.....I shall update anybody is interested, and I hope all you wonderful people who engaged in the Indiegogo appeal and ColdCon are a part of that elite group. I will be following up with many of the perks from that appeal, but as must be recognised, may of the perks, such as music and films etc cannot be given out until the film is actually released, with posters etc, we can do that, although it depends if people want to wait until an actual official poster and trailer is out there.....but until then don't worry, you will still be the first to find out what's going on....sure I have no idea what's going on at the moment so we are all in the same boat!

Much love.

Adios...

PS: I haven't proof read this, so if it has spiralled off there is nothing that I can do about it.

Youth on a bus

It's been an obnoxiously long time since I blogged in any shape or form, and in the last few months I lost my way with certain writing too, getting very wrapped in finessing my film 'cold', and in American with NBC's 'after hours', which I may have been remiss in not writing about. So a proper updated 'cold' blog will be forthcoming, maybe today, but in the meantime I figured I'd restart my enthusiasm for e blogosphere with a poem, in the same vein as all the previous....and thus whet my appetite for the form of writing again.....

*************************

There's an energy to them,
A nervous
Swagger that feeds each, and
Makes everybody around
shrink into their seats
Like innocuous versions of themselves.

Each boy wears clothes too big 
That don't fit;
track suit bottoms down
Below the waist, jackets 
Hanging like pouches of
Fattened cotton,

That highlight his own motif,
Separating his 
Individuality from this conformity
Of being separate,
Which he wears with 
Showy, hopeful pride.

For some it's hair,
Clipped tight to the scalp,
Or a gaudy piercing
Through the lip or brow,
For others no more 
Than a ring on a finger.

But it's the pack mentality 
That concerns the plebs, not fashion.
The quick instinct
To follow the most virile
That has taken control
In that unquestioning moment,

Where nothing else comes into
Their thoughts but
Adherence to their group,
Dismissing circumstances like
Madmen
Unhindered by consequence.

Yet underneath this bravado.
Below the thin veneer
That disguises their character,
Lies a desire for affection.
A yearning truth
Of humility and loyalty.

Brazen though this appears,
It's all a game.
A social ladder
That they clamber forth
On a daily basis
Searching for themselves.

As we all do.




*********************************

Cold Convention and all things Merlinian

This blog is dedicated to all the ridiculously generous, and clever, people who have donated to, and gotten involved with supporting my new film Cold. We surpassed the expectations of what we thought we would raise by a staggering amount. The initial figure was purely an amount to shoot the actual film, and then we were going to figure out post production afterwards, which is why we kept going to then try raise funds for that, which is always the most costly aspect of film making, and the one where the most stamina and endurance is needed. Writing, and then shooting a film is easy in context, it's the finishing and finessing that is difficult.

My initial plan had been to submit to the film board and get post completion funding, whereby the Irish Film Board get involved and release funds to finish the film with you, and come on board as part producers etc. Or we would try and get a bigger production company involved, which again dilutes the film to an extent. But after seeing the positive response to the film, another idea was suggested to us which we have decided to embark on, and I hope people like it:

I have been asked to go to quite a few comic conventions, whereby you meet and greet the fans, and it has been circumstances that have never allowed me to do so thus far, but the thought of people paying for my autograph seems alien to me, and unfair for people to be honest, maybe I have a communist streak somewhere, I'm definitely not an ardent capitalist. So the suggestion was that we could hold a convention ourselves, whereby fans could come and meet us, have a Q+A, and in doing support the film 'Cold', become a part of it's growth and completion and thus a part of the film, and then we could thank them in person, which seemed like a very different idea. So that is what we are doing....

We are going to have a private convention in London on the day of Saturday November 3rd, maybe also Sunday the 4th, depending on interest, where myself and Tom, and some VERY SPECIAL GUESTS.....(which we will announce as we go along to build suspense - because that seems like fun - but you all know who they are likely to be let's be honest...), will hold a meet and greet, give every participant a signed photograph from the film 'Cold', and if they want their own photos of Merlin or any other show signed then that too, have a Q+A, where you can ask us anything, as we will be mediating it, and then show an exclusive first look trailer of 'Cold'. It will be rough, as we will have barely finished filming, but will give a taster. And maybe there will be some music too....hopefully....

Anyway, that's the purpose of this blog, to say thanks, and yes, to devilishly announce our convention, which we hope will excite people. I have to be honest, that the main reason I came back to Merlin this year was because of the reaction of so many fans to me on twitter and my blog, and it made me feel like I had to come back this year, because it had been touch and go if I would have, but seeing how happy and excited people get means a lot. So if in a way we can give something back, even just for a few hours, and then also help fund my vision then, well,, cool.....

On a final note, people might not realise, but having some money to make this film is truly inspiring to me, and I think the idea of crowd funding and bringing people into the process is fascinating. I have never had any money, but have always self funded my films, with the intention of searching for funding in a year or so, but this has accelerated the process and made me very giddy with the possibilities. If we can raise the extra funds now through this convention I can conceivably complete the film the way I want to do it with sound and music and colours grade and then have the finished film to send out into the big bad world and that would be, marvellous....

Many thanks for being so supportive, and cool, and just being super nice people, it has meant a lot to myself and Tom because I wrote this film for us to act together and try and create something interesting and beautiful for people, and I think it might well get there now...

Cheers and here is the link to CONVENTION!!! :

http://coldthefilm.eventbrite.co.uk/

Eoin + the big guy, Tom....

COLD (No. 2)

This is another 'Cold' related blog because I can't write about anything else right now; I had forgotten how all consuming making a feature was, it's magnificently hard work. And doing Merlin at the same time doesn't help, how dare they make me work, don't they know I'm making a film....

I have been quite overwhelmed by the response to supporting the film, I use support because that word is appropriate, you may not realise it but every person who has helped it in any way even to re-tweeting or saying nice things has meant a huge amount. Myself and Tom, he will have no problem with me speaking on his behalf here, but maybe don't tell him just in case, were both astounded, not only by the speed of the response, but the generosity of the donations, and most of all, the words of goodwill. It's all been very humbling and makes it all worthwhile as knowing that making this film will make some people happy or proud or excited is already an achievement in itself.

 To be frank, I had been hesitant about putting out this idea initially and so I allowed it to gestate for a long time before embarking on it, partly because it opens one to criticism and a little bit of potential ridicule, but also because if it didn't work out then I'd be left looking a little silly. Then because I really didn't want to put out any of the story to ruin it, so as you can see the video gives a very limited overview of the story, it's much grander and painted across a far more epic tapestry than you guys have seen. Yet the over-riding fact was that because of how the film has gone so far, I simply didn't have the budget to complete shooting it in the same manner, and so I really needed some support, or else I was gonna have to sell a kidney. And I like my kidneys. And I've seen 'Dirty Pretty Things', not nice.

I have never asked for help before, or applied at any level for funding of any sort, and so now that there is the money there to actually use to shoot I am quite excited, it's going to be an odd experience to not have to take out my wallet to buy everybody's lunch, and then ice cream afterwards, it's always the ice cream that's the expensive part!!

I'll explain what the money so far allows us to do, and why I'm still being a pain and tweeting about it, not trying to outstay my welcome in the generous tea and biscuit house of film support trust me, so if I am annoying anybody, just ignore me for the next 15 days....then come back....think of it like an extended holiday, like a bubble in  Terry Gilliam's world with magic talking snakes and....yep.

The money is essentially a working shooting budget, it allows us to shoot for the 7 days needed to finish the film, such as equipment, because we are shooting 4-K on the RED so that's it's cinema quality, transport, accommodation, food (there is that pesky ice cream again, this time everybody gets a flake), and other basic expenses. We still shoot the exact same way, as that is essentially what it cost me for the initial block. Then it leaves a little left over to move into the initial stages of post production. Post production is the killer, it's like going on a date, doing all the ground work, buying a new shirt, getting aftershave, getting the right taxi, bringing her to the right place, saying all the right things, using those chat up lines you learnt in date chat up school and then getting home to find her parents are there, they are staunch Catholics and she is actually in a pre-marriage agreement to the local Lacrosse star. So that's gonna take a lot of effort, much will power, many favours and no small amount of money (all Lacrosse guys can be paid off, they're like colour graders, all fancy footwork but it's all for show). I use the analogy of a guy to a girl, but use your imagination to flip it around. That may be terrible actually. Sorry. You get the idea. If you don't, well post involves grading the image, which means making it look good, like a massively advanced form of photoshop, doing the sound scape, so people can understand what I am saying, and adding in nice squirrels frolicking in the background to make it warm and happy, the music, and all the bells and whistles. You get the idea now.

So yes, that is what the money that you have so very kindly donated will be used for. And then whenever you see this film you can say that you made that squirrel noise and that shoe on Tom's foot happen; hopefully in Cannes or Toronto or on a cold thursday night when you're bored and need somewhere to go on a date in the cinema near you. See what I did there? No. Okay.

But yes, right, I have digressed. Thank you so far, it's been very touching, everybody I've been working with has been very surprised and shocked at how we have done this so far, and so, from me to you guys, who read my rambling blogs and watch my little films, thank you very much....

Of course I will keep you all updated on the journey as it goes, but be warned, it may take 12 months, and in that time you will grow tired and forget all about me and Tom. And that's fine, just don't tell us.

This is a little video we made just to say thanks. ** A proviso: yep, back to those again, just in case! Tom is called Tom in the film too, because he has a quicker response time to his own name than a character name. And Katie is not in the film, but she was there today, hanging out and harassing us, so I decided she may as well do something for once....maybe don't tell Tom and Katie about this blog actually **

Cheers

Eoin

COLD, the feature film

This blog, quite predictably if you follow my twitter spam, is on the subject of "Cold", my new feature film which I have written and directed alongside my good friends Tom Hopper, Jack Reynor, Rebecca Night and Liam Carney. There are some other exceptional actors joining the cast in some really wicked cameos, like Tony Murphy, Brian Fortune, Micheal Yare, Charlotte Atkinson, it goes on....its very exciting for me :)

The film is a dramatic feature, which follows two English brothers meeting for the first time in 5 years at the unexplained death of their father. They are from a small village in the West of Ireland, where they have a history that is beginning to resurface when they find a girl left dumped in the moors. From then on strange events occur and.....that's all I'm saying. The plot takes some very unexpected twists and turns and I simply can't reveal anything further....

I find myself writing this blog and beginning to ramble a little with the excitement to be honest, as I think about the music from the Evora, and Greg French to come; The Evora are an exceptional group of musicians and their forthcoming album which will feature a lot on this film is truly going to be something to savour, and Greg....well Greg is one of the most talented musicians out there quite simply put. What's really inspiring for me is how we all grew up together, and like with Yare, Brian etc, to put together something which we would only have dreamt about in our teens is really quite cool. That isn't a justifiable reason to make a project, or be enthused by it, but it does help. It becomes a great source of joy through the act of collaboration, and it's what art should be....enjoyable and inspiring.

I wrote an article on crowd funding in the last edition of Phoenix Magazine without actually having any inclination to follow it myself, and yet writing the article really opened my eyes to it, and I think it's one of the great evolutions of social media that this kind of project can happen, that people around the world can communicate and get involved, and it gives me great ideas for the future....And this is what this blog is about, to see if there are people out there who want to get involved in producing a film that could be something really special....

Firstly, (or thirdly, or even fourthly after my inadvertent ramblings), I have to extoll the virtues of Tom. There are only a few actors, a small handfull whom I've worked with that I think will, and should go to the very top, and Tom is one of those. Along with Jack Reynor, the two of them give outstanding performances, genuinely Tom is simply magnificent and it was a pleasure working with him, and with Jack. The same with Rebecca, who is just a beautiful actress, and of course Liam Carney, who is a legend. The thing is that this film has grown and come alive in the manner that cinema should evolve for me; it should be organic, and the scenes and performances should leap off the screen from the page in a manner that is exquisitely exciting. This is why I am so excited about this film, cos these guys are excellent. Yes, I do act in this film, but for me, I just had to be there to react off them, to play off what they were giving me, and it was a pleasure doing that. Some people have asked me about the difficulties in directing the scenes and other actors whilst acting in it myself and my response is what it has always been in this scenario, that if the casting is right and thus the actors are good enough and understand the material, then you just let them play, follow the scenes the way you discussed, and then it, just, is.

The reason that I have put out some feelers for this film via IndieGogo is because so far it has turned out so beautifully, and has such potential that I have decided it is worth it to expose the idea and the footage (in as small a way as possible so as not to give away anything really), because it should really work as film and become something quite marvellous if completed in the right manner. At least that is always the hope with any film, or creative project. So I just hope that people feel the same way, as they have already shown in their generosity (which has been quite outstanding so far, really unexpected).

I guess that this blog may be a little unsubstantial compared to previous incarnations, but I really don't want to give much of the story away, I have tentatively compared it so some wonderful films and referenced exceptional genius film makers such as Paris, Texas and Kieslowski, so i hope it can be favourably looked upon, but the reason being is that they are the benchmarks and the inspiration for what i have wanted to achieve with this film, and story. The story, is explained more succinctly in the indiegogo video below than I will do in writing here late at night, and also watching it with music makes it seem so much more dramatic :)

We had such fun so far, it was tough, doing 17 hour days almost as standard, maybe longer as we had only 9 days to shoot the initial block, and the entire project will only be over 15 days maximum, but when you're working with good people who know what they're doing and believe in the project it just becomes easy....Henry, Barry, Tess, Miles, Alec, Aoiffe, Sue, Steven, and Eimear...

Finally, all the stills that you see are basic screen grabs, at barely 1/8 of the quality, are from the moving footage, and are ungraded, so the potential for how it can look is very visceral I hope...

I hope that the interest is there, and that the perks are exciting enough, there will be a few more up by the time this blog has existed 24 hours, because with the help that we have gotten so far I believe that we can make something truly special. And at the very least, we're gonna have fun trying and give it a damn good go.....

The IndieGogo link and video is here: On YOUTUBE:

And this is the actual IndieGogo page where you can contribute and get involved:



http://www.indiegogo.com/COLDFEATUREFILM?a=1150968



Much love as Scanlan would say,

Cheers

Eoin