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Update - SCI CO


Posted by Dana Phelps

SCi CO is enjoying the new way we’re using the LUMBERJACK footage and clam attack on him. We’re quickening up the 60 second scene a bit but it’s not too possible to cut a lot of the footage, it’s physically linear and extremely precise action. Thus we’ve opted to go ahead and include some VOICE OVERS for his thoughts but the characterization will be extremely different from the poetic ramblings we had written before. LJ’s character has solidified and he’s going to be a lot more practical and American in his insanity. Also his character won’t conflict with the open schizoid style of the MENTALLY UNSTABLE COWBOY who makes a long speech with nothing but himself and some statuary in a little aquarium.


We’re doing some extremely textural and horror like music for this segment. We don’t have a lot of eerie music for the film, it’s more sci-fi or sort of its own thing. The music here is definitely psychological and horrific. We’re layering a lot for the sequence, making the music more complex because it’s mainly physical action which is sort of basic (he’s undressing from transvestite to lumberjack) and it’s long. We’re going to speed up the cigarette bit. The clam attack sequence does appear to be keeping its French New Wave inspired editing motif, we will wind up with just a couple of freeze frames to squeeze more out of the action. We had a prop clam and our hands to make an animated real clam climb up our actors leg then attack him! The editing has taken many hours for a few seconds and we’re going to wind up with something that does look convincing. We’re using a lot of creativity and editorial magic to make something happen with this– no CGI or digital additions.

The blood does look good and the actor is incredibly convincing. We’re going to wind up with a good scene here with some work. Quite a lot of surgery to make this clam attack happen but we’re winding up with something unique and unplanned for –thanks again to the awesome talent of the actor Tyler Ryan and the sound work of Kyle Blachly. Also Paul Bright made the blood, supervised special fx, helped engineer the prop animation and was behind the scenes to film, assist or do whatever else was needed, and thus we got fabulous footage under the most intense time pressure we had for the whole entire production onset. Jon Lyle was also with us that day, a gifted photographer.