|
|
| |
| MOVIE ENTRY |
|
|
| title: |
|
FINAL
RUN |
| directed
by: |
|
Ken
Foley |
| screenwriter: |
|
Ken Foley |
| location: |
|
Los
Angeles, California, USA |
| contact: |
|
krf@pacbell.net |
| synopsis: |
|
In
a future controlled by mega corporations,
an interstellar mercenary named
Sloane prepares to go straight.
But when one of his former employers
asks him to pull one last job,
he finds himself embroiled in
a conflict that could change both
his fate and humanity's. |
| runtime: |
|
28
min. |
| screening: |
|
Short
Program 3 [ refer
to schedule ] |
| |
|
|
|
|
| |
|
| Dark Romance Review |
|
| Review
awaiting screening. |
| |
| |
| |
| |
| |
|
|
| |
|
|
|
|
|
|
|
|
|
| |
|
|
| How
long did your project take
to create, from conception
to final completion? |
| Four very long years. |
|
| Where
did your inspiration come
from? |
| Several sources. Early STAR TREK films, STAR WARS, LOST IN SPACE, ALIEN, ALIENS. Also, believe it or not, a few space trading simulators I played on my PC. As for characters, I'm very much intrigued by anti heroes and the ambiguity of "good" and "evil." |
|
| Is
Horror or Sci-Fi your primary
creative interest? |
| I like both! I chose Science Fiction this time out because it's the first genre that inspired me to be a filmmaker and taught me the role directors and writers play in the process. I am working on a horror project though. |
|
| Can
you describe a typical day
in the creative process? |
Every phase was different.
PRE PRODUCTION: FINAL RUN was my Senior Thesis project at Loyola Marymount. Because of the large number of FX and the scope, we had to start ASAP. I started writing the script and working with the conceptual designer 7 months before class started. Models had to be built and props designed.
PRODUCTION: Grueling 12-18 hour days! 4 days on location (with two units shooting simultaneously, 2 days on main soundstage, and 1 (very long) day shooting the spaceship models. Now, these type of hours are par for the course for any production. But it was maintaining 18 units of classes that made it more difficult.
POST PRODUCTION: While we planned out as much as we could in advance, we still didn't realize how daunting it'd be. My producer, Darin Kuhlmann, has over 10 years of post experience in film and I think even HE learned a lot in this process! Besides standard post hurdles, we had nearly 100 FX shots that had to be broken down, catalogued, created, tested, etc. Also, because FINAL RUN is sci-fi, we had to create a lot of our own audio from scratch. In a lot of ways, post has been harder than the shoot itself. But it's been a huge learning experience for all of us. |
|
| Who
do you consider to be the
greatest horror writer? |
| That's a tough one! Robert Bloch, H.P. Lovecraft, Richard Matheson, Robert McCammon, F. Paul Wilson, Ray Bradbury, Stephen King are a few of my favorites. |
|
|
| Can
you recall the first horror
film that left a lasting
impression on you? |
| Yup. An old B&W film called BURN, WITCH, BURN! That was the first one. When I was a kid my older sister used to love scaring the crap out of me by making me watch Creature Feature with her every Saturday! So I got an early education in Hammer Horror, DARK SHADOWS, DAY OF THE TRIFFIDS, and others. Little did she know. ;-) |
|
| Who
do you consider to be the
greatest 'Masters of Horror'? |
| Hopefully I'll meet some new ones at this years Shriekfest! I like George Romero, David Cronenberg, Don Coscarelli, Stuart Gordon, John Carpenter, Rod Serling, Dan Curtis, Larry Cohen, Jim Cameron, Nick Meyer. |
|
| How
did you find your cast? |
| Very nice, thank you! *rimshot* Seriously, we put an ad on the Now Casting website. We were very fortunate to get such good actors. |
|
| What
is you most memorable moment
while making your film? |
| Two stand out: The first was when our FX Supervisor Bill Hawk showed me the finished spaceship models he'd built. The detail was so great they were like characters unto themselves. Something that had existed only on paper was now coming to life. The other was when Darin and I showed a rough cut to my mentor Harve Bennett. That was more than a bit surreal. His feedback was invaluable in making me realize that I had more work to do to make the story and characters clearer to my audience. |
|
| Did
you shoot on film or with
digital cameras? |
| 35mm Panavision. |
|
| How
many members of your cast
and crew? |
| Eight
actors - twenty-five crewmembers. |
|
| How many times did the film get re-cut in post? |
| Many times. Because Loyola Senior Thesis projects can't be longer than 15 minutes, I had to cut a lot out. So after graduation I went back to the drawing board and did a paper cut from scratch. My editor Joe Kornbrodt took that and ran with it. We recut it multiple times after that because a lot of time you insert visual effect it changes the rest of the film. And since we had so many coming in all the time, well...you get the idea. |
|
| If
you could choose any famous
actors to work with on future
projects, who would they
be? |
| Gary Oldman, Johnny Depp, Sigourney Weaver, Ian McKellan, Kurt Russell. |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
