It's been a while since I've posted, since there's been hardly anything going on on my end in regards to Love in the Time of Monsters. Matt, Andy, Allison, and Rob have been knocking out logistics and finances and it's amazing to watch them work so I let them do just that.
That's since changed - I got (appropriately, natch) tasked to cut together the test scene that the LitToM crew shot a couple weekends back! Not only is the footage great looking but our actors are top-notch, committed, and professional, and it shows. I've been happy as pup with a new chew toy cutting this scene and I thought I'd share with you what I've been going through so far.
First off, editing this scene is at both simple and intimidating. It's simple because I wrote it and it's pretty straightforward and badass and awesome, but intimidating because there's the big challenge of establishing the unique tone of the film. On paper you can have all the dialogue and action you want and it more or less makes sense but once you start cutting with footage every frame counts towards helping or hindering your aesthetic.
One of the more unique aspects that I've been working on in this piece is the inclusion of a MonsterVision shot - that of one of the PsychoMonkeys' POV as they stalk their prey. I love that kind of shit so I dove into the task with fervor. I drew inspiration from myself, actually, hahaha - I made a fun short video back in college that was not only a blast to build but cool to watch.
Of course, Matt's recent big note was to lose the MonsterVision shot all together. I always had a feeling that would be the case and I can totally see his reasoning so it wasn't a big loss for me. Like we've said before, you have to put your personal biases aside in order to put the quality of the project first.
We're still planning on including some MonsterVision shots in the final film, however, so I'm way excited when the time comes to develop that strategy. Too many low-budget horror movies settle for a basic fisheye filter, or some cheap thermal- or night-vision substitute which in my case makes the creature less threatening instead of more. I'd lose all respect for a deadly superbeast if I knew it had no peripheral vision. Superior lifeform my ass!
The thermal-imaging POV of The Predator in Predator was successful not only because it was done with the correct technology, or because it was correlative to the story, or even due to the fact that it was used when it was needed to be and how - the main success was that it gave the audience insight into the character of the Predator. We saw his rhythms, we saw its patience - we saw him hunt, and he hunted goddamn well.
We mean to employ a similar strategy with the PsychoMonkeys' POV shots in Love in the Time of Monsters. Without giving too much away, the audience will be able to see how the monsters interpret the world and what catches their focus. In the end, I'm giving it a 70% chance of being cut from the final edit but that's alright if it actually doesn't help the cause. Priorities, Murdered Darlings, and all that.
In the meantime, we're proud to announce the addition of Rob Gokee to the Love in the Time of Monsters crew!
Rob has been an LA-based music composer for years and has even written and published a social-media centered auto-biography, In the Belly of the Fail Whale. What's more is he's grown to be a close friend over the years, joining in on Taco Crawls, hosting Thanksgivings, and just plain being a clever bastard. Check out his music, his twitter, and his Facebook fan page to get a taste of The 'Goke.
Rob will be providing the score to not only this small scene but also the entire freaking feature film! From his and Matt's hushed whisperings back and forth, the only thing I've heard about the style so far is "1950s doo-wop horror synth". Only because I know the guy, I'm cool with it.