I’m nearing the finish line on the first draft of a top-secret horror screenplay. I’ve been making motion pictures for twenty years… twenty five years, if you count the early/student work that has either never been publicly released (thankfully), or has received only brief home video distribution at the tail end of the VHS boom.
After these recent blog posts, I was hit with a number of questions about the post-production of Ice From The Sun. Often, people assume this movie was edited on a non-linear computer editing system (with film grain and scratches added during post), because that’s how movies are edited these days. Not so. All the film grain, scratches, and debris are authentic… and post-production would have been much easier if I really had edited this film on a computer.
In last week’s blog entry, I reminisced a bit about an older film of mine, Ice From The Sun. I don’t think about this film very often - it is from a extremely different, long ago era of my life. However, after the blog entry went up, I was struck by the interesting questions I received, which focused on the technical and logistical aspects of this one-of-a-kind production. (The fact that we shot Ice From The Sun on Super 8 film seemed to be of particular interest.)