Tag Archives: film

Young actress Daena Turner talks making The Shelter!

facebooktwitterby feather

IMG_7464DAENA TURNER INTERVIEW (TEENAGE AUDREY)

This was your first acting role, how did you feel before hand? Nervous?
I was a little bit intimidated when I knew that I would be acting with a big star like Michael Paré! Also because it was my first acting role, which was a big deal for me because I had never acted once in my life. I was scared that I would be too shy or that I would mess up my lines a lot! But at the end of it all it was the complete opposite.

What can you tell us about your character as Audrey?
Audrey was not very hard to play actually, she was pretty creepy in some parts though. Like the bathroom scene when she pops out of the bathtub; that made me jump when I saw the film. Everyone on set made it really easy to play Audrey because I was comfortable with them all, I can’t say that I wasn’t nervous at times because I was!

IMG_7481

You got to act with a film legend; Michael Paré, how was it working with him?
Acting with Michael Paré was definitely one of the best times of my life! He was very serious when it came to acting, but when the cameras weren’t on us, we had a lot of laughs. Since I was a newbie at acting, he would help me out with my lines and give me some tips and tricks for when I was acting, which was very comforting.

What was your favorite scene to shoot? And why?
The kitchen scene, because we had a lot of laughs and it was just fun to shoot. While we were shooting, Gayle (James) and I improvised, while Mike was gone getting the pan from Annie and it felt like we weren’t acting. It kind of felt like we were having a real mother/daughter bond which was sweet. Mike felt like such a dad, asking me all about Shawn and it was hard for me to keep a straight face because it was funny the way I gave him a little bit of sass while describing how Shawn asked me out.

IMG_7495

Any weird things happen during or after the shoot?
In the movie in one of the scenes, there’s a little music box that plays while Audrey is asleep. I got to keep that music box after the shoot but when I got home, the music box would occasionally turn on and play the music by itself. It is no longer in my room.

Is acting something you want to pursue further? If not, then what do you want to do?
Ever since I was little I wanted to work with children, so that is probably what I am going to pursue. However, if I do get offered a chance to act again (depending on the role) I might take it. Maybe I could do both, I’m only 17 right now (14 when we shot The Shelter) so I am not exactly sure about what I’d like to do in the future yet but I will keep my options open for acting though.

invoice
 THE SHELTER NOW AVAILABLE!
DVD: https://goo.gl/VKqBTz
Autographed DVD: https://goo.gl/Y5Isbe
On VOD: https://goo.gl/XbV3vU
facebooktwitterby feather
facebooktwitterby feather

New The Shelter review (in Portuguese)!

facebooktwitterby feather

cropped-the-shelter-final1

A new THE SHELTER review just surfaced on the Portuguese Blog Filmesetal.net! Roughly translated excerpt and link below!

“The Shelter is a good start for rookie director John Fallon. It’s not a Hollywood blockbuster but an alternative movie, different and, to some extent, surprising.” READ THE REVIEW HERE!

You can get the regular The Shelter  DVD here or the standard autographed DVD through here!

facebooktwitterby feather
facebooktwitterby feather

Autographed The Shelter DVD with signed card by Michael Pare! Only 6 in stock!

facebooktwitterby feather

dvd-signed-1

For a LIMITED TIME  we are offering a special package for 28.00 USD ( tax – postage and handling included). The package includes an autographed DVD (signed by writer/director John Fallon) AND a Postcard (one of the two – see below) signed by THE SHELTER star Michael Pare. There only 6 packages left in stock, if interested in, you can e-mail us here: shelterdvd@joblo.com.

You can get the regular The Shelter  DVD here or the standard autographed DVD through here!

213

20131025152232-pare-auto

facebooktwitterby feather
facebooktwitterby feather

Interview with The Shelter producer Donny Broussard!

facebooktwitterby feather

1530541_723492654342363_9781231_n

The Producer of The Shelter Donny Broussard was recently interviewed. Here’s an excerpt.

“John and I had been friends for a long time and he told me about a script he was working on called, The Shelter. After I heard the premise I told him that I believed we could make it ourselves. We kept talking about it off and on for about a year until we decided that it was time to take the leap and actually make the film. From that point on I was his producer.”

Read the interview here!

The Shelter will be released in theaters and on digital on November 4th and on DVD come January 3rd from Uncork’d Entertainment.

facebooktwitterby feather
facebooktwitterby feather

A talk with The Shelter actress Lauren Alexandra (aka Lauren Thomas)!

facebooktwitterby feather

laurentopLAUREN ALEXANDRA (JOSEPHINE)

How did you get into acting? Was it planned or by accident?

I did theatre in middle and high school, but I always considered myself a dancer, not an actress. I moved to LA when I was 20 and planned to continue dancing. I quickly found out that I hated the dance world, so I landed myself an internship at Interscope Records and planned to work in the music business. My mom told me she saw an ad for Central Casting and I should go sign up to do background work for extra money. I took her advice because I’m always down to try something new, and I ended up working for two weeks on a TBS TV show called “Glory Daze”.

It was a period piece, set in the 80s, based on a group of young college students. Everyday I was dressed in vintage clothes, got my hair crimped and teased, and got my makeup airbrushed on. It all felt like magic to me. The moment I stepped on set, I fell in love with the whole idea of making a film. I loved that we were making art that had potential to exist forever. From that moment on, I have been training, auditioning, and working as an actress.

laurenshelter

What’s your ritual if any, that you do before shooting a scene?

I don’t really have a ritual, I just like to make sure I’ve done enough work on my character in the scene so I can feel confident enough in myself to let loose while shooting.

What can you tell us about your role of Josephine in The Shelter?

I felt like Josephine was a bright light in the midst of all the darkness of the story. She is genuine, one of those down to earth bartenders most people feel they can vent to and spill their heart to. To me, she represents a very last chance or last resort for Michael Pare’s character, by offering him help to secure him a safe place to spend the night.

unnamed

How was it to act opposite an acting legend like Michael Pare?

Michael Pare was very professional, encouraging, and down to earth. He immediately made me feel very comfortable. We shot this almost two years ago I think, but I remember the advice he gave me. He told me that acting is supposed to be fun and not to let anyone take that out of it for me down the road. I still think about that today when I start to take situations too seriously!

Looking back what would be your favorite moment of the shoot?

My favorite moments are always when I’m shooting. It still feels like magic to me when I get the opportunity to act on film. I also had a great time bonding with everyone on set in between takes!

What’s next for you as an actress? Any other projects lined up?

I am playing the lead in a film called “Zippo Girl”, an adaption of the Hans Christian Anderson story “The Little Match Girl” with Director Drew Errington until November 2016. I’m also headed to Spain for two weeks for a little work and a little vacay, and can’t wait to see what inspiration comes from exploring the beautiful country.

lauren-1Visit Lauren’s official site
Follow her on Instagram at: mislaurenalexandra

The Shelter will be released in theaters and on digital on November 4th and on DVD come January 3rd from Uncork’d Entertainment.

facebooktwitterby feather
facebooktwitterby feather

Composer Shawn Knippelberg and Director John Fallon talk music in The Shelter!

facebooktwitterby feather

Shelter-n-616x328

Composer (and Kamloops native) Shawn Knippelberg and Writer Director John Fallon were recently interviewed by Kamloopsthisweek.com about the music in The Shelter.

An excerpt:

Shawn: “I’d do a scene of the movie and send it to him for his approval and he’d send me back notes of what he wanted, what he liked or didn’t like. It was probably a little longer than the process normally is, but I think it worked out pretty good.”

John: “It’s a fairly morose film so there’s not much in terms of chipper music. I would say the bulk of the movie is sombre and sad music, and weird, eerie, ominous music,” he said. “It’s about going scene by scene and looking at what the scene is trying to say, and then getting the music to amplify the themes.”

Read the entire piece HERE.

facebooktwitterby feather
facebooktwitterby feather

After Movie Diner blog reviews The Shelter!

facebooktwitterby feather

shelter-pic1

The After Movie Diner blog just reviewed The Shelter. Here are some excerpt:

“It’s clearly a very personal, intelligent work of art by an emerging, talented filmmaker and an aging character actor showing he has depth and range with challenging material.”

“The film is definitely open to interpretation. That is, also, let’s be fair, utterly refreshing when compared to other, tried-and-tested, cookie cutter movies. When was the last time you were left asking questions or thinking about what it all means?”

You can read the entire review HERE!

E-MAIL US HERE FOR DISTRIBUTION INQUIRIES!

facebooktwitterby feather
facebooktwitterby feather

This Is Horror reviews John Fallon’s The Shelter!

facebooktwitterby feather

shelter-7

The UK genre site THIS IS HORROR just reviewed THE SHELTER. Here is an excerpt:

“The Shelter is pretty much a one man vehicle for Michael Pare who is never anything but captivating as he owns the screen. It’s not easy to hold an audience’s attention for an entire movie, but the combinations of Pare’s experience as an actor and Fallon’s energy, vision and storytelling style  is both entrancing and intoxicating.” 

“For those who are prepared to engage with it The Shelter will run deep and resonate within for a long time after the credits have rolled.”

Read the entire review here!

The film will be screening at the SITGES FILM FESTIVAL on October 9th at 8:00PM at the Retiro as part of the Panorama Fantastic section! Writer/Director John Fallon will be on hand to present the screening.

facebooktwitterby feather
facebooktwitterby feather

The Shelter Sitges Film Festival screening date and time revealed!

facebooktwitterby feather

shelter-e-2

As announced here, THE SHELTER will be playing at the awesome SITGES FILM FESTIVAL. And we now have the date and time!

The film will be screening on October 9th at 8:00PM at the Retiro as part of the Panorama Fantastic section! Writer/Director John Fallon will be on hand to present the screening and potentially do a QNA afterwards.

sitges-1

facebooktwitterby feather
facebooktwitterby feather

A talk with The Shelter cinematographer Bobby Holbrook!

facebooktwitterby feather

bobby-1

BOBBY HOLBROOK
(THE SHELTER Cinematographer)
 

What was it about The Shelter that appealed to you as a DOP?

My mind thrives on pondering what could be and observing what is, while devising and executing a plan for what should be. I’m someone that’s constantly grasping for knowledge. While my restless mind can be a curse, it’s inability to stop thinking is what attracted me to The Shelter. Pillars that intrigued me were the script’s raw ability to relate to our deepest and darkest emotions as a human being, the complexing sting of life events delivered throughout, and most importantly the inability to stop circulating my thoughts once I finished reading it. It left me thinking and that was exciting.

How would you describe your relationship with director John Fallon on set?

Trusting, clear and smooth. John is a true professional on-set. He was clearly prepared and knew what he wanted. He had a great attitude toward everyone and was always open to suggestions from the team. Our thought process, morals and personalities clicked immediately, which only heightened the creative process. This lead to an endorphin-filled creative train billowing through the entire show at full throttle. From pre to post, it was a pleasure to work with John and I hope we get to work together again.

You also edited and color corrected the film; how challenging was that being that you were also the DP on it?

The ability to frame and light the scene with a clear vision of how it will end is a huge asset. Knowing what will and will not work in post is an advantage for me and the production. For instance, exposing or shaping light a certain way on set because you understand the limitations, opportunities or advantages of what can be done in post and what the end result will be is key for me, and helps clear up any confusion between DP and Post. Knowing I’ll need 15 frames of the MED, then cutting to 9 frames of ECU and then finishing with a WIDE Dolly pull keeps me from overshooting and saves time and money for all. The ability to rough out a feature length edit in a few of days is not magical, it’s practical. I know exactly what takes to cut with, when to cut and where to cut because I’ve already edited the scene in my head before I’ve rolled the first frame. My lens, filter and lighting choices will always support the emotion of the story first, but knowing how to use them to my benefit ultimately saves time and resources.

Example: Knowing how a camera will react at a certain ISO, how a certain lens and filter kit work together with the camera or how that particular camera’s photosite’s collect light. This in-depth knowledge helps me decide what flavor camera best supports the story and the feel I’m trying to accomplish. Knowing how the footage from each camera reacts and holds up in post can help me decide weather to use a pair of 1200s on highboy-rollers rather than a 12k on a condor and produce the same look, again saving time and money. It’s a lifesaver when you know a camera’s limitations and how it responds to certain lights and colors before it breaks up like wet toilet paper in post production. It also gives the producers and directors a clear and concise plan resulting in more sleep at night.

2014-01-10 10.03.08

Now I’m a firm believer in “baking in” as much of the “look” as possible, which is why I test lighting, filters, glass and build custom 3D LUTS before every large production. But if I know how to get the same look in post, thus saving the production days of pre-rigging and expense, I’m happy and so is production. These are a few benefits that save a ton of time and money. But there comes a point right before the final approval of edit or grade, that you should let a trusted, experienced and qualified “Finisher” look over the entire project for any small details, tweaks or improvements. Being so close to a film has its benefits and its down falls. Bringing in a “Finisher” with fresh eyes and a clear perspective is the only way to make sure nothing slips through and that the story is told in its greatest light.

Did any weird things happen on set or during Post Production?

“Crap, shit, holy shit,” and “Shut it down it’s time to get out of here,” were a few things I uttered at times. For instance, when I imported my XML into Davinci Resolve, all of the slow-mo footage was slightly punched in. It was not a big deal. I figured I would just re-export an XML and it would conform fine …right? Not exactly. After several attempts of trying to resolve the conforming issues, I decided to manually adjust each slow-mo clip on the timeline. The hair-raising part for me was that to correct and conform to the right size I needed to make a slight adjustment. Once I did, I realized my adjustment was .666. WOW. Now I’ve been editing since 2000. I’ve worked with NUKE, AE and Smoke since the mid 2000s and have been working with Davinci Resolve since 2010. And I can tell you I have NEVER had this type of adjustment. It was not a normal size for this type of correction, which blew my mind. It was dark outside and everyone had left the office hours ago, so I did what anyone would do. I sent a screen grab to the director and chucked deuces out of there.

Other strange occurrences that plagued me were kernel panics, complete system freeze ups, multiple program crashes and a few I’d rather not discuss. Now I know what you may be thinking, but believe me, my post system in the A suite is a well-outfitted beast. It’s never given me these issues. Even if I’d been bouncing around from project to project all day, as soon as I opened the project file I could pinpoint on the timeline when and where the system would collapse. After exporting and recreating multiple project files, re-encoding all footage and review maintenance of all hardware and software, I was still having the same issues. Finally, while reviewing the problems with a close Post/IT friend of mine, we scrolled through the entire timeline pinpointing every scene or sequence that gave us an issue. Looking at the list of sequences, it hit me that they all had one thing in common…the involvement of a crucifix in the frame… coincidence…doubtful.

Photo Dec 09, 8 02 41 AM

You edit, shoot, color correct; which one fulfills you the most?

Capturing the moment that best tells the story, pulls the emotion, grabs the viewers thought process and tells it where to be, what to think and how to feel, is my high. Adding great composition that delivers all of these aspects, is my drug. Creating beautiful images is easy, but creating beautiful images that can accomplish all I’ve stated above is a challenge and I feed on challenges. The importance of balance in a scene is as important as balance in my everyday life. When a director gives me the opportunity to tell their story though a lens, it’s my job to visually compose a balanced sequence that meets or exceeds that director’s vision and best shares the story to the viewer. I see it everyday, many DPs choosing composition over story and for me that is not a challenge, but rather a narrative DP Reel. So delivering a balance that best supports the story while beautifully capturing a frame is what fulfills me the most.

Tell us about your company Holbrook Multi media? What can people expect when they go with Holbrook?

Holbrook was started in 1977 by my dad (Bob Holbrook). The company specialized and focused on audio production for films, bands, and jingles. In 1982 an acquisition of a state-of-the-art film & post house launched Holbrook into video & film production over night. At that time south Louisiana didn’t have many companies renting or offering support for film production so we had to become self-sufficient. This lead to owning and operating our own 5-Ton Lighting & Grip truck, cameras, post production suites and recoding studios, all to support our own productions. Advertising & marketing was added and later PR, web and social media.

Today we are stronger then ever. Our ability to offer so many services to our B2B and corporate clients, Ad agencies, producers, UPMs, studios and directors is wonderful. From a production stand point, the luxury of being able to make one call to facilitate all support for your next project is crazy talk, but at Holbrook we don’t think so. Options range from Arri Amiras, Red Dragons, C300s and all the camera AKS you could want. We have multiple vintage NEVEs, MCI, and digital consoles with ProTools HDX to produce amazing foley, ADR, scoring and sound design. Also, multiple post suites cover your edit, VFX, color and GPX needs. Our fleet of G&E trucks come packed with HMIs, Kinos, Moles, LED Panels, LED HMIs, dollies, sliders, car mounts, and even a small jib. But, if you need more, a 30ft jimmy jib, gimbals and RC camera rigs with mounted 3 Axis stabilizers will get the shot you want.

Our latest package is launching at the end of the month and it’s called “Movie Maker in a Box”. It comes with a full camera package of choice (ARRI, RED or C300), an audio package (Sound Devices 788t), grip support, lighting (Kino’s HMI’s and Tungsten) , a slider and jib, all packaged in a new custom built Sprinter Van for one low, flat rate. For the larger productions our 10 Ton G&E packages, designed by Panavision, will follow the “Movie Maker in a Box” sprinter but on a larger scale. Lastly, we’ve added a Honda ATV camera rig with 3 Axis Gimbal, Electric Low Profile Camera Go-Kart and a F350 Camera Truck with multiple platforms and a 20k Genny for power. The purpose is to provide a TURNKEY solution for your next project. Like I mentioned before, if it saves time, money and streamlines the production, I’m happy and so is production.

Whats next for you film or TV wise? Anything in the pipelines?

I’m excited about the future and what it holds for me and the company. There are serval diverse projects on board. A quick list would consist of music videos, scripted series, a feature length documentary, advertising campaigns, corporate films, short and feature films.

In addition to those projects, my goal is to take advantage of our Louisiana tax credits (up to 35%) and the newly added Indigenous Tax credit (up to 60%). I also want to use our assets and resources at hand to start developing and producing Holbrook’s own IP. Whether it be partnering with another entity to produce content, searching for great scripts to produce or writing and developing our own material, the bottom line is that I want to deliver high quality content creation for any entity or individual interested.

Holbrook - Canvus Print Outs-22
The film will be screening at the SITGES FILM FESTIVAL on October 9th at 8:00PM at the Retiro as part of the Panorama Fantastic section! Writer/Director John Fallon will be on hand to present the screening.

facebooktwitterby feather
facebooktwitterby feather