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Thriller The Shelter with Michael Paré now available worldwide on Vimeo on Demand!

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The critically acclaimed psychological thriller “The Shelter”, starring iconic actor Michael Paré (“Streets of Fire”), is now available for viewing around the world, thanks to its newfound home on Vimeo On Demand: https://vimeo.com/ondemand/thesheltermovie.

The film, which the L.A. TIMES said was “remarkably ambitious” and was “a concise genre piece that doubles as a heavily metaphorical character sketch”, had previously been released on DVD and VOD in the United States, and was also sold in various countries around the world including Belgium, Denmark, Finland, Iceland, Luxembourg, Malaysia, Netherlands, South Africa, Sweden and South East Asia.

But now the rest of the world gets their chance to watch the psychological suspense film which critics loved at the London Frightfest, as well as the Sitges Film Festival.

The film is about a homeless man named Thomas (Michael Pare) who finds shelter for the night within a lavish abandoned two-story house. He eventually discovers that he is not alone and the premises won’t let him leave.

“The Shelter” marked ArrowintheHead.com founder John Fallon’s directorial debut, a renaissance man who had previously written 12 films and acted in over 20 movies before directing his own. The first-time director said that “Since The Shelter’s domestic release, we’ve done all that we could do in terms of the classic distribution routes, but now it’s time for us to splash the film around the world, so that fans from anywhere can watch it whenever they want, from wherever they are!”

The film was shot entirely in Louisiana and provided lead actor Michael Pare with some of the best reviews of his career including kudos from WeAreIndieHorror which said that he gave “one of the best performances of his long career” and AintItCool.com which said “Pare really gives it his all here, plunging to emotional depths I never thought he was able to do and doing them with a real sense of soul.”

Watch The Shelter on Vimeo on Demand here!

Own the DVD here!

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New The Shelter trailer, poster and release date announced!

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JOHN FALLON’S THE SHELTER COMING TO THEATERS, ON DEMAND THIS NOVEMBER

Written, directed and produced by John Fallon, The Shelter stars Michael Paré (Eddie and the Cruisers, The Virgin Suicides) in one of his most acclaimed performances in recent times.

Scream Horror Magazine says Paré “steals each and every scene” while Aint it Cool News says he “really gives it his all here, plunging to emotional depths I never thought he was able to do”.

Gayle James, Rachel Whittle, Amy Wickenheiser and Daena Turner co-star in “the smart man’s horror film” (Icons of Fright).

On a star filled night, widower and homeless man Thomas Jacobs (Michael Paré) finds shelter for the night when he falls upon a vast two-story house with the lights on and an inviting open front door. He strolls on in thinking he just caught a lucky break and for a while, it would appear as though he did. But soon enough, he realizes that the house won’t let him leave, as its doors are all locked while its windows cannot be opened or broken. Destiny has brought Thomas to this place. What does it want from him? Will he survive the ordeal?

The Shelter will be released in theaters and digital in North America on Nov 4 and on DVD on January 3 from Uncork’d Entertainment.

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The Shelter to be distributed in North America by Uncork’d Entertainment!

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Uncork’d Entertainment has acquired US and Canadian rights to the horror-thriller The Shelter, with both a theatrical and digital release planned for the fall.

Written & directed by John Fallon and produced by Fallon and Donny Broussard, The Shelter stars Michael Paré (Eddie and the Cruisers, The Virgin Suicides) in one of his most acclaimed performances in recent times.

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Michael Pare as Thomas Jacobs

Scream Horror Magazine says Paré “steals each and every scene” while Aint it Cool News says he “really gives it his all here, plunging to emotional depths I never thought he was able to do”.

Gayle James, Rachel Whittle, Amy Wickenheiser and Daena Turner co-star in “the smart man’s horror film” (Icons of Fright).

“I’m very pleased to be partnering with John and Berge to introduce The Shelter to U.S. and Canadian audiences,” says Uncork’d Entertainment President Keith Leopard. “Michael [Paré] is superb in the lead role – we’re anticipating some great notices on his turn here.”

Writer/Director John Fallon.
Writer/Director John Fallon.

“It was very important for me to find a domestic distributor that understood The Shelter for what it was and that wouldn’t try to rework it into something that it wasn’t,” says Writer/Director John Fallon. “I thankfully found that in Uncork’d Entertainment and I am beyond elated to move forward with them on the picture!”

In The Shelter, widower and homeless man Thomas Jacobs (Michael Paré) finds shelter for the night when he falls upon a vast two-story house with the lights on and an inviting open front door. He strolls on in thinking he just caught a lucky break and for a while, it would appear as though he did. But soon enough, he realizes that the house won’t let him leave, as its doors are all locked while its windows cannot be opened or broken. Destiny has brought Thomas to this place. What does it want from him? Will he survive the ordeal?

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Gayle James as Maryam

Of his role, Paré said “The Shelter tells a great and painful tragedy, not about global disaster or war or economic collapse but of the individual human heart. The human heart and soul is what all art seeks to unravel. Guilt, regret and shame kill the heart and soul. When our lower animal nature dominates our character our soul is lost.

With visual effects by Thomas Wilson (Insidious, The Conjuring), The Shelter was executive produced by Bruise Productions and JoBlo Movie Productions. Holbrook Multi Media completed the production and post-production elements.

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Check out this new clip from The Shelter!

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After its showings late last year at Film4 Frightfest, the Sitges Film Festival and the A Night of Horror Film Festival (where star Michael Paré won the “Career Achievement” Award for his work in the film), THE SHELTER keeps on trucking in 2016.

We’re presently securing further Festival screenings (to be announced soon) while seeking a home in terms of worldwide distribution. In light of the BERLIN MARKET happening as we speak, we decided to release a clip from the film – see it below! You can e-mail us HERE for distribution inquiries.

You can also watch the CLIP ON VIMEO HERE!

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The Shelter gets North American premiere at Southern Screen this weekend!

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After Frightfest 2015 in London and the Sitges Film Festival in Spain, October , THE SHELTER will now screen at the 2015 Southern Screen Film Festival in Lafayette, Louisiana, which happens to be where the bulk of the picture was shot. The screening will take place on Sunday November 22 at 5:30pm (get your tickets here) and you can expect varied cast/crew members to be there.

Director of Photography, Editor and Lafayette native Bobby Holbrook on the screening:

“It’s great to see the Lafayette film scene continue to grow, and to have “The Shelter” play at the Southern Screen Film Festival. The fact that production and post-production for the movie were completed locally, and that a lot of the cast and crew are from the area, just adds to that. The audience can expect to be gripped by John Fallon’s dark story and an outstanding cast. One review called the movie audacious, and it’s not like any other movie out there right now, so they can expect the unexpected. I also hope as they watch the film they get excited that this is just the beginning of what our own local film scene has the potential to do and be.”

Writer/director John Fallon’s thoughts about the screening:

“Lafayette, Louisiana was a big part of The Shelter. Most of the film was shot there and the bulk of our talented cast & crew were from there as well. Hence it’s a pleasure for me to share the film with the local audience. On that, a warning; as opposed to what I have done in the past, The Shelter is a moody and introspective film, not an exploitation affair. Hence I advise the audience to not go in there expecting a cinematic keg party, as they won’t get one. Think more funeral.”

Producer Donny Broussard on the screening:

“The Shelter is a true indie film, mixing art and horror and in the process creating a chilling experience. I’m very excited to watch the film with the community that helped make it.” 

The film revolves around a widower and homeless man named, Thomas Jacobs (played by Michael Paré), who finds shelter one night when he falls upon a vast two story house with the lights on and an inviting open front door. He strolls in and makes himself at home, but what at first seems like a lucky break turns out to be a cruel twist of fate when he realizes that the house won’t let him leave.

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Here are what some of the critics had to say:

”Pare really gives it his all here, plunging to emotional depths I never thought he was able to do and doing them with a real sense of soul.” – AINT IT COOL NEWS

“Fallon’s piece is piercing as a disconcerting family dreamscape.” – STARBURST MAGAZINE

“There’s a confidence to Fallon’s choices too, as he gives us a not particularly likeable protagonist and maintains a somber tone throughout this emotionally raw journey.” – SCIFINOW

For more information on ‘The Shelter’, download the film’s Press Kit ( https://goo.gl/Hr9dbV ) or check out the film’s official site (http://www.theshelterfilm.com). The film will next screen at the reputable A Night of Horror Film Festival in Sidney Australia on November 29 2015.

THE SHELTER was produced by John Fallon and Donny Broussard, executive produced by Bruise Productions and JoBlo Movie Productions. Production and post production elements were completed by Holbrook Multi Media.

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A talk with The Shelter cinematographer Bobby Holbrook!

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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.

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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.

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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.

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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.

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The Shelter gets its Spain premiere at the Sitges Film Festival!

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With a successful run in England at London Frightfest, the next stop for THE SHELTER is at the esteemed SITGES FILM FESTIVAL in Spain this coming October (see its page here). Writer/Director John Fallon, who will be there to support the screening, had this to say about the film playing Sitges.

“In 2010 I attended the Sitges Film Festival (which is my fav festival bar none) as press for my site Arrow in the Head. I told myself then, that was the end for me. The only way I would ever return to Sitges would be as a filmmaker with my directorial debut under my belt. Five years later, back to Sitges I go with The Shelter! I am thrilled!”

Stay tuned for screening date and time!

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The full The Shelter trailer and Cannes screening info!

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Hey all! You can now view our full trailer for THE SHELTER! Scroll down and enjoy (a big thank you to David Cholewa for his invaluable trailer input)! And as for the Cannes Film Festival market, THE SHELTER will screen on May 16 at 4:00PM in the GRAY 3 THEATRE.

THE SHELTER stars Michael Paré, Gayle James, Rachel Whittle and Amy Wickenheiser and it is represented by DC MEDIAS.

The film was executive produced by Bruise Productions and JoBlo Movie Productions. Production and post production elements were completed by Holbrook Multi Media  The film was produced by Donny Broussard and John Fallon.

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The Shelter updates! Full trailer Monday, new pic, where we’re at, what’s to come!

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Hello! Here’s a quick update in terms of THE SHELTER. After some invaluable outside feedback, we  just completed final tweaks on the film’s color correction – we’re all 110% happy now.

Moreover,  the full trailer for the film (see a preview of it here) and the Cannes Festival screening date/time will hit the web on Monday April 20th, 2015. We can’t wait to share those with you all! Lastly, you can expect a clip of star Michael Pare (Thomas Jacobs) talking about the project to hit the web sooner than later.

Till then here’s a picture of Brigette Rose as “Red” in the film (above) to tie you over! More VERY soon!

THE SHELTER was executive produced by Bruise Productions and JoBlo Movie Productions. Production and post production elements were completed by Holbrook Multi Media. The film was produced by Donny Broussard and John Fallon and is now represented by DC MEDIAS in terms of sales.

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The Shelter at the 2015 Cannes Film Festival!

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This is a general announcement. You can expect further details to surface closer to the film’s screening date.

We are happy to announce that THE SHELTER (which is now seeking worldwide distribution via its Sales Agent DC MEDIAS) will be screening at the Cannes Film Festival in May of 2015 as part of the film market.

Writer/Director John Fallon on the screening: “It was a must that The Shelter have a presence at this year’s Cannes. We’re hoping that by the time the Festival/Market ends, The Shelter will have found a home around the world and that everybody will finally get to see it.”

Stay tuned for screening date/time/cinema info and you can expect a FULL TRAILER for the picture to go wide in April of 2015. Till then, you can watch the TEASER HERE!

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