Barry_Green
Moderator
So, what I'm getting from this is -- a lot of people saying you "can" do it, but not a whole lot of evidence. And a lot of people saying you can't do it, which the "can" folks think is negativity.
So let's take some of the "can's" - Hudson, Hicks, and Callaghan. Gentlemen, start your engines. Callaghan, pen a brilliant script that takes place in one location. Hudson will direct it, Hicks will shoot it, I'll exec-produce, and I'll bring the ten grand and a vanload of camera, lighting, and sound gear. Not a 10-ton truck, maybe 1/4-ton, but enough to get it shot.
Just has to be do-able on the budget, and I'm not gonna want to work that hard, so -- one location. Lots and lots of things can be done in one location. Just make it a location they can't get out of, for some reason -- like "Cube". Or, they're quarantined because of a medical outbreak - either they've got it, or everyone else in the world has it so they're quarantined inside a lockdown to keep from getting it. Or they're trapped on a spaceship (let's re-use the "O2" set). Or, they're chained up in the basement of some place. Or, it's a courtroom drama. Or, they're locked up in prison. Or, they're some dumb kids who decided to go into a house that's gonna be fumigated, and the fumigators started while they were still inside. Or... they're human trafficking victims and it takes place inside the cargo shipping container they're stuck in. Or... they're lost at sea and sharks are circling them (wait, that's been done... on a VX2000... and made it to international theatrical release). Or... they're trapped in a Night of the Living Dead house, and whatever the heck is going on outside, we can't see, but we know it's bad, and maybe one of them has already been infected or possessed or whatever but we don't know who, so it's a paranoia thriller... or... well, there's a million different scenarios. Just takes some brilliant writing to craft a screenplay that would hold the viewer's attention while we can't get out of wherever it is we're trapped.
Offer on the table.
So let's take some of the "can's" - Hudson, Hicks, and Callaghan. Gentlemen, start your engines. Callaghan, pen a brilliant script that takes place in one location. Hudson will direct it, Hicks will shoot it, I'll exec-produce, and I'll bring the ten grand and a vanload of camera, lighting, and sound gear. Not a 10-ton truck, maybe 1/4-ton, but enough to get it shot.
Just has to be do-able on the budget, and I'm not gonna want to work that hard, so -- one location. Lots and lots of things can be done in one location. Just make it a location they can't get out of, for some reason -- like "Cube". Or, they're quarantined because of a medical outbreak - either they've got it, or everyone else in the world has it so they're quarantined inside a lockdown to keep from getting it. Or they're trapped on a spaceship (let's re-use the "O2" set). Or, they're chained up in the basement of some place. Or, it's a courtroom drama. Or, they're locked up in prison. Or, they're some dumb kids who decided to go into a house that's gonna be fumigated, and the fumigators started while they were still inside. Or... they're human trafficking victims and it takes place inside the cargo shipping container they're stuck in. Or... they're lost at sea and sharks are circling them (wait, that's been done... on a VX2000... and made it to international theatrical release). Or... they're trapped in a Night of the Living Dead house, and whatever the heck is going on outside, we can't see, but we know it's bad, and maybe one of them has already been infected or possessed or whatever but we don't know who, so it's a paranoia thriller... or... well, there's a million different scenarios. Just takes some brilliant writing to craft a screenplay that would hold the viewer's attention while we can't get out of wherever it is we're trapped.
Offer on the table.
