---[] One Percent []---

Very intriguing story. Your filmmaking style is very recognizable. It is always a pleasure to watch your films. Especially I adore the moment when the little girl said 'It's your turn daddy' - this moment gave the story a fantastic twist. Compliments!

Susanne
 
Lawsuit_Boy said:
This film moves in a fluid, incessant pattern that sucks the viewer right in and doesn't allow them the chance to stall. It reminds me of some works by Altman, Demme, and especially PT Anderson (who of course drew much inspiration from both former filmmakers). The perpetual motion combined with the sound design develop a claustrophobic and anticipatory atmosphere that is just tremendously foreboding. Once the scene stops moving in a static shot of the ballerina music box, a chill runs up the spine. This bit of mis-en-scene truly ups the ante. Once the ballerina starts, the camera draws the viewer in again. Excellent direction of this sequence. I wondered to myself for a moment if it might be more effective to refrain from zooming forward after the ballerina begins to move and keeping the next shot static, but I think you made the right decision in restarting the motion of the scene. You stop long enough to tell us something new and then pull us further. Love it! And the black void seen in the mirror, creeping, in a way, behind the dancer is ominous and menacing.

Sometimes I feel like some filmmakers' use of intentional contrast between quaint, innocent, child-like musical themes and dark imagery and subtext gets too heavy handed (an obvious example would be something like "Somewhere Over the Rainbow" used in a slow-motion shoot-out in Face/Off), but your elements fit together well.

Once the dream sequence comes in, the film continues to move fluidly while highlighting the man's inner distress and crucial pieces of information about the girl. It also sets up the supernatural and/or abduction elements of the story with the thick, heavy blinking of the "being's" eyes and the symbol of her captured on the floor. This scene, believe it or not, actually did make me jump. This is a great example of how to use "jump" moments effectively. You built up the tension and mystery so well that, even though one can assume what will happen, it still catches you off-guard, just like a dream would.

Your handheld work after the sequence from the doorway does suggest a watchful eye on the protagonist.

I thought the acting was very strong. I can understand some of the complaints about the man's sudden change in demeanor not coming through as earnest and believable, but a scene like that, in such a short film, would be difficult for most to pull off. So while the scene on the phone could use work, it's in no way a bad scene. I think the majority of the scene's troubles come in the en medias res aspect of the dialogue. From the first few words, there's already conflict. A scene like this depends so heavily on authentic performances because the actors have to give the audience so much historical information without too much exposition. One of the only things that struck me as in need of work is actually an audio issue. The woman's dialogue comes through the phone with a little bit of "futzing" as is natural in this type of scene, but it sounds just a little more clean than the dialogue from the man. The kitchen yields a little more bounce, so it fills the room. Sometimes we hear her words very clearly, but times when he says things like "a little" get a little lost. Could just be minor mixing issue. I would try to pump his dialogue up just a hair. But, the scene does end up playing smooth enough and after a second viewing, I like both performances more. I love the diagetic cut to the flame burning on the stove; a very symbolic image that works well in the context of the film. I like that it creeps forward slowly.

The music is very effective in this film. I love the ambient score. It wavers with such melancholy and loneliness. The rest of the score feels right as well.

The television turning on to static is a tried-and-true technique and is quite scary. (For me, it's scary in the context of a horrible incident with a bad tv signal that happened when I was a child. Scared the crap out of me!) The high-pitch squeal of the kettle really takes the anxiety to another level. It, in conjunction with the tv static and the automated operator on the phone, work well as a mosaic of unrelated sounds working together to deliver a triad of non-coincidental elements.

The lead's performance may dive into the emotions just a little too heavily when he sees his "daughter." It might have seemed more logical for him to be a little more awe-struck and confused by her sitting on the bed. But, once again, the performance isn't bad. It just comes very quickly. The girl worked well here, delivering a cold, cynical set of lines.

The final shot really solidifies the abduction process with the alien transmission sounds that were heard earlier in the film. The shot itself is lit, framed, and colored very well and the darkness descending upon the house leaves the audience with a feeling of dread. Nice!

This really is an extremely effective short with lots to admire. I think it stands as some of your best work yet, and that says a lot as I remember you sifting through multiple ideas and projects, trying to decide which to pursue for this festival. And you were also in the process of moving, correct?

Great work! :beer:
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I always look forward to your reviews and this was no exception. If only I could express my thoughts as well as you do. I think you were pretty much dead on for all of it. The reaction to seeing his daughter has been commented on a bit. Some people wanted a bigger immediate response, some people wanted more awestruck or stunned, mixed with disbelief. I told Ian to play up the disbelief at first, he mentions that he must still be dreaming, followed by a long pause at the door. After that fatherhood kicks in and you just want to see/hold your daughter again.

I think you pretty much nailed everything and I want to thank you for taking so much time to write such a thorough review. I'm so thrilled that I was able to creep you enough to get you to jump. Call me sadistic. :)

I'm just learning how to create tension in a scene like that and it was a lot of fun to plan it out in the script and see it come to life in the edit. Herman's score really added another layer to the entire mood. I'm really glad that you also noticed and expounded on some of the little touches that I threw in. Kudos for that!

And yes, we were in the middle of moving and have long since done so. I actually edited the film in the new house. I really wish I could have gone back to add a few scenes but it worked out fairly well and allowed me to enter in something that clocks in at the 4 minute mark instead. That in itself was quite the challenge for me. Glad you also dug the ending. That was a last minute FX shot that my buddy Doug pulled off. I really felt in needed it and he fine tuned it just as I had asked.

Cheers!

Mike
 
Susanne G. said:
Very intriguing story. Your filmmaking style is very recognizable. It is always a pleasure to watch your films. Especially I adore the moment when the little girl said 'It's your turn daddy' - this moment gave the story a fantastic twist. Compliments!

Susanne
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Thanks, Susanne. I also enjoy the straight and to the point reviews, much like my own. Glad you enjoyed it.

Cheers,

Mike
 
Michael Anthony Horrigan said:
I always look forward to your reviews and this was no exception. If only I could express my thoughts as well as you do. I think you were pretty much dead on for all of it. The reaction to seeing his daughter has been commented on a bit. Some people wanted a bigger immediate response, some people wanted more awestruck or stunned, mixed with disbelief. I told Ian to play up the disbelief at first, he mentions that he must still be dreaming, followed by a long pause at the door. After that fatherhood kicks in and you just want to see/hold your daughter again.

I think you pretty much nailed everything and I want to thank you for taking so much time to write such a thorough review. I'm so thrilled that I was able to creep you enough to get you to jump. Call me sadistic. :)

I'm just learning how to create tension in a scene like that and it was a lot of fun to plan it out in the script and see it come to life in the edit. Herman's score really added another layer to the entire mood. I'm really glad that you also noticed and expounded on some of the little touches that I threw in. Kudos for that!

And yes, we were in the middle of moving and have long since done so. I actually edited the film in the new house. I really wish I could have gone back to add a few scenes but it worked out fairly well and allowed me to enter in something that clocks in at the 4 minute mark instead. That in itself was quite the challenge for me. Glad you also dug the ending. That was a last minute FX shot that my buddy Doug pulled off. I really felt in needed it and he fine tuned it just as I had asked.

Cheers!

Mike
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After lamenting about that scene for a while, it really does feel quite natural how he reacted to seeing his daughter. My girlfriend Caroline (who played the lead in Tiny Dancer and our new work Subito) said that the scene was actually very natural and quite good. She really enjoyed the film as well. So really, I think it could have gone either way. It was well played by both, regardless.

A highly successful film, especially considering the constraints caused by moving! (I'm eagerly awaiting your next project, by the way.)
 
Lawsuit_Boy said:
After lamenting about that scene for a while, it really does feel quite natural how he reacted to seeing his daughter. My girlfriend Caroline (who played the lead in Tiny Dancer and our new work Subito) said that the scene was actually very natural and quite good. She really enjoyed the film as well. So really, I think it could have gone either way. It was well played by both, regardless.

A highly successful film, especially considering the constraints caused by moving! (I'm eagerly awaiting your next project, by the way.)
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Thanks again, Jon.

Mike
 
Solid short here Horrigan. I said it before and I'm reiterating how well I thought all the child actors did in this festival. One of the first things you learn in low budget film making is: don't use kids! But your film and many others prove that they can carry a short or a feature if they have talent and are guided properly. I thought the little girl did a great job as almost every kid in this festival did.

Something threw me about the adult actor and the phone call. I'll have to go back and watch it again. I just didn't think he came off as genuine as the little girl did. Lighting/score/camera work were all great. Nice job as I know this was last minute and you had very little to work with.

I liked the take on Monsterfest. Nice work.
 
Thanks! The lighting was all practical but it turned out rather well.
I appreciate the feature comment. Some day, when I'm a little more polished.

Good luck in the Fest!

Cheers,

MAH
 
Hey there Michael - see how am i supposed to provide feedback when Lawsuit Boy beats me to it (damn you Jon!)

Righto - okay!!!

First of kudos to the use of my favourite dvx header - the starting title for missing people is quite perfect and i was pleased overall to see a science fiction entry! Not the easiest!

We have a disturbing introduction to the home environment and some excellent use of cutaways - some of which i only caught on the second viewing (quite monstrous!!)

This is a dark and foreboding story, with a permeating atmosphere that makes us feel 'loss' and 'loss of identity' also. Exploratory in that regard, this is a film toying with our responses as much as our poor hero is being toyed with also - so it seems.

The only danger this film faces, is from those resistant to the type of atmosphere its trying to build, and may switch off earlier on. This is not for everyone - but a fine taste to be enjoyed by a discerning sort!

Good work Michael.
 
lawriejaffa said:
Hey there Michael - see how am i supposed to provide feedback when Lawsuit Boy beats me to it (damn you Jon!)

Righto - okay!!!

First of kudos to the use of my favourite dvx header - the starting title for missing people is quite perfect and i was pleased overall to see a science fiction entry! Not the easiest!

We have a disturbing introduction to the home environment and some excellent use of cutaways - some of which i only caught on the second viewing (quite monstrous!!)

This is a dark and foreboding story, with a permeating atmosphere that makes us feel 'loss' and 'loss of identity' also. Exploratory in that regard, this is a film toying with our responses as much as our poor hero is being toyed with also - so it seems.

The only danger this film faces, is from those resistant to the type of atmosphere its trying to build, and may switch off earlier on. This is not for everyone - but a fine taste to be enjoyed by a discerning sort!

Good work Michael.
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Great review but I have to say that I miss your sexy voice. :)

Cheers, mate!

Mike
 
Hi Michael, it's late in the fest. And people have most probably gone through it thoroughly by now. So, I'm just stopping by to say well done on making the finalists and that I really enjoyed your scary tale.
 
5 time finalist? That's cool! Has anybody else done that around here? You need to get like a DVX lifetime achievement award or somethin'!
 
Well, I'm counting two top 8 or less finishes as finalist placings as this was before they had the second round finalist voting. I was 5th in DarknessFest and I think 7th or 8th in LoveFest. Then a finalist in TimeFest, TwilightFest, and now MonsterFest. That makes 5.

My first entry in SpyFest was nowhere near the top of the bunch. That was my first short film and it taught me a lot.

Yay HV20! :)
 
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