FLESHER (Post-Production / IMDb)
|Flesher - Ron Riekki||Writers - John and Scott Johnson|
|Bunny - Kirsten Ray||Director/Camera - John Johnson|
|Barbie (Chelsea Neil) - Erica Mary Gillheeney||Sound/Editing - Scott Johnson|
|Corina - Karina Chery||Music/Score - DreamDivision, John Johnson|
|Benny - Deak Smalls||Special Effects - Sean Krumbholz|
|Flesher's Father - David Schifter||Make-Up/Hair - Janae Tormoehlen, Rachel Mahaffey|
|Flesher's Mother - Tracey Lowe||Producers - Kirsten Ray, Erica Mary Gillheeney|
|Teenage Flesher - Nico Ford||Associate Producer - Ken Cohen|
|Young Flesher - Clayton Chewning||Production Assist - Stacy Overby, Jacques Selby, Hailey Barrier|
|Teresa - Michele Nichols||Slate - Austin Lehman|
|Boy in Box - Jamison Key|
|Buyer - Andy Winstead|
|Driver - Derrick Burbage|
|Biker - D B Lambert|
|News Reporter - Lindsay Hibbard|
|Stranded Motorist - Patrick Ashely O'Neal|
|Masquerade Host - Jessica Rueger|
|Hotel Manager - Diane Worman|
We are really excited to be in post-production already on such a big project. This story started as a short we did a few years ago called As I Prey that was well received and awarded. This film will be a bit longer and will expand upon the idea of that killer, some years down the road after he has perfected his technique.
We plan to keep the same video effects that we used in As I Prey, such as the pop-up windows that show the gory effects or important moments in greater detail. This is a difficult process as it requires syncing video that was not filmed at the same time. But we think the end result is worth the effort.
This is by far our biggest project to date. The story idea began in 2017 when John had the idea of continuing on the As I Prey story. Although we were still working on the What Becomes of Us anthology, John was already working out some of the story details in his head. The writing took a great deal of time and we went through many revisions before coming up with an interesting idea.
The biggest hurdle to overcome with the story comes from the fact that we need to introduce a few main characters late in the story. Their meeting with Flesher and Bunny has to remain completely random. So we cannot connect there story lines to the main story until the third act. This presents a challenge when trying to keep the audiences interest in these two seemingly irrelevant characters. They are not irrelevant. But you have to see it through to know why.
Once the story was written, John and I (mainly John) worked on the logistics...locations, casting, props, wardrobe, vehicles, effects, artwork, music...not to mention the budget. We had some of the money from our own pockets as we had a side job that just paid out in the nick of time. But it wouldn't cover everything, so we ran a crowdfunding campaign. We did raise a good amount for the film. But we still had to cut a few big ticket items that we really wanted for the film...one of those being a quick trip to Arizona to shoot out in the desert for the buyer scene. Darn.
Nevertheless, we managed with what we had and after half a year of planning and arranging, the shoot dates arrived.
This was easily both my most loved and hated shoot. We had so many set backs that it would have been easy to get discouraged during the shoot. But that's not something that works well on a set. You have to be upbeat and ready to go at all times. Dark moods spread to cast and crew quickly, which affects what ends up on the screen. There's no place for that. So we stayed positive.
We stayed positive despite not having working cars (we all drove prop cars and they were intentionally bad cars), despite having rain and colder weather than we were supposed to, and most importantly, despite having 15 and 20 hours shoot days. We scheduled 10 shoot days for the film, based partly on what others have stated it takes to shoot 90-minute films, and partly on the availability of cast, crew, and our ability to take leave from our real 9-to-5 jobs.
It wasn't enough. We could have easily used three more days of shoot time. Sigh. But we made it work. A few days I didn't sleep at all as we would finish location clean up at almost 5:00am and had to be at the next location by 7:00am. It is truly amazing how much we accomplished during that week.
And that's in large part due to our three PA's from Trident Technical College. They were fantastic. I cannot say enough about Stacy, Jacques, and Hailey. They were knowledgeable, available, and work-a-holics. We definitely would not have been able to complete our shoot without them. Even more, they were super enjoyable to be around. They helped keep the mood light and smiles on everyone's faces...an extremely important, yet overlooked necessity when filming. Thank you, thank you!
But the reason I really loved this shoot is because of what we accomplished. The video looks great, the locations are awesome, and the special effects...wow! Sean Krumbholz gave us Hollywood-level special effects. I honestly didn't know what to expect when we decided to actually show characters getting their chest and face ripped off. I assumed we would have some cop-outs and cut-aways like 1980's horror flicks. I was amazed to see what Sean had in store for us. And even more, I can't wait to start editing those clips and show them off. Yes!!
We have just now really gotten into the swing of things with editing, but it is coming along well. We still have another day, maybe two, of pick-up shots that John and I can do by ourselves. But the process is slow. I know everyone is anxious to see the clips, get their reels, and see the premier. We are currently estimating a May deadline. I would actually like to get this in to the Crimson Screen Horror Film Festival for 2019. I think we can, but it all depends on sound. That's always the slowest part of the post-production process for me.
For the moment, here are some random stills from the first 15 minutes of the film. We have not yet decided on a final color/style/feel for the film, so we're trying out a number of options.
Here's to a quick edit!