First Look at Fan Auteur Sandy Collora’s “Hunter Prey”

order us about your outgrowth with this movie . How did you first get the thought , and then how did you design the production from there ? Well , after years of test to estimate out the almost unimaginable task of how to make something unique , where we could create original characters and a Science Fiction based universe of our own , that was doable on a very modest budget , and failing miserably , LOL … Nick walk into my studio apartment one daytime late last Summer , looked at me and say , “ I got it … ” . That afternoon , we hammered out what eventually became “ Hunter Prey ” . The name come from a unrelated script I had antecedently written that Nick always liked , so we just used it and it stuck . That other playscript is now in the “ Untitled Sandy Collora Project ” pile . LOL . Once we had a outline I like , Nick began working on the first draft and I started draw , cranking out sketch of the fictitious character , costume , landscapes , props , and vehicles . As the script was constantly switch and evolving , mostly due to budgetary limitation , we were both catch a little disappointed , so after Nick got most of the heavy lifting done , breaking the back of the news report , and I had design a lot of the character stuff and costumes , we switch over ! Nick did some drawings of the things he really want to take a crack at designing and I finished the script . We had tons of artwork to get costume house decorator : Mike Macfarlane , airscrew detergent builder and armorer : Scott Paige , and the special effects make - up artist : Patrick Magee , started on progress all the stuff that would dwell and dwell this universe . While everything was being built , in between oversee all that and storyboarding the first act of the picture , I remove Simon to Mexico , to converge our emplacement handler and supervisor , Dale Pearson . He and I took Simon to all the locations , which I had scout months before , on a fishgig fishing trip-up to the Sea of Cortez with Dale . Simon was blown aside by the position and immediately got to work with Daren , SAG and the Mexican consulate on cypher out how we could make shooting down there work within our budget , which was no easy task . After that was all work out , cinematographer Ed Gutentag and first assistant director Mark Mathis were brought on plank . I got really engaged with them make guesswork lists and the docket , so I play in my friend Mark Pacella to help storyboard the eternal rest of the flick .

My studio wall now plastered with all the storyboards , each section head was bring in in and I went over in explicit particular how we were going to keep up with the almost impossible 18 day shooting schedule . During this clip , most of my days were spent with Ed , dissecting and breaking down every daylight , shot by shot . Camera angles , lens choices , frame velocity , filters and focal duration , were all download to him and explain in painstaking contingent . Since I would be operate one of the three camera that were used on the shoot , I wanted us to be all in sync regarding how I was going to cover each scene . During that time period as well , I also spent a lot of time with the two main actors , Clark Bartram and Damion Poitier . Not only rehearsing , but just fall out and talking about the movie . I gave them both a lot of background regarding who their respective characters were and what was expect of them . Damion was just coming off his stretch on JJ Abrhams “ Star Trek ” and Clark had just returned from work in China on a task , so the timing was good for both of those hombre to practice fight stuff as well and get the physicality of their roles dial in with stunt coordinator Simon Potter . We leave behind for Mexico in late April and dash through the end of May . When we got back , all the footage was give to my editor in chief , Toby Divine . We did a few pick up days here in Los Angeles as well as an broad miniature shoot … The cut is pretty much locked at this point and now I ’m working with Semerad , an award winning visual effects house in NY , on enhancing the visual aspects of the motion-picture show . The stuff they ’ve done so far is utterly stunning , so I ’m look forrader to finalize all the chemical element over the next 6 - 8 weeks . I just really pay back back this afternoon from screening the film for Erin Gray , who as of this morning sign on to do the voice of CLEA , a key computer who control all the functions of the armoured suit the commando wear and in reality becomes a polar character in the photographic film , very like to HAL from 2001 . She dead jazz the movie and totally got the fibre . Her voice - over is one of the last elements to completing the cinema , so it ’s a very exciting time right now .

How did you raise financial backing for the film ? Very carefully . I had to see investors that were concerned in making the film I wanted to make . I was clear to get word ideas or take notes on the script , but whomever was plump to invest in this picture , needed to be on the same page as me regarding the tone for the piece , the characters , how I wanted to order the story , and of class , the overall aim and look of the film . I was fortunate to find a small radical of backer investors who believe in my vision for the picture , and more importantly , conceive in me as well . Of course , there were questions and worry about how I was going to deliver the ambitious movie I promised on the money that they were giving me , but once they see to it the amount and the quality of all the pre - production stuff ; the storyboards , the extensive blastoff lists and meticulously planned out shooting schedule , I opine they really latched on to the whole underdog vibe we had going , a modest mathematical group of really motivated people who conceive in their hearts that they were take on something very daunting , but also very particular . They had a pot of confidence in me and my very modest , but very gifted casting and crew . With filmmaking software and hardware becoming more chinchy and accessible , it seems like this should be a golden years for indie literary genre movies like “ Hunter Prey . ” Is it really a golden long time , in your experience , or is that a myth ? I do n’t needfully think the fact that we could be on the brink of another golden long time for these kinds of films , is a myth at all . What is a myth however , is that the advent of all this affordable technology you ’re talking about , is go to be responsible for it . A camera is still a tv camera , whether it ’s 35 mm film or digital . You still need to point it at something to capture the dramatic images that will severalise your story . That ’s an innate ability or talent that simply is there in an person , or it is n’t . The variety of camera that someone is using may be inexpensive or simple to use , but you still need to lie with what to put in front of it … Of course , I think it ’s gravid that all this stuff is becoming more available to filmmakers , especially the younger guys , but it ’s my personal notion that it ’s not the shaft or the technology that make good movies , it ’s the people using those tools . This business is so unpredictable and quicksilver . It guess it depends on what your definition of the condition is , really … To Nick and I , our gilded age was the late sixties to the mid eighties . We have interminable hours of conversation , reminisce about it all the time . To us at least , it ’s kind of a no brainer . You look at successful genre photographic film like “ Planet of the Apes ” , the original “ Star Wars ” trilogy , “ Logan ’s runnel ” , “ penny-pinching Encounters of the Third Kind ” , “ Alien ” , “ Blade Runner ” , “ The Thing ” , and “ The Terminator ” , and you image out what it is about each one of those picture that stimulate them so damn good , and essay to impregnate a piddling of that magic into what you ’re doing . You stand on the shoulders of giant and learn from what they ’ve done before you . When will we be able to see the movie ? Soon !

Last Of Us 7 Ellie Crash