Mortal Kombat workprint

I mentioned yesterday that I'd done a workprint of an improved (or perhaps just decrappified) Mortal Kombat cut. I uploaded it to Vimeo to get some feedback, so I may as well post it here. It's important to note that I did absolutely no work on the audio (except for removing the song from the title sequence), so I'm aware that the sound is dreadful and would need an enormous amount of work. Nonetheless, here it is.



The password is fatality.

Stuff in progress: Disturbing Behaviour: Aberrant, Mortal Kombat workprint, The Shadow Over Innsmouth

I've started working on the Disturbing Behaviour extended edition/edit that I mentioned in my previous post, and have also been reminded of the Mortal Kombat workprint I put together last summer as a proof-of-concept for a less-silly version of the film with better (or at least less bad) fight scenes. It's currently uploading to Vimeo so I'll post it here when it's ready.

I'll also get a final version of The Equation Of Crime posted up.

I should really get back to working on The Shadow Over Innsmouth as well; most of the cuts are done, but there's still a lot to do as I have to create all the title cards for the dialogue (which may lead to more cuts to keep the runtime reasonable) and pull together a soundtrack. I'm feeling like going in two contradictory directions: on the one hand, encouraged by how The Equation Of Crime turned out, I think that oppressive ambient electronic music would work well, but on the other hand there's stuff like Mosolov's classical music that would make for a more period-authentic soundtrack. Or I might try a mixture of the two. It's kind of moot until I've finished the video work, though...

Notes towards a Disturbing Behaviour fanedit

I got it into my head recently to do an edit of 1998's Disturbing Behaviour. It's not an especially good film, but the theatrical cut still butchered what material was there by cutting out what character development was there. Add to that some badly-judged attempts at humour from a mediocre-at-best screenwriter and some dodgy uses of music, and you hobble whatever merits the film had to begin with.

In saying that, the film's not all bad. James Marsden and Katie Holmes might not be the best fit for the grungy outsider roles they played, but they do a reasonable job with them. Nick Stahl is positively excellent as the paraniod stoner. Some of the dialogue is amongst the best (or at least most realistic) dialogue given to on-screen teenagers, which is surprising in some ways. And despite the low ambitions of the screenwriter, the director did a good job of establishing a tense atmosphere.

I rewatched the film recently to make some notes and see what could be fixed. I haven't even opened the files in my editing suite yet, but I'm optimistic.

Overall goal: To strengthen the creepy, paranoid tone of the film and remove/minimise the cheesy moments/dialogue.

Strategy: Remove or trim video where necessary; change soundtrack at certain points; remove SFX if possible; reinsert deleted scenes.

New music options: Nine Inch Nails, Alice In Chains, Soundgarden, Smash-era Offspring, RATM, Smashing Pumpkins

Possible additional footage sources: 1984, A Clockwork Orange, The Faculty

Specific changes to make:

• Move initial sequence with Gavin to before opening titles.
• Either remove the SFX from the opening title music, or replace the music completely with something eerier.
• Remove/replace rock music from establishing shot of Cradle Bay High School (maybe use Offspring's "Come Out And Play").
• Trim end of scene with Gavin & Steve in lunch hall.
• Remove rock music from scene where carhead gets jumped by Blue Ribbons, replace with something eerier.
• Heavily trim Rachel dancing in the back of her truck, replace music with something less rubbish.
• See if Gavin's constant "Stevie-Boy" can be shortened to "Stevie".
• Cut the second shot of Chug's eyes lighting up.
• Swap closing shots of Chug's supermarket rampage so that scene ends with Rachel's "Toxic Jock Syndrome" line.
• Trim end of Steve's fight with the Blue Ribbons after Gavin hits him and leaves.
• Cut "I have a big Physics test tomorrow".
• Cut Chug's silly robotic-jerkiness movement after he wrecks the e-rat-acator.
• Cut the silliness in the asylum as much as possible (particularly Rachel screaming repeatedly).
• Remove Flagpole Sitta from the asylum escape scene.
• Cut janitor's "That's a big rat".
• Cut "be the ball" while Steve is on the stretcher.
• Cut janitor's Pink Floyd line before he drives off the cliff.
• Cut Steve's "Be the ball" line just before he kicks Caldicott.
• Combine footage on ferry from theatrical and original endings. Drop the Gavin-as-teacher ending completely.
• Replace "Got You Where I Want You" in the end credits.

I'm not decided on what to go for as a title yet - currently I'm leaning towards "Aberrant", but I may change my mind.

Idle Fanedit Ideas: The Europa Report

After seeing Gravity in the cinema recently, I caught The Europa Report on Netflix. Overall I enjoyed it as a good rather than great science-fiction film. It had a lot of promise, but was let down by a couple of silly uses of the Idiot Ball for plot progression.

I'm obviously still in short film mode, because I came away from the film thinking that the best thing to do with it would be to cut together a short from it, using just the lovely Bear McCreary soundtrack, and perhaps put it in a collection of several such shorts. Certainly I think Prometheus would be at its best if presented in such a fashion, and Gravity would probably work like that as well. Possibly Oblivion would fit too.

Cinema/Idle Fanedit Ideas: Gravity

I managed to catch Gravity earlier this week, at one of the few 2D screenings to boot, and was mostly pretty impressed with it. Some magnificent visuals, and while some of the technical details were undoubtedly dodgy it was a pleasure to see a film in which the nature of sound in space wasn't ignored for the sake of lazy storytelling.

Having said that, I have a nasty streak when it comes to this sort of film, and there's a part of me that wanted it to just end with a fade to black when Stone made it to the Soyuz capsule and realised it was out of fuel. Which would probably work, but make the film feel too short, and thematically weird - Stone would essentially come to terms with the fact that she has to work through her grief over her child's death, and then give in and effectively kill herself.

Which got me to thinking that one particularly challenging but interesting option would be to borrow the idea for the conclusion from Berberian Sound Studio, and go for the full absurd/surreal approach to imply this darker ending. Things like dropping the score for exterior scenes (because the score and its use in the third act was a load of old bollocks, to be honest - typical overblown dumbed-down guff), adding shots or entire sequences from other films like Alien (particularly the segments toward the end where Ripley is on the run from the xenomorph), 2001: A Space Odyssey or Star Trek: Into Darkness, fading in and out voices in different languages on Stone's helmet radio, and more. Essentially veer completely away from the "real" ending and instead have the final sequence be one long CO2-induced hallucination such that at the end you don't actually know what's happened to her. If nothing else, it would be more ambiguous and subtle than the hamfisted rebirth motif Cuarón chose to wrap up the film.

Project complete: The Equation Of Crime, final opening sequence

As of last Sunday, I finished The Equation Of Crime, my homage to von Trier's The Element Of Crime for the upcoming Cops Consecution. It's been an interesting challenge, in that I decided early on to work only with footage from Pi to force myself into more creative solutions to the various problems. It limited me in some ways like lack of establishing shots or an overt murder sequence, but this limitation forced me to come up with some ideas for split-screen sequences that I think work nicely as a complement to von Trier's use of crossfaded video segments in his film. I'll have to wait and see whether audience feedback determines that it works as a narrative, but even if the narrative is a failure, it's been a success as a technical exercise (turning a feature-length film into a 15-minute silent short with a substantially different story).

One issue I was expecting to struggle with was the soundtrack - part of the reason I really like Pi is its excellently oppresive soundtrack, and I had to force myself not to re-use it for my project since I felt that would just remind the viewer of the source film. In the end, I found I was able to use a selection of songs from DJ Rkod in a way that perfectly creates the atmosphere I was looking for.

Here's the opening sequence uploaded to Vimeo, using the song "Bullet" from DJ Rkod's album Naoise.


TEOC opening sequence (final) from That One Guy on Vimeo.
Password is "the equation".

Assuming it meets the criteria for inclusion in the Cops Consecution, this should be released at the start of December. I'll hold off uploading the full edit to Vimeo for a while after that.

I'm going to take a short break from other editing projects for the time being. The main thing I've been working on recently is a feature-length silent version of Dagon, trying to make it more in line (at least in terms of atmosphere and tone) with The Shadow Over Innsmouth - which will involve an awful lot of titles for dialogue, and still requires some work on the new script. So it's still quite a way from being complete.

I have other ideas on the boil as well, and since I've purchased a copy of Sony Movie Studio I'd like to do a simple-ish project to learn my way around the software. At the moment I think this will probably turn out to be a polished version of my Mortal Kombat edit - whether it ends up as something I can release or not is undetermined, since a lot of the changes require speeding up fight scene footage by between 33% and 200% (the choreography of the fights is reasonable, but far too many sequences are in slow-motion). But trying to recreate it should get me accustomed to the new software.

As a taster, here's my idea for a better intro/credit sequence:


MK Opening Sequence from That One Guy on Vimeo.
Password is "ultraviolent cut".

Cinema/Idle Fanedit Musings: Prisoners/End Of Watch

I finally caught Prisoners this weekend, and thought it was a pretty good, albeit flawed, film. I think the main issue I had with it was that for a film that's getting so much praise for being clever, it was fairly predictable - if you've seen A History Of Violence and 8MM, you'll recognise pretty much everything that's going on in this film.

It's not a crippling flaw, although the third act does drag quite badly, in my opinion. The core performances and cinematography are very good, and carry the film as much as possible - though it would have helped if the third act didn't substantially change the tone of the film and take the plot into a much more generic direction.

One thing that I found quite odd throughout the film was that Detective Loki constantly works alone, even in several circumstances where it presents an obvious risk. His behaviour doesn't compensate much for those risks, either.

At first this just seemed to be another sloppy aspect of the script, but as I thought about it an alternative explanation suggested itself to me - what if Detective Loki were Brian Taylor from End Of Watch? Both characters are extremely competent police officers, albeit with very different demeanours. I can easily imagine Taylor being traumatised by a combination of PTSD and survivor guilt to the extent that he puts his job in a new city ahead of his personal life, driving his wife away and desperately trying to make up for his partner's death by being a textbook over-achieving police officer. It would also provide a great reason for Loki to insist on working alone.

Bearing in mind that one of the issues I had with Prisoners was its length (which in turn is a result of focusing on two protagonists), I'm thinking that a fanedit that refocuses the film purely on Loki's perspective could work quite nicely, using segments from End Of Watch as flashbacks to round out his character and flesh out his obsessive need to be a supercop.