Sony Pictures took the film rights to Daniel Suarez's novel titled Influx. Zak Olkewicz will adapt the novel while David S. F. Wilson will direct the feature. Tony Shaw, Steve Tisch, Todd Black, and Jason Blumenthal are all producing the film.
Here is goodreads synopsis of Influx:
What if our civilization is more advanced than we know?
The New York Times bestselling author of Daemon imagines a world in which decades of technological advances have been suppressed in an effort to prevent disruptive change.
Are smart phones really humanity's most significant innovation since the moon landings? Or can something else explain why the bold visions of the 20th century--fusion power, genetic enhancements, artificial intelligence, cures for common disease, extended human life, and a host of other world-changing advances--have remained beyond our grasp? Why has the high-tech future that seemed imminent in the 1960's failed to arrive?
Perhaps it did arrive...but only for a select few.
Similar Topic: Samuel L. Jackson reads another take to "Go the F***K to Sleep" book
Particle physicist Jon Grady is ecstatic when his team achieves what they've been working toward for years: a device that can reflect gravity. Their research will revolutionize the field of physics--the crowning achievement of a career. Grady expects widespread acclaim for his entire team. The Nobel. Instead, his lab is locked down by a shadowy organization whose mission is to prevent at all costs the social upheaval sudden technological advances bring. This Bureau of Technology Control uses the advanced technologies they have harvested over the decades to fulfill their mission.
They are living in our future.
Presented with the opportunity to join the BTC and improve his own technology in secret, Grady balks, and is instead thrown into a nightmarish high-tech prison built to hold rebellious geniuses like himself. With so many great intellects confined together, can Grady and his fellow prisoners conceive of a way to usher humanity out of its artificial dark age?
And when they do, is it possible to defeat an enemy that wields a technological advantage half a century in the making?
Source material: Deadline.com
You're Home. Forever
Story line from IMDb(written by Sitges Film Festival): :
A young couple is thinking about buying their starter home. And to this end, they visit a real estate agency where they are received by a strange sales agent, who accompanies them to a new, mysterious, peculiar housing development to show them a single-family home. There they get trapped in a surreal, maze-like nightmare.
You're home. Forever. No pun intended here as we all hope each and everyone are staying safe and healthy during this trying times. In the meantime, take this moment to know Mr. Garret Shanley, the screenwriter of Vivarium. He has worked with the director, Mr. Lorcan Finnegan, on a previous movie titled Without Name. Vivarium is their second collaboration and it will be release on VOD on Friday, March 27th. So, chill for a sec and read how this talented screenwriter wrote a finely-crafted thriller.
1. In one sentence could you say what Vivarium is all about?
Vivarium is about an idea we had that an audience will have its own ideas about.
2. What was the writing process for you when working on Vivarium?
Like anything else, the idea was worked out and developed over drafts and notes and treatments. We lost our way at times, but found our way back. The script was in the works for many years, with potential backers becoming involved and adding suggestions. A lot of ideas came and went as Vivarium was developed. Some of the ideas were unnecessarily elaborate, but the last draft returned to the original idea.
Although infinite, the setting of Vivarium is very limited. The characters are in an inescapable trap. That’s the horror of Vivarium, but it’s also constraining. To tell a story of mystery solving and escape attempts would’ve diminished the (existential) dread of the predicament. Vivarium was a strange and challenging script to write. The characters are not entirely passive, but their situation is hopeless. It had to be that way or the essential horror of the concept would’ve been lost.
3. What research did you do when writing Vivarium?
The setting of Vivarium does not exist and the story is a fantasy. Unlike other scripts I’ve written, no research comes to mind. Some little stuff, here and there.
4. Were there other titles you came up with before Vivarium? If so, what were they?
It was called The Estate originally, but that was just a working title. We couldn’t think of a name until Cathal Duggan (who illustrated the boy’s book in the film and provided concept sketches) suggested Vivarium.
5. What is your favorite line from one of your screenplays?
I like typing ‘The End’ on the last page of the very last draft.
6. What film/s has most influenced your life?
If you mean my life and not my work, films like The Spirit of the Beehive, O Lucky Man!, Andrei Rublev, Persona and The Ascent come to mind for getting under my skin and influencing or depicting how I see or perceive the world. If you mean my work, the screenplays of Nigel Kneale, watching Doctor Who and British science fiction, horror and what they call ‘kitchen sink drama’ on telly since I was small, the films Don’t Look Now, The Innocents, Picnic at Hanging Rock, A Taste of Honey, Jaws and lots of others, but I’ll quit now.
7. What are your thoughts on Jesse Eisenberg playing Tom and Imogen Poots playing Gemma in Vivarium? Did you meet them on set?
I have met both actors a handful of times on set and off. I couldn’t be more pleased with the performances. Jesse brings a lot of warmth and lovability to Tom, allowing the viewer to empathise with Tom even in his more aggressive and impulsive moments. Imogen realised Gemma perfectly and really communicated the horror of the situation. On set, I watched her perform a scene that is particularly harrowing for her character. She was so convincing, I felt we were unfair to put her through it. She’s a professional though and a gifted one. She was grand really; just doing her job, brilliantly. I love the other performances in the film too - Jonathan Aris, Eanna Hardwicke and young Senan Jennings - those fellas brought the funny/scary weirdness of Vivarium to the screen in grand style.
8. Were you ever on set for the making of Vivarium? If so, could you tell me what scene you were present at?
See above, the scene was the one where Gemma asks the child to pretend to be the person he met that day and he does and she freaks out. I didn’t spend much time on set. I just let everyone get on with it. I don’t like to hang around tripping over cables, annoying busy crew members like some bewildered, visiting dignitary.
9. How did you know you wanted to become a screenwriter?
I don’t know how I knew. Maybe I still don’t know if I do. I seem to like telling stories. Maybe it helps me make sense of the world and I find it cathartic. Sometimes I think it’s important to communicate with people through stories and images. Other times it seems silly. It’s a compulsion of some sort. I like playing a part in visual storytelling, although I wouldn’t mind having a crack at writing some kind of strange book before I perish.
10. Could you express your experience working with Mr. Lorcan Finnegan on this film?
Mr. Lorcan Finnegan is a wonderful man. I’ve artistically collaborated with a lot of people and enjoyed working with them all, but Lorcan and Cathal (who I’ve mentioned above) are the two people I’ve worked with most and for the longest time. I think Lorcan and I are on complimentary wavelengths. We enjoy sharing reference materials and that’s often how our stories originate. He’s also not averse to very long meandering conversations about all kinds of shite.
11. What was your very first short film? What were the challenges you face and how did you overcome them?
I wrote and directed a film called ‘The Loser Gene’ when I was a student. My cousin and friends crewed the film and made sure it all got shot. We used 16mm film and lost a can so we were down to a less than 2 for 1 shooting ratio. The others kept this a secret from me, which was a compassionate bit of cunning. It’s dodgy, student filmmaking, but I still like it and liked working with the actors. It’s very dark humour with infuriatingly long takes (on purpose). Consumerism and the suburbs are the ‘monsters’ in it too. I’m a broken record.
12. If a self-published author is seeking a screenwriter, how would one get you to read his or her story to see if it would make a compelling movie?
Look for a kindred spirit with similar preoccupations. Explain your story first and where you’re coming from thematically and your influences. Say why you think it would make a good story visually. Then, see if they’ll read it.
13. If you could write a film-adaptation of any novel/novella/short story, which one would you like to do?
I would love to attempt to adapt the comics of Chris Reynolds. It would be a real challenge, but his art is the closest stuff to dreams I’ve ever encountered. God knows how I’d tie it all together, but I’d like to try. Of course, it would be considered inaccessible art-house madness that no one would help make.
14. What piece of advice do you have for aspiring screenwriter starting out?
Learn the rules and then discard them as required so you don’t end up churning out formulaic stuff like some kind of narratological algorithm. Use tools like story maps and graphs or whatever if you really need them, but don’t get intimidated by them. Learn how to structure your imagination in a way that works for you. Keep writing, even if you suspect the film will never be made – you are always learning. Make sure you feel a genuine compulsion to tell the story you’re telling. Don’t allow yourself get self-conscious for the first draft at least. Let your imagination and instinct lead the way. If things are going well, the story will tell itself as you write it and where it goes might surprise you. You are walking a mental tightrope, but enjoy it and don’t look down. You can clean everything up later, but just get into it at first. Your subconscious mind has more to say than your conscious mind, so allow it. When you tidy things up later, make sure to protect the integrity of your story – but do tidy up. Make sure to listen to others, but you don’t have to listen to everyone.
Also, like I said above, seek out filmmakers who are kindred spirits with a similar or complimentary vision. I always compare it to forming a band - make sure everyone likes the same music and let everyone contribute to the music. It’s a collaboration.
15. Last question, if your life was a title song what would it be?
If you mean the title of a song, it would be ‘I Think of Demons’ by Roky Erickson. If you mean a song that’s used on the titles of a film, I don’t know. The closest thing I can think of that fits the bill would be the theme music to the sitcom Steptoe and Son.
I just want to express my gratitude toward Garret Shanley for answering those questions. You all should definitely check out Vivarium when it comes out on Friday, March 27th on VOD (video on demand). It is a perfect thriller to watch with your family and/or friends. It's definitely a viewing party movie that will have everyone thrilled with suspense. Again, stay safe and healthy everyone. I hope everyone comes out of this coronavirus pandemic all right and well. Until next time.
It was well known that the John Carpenter's The Thing was the remake of 1951's The Thing from Another World, which was based on a novella titled Who Goes There?. That novella was published in August 1938 on Astounding Science Fiction.
Flash forward to 2018, there was a discovery found by John Betancourt. It was reported that there is an actual novel-length version to the Who Goes There? novella. Mr. Betancourt went to Kickstarter to fund the release of the latest discovery. He titled the novel-length version Frozen Hell.
Here is a quote from John Betancourt explaining his discovery of the manuscript:
“In 1938, acclaimed science fiction author John W. Campbell published the novella Who Goes There?, about a team of scientists in Antarctica who discover and are terrorized by a monstrous, shape-shifting alien entity. The story would later be adapted into John Carpenter’s iconic movie The Thing (following an earlier film adaptation in 1951). The published novella was actually an abridged version of Campbell’s original story, called Frozen Hell, which had to be shortened for publication. The Frozen Hell manuscript remained unknown and unpublished for decades, and it was only recently rediscovered.”
“Frozen Hell expands the Thing story dramatically, giving vital backstory and context to an already incredible tale.”
Now, Blumhouse and Universal Studio are interested in adapting this novel into a movie. The studios are quite excited about its existence and eager to get the project going. It appears that Alan Donnes will produce it.
Novelpro Junkie will keep you posted when more news become available. In the meanwhile get your copy of Frozen Hell by John Betancourt and read why the most successful studios are eager to adapt it into a horror movie.
Source material: bloody-disgusting.com
Apple TV Plus is going to adapt Issac Asimov's science fiction trilogy Foundation. The production of this project will take place in Ireland and it's believe to the largest-scale production ever. The program would be a ten episode series.
Here is goodread's storyline for book one of the Foundation trilogy:
For twelve thousand years the Galactic Empire has ruled supreme. Now it is dying. But only Hari Seldon, creator of the revolutionary science of psychohistory, can see into the future -- to a dark age of ignorance, barbarism, and warfare that will last thirty thousand years. To preserve knowledge and save mankind, Seldon gathers the best minds in the Empire -- both scientists and scholars -- and brings them to a bleak planet at the edge of the Galaxy to serve as a beacon of hope for a future generations. He calls his sanctuary the Foundation.
But soon the fledgling Foundation finds itself at the mercy of corrupt warlords rising in the wake of the receding Empire. Mankind's last best hope is faced with an agonizing choice: submit to the barbarians and be overrun -- or fight them and be destroyed.
Source material: Deadline.com
From his critical acclaim movie Mean Creek to The Details starring Tobey Maguire, Mr. Jacob Estes has directed a science fiction thriller like no other: Don't Let Go.
Storyline from IMdD:
After a man's family dies in what appears to be a murder, he gets a phone call from one of the dead, his niece. He's not sure if she's a ghost or if he's going mad, but as it turns out, he's not.
So, get to know the creative director and screenwriter of this movie, Mr. Jacob Estes, and see why Don't Let Go should be the movie to seek for your entertainment this weekend.
1. First off, list three adjectives to describe Don’t Let Go?
Emotional and stressful. You will have to go see it and name the third adjective for me because I can’t think of one.
2. How did you come up with the story for Don’t Let Go?
The idea that a grieving man could receive a phone call from a member of his dead family struck a very hopeful note for me. I read that idea in a screenplay that was otherwise a horror movie about monsters and ghosts. I didn’t want to do a horror movie about monster and ghosts, but I found that idea to be very beautiful and worth fighting for. So I wrote about it.
3. Were there other titles you came up with before Don’t Let Go? If so what were they?
The original title of the screenplay was Only You, because the character Ashley, who eventually would be played by Storm Reid, made a music video to the song Only You by Yaz, from Upstairs at Erics. Ultimately, when I cast Storm, I changed the song to be by a band culturally specific to her family, a song not called Only You by a band called ESG. So the title Only You ceased to make sense. Then I went on a long, winding journey to finally decide on the name Don’t Let Go — which speaks to the idea that David Oyelowo’s character can not allow his niece Storm Reid who, over the course of the film is dead but somehow able to speak to David by phone from a few days before she died, he can not allow her die again.
4. On average, how many draft scripts do you find yourself writing until you are happy and satisfied with your work?
I am never happy or satisfied with my work. And I just keep writing constantly from the moment I begin, until the last day of production and, later in the edit room, that too is a lot like writing. There is no way to count drafts. There are hundreds of changes being made all the time from the moment the idea is conceived until the moment you lock picture.
5. Do you ever get writer’s block? What do you do to get back on track?
Writers block is about anxiety. Or fear. I have anxiety and fear. I do whatever it takes to find focus and write. Sometimes exercise helps. Sometimes talking to friends helps. Sometimes deciding not to write for a while helps.
6. What was your writing schedule when you wrote Don’t Let Go?
I spent hundreds of hours plotting the movie with one of my producers, Jay Martin. Then I wrote the script for about ten weeks straight, from 6am to 3pm every day. Before bed I would imagine what I wanted to attempt to do the next morning. Then I would start that process up again at dawn, after coffee.
7. What is your favorite line from Don’t Let Go?
“The answer to all your questions is in that jar of bubble gum.”
8. Which filmmakers did you admire growing up?
Sidney Lumet. Wim Wenders. David Cronenberg. Martin Scorsese. David Lynch. Woody Allen. Stanley Kubrick. John Carpenter. Carl Reiner…
9. Could you give a fun fact about your experience working with David Oyelowo, Storm Reid, Bryon Mann, and/or Brian Tyree Henry?
What about Alfred Molina and Mykelti Williamson? They’re both in my movie and full of fun facts. Alfred Molina, for instance, does not like to be called Alfred. He prefers to be called Fred. And Mykelti likes to be called T.
10. Do you recall the very first short film you ever did? What lessons did you learned from it?
I made a music video of myself dancing to Aha’s Take on Me and the biggest lesson I learned was not to leave a very embarrassing videotape of yourself dancing to a pop song laying around or the people who watch it may tease you mercilessly.
11. If a self-published author is seeking a screenwriter or director, how would one get you or any expert to read his or her story to see if it would make a compelling movie?
I would write them a very compelling letter and mail it to them in the mail so it could not be electronically ignored. If I could not find the director’s mailing address, I would send the letter to his or her agent.
12. You have adapted a novel into a screenplay before (Nearing Grace), how did you discover Scott Sommer’s novel?
The director Rick Rosenthal (Bad Boys) asked me to adapt it for him.
13. What advice do you wish someone had given to you when you were younger about the industry?
Take your time and figure out exactly what you want to do and say, then do and say those things methodically and careful. Do not rush. It matters not how fast you do your work, what matters is you do your work well.
14. What is the one thing everyone should eat or drink if one should visit California?
15. Last question, if you could pick a day to relive over and over again, what day would it be and why?
I wouldn’t relive a single day over and over again. I would always prefer a new day.
I just wanted to thank Mr. Jacob Estes for answering those questions. I hope you guys would check out this thrilling film. It's also a time travel movie for those who love movies with time traveling plot( I sure do). The movie release date is Aug. 30th which is today. Take care and I hope you have a wonderful day and especially a great movie experience with Don't Let Go.
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