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
Mr. David Oyelowo will join the cast that consist of Mr. Kyle Chandler and Ms. Felicity Jones. Mr. George Clooney will star, direct and produce the Netflix project. Mr. Mark L. Smith will adapt the screenplay. The film production will begin in October.
Oyelowo's upcoming films are Come Away, a fantasy movie with Angelina Jolie and a Peter Rabbit sequel.
David Oyelowo also produces and stars in a science-fiction film titled Don't Let Go that comes out on Aug. 30, 2019 which is nine days from now to be exact. I'll also post a blog interview with the director and screenwriter of Don't Let Go, Mr. Jacob Aaron Estes, on that day as well. I hope you check that interview out on Aug. 30th and definitely watch the film as well.
Source Material: hollywoodreporter.com
Ms. Reese Witherspoon snags the lead to the film adaptation of Mr. Thomas Pierce short story titled Tardy Man. She is also producing the feature along with Mr. Simon Kinberg. The author himself will write the script. Tardy Man was in 2018's publication of The New Yorker. Another short story by Mr. Thomas Pierce, titled Chairman Spaceman, has been optioned by Fox Searchlight with Mr. Kinberg also producing that project.
The movie will be called Pyros rather than the short story title Tardy Man.
Here is the synopsis from Deadline.com:
Tardy Man deals with a group of augmented people who are fitted with indestructible fire suits that are fused to their spines. They work for a corporation that recovers objects for wealthy people when their houses are burning. It is strictly forbidden for them to veer from their salvage missions, even when other humans are in danger. The protagonist decides to make an exception to this rule and that is the jumping off point.
Click and read a sneak peek of Tardy Man now!
Source Material: Deadline.com
Mr. Aldis Hodge ( What Men Want, Hidden Figures) has added as a cast member of The Invisible Man. He is now among such members as Storm Reid( Trinkets, A Wrinkle in Time), Elisabeth Moss (Us, The Old Man & The Gun). Jason Blum of Blumhouse Productions is producing the project. Co-production of The Invisible man are Goalpost Pictures Australia and Nervous Tick. Production begans in july 2019 for a release date of March 13, 2020. Mr. Whannell is writing the screenplay and directing the project. He is also the executive producer.
The Invisible Man movie is based on a science fiction novel written by Mr. H.G.Wells. The novel was published in 1897 and it's about a scientist who discovered a way to become invisible. However, he has trouble reversing the process. The novel is written in third-person point of view unlike his previous works e.g. The Island of Doctor Moreau and The Time Machine (both has been adapted) which were written in the first-person narrative.
Source Material: deadline.com
Mr. AI White wrote, directed, and scored his debut movie titled Star Fish. More astonishing he will be donating the profit of the film to Cancer Research. Mr. Al White is also a lead singer and songwriter of his UK band called Ghostlight. Furthermore, he is the host of "We are Geeks", a podcast that's all about movies and games. His production company, We Are Tessellate, are currently developing albums, shorts, interactive games and of course feature films. So, read all about his experience on Star Fish and definitely check out the film since it's already in theaters. As for VOD/digital of Star Fish will be release on May 28, 2019.
1. What inspired you to write Starfish?
We were in pre-production on another feature film that wasn’t working for the budget we had, when my best friend died to cancer. I was going through a divorce at the time and this was the tipping point for me, so I hid myself away in a cabin in the Colorado mountains and wrote the first draft of ‘Starfish’. Not intending it to become a film, just to be a cathartic exercise.
2. How long did it take you to write the first draft of Starfish?
I tend to gestate for a long time and then when I write - it goes very quickly. The first draft took about a week. But I like to go somewhere remote, with little to no internet or phone reception. I just watch movies, play an immersive video game and write. But the first draft of ‘Starfish’ was fairly easy to do as I wasn’t really thinking of it becoming a movie.
3. What was your writing schedule when you wrote Starfish?
I never give myself a writing schedule, not when I’m at the creative stage, at least. I’ve always tended to find myself more creative late at night - knowing the world is quiet around me. So by secluding myself in a cabin in the mountains or something similar - it helps me be creative in the daytime as well. Just the sense of isolation and no distractions.
4. What’s the best advice you have ever received about writing?
Honestly, just learning to actually listen to the cliches. Someone once told me to always write about yourself and let that be the core of any story. Then the layers of storytelling go on top of that. And I couldn’t agree more - everything has to come from a truth. And the only thing you’re an expert in - is your own life. So use it and it’s details.
The other cliche is - Don’t let any chapter/scene stop you. If you hit a block in a scene then skip it. Write the things you know and are excited about. Come back for the rest.
So long as you’re planning some structure ahead and so long as you’re obviously coming back to refine and rewrite - then this is never a negative thing.
5. In one word how would you sum up Starfish?
6. What is your favorite line from any movie?
Oh that’s an impossible task! But some of my favourites recently were in ‘Phantom Thread’ including;
“I think it’s the expectations and assumptions of others that cause heartache.”
And; “There is an air of quiet death in this house and I do not like the way it smells.”
7. How did you know you wanted to become a screenwriter/director?
In all honesty, I’ve wanted to be a filmmaker since I could first speak. I’m not sure what instigated it initially. But film (and everything it encompasses; writing, music, photography, acting) has always been the only thing I wanted to do.
8. What piece of advice do you have for screenwriters starting out?
Don’t worry about writing a screenplay. Write a story. Personally I hate screenplays. They’re cold, analytic tools. Necessary, but not friends to flowing creativity.
My personal process is a series of steps that ends with me essentially writing an abbreviated novel.
Only once I’m happy with my writing do I take this and rewrite it in Final Draft. And it’s just a job at that point. The creativity part is done. I’m just turning it into a useable script.
Don’t let the mechanisms of it being a screenplay stop you from writing your story.
9. In what ways do you set yourself apart from others as a director?
I think in this day and age you have to be aware that there’s always someone quicker, someone younger, someone smarter, someone more technically adept, someone braver and more talented than you.
But there’s only one You. So much like with writing - as a director I just try to bring as much of myself to a project as possible.
You have to have a clear vision but then also be ready and excited to embrace the things that go wrong during a shoot. Turning what could be a negative into a positive.
10. If a self-published author is seeking a screenwriter, how would one get you or any experience screenwriter to read his or her story to see if it would make a compelling movie?
I certainly can’t speak to more accomplished screenwriters/filmmakers. But for me personally - I’d take a look at anything I’m sent if I can tell two things -
Firstly; that the person who sent it is passionate about what they wrote. That doesn’t mean a two page e-mail. Keeping it short is always ideal. But just something that shows that what they wrote means something to them.
Secondly; I would want to know that they’ve actually researched me and watched/read some of my work. So I know that they’re reaching out to me because we may connect in some genuine way. And not just because they’re sending an e-mail out to dozens of creators. You’d be surprised how many people (normally actors) contact me, and they’ve clearly never even seen my work.
11. What would it take for you personally to be interested in turning a self-published story into a movie?
A story that I connect with. And I feel that’s probably the truth for most directors. Which is as nebulous and unpredictable as it sounds.
12. When inspiration is waning, when you feel creatively sapped, what do you do? How do you stay fresh?
Well sadly I tend to wade a lot through inactivity and days can just bleed by. But the times when I’m on top of things - it’s another cliche, but you can’t underestimate the power of going outside and taking a walk or a jog.
Breathing real air. Getting some exercise. You get oxygen to your brain and you have time to think and get away from your normal surroundings. And you can come back feeling more confident in body and soul.
13. Do you recall the very first short film you ever did? What lessons did you learned from it?
I did a lot of short films growing up, but without understanding the process. Even in film school, I don’t think I listened enough. I’d say my first public short film (‘Beneath’) was my first real short.
And the most important thing I purposefully learnt from it was - I did as many jobs as was humanly possible on it. We shot with just 4 on crew and 2 in the cast. I did all the camera work. The producing. In post I did the score. The editing. The sound design. I attempted a grade before passing it on to professionals.
But I tried to do everything. Because I think it’s very important that a director understands just how hard (and important) every single persons job is.
I don’t allow the actors to be called ‘Talent’ on my sets. As if they are called ‘talent’ then so should every other person on the crew be.
14. What is your favorite movie when you were a teenager? What is your favorite movie now?
‘Se7en’ and ‘Buffalo ’66’. And probably the same. I’m an obsessive list maker, so I have lots of ‘Best Of’ lists.
15. If you were to create a slogan for your life, what would it be?
‘IF’. It’s the only tattoo I’d consider getting. My mum used to read me Rudyard Kipling’s ‘IF’ poem every night when I was a kid. It even features briefly in ‘Starfish’.
But I think the most important trait is empathy.
16. Last question, would you rather have a cat or a dog?
I’m 100% a crazy cat person.
My appreciation to Mr. Al White for answering those questions. I hope you check out Star Fish when you can. You can definitely get the Digital copy or VOD starting May 28 of this year. By purchasing the film you are supporting a great cause(Cancer Research). Thank you my fellow readers for stopping by here. Come again soon as I'll be posting more interviews in the near future. Take care and have a great day.
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