Now Indie film making isn’t exactly all that interesting to most people, that is, not until the next Eternal Sunshine of the Spotless Mind comes out and blows people away. Most people are content to simply ignore Indie films until the bandwagon no longer allows them to. Suffering a similar, if even more ignominious fate is Indie publishing, specifically comic book publishing. The mainstream couldn’t care less what the virginal, pimple-faced nerds are reading. So it comes as little of a surprise that barely anyone is covering the announcement that Top Shelf Productions, arguably the best Indie comic publisher currently in operation, has made a deal with the Indie film company Likely Story for partial interest in Top Shelf Productions. The reason for this? To start putting Top Shelf comics into film production.
Top Shelf co-founders Chris Staros and Brett Warnock still have controlling interest in the company, but now entrepreneur John S. Johnson and independent film producer Anthony Bregman (owners of Likely Story) now have the option to hand select which Top Shelf products they’d like to produce for film or television, essentially granting them exclusive rights to hand select from the Top Shelf catalog, whereas before Top Shelf simply allowed Hollywood to come to them for adaptations like Surrogates.
And word has it that the first project has already been selected, a film adaptation of Alex Robinson’sToo Cool To Be Forgotten (recently named one of Amazon.com’s Top Ten Graphic Novels of the Year), a story of a man who tries to battle his cigarette addiction by traveling back in time to the first time he ever smoked, High School. Its a great comic and one that should translate rather easily to the silver screen which only excites me at the possibilities of Top Shelf finally getting the mainstream recognition and acclaim that it so richly deserves.
Ink is one of those rare small Independent films that has garnered quite a bit of attention and a fan following from just some impressive word-of-mouth and a dynamite trailer. Building on the buzz, director Jamin Winans has been touring with his film along with his wife (Producer and Art Director Kiowa Winans) along with several of the actors, turning the film into a bonafide grass roots phenomenon.
Andrew and I are both fans of the film, so it was a pleasure to sit down with Jamin and Chris Kelly as they talk about the film and the difficulties in making a big budget action/fantasy epic for pennies on the dollar and trying to get their film out to the masses.
for very long, but ever since I first saw the trailer for it I knew this was a film that I had to watch. By hook or by crook if need be. Sure the trailer doesn’t explain single thing, or seem coherent in the slightest, but the visuals are so compelling that I knew at the very least it would be a visual marvel. Then when you toss in the fact that this is an Independent film, and clearly a low budget one as well, makes the effects even more stunning.
Now lets focus on the effects for a paragraph or 100 words, whichever comes first. They most certainly are eye catching, what makes them even more spectacular is that they are so obviously working with limited means. But rather then use that fact to limit the creativity of the special effects, director Jamin Winans has turned it into a creative boon that is fascinating to witness. The fight sequences in particular are stunningly impressive as Winans uses darkened hallways and spotlights to cover the potential weaknesses of the choreography by simultaneously highlighting the visual stylization.
But Winans doesn’t stop there. The visual look of the film is hard wired into the story, thus providing an easy explanation for the seemingly odd look. These characters exist in a dream world that parallels our own, so it makes perfect sense that the world these dream warriors live in would be slightly off center from our own. Because of this brilliant story point, any visual flaws or quirks that might be caught by the viewer during the course of the film are easily accounted for by this story element.
But before you start thinking that the visual effects don’t hold up well outside of the three minute trailers, let me make some thing clear, the visuals in this film are truly outstanding and gloriously innovative. In particular I’d like to highlight the Incubus, who are truly one of the most disturbingly inventive villains ever captured on film. You’ll be hard pressed to scrape them out of your brain anytime soon. And just when you think they can’t get any creepier, Winans cranks them up to eleven in an all out effort to scare the socks off his audience. And to bring this whole thing full circle, the Incubus are bringers of darkness, which explains why the fight sequences are in total darkness, except for the glowing eyes of the Incubus. All this simply reinforces the fact that Ink is brilliant not for how complicated or technically innovative it is, but because of its relative simplicity.
But while the visuals are so eloquently connected, the story is a vastly different matter. Normally I do a short summary of the films I review but have decided to slightly alter from that because Ink is a difficult film to sum up. But if you really want it I’ll do my best. Ahem! A young girl is kidnapped from the really real world by what appears to be a human Skeksie called Ink who has plans to sell the girl to a group called the Incubus, who are the bringers of nightmares, for the return of his soul. The forces of good, powerless to prevent the kidnapping, are hurriedly tracking Ink in the hopes of saving Ink from his own demons, and the girl from the clutches of the Incubus.
That actually turned out much more coherent than I thought it would.
But what does complicate the narrative is that there are multiple stories being told that exist in multiple timelines. It doesn’t so much complicate the story as it attempts to confuse the viewer, and not nearly to the effect that Winans is probably hoping for. The true narrative is fairly obvious, and while this form of trickeration doesn’t harm the film, it doesn’t help it either. There is enough story elements in the film that it doesn’t need to rely on an overly complicated narrative flow to keep the audiences interest.
But while I my not like the flourishes in the narrative, I have nothing but praise for the world that Winans has created. This world is compelling, fascinating and aching for more stories to be told about it due to its rich atmosphere. I want to know more about the Incubus, the storytellers and the souls they are fighting over. These creatures are fascinating and I know I would be in Heaven if this world is revisited by Winans at another date. While the trailers for Ink wet my appetite, the film itself is both a meal and a first course in a singular expressive and beautiful package.
Ink will play as the Opening Night film for the upcoming Flyway Film Festival on October 23rd. Tickets are available for purchase here.
While buzz is starting to build for the low budget haunted house/demon possession independent film Paranormal Activity, the odds of anyone actually getting to see the film seem surprisingly low. The film is getting an incredibly limited release on Thursday September 24th, with midnight screenings at 13 different theatres.
But so far that is it in terms of theatrical release. The studio (Paramount here in the US) is trying to increase demand for the film by having a competition hosted by Eventful, where fans demand the release in their local markets with a rather vague promise of “When your city gets enough demands, you WILL be the first to experience the terror!” Yet no mention of just how many demands are required to get a screening.
Knowing from experience what I do about free screenings, you’ll need something in the neighborhood of 1000 demands to convince a theatre to devote a 200 seat auditorium to a screening. And, as of this moment, not a single city has reached that magical number, though LA seems like it will eventually make it. It doesn’t seem very smart to make promises, no matter how vague, to their fanbase only to not be able to live up to them.
Of course we then have the new trailer, which incorporates audience reactions while showing moments from the film, which makes the entire thing look incredibly cheesy to me. The original trailer looks better, and is far more effective, and in the new trailer it is readily apparent they’ve cleaned up the images to make the picture look glossier and thus have more appeal to mainstream audiences. Whether or not the actual product has been cleaned up I have no idea, but the disconnect is now evident. Then you have the previous plans to remake the film with original director Oren Peli helming the remake, and you can’t help but wonder if they simply re-shot the whole film with better equipment due to the stark contrast in the visuals of the two trailers. It has taken two years to release this film after all.
And finally, we have the film’s rumored new endings. I say endings, because word is that there are as many as three endings floating out there in the ether that have been screened for audiences. While I know what two of them are, I haven’t heard anything specific about the latest ending, other than it is the worst of he bunch, which is probably why Paramount chose it.
At this point I have little hope of ever seeing this film in the theatres, which is a shame as the film certainly seems to have as good a chance as any of being a modern horror film that is actually scary, or God forbid, horrifying. But I will be sure to check it out once it eventually hits DVD, and here’s to hoping the film lives up to its rather strange, but intriguing, hype.
I just got the word that the 2nd Annual Flyway Film Festival has announced that the Independent science fiction film Ink will be one of two opening night films for their festival this fall. Word is the screening will be held at the Stockholm Opera House in Stockholm, WI which seats 150. The screening is expected to sell out so be sure to buy your tickets and/or festival passes soon.
As for Ink, for those that remember it was previously showcased as part of our One to Watch films, and I am happy to say that their are few Independent films I have been more excited to see.
And if that isn’t enough, over the coming weeks I’ll have more announcements to make about this upcoming film festival. They’ve got one heck of a lineup planned, and this is looking like this will be an outstanding film festival for those of us living in the Midwest.
Now Indie film making isn’t exactly all that interesting to most people, that is, not until the next Eternal Sunshine of the Spotless Mind comes out and blows people away. Most people are content to simply ignore Indie films until the bandwagon no longer allows them to. Suffering a similar, if even more ignominious fate is Indie publishing, specifically comic book publishing. The mainstream couldn’t care less what the virginal, pimple-faced nerds are reading. So it comes as little of a surprise that barely anyone is covering the announcement that Top Shelf Productions, arguably the best Indie comic publisher currently in operation, has made a deal with the Indie film company Likely Story for partial interest in Top Shelf Productions. The reason for this? To start putting Top Shelf comics into film production. 
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