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PRIMORDIAL
Los Angeles, California | Film Feature
Sci-Fi, Horror
The melting of the polar ice caps threw the planet out of balance, slowing the passage of time. “The Shift” happened gradually over the course of months, each day growing longer. That was three years ago. The days are now 96hrs long, followed by 96hrs of night. What came next was worse. Way worse...
PRIMORDIAL
Los Angeles, California | Film Feature
Sci-Fi, Horror
Steven Lundgren
2 Campaigns | California, United States
25 supporters | followers
Enter the amount you would like to pledge
%
$6,900
Goal: $25,000 for production
The melting of the polar ice caps threw the planet out of balance, slowing the passage of time. “The Shift” happened gradually over the course of months, each day growing longer. That was three years ago. The days are now 96hrs long, followed by 96hrs of night. What came next was worse. Way worse...
About The Project
- The Story
- Wishlist
- Updates
- The Team
- Community
Mission Statement
The novelty of climate change has worn off, much due to the current global political leadership. But for the sake of our children and grandchildren we all have the obligation to speak up. Together we have the power to make lasting change.
The Story
It started small...A single second slowing almost to a halt...
Three months later the days had become 18hrs long, six weeks after that it was 24.
It’s been over three years since the Shift, and still it’s hard to believe…
A cycle is now 96 hours of Day followed by 96 hours of Night.
LOGLINE
Joanna (18) unknowingly holds the key to an antidote against an alien bacteria lying dormant inside the Giant Sequoia Trees for thousands of years. The bacteria is awakening due to the rising temperatures on the earth’s surface wreaking havoc in the small mountain community of Camp Wilson, CA.
Jo’s mother, Dr. Jean Haldane (50s) is racing against time to save her daughter and stop the spread before the unscrupulous Hermes Institute can weaponize it
Genre: Sci-Fi/Horror
COMPS: "Alien/Prometheus" meets "The Last of Us"
Joanna (18) is forced to take over managing the local motel/bar “Edgepoint” in the Sequoia mountains, after her father went missing. The roadhouse was her father’s dream - a rundown, termite-filled shack held together by sins of the past, lost hope and copious amounts of B.O.
The roadhouse is mostly empty these days. The entire mountain is dying. Anthony “Ant” Parker (40s) shows up, telling her about the alien bacteria that has been lying dormant inside the Giant Sequoia trees but that has awakened due to rising temperatures on the earth's surface and is now making people sick. This explains the board of missing people stapled to the wall in the diner that Jo keeps adding to on the daily.
They soon realize that a strange radio signal is triggering the violence in the infected, but who is behind the transmission? Jo's mother - the estranged scientist Dr. Jean Haldane (50s), shows up. Jo has unknowingly been taking an antidote in the belief that she has relapsing MS while as a matter fact, she is patient zero. Jean is using the “Hermes institute’s” resources to find a cure for the virus. Jo doesn’t trust her. Not one bit.
The head of the "Hermes institute”, Sidney Chambers (60s), takes Jo's brother, Henry (8) hostage, forcing Jo to hand herself over. Before she does, Ant shows up, overtaken by the virus. Jean tries to get to her daughter before it’s too late - with a fully formed antidote in her possession, but in the fight, she ends up getting shot. She dies in her daughter’s arms. Anthony is stopped by his old friend and brother-in-arms, Simon, before Simon himself is shot by Chambers. Chambers drags Henry to one of the cars, showing him into the backseat. When he can't find the keys, he goes back, searching through his dead driver's pockets.
Meanwhile, Jo is trapped in the flaming inferno - she goes down as the fire eats into her clothing. Just as Chambers finds the keys, Jo steps out of the flames, seemingly unscathed, fully infected by the bacteria. The bacteria kept her safe, and afforded her with other abilities.
As Chambers is trying to get away, she sends a burning branch right through his torso, killing him instantly. When Henry finally gets out of the car, and reaches her, she is back to normal. One of the soldiers makes it out with some of Jean’s research.
When day finally breaks, Jo, Ant and Henry get in Ant’s jeep and head for civilization, with Jo knowing that things will never be the same again.
“Primordial” is a fast paced Sci Fi/Thriller with a strong thematic core, falling into the sub-genre of Cli-Fi, stories that look at Climate Change and the potential for increased natural disasters such as wildfires and flooding as secondary effects.
Films and TV-shows have the power to alter people’s perception of the world, and at their best they can reawaken awareness. The world is full of distractions and most people will not seek out information outside of their immediate comfort zone. Film can help with that - fiction sometimes even better than documentaries, as long as it is told in an entertaining fashion. The main goal with “Primordial” is to engage a wide audience, as a continued reminder of what is at stake when it comes to the accelerating climate change we see all around us in the world today.
We want to inspire reflection, hopefully leading to further action, while continue to discuss what is truly at stake if we keep neglecting to usher in fundamental, sustainable change in every aspect of our lives.
The Alien bacteria in the film is questionably all at once “the Unknown" threatening to destroy life as we know it, the darkness that hovers all around us - all our fears and doubts. It's all the things that threaten to devastate our world, it's our war-mongering, our wastefulness of global resources, our obsession with oil...while also lending a glimmer of hope - perhaps the thing we fear the most can be turned around and work for good.
“Primordial” is Science Fiction with horror elements, yet the scariest part about it is the way it connects to reality. The melting of the Polar ice is happening, the question is - what will it do to the world, and how will it affect every day life on this planet?
We have already shot 12 minutes of the film (self funded), and are distributing a few Teasers as Proof of Concept in order to begin the outreach.
The world of “Primordial” is nostalgia and memory of what was - the world that we left behind. That’s what the diner symbolizes - a place where everything is normal-ish. It’s freshly cut grass, it’s the sweet scent of grandpa’s tobacco - a place we can return to in our minds, where we feel safe…until we don’t….
The cinematography will be fluent, without being jarring. We will use cameras with high Native ISO and fast lenses in order to keep the lighting minimal. The nostalgic look will be greatly achieved with the use of of vintage glass - in particular, rehoused old Russian lenses (Iron Glass). The lighting will feel natural but shaped with a lot of practical elements.
Framing is one of the most crucial tools in horror, utilizing negative leader and unbalanced compositions to heighten the drama and help build toward the unexpected. Using misdirection by controlling where to put the focus in the image to heighten the tension.
To support the feeling of nostalgia, i picture a warm palette, particularly for the Edgepoint Day Interior scenes.
All the day scenes should feel scorching hot, warm with a yellow tint. windows are blown out, with glowing sheers and/or added atmosphere/haze to create a sense that the outside is pushing to get inside, contributing to the feeling of foreboding doom, contrasted only by the threat of oncoming night.
Night is dark and ominous with practical elements - car headlights, light from inside windows - a green surveillance light - but overall, a blackness hiding all that go bump in the night...
diner/bar/motel and the rest of Camp Wilson need to align with the theme of nostalgia. earthy tones with inspiration from the 60-70s. Nature is all around, and these places are part of their surroundings. Think wood panels, aged leather, faded greens, appropriate Americana on the walls, patterned rugs.
With some of the locations we have in mind, we are fortunate to be able to work with what is already there. As far as wardrobe, we’ll lean heavily into a throwback 70's style without the flared bottoms.
In contrast to the warm retro of Edgepoint - the Institute is colder, more sterile, more impersonal. The world of Hermes is fear mongering in opposition to family values. It's fascist futurism vs environmental Art Deco, shapely Are Nouveau vs angled cubism. If Edgepoint is 60-70s, the Institute is 2024 - showing the growth of society as a machine that never stops - forward thinking relying on pillars of consumerism and capitalism.
The town of Camp Nelson is located some 45min up a windy mountain road. It's a sleepy collection of mountain cabins at the lower edge of the sierra pine forest with many of the biggest giant sequoia trees in the world.
Much of the story takes place at the “Edgepoint Diner". This is where we meet Jo and Carlos, and later on, Jo’s brother Henry (8). Ant shows up here early on. One major benefit to “Pierpoint" is the multitude of locations it offers - diner/bar/motel rooms, and the rear parking lot. The bulk of the film will be shot here.
Camp nelson general store. The local tavern is next to it. we have a number of scenes in both places. this is probably 2 days of shooting.
Making a film is a highly complicated and expensive undertaking, which is why we are turning to you for help.
We are looking to raise part of the budget through Crowdfunding, but more so, we find that Crowdfunding is a great way to raise awareness about your project and help create an online presence. Word of mouth is the strongest, yet most elusive marketing tool there is, so we shamelessly lean on our friends and acquaintances to help us get that good word out :-).
We are currently looking to raise $25,000 that will go toward the development and production of this film.
Note - it is not the entire budget, we still require other types of financing to be able to see this project the whole way, but it will help tremendously.
Please feel free to cry out from the roof tops just like this guy right here…! Thank you. :-)
The coming weeks are going to be very exciting as we continue our quest of bringing “Primordial” toward the Green Light. Any creative endeavor in the visual arts is a family affair, and thankfully - we are thoroughly blessed with a very large and supportive one. We couldn’t do this without the aid of our amazing community.
IF we are so fortunate to reach our ask, we have a couple of stretch goals! :-) :
IF we reach $30,000 we’d be able to hire an experienced Special Effects Supervisor that will be able to add significant value to the shoot. In particular for the Climactic end scene where we would love to have a mixture of real/controlled fire combined with Visual Effects.
IF we reach 32,500 we'd be able to spend more time on our Visual Effects and make them truly stand out. It will also allow us to utilize VFX in places where we otherwise wouldn’t be able to (for instance, there’s a scene where Jo walks to her father’s old motel room, and sees a murder of crows landing in a tree, seemingly staring down at her. This is a detail we’d likely have to omit otherwise).
IF we reach $35,000 we’d be able to add a prep day at the Studio in Los Angeles, where we are shooting the scenes with Dr. Chambers. It would allow us to spend more time with the actors and ultimately allow for more options in the editing room.
NOW - for the ultimate wish (where's that bloody genie where you need him...?):
IF we reach $50,000 we have enough money to qualify for additional investments/distribution deal and will be able to put this film into production sooner that expected.
Thanks for checking out the project and even if you can’t support this financially, please help us by sharing our posts and letting your peeps know about it.
Thanks again!!
Steve, Candace, Aprill
www.primordialfilm.com
also make sure to add us on our socials:
INSTAGRAM: bezerqer74
FACEBOOK: https://www.facebook.com/profile.php?id=61591507931652
Wishlist
Use the WishList to Pledge cash and Loan items - or - Make a pledge by selecting an Incentive directly.
Crew Salary
Costs $15,000
Being able to offer rates above minimum wage (still below Industry Standard) is a must for us to be able to shoot this film.
Lodging
Costs $5,000
Bringing a crew to the Sequoias, necessitates decent accommodations. This guarantees that we can rent the right amount of Airbnb’s.
Catering
Costs $5,000
We need to be able to feed people properly, at least two meals per day. And it has to be good, well-made food. It’s a lot of hard work.
Direct link:
Share this update!
About This Team
The Producing team behind “Primordial” has a combined 65 years of experience from various aspects of the Film Industry. We all started out at the very bottom, working our way through the crews over hundreds of productions - experiences that come in very handy when trying to pull off an ambitious, low-budget project with the highest aspirations.
Steven Lundgren is an award-winning Writer/Director in Los Angeles, with over two decades in the film industry. He holds an MFA in Literature, a BFA in Film Studies, an Associate Degree in Film Production from Sweden, and finally an MFA in Film Production from Chapman University. His most recent film as Writer/Director - “Fog of War” screened in two dozen festivals, garnering an impressive list of awards (Best Horror Short at Indie Shorts and Fantasm’s Shock Reel Festival, Best Director at Venice Shorts, among others). Steven gravitates to tell stories that explore the human condition, with added social commentary. Several of his scripts have placed in Nicholl, ScreenCraft, Shore Scripts, and others. His mother introduced him to horror (his fave) and Sci-Fi (her fave), probably a little too early :-), but it’s a past time he treasures, especially that quality time he spent with her. Sadly she passed in 2001. Steven is dedicating “Primordial” to her. When he’s not juggling screenplays or developing his next directorial venture, he’s either working on the house or cooking elaborate 4-course dinners for his friends and family.
www.bezerqer.com
LINK TO STEVEN’S DIRECTING REEL
https://gumlet.tv/watch/68dc6148ce78574b25c06bb4/
Candace grew up in Tennessee, working in glam squads for celebrities in Nashville. She made her way to Los Angeles, CA in 2003 where she worked with photographer Annie Lebovitz on the Got Milk campaign and David LaChappell for Rolling Stone covers. After many years of working in glamour, Candace discovered her passion for all things production. She created her multifaceted resume by working in every department from craft services to camera. Armed with experience and knowledge in every aspect of production, she has produced campaigns for Warner Bros, LEGO, Jaunt Beauty Co., and many more. Candace recently Produced the feature “Ghost Trap” with Xander Berkely.
After graduating from UC San Diego with a Bachelor degree in Theater, Aprill continued to pursue her passion for the stage as a Director. She has to date directed over 40 episodes of TV (The 100, Roswell, Agents of SHIELD, True Lies, Tracker etc). Along with being a Co-Producer on two feature films that she also directed (“Counting Backwards”, “The David Dance”). She has also produced a number of shorts (Monarch, Fog of War).
Alicia is one half of the Hannan powerhouse behind RAWR PRODUCTIONS. With a long experience in the Post Production world, Alicia has worked on literally hundreds of projects. She has a knack for delivering on budget, on time, above expectations. Before starting RAWR she worked for "Citizen Jones", “GRB Entertainment" and "A&E".
With a team of highly skilled professionals and a passion for creativity, RAWR has the expertise and capabilities to bring any project to life. RAWR offers a comprehensive range of services tailored to meet the most unique needs, from ingesting to transcoding and offline editing through color correction, re-record mixing, online editing, VFX, and quality control. Recent Work: “My Grandfather Charles Manson”, “Tom Segura: Bad Thoughts”.
The second half of the Hannan-team, Jeff is an esteemed sound editor and re-recording mixer with a long background in stage mixing for bands such as "The 69 Eyes" and "Brendan James". His creative touch lends itself to any project looking for something special.
Anastasia was born in Russia, but has been living in Cyprus since the start of the Ukraine invasion. She is an experienced Nuke Compositor with over 10 years in VFX. She has contributed to more than 25 feature films and episodic productions, including projects for major studios and commercial campaigns for global brands — spanning work for a leading streaming platform, an animation powerhouse, and sports and lifestyle companies. Her work as visual effects supervisor and compositor include Reacher (2022), The Boys (2022), The Orville (2022) and The Tomorrow War (2021) etc.
Current Team
Incentives
- The Story
- Wishlist
- Updates
- The Team
- Community
Mission Statement
The novelty of climate change has worn off, much due to the current global political leadership. But for the sake of our children and grandchildren we all have the obligation to speak up. Together we have the power to make lasting change.
The Story
It started small...A single second slowing almost to a halt...
Three months later the days had become 18hrs long, six weeks after that it was 24.
It’s been over three years since the Shift, and still it’s hard to believe…
A cycle is now 96 hours of Day followed by 96 hours of Night.
LOGLINE
Joanna (18) unknowingly holds the key to an antidote against an alien bacteria lying dormant inside the Giant Sequoia Trees for thousands of years. The bacteria is awakening due to the rising temperatures on the earth’s surface wreaking havoc in the small mountain community of Camp Wilson, CA.
Jo’s mother, Dr. Jean Haldane (50s) is racing against time to save her daughter and stop the spread before the unscrupulous Hermes Institute can weaponize it
Genre: Sci-Fi/Horror
COMPS: "Alien/Prometheus" meets "The Last of Us"
Joanna (18) is forced to take over managing the local motel/bar “Edgepoint” in the Sequoia mountains, after her father went missing. The roadhouse was her father’s dream - a rundown, termite-filled shack held together by sins of the past, lost hope and copious amounts of B.O.
The roadhouse is mostly empty these days. The entire mountain is dying. Anthony “Ant” Parker (40s) shows up, telling her about the alien bacteria that has been lying dormant inside the Giant Sequoia trees but that has awakened due to rising temperatures on the earth's surface and is now making people sick. This explains the board of missing people stapled to the wall in the diner that Jo keeps adding to on the daily.
They soon realize that a strange radio signal is triggering the violence in the infected, but who is behind the transmission? Jo's mother - the estranged scientist Dr. Jean Haldane (50s), shows up. Jo has unknowingly been taking an antidote in the belief that she has relapsing MS while as a matter fact, she is patient zero. Jean is using the “Hermes institute’s” resources to find a cure for the virus. Jo doesn’t trust her. Not one bit.
The head of the "Hermes institute”, Sidney Chambers (60s), takes Jo's brother, Henry (8) hostage, forcing Jo to hand herself over. Before she does, Ant shows up, overtaken by the virus. Jean tries to get to her daughter before it’s too late - with a fully formed antidote in her possession, but in the fight, she ends up getting shot. She dies in her daughter’s arms. Anthony is stopped by his old friend and brother-in-arms, Simon, before Simon himself is shot by Chambers. Chambers drags Henry to one of the cars, showing him into the backseat. When he can't find the keys, he goes back, searching through his dead driver's pockets.
Meanwhile, Jo is trapped in the flaming inferno - she goes down as the fire eats into her clothing. Just as Chambers finds the keys, Jo steps out of the flames, seemingly unscathed, fully infected by the bacteria. The bacteria kept her safe, and afforded her with other abilities.
As Chambers is trying to get away, she sends a burning branch right through his torso, killing him instantly. When Henry finally gets out of the car, and reaches her, she is back to normal. One of the soldiers makes it out with some of Jean’s research.
When day finally breaks, Jo, Ant and Henry get in Ant’s jeep and head for civilization, with Jo knowing that things will never be the same again.
“Primordial” is a fast paced Sci Fi/Thriller with a strong thematic core, falling into the sub-genre of Cli-Fi, stories that look at Climate Change and the potential for increased natural disasters such as wildfires and flooding as secondary effects.
Films and TV-shows have the power to alter people’s perception of the world, and at their best they can reawaken awareness. The world is full of distractions and most people will not seek out information outside of their immediate comfort zone. Film can help with that - fiction sometimes even better than documentaries, as long as it is told in an entertaining fashion. The main goal with “Primordial” is to engage a wide audience, as a continued reminder of what is at stake when it comes to the accelerating climate change we see all around us in the world today.
We want to inspire reflection, hopefully leading to further action, while continue to discuss what is truly at stake if we keep neglecting to usher in fundamental, sustainable change in every aspect of our lives.
The Alien bacteria in the film is questionably all at once “the Unknown" threatening to destroy life as we know it, the darkness that hovers all around us - all our fears and doubts. It's all the things that threaten to devastate our world, it's our war-mongering, our wastefulness of global resources, our obsession with oil...while also lending a glimmer of hope - perhaps the thing we fear the most can be turned around and work for good.
“Primordial” is Science Fiction with horror elements, yet the scariest part about it is the way it connects to reality. The melting of the Polar ice is happening, the question is - what will it do to the world, and how will it affect every day life on this planet?
We have already shot 12 minutes of the film (self funded), and are distributing a few Teasers as Proof of Concept in order to begin the outreach.
The world of “Primordial” is nostalgia and memory of what was - the world that we left behind. That’s what the diner symbolizes - a place where everything is normal-ish. It’s freshly cut grass, it’s the sweet scent of grandpa’s tobacco - a place we can return to in our minds, where we feel safe…until we don’t….
The cinematography will be fluent, without being jarring. We will use cameras with high Native ISO and fast lenses in order to keep the lighting minimal. The nostalgic look will be greatly achieved with the use of of vintage glass - in particular, rehoused old Russian lenses (Iron Glass). The lighting will feel natural but shaped with a lot of practical elements.
Framing is one of the most crucial tools in horror, utilizing negative leader and unbalanced compositions to heighten the drama and help build toward the unexpected. Using misdirection by controlling where to put the focus in the image to heighten the tension.
To support the feeling of nostalgia, i picture a warm palette, particularly for the Edgepoint Day Interior scenes.
All the day scenes should feel scorching hot, warm with a yellow tint. windows are blown out, with glowing sheers and/or added atmosphere/haze to create a sense that the outside is pushing to get inside, contributing to the feeling of foreboding doom, contrasted only by the threat of oncoming night.
Night is dark and ominous with practical elements - car headlights, light from inside windows - a green surveillance light - but overall, a blackness hiding all that go bump in the night...
diner/bar/motel and the rest of Camp Wilson need to align with the theme of nostalgia. earthy tones with inspiration from the 60-70s. Nature is all around, and these places are part of their surroundings. Think wood panels, aged leather, faded greens, appropriate Americana on the walls, patterned rugs.
With some of the locations we have in mind, we are fortunate to be able to work with what is already there. As far as wardrobe, we’ll lean heavily into a throwback 70's style without the flared bottoms.
In contrast to the warm retro of Edgepoint - the Institute is colder, more sterile, more impersonal. The world of Hermes is fear mongering in opposition to family values. It's fascist futurism vs environmental Art Deco, shapely Are Nouveau vs angled cubism. If Edgepoint is 60-70s, the Institute is 2024 - showing the growth of society as a machine that never stops - forward thinking relying on pillars of consumerism and capitalism.
The town of Camp Nelson is located some 45min up a windy mountain road. It's a sleepy collection of mountain cabins at the lower edge of the sierra pine forest with many of the biggest giant sequoia trees in the world.
Much of the story takes place at the “Edgepoint Diner". This is where we meet Jo and Carlos, and later on, Jo’s brother Henry (8). Ant shows up here early on. One major benefit to “Pierpoint" is the multitude of locations it offers - diner/bar/motel rooms, and the rear parking lot. The bulk of the film will be shot here.
Camp nelson general store. The local tavern is next to it. we have a number of scenes in both places. this is probably 2 days of shooting.
Making a film is a highly complicated and expensive undertaking, which is why we are turning to you for help.
We are looking to raise part of the budget through Crowdfunding, but more so, we find that Crowdfunding is a great way to raise awareness about your project and help create an online presence. Word of mouth is the strongest, yet most elusive marketing tool there is, so we shamelessly lean on our friends and acquaintances to help us get that good word out :-).
We are currently looking to raise $25,000 that will go toward the development and production of this film.
Note - it is not the entire budget, we still require other types of financing to be able to see this project the whole way, but it will help tremendously.
Please feel free to cry out from the roof tops just like this guy right here…! Thank you. :-)
The coming weeks are going to be very exciting as we continue our quest of bringing “Primordial” toward the Green Light. Any creative endeavor in the visual arts is a family affair, and thankfully - we are thoroughly blessed with a very large and supportive one. We couldn’t do this without the aid of our amazing community.
IF we are so fortunate to reach our ask, we have a couple of stretch goals! :-) :
IF we reach $30,000 we’d be able to hire an experienced Special Effects Supervisor that will be able to add significant value to the shoot. In particular for the Climactic end scene where we would love to have a mixture of real/controlled fire combined with Visual Effects.
IF we reach 32,500 we'd be able to spend more time on our Visual Effects and make them truly stand out. It will also allow us to utilize VFX in places where we otherwise wouldn’t be able to (for instance, there’s a scene where Jo walks to her father’s old motel room, and sees a murder of crows landing in a tree, seemingly staring down at her. This is a detail we’d likely have to omit otherwise).
IF we reach $35,000 we’d be able to add a prep day at the Studio in Los Angeles, where we are shooting the scenes with Dr. Chambers. It would allow us to spend more time with the actors and ultimately allow for more options in the editing room.
NOW - for the ultimate wish (where's that bloody genie where you need him...?):
IF we reach $50,000 we have enough money to qualify for additional investments/distribution deal and will be able to put this film into production sooner that expected.
Thanks for checking out the project and even if you can’t support this financially, please help us by sharing our posts and letting your peeps know about it.
Thanks again!!
Steve, Candace, Aprill
www.primordialfilm.com
also make sure to add us on our socials:
INSTAGRAM: bezerqer74
FACEBOOK: https://www.facebook.com/profile.php?id=61591507931652
Wishlist
Use the WishList to Pledge cash and Loan items - or - Make a pledge by selecting an Incentive directly.
Crew Salary
Costs $15,000
Being able to offer rates above minimum wage (still below Industry Standard) is a must for us to be able to shoot this film.
Lodging
Costs $5,000
Bringing a crew to the Sequoias, necessitates decent accommodations. This guarantees that we can rent the right amount of Airbnb’s.
Catering
Costs $5,000
We need to be able to feed people properly, at least two meals per day. And it has to be good, well-made food. It’s a lot of hard work.
Direct link:
Share this update!
About This Team
The Producing team behind “Primordial” has a combined 65 years of experience from various aspects of the Film Industry. We all started out at the very bottom, working our way through the crews over hundreds of productions - experiences that come in very handy when trying to pull off an ambitious, low-budget project with the highest aspirations.
Steven Lundgren is an award-winning Writer/Director in Los Angeles, with over two decades in the film industry. He holds an MFA in Literature, a BFA in Film Studies, an Associate Degree in Film Production from Sweden, and finally an MFA in Film Production from Chapman University. His most recent film as Writer/Director - “Fog of War” screened in two dozen festivals, garnering an impressive list of awards (Best Horror Short at Indie Shorts and Fantasm’s Shock Reel Festival, Best Director at Venice Shorts, among others). Steven gravitates to tell stories that explore the human condition, with added social commentary. Several of his scripts have placed in Nicholl, ScreenCraft, Shore Scripts, and others. His mother introduced him to horror (his fave) and Sci-Fi (her fave), probably a little too early :-), but it’s a past time he treasures, especially that quality time he spent with her. Sadly she passed in 2001. Steven is dedicating “Primordial” to her. When he’s not juggling screenplays or developing his next directorial venture, he’s either working on the house or cooking elaborate 4-course dinners for his friends and family.
www.bezerqer.com
LINK TO STEVEN’S DIRECTING REEL
https://gumlet.tv/watch/68dc6148ce78574b25c06bb4/
Candace grew up in Tennessee, working in glam squads for celebrities in Nashville. She made her way to Los Angeles, CA in 2003 where she worked with photographer Annie Lebovitz on the Got Milk campaign and David LaChappell for Rolling Stone covers. After many years of working in glamour, Candace discovered her passion for all things production. She created her multifaceted resume by working in every department from craft services to camera. Armed with experience and knowledge in every aspect of production, she has produced campaigns for Warner Bros, LEGO, Jaunt Beauty Co., and many more. Candace recently Produced the feature “Ghost Trap” with Xander Berkely.
After graduating from UC San Diego with a Bachelor degree in Theater, Aprill continued to pursue her passion for the stage as a Director. She has to date directed over 40 episodes of TV (The 100, Roswell, Agents of SHIELD, True Lies, Tracker etc). Along with being a Co-Producer on two feature films that she also directed (“Counting Backwards”, “The David Dance”). She has also produced a number of shorts (Monarch, Fog of War).
Alicia is one half of the Hannan powerhouse behind RAWR PRODUCTIONS. With a long experience in the Post Production world, Alicia has worked on literally hundreds of projects. She has a knack for delivering on budget, on time, above expectations. Before starting RAWR she worked for "Citizen Jones", “GRB Entertainment" and "A&E".
With a team of highly skilled professionals and a passion for creativity, RAWR has the expertise and capabilities to bring any project to life. RAWR offers a comprehensive range of services tailored to meet the most unique needs, from ingesting to transcoding and offline editing through color correction, re-record mixing, online editing, VFX, and quality control. Recent Work: “My Grandfather Charles Manson”, “Tom Segura: Bad Thoughts”.
The second half of the Hannan-team, Jeff is an esteemed sound editor and re-recording mixer with a long background in stage mixing for bands such as "The 69 Eyes" and "Brendan James". His creative touch lends itself to any project looking for something special.