I love being on a bike, it helps me feel free. I get it from my dad. After days and days of cycling the streets of Montreal, come cold or sun, or even a little frightened, I dedicate this film to him.
Audience award - VeloBerlin Film Festival, 2013
Audience award, best adventure sports film - Durango Film Fest 2013
Best canadian or Int'l film - Dawson City Intern. Film Fest. 2013
Honor. mention - Disposable Film Fest. 2013, San Francisco
Audience award - Sisački eko film festival 2013, Croatia
Best film, jury - Boston Bike Film Festival 2012
Golden Helmet Award - Filmed by Bike. 2013
Best short film - Francophone Film Fest. of Kalamazoo, 2012
Best sports film - Filmets Badalona 2013
Audience award - Bike Reel Film Festival 2012
Audience award, best music video - Red Rock Film Fest. 2013
Audience award - NDG Off The Wall 2012, Montreal
Special Prize Marvin&Wayne, Subtravelling 2013, Barcelona
Audience Award - Why Not Adventure Film Fest 2014
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Festival International des Très Courts 2013, Paris
CBC TV Show "Short Films Face Off" 2013
Fantasia 2013, Montreal
Rendez-Vous du Cinéma Québécois 2013
DC Shorts 2013, USA
Espoo Cine International Film Festival, Finland
BCN Sports Film Fest 2013, Barcelona
Banff Mountain Film Competition 2013
Wild&Scenic Film Festival, Nevada
WSFF "A Climate of Change" Film Tour 2013
WSFF Honolulu, Hawaii 2013
Spin Festival 2013, London
Adventure Movie Awards 2013, Italy
Edinburgh Festival of Cycling 2013
New Zealand Film Festival 2013
Clockenflap Festival 2012, Hong Kong
Chromatic 2012, Montreal
PixelPops 2012, Cardiff Design Festival
Favorite Films Festival 2012, Berlin
Clips of Faith 2012, USA Tour
Festival du Cinéma de la Ville de Québec 2012
Best of Creativity 2012, Barb.com
Wrocław Bike Travellers 2012, Poland
Nitehawk Dailymotion, Brooklyn
Adventure Film Festival 2012, Colorado
Festival Images en vue 2012, Québec
Mountain Film in Telluride 2012
Crested Butte Film Fest 2012, USA
UK Green Film Festival 2013
Alice Springs Bicycle Film Festival 2012
Rail City Roadshow Film Festival 2012, Montreal
Rose Found. for Communities & Environment, USA
Kalamazoo Bike Fest 2012, Michigan
Under The Arches, London 2012, UK
Canmore Community Cruisers Film Fest 2012, Alberta
Hygienic Art Film Fest 2012, USA
Port Townsend Film Fest 2012, USA
Bike Fest. 2013, The Projects, Melbourne
Regard sur le Court Métrage au Saguenay 2013
EcoFocus Film Festival 2013, USA
Flatpack Festival, United Kingdom
SPASM Festival 2012, Montreal
SPASM Best of Fest. Nuit Blanche 2013, Montréal
Earth Port Film Festival 2013, USA
Cyclofestival Genève 2013
Shorts Attack 2013, Berlin
Dakota Digital Film Festival 2013
Festival Film Court de Mont Tremblant 2013
Rochester Film Festival 2013, UK
Spin Festival 2013, London
Jam in Jubilee 2013, British Columbia
16ème Nuit du Court, Lausanne
SKYE Bike Best 2013, Scotland
Stirling Cycle Hub 2013, Scotland
Sheffield Adventure Film Festival, UK
SiciliAmbiente Documentary Film Festival 2013, Italy
SixSixty Short film 2013, London
Travel Film Festival 2013, New Delhi
Kendal Mountain Festival 2013, UK
Kashmir Int'l Film Fest. 2013, India
Lookout Wild Film Festival 2014, USA
Shot with GoPro Hero
A Short Film by Sebastian Lopez
The Killing Joke is a 15 minute suspense/fiction short film about a mysterious woman that finds a red balloon tied up to a curious little box on an eery derelict street. Using classic elements of suspense and working within a seventies aesthetic, 'The Killing Joke' is an action packed film that pays homage to some of the horror movies from that era.
The piece was shot during four intense days of filming in the Argentinian capital Buenos Aires. The micro budget production was shot using just two 7d canon cameras. The composition and CGI effects for 'The Killing Joke' required months of 'invisible' digital retouching to create the panoramic, yet claustrophobic atmosphere that pervades throughout the movie.
The Film editor was Sabrina Mottino.
Sebastián López wrote and directed the story, and was also responsible for all the impressive post and composition work.
Colin Devlin created the Original Soundtrack, working from his home studio in LA he collaborated on the project with Sebastian from it's inception, creating a wonderful striking symmetry between sound and image.This is the second collaboration for Sebastian and Colin, the first being an action packed trailer created for a fictitious movie called 'Vertical' that went viral on the net, creating a serious buzz for the young director.
Actors Gustavo Marzo and Clarisa Staracci Worked together to portray the intense characters seen on screen.
The Killing Joke was a work of entire dedication and effort.
Back in October of 2009, I set out to make a film that would push my talents as both a storyteller and a filmmaker. I wanted to create a film that would challenge myself and my audience, meshing both classical and experimental storytelling techniques from music, books, & films that have inspired me in one way or another. I wanted to make a film that didn’t do any spoon-feeding, where my audience would leave with questions as well as answers. It was a long a difficult road to get to this point and there were days where I felt that I was in way over my head but eight months later, I can proudly say I’ve finally completed my film “The Bridge” and it was an experience I would never forget.
The story of The Bridge was a story a cousin had told me when I was eight years old. It was a ghost story about two siblings on a bridge. I remember it haunting me for weeks and causing many sleepless nights under my sheets. Obviously, it had a lasting influence in my life. It had always been one of those stories that I wanted to adapt into a short film so when the opportunity finally came one day, I decided to pull to trigger.
When I was in film school, I would constantly fantasize about making some sort of epic period piece, especially one that took place during WW2. So when I decided I was going to make The Bridge, I instantly followed it up with “hell, why not make it into a WW2 movie”? I could have easily made this film as a contemporary piece but where would the fun be in that? I never do things because it’s easy; I do it because it’s hard. I love a challenge. I figured I could keep the same characters, themes, motifs, style, and wrap it around a WW2 setting. So I did.
So it began. After a quick outline, I started writing the screenplay and, being a one-man crew at the time, I also started doing work on costumes and props. I lived and breathed WW2 24/7. I watched every WW2 movie and documentary I could get my hands on. I even got my hands some real WW2 letters to get a grasp on the era’s language. I felt like a student again and I loved it. I scoured eBay for every WW2 field gear I could afford to buy and the stuff I couldn’t get, I had them custom made cheaply in China. I wanted it to be detailed and authentic as possible while keeping my almost non-existing budget down. I remember coming home one day and having almost a couple dozen eBay packages on front door. It looked like the front door of the post office.
The casting of The Bridge was actually one of the smoothest aspects of the entire process. I first went to my good friend Amy and asked her if she would like to help me produce the film. Having worked with each other before, I didn’t really have to ask twice. She was happy to be my first recruit.
For the leading role, I asked my good friend Pablo Soriano to take the part. Having worked with him before, we have a good understanding of each other. He is just a naturally gifted actor and he makes my job as a director so much easier. Plus, his puppy dog eyes make him a perfect protagonist.
For the leading female role, I went looking for a girl who had beautiful, almost hypnotic eyes. That’s when I spotted Leah in one my good friend’s music video. I called up Carlos and basically told him, “I need to have that girl for movie”. A few days later, she was on board.
I owe the discovery of Mike, the character who plays James Connolly, to my producer Amy. She had read the script and recommended him. I remember her telling me “Mike IS James”. Words that any director would love to hear and as usual, Amy was right.
So a couple months later, the script was complete, the costumes and props were ready, and the cast was cast. We were ready to shoot!
With our extremely limited budget, I knew right from day one that we were going to shoot “The Bridge” on DSLRs, specifically the Canon 7D and 5D Mark II. With this in mind, I knew (as also the DP of the film), I was going to push these cameras to its limits. I wasn’t going to let my equipment limit my vision of the film. I knew at the very beginning that I may or may not have a crappy movie in the end but hell, it’s gonna look damn good! We all know about the camera’s limitations but I wasn’t going to bitch and moan about it, I was going to work around it. I took it as a personal challenge to make these cameras work and I did.
About 75% of the film was shot with the 7D and the rest with the 5DM2. The main reason I shot with the 7D more was the 24p firmware update wasn’t available for the 5DM2 during the bulk of the shooting. I prefer the 5DM2’s full frame sensor the 7D cropped sensor.
Production, like any other shoot, had its ups and downs. Ours was mainly San Francisco’s unpredictable weather. You can blink and the bay area can go from miserable foggy weather (which is what I wanted for the film) to perfect summer beach party weather.
Also, being a guerilla production also has its own set of problems. I remember an actor and I almost getting arrested at a national park because a tourist reported seeing “some soldier carrying a rifle”. We got patted down and escorted off the premises. Before the ranger let us go, she handed me a business card for film permits. I thought that was hilarious.
There wasn’t really a “post-production” for The Bridge. I did post simultaneously during production. I would shoot on a weekend and then do visual effects or picture and sound editing on the weekdays. It was a very indie film workflow. The upside was I always had very polished dailies to show my cast and that kept them motivated to give me their best.
I spent my first two years out of film school as a CG artist. Being able to do my own 3d animation, modeling, surfacing, lighting, and rendering definitely upped the production value of my film. CG artists aren’t cheap and I calculated that if I had paid someone else to do my visual effects, it would have been double the entire budget of the film.
I hate ADR and foleying but if you don’t have a budget, you have to do it yourself. We had two whole scenes where sound was completely unusable (the tunnel scenes) so we had to redo it from scratch. I remember ADR sessions inside automobiles and 2 A.M. foley when my neighborhood is quiet and I don’t have to deal with traffic and barking dogs.
I discovered my composer Justin browsing through some filmmaking forums. He is such a talented musician. He added so much emotion to my film. Being a super control-freak, it’s very difficult for me to hand off any aspect of my film to someone else unless I have 100 percent confidence in that person. Justin is one of those people. In fact, Justin was the only other person who had a hand in post aside from me.
It was tough being a “one man studio” for this film. I acted as DP and director on Sunday, editor on Monday, sound editor on Tuesday, visual effects artist on Wednesday and Thursday, and compositor on Friday. I got some rest on Saturday (while my two computer farm renders). But in the end, when it all comes together… nothing feels more rewarding than seeing the art you’ve created. I can safely say that I created something I’m very proud of.
So here it is. 8 months work compressed into a 30-minute narrative short. The film I set out to create back in October of 2009. I would like to thank everyone who was a part of it. I couldn’t have done it without you. To my viewers, I hope this film challenges you like it challenged me. Enjoy.
Henry Sullivan - Pablo Soriano
James Connelly - Mike French
Samantha Johnson - Leah Thompson
Mitchell Walker - Mitch Walker
Justin R. Durban
Written, Directed, Shot, and Edited by:
Camera: Canon 5D Mark II, Canon 7D
Lenses: Canon 35mm f2, 50mm f1.4, 85mm 1.8, 100mm f2.8, 24-105mm f4L, 70-200 f4L
Sound: Zoom H4N, Rode NTG2
Running Time: 30 minutes
Format: 1.85:1 H.264 HD
For more information about the filmmaker, please visit: torresstudios.com
Or email him at: email@example.com
Or add him on: facebook.com/marlontorres
In 2027, everyone is implanted with a chip - the Memorize-chip. It records everything you see, a new system to fight crime. One unit controls the system. The SSU - Special Surveillance Unit.
Written & Directed by Eric Ramberg and Jimmy Eriksson
Want to see the TEASER TRAILER before this? vimeo.com/54362904
Director's note: We shot this piece in Sweden (Gävle, Strängnäs and Uppsala) on a "shoestring budget", using just one 5D-Mark II-camera (with Canon L-series lenses). Our very first mission was actually to help another company (Quixel) with some live-action shots/scenes to simply showcase their new texture-tool for 3d-models in games and movies, but instead we came up with this concept idea and created a full blown short film. Primarily, we wanted to do something visual and entertaining to simply present this concept and showcase Quixel's tools.
We did almost everything our self (with some 3d/texture/sfx help) and we used close friends/family members to be "actors", including myself playing the main character. So I guess that's why the acting isn't top notch and why we didn't use so much dialogue ;) BUT we also wanted to keep it very visual, we wanted to tell a story with pictures (and UI-text of course). That was a big challenge but I think we succeeded. In the end we're happy with the end result considering the conditions and people really seem to like it! That's awesome to see and very rewarding! / Jimmy & Eric"
For more information, please contact:
Manager: Scott Glassgold / IAM Entertainment