2nd Week Push for Seed & Spark


[Reblogged from The Spaceship Production Diary]

Hey everyone,

Now that we’re in the middle of our second week of fund raising through Seed & Spark, I thought I’d send in an update and give the project another push. I have been in communication with the high brass over at Seed & Spark about the progress of this campaign. It turns out that their success rate on getting projects funded is 70%. That’s a good ratio (better than Kickstarter). I would hate for us to wind up outside of that 70% – so here is the second push for this particular blog.

Additionally, I wanted to thank everyone who has pledged to the campaign and helped spread it to their contacts. It means a lot. You folks recognize how important this film is for everyone involved and I’m beyond happy to see that. Thank you so  much.

Direct Link URL:  http://www.seedandspark.com/studio/spaceship 



[Reblogged from The Spaceship Production Diary]

Seed & Spark | The Spaceship


[Reblogged from The Spaceship Production Diary in its entirety]

Hey everybody,

We’ve launched a campaign to raise finishing resources through the website Seed & Spark. Please help us by contributing and just as improtant, spreading the word about our film and funding efforts. We’ve found the people for a Seed & Spark incredibly helpful and delightful to collaborate with and some of our peers have really jumped on board to get the word out. I hope you join us too!



[Reblogged from The Spaceship Production Diary in its entirety]

Great Sci-Fi Pranks


scifiprank1This Halloween I wanted to do something special but was at a loss, until I came across this YouTube gem.  Here is a wonderful compilation of incredibly fantastic sci-fi themed pranks from “Just For Laughs“.

This colleciton of public pranks revolve around a crashed UFO or satellite scenario and an unsuspecting member of the public is brought into the “sticky situation” to assist authorities into dealing with the fiasco. Each section ends with the gag being revealed to the unsuspecting talent and their reactions.


My favorites were the crashed UFO with the chicken pilot and the crashed NASA satellite that is taken away by an intimidating group of Men in Black. The dumbfounded reactions by the unsuspecting public is priceless and the props and sets created by the production are top quality.  The execution of these pranks are absolutely perfect – when the video ended all I wanted was more.  That’s the sign of a good, well executed viral production.  You can check out more of their gags on their Official YouTube Channelhttp://www.youtube.com/user/JustForLaughsTV/featured

Happy Halloween everyone!


Direct Link URL: http://youtu.be/WD94mEYFaCw

Effective Fictional Spaceships



The interior set of the original TARDIS from the 1960’s incarnation of Doctor Who. Courtesy BBC.

In this article I have decided to explore my favorite, top ten spaceships from movies and television – at least the top ten spaceships I feel are the most original, kick ass, story friendly designs and fit well within the .

The top ten wasn’t easy to establish and I know for a fact that a lot of hardcore sci-fi lovers will disagree with me, especially since some of my selections are obscure or aren’t considered primary designs.  My choices were made based on originality, functionality (within a fictional world) and technological inspiration.



tardis10. TARDIS

Time and Relative Dimension in Space is one of the most kick ass spaceships every put on film. The space, time and inter dimensional vessel from the hit BBC series Doctor Who is basically a police box that’s “bigger on the inside”, meaning the inside is a completely different dimension so it can be as big as the captain of the vessel needs it to be. So why does it resemble a 1960’s police box? Well, as Doctor Who lore goes, the TARDIS initially came equipped with  chameleon circuit that broke during one of the Doctor’s adventures in the 1960’s and became stuck in the police box form. The other attraction of the TARDIS is that she is essentially AI and completely in love with her captain – in the case of the TV show, the Doctor. Doctor Who? You ask, well that’s the real question isn’t it?

Futurama_Planet_Express_spaceship09. PLANET EXPRESS

If creating a list of top ten fictional spaceships wasn’t geeky enough, then including the Planet Express spaceship should be.  The primary vessel the main characters use in the show Futurama is an awesome ship, even for a cartoon. To top it off, the Planet Express building where its headquartered in New New York is also a kick ass design.



08. MAX

The clam-like spaceship from Flight of the Navigator is a pretty pretty slick device which also comes readily equipped with an intelligent consciousness named Max, who assists the pilot, David, in navigating to his home in Fort Lauderdale, Florida.  The movie is also a good example of a story that deals with the problem of faster than light travel – in that the passenger will inadvertently move into the future and while all the people he or she knows will age, the traveler will essentially return unchanged.  In Flight of the Navigator, the traveler moves eight years into the future, which turns out to be quite a problem.  Although it’s a Disney film, it can be quite scary for children.  The smartest characters in the movie are the children as the adults act like selfish, thoughtless pricks. Yeah, it’s one of those movies. A part of the film that sticks with you is Max’s response whenever the Navigator gives him an order, he’ll say “Compliance” and executes his order.  After one watch, it’s easy to walk away and repeat “compliance” whenever someone asks anything of you.

firefly07. SERENITY

Okay, I’ll admit that this one had to grow on me. I wasn’t a fan of the show at first but am now in that group of people who just can’t seem to get enough of Firefly. The show, aptly titled, circulates around the crew of an old firefly class space freighter named Serenity. The over stylized “space western” might get annoying from time to time, but it’s all worth it to see the spaceship maneuver in the atmospheres of various planets as well as outer space.


The Klingon Bird of Pray is a classic Klingon war vessel which appear in most of the various incarnations of Star Trek.  I fell in love with the design of this ship when it appeared in Star Trek IV: The Voyage Home. In the film, Captain Kirk and his crew utilize a Bird of Prey to go back in time to the mid 1980’s, in an effort to rescue two humpback whales and thus thwarting their extinction and the eventual destruction of Earth (aka Sector 001).  The ship is best known in Star Trek lore fore having an effective cloaking device thus rendering it invisible to the naked eye and advanced sensors at the whim of its captain.  Aesthetic appreciation note: the feature image from Star Trek IV is actually one of my favorite visual effect shots in cinema history.  The scene is where the Bird of Prey appears hovering over a whaling vessel to thwart an illegal whale hunt.

voyager05. VOYAGER

The Voyger is a class of starship from the Star Trek series that was specifically designed for combat and therefore its design wasn’t featured much outside of the Voyager series, for which it was designed.  This ship safely transported her crew 80,000 light years from the Delta Quadrant and survived some of the worst battles in Star Fleet history. The ship was one of the first to come equipped with bio neural gel packs which increase  the central computer’s processing speeds for all commands given to the ship and support to computer’s isolinear optical chips. Why wouldn’t she end up on this list?

01 Starship Enterprise04. Enterprise D (NCC-1701-D)

The flagship of Star Fleet from the TNG series is impressive in every aspect – but mainly because of the way it can make enemies of Star Fleet shake out of fear and scram whenever Picard and his crew show up during a dispute.  I’m hard pressed to list the reasons why this ship is impressive as I’ll likely neglect other amazing aspects, but a few include the saucer separation capabilities, efficient warp technology resulting in smaller nacelles and of course the impeccable crew and command structure is among the best ever portrayed on any televisions series.  It’s clear why the Enterprise D is the flagship of Star Fleet.


03. Enterprise (NX-01)

Ten years in service, the NX class captained by Jonathan Archer helped get Star Fleet out there and exploring. While it hails from a relatively new show compared to all the other incarnations of Star Trek, the vessel is actually supposed to come before Captian Kirk’s Enterprise (within the Star Trek on-going story line).  Aside from the obvious importance of the vessel in the ST universe, another great thing about this ship is that all of the cool tech advancements it benefits from were designed and built by its crew, while they were away on their missions.  From advanced shields and weaponry to the simplicity of coming up with color coded alerts in the event of an alien attack.


The landing craft used to transport troops in Star Wars Episode I: The Phantom Menace was selected as the only Star Wars universe spaceship because it was one of the few from that universe that actually had, in my opinion, a viable design that could also be useful in our reality.  The ship is not pretty, it is likely not that impressive as far as technology goes, but the design is perfect for its intended use: to transport troops to and from a planet’s surface.

landing 2

I remember some years back when the Episode I trailer was first released on the internet.  While all my peers were going ape-shit crazy about the pod race clips or the double edged light saber, I was nuts about the shots of these ships descending into the atmosphere of what I would later know as the planet of Naboo.  It’s too darn cool of a ship to be overlooked.



xfilesspaceship01.  X-FILES ALIEN SPACESHIP

The spaceship the enemy aliens used in the TV show The X-Files is foreboding and a mystery. It was always shown as a suggestion or implication and whenever it was seen, it was often very briefly and in small sections (an example would be the shot included in this article, where we only see a corner of it at the upper left part of the screen). The impression of enormity and danger whenever this vessel showed up was cleverly executed and therefore, because of the ingenious way it was depicted by the creators of the show, it has earned the number one slot on my list of kick ass fictional spaceships.  The spaceship from the X-Files only appeared at night, it was never really shown in “full” and so the actual design of it is relatively unknown.   I suppose it’s not so much the ship that’s impressive, but how the creators chose to portray it.

Abe – Rob McLellan


abeI am ecstatic to have discovered an amazing sci-fi movie on youtube – it’s short and sweet and  is a must see for any Asimov fan (or any sci-fi fan for that matter). It seems to be a developing series of entries on Film Anthropology, where I’ve just started sharing some of the more amazing indie films that I’m discovering on the internet.  Not that it’s a bad thing, I quite like it and intend to keep them coming.  If you’ve made a short in the sci-fi genre, send it to me and I’ll give it a gander.

As far as Abe goes, the embed, links and credit info are right below.  I’ve also included a video interview with the director, which was made available via the video description.



Website – abemovie.com
Facebook – facebook.com/abemovie
Twitter – https://twitter.com/Rob_Mc1e11an

Direct Link URL:  http://youtu.be/3xovQcEOdg8

Also check out this interview with the filmmaker:

Direct Link URL:  http://youtu.be/RM5uUnRmJQI

Film Credits:


Writer/Director – Rob McLellan
Manager – Adam Marshall / Caliber Media 310-786-9210
Agent – Chris Ridenhour / APA 310-888-4209
Facebook – facebook.com/abemovie
Website – abemovie.com
Interview with the director 30/04/13 youtube.com/watch?v=RM5uUnRmJQI
Copyright Zero-G Productions

Produced by
Rob McLellan …. producer
Liz Ridings …. co-producer
Mark Shuterland …. co-producer

Original Music by
Vanessa James

Cinematography by
Kate Reid

Film Editing by
Rob McLellan

Production Design by
Kiera Tudway

Set Decoration by
Sven Hornsey
Mark Sutherland

Costume Design by
Faye Fillingham

Makeup Department
Fay Booth …. assistant makeup artist
Karen Fundell …. makeup designer
Rebecca Johnson …. assistant makeup artist

Visual Effects by
Rob McLellan …. visual effects
Craig Stiff …. visual effects supervisor
Craig Stiff …. visual effects

Camera and Electrical Department
Kyle Mann …. gaffer
Nick Menniss …. second assistant camera
Sonia R. Serrano …. first assistant camera
Ricardo Williams …. electrician



shortscifiytKaleb Lechowski, is the creator of a short film called R’Ha.  The short film is featured on Kaleb’s Vimeo Channel and since then a lot seems to be happening with Kaleb and a possible feature length version of the film.

Star Wars Producer Rick McCallum, the former head of Lucasfilm, will be jumping on board as Producer.

More info is available at the following websites:


Tumblr:  kaleblechowski.tumblr.com

Hartmut Zeller – Sound

Dave Masterson – Voice acting

Scott Glassgold / IAM Entertainment – Representation

<p><a href=”http://vimeo.com/57148705″>R´ha [short movie]</a> from <a href=”http://vimeo.com/user15732347″>Kaleb Lechowski</a> on <a href=”https://vimeo.com”>Vimeo</a&gt;.</p>


Direct Link URL: http://vimeo.com/57148705


Manhattan Film Festival Submission Testimonials


mffavatarThe Manhattan Film Festival has released a video of filmmaker testimonials, featuring selected filmmakers from the 2012 season. Included are: Phil Nelson (Festival Director), Eric Norcross (Caroline of Virginia), Mark Blackman (Welcome to Harlem), Kristina Harris (Diminished Chords), Erik Peter Carlson (Transatlantic Coffee) and Chloe Elaine Sharf (Nora).

The video was produced to build support among the independent filmmaking community in the hopes of discovering works that would otherwise not be submitted to the festival. MFF’s regular deadline ends February 25th, 2013 so filmmakers have time. The late deadline is March 18th and WithoutABox users can submit up until April 8th.  For more information visit MFF’s website at: http://www.ManhattanFilmFestival.org and find them on Facebook & Twitter.

Direct Link URL: http://youtu.be/3Hv-dsVutFY

Filmmaker Q&A: Clarke Mayer | FEED A


Feed A One SheetFilm Anthropology (FA): What was the seed that originally inspired you to make FEED A?

Clarke Mayer (CM): I think “Feed A” came together as a result of a few factors.  I became a freelance cinematographer in the event business as soon as I got out of college.  I was living in this (beautiful) home with my family and I wanted to make a horror/sci-fi film very badly.  I had become a fan of the found footage genre because I could relate to it.  I understood it from being in that business.  I think a lot of people (filmmakers and critics included) write off found footage as an illegitimate style or genre, but I feel it has a strong sense of realism and it can make you forget that you are watching narrative fiction when it’s done right. I was definitely inspired by films like “Poughkeepsie Tapes” and “Rec” and most definitely “The Blair Witch Project.” I felt like I needed to do a found footage film, even if only a short, and probably just to get it out of my system.  So I decided to send the family out to Atlantic City for a weekend and shoot this film in 48 hours over two 12-hour nights.  One thing I knew was that if I was going to make a found footage film, it was going to be loud, harsh, in your face, and terrifying.  I also loved monster movies growing up, so this was the perfect match.

FA: Talk about your production process, what was the timeline of your film from concept to production and through completion.

Feed A Movie Still

CM:  I work with a filmmaking collective called “Killer Goose Films.”  We have been together since college.  When one of us has a project we bring it before the group and give it the green light ourselves. What is great is the immediate support and enthusiasm from the group because they are not just my crew or team, they are my friends.  After 9 months of set-building, creature design, effects tests, casting, etc., we shot “Feed A” over two nights in three locations.  I started working on a handful of feature films right after I shot “Feed A” and unfortunately I can say it took a back seat for while, which sucked because I really wanted it finished.  Finally, about six months ago, when my schedule finally cleared up, I worked nonstop to get EVERYTHING done for “Feed A.”  When I was set, I did a KickStarter campaign to raise money for festivals and successfully raised about $1600. It was very important to me that “Feed A” be watched loud, in the dark, in a theater.  Currently we have been accepted and/or screened at 12 film festivals in the U.S.

FA: How did you achieve your high produciton value, specifically in the following areas: police involvement, realistic SWAT uniforms & weapons – all seemed very real. Additional areas: sci-fi elements, the monster, the lab in th ebasement etc.

Feed A Movie Still 2

CM:  I will get to the budgeting for the S.W.A.T. gear and basement, but first I would just like to point out that my actors killed it.  These guys were able to nail these 2-3 minute takes without cutting, flawlessly, complete with all the intense blocking of running from 7-foot-tall creatures that want to kill you.  They are the reason “Feed A” works.  I had to make sure that they felt the part though.  I bought authentic and replica S.W.A.T. equipment and weapons from the Internet (I’m sure there is a red flag somewhere in government computers with my name on it after this film) so that they felt exactly like the characters they were portraying.  Let’s be honest: it’s kind of cool to be dressed head-to-toe in S.W.A.T. gear.  The creature (believe it or not) was actually one of the cheaper things to build in the film.  That was designed by Andrew Pattison from original sketches I had made (they are terrible compared to what Andrew made).  The basement – and I don’t like to spoil too much here, because if you are reading this, you should probably be watching “Feed A,” – was a matter of buying a lot of clay.  When you see the final sequence of the film, you will understand.  For nine months, there was a giant hole in my basement floor.  Jenn Moy and Shawn Reber designed one hell of a set piece on a shoestring budget, the icing on the cake being the “Infinity Mirror” that was used to simulate an endless doorway.

FA: Where has the film screened? Are there any screenings coming up? What sort of reception are you getting at the festivals?

CM: The film has screened at “The Arizona Underground Film Festival,” “Pollygrind” in Las Vegas and “The Charlotte Horror Film Festival” among others.  We were nominated for “Best Action Sequence” and “Best Sound Design” at “The Action on Film Festival” in Monrovia, CA.  We didn’t win, but it was honor to be nominated, there were A LOT of shorts screening there.

FA: What were some of the challenges you faced in getting your film into the festival circuit?

CM:  I think the challenge of getting the films out into the festival circuit for me personally has been getting out to see them myself.  I have only been able to see “Feed A” on the big screen twice, and it has already screened about eight or nine times I believe.  Bummer!

FA: What projects are you working on now?

CM:  Right now, I am working on quite a few projects.  Freelancing gives me time to do a lot of cool stuff, both paid and pro bono.  I just finished DP’ing a feature film called “Heaven is Now” directed by Audrey Lorea and I am not going to start rambling here but all I can say is, SERIOUSLY, look out for this one.  I also recently shot director Gabe Rodriguez‘s “Havana in Bushwick” which was a lot of fun.  I work on a satirical web series called “The Eco-Terrordacyls” which keeps me laughing and sane. I am also helping out with a couple documentaries about boxers with “Feed A” executive producer Dale DeVino and anything related to music I can get my hands on.  Mostly, I have a camera in my hands.  I love cinematography, but I also write and edit.  Killer Goose and I also love doing the New York 48 Hour Film Festival.


Killer Goose Films:     www.killergoosefilms.com

“Heaven is Now” directed by Audrey Lorea:   https://www.facebook.com/heavenisnowfilm

The Eco-Terrordactyls:    https://www.youtube.com/user/TheEcoTerrorDactyls

LIPSTICK LIES | Philip K. Dick Science Fiction Film Festival


LIPSTICK LIES - One Sheet Oct 31 2012My friends,

I am excited to announce that my film LIPSTICK LIES is an official selection of the PHILIP K. DICK SCIENCE FICTION FILM FESTIVAL and will screen with them in Williamsburg Brooklyn in December. The festival will be taking place at IndieScreen which is a phenomenal venue for independent film. We hope to see you all there, for those who cannot make it, rest assured I’ll be writing up on the events right here on this blog. So please check back for more updates.

We don’t have the screening schedule as of yet, but in the meantime, I ask that you make sure you like our film and the film festival on Facebook and pay a visit to both their website and our film’s Festival Portal. All these pages have relevant information and are generally kept up to date (especially the Facebook pages).

LIPSTICK LIES Facebook: http://www.Facebook.com/lipsticklies

LIPSTICK LIES Festival Portal: http://www.norcrossmedia.com/lipsticklies

FESTIVAL Facebook Pagehttp://www.facebook.com/ThePhilipKDickFilmFestival

FESTIVAL Main Websitehttp://www.thephilipkdickfilmfestival.com/

INDIESCREEN Main Websitehttp://www.indiescreen.us/

PKD 2012 Laurels Celestial

Lipstick Lies – World Premiere This Fall!

Lipstick Lies

Lipstick Lies

Greetings Earthlings!

My new mystery/sci-fi film Lipstick Lies will premiere on October 3, 2012 at the Anthology Film Archives as part of the NewFilmmakers New York screening series. The film stars New York theater actress Samantha Rivers Cole, actor Matthew Krob and supporting actors Katie Jergens, Bill Woods and Donna Ross.

We’ll be screening alongside great indie filmmakers (and films) like Kristina Harris and her film Diminished Chords, Mario Corry‘s Bologna and Lettuce, Joseph Marconi‘s Croton Falls, Matt August‘s phenomenal short How To Get To Candybar and a variety of other titles. This opening day for FallFest 2012 is sure to be a full event so be sure to arrive to Anthology early to ensure you get tickets! If this doesn’t push you to come to the show, then remember that tickets for NewFilmmakers New York are only $6 [us] and this covers you for the whole night. Two shorts programs and one feature. Short program number one is from 6pm to 7pm – five minute break and then short program two is 7:05 to 8pm. After another five minute break the feature film “Charlie and Me” by Gregg Lachow.

Websites to connect with:

Lipstick Lies Festival Portal: http://www.norcrossmedia.com/lipsticklies

Lipstick Lies Facebook Page: http://www.facebook.com/lipsticklies

Lipstick Lies IMDB Page: http://www.imdb.com/title/tt2087856/