(Presses ignition) *Whirring electronic sounds* *Concussive engine tremors*

*Overhead P.A. system squeals* “Well, here we are. The fourth version of my virtual real estate is now live. The focus of the previous version of this site was film production oriented and it became kind of redundant trying to organize film production news between this and my production company’s site.”

(Put’s P.A. mic back, starts talking normally.) *clears throat* Ahem, anyway, due to the nature of film production and the time involved with creating feature films, development, the production, release, etc, my creative output was becoming exceedingly stifled. So, I decided to continue cultivating IP’s on the side by adapting them into books and short stories, while working with other artists to expand IP’s into music, comics, etc.

But I’ll get back to that in a second.

The last version of my site didn’t get much attention from me. There were only about eight or so posts in the two years of it’s lifespan, but that wasn’t entirely my fault. Sometimes life gets in the way when you least expect it.

The theme of the previous version was kind a of concept design of a hoist film set lighting rig instead of the real thing. I might revisit that down the road someday. For this version, I didn’t really have anything in mind, I just wanted something interesting to look at that presented the content effectively and stylishly. At one point there was a blacklight UV version, but it was clashing with the color palettes of the content, so I scrapped it:

I also have an old tiger-striped chameleon / iridescent design that I keep going back to, it just would have taken way more time to create a full site than I wanted to spend on it… plus the colors still would’ve clashed:

Not to go off on a tangent, but this site was designed for desktop + laptop + tablet (ipad) cross compatibility. Responsive web design is still a relatively new thing… it began to gain traction when the iphone & smartphones first took off. Web design then started to devolve aesthetically yet improve functionally. Now, thanks to responsive design and Flat UI (I’m looking at you, Apple & Microsoft) it seems like every website is a flexible configuration of solid color squares on a white background. Hooray!(?)

Point being, if you’re pinching and zooming around this site on your mobile, wishing for a mini mobile-friendly version, my apologies. Switch to your tablet that’s sitting within arm’s reach of you, maybe? :D

Back to the topic, now that things are starting to come together, this site actually serves a purpose other than being a glorified soapbox for rambling about views and opinions *cough* (other bloggers) *cough* :P

After posting about the possibility of greenlighting a couple of feature films that I’ve been working on over the years, my debut independent feature as a professional filmmaker is gaining traction and the big push to get it off the ground (greenlit) will finally be happening over the next year. So far, I’ve only briefly mentioned Violent Acts and The Junkyard. Ghastly burst into existence last year and was the frontrunner for about 6 months until The Bayou was created and seemed to be the jumping off point. However(!), just as the decision to move forward with it was about to be made, the idea for Infernal came along and The Bayou was essentially sidelined (for now.) The Bayou then found life in book form and the details about that IP can be found (in this previous post.)

::: F.R.A.T. Warning :::
What’s really going on, then? At the end of 2009 I was working full time in Los Angeles and that’s pretty much all I had time for. I wasn’t getting any film work done and I didn’t really see any opportunity to make anything happen with it anytime soon. That’s when I packed everything up and set coordinates for the middle of nowhere. No distractions, scaled back my expenses, and buckled down with my nose to the grindstone.

That’s when, in 2010, I began developing The Junkyard on spec, based on the first draft of the screenplay that I wrote late 2008. It’s an ambitious film geared towards a co-production between two mini-majors for a wide theatrical release. It’s a MONSTER.

I had made plenty of contacts in the film industry (professionals with theatrical credits) and I was confident that I could get it in front of the right people who could make it happen. I spent two years developing it; several new drafts, storyboarding, extensive concept art, set design blueprints, animatics, department breakdowns, budget, etc.

I was getting a lot of great feedback about the project and even had a couple of producer’s on board when I was waiting for a major special effects company to get back to me with their bid. Suddenly, and unexpectedly, my mom passed away and my world fell apart.

While I was coping with life, enduring the grieving process, and suffering from mild PTSD brought on by that and the fallout from The Junkyard collapsing, I decided that I wanted to take control of my career. Not just create and trust that someone else would allow me to helm.

So, I began to write and develop Violent Acts with the intention of producing the film myself with my own production company. I am extremely proud of what it became, but as it stands, it’s too costly to produce successfully as a feature debut. Meaning, the production company will have to prove itself before it can take on a project of that scope responsibly with that much money behind it.

I’m incredibly excited about the film though and I seriously can not wait to begin that chapter of my career. Every time I tell someone (interested parties) about it, I mention that it has what will probably be the biggest twist any of my films will ever have and their eyes light up. It’s definitely ‘The Sixth Sense’ caliber of a twist. After telling the very few people (that I trust implicitly) what the twist is, the response I get is a dropped jaw and wide eyes followed by silence… lol. Everyone LOVES it.

After reaching the halfway point in development on that film, I had no choice but to file it away and move on to the next project, though.

The next feature that I wrote, Ghastly, was inspired by a sleepy lakeside town where I ended up spending the winter in my friend’s nearby cabin. Again, it became another amazing IP, but, when I eventually approached a specific group of film industry professionals who I believed would be able to get the film off the ground, it turned out that they were in the same boat I was in. Their careers comprised of films that they were allowed by others to work on, but hadn’t been allowed to create work of their own. Le sigh.

It’s right there waiting for me, though, and I’m just as excited about it as I am about VA and TJ.

I took six months off from starting a new project to reflect on where I was at with everything. I was building notes for The Bayou in the mean time, but the logistics involved with actually filming it was turning into a nightmare of its own. I was just about to break ground on the screenplay:

I gave myself one week to think it over. That’s when it happened. I finally had an idea that was high enough of a concept to keep an audience engaged for the length of a feature, yet simple enough to build a quality production around while keeping the budget in the six figure range.

Infernal took on a life of it’s own from there and became a great entry point with serious potential. Development on it is at about 65% as of this post and is expected to reach 100% in the next few months. (I go further into detail about Infernal in this post here.) After all of that work over the years, I ended up mapping out my career in reverse order with a slate of four feature films, each one bigger than the next, and I have every intention of making all of them.

Midway through development on Infernal, it became apparent that I wouldn’t be able to focus on further development or expansion on the Searing site, or this site, (in the states that they were in) once the green light is lit on that film. So, I invested the time and effort into setting the two sites up so they’ll be ready to go when they’re needed the most and I can just plug everything in.

For the main thumbnails of each film, see my about page. For more thumbnails for Infernal, check the post here where I go into detail.

At the bottom of the Searing site is an ‘Investors’ button. That is the gated access point for the Investors section of the site, which contains all of the financials and documents required for investing.

The Searing OPS hasn’t changed much since the last post made about it on the Searing site here. The production guide for Infernal was bumped to the front as the priority film, currently. The form manager is in the process of being populated. There are 25 branded forms in place, with another 60 or so being added as development on Infernal progresses.

That’s where everything stands as of this post. A full slate of films in the pipeline, at least four planned books, and merch for each film, along with coinciding comic adaptations.

As of the re-launch of this site / this post, development will resume on Infernal, and the Searing train will be gaining momentum to scream past the greenlight once it’s lit.

(Grabs P.A. mic) *Speaker squeal*

“All aboard.”

(Puts on shades)

//- Posted by: Wes //- on: June 15, 2014 //- Tags: Film Production, Searing Cinema,