The link to this Kickstarter Project is: http://kck.st/ZlOJGk
Carlos Dunn’s I THOUGHT YOU WERE A NICE MAN is now a Live Kickstarter 100% CROWDFUNDED Movie Project. We need everyone’s help to reach our funding goal so we can make this Amazing one of a kind movie.
Please help us reach our GOAL of 100% FUNDING by making a pledge today.
The link to the Kickstarter Project is: http://kck.st/ZlOJGk
CARLOS DUNN’s “I THOUGHT YOU WERE A NICE MAN”
Is a Non-Stop, Action Packed, Suspense Thriller told in a Hard-Boiled, High-Velocity, Pulp-Fiction style, at Breath-Taking Pace with endless plot twists and turns that we Personally Guarantee will keep you on the edge of your seat holding your breath until the very end.
This film is Not-Predictable.You will never know what is going to happen next.
We are not using those “Cheap-Scare” techniques you see in cinema horror these days, nor is there any gore in our movie.
This film is Not-Predictable.You will never know what is going to happen next.
We are not using those “Cheap-Scare” techniques you see in cinema horror these days, nor is there any gore in our movie.
THIS MOVIE HAS THE POTENTIAL TO REDEFINE THE FUTURE OF VAMP MOVIES!
Our movie will give you the rare opportunity of spending an evening with a LONELY but incredable beautiful and sexy Modern DayVampire Girl that does not want to hurt anyone especially “Nice Men.”
It is a Vampire Movie that is not a Vampire Movie at all, instead we are going to give you the chance to get to know Maria, you will cheer her on and cry with her when she is sad and you might even fall in love with her.
You will have the opportunity to know what she is thinking, how she feels, how she has fun, and more importantly how she falls in love, after all, all she wants is to find a Nice Manwho will love her and accept her for what she is.
Unfortunately, on the night our story takes place, her date turns out to be a serial killer. Better not say anymore - I have already said too much. Please consider backing our movie. Be a part of redefining the future of Vampire Movies.
By the way, Vampires do not sparkle in the daylight, they catch on fire. Also, they are not always awake, they sleep in the daytime but not in a coffin. They sleep in a bed just like you and I do.
Please join with us, be part of our family, back our film with as much as you can, every dollar helps and moves us closer to completing the this film.
I guarantee you will not be disappointed.
MORE ABOUT THE MOVIE AND WHY WE NEED YOUR HELP
This Movie is based on the 2012 national best selling book by Carlos Dunn and will initially be told in four 10 minute YouTube web episodes then assemled into a Complete Blue-Ray DVD for distribution and sales. We are asking for your Support, Love and Generous Contributions to fund this 1st episide of the Movie Project.
FAR BETTER THAN MOST PROJECT REWARDS AND GIFTS
In is only right that we thank you for backing our project with your generous donations, so we are offering our Producers Amazing: Kick-Butt Gifts to make this project really fun for everyone involved.
Also, Everyone who donates to this Project will have their name added to the End Credits of the movie in the category in which they donated.
DO YOU WANT TO BE IN OUR MOVIE? YOU CAN BE!
Back this film with a pledge of $1500.00 or more and you can actually be in the Movie as a “MOVIE EXTRA” in the Bar Scene or as a Curious Neighbor at Ramon’s House with our personal Guarantee that your face will be seen in the final movie. (Transportation and Expenses not Inclused)
Or even better: Back this film with a pledge of $2500.00 or more and we will give you a SMALL SPEAKING PART in the Bar Scene or as a Curious Neighbor at Ramon’s House also with our personal Guarantee that your face will be seen in the final movie. (Transportation and Expenses not Included.)
WHAT THE FUNDS WILL BE USED FOR
Filming this first Episode will cost $500.00 per page of script. So this first 10 minute (20 pages of script ) Episode will cost $10000.00. Included in this price are permits, equipment rental, actors, film crew’s day rate, makeup, special effects and other expenses directly involved in this project.
PLease Help us make this Great Movie go to : http://kck.st/ZlOJGk and make a Generous Pledge today.
This is an older story. I wrote it about four years ago. The last story I put on here for free is now a book. It's called High Off Your Blood. I've had plenty of positive feedback on it. Walking On Razor Blades: Stories Of Death, Blood, And Sex is still out. For people interested in my older book. The Debacle from 2007 is also available. But enjoy this free sample of my work.
Jeff Prebis 3/25/2013
Sand whips through the air harshly. Ancient sand that called the desert home for time immemorial. Conflict disturbs the swirling sand. Burning vehicles roll. Soldiers shoot. Civilians expected this and cleared the street. Soldiers on both sides storm residences. Scared children stare fearfully, born into a world they don’t understand. No toys. No security. No hope. Bodies litter the street. Blood washes the sand. Rockets launch from crude tubes. Tanks afire and chaos within as the temperature rises. Five coffins fall from a helicopter that hovers over the village. Some eyes rise to see them. A man launching rockets is crushed beneath one. Torso obscured, his limbs stick out the sides of the coffin.
The desert sun waves goodbye to the conflict for today. The sky bleeds. The conflict continues. Bodies are dragged to cover on both sides of the cause in variant forms of disrepair. Mosques lie in ruin, simmering. Adobe buildings look like they were built as ruble, small openings for people to shuttle in and out beneath a pile of jagged stones. The coffins open. Lids point to the sky. The creatures crawl into the night. The air smells like blood unmistakably. People move. Targets. Each creature has the same mission, kill. Really they want to drink the blood. The most natural inclination.
Wings flap with crinkling sounds. The creatures have human faces that make the citizens view them as angels, incorrect assumptions. The temperature drops substantially after dark. The pitter-patter of bullets on sand-worn brick. Rockets fly low through the air like comets. Soldiers leave, travel back to encampments on the other side of the dunes.
Larron wants more than blood. He wants Sabine. She is in a village close by. The rhythm of her soul is audible to his hearing. Swirling wind sounds like her voice. The dark sky resembles her dark eyes. A dark-skinned man with an unkempt beard fires a rocket at him, screaming, whirring, and he dodges it by floating a few feet from the ground. The façade of a mosque explodes and burning brick rains on the sand. Blood jumps through veins inside that man. Larron can see the network of veins and the color of the blood stands out to him as if it was fluorescent.
Larron strikes. Leathery wings propel him half a mile through the village silently. Only his dark shadow gives away his intent, gliding through the air. Rockets whip past him with firecracker sounds, whizzing, or dynamite inching to detonation. They come from both sides of the village. One side of the village versus the other. Burning vehicles roll beneath Larron on flat tires, giving the night a bright orange glow. A flash of fury. Larron’s wings wrap around his target and strangle the breath from the man, tightening until bones snap in half and poke through soft tissue. Desperate words in a language that befuddles Larron. A kiss on the neck stops the plea. Compatriots throw tantrums in the shadows of a crumbled building, jumping up and down, and spitting vehemently. What chance do they have when angels want their blood? He’s not an angel. He roars with a blood goatee around his mouth.
A grenade is thrown, as small as a pebble in the darkness. Larron can’t move in time. It explodes. His head, limbs, and wings fly separately, bloodlessly. Wind makes his head roll on the hard sand, end over end. Pieces of something like a man. Pieces that remember. Pieces that love. He is reduced to pieces on his first mission.
He remembers the past. Two young creatures stolen from the graveyard they called home. The necropolis was unused for a hundred years. Quiet, cozy, until it was discovered by contractors hired by a development firm, who were there to tear down mausoleums and dig up graves, to make room for a new football stadium that the team held the city hostage to receive. Frightened by the strange denizens of the necropolis the development firm called the police, and the police called the military for aid, the old were killed, and the young were collected for future experimentation. The military knew they would be useful in warfare, trained them accordingly, and that training came to fruition, this day.
Love makes him reform. Pieces crawl, fly, and walk to remake him. Each piece thinks and feels. Each piece loves Sabine.
Reformed like new, he flies through the air. He strikes the man who tossed the grenade with a thud that breaks his body. Fangs sink into his throat and extract the blood. Kicking his feet and swinging his fists, the man can only die.
Sabine’s coffin falls after dark in a village four thousand dunes from the drop zone Larron is in. Three soldiers are held hostage in the village, two British, and one American. The mission: kill everyone and liberate the hostages. In the air by the limit of the village a helicopter hovers silently, the crew waiting. They figure it will take her seven minutes. At the completion of the mission the helicopter will lower a rope ladder, and the soldiers will climb to safety.
She pushes the heavy lid to her coffin open. Unarmed men and women crowd around it, expecting to find food and supplies. They are innocent. She can sense that. She was ordered to kill everyone, to trust no one. Rebelliously she disobeys the edict. She rises and flies from the coffin.
From faraway she can hear the creature she loves. He calls to her on the wind. She sends waves of sound back to him. She is well and she misses him. She hopes that he will come find her.
She looks back while flying. The villagers search the interior of the coffin for food. Disheveled. Filthy. More meat on a snake than on their bodies. Palpable disappointment is written on their faces. Below her is carnage. The remains of people caught in rocket explosions, dismembered, and eviscerated. The spilled blood calls her name.
Larron answers her call, says he will find her soon. She remembers the only time they made love. Just a fleeting moment in real time, but a memory she can’t forget. They played in the room as children with lettered blocks, spelling each other’s names. Moving to adolescence they held hands and exchanged kisses. Kept in a room with others of their ilk true intimacy was an intangible concept. The others were jealous and made fun of them. The cell they shared was the size of a bedroom in a one story home. They frequented a corner away from the cliques of males and females that lobbed insults at each other. Despite being in their twenties, living in the same environment they knew since they were toddlers kept them perpetually immature. They wrapped each other in wings and concealed their bodies from the watching others. This was the last night in the room. The first mission was coming. They had been briefed already. Contorting their bodies beneath the canopy of wings they unified, her legs on his shoulders, and his legs flat against her wings. Her chest against his chest, heartbeat against heartbeat. Breath flew from mouth to mouth. Tongue tip to tongue tip. A volley of taunts and laughter behind them. With Larron inside of her, the pair united, she wondered why they waited so long. Ripped apart in the morning they savored this moment. Rhythmic vibrations inside her, fulfilled beyond description, warmed by his heart, she reached glory, and he did too.
She finds the mosque. Beneath it is the catacomb that holds the hostages. Dark and ominous the mosque looks deserted. No guards are outside. No passersby. She hears feet shuffle below her, in the stomach of the earth. She can walk through the door to the mosque, but she chooses to go through the ground. Rising high in the air and ripping clouds apart she builds momentum, and descends as a blur of motion, through the ground which offers little resistance, to the tunnel below. The ground caves in around her. Motes of dirt dance in the air. The blood-seeking missile hears the heartbeats of the soldiers.
Candles in glass holders illuminate the tunnel with orange light. Sand-worn tapestries decorate the walls and tell the history of the village. Like any city or village anywhere new structures were built on top of the old, pushing the past out of sight. Crouching low, her feet skip across the dirt floor. Bodies move around turns. Hearts flash to her senses as bright red beacons. The prisoners are bloody and bruised. Wires stretch from their genitals to car batteries, and electricity flows.
Quietly she flies around the corner. She strikes a bearded man in robes. A slight touch of her wing across the chest cuts meat. The beige robe is stained red. Discovered by more men in robes who spill around the corner, speaking indecipherably, she rises to the ceiling and stands upside down. The robed men produce machine guns and bullets penetrate the ceiling around her. Lead lodges in her meat harmlessly. She keeps sending signals to Larron. Come and find me. I love you. From the ceiling to the floor, she swipes arms off with waves of her hands. Machine guns keep firing because the pressure on the triggers doesn’t subside. Bullets skip across the rock walls. Dust in the air.
Swiftly turning corners she reaches a circular room that holds the soldiers. They sit on the dirt. Cardboard boxes are stapled to their torsos to hold their arms together and to their knees to keep them immobile. As an insult to the religion of the soldiers crowns of thorns are shoved on their heads and dry blood is clotted around the thorns. Faces are mangled from knife work and throats have been cut superficially, just to draw blood. The room smells of ammonia, urine, excrement, blood. Slight, wistful whines escape the soldiers.
Two bearded men in white housecoats sit on plaid couches watching television. They see her and fumble for golden lamps that sit on magazine stands next to them. The lamps are raised to be kissed, tips of tongues dance on the tin-like metal and wisps of green smoke ooze from the openings that taper from the round portions that are kissed. Sabine flips through the air and works on the cardboard, at least seventy staples hold each box in place. Cardboard tears away. The staples are too deep to budge. She pushes the three soldiers together and lifts them. Over her shoulder shapes materialize from the green smoke, brown-skinned beings wrapped in yellow bandages. Rapidly the yellow bandages leave the bodies, unwinding, and slithering through the air to Sabine. Sticky, they touch her and latch on, constricting around her throat and legs, pulling tight until she is subdued. Roaring, she sets the soldiers down, and chops through the bandages with her hands. Hopping from the ground, she launches her body into one, and clasps her mouth onto its neck, tearing into the ancient flesh of a dead and forgotten pharaoh, and drinks the ancient equivalent of formaldehyde, an intoxicating blend of poison that she spits on the floor. Bandages pin her wings down, her arms, and wrap around her face until it’s a ball of bandages. Unable to move or sense, she is their prisoner.
Larron hears Sabine’s new signals for aid. He heard the others. He forgoes his responsibility. A homing mechanism is stitched in the back of his head, a lump like an embedded tick. Vaguely he recalls the surgical procedure that placed it there. Pumped full amphetamines on a sea of gold and silver water he heard things, he will never escape, and we will always be able to find you. Let them come. His lover is in danger. Lost in a war that is not hers. Fighting battles she wants no part of. Captured because of a forced responsibility.
Leaving the village behind, he sees only dunes, rising and sinking, slithering discs of sand squiggling in circles, and helicopters positioned over other villages, black beacons in the night waiting and watching. He is followed. The homing mechanism tells the crew of the helicopter hovering over his village that he is leaving. A beam of yellow light comes from the helicopter, dancing on the darkness, and forms into a huge circle like a noose. It goes around Larron and comes closer together to corral him. He lowers his flight to a few feet above the sand dunes, collecting sand from the ground in his wake. A sand cloud forms around him, he is invisible to the men with binoculars and infrared scopes who watch from the cockpit of the chopper, but the mechanism in the back of his head tells them he is close.
The chopper stops at the edge of the village. A mission is in progress and cannot be disturbed, hovering on the edge it waits for Larron to leave. He sees the empty coffins on the ground. People mill around them as if they are alien spaceships. Waves rise from Sabine. She is battered like the soldiers, adorned with a crown of thorns, beaten, and electrocuted by wires connected to a car battery. These messages enrage Larron. The other vampires see his flight and get ideas. They don’t support this war. They don’t want to be part of it. Bathed in blood and still hungry, they carry supper with them, and fly from the village. The helicopter on the other side of the village follows.
Larron spots the hole that Sabine entered, like a bomb crater. Sand is sinking in slowly. A brown head with bandages wrapped around the visage leers out. Larron flies for the steel doors of the mosque. On impact they crumple like wet paper. Whispers. A snaky brown shape wrapped in yellow gauze flies toward him. Spinning he whips the shape with a wing and it falls. More whispers, like hissing. Yellow snakes crawl across the floor and walls. A piece sticks to the bottom of his foot and tugs him to the ground. It rotates lividly around his leg. More pieces wrap around his throat. A naked brown being controls them, manipulating them by movements of his arms like a puppeteer. His strong wings raise him. He drives his shoulder into the chest of the brown being, a creature with no eyes, only sunken orbits. The blow makes ancient bones crack and splinter, grumble. The head falls off. Larron catches it and chucks it at more beings with trailing yellow bandages over their heads in circular shapes like coronas sidling from the darkness. The head knocks an arm off a being.
Larron lowers his head and flies like a cannonball through sticky bandages and ancient arms. Hearing the calls of Sabine, he knows that she is below the mosque. The path tightens, the ceiling is lower and the walls are closer together. He finds a steel lid and flips it open. Dropping through a wall of gray dust, the steel lid falls closed over him. Mournful sounds meet him on the bottom, pleas of Sabine, and moans of pain from the soldiers, who are treated to electricity from the batteries that never seem to die. Words are spoken in the foreign language, competing with the moans and pleas. The air smells rotten. Joints creak and bones crack. He senses many malevolent presences. He needs aid and calls the dust to his body to cloak him.
Wearing a coat of dust he turns the corner into the chamber. A cache of weapons are laid in a corner, everything from rifles to rocket launchers. Two Muslims in white housecoats and pink slippers watch a dating show on a widescreen television. The prize has lips packed with collagen and breasts augmented by a pound of silicone. Her hobbies include fellatio and felching. Turn-offs are men with bad fashion sense and morals. Golden lamps are on drink stands next to bottles of beer, green smoke billowing from the openings. The prisoners are on the floor in the dust, as dirty as Larron. He sees Sabine with a crown on thorns on. She is wrapped in the clothing of a naked brown being that is eating her hair. Hair has plenty of protein. It gets a taste of all the drugs the military fed her. The Muslims in housecoats see him and leap up. Rather than go for the cache they go for the lamps and kiss the sides, more green smoke rises mystically. Larron removes the wires attached to the nipples of Sabine and the prisoners that run to car batteries on the floor that bleed acid. He tears the cardboard away, but the staples stay in place stubbornly.
Freed of the shackles, the soldiers run for the opening. “Follow the path straight,” Sabine tells them. The brown being takes larger bites of her hair, discovering dandruff caked on her scalp, and enjoying it more than the hair. Larron’s fist knocks its head off. Mummies materialize from the green mist. Depleted but vindictive, Sabine slices Xs in the faces of the Muslims in housecoats for what they did to her. Deep gashes expose everything inside, blood cells and bones. Their faces vomit blood. Two fists into each mouth crush jaws and teeth into pink paste. Two more Xs across the chests that vomit more blood.
The mummies cast bandages like fishing lines. The pair flies through the opening into the tunnel. Bandages catch their wings and drag the mummies behind them. They bash into the ceilings and walls, losing limbs. The torture enervated Sabine and she wraps her legs around Larron and he carries her. The soldiers run slowly, tenuously, afraid to find more mummies. Larron gathers them in his arms too. Mummified hands reach through the ceiling. Bandages dangle and stick to him, dragging the mummies from the ceiling. The flight gains momentum despite the excess baggage. Blurs of flesh.
They reach a steel door. It is resistant to the force Larron generates. Bandages creep off the dragged mummies and snake around his face and throat, wings and limbs, squeezing. He drops the soldiers. Choked, blind, he claws at the bandages that seem to drain his strength. The soldiers open the door by turning a wheel welded to it. It creaks open and the sounds of war cascade in. Distantly a chopper’s blades churn in the air. “Go to the middle of town and the copter will pick you up,” Sabine tells them. They lost their tongues and nod understanding. Unarmed, they stumble into the battle. Through the opening Sabine sees a spotlight shining down.
She tends to her lover, who is wrestling the yellow tendrils impotently, and losing strength. She goes for the sources, the naked mummies. The pair doesn’t react, blindly standing with no eyes. She strikes them with her claws and wings and they break into pieces. The bandages die, rot into dust and Larron is free. Seizing Sabine in his arms, they rise into the night, beneath the spooky spotlight.
Rope ladders drop from the chopper. The soldiers seize the material and climb. Rockets explode like red supernovas. Mummies walk the streets with livid bandages whipping around victims. Bullets pitter-patter against crumbling buildings. Villagers believe an invasion is underway and react wrongly. Rockets whiz by the chopper. The churning blades deflect bullets back at the shooters. Once the soldiers are midway up the ladders, Larron and Sabine fly for freedom, holding hands.
Past the village over the relentlessly placed dunes another chopper shines an infrared beam on them and the golden lasso descends to corral them. Pale skin turns red from the beams. A cloud of dust that travels with the pair whips at the chopper and rocks it backward, the blades stop, and it spins in a circle uncontrollably. “I love you,” Sabine says. “Me too,” Larron says. A dune rises in a swirl of sand, revealing a grotto long forgotten. The pair steps down on the old earth and the dune closes over them. A new chapter opens.
I THOUGHT YOU WERE A NICE MAN
Newsletter #1-Update #2
Hello Everyone Carlos Dunn here on this 13th day of March 2013.
The FAN FRENZY for our 100% Fan Funded Movie Project "I THOUGHTYOU WERE A NICE MAN is moving forward and picking up speed fast.
As I write this BLOG Update from my home here in colima, Mexico, I am putting the final touches on our "Fanfunding Central' Website for our movie Project. “I THOUGHT YOU WERE A NICE MAN”
I am so very excited and happy to tell all of our friends and supporters and our 115,000 Plus twitter followers that over the course of the next two weeks you will finally see our 100% Fan Funded Movie Project will come to life.
PROGRESS TO DATE:
We are about 90% complete building a Central website that everyone will be able to go to and find out what’s going on. The planned launch date for that website will be Friday March 15th.
OUR FIRST PROMO MOVIE
Our Very good friends and supporters at 3 DOG FILMS are creating a wonderful Promo Video for our Movie called "FIRST DATE." The Promo is already shot and is in the editing phase. Imaging having your First Date with a Grorgeous Vampire Girl that promised you she doesn't bite and would never hurt a "Nice Men" The film stars Sir Larry Fleming and I know it is going to be a Dynamite Video. I for one cannot wait to see it! More news on this as soon as we find out about this exciting film.
Also, we will be using this BLOG site to post weekly update newsletters to all Producers and Supporters (and our Twitter followers of course) of our Movie here at: www.Vampires2BLOG.com
We will be selling producer packages with some really nice perks to raise the needed funds to film our movie episodes.
For instance: supporters of our movie project will receive: The Official “I Thought You Were a Nice Man” Coffee Mugs, Tee Shirts, Movie Posters and more as well as copies of the eBook and Script and a download of the web-series episodes.
Higher Tier Producers (those who donate more) will have the opportunity to actually be in the Bar Scene of the movie and/or have their “Vampire themed” song used for the intro. or exit of one of the 4 planned web episode.
These are exciting times for us – But we cannot make this happen without your help, love and support.
Please follow us on Twitter at: @vampires2com
Please suscribe to our YouTube channel at: Carlos Dunn
And if course, Be sure to check back to this BLOG often. We will be updating it weekly during the entire Movie Project.
I promise a fun ride for all.
NOTE: A Very Special Thanks to my good friend and Supporter Larry Fleming at 3 DOG FILMS for his dedication and support. I couldn't make this Wonderful Project happen without you my friend. Thank You! Thank You! Thak You~!
Con Mucho Gusto a todos mas pronto
P.S. I just want to say thank you soo-very much every one of you who has sent us a supportive email and/or a tweet or requested information about this great movie project.
Our Contact Information is below:
Stephen Gill Interview Part II
Vampries2com: Thank you for joining us and well first of all Stephen Happy 27th birthday or is it 28th?
Stephen Gill: I’m 28. I had a wonderful birthday I had a wonderful dinner with my family and watch the “Taking of Pelham 123” Tony Scott's version my mum really enjoyed it.
Vampires2com: There might be a few readers out there who are not familiar with the business so, can you tell us a little about what a film composer does and who they work and interact with in the film. Are they a third party outside contractor or are they actually a part of the film crew.
Stephen Gill: Okay a film composer does the score which means the music you hear from the main titles to the end credits. The main people who the composers interact with is mainly the director the relationship between the director and the composer is so important you have to be on the same wave length and have the same passion to achieve your goals. As for being a third party that’s not the case I think a composer has the most important job of all to nail the themes and the characters and the scenery. People say being a film composer is easy you just write a couple of themes and you think your John Williams but it isn't it takes time to nail a score it takes sleepless nights and when you think you nailed it the director might say “I don’t like it - do it again.” It’s a hard career but deserving at the same time.
Vampires2com: Well, Stephen in your first interview you told our readers that you wanted to become a film composer and that you were inspired by two films in particular: The First Batman Film and Beetlejuice. What recent films have really inspired you?
Stephen Gill: I really liked the “Harvey Milk” film Sean Penn was magnificent. I would love to do a political movie some-day. I love the sets. It makes you think you would love to grow up in the 70s. Another film I loved was “The Final Destination” films. I loved Brian Tyler’s scores and Shirley Walker before him there are get movies to watch. I love Man on Fire, Enemy of the State, Deju Vu, Unstoppable and The Taking of Pelham 123 all by the late great Tony Scott. Some films that I loved were from the early 90s films like Pacific Heights and Desperate Measures and Face-Off.
Vampires2com: You mentioned Danny Elfman as being one of the people that inspire you. Can you tell us a little more about him and how he in particular came to inspire you to become a film composer?
Stephen Gill: Danny Elfman was a singer and songwriter for the rock band “Oingo Boingo.” But when Tim Burton and Paul Reubens invited Danny to score there first feature film Pee-Wee's Big Adventure and after that he never looked back to films like Beetlejuice Scrooged Batman &| Edward Scissorhands to name a few. He inspired with Beetlejuice I think it’s a beautiful score from the main titles to the end credits it’s a score that gets me going my favorite piece from the soundtrack is the travel music really beautiful.
Vampires2com: In the first interview you mentioned that in the next 5 years you planned to complete your music exams. Tell us a little about that. How is that coming along? I ask because it will obviously be a time or celebration. And it will mean that you can officially get into the business right?
Stephen Gill: That’s the plain, but it’s going to be hard. I need to buy music equipment and lessons but I really enjoyed it. When I started the teacher was awesome to me and said don’t worry when you get money come back and we’ll continue where we left off which is awesome. I haven’t given up and I want to achieve my dream and show off my skills to the indie world.
Vampires2com: In the first interview you mentioned that in 5 years you hope to be working with Indy film producers like our good friend Antony Lane and Dimi Nakov. Are there any other Indy film producers at the moment that you would like to work for In the future?
Stephen Gill: There's a production company in my hometown called breaking bones films there are so awesome Emily E. Bibb & Chris Jay are two talented people and I would love to work with them.
Vampirese2com: Heck we’d like to work with Emily and Chris they are two wonderful people like you and I are perusing their dreams. I am sure their “Porcelain the Movie” is going to be awesome.
Vampirese2com: Okay one of the fun things we did in the first interview was I gave you a movie plot and ask you to tell our readers what you would compose for a film score. I think this is good because it gives not only our readers a taste of your creative skills but potential movie producers get to see it as well so let’s do it again.
This is a plot outline for the book “Cave and the Vamp” by my good friend C. C. Blake the book is available at Amazon.com and WH Smith. We hope all our readers will log onto Amazon.com and buy a copy of this amazingly great book.
A beautiful girl comes into a restaurant and sits down at a table of an Iraq war veteran named Chuck Cave. She says “My sister is going to be murdered tonight, will you help me save her?”
Then she touches his hand and Chuck Cave sees a vision of a pretty girl strapped to a table and a hooded man with pliers is about to pull her teeth – wait a minute those are not teeth those are fangs! Turns out the vision is a premonition of events that will happen later tonight unless Chuck helps the woman save her sister. Chuck Cave agrees to help the woman but wants answers, because this thing was just too crazy to be real.
Together they discover an abandoned warehouse and sneak inside undetected. Up ahead dim light shows a man with a hammer raised over his head about to drive a stake into the chest of the pretty girl Chuck had seen in the vision. Chuck attacks the man and just barely stops him from killing the girl. There is a terrible fight in which the woman frees her sister while Chuck Cave and the man fight to death. In the end Chuck kills the maniac but is badly burned. He wakes-up in a hospital several days later. The woman and her sister have disappeared. A week later he is home after being told he needs plastic surgery he cannot afford.
Later that night he is awakened to find he woman is in bed with him. She wants to thank him for saving her sister. The sex is incredible! In the middle of it she bites her finger and sticks it into his mouth. Next morning he wakes up to find her gone. When he goes into the bathroom he sees that his burn scars are almost gone there’s even a little tuft of hair where the doctors said no hair would ever grow again. Then he sees a note taped to the mirror: Thank you for helping us. I only gave you a few drops, it wasn’t enough to turn you but it should heal you. Love Morven. End
Okay Stephen tell the readers and any potential movie producers what film score would you write for this film script.
Stephen Gill: I would start off with a soft drum solo then bring in some soft orchestrated theme called in The Beginning. Then, my next theme will be in the restaurant. I would put a soft piano theme with a light orchestration piece. Then the next theme would be the Vision and I would but some Spanish guitars. Then my next theme it will be Chuck Cave investigating some more piano and a Spanish Chorus in the background. Then the warehouse. When they get into the warehouse I would play some more piano to build up the tension and then some heavy drumming for the stake in the girl’s chest and then some electric guitar for the fight scene between Chuck and the maniac. Then my next theme would be called the warehouse aftermath with some piano theme when Chuck gets back home. Then I would play some passionate love music with some piano and some beautifully orchestrated theme. And then the ending with the note I would play some piano and then put the Spanish Chorus in the end.
Vampires2com: That is amazingly creative.
Stephen Gill: I would like to thank you Carlos Dunn and Vampires2 publishing company for this interview. I would also like to thank the brilliant A. D. Lane. You have been big supports of mine since the beginning and I want to thank you and also the brilliant: Michele Mulkey you can follow them on twitter she’s been a big support to me and we doing an interview before the year is though. Thanks again and take care my friends love Stephen.
Vampires2com: Thanks for joining us Stephen. And again Happy Birthday. Perhaps we can do another interview on your next birthday. Until then we wish you the best and we will be following your progress toward achieving your dreams on Twitter.
At Vampires2.com we believe in helping each other. It is not so much what you can get as how much you can give. If you always give more than you take in this world, good things will come your way. We wish you the best and hope this interview helps spread the word and hastens your rise to fame.
Vampires2.com: Hey, Everyone follow Stephen’s rise to film composer on Twitter at: http://www.twitter.com/stephengill745
While you are at it visit our bookstore for awsome Vamp thrillers: http://www.vampires2.com
My Crimson series of vampire novels will be making an appearance at the Ottawa Authors and Artisans Fair on Sunday December 2nd, where you can pick up one novel for the special low price of $10 each, or the entire set of five novels for only $50, just in time for Christmas. Reading is never a waste of time. Here are the following details:
* * Upcoming Event * *
What: “Ottawa Authors & Artisans Fair” (featuring a mix of 40 talented Ottawa authors/artisans)
When: Sunday, December 2, 2012 - 10:00 AM to 4:30 PM
Where: Room 203, Jack Purcell Centre, 320 Jack Purcell Lane (Elgin and Lewis) downtown Ottawa
What: Free parking, wheelchair accessible, elevator to 2nd Floor
Who: Sponsored by the Ottawa Independent Writers; book raffle proceeds going to CHEO
Patricia K. McCarthy
Ottawa’s fang queen
|by Rebecca L. Brown|
You can now purchase your copy of Fever in The Blood for Kindle on Amazon.com and Smashwords.
"When Gabriel manages to find a vampire, he discovers that not all of the legends are true. Unlike the creatures of myth, Ruth (and others like her) must drink the blood of other vampires to survive - rather than sustaining the vampires human blood acts as a drug, destroying an addicted vampire’s self-control, their personality and ultimately even their basic survival instincts.
Gabriel asks Ruth to turn him and Ruth is happy to do so for reasons of her own; her previous apprentice, Michael, has become addicted to human blood and following the death of his human girlfriend the true extent of his addiction is revealed. Ruth realises that she must turn Gabriel so that she does not starve. At the same time, she must decide what to do with Michael, who has degenerated into a dangerously inhuman creature.
Based on the same premise as Thrall’s Sacrifice [printed in the Their Dark Masters anthology, which placed seventh in its Predators & Editors poll], Fever in The Blood is a stand-alone story which will be a part of the author’s ‘Blood Cravings’ universe."
Hola fellow Vampire lovers, we have a real treat for you, an interview with an up and coming film composer from the U.K. by the name of Stephen Gill.
Vampires2.com: As most of you out there know, we met Stephen Gill on Twitter and that is where we learned about his life-long ambition to become a film composer.
Vampires2.com: So Stephen, first of all tell us a little about how this came about and when did you first go from thinking about it, to actually deciding that film composing was what you wanted to do with your life.
Stephen: Hi guys, I started thinking of becoming a film composer when I was 15. I left school because I was getting bullied and I wanted to do something that I loved and that I could really enjoy. I loved films ever since I can remembered the first film that really inspired me was the first Batman film the score was fantastic and the way they made Gotham city was awesome it didn’t look like a super hero movie it looked like something from a John Carpenter horror film it was dark and creepy and I loved it. I am not a fan of all of Tim Burton's movies but Beetlejuice and Batman really inspired me. Both scores were beautiful and made the hairs on the back of my neck stand up. That's what I love about film scores they take you all over the place one minute you are on an adrenaline rush then all of a sudden a piece of score takes you on an emotion rollercoaster. That’s what I love about scores.
Vampires2.com: There must have been someone or perhaps more than one person along the way who inspired you. Tell us who that person is (or who those people were) and how they inspired you to become a film composer and why them specifically.
Stephen: One of the people who inspired me was Danny Elfman. My dad brought me one of his scores for my birthday and I loved it, he's such a great composer. When I buy a Danny Elfman score I know my emotions will go all over the place from The Incantation from Beetlejuice to the Gays Rights Now from the Harvey Milk film you will always be surprised with his scores. Another one was Harry-Gregson Williams. He is another composer that will take you to the edge. Another is the late great Tony Scott. I love Man on Fire, Unstoppable, & The Town all great scores which I loved. But I also love listening to other greats as well like John Williams, Michael Kamen, and John Carpenter they all bring something different to the table.
Vampires2.com: Tell us about your hopes, desires and plans for the future.
Stephen: My desire in the next 5 years is to complete my music exams and then get into the business. I would love to get into the indie films world. There are so many great films out there at the moment. And look how many indie films that have been nominated for Oscars like the Hurt Locker and the artist. I think the indie film world is the place to be. We need original ideas not boring sequels. It really bothers me that Hollywood has got all the talent in the world but no ideas it’s just sequels.
Vampires2com: Okay let’s talk hypothetically for a moment. What music would you compose for a movie where in the plot a beautiful English girl is attacked by a Vampire and becomes one. Throughout the rest of the movie she is chased by Vampire hunters. Along the way she meets and falls in love with a mortal man who fights along with her to protect her. In the end they kill the vampire hunters and the movie ends with a wedding.
Stephen: WOW! I love the sound of that. I think I would start off like a Danny Elfman score like the travel music from Beetlejuice. Then I would play a vampire theme with an aggressive orchestra. Then a bit of piano at the end of the scene. Then I would play a love theme when the mortal man saves the girl. Then I would do a score named The Death of the Vampire with more aggressive orchestra. And then for the wedding scene I would play a classic piano with a beautiful violin. The End. For the credits I would play a dark piano theme called: “Into the Descent.”
Vampires2com: WOW that’s very creative Stephen. I like it. So, where do you see yourself in 5 years?
Stephen: Maybe living in Hollywood ha ha ha. No. I want to work with independent directors like A.D Lane and a New Zealand Director name Dimi Nakov who is a brilliant up and coming director who has been to the Cannes Film Festival. So keep an eye on then both.
Stephen: Thanks. Carlos for the interview and thank you for your support,
Vampires2.com: And a thank you to you too Stephen. At Vampires2.com we believe in helping each other. It is not so much what you can get as how much you can give. If you always give more than you take in this world, good things will come your way. We wish you the best and hope this interview helps spread the word and hastens your rise to fame.
Vampires2.com: Hey, Everyone follow Stephen’s rise to film composer on Twitter at: http://www.twitter/stephengill745