About time I introduced other players, as they say “Making movies is a collaboration”. So apart from me the director being on board, we’ve got various producers and writers so far. I won’t go into the writing credits yet as it’s a bit complicated and soap opera like right now, let’s just say there’s been 5 writers involved so far and I’m not agreeing on everybody’s level of credit to their level of input, I might once we’re further away from the script and closer to the shooting. So, this time I’ll introduce the producers. First off is our head producer in Iceland, Hlin Johannesdottir, she’s produced over 10 films, various co-productions with other countries included. She just came onboard a few weeks ago and is doing a great job so far. Our associate producers here in China are two, Clarence Hui from Hong Kong, who is mostly known as a music producer but has been involved with the HK film industry for more than 20 years, he also helped me with my second film A Man Like Me which was partly shot in Hong Kong. Clarence also wrote the classic Canto-Pop musical Gam Chi Yuk Sip which I suspect is loosely based on his own life. Lily Lee is our mainland associate producer, I know little of her background except that by the looks of it she’s got a lot of “Guanxi” as they say here in China. Finally there’s executive producer Jim Stark, who’s been helpful in many way’s since we started and has been closely following the project, he produced Mystery Train and Down by Law. I’ll be introducing the writers and actors very soon, followed by key crew.
Music is sometimes important in movies. It’s certainly important in Goodfellas and The Spaghetti Westerns, not so important in The China Syndrome or The Birds. I prefer to get a composer involved from the start, and ultimately would like to just give him the script and he composes the whole soundtrack without ever seeing the movie itself, as they did in Brokeback Mountain and Inception. That means that the aim is for the soundtrack to live on it’s own and not follow the feel or arch of individual scenes, therefore I could drop any of the music anywhere I want into my film. So far I’ve not worked with a composer this way, all three of my movies have been scored by composers having a rough edit close to the final stages of the film although the last soundtrack of a movie I made was a collaboration between a heavy metal band (Minus) and the composer, which did yield interesting results. This time I’m very much thinking of going the other way and have a composer involved from the start and preferably only composing with the script of Red Flag in mind. Therefore I’ve started to research music and references myself, because I’ve yet to decide on a composer. I’ve used two of the best Iceland has to offer in my previous films but there’s young composers both in Iceland and here in China doing good stuff also, I might go for the younger generation this time, not because they’ll write up some youngish sounding techno babble but just purely because you can get them to do a lot of stuff much cheaper 🙂 I am thinking of perhaps basing the whole soundtrack on traditional classic music, old Chinese classics that slowly turn into old Icelandic classics towards the end of the movie. So, been listening to a lot of light hearted romantic Chinese tunes with images of princesses and swans floating around and on the other hand heavy dark and bleak Icelandic music from similar periods, usually the image is starvation, volcanoes and bad weather. There’s certainly a contrast in style between the two nations.
We’re getting ready to fill up our in-movie sponsors list, thing’s like beer, whiskey, rice wine, cigarettes, mobile phones, cars and any old junk that appears within the movie. We’ve already secured our main car sponsor, but if you are or know somebody who’s got a product to flog then contact us for more information on how our main hero might use your product, whether it’s an imported wine or anything else … it might become cinematic legend in RED FLAG 😉
Well, one of the better feelings … Getting done with a 1st draft of a script is good, but finishing a final draft is FU**ING GREAT! Nearly as good as getting a final edit ready or the first/last day of shooting.
Anyway, after all the weeks, months and years (3 years now) this idea has now become a full 112 page script (FINAL DRAFT VERSION). Now, it’s just a question of getting everything in place … and shooting, easier said than done 😉
And I’ll be celebrating a bit tonight.
Kevin Spacey, pictured with director Robert Douglas and producer Elli Eiriksson has signed on to star in the next feature film by Douglas, Red Flag. Red Flag is a road movie set in China about a western banker who befriends a local Chinese taxi driver. Kevin Spacey has just completed Chinese film Inseparable and after talks over some Bushmills Whiskey in Ichikura Japanese Cocktail bar in Beijing, he decided to stay on and act the main role in Douglas’s movie, he’s also financing it completely by himself and the only artistic license he’s imposed on Douglas is that the film be shot entirely in 3D, making it the first 3D art-house film, something Spacey feels strongly about. “I feel the future of art-house movies is in 3D, can you imagine if films such as My Left Foot and Black Swan had been in 3D, they would have been so much better” said Spacey, “I agree” said Douglas.
Well, finally finished my script RED FLAG. Feels good.
read more about the project here: RED FLAG