Once again thank you for your help in making our short, The Threshold, a film reality.

The kids were wonderful troopers yesterday despite the strafing of stuka-deerflies and the constant buzz of the film crew. We successfully captured the last required scenes for the production. Now we "officially" enter post production (and scoring) and should resurface in about 4-6 weeks time at which point we will have small public and private premiere screenings in Barry's Bay, Halifax, Ottawa, Toronto, Kitchener, San Diego, London (UK), Rome, and Bratislava. Based on audience reaction in those venues we will go back into post to tweak elements and flow before we finalize our strategis for film festival submission.

Music is our next challenge and we are working with local and distant talent to put together music highlights as well as a larger underlying score. Here is a snippet on the general direction of the musical layer that brings a fresh spirit to all the moving images. If you know of musical talent that would be interested in submitting a song/instrumental for consideration in the The Threshold please have them contact me or send me a demo reel by July 9th.

 

Music is used in The Threshold not just as ambiance background but as two foreground "characters" -- a kind of point counter-point of two wrestling brothers representing the spiritual battle above us. The film's genre is the late 60's and so I want to explore the "what-if" the folk movement had not been co opted by Greenwich beatnik poetry of Dylan and had remained more grounded in its Christian roots (i.e. the Guthries, Richard and Mimi Farina, et al.,)" and the core of idealism within the flower power sound that became a misguided psychedelia. Once that idealism turned sour and harder the further it violated innocence it ended in the heavy self destructive sounds of metal and acid and so on.

So firstly, I'd like to develop and revisit and develop piano-based variations of the ancient lullaby we use as our signature song (which is the first piece sung by Katie driving up in the 1960 Pontiac Lantern to the the old house in our story) and then pit these streams against one another: strong multi harmony guitar based acoustic folk vs. experimental beatlesque donovan-ish vocal based themes and the Vox organ sound of Alan Price (the Animals, House of the Rising Sun), Paul Revere (Indian Reservation) and the Doors.