COMING SOON TO A THEATER NEAR YOU!!
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If you are actually taking a minute to read this, I thank you. I am purposely making this introduction as brief I possibly can. I am a relatively, no, TOTALLY unknown writer, 68 years worth of mistakes, and triumphs, highs and lows, and a persistent soaking up of what we call, Common Sense. I am a Futurist, concerned, and sometimes writing, about the evolution of our species. My film is not a remake. It is completely different, as you are about to find out.
Modern day pleasure cruise on the yacht, “Spix’s Macaw”, heading up the Amazon River. Dr. Robert Kopiacek, a retired Anthropologist/Professor (Jeff Bridges) and his thirty something daughter, Dr. Susan “Suzie” Kopiacek also an Anthropologist (Scarlett Johansson), are on this cruise to bring their wife/mother’s ashes to the area of the Amazonian jungle where they had worked and played thirty years earlier. Trailing behind their yacht is a slightly larger river cruise boat, the “Rosarita”, captained by an old friend of Dr. Kopiacek, Captain Alberto “Big Al” Diaz. When they reach the general proximity of the Black Lagoon, a small launch of tourists sets out to explore, and never comes back. One of the “tourist/explorers” is thinking he’s going to discover a new plant/alternative to Cannabis (Hahahahaha). What happens to them isn’t revealed to the audience right away, maintaining some suspense. When the initial horror of their disappearance is revealed. The audience still is unaware of who or what tore them to pieces. The first search & rescue party discovers pieces of the tourists and their boats two-man crew, LITERALLY torn up and strewn along the river bank and jungle, “Hey! Here’s another arm”. Some think river pirates, but the violence met by these first sightseers is so gruesome, the audience also thinks, “Ha-ha, there’s gotta be a monster some where in this film”. There is. Not a monster per se, but a life-form that is only trying to protect itself and it’s habitat. The plot thickens as a first search & rescue boat is sent out. It doesn’t return either. The heroine in the story meets the creature and some danger, but is saved in the end? Stay tuned for updates.
No actors have been officially signed, at this stage, so the mention of a particular actor’s name anywhere in this story is the writers desire/choice, and is purely speculative in nature.
In no specific order;
Young Dr. Kopiacek: The younger Dr. Kopiacek, pronounced, “Cop Ya Check”, a young Jeff Bridges type character, Suzie’s father, in the late 1950’s (pre-hippie era), part of the film, has a proper trimmed haircut, professor/explorer almost geeky look about him, with a pencil thin mustache. The casting search has to come up with a spitting image of a young Jeff Bridges for this role, slightly geeky, at 6′ 2″ and 198 pounds, he’s handsome however, and fit. In the beginning of the film, the audience at first, has the subconscious suggestion that he is the hero and main character of the story cause he’s almost a young “Brad Pitt” looking dude. It’s only a minor roll however, as the story unfolds, and the audience realizes that in the first act.
Older Dr. Kopiacek: The older Dr. Kopiacek, Suzie’s father, potentially played by Jeff Bridges, has long hippie hair, flowing but pulled back underneath a cool looking, but filthy Panama hat of some kind. He also has a full but semi-trimmed beard and mustache. It’s hot in the Amazon, so the characters are naturally sweaty most of the time.
The older Dr. Kopiacek, (Jeff Bridges) character smokes weed, and sometimes can be seen picking at his beard, just before he takes a hit on a joint or a drink, or why he’s taking a piss, or when he’s eating, or even in his sleep. Point is, that nervous tic, or search for the bug, that he never finds, becomes part of the comic relief in my film. He finally finds the bug, but not until the end of the sequel. I think Jeff Bridges is perfect for this role. The “Dude”, as a highly educated Professor/Anthropologist that drinks “White Russians”, and is 420 friendly, has been a flirtatious dude all his life, and is a perfect role for him.
Younger Dr. Harriet Kopiacek: The younger version of Susie’s Anthropologist mother could almost be another role for Scarlett Johansson, with beautiful red hair, but slightly different looking. (a job for the makeup department).
Older Dr. Harriet Kopiacek: Suzie’s Anthropologist mother just before she dies of natural, but sudden causes, could be a role for someone like Susan Sarandon. an almost look-alike version of Scarlett Johansson, but slightly older, with the same beautiful red hair.
Present Day Main Character Dr. Susan Kopiacek: Suzie, played by Scarlett Johansson’s, is an Anthropologist also, following in both her parents footsteps, except she has been working in the Sudan, in Africa. She flys back to Los Angeles when she gets news of her mother’s illness and pending death.
She has beautiful red hair like her mother, but with a much more tree-hugger or frizzie, hippie look to her. Sometimes dirty faced, from digging up old bones, and sometimes almost wedding night clean, in her cabin on the private yacht, in a nightgown.
Her first year in the Amazon was when she was barely a toddler, three years old. Her last year in the Amazon as a child was when she was 13 going on 14. We see a few scenes of her growing up, with her parents, between three years old, and her last year. Mix in a few scenes that tells the audience that the jungle life for the Kopiacek family was 6 months sometimes 7 months of the year, primarily when the Southern Hemisphere was having it’s Summer. Talk about “Snow Birding”, their Summers were spent in Malibu, their home base, and in the winter, they flew south like the Canadian Geese.
The audience can smell her delicate perfume during that scene, especially if the theater is rigged to spray out just a sparse amount of………..Wait for it………”Black Lagoon” Parfum, another product placement, available at Macy’s, Nordstrom, and other fine retailers near you. Marketed along with the film, the idea of having a perfume product essentially linked to only two scenes in the film (when a little is sprayed from the ceiling during the two separate scenes), is genius in my opinion. Half of the women in the movie audience will already be wearing a dab of BLACK LAGOON Parfum.
The Captain of the “Rosarita”, Mr. Alberto “Big Al” Diaz: “Captain Big Al” as Suzie used to call him when she was a little girl, potentially played by Javier Bardem, is in present day, a 60 something old salty, but in a refined, yet sorta gruff way (make-up department, where are you?). In his younger days, more than thirty years ago, Big Al was a sea captain that ran banana boats between US and South America, He has been Captain of the Rosarita for almost 10 years. Was the first Captain after it’s christening and launch 10 years earlier. Thirty years prior, Big Al was a crew member on the original “Rosarita”, a steam powered wooden boat that was the Kopiacek’s first ride into the jungle. Suzie was three, and Rachel was six.
Captain “Big Al” Diaz’s Daughter, Rachel Diaz: Big Al’s youngest daughter, Rachel, potentially portrayed by Penelope Cruz or Salma Hayek, would sometimes come with her father, as he piloted the Rosarita up and down the river. Rachel was six years old, three years older than Suzie when they met each other on that first expedition thirty years ago. Every year after, Rachel was SURE to be made aware in October when the Kopiacek’s were arriving, and she didn’t have to beg, to get her father to take her with on THAT particular boat ride each and every year. When Suzie was nine, and Rachel was twelve, both sets of parents agreed to let Rachel spend a summer in Malibu. Rachel was like a “Big Sister”, loving AND protective with Suzie. Via a few flash back to flash forward scenes, the story of both the girls growing up on the river can be told in the first 20 minutes of the film.
OWNER OF THE YACHT, “SPIX’S MACAW”: William “Dairy-Dude” Devan, is an old college buddy of Dr. Kopiacek. While still a freshman in college, William, “Bill” starts a small software company, that revolutionizes how dairy cows are fed, milked, and managed. His software company, “MOOtOO”, (notice the lowercase t) has huge market and financial success, making him one of the youngest persons ever to become a multi-billionaire from milking cows. Bill is the same age as his old pal “Cop-me-a-feel”, as he used to call Dr. Kopiacek. A slightly heavier version of a Robin Williams, Bill is completely bald, making him the butt of Dr. Kopiacek’s jokes………”Gotta put my sunglasses on, I can’t see! You’re noggin’s so bright, maybe you can guide my sleigh tonight, HarHarHar!”. Bill had been financing part of the Kopiacek’s early expeditions for years, up until the Kopiacek’s fully retired from the jungle work, to teach full time. Although they always remained good friends and stayed in touch, Bill with all his money and success (who is lactaid intolerant by the way), always was a little jealous, in an admiring way, of his friends adventures in the jungle. The death of Suzie’s mother came as a real blow to William “Dairy-Dude” Devan. The two of them had dated for a little while, so he was genuinely saddened, and jumped at the chance to get involved with this ash-spreading expedition. His yacht was already in South America, so when Dr. Kopiacek mentioned to him that they were planning a trip back to the Amazon, he jumped at the opportunity, and offered the use of his yacht, “It will only take me a month to get it to Manaós. She’ll be ready and waiting for us when we get there, and I’ll make sure it’s stocked with plenty of Half-in-Half, Stoli and Kalua”. Such a deal.
QUEEN OF THE YACHT, “SPIX’S MACAW”: William “Dairy-Dude” Devan’s young, 30 something, 3rd wife. Sexual tension here. Enough for Bill, and every other male on board his yacht. When he has a minute alone after first meeting the “new” Mrs. Devan, Dr. Kopiacek asks his old friend Bill, “Just where in the hell did you find this one”. Bill responds, “Wisconsin Dairy farm”.
Manaós, Brazil is the largest city, a major port for ocean going vessels, located 1,500 kilometers inland from the Atlantic Ocean. This is the starting point for Suzie and her father, on their journey to spread her mother’s ashes. This was the same entry into the deep Amazonian jungle that they had explored when Suzie was a child, 30 years earlier. The flight from Los Angeles is actually two flights. The first flight is from Los Angeles to Macapá Airport on the northern branch of the Amazon River, as it meets the Atlantic Ocean. The second flight is from Macapá to Manaós, 1,500 km inland from the Atlantic, the Amazon’s largest city and gateway to the vast Amazonian jungle.
Before we go on, here’s some information on my version of the actual lagoon where all this action takes place. The lagoon is in a wide part of this unnamed river, and at a width of about 1,500 feet. The lagoon was part a natural occurrence, and part accident. Part accident because the creature’s space craft had crash landed and dug a hole several hundred feet deep along the north side of where the lagoon branched off of the river. Altering the landscape and the shape and size of the lagoon, the spacecraft was 400 feet down. The crash took place…….a hundred years ago. It has been there deep in the lagoon for so long, that it sort of naturally camouflaged itself with vegetation and the debris from the initial impact. In addition to the vegetation and the debris, the creature’s spacecraft is also covered with 100 years worth of River Mussels, Apple Snail, and other varieties of fresh water gastropods and pelecypods. It is well camouflaged.
The next part of their journey takes them southwest of Manaós on the Solimões River. From there, onto smaller and smaller rivers until they stop in the general area they had been exploring since Suzie was two years old. Suzie’s boat is a 142 foot private yacht owned by an old college friend of her fathers, who helped fund many of the early Kopiacek’s expeditions when Suzie was a child. Yachts name, “Spix’s Macaw”.
There are Three boats or ships in this film. The small wooden-hulled boat, the “Rosarita”, is a steam-powered old river boat, and was the first boat the Kopiacek family had taken when Suzie was a little girl. This first boat of Big Al’s had been making this same typical journey up and down the river for nearly 25 years before Suzie as born, well before the jungle was tamed. Big Al had originally started as a deck hand on the first “Rosarita”.
Then there’s the present day 142′ yacht named the “Spix’s Macaw”, belonging to a family friend, William “Dairy-Dude” Devan .
Tagging along behind is the slightly larger (164 foot) river cruise ship. The “Rosarita II” has 43 passengers and crew on board, including kitchen, housekeeping, deck crew, and engineering crew. This was Captain Al’s pride and joy, the “Lady” of the river as he sometimes called it. He has been the Captain of the “Rosarita II” since the keel was first laid 10 years earlier, which provides a critical “flash back” scene.
The audience is thinking remake of “The Creature from the Black Lagoon” right up until the first time the creature morphs. “Holy crap! This isn’t some missing link half fish half human thing! This is something way beyond that”. In the original 1954 film from Universal, the Creature was designed to look half fish, half human, supposedly the missing link between fish and man? My new creature would not be like a 1954 creature concept. My creature will look sorta amphibious, and sorta alien, and not all that scary, until it morphs. After morphing, everything about this creature’s looks is a “RIP you to pieces” look. Before morphing, the creature looks peaceful enough to shake hands with. It’s eyes, not overly large, but larger than human, of course this creature stands 7 feet tall prior to morphing, and the head is not quite twice the size of a human skull. No nose, some gills on it’s checks, fluttering open and shut constantly like a fish, when in the water, bubbles come rising up, as the mouth is opening and closing and opening constantly, in sync with the gills. On land the creature is somehow able to breathe the same way, capturing oxygen out of the air with movement of the gills and mouth just like in the water, without the bubbles. Note: The aforementioned breathing on land mode is filmed in a way that almost makes the audience FEEL like they can imagine seeing bubbles rise, except you’re dry, on land, in air, not under water. So back to the eyes, the creature has these soft blue, baby rabbit crossed with an ET, no iris, peaceful looking eyes. Until it’s safety is threatened………..Than a film snaps shut on each eye……a dark shade of red, but like the deer in the headlights look, GLOWING. Try to imagine the eyes, in comparison to really scary body morphing, going from baby blanket blue, to a GLOWING DARK RED as the creature begins to morph, slowly changing, enough to scare the crap out of anyone. The protective eyelids instantly close in the blink of the GLOWING DARK RED DEER IN THE HEADLIGHTS eyeballs fashion, and the body and facial changes take about 30 seconds longer to complete, with the creature’s scales changing from not really scary to scarier, and the rest of the overall physical changes from not too scary to……………Wait for it………..”I just shit myself” scary. With changes that are unlike a transformer robot, into a flying monster robot. These changes are more futuristic space alien shape-shifting changes, into an enhanced militarized, defensive version of itself, like the original ET morphing into the ALIEN, except not that dramatic a change. Envision these almost hypnotic, peaceful feeling, baby rabbit blue eyes, as the glowing dark red eyelids snap shut, changing that little wabbit look into the “I’m going to rip your head off” look. That lizard or reptile kind of morphing goes on for another 30 agonizingly scary seconds, as it transitions into it’s defensive version.
If the creature is only so-so scary, almost likable until it morphs, than we can introduce the almost likable creature’s actual appearance early in the film and link that first impression the audience gets of the creature’s looks to the flashback scene late in the movie, that shows the 5 year old heroine’s Frankenstein-like encounter with the almost gentle looking creature from the lagoon. The first reptile-like morphing is so in contrast with the “normal” look of the creature that the audience will be “shit in their pants” shocked at the first total morphing. Before we see the total morphing, there are instances where the creature begins to automatically morph, with the instantaneous closing of the eyelid and changes in the color of the eyes. In other words, through the movie we see the creature in various states of physical change, both underwater, and out of the water. Note: During warm, seemingly affectionate moments, while still in the “morphed to monster” stage, the creature’s eyes go from the glowing dark red to the soft baby blue, as the protective eyelids blink a few times, and slowly lift up. This happens a few times in the film, when the creature recognizes that there is no real threat to it’s safety. Imagine the look on the face of the creature at those infrequent moments. A “Tear you a new asshole”, absolutely frightening look, suddenly looking at you with bunny rabbit soft blue eyes. The audience can sense a kind of humanity in the creature when the eyes are blinking, from rage red, to fully opened baby blues.
MERCHANDISE, (ACTION FIGURES, DOLLS, POSTERS:
Note: As far as Action Figures are concerned, I just created two. The scary one with the glowing, deep, dark-red eyes, and the companion pre-morph baby-blue-eyed cuddly one that kinda looks like what an alien’s version of an Oscar Statue would be. Both purchased from any Wal-Mart, Toys R Us, and other fine retailers near you. Two action figures for one movie, because of creating the two versions of the creature, pre-morph and morphed. And in the film, you can almost, but not quite imagine that the nice creature looks like a slightly milky, light green jade Oscar, when it’s arms are almost, but not quite……..Wait for it……..At its side like an Oscar Statue. Thru the movie, the audience slowly begins to realize that they had seen that shape before. George says, “Look Maryanne, that shot right there, did you see that?”………You can’t be blinking your eyes when those 4 frames pass your screen view. That four seconds is the silhouette shot, just for a second, you could see the silhouette of the……….Wait for it……..Oscar Statue? Even though the audience knows, that what they are seeing on the screen at that moment is the unmorphed creature, at dusk, with the dark green of the Amazon jungle framing the dark blue of the lagoon (which is one of the poster designs) with the color changing eyes. Note: Lizard/Cat irises.
Instead of one movie, one creature, one action figure, you have one movie, one creature, and two action figure versions of the same creature, just like in the film. Absolutely genius! For the younger than 9, you would have a relatively inexpensive doll depicting “Suzie the Anthropologist”, as well as a more substantial, more expensive “Figurine”, a highly collectible, serialized & dated version for teenaged girls (and a few boys). You would also have to have the main HERO action figure, plus captain of the cruise ship action figure? For sure an action figure of Suzie’s father, played by Jeff Bridges. How about that, an action figure/doll with Jeff Bridges face, how dope is that? No sense in making these “dolls”, i.e., something a child under 10 would play with, like a cuddly stuffed bear. Make them true action figurines, with a collectible quality to them, not some cheap molded plastic thing. The not so scary one possibly more appealing to girls, with boys and girls both having a scary creature action figure for the COLLECTIBILITY reasons, i.e., “buy one now when the film debuts for $29.95 and watch it’s value increase in just one year” (because you only manufacture and sell the action figures for the first year of release of the movie). in two years, by time you are releasing the sequel, you are making tons of money again on the re-release of the SAME action figures. Each individual action figure is serialized and coded with the month and year of manufacture,, making the older “First Release” version the more valuable of the action figures on the aftermarket in the second year……….which success helps sell all the more action figures when the sequel is released. In fact, the sequel release of the action figures sells out so quickly, the factory has to make three different production runs over a 12 month period.
Note about other merchandise: the movie poster (one image, three versions). The design/artwork, would be like a late forties early fifties art deco, painted style. One version, the serialized, numbered and signed limited edition Giclee series, which could sell for hundreds, as well as the inexpensive mass printed lithograph version for $19.95, with free shipping.
Another image I thought of tonight is almost like a still photo. In fact, its about four seconds of the film I mentioned earlier, “Did you see that Alice?” The image is dark, dusk like, you can barely make out the jungle in deep dark green foilage, transitioning to the dark blue waterline. Slightly above center, all you can see is these bunny rabbit light blue eyes, until you start moving to one side of the poster to the other, the color of the eyes starts to change to the DARK RED GLOWING eyes, back to baby blue, back to that sinister red. That could be the rarer, collectible poster, with some sort of hologramish thing for the color shifting eyes. On some teenaged dude’s bedroom wall, with some blacklight feature in the dark. This poster basically replicates the image in the movie trailer which is all CGI, with slight motion in the jungle, water, and color changing eyes. Plus there could be another inexpensive lithograph version of this one for mass distribution. Imagine at school, a conversation between three 12 year old’s in the school cafeteria, “Ricky got the limited edition dark poster for his birthday last week, how dope is that dudes?” Yah, that’s so flexing, I only have the litho version. Rick’s parents know one of the producers I think”.
A sample of my oddball creative writing subjects:
Are you a ‘Stand-Up” wiper, or “Sit-down” wiper? If you normally wipe your ass while you are still in a seated position on the toilet, you are a sit-down wiper, which is a good thing, so feel proud of that skill. If you normally stand up and reach back with your three sheets of toilet paper, (or sponge on a stick if you are so fat that your arm doesn’t reach, therefore your hand doesn’t quite reach your butt-hole), you are a stand-up wiper, not to be confused with a stand-up anything else, “He’s a Stand-Up kind of guy”, or, “He thinks he’s a Stand-Up Comedian”. As a Stand -Up wiper myself, I can confess that there HAS BEEN the extremely infrequent times when I had the sensation of my sphincter pinching off cleanly, and what I assumed was the “plop” of the turd hitting the water, when in fact, when I stood up to wipe, a large remnant of that 12 inch turd was still affixed to my anus, therefore, dropping either on the toilet seat, or the floor. That happened only a few times in my life prior to asshole re-connection surgery. Now, I feel like my sphincter is a super-duper sphincter, able to pinch off ANY turd with surgical precision.
Sponge-on-a-stick? Imagine the conversation, “Captain, what’s that sponge on a stick that’s hanging next to the toilet for?”………”Oh, that’s for my cousin Jorge to wipe his ass”………..”Ewwwwwww”. Available at all fine Wal-Mart stores near you. The subtle, but clever product placement of Kahlúa®. Jeff Bridges character sitting on the patio deck, back end of the yacht in the early evening with Suzie and a few other people talking, and admiring the sunset in the background. There are a few people in the Jacuzzi, Jeff takes a hit off the bong and nonchalantly passes it to someone as they are walking by, saying, (camera zooms in a little), “I’m not always thirsty……..” while simultaneously someone else hands him his drink, he turns towards the camera to his left leaning slightly, now holding up his drink while he continues to say, “but when I am, I drink White Russians” (quickly mumbling, “five foot two, hunerd-three pounds”) , holding the bottle up, “Made with my favorite coffee liqueur, Kahlúa®” (cross/Redneck/Hippie chuckle here from Jeff here). If he can pull this off, acting-wise, Jeff makes it look so subtle and funny for that moment (comic relief), so the audience appropriately grins and chuckles out loud at Jeff’s smiling, subtle product placement, but doesn’t think about purposeful or blatant product placement until they are walking out of the theater, talking about the film. Then they really laugh. “That Kahlúa® ad in the middle of the story. Was it an ad, or not? Hahahahaha……Anyway, clever product placement on their part, I’d see the movie again just to watch THAT scene again”…….
MUSIC / MUSICAL SCORE:
Regarding music, and or score. I was inspired by the following song as I was writing tonight. Musically, the “Tone” of the movie sounds to me to be a mix between the Big Band sound, and Hippie era sound. “Who’s sorry now” by Harry James and his Orchestra, HAS to be somewhere in the movie. Dr. Kopiacek (Jeff Bridges) is from the early 60’s hippie era, but took a while to turn from short haired geek to long haired hippie. It took one trip, his first trip into the Amazon for him to let his hair grow out. His all-time favorite band? The Rolling Stones, so there has to be some Stones music in the film.
SYNOPSIS RELATED STUFF:
This trip, which purpose is to spread her Mother’s ashes, is also part vacation, and part “get to know Dad ” again trip. Suzie and her father had been somewhat estranged from each other for several years. When her mother was alive, her and Suzie talked at least once a week. Suzie hadn’t spoke to her father in three years. Part of the story-line is the re-acquainting and sometimes struggle, to get beyond their original gripe with each other. One of the original issues was Suzie’s boyfriend, also a scientist, who had died six months earlier in a motorcycle accident. Suzie’s father, Dr. Robert Kopiacek, had fatherly, parental issues with Suzie’s boyfriend, primarily because her boyfriend didn’t want any part in marriage, or fathering a grand child for Dr. Kopiacek. And perhaps because Suzie’s boyfriend was African-American, though Dr. Kopiacek, who really wasn’t Redneck racial, (Jeff Bridges) was very loving and kind, and raised Suzie to be independent and strong like her mother, he still harbored a resentment towards his daughters choice of boyfriend and possible life partner. Therefore, the barriers were raised between them. Now they both were alone, and the audience feels the pain and the growth of their father/daughter relationship. From estranged uncomfortable feeling at LAX as they were first leaving for Brazil, to the final cliff-hanger moments at the end of the first film, to the final scene in the sequel when they are standing there, watching the huge alien mother ship rise up and shoot off into space. Of course, in between the first film, and the sequel, moviegoers around the world are somewhat relieved that Suzie and her father mended their relationship, but anxious, or at least wondering if there is going to be a sequel, where Suzie’s father, and the lead hero dude has to rescue her from the creature. Note: She is captured and held captive by the creature in the sequel, not the first film. The lead hero dude appears early in the sequel, a retired Navy SEAL TEAM member, who just happens to be related to Suzie’s deceased boyfriend. Brother? Cousin? Have to think about that for a while. Anyway, the hero SEAL TEAM dude and Suzie really don’t get along at first, but eventually become romantically involved. I haven’t figured out if he gets killed off or not in the sequel.
SAMPLE/TEASER FOR SEQUEL ENDING SCENES:
A possible ending sequence of scenes in the sequel. The creature has managed to modify a captured cell phone. Even though cell phone signal coverage is zero in the jungle, the creature has altered this cell phone to bounce a weird signal off a passing satellite, sort of ET like, to a mother ship. The creature has finally contacted it’s own kind, out there a few billion miles away from Earth. Close up shot of this debris and mollusk covered camouflage layer of the creature’s spacecraft cracking, underwater clouds of silt rising up as this huge mother ship of a spacecraft slowly hovers lower and lower over the lagoon, and with some sort of anti-gravity tractor beam lifting up this smaller alien space craft out of the depths of the lagoon. From an earlier scene, there is a shot of the creature’s spacecraft deep down in the lagoon. From the audiences earlier perspective, you can’t really tell how huge the creatures spacecraft really is until the sequence of scenes where it starts rising out of the water. The creature’s craft is in fact, huge, maybe the size of a football field. For perspective, the audience sees this huge football stadium sized craft rising towards the much larger mother ship, which is so much larger, it has darkened the sky, dwarfing the creature’s rising craft. The shots switch back and forth from the underwater shots of the creature’s ship slowly breaking away from a millennium of imprisonment in the murky depths of the lagoon, to the various shots of the “Mother Ship” slowly lowering closer and closer to the surface of the water, with a CGI facsimile of the tractor beam, to a shot of the unmorphed creature sitting in the cockpit of it’s craft, with a look of satisfaction and relief on it’s face, with a closeup of the creature’s baby blue eyes, reflecting what it is looking at, the shot slowly moving into one of it’s eyes, showing an almost infinite view of space and time, as the mother ship slowly begins rising back up in the sky, a shot of the massive dark shadow slowly turning light again, to a shot from the cruise ship, as Suzie (Scarlett Johansson) and her father (Jeff Bridges), watch from 20 miles away, as the mother ship suddenly takes off for outer space in the blink of an eye. Final shot is of the creature, standing in a room of other creatures, and the camera zooms in on the simple silver necklace that it’s wearing, given to it by Suzie. Has to be a warm felt, good ending for the audience, after all, the creature was not a bad dude, even though it did slaughter a bunch of people during the film, as it says something in alien talk to the leader alien, while gently holding up the large blue sapphire at the end of the simple silver necklace, with an almost matching blue sapphire color of the aliens eyes. The translated words on the screen read, “There is hope”. End of story, run credits.
FILM FINANCING, PRE-PRODUCTION, PRODUCTION, AND POST-PRODUCTION REQUIREMENTS:
Obviously, I’m a complete unknown, and some would say, “You’re out of your element here dude”……..Although our desire is to keep this an “Independent” film, I believe we could get the bulk of our funding from Universal Studios, perhaps via someone like Steven Sphincter, (just kidding Steve). What we need immediately is someone with a verifiable background and contacts for pre-production fund raising. In exchange for your services, you will get a percentage of funds raised, plus points in the film, plus Executive Producer status.
If you happen to be a professional fund raiser, or investor, interested in this film project and you wish to get involved, please do not hesitate to contact us.
If you are a professional experienced in “Cloud Funding”, and you are interested in becoming involved in our film project, please do not hesitate in contacting us.
If you simply want to invest in our film project, please do not hesitate in contacting us.
If you are a Public Relations specialist with a verifiable resume, and you are interested in getting involved, please do not hesitate in contacting us.
If you are an IT specialist, and you are interested in our film project, and you wish to get involved, please do not hesitate in contacting us.
If you are someone interested in becoming an Executive Assistant, please do not hesitate in contacting us.
If you are a Conceptual Artist interested in CREATURE DESIGN, please do not hesitate in contacting us.
Note: All semi-permanent and permanent positions available are on an “Intern” basis until our pre-production funding goals are met. Once our funding goals are met, salaries will be negotiated on an individual basis.