- Fan Film Series
The President invites notorious gonzo-journalist Spider Jerusalem to an exclusive no-bars held interview in an attempt to get ahead of his political challenger Senator Gary Callahan (aka: The Smiler) in the polls.
In the year 2230, The City of New, New York is inhabited by trans-humanity; in an era where Body Augmentation is the norm, drugs and sex are marketed openly to everyone 24/7, aliens have come and gone, and the gap between classes is like the difference between Diamonds and Mud. Anti-Hero and Gonzo Journalist, Spider Jerusalem is a Hunter S. Thompson-inspired character who seeks The Truth in this futuristic Meg a-Metropolis. He has gained notoriety in the city for his famous column entitled: I Hate it Here Jerusalem and the sitting President (who is modeled after Richard Nixon) have interacted before. Both have disdain for one another due to their conflicting beliefs - but because the President is running for re-election, (and needs credible sources on his side) 'The Beast' summons Jerusalem for a no-holds-barred interview so he can be a step closer to defeating his challenger: Senator Gary Callahan - whom Spider 'affectionately' calls: The Smiler.
"THE PRESIDENT'S BODYGUARD"
Story Behind Project
Originally intended to be a Netflix series pitch and with Industry Professionals intent on helping us navigate the process (or so we thought). First we selected the scene we wanted to re-create from the Comicbook (originally, it was only going to be "That's Voting").
Once we selected the scene we began breaking it down based upon necessities and requirements; we dug deeper and realized that the final product would not resonate because Transmetropolitan fans were our core audience, and they were sparse and had not gotten a professional adaption for the 20 years that the comic has existed.
We then considered selecting a different scene that would resonate with not just the fans of the comic, but also to the general public. Thus we selected a series of scenes with the intent to shoot a pitch trailer.
After we started breaking down each scene and doing some location scouting all over the state of Kentucky; we realized that the budget to shoot a trailer would far exceed what we had immediate access to. So we again re-thought our approach and determined that we would shoot one scene - because of the atmosphere at the beginning of 2020 (pre-COVID); we thought that the scene we selected would be the best choice for a micro-budget because it was isolated and would only require our talent to play their characters, no special effects were needed, no big budget elements.
Thus we began working on the scene, the flow, the dynamics, location, talent and team.
After eight months of hard work and having shot a "proof of concept" to pitch to Netflix and investor prospects who were interested in it (due to the promise of a Netflix opportunity).
We took the "proof of concept" to our Industry Professionals who were supposed to represent us...and though they were inpressed at what we accomplished on a Micro-Budget. They ultimately dropped the ball and ghosted us.
After that disappointment, we bootstrapped ourselves and We got our chance three months later - by getting into a zoom call with a content selector and came to realize that we could not access the IP (Intellectual Property) rights and therefore no one was going to be able to help us move forward.
After that disappointment, and several attempts to get ahold of representatives to discuss the IP rights - we came to communicate with other producers who made Fan Films whom then helped us navigate the Grey Area of Fan Film Creation and their attorney's.
So, six months after having filmed the "proof of concept" it was now a Fan Film and thus we developed it as it's own independent episode.
We intend to Plan, Coordinate and Film the remaining scenes from the Comicbook from our Trailer Pitch List. These Scenes will build on the Characters and their relationships themselves.
This list will be provided along with some of the table reads when we launch.