Stressed To Kill

Date released - May 25, 2015

About   the   movie

I think I first met Mark Savage around 2008. It is a meeting I'll never forget as Kel Dolen, director of several projects I have worked on, took me along to meet his friend who was in town for a short time. We went to a family restaurant for lunch and Kel and Mark, proceeded to tell stories of how much the film industry sucked. Mark, a brilliant storyteller in any medium, was incredibly animated and at one point stood up acting out a stabbing while passionately telling his story. His brother Colin, who was also there, was as taken aback as I and tried to quiet him down as families looked on a gasp.

This was my introduction to him.

To be honest, I don't think he even really noticed quiet me shrinking in my seat as he told his hysterical stories. It wasn't til we were on the set of John Doe: Vigilante, directed by Kel, that we hit it off. Mark had been convinced to shoot the behind the scenes video and I was editing. We just kind of gravitated towards each other.

Four years of friendship later and Mark asked if I wanted to edit his next movie. As far as I was concerned, I had already quit the film industry but there was something exciting about the idea. He sold it to me as a film about a guy who has a heart attack and his doctor instructs him to get rid of the stresses in his life. So he does... By killing them. Kinda like Falling Down with Michael Douglas. He even asked if I had any ideas. If there were any situations in life that frustrated me and I secretly wished I could kill those involved. It was a good start.

Months later and Mark was shooting the flick in Florida with veteran actors Bill Orberst Jr and Armand Assante in the leads with a great supporting cast including Marshal Hilton, Paul Fanning, Lance Tafelski, Mary Krantz and actor as well as co-writer and executive producer Tom Parnell. A month later and Director of Photography David Richardson, flew back to Australia to deliver the footage.

As my assistant editor, Matt McCleish was logging the footage, it was clear that this was something good. The acting was great, the shots looked beautiful, It was up to me to bring it home.

Working away for around six weeks, I created a two and a half hour rough cut which was good. Usually, when editing a rough cut, I'll know straight away which scenes aren't going to make it to the final but this was pretty much all good. This was going to be a tough polish.

Mark came back to Australia and moved in for a week while we worked on it together. Cutting, fine tuning and playing with crazy ideas. Some worked, some didn't. At the end of the week and a few more weeks of finessing once mark was back in the US and we had our final cut, just under two hours long. Some of the scenes were really sad to see go but overall, it was for the best.

After my part, the film went off to get the music, visual effects and sound mix done. Mark took my recommendation on composers and met with my friend in Sweeden Glen Gabriel, who jumped at the chance to come on board. He delivered a truly beautiful soundtrack that lifted the movie in every way.

After the visual effects misery of working on John Doe, it was nerve-wracking to have someone who was unknown to me working on them for this film. Kelly Sheeran however, did a brilliant job on them and the final colour grade. Many of the shots he produced would never be picked as a visual effect and it was a joy to work with him.

All up, this was hands down the best project I have worked on, and the one I am most proud of. Everyone came on board to make a great film and no egos or attitudes got in the way. If all the projects I had worked on, or even the majority of them, were as good as this, I would still be making films today.

Technical   aspects

Filmed Format: Red 4K

Post Format: 2.35:1 ratio

Filmed Locations: Florida, USA

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