Short Film ‘Between’ Raises Level Of Threat To Defcon “Gasp!”…

Funny how a sunny family stroll through the glorious Kent countryside could lead to a spooky-assed short exploring the recurrent nightmare of a horrifying discovery…

But then that’s what we’re all about here at Rich Teasers: digging out the funnies from the darkest holes or plonking gut-wrenching revelations in the eyeline of a sumptuous rural view. Thus it was for that amiable family amble through the Garden of England way back when and a spot of mental bookmarking at an elevated treeline that wouldn’t have felt as welcoming on a solo slog at sundown. You don’t always need a starless night, a rundown house on a hill and an axe-wielding loon in a hockey mask to put the hairs on the back of ones neck on high alert.

Fast forward several months and we found ourselves back at that ambivalent backdrop with director Louise C. Galizia, DOP Caroline Bridges and actors Lewis Cartwright and Georgina Blackledge to shoot ‘Between’ – the spooky-assed short exploring all those things we said it explored two paragraphs back.

Despite a few early equipment travails and the ever-present threat of a mood-altering mizzle, the shoot was a great success, due in no small part to the hardy collaborative shift put in by all involved. Andy’s two daughters and the family dog also provided sufficient evidence to the contrary that you should never work with animals or children. One daughter even put in a solid shift as a body double – the quietest she’s been in years…

Between shot

‘Between’ was written and filmed for the #oneshortfilmamonth project and will be released some time in October 2018.

It’s pretty spooky-assed.

Happy Critics & A Category Win In Toronto!

Word came in on the Toronto screening of ‘Snug As A Bug’ on July 5th… and the Word was GOOD!

Not only did the rakishly ruggish ‘Snug’ snaffle the gong for ‘Best Cinematography’, it also left an audience of FEEDBACK Female Film Festival critics wanting more. Do we accept the verdict that we wrote an “adult cartoon”…? Yes we do. Are we happy with the plaudits heaped on the writing, acting and directing…? Yep. Is the praise lavished on our comic beats and timing forcing a shy “aw, shucks” smile of gratitude on the outside whilst inwardly we’re charging around the walls of our inflating egos with our shirts pulled over our heads…? You betcha!

What really struck us was the number of critics calling for a feature or series… because that was precisely the motivation for creating ‘Snug’ in the first place. Its big sister, ‘Happy Birthday Mrs. Shine’, came long before the thought of a bookended showcase short, so to hear viewers wishing there was more to the story bodes well for our future feature offensive.

Check out the filmed audience reaction here:

Thanks again, FFFF, and thanks to you too, Toronto: we’d celebrate with a Ruben at Shopsy’s, but we’re just the wrong side of the Atlantic at present…

A Win, A Shiny New Thing & A Mini-Revelation.

At the beginning of the month, we were notified that ‘Snug As A Bug’ had placed in the One-Reeler Short Film Competition – a smashing new piece of industry endorsement that came at the same time the film was screening in Toronto as part of the FEEDBACK Female Film Festival

…at the same time we were being reminded by our calendar-crunching social media accounts that it’d been a year since an I-dotted, T-crossed ‘Snug’ birthed in a central London editing suite… at the same time we realised two years had passed since a script with a different name had risen to the top of a keen director’s slush pile and gotten the whole snuggy, ruggy snowball rolling.

So cheers, One-Reeler! You’ve been added to a growing list of favourite Rich Teaser festivals and competitions: a tacking, broad-sailed “yes-please” on a rolling, wrecking sea of “no-thankyous”. Or something less overtly nautical.

“If you’d told me two years ago I’d be the first man from Greater Manchester in space when I was still clearing up half-eaten plates of sausage and mash in Mecca Bingo in Bolton… I’d have laughed in your stupid face.”

In 2016, we had lots of content, no films, no writing credits (no terribly recent ones, anyway…) and no fast-track plans for demolishing all the insurmountable-looking industry walls separating us from Square 1. Then someone liked something we wrote. Then someone else did. Then the BBC invited us over to Broadcasting House to wax lyrical about our work and tell us we could “absolutely” write for this industry. Then a film got financed and made. Then three more. Then we won some laurels. Then some more. Then something else we wrote attracted the interest of some people we could never have imagined getting close to when we first started. Then that got made too. Then we acquired interest in a feature. Then we began writing a television series.

Then we realised we’d gone a lot further than we’d ever thought we’d get two-point-something years ago.

As planless as we might’ve been way, way back in 2016 (when we toiled in sepia with top hats and smoking jackets…), the greatest favour we did ourselves was to write and write and write. If anyone was to ever give us the time of day, we weren’t going to be short of winning alternatives – after all, the Beeb got us in for a gangster flick then asked where we stood on children’s comedy. Having additional content kept working relationships going past the ends of individual projects and started fresh dialogues with new and interesting filmmaking folk. It kept us invested in our own game, revising, refining, even repurposing material as new enquiries were made and opportunities developed.

We didn’t exactly sit the wrong side of the Square 1 wall praying for a Christ-in-cornflakes style revelation of arcane industry secrets, but we did sit on a pile of finished works wondering how we’d ever get them looked at. Turns out once we got that one important break, we’d already laid the foundations to demonstrate quality, versatility, timeliness and a willingness to adapt: yes, we did have ‘other stuff’ that was just as good; yes, we could have it ready for the end of the day, week, month or Skype call; and yes, we can adjust it to fit all of X, most of Y and enough of Z to tie it all together.

Oh, and that shiny new thing…?

We’ve recently seen the assembly cut of our newest flick ‘Making A Killing’. It stars a critically-acclaimed ‘Bombshell’ actress and comedian and an Olivier Award-winning actor and accomplished nailer of tricky bathroom takes.

But I think that’s all we’ll say for now…

More too on our One-Reeler placing once we know it.

Director Louise C. Galizia Opens Up About #oneshortfilmamonth.

Find someone interested in filming your work… check!

Hope that that someone visualises your characters and situations through a similarly-shaped set of lenses… check!

Cast a furtive glance to the heavens and pray that your box-checking someone also has the drive and ambition to attract and mobilise additional talent to roll up collective filmmaking sleeves and actually make a flippin’ filmCHECK!

We count ourselves very lucky to have met Louise who continues to impress us with an unerring sense of ‘mission’ and her capacity to work quickly and efficiently towards a quality end product: it’s why we’re happy to write for her.

Two of our scripts have featured on Louise’s #oneshortfilmamonth project with a third slated for later in the year. She recently posted a blog about her methods and motivations which is well worth a look:

#oneshortfilmamonth – Louise C. Galizia

View story at Medium.com

Short Film ‘Looking Up’ Released…!

Continuing our involvement with director Louise C. Galizia’s #oneshortamonth film project, narrative microshort Looking Up was released on 4th May.

We’ve been extremely fortunate in the past to work with directors who haven’t been too phased by the prospect of having their writers on set: more often than not, we’re about as welcome as a queue of upset stomachs outside a music festival portaloo. Looking Up was no exception and it afforded us another opportunity to marvel at the patience and dedication of genuinely talented collaborators who braved the bitterest of bitter winter chills to laugh in the face of February and nail this simple but touching little piece about… well, looking up.

Huge thanks to cast Georgina Blackledge and Vangelis Christodoulou for risking terminal bum numbness through every spot-on take, DOP Laura Yates and producer Alice Ryan for their focus and get-on-with-it-regardlessness and of course director Louise for continuing to find something in our work worth putting the effort in for. Even if it requires a duffel coat.

Enjoy.

‘Snug As A Bug’ Wins “Best Dark Comedy Short” At The Independent Shorts Awards In LA…!!

I used to win loads of things as a kid: hand-written “Sports Day Superstar” stickers for finishing 4th in 3-man races, decorative wooden spoons by the score and a visually stunning array of colourful participation rosettes.┬áNow there’s a short film award to add to that unbroken string of ‘life victories’:

BEST DARK COMEDY SHORT.

Certificatetemplate [Convertido]

This time, however, the laurels weren’t awarded by my long-suffering mum or lovely old Mrs. Aylward in Class 2 who took pity on me when my plimsoll flew off halfway through the 60-yard dash sometime in the summer of ’78.

Oh no.

This time they came from industry judges and viewers who thought it proper to bestow them regardless of what mum thought – many thanks to the Independent Shorts Awards for the tip of the hat. Especially pleased for director Louise Galizia who never struck me as the kind of gal who’d lose her plimsoll in a running race.

The Bug goes from strength to strength!

Independent Shorts Award Winners, April 2018

Short Film ‘Bloody Tourists’ Released…!

Watching a young British couple photograph a chap chasing after our train between Madgaon Junction and Mumbai this time three years ago, little did I think that the chance observation would lead to a script which in turn would lead to a cracking, disturbing short film… shot nowhere near India!

Like many ideas that set themselves up for creative extrapolation, this went through a fair number of “but what if…?” rinse cycles before becoming the non-Indian-train-journey finished article that director Louise Caruana Galizia chose to schedule into her 2018 ‘film a month’ project. Thinking back to the young couple on the train to Mumbai, I wondered how they might have presented the pictures they took that day to friends back home? Having been in India for close to a month by that point, I’d already seen just how good the country looks through a lens, even where it really shouldn’t. Would friends envious of the adventure of it all look past that gloriously golden mid-afternoon Instagram glow to see the desperation on the face of the man hailing a train that wouldn’t stop…? Would the travelling couple crop out the filth and rubbish that lined the track all the way through the countryside to a weekday city of 26 million…? Would they edit out the still and sullen figures who sat out in the heat and dust to watch another line of overcrowded carriages rattle past their pole-and-tarpaulin homes…?

How far might someone go to get their perfect shot…? This was the question that led to the creation of Bloody Tourists and the route down which all interpretations of the unfolding story invariably travelled: establish an innocent endeavour; suggest a sinister purpose.

Bloody Tourists was also our first shot at a purely ‘scenic’ shoot, something rooted solely in action and intimation. The beautifully-shot result owes much to a fine cast, great direction and cinematography, and a cracking original score that leaves the viewer in no doubt that sitting through the film is best done on the edge of their chosen seat – just see for yourself…

We’ll be writing more of these shorts through the year. A second, Looking Up, was recently filmed in London – more news to follow!