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					MORO BROS. FILMS Presents A SEAN MORO/KEVIN HIBBARD Production A CHRISTOPHER MORO Film

THE BEDTIME STORY THE BEDTIME STORY
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KELLY GALINDO LIBBY LETLOW JOSHUA SANTANA

Executive Producers Assistant Director Production Manager Production Designer Art Director Illustrator Editor Director of Photography Steadicam Operator Sound Design Music by Produced by Written and Directed by

Christopher Moro / Sean Moro Charles Quinio Greg Arthur Emily Charuhas Sarah Hamblin John Ostgard Christopher Moro Michael P Tedford . Sean Moro Philip Hover/Christopher Moro Paul Spaeth Sean Moro / Kevin Hibbard Christopher Moro

Run Time: 22 Minutes www.morobrosfilms.com

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INTRODUCTION The Bedtime Story was written by Christopher Moro and submitted to The University of Southern California’s School of Cinema-Television for consideration as a senior thesis production. When it became the highest scoring script among the more than 300 submissions, it was selected as a finalist. Likewise, when Christopher Moro’s director’s reel received praise, he too was selected as a directing finalist. Despite the strong praise it received for its amalgamation of technique with drama, the script was ultimately not chosen for production on the school’s bill. This turned out to be the best thing the faculty could have done for the project since The Bedtime Story’s production requirements did not fit within the strict boundaries set by school curriculum. Still driven with passion for the story and encouraged by the tremendous response, Christopher decided to make the film independently. The Bedtime Story is the 8th film directed by Student EMMY Award-Winner, Christopher Moro and is his 14th film collaboration with brother Sean Moro (Executive Producer/Producer). The Moro brothers’ track record and strength of the script attracted top talent from USC and the industry, giving them an astounding cast and crew. SYNOPSIS When young Jaime’s efforts to earn her mother’s affections get in the way of a romantic affair, her mother uses manipulative bedtime stories to control her. For her mother, Dana, these scare tactics work. But for Jaime, they cause mentally disabling fears. Crafted stories about violently speeding cars, perverted stalkers, and the monster-under-the-bed gradually confine Jaime’s world and dictate her reality. One day, when a car accident puts Dana in a life-or-death situation, she cries out to her daughter for help. But can Jaime overcome her psychosis in order to save the mother who is responsible for her condition? THE PRODUCTION The idea for The Bedtime Story came to Christopher Moro about 2 1/2 years prior to its production. At the time, he knew a woman who revealed to him that she was terrified to be in a house alone due to intense fears of rapists, ghosts, and monsters, which were instilled in her from a very young age. He recalls, “Although I assumed the fears were meant to protect her, I still found the fact that the trauma had continued into adulthood to be incredibly disturbing. My eyes were suddenly opened to similar circumstances occurring close to home. As it turns out, scare tactics are a common practice not only among parents, but people in general.” The realization of this fact was astonishing and in one night, the plot for The Bedtime Story was completely mapped out. “My goal was to tell a cautionary tale not only for victims, but for those of us who don’t realize the consequences of our manipulations.” Fourteen short films, 9 drafts, and two years of film school later, production was launched.

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POINT-OF-VIEW The choice to shoot 90% of the film in “point-of-view” was both a writing and directorial choice. From the start, Christopher Moro knew that this particular story called for a close connection between character and audience. However, watching a character being psychologically abused does not exemplify what they are truly experiencing. By placing viewers directly into Jaime’s eyes they can take an immediate leap and vicariously experience the story rather than observe it. While using this technique extensively would be out of place in a feature-length film, it is very conducive in a short film, where character empathy must be established very quickly. “I am also telling a story through film and therefore, am taking the audience for a ride. One of the best ways to do that is by building surprises into a story. And carefully controlling what the audience sees helps pay that off,” Christopher explains. Such a bold shooting choice also created several challenges for the entire crew. Being in POV means you must remain consistent from Jaime’s eyes—meaning you can’t cut in for a close-up. In that case, Christopher had to design the blocking of the actors in a way that was natural but would also take into account the proper emotional coverage for each scene. Likewise, for Director of Photography Michael P Tedford, lighting the entire set and scene for one continuous . moving shot was a major undertaking. All lights and equipment had to be placed outside of the camera’s sight and movement, while still maintaining the dramatic look and feel of the film. Despite the fact that the camera was in point-of-view, it was imperative that the audience see as much of Jaime as possible. They needed to see hands and legs interacting with other characters as well as her surroundings. To accomplish this, Christopher, Steadicam Operator Sean Moro, and the actress made certain to thoroughly discuss every movement and motivation. Sean and the actress had to work in perfect sync with each other, rehearsing and then executing the complicated movements of each scene. SOUND DESIGN In the same way that the point-of-view camera represents Jaime’s visual experience, the sound design had to properly correspond to her audible experience. Therefore, every sound effect in the film is heard from Jaime’s physical and mental perspective. “Point-of-view allowed me to begin with normal sounds, then gradually make them hyper-real as her hallucinations grow stronger.” In addition to Jaime’s subjective experience, the sound design provided a realistic representation of events as they are heard. In real life, people can only see from one vantage point at a time, which means that events happening in the next room are heard but not seen. Implementing this fact into the movie greatly added to suspenseful moments, while still remaining true to life.

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Sound designers, Philip Hover and Christopher Moro created over 80 layered tracks transitioning from ordinary to strange, serene to intense, and from mental health to psychological decay.

THE CAST BIOS KELLY GALINDO (Dana) is a lifetime member of the Actors Studio.  Her credits include numerous independent film projects, along with television credits such as, Family Law, Alias, Chicago Hope, Cheers, Twin Peaks, along with many others. She is currently teaching at the “Lee Strasberg Institute”, “Sag Conservatory”, and Orange County High School of the Arts'.  She is also in the process of earning her Masters Degree and is planning to teach at USC Film School.  LIBBY LETLOW (Jaime) has been a theatre actress for the past 20 years in Central California. Her most recent theater credit was her portrayal of “Jackie-O” in SOYP’s production of Wendy MacLeod’s House of Yes at Theater/Theater in Hollywood, CA. Other theater credits include “Corie Bratter” in Barefoot in the Park, “Darlene” in Hurlyburly, “Queen Elizabeth” in Richard the III, and “Allison” in Trainspotting, to name a few. The Bedtime Story is her third film credit. Her other film credits include “Sharon” in Cylex the Destroyer for Chapman University. Libby is currently pursuing other film projects and plans to return to school soon for her B.A. in Theatre. JOSHUA SANTANA (Doug) Joshua Santana is a recent graduate from the Joanne Baron/DW Brown Acting Studio. In 2003 he spent several months playing a detective on the hit Television show 10-8. The Bedtime Story is Santana’s third film with the Moro Brothers. He starred in Christopher Moro’s short film Treasures and co-starred in Sean Moro’s The Demon. Santana is currently writing a feature film which he plans to produce and star in. GREG ARTHUR (Man on the Phone) is currently attending film school at the University of Southern California. He has explored many interests in the cinema department including screenwriting, directing, and producing.  Initially, Arthur came onto The Bedtime Story as the Unit Production Manager.  However, as filming began Christopher Moro hadn't found the right person for the role of the "Man on the Phone".  Being aware that Arthur had prior professional acting experience, Christopher asked if he would be interested in taking a shot at the role.  Arthur agreed and he turned out to be the perfect choice. Currently Greg Arthur is in preproduction with a fellow USC Alumni and looks forward to working again with the Moros in the near future.

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ABOUT THE FILMMAKERS (BIOS) CHRISTOPHER MORO (Writer/Director/Editor) With a heavy, 1980’s camcorder sitting across his shoulder and a VCR slung over the other, eleven-year-old Christopher Moro stepped back for a moment and observed the make-believe unfolding before him—the way it looked through the lens, the story it told…how exciting it was. He was just playing…at least until a thought entered his mind: “I wonder if there’s a job like this.” By the time he was an adult, Christopher Moro amassed nineteen short film credits, with eight as writer-director, the first of which earned him a student EMMY AWARD from the National Academy of Television Arts & Sciences (NATAS). Then, after working in television for several years, he attended USC’s School of Cinema-Television Production, where he wrote and directed six films, wrote screenplays, and discovered an affinity for suspense, drama, and psychology. The production of his latest film, The Bedtime Story, coincided with his graduation from USC and demonstrated his passion for human stories that take place within the context of something extraordinary. The film also marked the co-founding of Moro Bros. Films with brother and business partner, Sean Moro. Christopher Moro has several projects in various stages of development, including two feature-length screenplays, which he intends to direct. His next project will be his first feature film. He is managed by Ron Mardigian.

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SEAN MORO (Producer/Steadicam Operator) A film class was non-existent at Sean Moro’s high school, so he convinced his foreign language instructor to make their final assignment a short film. Sean’s project, his first film ever, was met with every obstacle known to mankind. But his film was still the best in the class and the short film assignment has since remained a permanent part of the curriculum. He then began studying screenwriting in Hawaii and was mentored by one of Hollywood’s most respected script doctors. Sean has been writing feature length screenplays since the age of nineteen. Sean is a graduate of the University of Southern California’s film school. In addition to the regular film curriculum at USC, he helped produce a Coca-Cola Refreshing Filmmaker project. He amassed roughly fourteen short film credits while at USC; six as director and seven as producer, all while completing his fifth feature screenplay as well as a feature rewrite assignment done in collaboration with brother, Christopher. He has over sixteen total film credits, most of which have been in tandem with Christopher, including their most recent independent short, The Bedtime Story. Sean is currently managed by Ron Mardigian and is in the process of developing and writing several of his own projects.

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ABOUT THE FILMMAKERS (BIOS) CONT’D KEVIN HIBBARD (Producer) started his filmmaking career at the early age of ten, making home movies based on his favorite adventure films. Later his love for film was fused with his love for the intricate details and wide palette of art. As a result, Hibbard earned his first degree in Art with an emphasis in cinema. He was then accepted into the University of Southern California’s School of Cinema-Television where he directed, produced, and wrote several short films. While in school, Hibbard also began to hone his skills as an editor. Soon after that he landed a job as an Assistant Editor for the feature film Spectres—a project by independent film company, Shadowland. Since graduating from USC, Kevin continues to work for Shadowland where he edits documentaries, television shows, and electronic press kits. His credits include the documentary The Great Year and the soon-tobe aired television show The Rose Parade: A Pageant for the Ages. He has just completed the behind-the-scenes featurette for Wesley Snipes’ new film Unstoppable and is looking forward to the next collaboration with Christopher and Sean Moro. MICHAEL P TEDFORD (Director of Photography) is a 2004 graduate of the . University of Southern California film production program. He has studied visual arts, cinematography, and film production for seven years. At USC, Michael was highly regarded by his instructors and peers as a gifted cinematographer. Since graduation he has encountered many job opportunities and works professionally as a cinematographer and gaffer. When The Bedtime Story moved into preproduction, only one name popped up for their Director of Photography, Michael P Tedford. . PHILIP HOVER (Sound Design) is a recent graduate from the University of Southern California’s Film School. He designed the sound for the short film, Another Man’s Treasure—a Senior Thesis film. After graduating, Hover was hired to design sound for two independent short films. The Bedtime Story marked his third sound design/mixing credit and his first collaboration with the Moro Brothers. Hover’s production company, Soar Productions, also provided The Bedtime Story with their post-sound services. He has recently signed on to two additional short films. PAUL SPAETH (Music Composer) began playing the piano at age 5 and began composing shortly thereafter. He has sold thousands of CDs on a grass-roots effort through his company SpaethMusic, Inc. and has performed solo for an arena of over 9,000 people. He is one of only four students accepted worldwide into the one-of-a-kind film scoring program at the University of Southern California. Shortly after his move to Los Angeles, he earned credits as music composer and pianist on two large-budgeted/feature films. The versatility of his musical taste and individual sound enables him to score different film genres as well as write for and perform in the popular and classical music world. The fantasy film, Treasures was his first collaboration with director, Christopher Moro and he is honored to rejoin the Moro team once again in the psychological thriller, The Bedtime Story.

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CREDITS AND CAST LIST Written and Directed by CHRISTOPHER MORO Produced by SEAN MORO KEVIN HIBBARD Executive Producers CHRISTOPHER MORO SEAN MORO KELLY GALINDO LIBBY LETLOW JOSHUA SANTANA Director of Photography MICHAEL P TEDFORD . Production Design by EMILY CHARUHAS Edited by CHRISTOPHER MORO Music by PAUL SPAETH First Assistant Director CHARLES QUINIO Unit Production Manager GREG ARTHUR Special Makeup FX LINDA NEBEL

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CREDITS AND CAST LIST CONT’D Art Director Illustrators A/Steadicam Operator B-Camera Operator Sound Mixer Sound Recordists Boom Operators Still Photographer Costumers Dolly Grip Grips SARAH HAMBLIN JOHN OSTGARD EMILY CHARUHAS SEAN MORO MICHAEL P TEDFORD . PHILIP HOVER LUCAS HEYNE MOLLY O'CONNOR SARAH HAMBLIN LUCAS HEYNE SARAH HAMBLIN JOHN OSTGARD GREG ARTHUR EMILY CHARUHAS SARAH HAMBLIN KEVIN HIBBARD ARMANDO BROWN CARL LUNDGREN MOLLY O'CONNOR DAN ROSCA PETER BROZYNA DONOVAN EBERLING NINA ZURAWSKI EMILY CHARUHAS CHRISTOPHER MORO KEVIN HIBBARD SEAN MORO GREG ARTHUR

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Animation Animatics Craft Services Post Production Sound Services Provided by Post Production Supervisor Sound Design Supervising Sound Editor Sound FX Editor Dialogue Editor Foley Editor Foley Artists

SOAR PRODUCTIONS SEAN MORO PHILIP HOVER CHRISTOPHER MORO PHILIP HOVER SEAN KINNEY PHILIP HOVER KAREN GRIJALBA SEAN MORO KEVIN HIBBARD SEAN MORO CHARLES QUINIO AARON LOMELI

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CREDITS AND CAST LIST CONT’D Trailer Editor Trailer Music by CAST Jaime Dana Doug The Man on the Phone The Monster Under the bed CHARLES QUINIO COREY JACKSON LIBBY LETLOW KELLY GALINDO JOSHUA SANTANA GREG ARTHUR KEVIN HIBBARD

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A Very Special Thanks to JIM & CHERYL PARISI

The Filmmakers would like to Thank MOLLY O'CONNOR DAVID IVY TREESE LINDA NEBEL HEIKO de Beaufort ALISA VUOLA BAILEY CHADWICK EVA BITAR NOREEN STONE The Director would also like to thank JENNIFER WARREN PHILLIP F. MESSINA MICHAEL UNO R.F. RODRIGUEZ JEREMY CASKEY ANDY AMYX & GOD Filmed On Location In "LOS ANGELES, CALIFORNIA" COPYRIGHT © 2004 CHRISTOPHER MORO THE EVENTS AND CHARACTERS DEPICTED IN THIS MOTION PICTURE ARE FICTITIOUS AND ANY SIMILARITY TO ACTUAL PERSONS, LIVING OR DECEASED, OR TO ACTUAL EVENTS IS PURELY COINCIDENTAL. OWNERSHIP OF THIS MOTION PICTURE IS PROTECTED UNDER COPYRIGHT AND OTHER APPLICABLE LAWS AND ANY UNAUTHORIZED DUPLICATION, DISTRIBUTION, OR EXHIBITION OF THIS MOTION PICTURE COULD RESULT IN CRIMINAL OR CIVIL LIABILITY.

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A Moro Bros. Films Presentation


				
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posted:4/7/2009
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