Of course, a $5 million budget, together with the support of the screen industry, would make the journey a whole lot easier - but some stories simply cannot wait. If necessary, we will make Hostage of the State on the smell of an oily rag. We've done it before, and we might have to do it again.
The power of Hostage of the State lies not in scale, but in authenticity.
Hostage of the State will blur the line between documentary and drama. This hybrid approach worked in films such as The Battle of Algiers, United 93, Bloody Sunday and Nomadland, where documentary realism merges with dramatic storytelling. to create an immediacy and authenticity allowing audiences to be witnesses in a story unfolding.
This approach also transforms the economics of production. Filmed with small crews, real locations and natural light wherever possible, two cameras will capture long, uninterrupted takes, allowing performances to unfold naturally. Instead of a conventional eight-week shoot, principal photography could be completed in about twenty days with a lean crew and an agile production model we have successfully deloyed before.
Ironically, the lower the budget, the greater the creative freedom.
"Fools rush in where angels fear to tread." alexander pope
The Road Ahead
Hostage of the State is an ambitious production, weaving together three stories through the character of Atlas Gray.
The screenplay presently features approximately 45 speaking roles, including four principal cast members, two child leads, around twelve major supporting roles and a further twenty seven day-player speaking parts, in addition to numerous extras.
The production will hopefully make extensive use of modern technology to streamline casting, auditions, rehearsals, scheduling and production management. Principal photography is currently planned across two production blocks, followed by a week of second-unit photography, although the schedule will ultimately be tailored to the principal cast. Several scenes may be filmed in Dreamscreen Australia's studios.
As with some independent features, the project cannot presently assume commercial rates. Initially we will therefore rely on talent and crew who believe in the story and wish to be part of the film -- and be rewarded with backend participation. That sucks, but the aim is to pull in investors and attract distributors.
This film will be the fruits of enthusiastic collaboration.
