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N O V E M B E R 3 , 2 0 0 5
I'd also like to take a moment to plug the DVD release of Tim Burton's Charlie and the
Chocolate Factory, which happens in the US November 8 and shortly thereafter around the world.
As mentioned below, I designed some of the interactive games on the second disc. They turned out great!
The DVD doesn't credit those who worked on this stuff, so let me give credit where it's due, in
case anybody is Googling this title or the people themselves. Whereas I, your humble servant, Mark
Tapio Kines, storyboarded all the games and created the graphics for the "Search for the Golden
Ticket" game, several of my friends did the rest of the work: Paul Hemstreet directed actor
Deep Roy (who played the Oompa Loompas) in the Dance Machine and Inventing Machine games, Daniel
DeFabio animated my graphics for Search for the Golden Ticket, and Jamal Green oversaw production
of all the games. They really are cool, these games. Possibly even better than Burton's movie itself.
A U G U S T 1 9 , 2 0 0 5
Now that the dust is settling from the wedding and the move, I need to figure out what my next
course of action is, film-wise. Unfortunately, I didn't make it to the quarter finals of the
Nicholl Fellowship Screenwriting Contest (see May 4 entry, below), so I can't count on any agents
or production companies knocking on my door any time soon. Which is probably best, as it narrows
my future filmmaking options, making it more likely that, despite my initial wishes, I will
probably self-fund Dial 9 to Get Out if I am to shoot it in
2006. Claustrophobia/Serial Slayer made a bit more money than
expected on VOD, so that helps. Also, I am hoping that some decent cash will come in from that
film's foreign sales, which will further enable me to fund Dial
9. (Though I have yet to see any checks from these sales, which is troubling.) One
final thing, for you Kiwis: apparently Claustrophobia/Serial
Slayer is not yet released in New Zealand, despite earlier reports. I don't know
when it will be released, but it should be soon. (It's the same company that released it in
Australia back in May.)
J U N E 7 , 2 0 0 5
Otherwise, I'm treading water. I've been keeping super busy lately, doing a freelance design
project - some of the interactive games for the Charlie and the Chocolate Factory DVD. As I
write this, in just hours Tim Burton himself will be looking at my work (alas, I won't be there to
defend it), and his thumb up or down will determine how much more I have to do on this project
over the summer. It's been fun work, though. So that's the update from my "non-filmmaking" career.
No word yet from the Nicholl Fellowship people (see below) - that's not supposed to come
for another couple of months. By that time I'll have some big personal news to share too, though
it has nothing to do with my profession. (Can you guess?) As for now, I'm just getting ready to
take a little trip to the East Coast with Miki. Aloha!
M A Y 4 , 2 0 0 5
High time for some updates in general. I finally tackled the polish on my Dial 9 to Get Out screenplay. I clarified a few plot points and pared
the script down from 120 pages to a more digestible 108. I was inspired to get off my ass (or,
rather, on it) in order to enter it into the Nicholl Fellowship screenwriting competition
by its May 2 deadline. (I also entered Sharky Baby, for what it's worth.) I don't
do these contests, as most are scams, but the Nicholl Fellowship - run by the Academy - is the
real deal. I'll know by July if I make the quarter-finals. Right now I stand a 1 in 6000
chance of winning - slightly higher odds than I'd have if I kept my screenplays in a box.
(Actually, considering that I entered two scripts in a field of about 6000, and that there's a
maximum of five fellowships given out per year, I have a mere 1 in 600 chance of winning,
but who's counting? And anyway, this isn't the Lottery. If the Nicholl readers think either script
is amazing, or terrible, it doesn't matter whether there are sixty entrants or six million.)
Meanwhile, my foreign sales agents MonteCristo Entertainment have sold the rights to
Claustrophobia to Thailand and Japan. God only knows
what the film will be called in either of those countries. Now, Thailand basically buys
everything put in front of them (I suspect Thai distributors pirate it off to the rest of
Southeast Asia) so that's not really a big deal. We'll see about Japan, though. Coincidentally, a
friend just profiled me for a Japanese teen magazine(!) so maybe I'll have some new fans over
there. Oh - and MonteCristo also got an offer for UK home video, but it was too
low for my tastes, so I said no. Hopefully a better offer for that territory will come in soon.
Also, Serial Slayer is still airing on iN DEMAND's Video On
Demand (VOD) service in the US (and will until the end of this month) so you yankees can see
the film there, if you get the service.
M A R C H 2 5 , 2 0 0 5
M A R C H 2 , 2 0 0 5
By the way, my current film will be available - yes, under the title Serial Slayer - on
iN DEMAND's Video On Demand service starting March 25, 2005. I'll try to drum up a little
more attention for this bit of news when the time comes. Until then, set your TiVos.
J A N U A R Y 2 5 , 2 0 0 5
Speaking of foreign sales, I just signed with a new foreign sales agent: MonteCristo
Entertainment. They're a young outfit based in New York, and they were recommended to me by
the same person who hooked me up with Imagine, so hopes are high. I had to do some
massive work getting all the stuff ready to send to them, including new poster art which is based on one of the
posters I designed for the film a couple of years back.
As for the film's reception in America, well, I reneged on my pledge to avoid reading reviews. The
main reason is that I got some notably good ones, particularly from this
guy, who I swear is not a personal acquaintance of mine, but he's just written my all-time
favorite review of my work. Also, the esteemed FANGORIA finally posted their review, which
is smartly-written and very positive (especially considering that they don't give away those stars
- or skulls, in this case - too freely). Read it here.
There has also been, alas, a number of horror geeks who have gaily trashed this film, some
literally calling it the worst thing they've ever seen. I'd be more sensitive to their harsh
comments if any of these people had something useful to say, but it's just childish ranting, e.g.
"The story is dumb because it happens during the day! And the girls are dumb because they don't
leave the house immediately! And the killer wears a dumb outfit! And the weapon he uses is so
dumb! You can buy it at Kmart!" - all of which suggests that these jokers not only missed the
point of the film, they blatantly ignored it. Oh well. If nothing else, it just goes to show you
how subjective movies are. How else to explain that, for The Horror Channel's web site,
editor Debi Moore named Claustrophobia/Serial Slayer "The
best direct-to-video film of 2004" while a sneering colleague of hers, who shall remain
nameless, dubbed it the worst direct-to-video film of 2004? I guess you either get it or you don't.
Finally, some of you may wonder what is going on with Dial 9 to Get
Out. Answer: I got a lot of scriptwriting done earlier this month before I became
swamped with other things. I'm now at page 95. I suspect I only need to write 10-15 more
pages, and it'll be done.
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Copyright © Mark Tapio Kines 2008
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