ROY
or How to Make A $500,000 Picture for $10,000

by Erika Hahn

Toronto filmmaker Daniel Oron has the recipe: "Into large bowl break large egos of one ripe director, one half-baked visual effects supervisor, one seasoned TV producer. Agitate thoroughly. Set aside carefully ..."

The short film ROY is the result ‹ a delectable modern horror-fairy tale with beautiful crisp color. It is a visually gripping film that leaves you engaged and in a constant state of curiosity as you follow the camera to the surprise conclusion. ROY recently screened at the Boston Film Festival after premiering in Palm Springs.

Daniel gave Boston two thumbs up. "(The) Boston Film Festival has a great audience. It was a tremendous reception to a packed house. That's who I make films for. During the screening I was thrilled watching the audience bob in their seats as the camera flies through the vent to Roy's room,"

Formerly a special effects supervisor, Daniel credits ROY'S ultimate success to his fellow Producers Carla Nolan and Jonathan Gibson, a great screenplay, a superb crew, and tremendous support from the industry. "Film was the only medium we considered. Going digital, while easier, was never an option," he says.

"Next fold together: 1 lightly steamed writer, 1 char- broiled art department, and microwave on high setting and spread thin. Set aside to cool ... "

Roy is based on an original story by Canadian writer Peter Doern. "No one sees the end of the film coming. It's about something we go through every day, and yet the logic is skewed because we can't reveal the truth. It was creatively challenging to keep the film moving without giving away the gag," Daniel says. Principal actors Katherine Lee Warren (Mrs. Goulisz) and Martin Gwynn Jones (Roy) were key in keeping the delicate mood of horror and comedy.

"Meanwhile, take a generous helping of self raising dedicated crew and assorted industry support to lend body and substance to the production, a baker's dozen battered performers ... "

The producers tapped professional crew they knew previously. "No one believed we would pull it off. We convinced people they would have everything it took to make the film, except money!," says Daniel.

The creative process infected the entire crew. They knew what was expected and wouldn't settle for less. With Daniel, Production Designer Melanie Gordon listed every broken lamp, burnt socket, banging shutter, rotting vent they could imagine. With few resources, Melanie rose to redesign a condemned building. Carla convinced dozens of companies to donate the art materials.

"With the ball rolling it becomes a big comet. You can't stop it," Daniel said, adding "the crew made ROY so much better than it would have been had we the budget to pay for what I wanted."

ROY required high-end visual effects, digital film recording, 3D animation, surround sound, and feature film equipment. So how does that find its way into the recipe? Daniel says, "What do you offer these companies in one of the busiest film towns? Advertising?! They love filmmakers! Get them psyched to think Œthese guys are nuts. I want to help them!' Most of the people read the script after they already said yes!"

Daniel recalls the hundrerds of angels who helped make his vision a reality: "We got Fujifilm, Medallion, Kodak, Deschamps Studios, PS Production Services, and a slew of big name corporate sponsors to donate equipment, materials and time. Internationally ROY got Hettie Malcomson, the Composer in the UK, and Dolby labs in NY. Eventually people were trying to find what they could give us!"

"Take the whole and place in a pre-heated post production facility. Add: one deep-fried animation company, one drained editor. Bake for 3 months until it develops a pleasing color, texture, and consistency."

Imagine you've got the film shot but you need 250K in animation and special effects. "That's just a little more than you can pull off using Desktop graphics," Daniel says. Jonathan delivered every shot (and more) with the incredible help of Command Post Toy Box and Bent Animation.

So what's next? Carla is one of the founders of Torontofilm.com and is developing a new film festival. Jonathan is in pre-production of his first short. Daniel was offered feature film projects in Toronto and L.A., and works on developing his own script. ROY screens next at Raindance Film Festival, and is signed with Bigfilm Shorts.

To top off the recipe: "Crumble remaining assets of producers and sprinkle over wrap party."

Daniel passion for film helped overcome the obstacle of financing ROY to make a fabulous piece of art that will delight audiences everywhere, which is all that really matters.

Excerpts from "The recipe for the short film ROY" used with permission by Faranj Productions. Contact: faranj@sprint.ca. Visit www.roythemovie.com.

Erika Hahn is a freelance photographer and journalist in Boston. She assists with the Woods Hole Film Festival and Boston Underground Film Festival. Email Erika at ehahn@capecod.net.