Home / Project Greenlight and Its Feast of Delights Wraps Up Production

Project Greenlight and Its Feast of Delights Wraps Up Production

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The final show of the season was a bittersweet experience for me, as I had developed strange cathode-induced attachments to many of the main players involved in the creation of the B horror film, Feast.

I felt proud of first-time director John Gulager for pulling off a film that everyone – at least the producers and the studio – seem to really like. When Gulager had lunch in New York with Matt Damon to discuss the film and the process and what was next, I felt like I (and the audience) were there as well, getting a glimpse at how Hollywood really operates.

Although I’ve talked a lot about the pitfalls and embedded barriers in the studio system in making a quality and worthy film, viewing the process close-up has been nothing less than illuminating. I can now appreciate the difficulty in producing quality films and will therefore temper my impulses to simply deride the Crappola of the Week that rolls through the local multiplex.

Well, I’ll still deride… but maybe not so harshly.

We were treated to the manic side of post-production this week, leading up to the first test screening with a run-of-the-mill, no preconceived notions audience. Watching the layers of the film come together – sound editing, color quality, voiceovers, additional shots, extra budget levied, and on and on – I saw how passionate, how dedicated, how far you have to go to not just create a film, but to create anything worth creating.

In other words, to put form to a dream you have work your ass off like it’s never been worked before. But if you can pull it off, the rewards will almost surely be worth the effort, psychically and spiritually, if not tangibly.

The fate of Feast was still not completely known by the end of the show (and the series) because of the divorce between Miramax and Disney and the no man’s land status that placed Dimension (Feast’s studio backer) in. Fortunately, Feast looks as though it will make it to the uplands of wide distribution as the Weinstein brothers, we were told, had selected the film as one of the projects that will help to kick off their new production company.

After living through the process of the making of this film every week on Bravo, I’d like to see Feast when it comes out this winter. Will I be able to see the struggle, the in-fighting, the sweat and the fear that went into the making of this half-horror, half-comedy about pelt-shrouded monsters attacking a bar in the desert?

I don’t know, but I’ll be looking for something. Maybe a dream taking form.

Or maybe just scantily-clad actresses getting sprayed with gore.

Who knows?

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