OBIWAN KENOBI PRESENTS A THRILLING PREQUEL MINI-SERIES!

🎥 🎞 Series Review 🎞 🎥 - OBIWAN KENOBI - Disney+ - SPOILER FREE! After a year of speculation and fan film menageries, this series was streamed on DISNEY and presented a huge a surprise towards STAR WARS canon. The perfect part of this series, is that the plot and storyline starts off right where the first three prequels to the SW franchise left fans thinking, "Oh man, what happened afterwards!?" - And I'm sure that George Lucas was wondering the same thing.

The director and writers of the 6 part mini-series made the right decision, first to ensure that they were able to cast Ewan McGregor to replay the role of Kenobi [or "Old Ben"]. Without McGregor this entire series would have never worked. I can only imaging the long term damage that cold have been produced if the role of the infamous Sci-Fi character was played by some new comer. The best news for the entire production team is that McGregor was a big fan of the series and didn't hesitate to return to complete the pre-series of one of his most popular movie roles.

The second best decision was also bringing Hayden Christensen to the production to replay his role as Anakin Skywalker and Darth Vader. This decision would also bolster the epic quality of the series prior to the commencement of production. When this news hit the web, SW fans surely lost their minds and many people sat at the edge of their seats waiting for any news updates concerning the pairing of these two big actors.

What fans will really like about the series - The best part is the quality of the CGI which is used throughout the production of the series. There is a stead used of both practical effects and blue screen CGI. The style of the CGI is in line with the special effects used in SW I, II, and III. The plot and storyline definitely gives some insight to events leading up to SW IV. The flow of the series is steady, leading up to a climactic battle between Kenobi and Darth Vader.

What some fans will not like about he series - The first three episode depict a Kenobi who is not only struggling with the fact that his kind [the Jedi] are being hunted down by Vader, but that he killed his best friend [and Padowan] at the end of SW III. This struggle forces Kenobi to distance himself from his abilities and presents a weaker, less talented warrior who we have been exposed to in both movies and animated series.

But the truth is - This series is EPIC!...The slow start doesn't last long, is filled with a solid back story, strong character development, and the excitement and drama build up to a climactic battle that can only be described to you as TOTALLY BADASS!

The mini-series is wide open for a second season. I'm sure that both McGregor and Christensen are going to enjoy the extended opportunity to keep fans excited about what to expect next season...and enjoy continued employment! - This fan was extremely pleased with what was produced!

⭐️ ⭐️ ⭐️ ⭐️ ⭐️ [5 of 5 Stars]

THE QUANTUM STORM .357 E-MAGAZINE ISSUE 9 IS RELEASED!

 

BEFORE YOU DECIDE TO GO WITH SOMEONE WHO SAYS, "YEAH, I KNOW HOW TO DO MAKEUP" - BE SURE TO READ THE ARTICLES IN THIS NEW ISSUE. THIS ISSUE IS FILLED WITH INTERVIEWS FROM PROFESSIONAL MAKEUP ARTISTS IN TEXAS, WHO GIVE YOU THE BEST ADVICE ON HOW TO SELECT TEAM MEMBERS FOR YOUR STUDIO TEAM.

BUT YOU MUST BE A SUBSCRIBER TO VIEW THIS NEW ISSUE OF THE QUANTUM STORM .357 E-MAGAZINE AND FOLLOW THIS BLOG

 

 Thank you for stopping by!

 

 

STUDIO CEO MAKES A STATEMENT...

 Opinionated statement from the
QUANTUM STORM PICTURES CEO
regarding his work with
James McShan & Teamwork Pictures LLC

"...He is a very pathetic, weak man. His entire life he has realized that he is NOT the intellectual equal of most of the people he dreams to be associated with. He's a substandard human-being of very poor quality, character and intellect; so he's constantly searching for affirmation from people who will rub his shoulders, kiss his ass and tell him, 'You really ARE successful now"...please understand this, he wants to be constantly padded on his back and told, 'You're a transformative figure, you know everything'...when actually, he's never had any actual training or experience in the field of filmmaking, directing, screenplay, promotions, advertising, casting, photography, photoshop, music videos, or film production requirements of any kind. Like a true amateur, he only has an opinion; he uses a narcissistic edge claiming to know more, but he knows nothing of true value, just a few circus stunts that sound successful.

He spent a lot of his time befriending female indie actors from my Facebook page, using our temporary affiliation as an excuse to try and bolster his contacts throughout the local Houston area. Why he chose certain female actors to befriend is anyone's guess, but in my short time of being exposed to him, my opinion is that it was for more than acquiring actors for future indie film, of which never existed. He targeted one model friend of mine in particular, always asking - virtually begging - to get to meet her even though she was often out of country and not wanting to meet him or anyone else for personal reasons.

Now he spends his time bolstering a resume, claiming "professional studio certifications" and training in the indie film business, just because he funded a college film and a local San Antonio Indie film. All of his skills and talents are made up and not even self made, as he has no real history of making films or making any progressive productionary contacts in the business, except the ones that were handed to him by other actors in his recent list of films.

In the end, he'll fade away and still be the nobody he yearns to distance himself from; never realizing that he will always have the quality of a low-life idiot who just tossed some money around and demanded everyone listen to him because he did so. I resent the fact that I opened the door for this ass-clown to work with talented people in the indie film scene. It's a pathetic shame that talent-less narcissists like him exist in the Texas indie film circuit; he's not the only one, and this is what destroys any chance of solid film teams becoming successful in the Independent film circuit.

Remember that liars often lie in an attempt to distance themselves from everything they truly are in real life."

D. R. Quintana
Director/Producer/Writer
Creator of
The Secret of Angelika5 [52 episodes], Ghosties 1 & 2,
Ghosties-The Witches Spell, Pair of Aces, Bianca 2029,
Gravitron, Clockpeople, STB [22 episodes], Dungeons
& Dragons Journey Ends, Preying Mantis, La Fuerza,
Spectre Zero [3 episodes], Havoc 114 Redux, Iscandar,
Pieces of 8, Grey Panic

 

Here's some proof of his bogus "registered" certifications

“THE BATMAN” FAILS MISERABLY…BUT IT ISN'T THE ACTORS FAULT

🎥 🎞 Movie Review 🎞🎥 - THE BATMAN - PG13 - HBO MAX - I tried...I seriously tried to watch this movie without putting it on pause. After a week of getting through this gross mess of a film, I am seriously doing my best to understand what all of the hype was about. Personally, I had a little issue with Robert Pattinson [from th Twilight series] stepping on board to play Batman/Bruce Wayne and I am certainly NOT going to say that the films failure is due solely to his performance. As a matter of fact, I was impressed by his maturity and the action sequences which were used to fulfill the mystique of Batman's hard training in defending and/or attacking the bad guys; so, kudos to Pattinson for doing that part of Batman some real justice.

 

All in all, I feel that the film suffered due to the poor direction of Matt Reeves and his writers Peter Craig and Bill Finger. They were trying to create an investigative edge to the Batman and deliver the film a psycho thriller, tossing a skewed plot and story with several [often too many] bad guys and not focus on the real crime agenda plot. I thought that making The Riddler a serial killer-type character was a little odd, but bringing in the gangster motif once again was just  a little over the top. And of course, plots over lapped and before you knew it, there were other characters that were added to only bolster the confusion of the main plot.

 

Zoe Kravitz was brought in to play Catwoman, and even though many have told me that they were impressed with her performance, I wasn't. I wasn't even impressed with Michelle Pfeffer's 1992 Catwoman performance in Batman Returns, but boy did I love to see her in the cat suit! - but even then, there was an attempt at developing the character; in The Batman, there was no such luck.

 

And of course, as with ever other failed re-boot franchise that releases a poorly produced product, there's always those producers that claim that "Well, this is supposed to be younger Batman whose still trying to find his way..." - yeah well, they can claim what they want, but in the end the story didn't impress where it should have and maybe next time the writing team will stick to one bad guy at a time, and bring in a REAL Bat Mobile to the film.

 

This movie was pretty close to be labeled as dogshit with just one star...but, I have to admit that there were some attributes to the film that definitely demanded some praise.

⭐️ ⭐️ ⭐️ [3 of 5 Stars]

LANDING THE PERFECT LOCATIONS FOR YOUR INDIE FILMS

It shouldn’t be a huge undertaking to land the perfect scene location for your film. In the case of indie film making, most production teams make the mistake of writing a script and then start looking for places to fill the scenes. When locations become the focus of a scenes success, they’re labeled as burdens of choice when the right place either can’t be found or the perfect place just couldn’t be confirmed prior to production. When a writer begins putting together a script, he should consider what locations, materials, wardrobe, running water and most importantly, power sources that are around for the planned project.

A few months ago, one of our Quantum Storm .357 [QSE .357] E-Magazine  issues covered the importance of pre-production and what a good filmmaker should consider prior to establishing a production budget before estimating costs. Because listing the things that you already have in your pocket can save you a lot of money if you don't need to go out and search for it, get permits, permissions, or establish communication with the local community prior to filming. A good producer, with established prior experience, will have a list of things that could help out a project before pre-production has begun. A bad producer will have no idea where to start and a plethora of last minute searches that could hinder production efforts with a "winging it" mentality that will frustrate the entire production team every time a new location is needed.

The job of a producer isn’t just to order people around to help find locations, but it's also the job of the producer to actually get off his ass and establish contacts with the local community, personally ensuring one on one contact, so that the locations can be attained at little cost as possible and even perhaps used for free in future projects. Bum Producers try to evade this part of their job and most of time struggle to make any contact with the right person(s); most of time it’s due to not having the right charisma or personality to mingle with the right city crowds or property owners.

In my years as a line producer; trust me I've worn man hats in my own indie film  productions, I’ve had my challenges to find locations for the right scene in a film. I’ve spent my time location spotting even when I’ve been out with my family on burger runs. The search never stops and I do my best to find the property or home owners to get the rights to shoot my indie film projects there as often as I can. Grimes and Montgomery Counties in Texas have proven to be some of the friendliest places to gain access to various, epic locations. I've produced a little over 30 indie film projects with locations that have extended the "script to film" environment to unexpected levels.

One location, that I call my "go-to" location, when all else fails, has been the scene location called "The Lightsey Ranch." This property has been in almost every indie film I've ever filmed. The location is perfect; far from main roads, ambulances, fire houses, with a closed property, access to power, restroom, shower, and running water, plus plenty of room to maneuver. Even better is that it's located in a private community with strong supporting neighbors who know whats going on there from time to time, even late at night. The location has been used in various types of movies and web series productions, from ghost stories, to Science Fiction, to murder mystery, to paranormal, and even a zombie movie or two.

Recently, we started working on two new projects at the ranch [one SciFi, the other a paranormal film] and with the new greenery starting to sprout this spring, we expect to catch some great scenes out there. Be sure to check out next month's issue of the QSE .357 because we will be presenting a trailer and some in-depth behind the scenes looks at several studio projects!

I've worked with a few Bum Producers recently who have attempted to take me to court and take control of the Lightsey Ranch property by filing court papers and threatening a "demand of a lean" on the property. Yeah, their desire to make use of the property to make films is so childish and over the years I had to make legal changes to keep the property off the ownership of the film maker [me] and the private film studio that I own and operate. Believe me, it happens and greed is out there, so always cover your ass and don't trust anyone in the indie film business, especially when they claim to have money and know the business!

What has been lost over greed is the importance of the positions are in film teams. Remember that producers establish the materials for the director to use and deliver the kind of project a good script can emphasize. Executive Producers being in cash flow and investment opportunities. Seldom to producers actually take part in being in the filming development phase of the production, unless he's staked his reputation in monetary value for the projects delivery. If that is the case, then that producer is called a "pigeon toe" - essentially, "...some asshole who gets in the way a lot..." of the production efforts and slows everything down by constantly demanding certain changes to the films production because he found something else to add to the film; or more commonly, he's found another investment opportunity by adding some person, location, music track, or other useless item to the film.

Finding a good location that can be used time and time again is gold, folks. New directors need to absorb the fact that Bum Producers love to use the same locations over and over again from one film to the next, with little artistic flair in the projects they choose to support. Before you agree to work with any producer, check out the work they've done before; more especially the materials they brought to other projects. You don't want to step on any toes using scene locations that were used in another movie in the same way.

That's why it's very important to have an experienced, strong and knowledgeable director to lead the production team and who isn't afraid to say "No!" to a producer every once in a while. Successful film teams can't look up to a "suck up" whose always kissing a producers ass just to keep him around for "this" or "that" reason.

Stay strong, my friends. Continue to search for those new and interesting film locations!

Ride Easy,

D. R. Quintana
Editor in Chief

THE QUANTUM STORM .357 E-MAGAZINE ISSUE 8 IS RELEASED!

 

THIS ISSUE IS FILLED WITH AN INSIDE LOOK AT ACTORS WHO TRAVERSED INTO THE WORLD OF LOS ANGELES IN HOPES OF "BREAKING IN" WITH THE HOLLYWOOD CROWD. ALSO, A SPECIAL PEEK AT A NEW STUDIO MUSIC VIDEO FOR A SCIFI FILM!

YOU MUST BE A SUBSCRIBER TO VIEW THIS NEW ISSUE OF THE QUANTUM STORM .357 E-MAGAZINE AND FOLLOW THIS BLOG

 

 Thank you for stopping by!

FAILURE TO UNDERSTAND FILM ASPECT RATIOS MIGHT TANK YOUR FIRST FILM

Indie films suffer all the time due to first time film makers failing to use proper film formatting when they present their first project, whether its a film released on the internet or their film trailer released for anyone to see on an international level, making an impression on people [and indie judges] will come from how you present your film. This blog is presented to you from the notes of any first semester of film school. Your knowledge of Aspect ratios and compression etiquette can help you make the first best impression at the start of your presentation...so take notes!

Aspect ratios in film and television have changed over the years, but the one thing that stays consistent is people's desire to create and show their work in the proper format. So if you're making movies, short films, commercials, TV shows, or just shooting with friends, make sure you know the aspect ratio where you're going to upload or project. 

Whether you're watching a show on your iPhone, setting up your new 70in 4K television, or sitting your butt in a theater, aspect ratio matters. The aspect ratio refers to the size of the image displayed on your screen. While this sounds technical, aspect ratios can help storytellers add another layer to their repertoire. Also, for independent filmmakers and huge studio directors, the right aspect ratio can attract more viewers and create a buzz around your film or TV show. 

There's a lot to learn when it comes to aspect ratios. Like which aspect ratios matter in social media and which aspect ratios make sense for Netflix and Amazon versus theatrical. The aspect ratio of an image describes the width and height. It's usually written as two numbers separated by a colon, as in 16:9. It can also be written with an “x” between the numbers. Like 3x4.

 

Aspect ratios have changed over time, depending on what people use to view media. As screens got bigger, aspect ratio adjusted. As they got smaller, it continued to happen. Over 100 years ago, the very first films were projected in 4:3. The standard film strip was run through a projector and light behind it through the image onto a wall. The 4:3, or 1.33:1, was the literal measurement of the strip.

As film evolved, so did the aspect ratio. Film strips eventually became 1.37:1, and that became the standard for cinema across the globe. 1.37:1 was the ratio officially approved by the Academy of Motion Picture Arts and Sciences in 1932. They made it the standard and people started calling it the Academy Ratio. In the 1950s, TV became ever more popular. People started going to the theater less, and theatrical distributors knew they needed to make a change. So they went even bigger, with Cinerama.  

Cinerama was the first widescreen format to be introduced after the Academy Ratio became a standard in 1932. It involved projecting images from three synchronized 35mm projectors onto a deeply-arced screen. It utilized aspect ratios of 2.59:1 to 2.65:1 to make images seem huge.

CinemaScope used aspect ratios of 2.35:1 to 2.66:1. It only had to use one projector to get the image on the screen, so it was preferable to Cinerama. Developed by Earl Sponable, who was the head of research at 20th Century Fox, CinemaScope was last used in 1967, the term "scope" is still used by projectionists and filmmakers to refer to any movie that uses anamorphic lenses or with an aspect ratio of 2.35:1 or more.

It's funny to think that even in the 1960s, theaters were trying to find a way to get people to watch less television and to come to the movies. Especially since we're having similar troubles today. Nowadays, if you want to go to the theater to see something projected, you can choose from 35mm or the much larger 70mm.

70mm has caught back on recently, since Tarantino, Nolan, and Paul Thomas Anderson have all elected to have their films projected in the huge format. 70mm boasts an aspect ratio of 2.76:1 – twice as large as the standard 35mm film. 70mm was what put Ben-Hur on the map in 1959, and now it's a way that filmmakers are getting people out to see the spectacle. 70mm is often combined with IMAX formats. 

The modern IMAX design uses 70mm film that is shown horizontally with a massive 15 perforations per frame, giving it approximately six times the resolution of 35mm film. The average IMAX screen size is approximately 72' x 50' (22m x 16m), which is significantly larger than traditional movie screens of approximately 50' x 20' (16m x 6.1m).

TV boxes were 4:3 until widescreen televisions debuted in the 2000s. Many older programs had to convert their 4:3 shows to 16x9. But people who watched movies on TV rejoiced. The theatrical experience had finally come home. And as TVs grew in size, aspect ratios began to reflect the change.

So now we're in the digital era. We don't have to rely on the size of the film stock to reflect our aspect ratio. And if you have the money to shoot in 70mm, you still might not want to. People are creating lots of different media content. We're shooting shorts, digital series, movies, TV shows, commercials, Instagram videos, Facebook posts, and Snapchats. 

If you're going to do it for the 'gram, you should do it with the right aspect ratio. Instagram has specific guidelines for what works on its site. 

1. Square (1:1)
2. Standard Horizontal (16:9)
3. Alt Horizontal (1.91:1)
4. Vertical (4:5)

We all love to shoot stuff to post on Facebook. Whether its the trailer for your new venture or a web series, you want people to be able to like and share the best content. Facebook supports:  

1. 16x9
2. 9x16
3. 4x5
4. 2x3
5. 1x1

You can upload phone videos, movie trailers, and fluidly share videos from all other social channels if they occur in the aforementioned formats.

Like Facebook, Twitter is a great place to get your message out there. It's great to get retweets and social engagements. Twitter is one of the best places to get your message put to the people and to interact individually. Twitter supports the following aspect ratios: 

1. 1x1  1200 X 1200
2. 2x1 1200 X 600
3. 3x2 1200 X 800

So here's the deal: lately, some streaming services have been cutting off almost 25% of movies by reformatting them to fit 16x9 televisions. While this practice is supposed to stop, with letterboxes being added to share the proper format, you should still be aware. If you're creating content for Netflix, Amazon, or HBO, you should know their aspect ratios. That way you'll know how your work is presented on the screen.  

Netflix, Amazon and HBO shows almost everything in 16x9. So if you're trying to watch a movie that's natively in 2.39:1, you're going to get the black bars. They also have been known to use 2:1 aspect ration. This aspect ratio is also used in many new Netflix series and is less wide than scope, but still gives the viewer the sense of a wide screen.

Okay, we've gone through lots of different kinds of aspect ratios, but now it's time to talk about how aspect ratio can help your story. Think about how Christopher Nolan used IMAX and 70mm to give Dunkirk the largest aspect ratio possible.  Making Dunkirk huge wasn't just to drive people to the theater. It was to envelop audiences in the heat of battle, to make them feel the pressure of these men, and to give the entire story scope. 

Squeezing that movie into a more boxy proportion makes you feel the claustrophobia of the world we're in. We're under pressure and going through our passion with Reverend Toller. It also gives the movie a more classical feel. It's a throwback, like the church, and an homage to Hollywood of yesteryear. 

Your aspect ratio is not just a mathematical tool. It's also a way to enter your story and add another layer. First time film producers should consider a director that knows the required formats to any project that lands a prospective film project. It takes more than learning the lingo to get your film in the right Aspect Ratio to impress the right people. Don't shoot a film just to shoot it on video, learn to do the shit the right way before you come off looking like some amateur idiot in the local Indie Film Scene. So think about what you really want to do before you start shooting!

Good luck out there!

D. R. Quintana
Director/Producer

WHAT DOES "OFFICIAL SELECTION" ACTUALLY MEAN IN FILM FESTIVALS?

 Yeah, it's that time of year again when Indie film teams across the country start submitting their projects into film festivals across the internet. Many of those teams are filled with the overwhelming urge to get an awards laurel stamped on their indie movie poster as "evidence" that something they filmed was produced with "professional prowess." Chins are often held higher with every new laurel that is set on their poster, like an award pendant that is proudly pinned on the chest of a soldier in front of his unit, because he was the guy who went out of his way to do the job, who did his job without complaint and left his family for months while he was on deployment. But is simply receiving a laurel for an "official selection" really something to brag about? Do these awards actually help an indie film reach the next level of success?...No, not really.

Seriously, getting selected just means that someone paid for the admission fee and the check cleared, the indie film submitted by a team hasn't been reviewed at any point of the acceptance procedure. It's not like there's a group of judges that watches each submission and says, "Oh yeah, this one HAS to be in our festival!" - But I am sure that there are films on the submission line that ARE expected to raise eyebrows if the right name is listed in the credits. For now, for anyone to brag about their film "being selected" for this or that festival is like someone getting an award laurel for filling out an application for a 5K run that won't start for another month. Remember, "selection" films are not reviewed for required film format, legal paperwork, legitimate film making experience...nothing. As a matter of fact, a large quantity of films aren’t even previewed by judges.

Furthermore, members who pay for their film being submitted to a festival, must also pay extra fees for "nominations" in their own application. That's right, studio teams have to pay cash and submit for their own nominations! Positions that are paid for consist of various genres film categories for Best Actor, Best Actress, Best Producer, Best Director, etc, etc, etc. And again, judges for these festivals don't recognize "instant performances" in every indie film that was entered or selected and giving them awards for their performances. Plus there's no reassurance that all of the films submitted into a film festival are even previewed by final judges at all. I've known all about these "festival follies" for many years; and a solid reason why I never entered into film festivals since I began working on my own indie film productions.

Super-duper amateur film makers tend to jump on the "excitement band wagon" and have a proven record of thriving on their initial success of simply being entered in a film festival. These idiots often release trailers on YouTube [which is a big no-no during the submission process] and try to prove that viewers numbers prove that the film has a large sized group of fans [apparently outside of the film teams line of family and friends] who are interested in seeing the big movie they just finished putting together. 

 

Film teams who boast of having an "editor from LA" ready to take over the projects post production, claim to have one just in case their initial submission turns out to be a bust; I'm not sure why a film team wouldn't have such phenomenal access to an established post-editing credential and not use that person on all of their film projects? - Seems a little odd, wouldn't one think? Oh my oh my, the cracks that slowly but surely begin to form when the truth about someones low-life integrity about knowing absolutely nothing of the film industry begins to show.

It's a known fact that meta-data has proven the members of how an indie film team love to watch their own films over-and-over again, trying to help build the numbers of the viewing counter on their YouTube account. These issues were investigated on in the Quantum Storm .357 E-Magazine [QSE .357] Issue 5, a few issues back, where we proved in a studio video investigation on how to check someones meta-data on YouTube, Facebook, Instagram, and any other online platform, to see what the real outside viewers numbers were to a film teams "successful" trailer or full feature film. When internal numbers are removed from the equation of viewers, industry professionals will know what the real numbers of views are; and trust me, they do look at all of the meta-data they can on any project submitted to them.

What I honestly like to see are the amateur first time leading indie actors who also enjoy the ride of tasting success through the fruits of their limited experienced performances; most of whom have never really worked on a real production or were never educated on set through experienced directors or assistant directors. Most of these people will never see the light of day as a lead or supporting role on a film project that is a step up from the film they just finished. Most are complete no-bodies who are given roles and promises of "riches to come" when they "ring that bell" of success. And unfortunately, where there is one; there is also a slew of other cast and crew members who are on that ride of just hoping that the film was "selected" by the film festival in question.

I like watching indie movie trailers. Seriously, I enjoying watching them as much as I liked being a child and walking though the toy aisle of a grocery story, looking at all of those hollow plastic cars and airplanes, saying to myself then, "Why would anyone want to buy that crap?" - Amateur indie film trailers are the same. They often boast of "film producers" you've never known [or truly want to know], credits are displayed on top of actors performing their parts, the sound is bad, the nauseating music selection is as horrific and reoccurring as the swishing sound of the ocean being replayed over and over and over. Plus I like the fact that right away, even an unbiased outsider will tell you that someone in that film production never made a film trailer in their life...but it looked like certain people in their group HAD to be presented in it; you know, people that you've never seen before in any film what-so-ever, except in their own film community.

Most normal people [like me] can see it now...a group of amateur indie film makers huddled around in prayer, waiting for that one film festival to accept their film after the entry fee was paid...waiting for the approval email that their film is IN; with some director or indie "film producer" whose already prepared a laurel to post on his or her Facebook page, just waiting for the moment that he can hit the post key. Once the news gets out, the laurel is passed out to their small team of actors an the hype begins. There's no reality but the fact that an entrance fee was paid and now the next big step in the festival process is about to begin, but this time, the next round will prove who is truly the experienced film maker from the people who just put something together with camera and no real idea of how to use them.

And even IF the film wins an award or two, what is the next step for the amateur film makers? Do they post another link on their Facebook page to show the film to the outside "millions of local fans" who are dying to see their film? Has their number one "film producer" ensured that he's paid the yearly subscription to his website to post the film and bring in that lucrative meta-data to provide to future distributors the large numbers of future fans who are wanting to see the film in question? - Something that we introduced on the QSE .357 [Issue 4] is that amateur indie film producers and directors who have no knowledge of what meta-data is or where to get it and are just people who are winging their indie film productions along. But you can bet your ass that after seeing this blog, they'll google it and be the "purveyors of knowledge" the next time you ask them, because they'll have read this blog entry too.

Current Meta Data for QSE .357 E-Mag

The truth of the matter is, if you don't have any experience in promotions, advertising, or proven connections within the indie film circuit, your film will die a sure death of never being seen by anyone that actually matters in the film industry...but hey, there's always another BIG new indie film to make...or perhaps you can be bold enough to pull a "Nanae Volle" and create your own Inde movie award festival and sweep the BIG awards with your super amateur, peace of shit film!

 

Nuff said.

Editorial by D. R. Quintana-Lujan
Editor in Chief

 

 

CONTINUUM [I'll Follow You Down] CRUSHES A FANTASTIC PLOT WITH A WEAK ENDING

🎥🎞MOVIE REVIEW🎞🎥 - CONTINUUM - [PG-13] -Peacock -  This nice little gem from 2013 fell under my scope of reviews shortly after I was doing a copyright search for stories that involved Quantum Time Traveling plots and short stories. The film stars John Paul Rutman, Rufus Sewell, and Gillian Anderson. This film can be found on Peacock under "I'LL FOLLOW YOU DOWN."

The plot is simple but very mysterious, a loving and well respected father is dropped off at an airport by his wife [Anderson] and young son. In previous scenes, the young boy is proven to be pretty intelligent far beyond his years. But the father [Sewell] boards a plane and never returns home. Th son's mother is horribly worried and her love for her husband is without question, but questions arise after his arrival to the city of destination; he's never checked out of his room, his wallet, cell phone, and other items left behind, and the husband has just disappeared. The father has disappeared like a whisper in the wind and his young son has to struggle through life with a damaged mother and a childhood sweetheart who will eventually become his wife.

Years pass and the young boy grows up questioning important decisions in his life, due to the mysterious loss of his father. Rutman - the once little kid also known from the brilliant movie, SIX SENSE - has a love interest that is constantly being put on hold due to his mother [Anderson] still grieving over the disappearance of his father. Eventually the story passes onto the boys grandfather, played by Victor Garber, who tells the young son that his father had stepped through a worm hole and traveled into the past. There are very few details about how the father was able to create the worm hole, but only that he sustained a power source to get him there.

Everything up to this point in the film is pretty believable an understandable. The second half of the story follows a rushed script with no subtle delivery on how the jump in time would be  a mind blowing experience. The film turns to a flashback of the father [Sewell] stepping into a time machine and vanishing in a brilliant flash. From there, the son had also made the trip back in time and confronts his father, eventually forcing to return home and save his wife, plus the spirit of the little boy who was lost without any answers to the big question; "What happened to my daddy?" - But there was no emotion in the delivery of the main story here. The director decided to have Rutman play an angry and determined boy who didn't care about the wonders of time travel, who just wanted his father to come home and put his family back to normal.

In my opinion, the writers lost faith in their script and the screenplay. There was no real character development of any of the characters, save the young boy who was now in love with a childhood sweetheart, both trying to live a life of being parents. The son missed a lot of school, but was too smart for college and apparently progressed though school only by "passing all of the tests." 

The script should have spent more time with the father's ignorance to his families needs and furthermore delivered him showing his son the importance of time travel and how they could witness importance events in history. Instead, the movie delivers a crippling blow to the film by making the son too smart for his own good and taking drastic actions to force his father to go back home and save his family.

What bugged me the most about the time traveling, was there was no real attempt to show details of the 1940s, save a change in clothes, some women walking around, introducing an old restaurant with a guy who wore paper hat and served coffee. There also wasn't a memorable scene in the film that made me want to remember this dud of a production. Rutman tried to be a leader in this film, but the lack of solid character development made him all of the other cast members seem like they were just going through the motions to finish this film.

⭐️⭐️💫 [2.5 of 5 Stars]

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