Film Archivist, Historian, Journalist, Educator: His life is one of the last living links to a Hollywood most can only imagine.
We're thrilled that makeup master & actor Tom Savini (DAWN OF THE DEAD, DJANGO UNCHAINED, FROM DUSK TILL DAWN), Robert Dix (FORBIDDEN PLANET), Gregg Palmer (TO HELL AND BACK, THE SHOOTIST), THE MUNSTERS' Pat Priest & Butch Patrick; George Kosana (NIGHT OF THE LIVING DEAD), CINEMA INSOMNIAC host "Mr. Lobo" and more enthusiastically joined our film's cast of celebrity interviewees during our first weekend of principal photography.
More at: PRODUCTION BLOG#1: SHOOTING BEGINS
Get daily updates at our "MAN WHO 'SAVED' THE MOVIES" Log / Blog"
The first film from Gull Cottage / Sandlot’s newly minted “Gull Cottage / Flying Bear” banner, STEVE VERTLIEB: THE MAN WHO "SAVED" THE MOVIES ("saved" as in 'preserved for posterity') is the feature-length documentary delving into the colorful life, career and ultimate legacy of cinema archivist, historian and film music educator STEVE VERTLIEB - who's quiet, unassuming persona belies his growing status as one of the most respected of figures to a new generation of cinema buffs, film makers, and, surprisingly, even to that most fickle and verbose of filmdom's family tree - the genre fanboy.
A former on-air reviewer of film, as well as magazine publisher, Steve's learned and literate dissertations on cinema over the last near half-century have made him a much sought after consultant on numerous projects, including an appearance in the 2006 award winning documentary KREATING KARLOFF, and as consultant on TCM's 75th Anniversary Restoration of Marion Cooper's original KING KONG. Widely considered one of the nation's foremost experts on the legendary "Great Ape", his numerous articles on the subject (including that in the still definitive volume THE GIRL IN THE HAIRY PAW) is referenced to this day by film makers, teachers and cinema students alike.
This collection, combined with Steve's status as a film historian - along with his voluminous output as a journalist / author, his engendered respect within the film music community (he considers dear friend, the late BEN-HUR, DOUBLE INDEMNITY composer MIKLOS ROZSA, a mentor), and a lifetime of personal & professional relationships with names as varied and famous as RAY BRADBURY, RAY HARRYHAUSEN, VERONICA CARLSON, JOHN WILLIAMS, BILLY WILDER, DAVID AMRAM and more (the man is truly “The BFF of the Stars“), have lead lately to that aforementioned younger group of buffs / film makers to refer to him affectionately as "Our Generation's Forrest J. Ackerman".
Principal photography commences on STEVE VERTLIEB: THE MAN WHO "SAVED" THE MOVIES the weekend of July 19th - 21st at the MONSTER BASH Sci Fi / Horror Convention outside Pittsburgh, PA. There Steve will once again meet up with dear friend VERONICA CARLSON, co-star with Peter Cushing and Christopher Lee in a number of classic Hammer Horror films of the 1960s including DRACULA HAS RISEN FROM THE GRAVE and THE HORROR OF FRANKENSTEIN.
"In feature films the director is God; in documentary films God is the director"
CRAIG ELLIS JAMISON (Director / Writer / Co-Producer):
He is webmaster of the GullCottage / Sandlot online film blog / library as well as administrator of it's three YouTube channels, "Bear Mann TunePlay" Film Music, "Flying Bear Film School" Film Documentaries, and "Flying Bear Film Morgue" Cinema Shorts & Esoterica. He is also creator / co-host of the podcast series "THE GRINDHOUSE: WITH CRAIG & JIM".
"The GULLCOTTAGE / SANDLOT Online": http://gullcottageonline.com/
"Bear Mann TunePlay": http://www.youtube.com/channel/UCMjTNnJi2UHbTwddq_hGsyA
"Flying Bear Film School": http://www.youtube.com/user/FlyingBearFilmSchool/featured
"Flying Bear Film Morgue": http://www.youtube.com/user/FlyingBearFilmMorgue
CAMERON MITCHELL (Director Of Photography):
Originally from Chicago, the stunning cinematographic work of CAMERON MITCHELL (now based in Philadelphia, PA) is fast becoming the talk of the Northeastern U.S. A graduate of Temple University, he has since worked with the "Greater Philadelphia Film Office" as well as with "Shooters Post & Transfer" and others.
As Director his credits include the documentary BRANDED - which looks at modern college advertising and how it's changed the face of higher education; and THE GREATER PHILADELPHIA FILM OFFICE: TRIBUTE TO SHARON PINKENSON - which honors the legendary office head responsible for bringing projects such as THE SIXTH SENSE, 12 MONKEYS, LAW ABIDING CITIZEN and PHILADELPHIA to the streets of the City of Brotherly Love.
Amongst Cameron’s work as cinematographer / cameraman are MEHUL THE MUSIC MAN, Shooters Post’s “CREATIVE IS …” and “BOYS & GIRLS CLUBS OF AMERICA” campaigns; Lisa Jiang’s debut film LIE and more.
A graduate of UCLA, producer / manager ROBERT "BOB" CHO began his career as an intern under husband / wife producers (and former DreamWorks studio heads) Laurie MacDonald & Walter Parkes (WAR GAMES, SNEAKERS, AMISTAD, MINORITY REPORT). He'd also log on his resume the title of assistant to legendary JAGGED EDGE, BASIC INSTINCT scribe Joe Eszterhaus, before becoming an agent at the largest talent firm of the day - Kurland / Webb / Ulfner (since merged into ICM). He'd then segue into the role of independent producer.
In 2009 Bob's “Kenisis Entertainment”, co-founded with Sean Carr, produced the independent romantic comedy HE’S SUCH A GIRL (with Bryan Fisher, Tiffany Dupont, Patrick Duffy and Ed Begley, Jr.). Around this time Cho also helped Carr establish the post production facility “Wavemachine“.
Not making one is worse."
Risks and challenges Learn about accountability on Kickstarter
In operation just over two years, every aspect of our "GullCottage Network", consisting of the mother website GULLCOTTAGE ONLINE, the film music, documentary and cinema shorts YouTube Channels, and recent podcast series, THE GRINDHOUSE WITH CRAIG & JIM, have been successes beyond expectations. The YouTube Channels taking near 1/2 million hits in under a year, and the podcast racking up over 8,000 in a mere two months, has emboldened us to plunge headlong into our eagerly anticipated next phase: the creation of original content for film and stage. The journey into the realm of documentary film making is a first for us, and as such we've obsessively planned our "method of attack" out the proverbial "ying / yang" in order to maximize efficiency and minimize risks.
As ANYone who has ever been involved with ANY kind of creative endeavor is aware however (especially where technology is a component) things don't always necessarily proceed according to those best laid plans. Therefore, while advised early on by some to "simply capture footage with a glorified cell-phone camera", we decided to go with bonafied film making professionals, and have acquired as one of our most cherished team members accomplished cinematographer Cameron Mitchell (see his attendant bio) to capture images which will translate elegantly to the big screen.
Quality is of utmost concern, and part of "quality control" is having creative collaborators experienced enough to make decisions with you "on the fly"; to ally oneself with those who have the facility to, on a moment's notice, shift to "Plan B" when coincidence or other unforeseen circumstances alter your original design-scape. One get's what one pays for. And as such (while presently only scheduled to film a total of 9 days), our estimated principal photography budget comes in at approx. $1,000 / day, not including transportation and other expenses.
While loans (and our own personal pockets) cover the days of late July shooting at the "Monster Bash" Convention, and while additional applied-for grants will kick in during the post production phase AFTER primary footage is captured, our late August / early September shooting is largely contingent on that which we raise via Kickstarter.
We've been consistently reassured (no, ... downright flabbergasted!) by the amazing numbers of film buffs, students and professional film makers who've made our other GullCottage endeavors such huge successes; and we're certain the same group and more will "get our back" this time out as well. So, "thank you everyone BIG TIME!" in advance. And, oh yeah - keep in mind ...
Anything OVER and above the initial $12,000.00 goal will only make things that much sweeter: allowing us to spend extra shooting days in L.A., and certainly during the post phase when we lay in our original score, narration and (hopefully, fingers crossed!) even a mini-animation sequence.
CEJ (July 8, 2013)
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