The terrifying new prequel to the award-winning short film, "Eaglewalk."
I believe in Eaglewalk. It's the ultimate Bigfoot movie: an old-fashioned summer camp slasher that morphs into an epic tale of man-against-beast, shot on film (none of that found footage hokum), enhanced by a thundering, orchestral score, and engineered for the sole purpose of making Bigfoot - the oldest of campfire legends - relevant, frightening, and unforgettable.
Two years ago, we made Eaglewalk into a proof-of-concept short film. You can watch it here:
It swept through the festivals, winning a slew of awards, including Best Short at Screamfest. It landed an interview with Fangoria, a shout-out on Ain't It Cool News, and even a few meetings.
But a feature deal has yet to materialize, which is why we're making a new Bigfoot movie, one that broadens our fanbase and reaches new audiences, expands on the Eaglewalk mythology, and whets the appetite for the feature.
We're making a prequel.
If Eaglewalk were a symphony, At The Dark Divide is a concerto. It's shorter by design, so that we, the filmmakers, are afforded the opportunity to focus on the one thing that, above all else, determines Eaglewalk's commercial viability: making Bigfoot scary as hell.
This isn't your grandfather's Bigfoot.
For F/X maestro Toby Sells, whose work on Zombieland, The Crazies, and The Walking Dead has made him a household name in the horror industry, that means a complete redesign of the creature. Instead of the towering archetype we featured in the last film, the new suit has much more in common with a man's physique. It's shorter, with a leaner build, more humanity in the face, and razor-sharp claws. Our intention is to show people what an ape-man would really look like, taking into consideration how it would survive for generations in the wilderness, undetected.
Every dollar counts.
The actors are cast, our locations are locked, and construction on the new Bigfoot suit is underway. But At The Dark Divide can only happen if we have your support. Here's a quick breakdown of where the money's going:
- Food. We're spending three days away from home, working long hours, and sleeping on wooden bunks. Which is why good food is essential. We'll have an on-site cook, preparing three meals a day, for a collective total of between fifteen and twenty cast and crew. On a set like this, where conditions are tough, good food is a symbol of respect, an acknowledgement of everyone's hard work.
- Gore (what's a Bigfoot movie without it?) The film has two elaborate kill sequences - a stomach-churning death-by-braining, and a character being burned alive, and those F/X require quality, industry-standard makeup supplies in order to create the illusion.
- Stunts. We have several, including a character falling down a stone staircase and breaking a leg. A gag like that requires the hiring of a trained, professional stuntman
- Props. Production Designer Amy Shirley returns, and she's going to need a budget to help give our summer camp locations that eerie, abandoned look.
- Camera and G&E. Crack DP Scotty Field is also back, and he's going to need some major toys - a Fisher dolly, a Steadicam operator, and an extensive camera package - to achieve the same professional polish that gave Eaglewalk its uniquely cinematic look.
- Festivals. Since the whole point of making another Bigfoot movie is to broaden the Eaglewalk fanbase and improve our odds of landing a feature deal, we're planning an ambitious festival run for At The Dark Divide, and we'll need funds to pay the submission fees for prestigious festivals like Comic-Con, Fantasia, Fantastic Fest, and Screamfest, in addition to a host of other up-and-coming venues and genre conventions.
Saving money where we can.
We have no trailers. We have no excess personnel. In lieu of rental fees, we're producing promotional videos for the camps we're shooting at. Our days are models of thorough planning and efficient execution. Our aesthetic, like on Eaglewalk, is dynamic and cinematic, but consolidated into the fewest number of shots needed to visually tell the story. In the end, it'll look like we took twice as long to make the movie, on a budget four times what it actually cost to make.
And if we exceed our $6000 goal...
At The Dark Divide is a micro-budget film, and can only be made and distributed for $6,000 because the crew is working for free. Any additional funds raised will go towards paying these hard-working people at least a nominal day rate, and compensating them for out-of-pocket expenses such as airfare, gas mileage, and kit fees.
In a world of found-footage and micro-budget, direct-to-DVD cash-ins, At The Dark Divide is a palette cleanser, a stirring, all-practical horror film that delivers what the poster promises. And if successfully funded, it will help transform an already first-rate short film and completed feature-length screenplay into an irresistible financial investment destined for the big screen.
Be a part of the horror revolution.
Risks and challenges Learn about accountability on Kickstarter
Stranded miles from civilization, there's an infinite list of contingencies to plan for - bugs, rain, snow (yes, even in September!). Luckily, we've already done this once before, so things like ponchos, flashlights, a First Aid kit, and plenty of hot soup and cold water will be on standby.
With regards to actually shooting the movie, there's not a whole lot you can do except roll with the punches. If it's raining on the day, then we rewrite the scene to take place indoors (after all, we've got the campgrounds to ourselves) and begin planning immediately for any connective story tissue we might need so that the new location makes sense.
But rest easy, Dear Investor. Considering the caliber of people working on the project - many of them veterans of the first film and used to quick-thinking and compromise - you should have every confidence that the movie will be made, and that it will inspire and terrify in ways you never knew movies could.
Have a question? If the info above doesn't help, you can ask the project creator directly.