Corpse Remover is a short film set in the not so distant future where the Department of Human Management issues licenses to kill and cleans up the mess.
We follow the story of Sam, a long time Corpse Remover, lucky in love but stagnant in his professional life. Life gets a little complicated when his morals and self-perceived desperation gets in the way of his job's duties.
We are set to shoot in the first half of September and have already sorted out the majority of our technical crew. This will allow us to show our film during a graduation ceremony at the British Film Institute in London, yes, only the biggest screen in the whole UK!
Here you can get an idea of how we are planning to use the budget we are asking for. Don't panic over the small percentage reserved for the equipment, we are not planning to shoot this on our mobile phones! The small percentage is due to our collaboration with the London Film Academy who already agreed for us to use all their lighting and sound equipment for free, being that the majority of us are either students or members of staff at the school. We are also allowed to use their studio spaces in case we don't find a perfect location and in that case percentages for set design and locations might change slightly.
What would happen if killing people were legal? How many of us would apply for a license? These were the questions that triggered my mind to first begin writing the script for ‘Corpse Remover’ two years ago.
I wanted to write a drama, and I did, but with elements of grotesque and the surreal that only a society based 30 years in the future would allow me to explore. I continue having fun thinking of all the possible connections between our modern-day society (think Katy Perry… Boom! Boom! Boom!) and one for which inventing new technologies (or sourcing inspiration from those already in development) might also be necessary.
The most difficult part has been not to let my imagination fly too far away with me. It’s for this reason I set a specific year (2048) and carefully thought through all the details – from contact lenses, to how we might take our coffee, hologram TVs and how our dreams could be recorded. No space (or budget!) for flying cars or laser swords, but nor was there a need.
Corpse Remover is a drama – the genre I’ve felt most confident in during my still young career as a director – but I firmly believe the most powerful dramas are the ones that carry something unexpected and leave their protagonists lost without anything in a world in which they (and we) thought they were safe. This is the reason CR develops as a hybrid of comedy and thriller, before showing its true dramatic colours at the end.
Speaking of genre (and colour), Spike Jonze’s ‘Her’ is a great example of where we’d like to go with our (slightly smaller) film and a core reference of ours, both because of its futuristic setting/style, and Jonze’s delicate yet surprising handling of story. ‘Black Mirror’ is another for its fascinating, contemporary and scary take on the dystopian society, and, ideally, Corpse Remover will lie somewhere in the middle. I want to capture a corrupted society in which the act of killing is now so common it’s no longer a shock, whilst showing it’s no longer even an issue. For this reason the general mood and design of the film will evoke an almost cheerful, Her-like feel.
I’ve thought a lot about casting over the last few weeks (the actual casting process will begin ASAP and you’ll be kept informed of its progress) and as I think the sky’s the limit I’m aiming high, hoping to secure and direct some huge actors in order to give my characters the life I and my whole team feel they deserve. A letter will be going out shortly to some huge agencies and we’ll be hoping (as I hope you will be) to hear back from the likes of… Idris Elba? Domhnall Gleeson? Jessica Brown Findlay? Sure, these are DREAMS AND NOT REALITY, but so was the script for Corpse Remover, once.
So as not to bore you guys I better stop talking. I can only hope you’ve been as intrigued by all of this as I was by my first idea, and that you’ll help us to realise this project in which I and its entire team firmly believe.
Our London based team come from many different backgrounds and look forward to creating an amazing product from the brainchild of Alessandro.
Italian-born Alessandro Farrattini Pojani wrote the twisted script for Corpse Remover and intends to bring it to life. His journey into the art of visual storytelling began as a writer when he wrote a novel as a teenager. He graduated with an Honours Degree in “Cinema Studies” at the University of RomaTre. He co-founded the Independent Production Company “Goodbye Venezuela!” after graduation. He has directed four short films and two commercials, working on four other short films as First Assistant Director. He is currently attending the 1-yr Filmmaking Diploma at the London Film Academy.
Director of Photography
Marta Ferreira, born and raised in Lisbon, Portugal. Came to England in 2014 to study a MA in Film and Television Production. While studying Marta worked for BrandAnonymous, a Creative Agency based in Cambridge, as a camera operator and editor and is currently working for London Film Academy in the Technical Department. With a background in Factual, Marta is now aspiring to become a Director of Photography in Fiction.
Francesco Vaira hails from Bologna, Italy. He began his career as filmmaker in 2012 directing a number of documentaries with the Boy Scout. In 2014 he moved to London to study filmmaking at the London Film Academy. He has produced two short films in London at LFA: “Look at Me” with Lucy Watson from Made in Chelsea and directed by Avril Furness and “Charlie”; a horror film directed by Clementina Lugo.
Caymanian Brittany Kelly has been working in media management since 2012. After graduating from University of Colorado, Boulder with a Bachelor’s in Psychology and Neuroscience, she decided to pursue a career in film at London Film Academy. She works for event management company Kelly Holding Ltd., has worked in project development with Black Bicycle Entertainment and has produced two short films with her media production company Strike Twice Creative.
Francesca is an expert editor from the NUCT Film School in Rome. She worked on an array of short films and, as an Assistant Editor, on various Features such as "L'Arbitro" ("The Referee") by Paolo Zucca, "Il Ragazzo Invisibile" ("The Invisible Guy") by the Oscar Winner Gabriele Salvatores and "Nessuno Si Salva Da Solo" by Sergio Castellitto. She's currently working as an Assistant Editor on Luca Guadagnino's "A Bigger Splash", starring Tilda Swinton and Ralph Fiennes.
Italian VFX Artist Lorenzo Nera has been a member of Goodbye Venezuela! Productions since 2012. Lorenzo has worked with our director Alessandro Farrattini Pojani on several projects and is very much looking forward to doing so again on Corpse Remover.
In the industry since 1964, Colin Miller is for sure our most expert and qualified contributor. Member of Motion Picture Sound Editors – USA and Association Motion Picture Sound - UK, he worked on and has been awarded for such films as '007: Moonraker', 'Octopussy', 'The Living Daylights' and Jim Henson's 'Labyrinth'.
THANK YOU FOR ANY PLEDGE OR EVEN ONLY FOR THE TIME YOU GAVE US!
Risks and challenges
The main issue we could have is sorting out the locations we need to bring CR to life.
We need an office space and Sam's house but shooting in London and having reserved a good amount of the budget for these, this shouldn't represent a big problem. The location we are more concerned about is the lobby of the Department of Human Management, for which we'll need to find a real entrance of a building.
We have reserved a budget to shoot in this location that should allow us to be there for half a day in a weekend and our Team is already looking for the best place possible!
- (30 days)