Hey everyone,
Just a quick note to say that what seems like an extended hiatus in the land of n one and nowhere, Hotel Caledonia has re-emerged from the flames like the proverbial phoenix. Current updates are avbailable on the Oceanstorm Films page (along with other projects) but suffice it to say that we have begun actively recasting the project with a view to a big move for one of the principal financiers in the UK with their own Sales & Distribution arm. Casting has gone very well to date so for an up to the minute summary of who we are chasing down for roles please refer to the appropriate site on imdb.............or better still cross straight over to the main blog at www.oceanstormfilms.blogspot.com
Thanks for sticking with us!
Nick
Saturday 3 April 2010
Tuesday 15 July 2008
Paperwork........
I'm glad to say, finally, that the paperwork is beginning to move. And this just happens to be the paperwork needed to transfer copyright of script ownership to the new company set up for Hotel Caledonia - the first stage in tying up all the finance needed to get the film project into pre-production proper. Stage one of Greenlight - currently flashing amber!
I feel like the long haul to get there is nearly over. Soon, for all you watchers who have been waiting on us, you will get to see the fruits of our labour. Keep watching this space! And thanks for hanging tough with us.
Nick
I feel like the long haul to get there is nearly over. Soon, for all you watchers who have been waiting on us, you will get to see the fruits of our labour. Keep watching this space! And thanks for hanging tough with us.
Nick
Sunday 15 June 2008
The Need to Proceed.........
Just a very brief update but one tempered by the need to keep quite a few things under my hat (and avoid tempting providence) but we are now VERY close to tying up the last elements before greenlight. Funding is, bar the shouting, contracts, and signing, in place and, bar an 11th hour...........you know what so don't say it, we are confident this journey to get Hotel Caledonia off the ground, is finally near conclusion. It's been one hell of a journey, with many ups and downs just getting approval so the experience is something I'd like to write about one day or at least present in a forum environment as both warning and encouragement - anyone want to take me up on the offer then feel free to email me.
Anyway, keep watching this space...........because things are a happenin'.
Nick
Anyway, keep watching this space...........because things are a happenin'.
Nick
Thursday 22 May 2008
A Cannes-Do Attitude to Success
Back in 'Blighty' after three full days (and only six hours sleep total), many meetings, a few socials, and lots of encouragement for project 'Hotel Caledonia'. Armed with renewed interest from many independent parties, some awesome advice for continuance, and a positive attitude to getting exactly what I want to make this project the cult classic it has every opportunity of becoming, I'm even more convinced now of the success that is waiting to be harnessed at the box office.
When I've had chance to contact those people who have asked to be contacted, reorgnised my schedule for the next three weeks to encompass some further schmoozing, and made some new enquiries of agents for cast, I'll add some more info to this blog. Suffice to say at this stage I'm very optimistic of completion progress towards production before the end of July.
If you've never been to Cannes, or pitched your material in an environment where people DO listen and take interest, then book up early for next year and get on that plane. You'll be glad you did, if for no other reason that to keep inspired by the many fellow writers, and filmmakers, who are there to do the same, and exchange advice and contact information with you.
When I've had chance to contact those people who have asked to be contacted, reorgnised my schedule for the next three weeks to encompass some further schmoozing, and made some new enquiries of agents for cast, I'll add some more info to this blog. Suffice to say at this stage I'm very optimistic of completion progress towards production before the end of July.
If you've never been to Cannes, or pitched your material in an environment where people DO listen and take interest, then book up early for next year and get on that plane. You'll be glad you did, if for no other reason that to keep inspired by the many fellow writers, and filmmakers, who are there to do the same, and exchange advice and contact information with you.
Thursday 8 May 2008
A Lesson in Filmmaking for All
It has been a while since this blog has been updated, and to all those following the journey of Hotel Caledonia who have either been annoyed, disappointed, or otherwise frustrated at the lack of progress update, may I send my sincerest apologies. But there has been reason...........and over the course of this blog I shall try to enlighten a little, advise as much as posssible, and aspire to inspire everyone by the truckload, that despite the trials and tribulations we, and you, may experience in the journey to realise a dream there is absolutely no substitute for resilience and determination to suceed.
So, to events.......................
The end of 2007 was smooth-running with all the right noises emerging from distributors, sales agents, and financiers. The deals had been discussed, the script, schedule, and finance plan cogitated over, and in essence if not by signing of pens, agreed by all. Everything seemed to be heading for a Spring 2008 shoot with completion and premiering set for Cannes 2009.
Then the proverbial began to hit the fan!
Our distributor and co-financier, a large, well respected player in the horror genre (from Spain) seemingly got cold feet overnight about having to promote and distribute, to its Spanish and Portugese speaking territories (including Central and Southern America), a horror-comedy from England. Now whether that was because British humour just doesn't translate well into Spanish and Portugese, or because there was a distinct lack of Latino cast telling jokes in a Latino language, I know not. It may even have been the fact we were pitching the film as a Fawlty Towers mix of mayhem and horror without the presence of poor old Manuel that made them nervous. Regardless of reason they saw fit to pull the plug, and the finely woven carpet, from under our feet, leaving us £600k or so short on budget in the click of someone's pen. Ouch!
Then Kelly Brook's father died, and in her grief we thought she may just suspend any work commitments she had already made - and that included to us. We stuck by her and made it very clear that if she decided to withdraw we would try to hold open her role until we reached a point where we were ready to go into production. If she felt ready to come back we'd welcome her with open arms. If not, then we'd understand her position. Bless her if she didn't just brave up and confirm her commitment to us on the spot.
So with Xmas swiftly approaching and the whole industry about to shut down for a month, the Producers got together to try and decide upon a new, and bullet-proof strategy to raise the required funds. But as you'll already know, or will discover in the fullness of time, there is no such thing as a bullet-proof strategy in filmmaking. Like actors our job is all about reaction to events rather than the action itself.
Xmas came and went, and with it the New Year and most of January, as we began to hook up with a menagerie of other players, big and small, in our efforts to find a way out of the ever-tightening noose of project-never-off-the-ground failure. We pitched out to Cinema NX on the Isle of Man who read our pitch and script and really liked what we had to offer. But there was an issue - the budget was not large enough. Large enough? We cried! We'd been advised by sales agents to lower the budget, not to raise it. Without a major cast shift, that is to bigger names commanding bigger fees, there was no way we could simply raise the budget. We'd already spent an inordinate amount of time shaving costs off the budget over the last six months. It was disheartening to hear.
So we traipsed around some more of our contacts, including Ealing Studios. They too read and liked what we had to offer but "didn't fall in love with it enough to want to put equity into the project" being their ultimate response. We can all hazard a guess as to what that really means. Ealing Studios are an 'old school tie' firm with a proud history of in-house creation. St Trinians did well for them and they have witnessed a resurgence of interest in their films. So why would they want to support someone elses project if it ultimately doesn't benefit them as a production entity? Maybe I'm being a tad harsh but I was disappointed to say the least.
Things were looking bleak. As far as further development interest went the Producers were broke. Flat broke. We needed assistance from the regions to help us push ahead, but nothing was forthcoming in that respect either. Film London had nothing to give, especially as the project originated and was based outside of London. And this despite the primary Producer being a resident there. Northwest Vision continued to baulk the writer's applications for assistance, even when he submitted other short film projects in an effort to help reduce the financial burden. The inevitable day came when both Producers were forced to take second jobs in order to keep house and home. This of course had an immediate, and detrimental effect on project progress. It soon became clear that merely to keep momentum going, private assets needed to be stripped. Indeed I even sold my hard-bought PD170, lights, and grip just to keep going. and with those sad sales went any opportunity to invest time and learning in shooting music videos or short film. But needs must - short term sacrifice for hopefully long term gain.
We went in search of a new Director as well. Nicholas had decided to step back into 2nd Unit shoes (he's also a Producer, and the Writer - plenty to do he assures us) which was a sensible commercial decision on his part. We expect he'll get his directorial debut with Infected in any case. So the search proceeded with both Mel Smith and David Schwimmer firmly in the frame. Mel declined regretably and David, despite liking the pitch and asking for the script just never came back to us. Small fish in big pond springs to mind. A handful of other directors, including Chris Smith, were approached but due to work commitments were unavailable. Without a firm Director attachment the sales agencies had said they would never be able to give us decent estimates to help close finance. Everything just stacked up one upon the other as we fought with time and failure. And none of it stacked up favourably.
We also attended a meeting with the UKTI about possible asistance to get us to Cannes to help finalise finance but the meeting was not as productive as we had hoped. The mere fact we do not have a finished product precludes us from assitance. That to me is total madness. We have a commodity on paper - and strongly written it is too. Without assistance from central or regional bodies the project seems too large to get into motion independently. No wonder the British Film industry is so poor. Nobody wants to offer the hand of assistance when its needed. Only after the success has been earned and the assistance is no longer an issue do the hands of favour extend. Piggy-backing on the efforts of a minority few is what the people with money but little creative smarts seem to do. So whatever you do, don't ask for help. Do everything yourself. Keep head down. Mind in gear. Drive. And drive hard. That's my advice. Don't waste your time or effort on the regions, nor expect any help from central unless you are great at butt-kissing and want to be part of their inner circle of chosen ones. And even then your initiation will be a burden to them. Rant finally concluded.
We decided in mid-April to make a hard and fast break for Cannes and began preparations to take Hotel Caledonia as it stood and two other projects to the festival in an all-out effort to raise slate funding. The two other projects, Bastille and Infected, are primed, commercial horror hybrids with a defined audience, and interest already generated (as attachments) from A-list stars here in the UK. Even though neither projects are yet 'packaged' with finance we felt that they offered our best opportunity to resolve the Hotel Cal difficulties. Slate funding probably. £5m or so's worth possibly. So we have been preparing for the festival for most of March and April and are as ready now as we'll ever be.
Despite the bright focus of targeting and preparing, April also brought yet more bad news as Kris Marshall was hospitalised and temporarily comatosed after a car accident. We really felt the whole world was up against us by this stage. Things were pretty bad I can tell you. Both of the Producers were demoralised - three years solid of putting this baby together, trial after trial, is enough to steal anyone's drive and enthusiasm. We even considered, if only for a day, the possibility of us HAVING to shelve the project. But whether by sheer bulldog-like tenacity or just the unwillingness of first timers to admit defeat, we got back on the horse and continued to ride. We continue to ride to this day. We're closer to fulfilling the dream than we've ever been, but we still have a mighty way to go.
As of the date of this blog a possible investment angel has been located - discussions continue to this very moment as to whether and how much he is prepared to invest in us. There is no certainty merely the faintest glimmer of hope. That is enough for us. Everyone who began this journey with us - cast, crew, and supporters from far and near - are still with us. They believe in the project, believe in our commitment to make it happen no matter what obstacles are thrown in our path. The Producers thank you for that, with heartfelt sincerity. We also have an approach out to Colin Teague with a view to him agreeing to be Director on this project. We have a personal 'in' with him so I'm keeping my fingers crossed. There are a couple of 'wing-waiters' on this front but they'll have to stay under wraps for now until we know about Colin. There have been some cast discussions as well including the attachment of Leslie Philips and Gordon Ramsay - both yet to be confirmed but on our 'to do' list. Assuming confirmation of both I predict a very funny time making ths film.
We also have the project out to the UK Film Council for development funding at present. They are giving us every consideration. Cannes is only a week away. Both Producers are loaded up on credit cards just to get out there. The uncertainty of result makes us nervous (especially about settling the card bill when we get back). We are single-minded of purpose and we still believe in what we are trying to achieve.
I hope the next blog will be the one we all want to read - greenlight. But I won't count my chickens. I'll continue to work hard and to be enthused. After all I've lived with this baby for the last seven years. I've seen it grow and mature. And I sure as hell intend to see it walk down the red carpet - lets just hope we don't have to wait until its bar mitzvah to do so!
Nick
So, to events.......................
The end of 2007 was smooth-running with all the right noises emerging from distributors, sales agents, and financiers. The deals had been discussed, the script, schedule, and finance plan cogitated over, and in essence if not by signing of pens, agreed by all. Everything seemed to be heading for a Spring 2008 shoot with completion and premiering set for Cannes 2009.
Then the proverbial began to hit the fan!
Our distributor and co-financier, a large, well respected player in the horror genre (from Spain) seemingly got cold feet overnight about having to promote and distribute, to its Spanish and Portugese speaking territories (including Central and Southern America), a horror-comedy from England. Now whether that was because British humour just doesn't translate well into Spanish and Portugese, or because there was a distinct lack of Latino cast telling jokes in a Latino language, I know not. It may even have been the fact we were pitching the film as a Fawlty Towers mix of mayhem and horror without the presence of poor old Manuel that made them nervous. Regardless of reason they saw fit to pull the plug, and the finely woven carpet, from under our feet, leaving us £600k or so short on budget in the click of someone's pen. Ouch!
Then Kelly Brook's father died, and in her grief we thought she may just suspend any work commitments she had already made - and that included to us. We stuck by her and made it very clear that if she decided to withdraw we would try to hold open her role until we reached a point where we were ready to go into production. If she felt ready to come back we'd welcome her with open arms. If not, then we'd understand her position. Bless her if she didn't just brave up and confirm her commitment to us on the spot.
So with Xmas swiftly approaching and the whole industry about to shut down for a month, the Producers got together to try and decide upon a new, and bullet-proof strategy to raise the required funds. But as you'll already know, or will discover in the fullness of time, there is no such thing as a bullet-proof strategy in filmmaking. Like actors our job is all about reaction to events rather than the action itself.
Xmas came and went, and with it the New Year and most of January, as we began to hook up with a menagerie of other players, big and small, in our efforts to find a way out of the ever-tightening noose of project-never-off-the-ground failure. We pitched out to Cinema NX on the Isle of Man who read our pitch and script and really liked what we had to offer. But there was an issue - the budget was not large enough. Large enough? We cried! We'd been advised by sales agents to lower the budget, not to raise it. Without a major cast shift, that is to bigger names commanding bigger fees, there was no way we could simply raise the budget. We'd already spent an inordinate amount of time shaving costs off the budget over the last six months. It was disheartening to hear.
So we traipsed around some more of our contacts, including Ealing Studios. They too read and liked what we had to offer but "didn't fall in love with it enough to want to put equity into the project" being their ultimate response. We can all hazard a guess as to what that really means. Ealing Studios are an 'old school tie' firm with a proud history of in-house creation. St Trinians did well for them and they have witnessed a resurgence of interest in their films. So why would they want to support someone elses project if it ultimately doesn't benefit them as a production entity? Maybe I'm being a tad harsh but I was disappointed to say the least.
Things were looking bleak. As far as further development interest went the Producers were broke. Flat broke. We needed assistance from the regions to help us push ahead, but nothing was forthcoming in that respect either. Film London had nothing to give, especially as the project originated and was based outside of London. And this despite the primary Producer being a resident there. Northwest Vision continued to baulk the writer's applications for assistance, even when he submitted other short film projects in an effort to help reduce the financial burden. The inevitable day came when both Producers were forced to take second jobs in order to keep house and home. This of course had an immediate, and detrimental effect on project progress. It soon became clear that merely to keep momentum going, private assets needed to be stripped. Indeed I even sold my hard-bought PD170, lights, and grip just to keep going. and with those sad sales went any opportunity to invest time and learning in shooting music videos or short film. But needs must - short term sacrifice for hopefully long term gain.
We went in search of a new Director as well. Nicholas had decided to step back into 2nd Unit shoes (he's also a Producer, and the Writer - plenty to do he assures us) which was a sensible commercial decision on his part. We expect he'll get his directorial debut with Infected in any case. So the search proceeded with both Mel Smith and David Schwimmer firmly in the frame. Mel declined regretably and David, despite liking the pitch and asking for the script just never came back to us. Small fish in big pond springs to mind. A handful of other directors, including Chris Smith, were approached but due to work commitments were unavailable. Without a firm Director attachment the sales agencies had said they would never be able to give us decent estimates to help close finance. Everything just stacked up one upon the other as we fought with time and failure. And none of it stacked up favourably.
We also attended a meeting with the UKTI about possible asistance to get us to Cannes to help finalise finance but the meeting was not as productive as we had hoped. The mere fact we do not have a finished product precludes us from assitance. That to me is total madness. We have a commodity on paper - and strongly written it is too. Without assistance from central or regional bodies the project seems too large to get into motion independently. No wonder the British Film industry is so poor. Nobody wants to offer the hand of assistance when its needed. Only after the success has been earned and the assistance is no longer an issue do the hands of favour extend. Piggy-backing on the efforts of a minority few is what the people with money but little creative smarts seem to do. So whatever you do, don't ask for help. Do everything yourself. Keep head down. Mind in gear. Drive. And drive hard. That's my advice. Don't waste your time or effort on the regions, nor expect any help from central unless you are great at butt-kissing and want to be part of their inner circle of chosen ones. And even then your initiation will be a burden to them. Rant finally concluded.
We decided in mid-April to make a hard and fast break for Cannes and began preparations to take Hotel Caledonia as it stood and two other projects to the festival in an all-out effort to raise slate funding. The two other projects, Bastille and Infected, are primed, commercial horror hybrids with a defined audience, and interest already generated (as attachments) from A-list stars here in the UK. Even though neither projects are yet 'packaged' with finance we felt that they offered our best opportunity to resolve the Hotel Cal difficulties. Slate funding probably. £5m or so's worth possibly. So we have been preparing for the festival for most of March and April and are as ready now as we'll ever be.
Despite the bright focus of targeting and preparing, April also brought yet more bad news as Kris Marshall was hospitalised and temporarily comatosed after a car accident. We really felt the whole world was up against us by this stage. Things were pretty bad I can tell you. Both of the Producers were demoralised - three years solid of putting this baby together, trial after trial, is enough to steal anyone's drive and enthusiasm. We even considered, if only for a day, the possibility of us HAVING to shelve the project. But whether by sheer bulldog-like tenacity or just the unwillingness of first timers to admit defeat, we got back on the horse and continued to ride. We continue to ride to this day. We're closer to fulfilling the dream than we've ever been, but we still have a mighty way to go.
As of the date of this blog a possible investment angel has been located - discussions continue to this very moment as to whether and how much he is prepared to invest in us. There is no certainty merely the faintest glimmer of hope. That is enough for us. Everyone who began this journey with us - cast, crew, and supporters from far and near - are still with us. They believe in the project, believe in our commitment to make it happen no matter what obstacles are thrown in our path. The Producers thank you for that, with heartfelt sincerity. We also have an approach out to Colin Teague with a view to him agreeing to be Director on this project. We have a personal 'in' with him so I'm keeping my fingers crossed. There are a couple of 'wing-waiters' on this front but they'll have to stay under wraps for now until we know about Colin. There have been some cast discussions as well including the attachment of Leslie Philips and Gordon Ramsay - both yet to be confirmed but on our 'to do' list. Assuming confirmation of both I predict a very funny time making ths film.
We also have the project out to the UK Film Council for development funding at present. They are giving us every consideration. Cannes is only a week away. Both Producers are loaded up on credit cards just to get out there. The uncertainty of result makes us nervous (especially about settling the card bill when we get back). We are single-minded of purpose and we still believe in what we are trying to achieve.
I hope the next blog will be the one we all want to read - greenlight. But I won't count my chickens. I'll continue to work hard and to be enthused. After all I've lived with this baby for the last seven years. I've seen it grow and mature. And I sure as hell intend to see it walk down the red carpet - lets just hope we don't have to wait until its bar mitzvah to do so!
Nick
Tuesday 30 October 2007
The Road Never Runs Smooth
Well by now I've managed to come down from what was a fairly demoralising month after Club Storm seemingly moved the goalposts hours from opening on our band night. suffice to say that those who were there got the shock of their performance lives. Anyway, least said about that the better, and my apologies extend to all those who travelled the long haul to get to the club to play and to listen.
On to more interesting news we have had our first two substantial pieces of media interest publicised via Scotland on Sunday (14/10/07) and apparently The Sunday Sport (the Kelly connection did it for that I feel) last week. One funny article and one playing on the recent televised activities of Ms Brook. It's all good!
Artwork has begun in earnest both on storyboards, concept boards, set design and costume - just to get ahead of the game slightly given the huge amount of work needed to get us ready for a March/April shoot. My thanks to those artists already giving up substantial time and talent to get on with the job at hand. We'll make some of those designs available online when the new website goes live in the next month - continued thanks to Paul Gallagher, Chris Clayton, and Steve Simmons.
We are now I am reliably informed only a matter of days or so away from final confirmation on our schedule and financing so I'm confident the next blog will be the one to announce all systems are finally go!
Thanks for keeping the faith with us.
Nick
On to more interesting news we have had our first two substantial pieces of media interest publicised via Scotland on Sunday (14/10/07) and apparently The Sunday Sport (the Kelly connection did it for that I feel) last week. One funny article and one playing on the recent televised activities of Ms Brook. It's all good!
Artwork has begun in earnest both on storyboards, concept boards, set design and costume - just to get ahead of the game slightly given the huge amount of work needed to get us ready for a March/April shoot. My thanks to those artists already giving up substantial time and talent to get on with the job at hand. We'll make some of those designs available online when the new website goes live in the next month - continued thanks to Paul Gallagher, Chris Clayton, and Steve Simmons.
We are now I am reliably informed only a matter of days or so away from final confirmation on our schedule and financing so I'm confident the next blog will be the one to announce all systems are finally go!
Thanks for keeping the faith with us.
Nick
Thursday 27 September 2007
Crank Up The Sound
On Thursday 11th October 2007, the five bands scheduled to feature on the movie soundtrack to " Hotel Caledonia " are set to play a three hour extravaganza of music in promotion of the film at Club Storm, Leicester Square in London.
The gig is being jointly promoted by Oceanstorm Films and Club Storm in an effort to increase public awareness of the production due to begin filming in March 2008, as well as to raise the profile of the bands involved.
Doors open at 7.00pm.
For further info please refer to the Club's websites - http://www.thetalentscout.co.uk/ and http://www.stormlondon.co.uk/
The bands playing are: Streetsleeper, Rue The Day, The Gekko, Eighth Wave, and Stoneleaf.
We would appreciate all your support. See you there.
Nick
The gig is being jointly promoted by Oceanstorm Films and Club Storm in an effort to increase public awareness of the production due to begin filming in March 2008, as well as to raise the profile of the bands involved.
Doors open at 7.00pm.
For further info please refer to the Club's websites - http://www.thetalentscout.co.uk/ and http://www.stormlondon.co.uk/
The bands playing are: Streetsleeper, Rue The Day, The Gekko, Eighth Wave, and Stoneleaf.
We would appreciate all your support. See you there.
Nick
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