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Interactive Storytelling – Virtual Reality and 360 Film


I’ve been waiting for a while to write something more on the interactive storytelling front and VR was the obvious choice. However, it’s taken a while for the dust to settle from Facebook buying Oculus etc, but now I think it’s time to take a look at how VR is going to influence innovation and creativity in storytelling.

Let’s start with 360 video, as it’s likely to be intrinsically linked to live action and VR. Filming something with a 360 camera and letting people use VR glasses, or a VR headset does not make that film VR. It’s not VR. Sorry, just wanted to get that off my chest first. Now that’s out of the way…For anyone involved in live action film, whether that be interactive or otherwise, 360 brings all sorts of new challenges. Firstly there’s the issue of the 360 view itself. Where do you place the camera? How do you hide the lighting, the boom and other equipment? What type of actor do you need?

For camera, lighting, sound etc. it’s a good bet that the location will be the guide. Take the movie Ex Machina. Director Alex Garland filmed some of the scenes in 360 and they were clever when designing the set, lighting, sound etc. They designed everything so all of the equipment was hidden. The lighting was setup and tested before the set was fully designed, meaning they could get the perfect lighting for the shots, which meant that they could incorporate the lighting as part of the set. This is a lot easier than trying to fix or remove anything in post production. Should the location be too open to hide equipment it may well end up being the story that can help incorporate everything, rather than the set. For the short film “Morrison’s Birthday Party” – which I co-wrote and was the AD – the story, as you’d have guessed, was based around a birthday party. We filmed live with multiple cameras filming simultaneously in a large garden. How did we hide the cameras, sound etc? We didn’t. We used a single jib for the centre shots, while working around the garden with the other cameras. The story itself eluded to the fact that they was a crew there to film the party and it was fully incorporated into the script. The outcome? It worked and the film won best short at the NY independent film and video festival.

These are two examples of how you can creatively deal with equipment whilst filming 360 and it’ll be interesting to see more and more solutions to the issue. However, that’s not where the challenges end. What type of actor do you need for 360 and VR? Are actors going to need to become more stage influenced and become more and more able to perform live? If you’re filming 360 – without trying to splice together different shots to make it look like it was filmed that way – you need everyone to be acting at all times, as they’re being filmed at all times.


This is all due to the viewer being able to interact. Even for a more passive 360 film, the viewer can still turn their heads and see everything that’s going on ‘around them’. If the movie itself is a narrative, there’s nothing to stop the viewer from missing elements that the writer and/or director have deliberately included as a vital element of the story. A turn of the head at the wrong time and you’ve missed it.

So, for the writer and director of a 360 movie, there’s that additional challenge. You will have to consider putting visible and audible triggers in the movie, so as to guide the viewer to those moments. These are going to have to be subtle and not so obvious that it ruins the experience. The viewer needs to feel that they are part of the action and allowed to look wherever they want, but still enjoy the narrative.

What about interactivity and a more flexible approach to really make a film VR? How about the writer includes multiple choices for the viewer throughout the movie? That would make it way more interesting, right? Allow the viewer to interact and to be able to choose where the story goes. A lot of writers and directors will not like this idea, as they want to tell a specific story, but it should be looked at as an interesting challenge, as opposed to a limiter.

With all this considered, what will it do to the movie watching experience? Part of the enjoyment of certain movie genres, is sharing the experience with one or more people. Sure at the cinema, you want to sit silently and watch, but the when at home there’s that element of sharing. If you’re sat with a VR headset on, how do you share your emotions, facial expressions, comments on what you’re seeing (Especially the latter as you maybe looking in a different direction to someone sat near you, if you’re wearing the headsets)? Just take a look at the image at the top of this article (An image that I loved, by the way), how are those guys able to interact with each other?

This is where we’ll hopefully see ‘real’ VR and real interaction for movies. If you’re able to be totally immersed, as a digital version of you, or an avatar, you can have the ability to interact with each other within the movie. Sure, this has and is being done with games, but that’s surely the next step for VR and movie experiences. Great challenge for writers and directors, right?

These are just a few of my thoughts, whilst trying to keep this fairly short and it’s just food for thought. Can’t wait to see what people are going to do with VR and interactive storytelling going forward.



Interactive Storytelling – Immersive Film and Gaming

Interactive Storytelling – Immersive Film and Gaming

Last year I wrote an article on interactive storytelling and the future agency. Within the article, I hit on an idea for immersive gaming and how that could interact with film. I’ve added to that idea here, expanding on it and adding thoughts on projects out there, that are already heading in that direction. In addition, I’ll be concentrating on gaming and film, rather than including the usage in the advertising world.

For those of you that have already read my aforementioned article, you’ll recognize some of this, but keep reading, as there’s new stuff.

Interactive movies are becoming more popular. This includes both online and also offline applications, such as trials for interactive cinema. How does this affect storytelling, both on and off-screen?

How do we now write for the potential multiple story arcs and how do we start to embrace real interactivity for marketing clients? How do hardware elements such as MS Kinect and web cams change the way we look at interaction? Remember, interactive storytelling in this case is not limited to the digital world.

With the drive in story telling and technology, we can now see a clear view of how we can push towards a more immersive experience. This doesn’t have to stop at film and games; in fact they become the same thing. Isn’t it a possibility that we can now start really getting people to interact with products? What’s stopping us from creating full web series or stories based on a product, or product set?

With the connectivity of mobile, online, social and indeed above the line, there is no reason not to use all of these in partnership to create something fully immersive. The possibility for games, movies and campaigns to become interactive through any medium, is something that we should be looking at.


Perhaps it’s time for film to take the next step into fully interactive and even virtual territories.  We’ve seen this in film for a number of years. Movies like ‘The Matrix’ and ‘Johnny Mnemonic’ and novels by the likes of William Gibson and W.T. Quick, have given us a teasing look into what these virtual worlds within ‘cyberspace’ could be like. TV shows, like ‘Caprica’ have given us a view of how we could interact with others through our own avatars, in a virtual world. The fact of the matter is most, if not all of the technology, is now available for this next step.

This can all come together with an immersive platform. We can start to give real interaction to people, both online and in the non-digital world. Let’s take a look at some of the more practical elements first. Interaction has always been there, whether it be face-to-face, through social networks, or through games it doesn’t really matter, it’s all around us. Essentially it’s nothing new to any of us. An immersive platform would be a facilitator, a connecting bridge between all of the touch points.

Where are we now?

Let’s see how the idea is progressing, by looking at an interesting example. ‘Defiance’ is a new TV show, that the creators have linked up with a video game release. The basis for both is a sci-fi story, based in the year 2046, where aliens and humans are living together. That aside, the game and the show live together as well and in parts will affect each other.

Sounds very interesting and we’ll see how that works out soon, as the show begins on April 15th. One of the interesting things that the creators have done, is put together a great cast. With established actors, such as Grant Bowler, Jaime Murray, Julie Benz, Mia Kirshner, Stephanie Leonidas, Nicole Munoz, Graham Greene and Tony Curran, there’s already a large fan base available and plenty of chance of that growing through the gaming world. The game itself looks superbly done, from what I’ve seen. Graphically it does a great job of capturing the world and the characters, which will add, no doubt, to the in-game excitement and enjoyment. Sci-fi is a great genre to enter this joint-media idea. Fans are loyal and with the Cosplayers becoming more prevalent in the convention world and online, there are many avenues for fantasy and sci-fi stories. To take a look at the ‘Defiance’ experience, visit the website (Not now…later!)


These are great steps towards an immersive environment, for both media. However, hopefully it’s only the beginning. From here, how can we expand the idea further, to completely immerse the consumer? How about social networks? How about mobile?

We are Detective

Let’s take an example platform, so that we can trace the path of immersion, if you like. We start of course, with a story. With the immersive platform, you don’t necessarily need to stick to a particular genre. Let’s assume, for the sake of argument and entertainment, ours is a detective story. We have our hero, the experienced and clever detective, who has a difficult case to solve. We introduce the viewer to our lead and his conundrum, through a piece of video on our platform. We realize by the end of the piece, that they need help in solving the mystery and we can be the ones to help them.

How could we help? Well the first thing a good detective would do is look at the evidence and look for clues. We’ve been given the details of the key players; so let’s take a look at what we have. We have the video and its contents. We have the names of the players. We have access to the local newspaper (Fictional and attached to the platform). Now aside from any local news, where else would we look? Well, where would we go on the Internet? What sites and services would we use? We search on Facebook, Twitter and YouTube and we find clues, we find accounts used by the victims, by the villains, by the suspects and we pick up detail that helps us give direction to the story.


We head back to our platform with a new wealth of knowledge and choose our path, based on what we’ve found. Have we found enough? We don’t know right now and nor would our hero. We watch the next piece of film, moving us along the story. But… There’s always a ‘but’, right? We need to go, we can’t stay at home on our desktop, but we want to continue the experience. The platform allows us to take it with us. We use our mobile devices and we continue to work on our evidence and in fact on our story. It’s our story too now, as we’re making decisions along the way.

The Mobile World

We’re lucky at the moment with today’s technology, because we are becoming more and more mobile. From mobile phones to tablets, we have the opportunity to embrace our online lives outside of our desktop environment. This means that we can now converse whilst on the move, with a richer interface and experience.

Any interaction we have with a movie, or game could be extended to the mobile world, augmenting the stories through AR applications, or extensions.


A good example would be to use an AR piece, as an extension of our immersive experience. We could be given a co-ordinance in our local area, where we go to find some information. Once there, we could trigger the AR piece, to show us the next piece of data we need. This could be through heads-up style display, or even in the form of an AR game. For an advertising agency, this is a prime opportunity for engagement. The location could be a client store, or something similar. Perhaps something that the consumer will see, or interact with.

The AR piece can be triggered with a simple photo application within the game, or even a QR code, to get the user moving to the next stage. AR experiences have grown a lot over the past few years and we’ve seen stars like Robert Downey Jr. get involved with a piece for Esquire magazine and Rihanna for NIVEA. Over the next year or so, we’re about to see the next stage for augmented reality.

Google have taken a big step in this direction with their ‘project glass’, as it’s now known. During 2013 we’ll be able to buy the Google glasses that will enable us to view a real heads-up display of maps and other data. There’s no reason why we shouldn’t look to integrate this into the experience and indeed, there are already many clones announced that will hopefully give the product a wider usage.


The final step for our experience is in this strange ‘real world’ that we just entered. Yes, for those with a blinkered view of online life, we should allow real interaction. Part of the immersive experience could led by events, perhaps for the finale of a game, the last scene of a film. The consumers could meet and even sit down in an interactive theater to watch it all play out. In Korean several interactive theaters are being tested. We’re not talking about a Disney 4D, where the audience are sprayed with water, for example – Lord knows what they’d do if they produced a 4D Star Wars film! Doesn’t bear thinking about, really. But I digress – What we are talking about is having the audience participate in the movies with mobile devices, to make decisions in the films. Perfect for the immersive platform.


Where do we go from here?

So what’s the future for engagement and interaction? Many years ago, we experimented with virtual reality and how we could become ‘part’ of an experience, in a virtual environment.  This was pretty much brushed to the wayside, as the technology just wasn’t good enough to fulfill people’s ideals. However, things have moved on and there’s a good possibility that full interactive and virtual experience are on the way.

Universities have now started 3D avatar modeling of people. How have they taken influence from movies and how will this change story telling across all media in the future? It’s always an interesting thing to consider. The futures portrayed in the movies are becoming closer and closer. Well some of it. I still look out of the window Christmas morning, hoping to see my new flying car. No luck there, yet.

The fact is, there are a multitude of technologies waiting to be exploited by us, so why not use them whether they’re on or offline. We should be looking toward connecting the consumer to everything, to the client, to each other and to the stories that we can tell.

The future agency will be more of an overall facilitator, rather than just a marketing and advertising outlet. They will become more fully ingrained in the client’s world and be a source of knowledge and inspiration to those who hire them.

Let’s take our earlier example to run with and imagine that we’re a company. Let’s imagine that our company has the idea of a future immersive gaming and film platform. Where would we begin? We would begin with research. Research across the world of film and gaming, which incidentally, are two of the richest businesses in the world. Research would be completed for each and every element, from genre popularity to sales. The outcome of the research would be the determination of which direction the new platform would head and if the platform was indeed viable.

Once we’ve established that we’re correct in assuming that the platform is something that is viable, we would take a look at the technology involved and the platforms used. Where do people interact and consume? What do they do, when they’re there? The reason these questions need to be asked, is that the future of interaction and entertainment may well be something much more ‘involved’ on our new platform than just playing an interactive game, as an example. People will be able to interact with product, they will be able to interact with other people, and they will be able to consume information, all whilst interacting with the game and movie itself.


Consumer interaction is now wide spread across many platforms, as we know. Facebook, Twitter and other social networking sites have definitely changed the way that we interact with each other, but we also have to consider where we interact. Realistically our interactions spread across many platforms, from verbal communication to mobile and those social networks. Why not create a platform, so that consumers can interact across all of those? Some games are already doing this to a certain degree; games such as World of Warcraft and Call of Duty give the user the ability to interact with each other during the game play. This goes further, though. We would look at creating a platform that was portable. Something that the consumer could use via desktop, mobile, in live situations and even virtually. We’ve discussed this already, so we won’t dwell on the detail, however who better placed to build and implement these phases, than the future agency?

To be, or not to be…Open Source

The next phase in to establish the hardware and OS needed. With the hardware, we’re going to be looking at multiple devices, but with the option to use only one, or a combination, if need be. Would we want to create a physical product? Would we want to give the consumer the ability to own a piece of kit that would give them all of the functionality in one unit, or would we look to provide a platform that products could use? Would we want to create a proprietary product?

One of the most successful companies in this arena is Apple. However, Apple had something that most new companies don’t, which is the long time experience of creating product and the software that it runs. They come from a design and build background, from creating machines with parts in a garage, using software or an OS that already existed. That changed when they wanted the OS to do more, so they wrote their own, to match their products. With console gaming, each company creates their own hardware to run the games on and then relies on gaming manufacturers to write their games for that console. Each console is limited then, by the development of those games. In addition, the proprietary console is limited in its usage across other platforms. Microsoft have had some success with XBOX Live, where gamers can interact on the internet and MS promised the additional ability to carry those games, or at least part of them, to mobile devices. Unfortunately, we haven’t really seen this happen. Both Microsoft and Nintendo have extended gaming out to the physical world with Kinect and Wii respectively, but we’re all waiting for the next stage of interaction.

For a number of years, there has been a big push for open source. This could be the deciding factor in how our immersive platform would exist. A platform that is designed in such a way, that it can be hosted in one place, but allow manufacturers to get involved to create their own products for use in the new environment. It could allow storytellers, filmmakers and game developers alike, to create their own worlds for the consumer to interact with. For these storytellers, it could provide an outlet, not only for their work to be viewed, but to be fully engaged with and extended. It would give them the opportunity for their work to really ‘live’.


The time is now

So what are we waiting for? Let’s get moving and create an immersive environment that not only encompasses film and gaming, but also moves into social, mobile and real life. The technology is out there and it’s a logical direction for us to go. The time is now.

What’s been going on with the writing?

Have written a blog in ages on here, so I thought I’d give an update on my writing, especially as my entries for script competitions is coming to a close this month.

It’s been an interesting year for my scripts and I’ve enjoyed the results. I started entering competitions at the end of last year and it’s been a pretty successful time.

During the year, my scripts have received the following acknowledgements:


Winner ‘Honorable Mention” – LA Movie Awards

Finalist and official selection – ITN Distribution Awards, LA

Finalist British Horror Film Festival

Finalist British Independent Film Festival

Finalist Hollywood Screenplay Contest

Quarter Finalist Fade In Awards

“All In”

Winner “Best Script” – Calishorts Film Festival

Finalist Hollywood Screenplay Contest


Winner “Honorable Mention” – Las Vegas Movie Awards

Previous to these, I had a little bit of success before, working with Frame on Frame

Babbage – Full film. This was a finalist for Hollyshorts/Hayden Film Festival and shown in LA. 15 minutes (Writer)

Morrison’s Birthday Party – Full film. Winner ‘Best Short Drama’ at the NY indie film/video festival. 30 minutes (Co-Writer/Assistant Director) – Premiered at BAFTA

So it’s been a good run so far. I’m hoping for more to come this month and then it’ll be time to kick in with new scripts and get some of these funded and filmed.

Well, thanks Tron! Now what do I do?

So I went to see Tron: Legacy the other night. What did I think? I enjoyed it. Plot-wise it wasn’t really up to much, but then I really didn’t think it needed to be. I mean, logically, it had massive similarities to the first film, at least in the sequences. The light cycle game, followed by an escape, the chase to the centre of ‘town’, on  the light transport thingy, etc. I didn’t care though!

Watching this and also Gren Hornet, both in 3D makes me really want all movies to be done this way. The transparent levels and the visuals in general, are quite brilliant. The CGI for Jeff Bridges, was also amazing. It looked like they’d filmed those scenes 20 years ago.

However, watching the movie has had another impact on me. For a start getting home, I glanced up at a nearby building, that has a vertical colour stripe on the side and I saw this

So the question was…Had I made it home, or was I somewhere on the grid? The main effect it’s had on me is that I’m desperate to get back into serious programming. Movies like this always have this effect on me. I guess I can never get rid of the techie inside, no matter what.

Of course, I don’t have time to do everything that I’d like, working a regular job and all, but maybe my regular job needs to cover one of my interests? Maybe I need to re-incorporate my techie leanings back into work.

I’ll need to do something, as I can only have the time to write, or to code in my spare time, so which will it be?

Currently, I’m writing a double episode of ‘Star Patrol’, for John-Paul Atley, which is likely to be the finale of the web series. The web series itself, launches with a preview this month and it’s set to be a great escape back to the 70’s style Sci-Fi series. If you read this JP, don’t worry, I’ll be finish it 😛 I won’t be quitting writing just yet, plus it’s a great project to be a part of. You can join the FB fan page here: and there’ll be a Twitter profile soon.

There are also 3 full feature scripts in my head, or in note form and I think i need to get them out of my system!! So I think, as I’ve been typing I’ve come to a conclusion, or at least a plan. Re-work my techie/nerdness back into my job and continue writing in my spare time? I think that’s it, but let’s see how that pans out.

The Matrix in 3D, Betelgeuse and Living the Tatooine Dream

If ever there was a trilogy that should have been in 3D, it’s the Matrix…Well maybe Star Wars as well, but it appears we may, at some point, see a little piece of Star Wars ”live”.

Firstly, our most excellent friend, Keanu Reeves has ‘Revealed’ that the Wackowsky?Werkowski?…Okay I know how to spell it, it’s Wokauwski? Woah! Cows Ski? (That’s the Keanu version). Sorry, the Wachowski brothers have said that they’re in treatment phase of Matrix 4 and 5.

It seems a lot of people were disappointed with 2 and 3, but I wasn’t, I loved those films, though the first is clearly the best, they’re collectively one of the most important collections in my DVD, errrr…collection.

I always thought that we were going to see more from the Matrix world, especially the way it was left. I mean everyone must have seen the Jesus comparisons on the films right? Neo is the unlikely saviour, okay he’s not a carpenter, but aren’t programmers the guys who REALLY build things now? By the third film, he has a full following and finally gives his own life to save everyone. All obvious, right? However, it’s also obvious that there’s one final chapter missing from the Nazareth story and that’s the resurrection. As soon as the third film was finished, I was thinking “The Matrix: Resurrection”, would be on the way and hopefully now, it is. Personally, I can’t wait.

So…More Matrix films and now more Betelgeuse? Okay, not quite the same as the Michael Keaton film, but it’s causing more of a stir than an anticipated comedy sequel. Apparently the star is going to go supernova and when it does, we’ll potentially have, what looks like 2 suns in the sky, just like Tatooine, in Star Wars!! Cool, right? Okay, it might not be cool. Maybe it’ll affect our gravitational pull, maybe we’ll all be sucked into a black hole, maybe…Well, you get the picture, right? It may happen in 2012, so the Armageddonists are probably loving it, right now.

So will we be seeing two suns, like the image above? I would’ve thought it was unlikely. Betelgeuse is about 640 light years away, so unless this event happend 639 years ago, we’re not likely to see it in the sky, right? Surely it means that if it happens next year, we’ll see it in 2652, right? Come on @ProfBrianCox and @Prof_S_Hawking , sort it out! Dammit! Sorry people, your Tatooine dreams will have to wait a while longer. I mean, we’ve all Star Wars dreams, right? Even I have. Mine had @ItsJessicaBiel @Nikki_Griffin @BambolaBambina and @AdrianneCurry in it. No! It wasn’t THAT type of dream. Nikki and Jessica as X-Wing Pilots, Adrianne in her Leia bikini and Allessandra as Boba Fett (Sorry @Daniel_Logan ). Again, not THAT type of dream – Jabba ruined the mood. I guess we can all dream, though…right?

Remakes, Reboots and Returns

Well there world seems to be overrun right now with remakes and reboots, both in the Film and the TV world. There’s been news that Total Recall is being remade/rebooted (Whatever you want to call it), with Colin Farrell playing the lead, Spiderman has been rebooted with a new lead (Does look like he fits the part, though), but the one that’s sticking in everyone’s throats, so it seems, is the Buffy re-make. We’ll talk about that later.

TV-wise, there are a few new US-based remakes. ‘Shameless’, with Emmy Rossum and William H. Macy, is one. Not really a fan of the UK original, so can’t imagine watching the US version. Another is ‘Being Human’, of which I’m a big fan. I’m hoping that this one won’t be a complete failure and will actually work, but we’ll see. Talking of failed US re-makes, one that sticks int he mind, was ‘Red Dwarf’, which had a really short-lived life in the US. However, there’s good news about the small rouge one. A new series has been commissioned and will start filming in the autumn!! Woohoo!

A couple of years ago, the UK TV channel ‘Dave’ aired a 3 part RD mini-series, ‘Back to Earth’, which had its critics, but it was GREAT to have it back. I thought that was going to be it, the end of RD, but the boys (and hopefully girl) are coming back. I for one can’t wait and I’m hoping it’ll be the full cast and Danny John-Jules, Craig Charles, Robert Llewyllyn and Chris Barrie are joined by Norman Lovett and Chloe Annett.

A full series with the full cast would be a dream for everyone, I’d imagine, so roll on 2012 (Provided the world doesn’t end of course!). There is one issue for me, though and that’s the fact that, since moving to Amsterdam, we only get the BBC channels, so somehow I’ve got to work out how to get ‘Dave’ over here, or find another way of watching. A few of the Dwarfers are on Twitter. @DannyJohnJules is one there, along with @DougRDNaylor and finally @Bobbyllew , so add these guys, it’s worth it! Also, don’t forget to tune in to Robert’s brilliant ‘Carpool’ and ‘Fully Charged’ web series’, you won’t regret it.

Next up is ‘Being Human’, a great series from the Beeb, the latest of which starts it’s 3rd series tonight on BBC 3, at 9pm GMT.

I think it’s always a big shame that in the UK, most series only run for 6 episodes, because a year is a long time to wait for the next airing. No more bitching…it’s back! Now this is one re-make that I’d like to see succeed and that’s mainly because I’m a fan of Sam Witwer (Smallville, BSG), so I hope it succeeds for his sake.

As far as the UK cast goes, there are a couple of Twitter to follow, @russelltovey and fellow Werewolf @SineadKeenan – Go follow them.

Finally…Buffy. Hmmmm, this is a controversial one, isn’t it? A film without Whedon? Crazy right? Well, actually yes, how can it not be? How can Joss not have any involvement?

Back in the day (Seems like a lifetime ago), WB released the Whedon penned ‘Buffy the Vampire Slayer’ to theaters everywhere. However, much as his name was on it, it seems that the director/producers etc. made a bit of a hash of it. Most Whedeonites dislike the film, but I actually like it, for what it is, especially as we didn’t have the series to compare it to back then. The movie, starring Kristy Swanson and Luke Perry, was probably a bit too slapstick in humour and didn’t seem to have the sharp wit that we’ve grown to love across all of the Whedonverse (Buffy, Angel, Firefly, Dollhouse, Dr. Horrible).

However, surely WB have realised the strengths in Joss’ writing/directing, right? Sadly, that’s unlikely. Now the new film apparently has a writer, Whit Anderson and she’s on Twitter @Whitand , however, it’s not fair to give her grief for writing a film that most of us would give our right eye to have an opportunity to write. She’s a writer, give her a break. It’s hard enough for script writers to get work, or have their work used, as it is, without blaming them for things out of their control. We can only hope that WB see sense and get the man involved.

So finally, more Twitter accounts, this time for the Whedonverse…and there are LOADS!

@NicholasBrendan @AlyDenisof @ElizaDushku @CLCarpenter1970 @AnthonySHead @Amber_Benson @JulieBenz @JennyAndTeets @JulietLandau @ChristianKane01 @JonnyWallet @JimmyLeary @MarkDLutz @AdamSBaldwin @AlexaDavalosD @NathanFillion @Summer_Glau @MissMorenaB @JewelStaite @ActuallyNPH @ClareBerry @SethGreen @FeliciaDay @emmacaulfield @TomLenk @Camden_Toy @Dichenlachman and @Whedonesque – I think that’s all of them, I may add more, if I’ve forgotten anyone. So add them and pray Warner Brothers wake up a little.

“Zombie Office” on Amazon

The short film “Zombie Office”, by writer, director Johan Kruger, is now available for those in the USA, via Amazon online and on-Demand, as part of the horror collection “Horror Vault 3”.

There’s a nice review here:

Here’s the link for the Amazon page:

The link for the “Zombie Office website: for details of the short and the forthcoming feature.

IMDB details for both can be found here: