'The Keep' Production Crew

As this a high concept pre-production project that will not actually be made into a real production, I do have some freedom as to who I can use as a rhetorical production crew.

Director - Rachel Talalay

Rachel Talalay is an American-British television and film director. She is best known for certain episodes for various British and American horror and science fiction shows. These include 'Doctor Who' and more recently, 'The Chilling Adventures Of Sabrina'.

Rachel Talalay would be a suitable director for this production of 'The Keep' due to her experience with science fiction and horror properties and productions. Talalay is capable of using direction to build suspense, mostly not revealing certain aspects of a scene until the most appropriate time for the greatest effect on audiences. She can also direct larger action sequences, which would be a valuable asset especially during the climax of the last episode. Talalay's experience of 'Chilling Adventures of Sabrina' will also enable her to work around some unusual and gothic/ horror inspired sets which she has been able to excel in previously.

Cinematography - David Lanzenberg

David Lanzenberg is known for his work on both film and television productions such as 'Paper Towns' and 'The Chilling Adventures of Sabrina'.

Lanzenberg is a skilled cinematographer who has had experience in filming for various different genres of film and television. This includes horror and science fiction. 'Chilling Adventures of Sabrina', One of Lanzenberg's most recent contributions, features several aesthetic and tonal similarities to the required vision for 'The Keep' production. Lanzenberg uses a visual style within this show that creates an almost distorted look to the show. This helps to allow the show to look like an older horror films from the 1970s and 1980s. This would work well with the visual style and aesthetic of 'The Keep', particularly when presenting the look and feel of older war films.

Lanzenberg's experience filming horror will also suite the horror/ science fiction genre that 'The Keep' should possess.

Experimental Sound Design:

I have produced and uploaded two examples of experimental sound design that would be featured in the production of 'The Keep'.

My ideas behind these two examples and thus the main tone intended for the rest of the sound design was to make the setting of the Keep sound like a living being. Hence, during the production of these two examples, I used quite a lot of recordings via a microphone and voice.

1. Within The Keep Grounds:

For this track, I tried to simulate the sound of wind as if it were blowing throughout the many windows and entryways of the Keep. Some louder, sharper sounds are included to represent that something might be skulking the corridors while also emitting a mysterious noise resembling a whistle. This was created mainly as an atmospheric piece to further convey the tone of the production.

I was going to include the sound of birds in this track but the source material novel states that there are no birds present due to some mysterious presence surrounding the Keep.


2. Hallways & Molasar Attacks:

This would be the sort of sounds typically heard throughout the hallways of the Keep, with soldiers marching through and their boots squeaking. However these rhythmic sounds are disturbed as Molasar begins to attack with more metallically organic sounds and a heavy breathing coming from the demon itself.

I am happy with these two examples. However I do feel that, having spent more time on this aspect in particular, I could create a wider range of examples with a more professional production. These do sound a little rough due to lack f proper recording equipment.

'The Keep' Casting Actors

As this is a high concept pre-production and therefore is not actually being mad and is not restricted by a budget, I have the decision to choose whoever I feel would be good casting for each role, no matter how expensive they would actually be to cast in real life. This gives me some creative freedom in choosing who I feel would be best suited for each role and why:

Klaus Woermann: David Bruhl

David Bruhl is a actor born in Barcelona, Spain (growing up in Germany) and has featured as leads in many famous films and series such as 'The Alienist' and 'Captain America Civil War'. However, one of David Bruhl's most famous roles was starring as Frederick Zoller in the Quentin Tarantino film 'Inglorious Basterds' set during World War Two as a decorated German soldier. Bruhl's performance echoes many of the aspects of the character of Klaus Woermann. These include his almost deceptive kind attitude towards other people, something which can suddenly change should the situation provide and become an authoritative figure. The performance can also sometimes be uneasy and calculating. These are aspects that work well with the character of Woermann and David Bruhl has become well known for playing believable German characters.

As Woermann is effectively the main character up to a certain point in the story, it is important to have an established actor in the role who audiences immediately recognise and trust, despite the character's affiliation within the Second World War. David Bruhl is also of a similar age to Klaus Woermann.

Erich Kaempffer: Alexander Fehlin

Alexander Fehlin is a German Actor and writer known for starring in many German film and television productions. His most notable works outside of Germany are starring in 'Homeland' as well as starring alongside David Bruhl in 'Inglorious Basterds' as a German officer. Alexander Fehling shares several physical attributes to the character of Erich Kaempffer including a tall and slim build as well as possessing blonde hair and blue eyes, an example of what would have been considered the 'Arian Race' during World War Two which Kaempffer is proud to conform to.

Fehlin's experience working with David Bruhl will help to form a better acting chemistry between the two actors. Also both are of a similar age, much like Woermann and Kaempffer, and will be able to better project a rivalry between the two characters. Both actors being predominantly form Germany will also help with authenticity.

Theodore Cuza: Peter Capaldi

Peter Capaldi is a Scottish actor best known for the political satire 'In The Loop'. However, the actor has also appeared in science fiction shows, most notably as the titular character in the long running series 'Doctor Who' as well as separate parts in the more mature 'Torchwood'. The character of Theodore Cuza is a dying man who is given a second lease of life by Molasar while being manipulated to do their bidding. Capaldi is of an appropriate age to play an older man, however due to his experience with shows such as 'Doctor Who' and the physical requirements of such as role, Capaldi would be suited to take on the more challenging aspects of the role once the character is given a new lease of life and is required to carry out Molasar's bidding.

Magda Cuza: Emilia Clarke

Emilia Clarke is a British actress known for starring in many high profile film and television roles. Most notable of these is starring as Sarah Connor in 'Terminator Genisys' and as Daenerys Targaryen in HBO's 'Game of Thrones'.
Magda Cuza in the novel is not presented as a particularly strong female character. Despite trying stand stand up for herself, she always finds herself following the will of those around her. This is something that this adaptation should change. Emilia Clarke is typically known for laying strong and independent female characters, so the actress would be a good choice in order to bring a sense of strength to this character.
Clarke's experience when working with science fiction and horror with the use of practical and computer generated effects will also be a valuable asset and ensure that the actress is comfortable performing the role.

Glakken/ The Stranger: David Morrissey

David Morrissey is a British film and television actor known for starring in films such as 'The Reaping' and shows such as 'The Walking Dead'. Morrissey is capable of playing a wide variety of actors. However, one of these includes a foreboding figure. The character of The Governor in 'The Walking Dead' is an imposing figure who seems to be able to blend in with normal human society yet keeps a dark secret and his motives are hidden. These are aspects of the character of Glakken/ The Stranger should possess as he manages not to draw attention to himself but unleashes his full power towards the end of the story.
Morrissey has acted in several physical roles so he possesses the physicality needed for this role in particular. The actor is also very experienced in general, meaning that he will bring a professional attitude to the production

Molasar (Body): Marnix Van Den Broeke

Marnix Van Den Broeke is a Dutch actor and Stuntman. He is most known for starring in 'Harry Potter And The Prisoner Of Azkaban', 'The Colour Of Magic' and 'Doctor Who' as various monster and creature characters. This actor will suite the role of Molasar due to his tall physique, enabling the creation of a large and imposing character. The actor is also used to wearing large costumes and working with prosthetics.

Molasar (Vioce): Benedict Cumberbatch

Benedict Cumberbatch is a British actor know for working in various film and television productions. Cumberbatch is predominantly known for roles such as Sherlock Holmes in the BBC drama show 'Sherlock' and in films such as the 'The Imitation Game'. However, the actor has also provided voice- acting work in roles such as the 2018 adaptation of 'The Grinch'.

Cumberbatch's voice performance as the dragon 'Smaug' in the 'The Hobbit: The Desolation Of Smaug' has provided the inspiration behind this casting. This performance includes a deep and overpowering presence which suits the character of Molasar as this omnipresent being.

The Keep- Test Title Sequence

I have reshot a lot of the footage that I had gained whilst location scouting. I wanted to do this due to a lot of the original footage being very shaken due to the windy weather and I found it looked unprofessional.

Therefore I set out to the location of the old World War Two pill box and commenced filming once more. As it turns out, the weather wasn't pleasant and the sky had become quite dark despite filming around lunchtime. I felt that this suited the overall tone of the production more and thought it would be perfect for use in the opening title sequence. Many of the shots taken this time around were the same as before so filming was relatively quick. The final footage was much less shaken and looked smooth and more professional as a result.

During editing, I managed to get some stock footage of mountainous regions to help to establish the setting of the production. I also made changes to the overall colour-grading of each shot to reflect the darker themes and desired style. The fonts used are reflective of the classic war films between 1960 and 1980, particularly reminiscent of 'Where Eagles Dare' which has remained my primary inspiration.

For the purposes of this test title sequence, I have only included certain details when relating to actors and crew, mostly using character names and crew titles, making it clear that this is an unfinished production.

I have uploaded this onto Youtube. Unfortunately, due to mistakes during the export stage, the video is not in HD. However, this is only a test version anyway:

First Concept Art and Feedback

I have created some early attempts at Concept Art for this project. I feel these are more reflective of an impressionist style over more traditional styles of concept art, however I also feel that these best represent the overall look, style and tone of the show that I wish to achieve.

My process for the creation of this concept art was to physically draw the desired image onto a piece of paper, keeping it as simple as possible, and then taking a picture via my laptop camera. I would then use photoshop to add more detail and bring colour to the images, creating the desired visual style that I need. I was also able to use certain lighting effects within photoshop which helped to make the images look more professional and more interesting to view in general.

Here are some examples:

Feedback:
The feedback gained from this was not overly positive. It was felt that it was unclear what the images were supposed to represent and the geography of the setting. However, I do feel that these images to best represent what the show would look like in the end and wish to keep this visual style at least, perhaps with a little more labelling and detail in order to better present what these images are. This should also help with some of the more set-design orientated concept art as well.

Second Pre-Production Project Presentation:

The following is another presentation that I had created in order to update on my progress working on my High Concept Pre-Production Project:

This blog post will also act as an update as to this project's development as I realise the lack of blog posts recently.

The Platform: Why Amazon Prime Video?

This production of 'The Keep' is proposed to be produced and shown on the platform of 'AMAZON PRIME VIDEO':

There are several reasons behind this decision:

​Amazon Prime Video has a distinct lack of original science fiction/ horror shows. Though shows like 'The Walking Dead' are popular and available to view via Amazon Prime Video, the platform lacks a shows of this genre of its own production.

This production would serve as a contender against shows of a similar genre and style to other streaming platforms. For instance, NETFLIX have produced shows such as STRANGER THINGS and CHILLING ADVENTURES OF SABRINA, two popular science fiction/ horror franchises that have been met with critical success. Producing a contending show via Amazon Prime Video will likely draw these shows audiences towards this platform.

Anyone who signs up to Amazon Prime automatically gains access to Amazon Prime Video, meaning that the incentive to watch this show would also serve to draw more people into using Amazon Prime for various other Amazon products.

'The Keep' Score- Track listing

The following are my plans for the partial soundtrack, including a track listing as well as what I wish for them to sound like. Some of these will probably not be included in the final project portfolio due to time constraints. Therefore, I shall put a star against the tracks which I will definitely make sure to create for the final portfolio.

1. Studio Titles *
This will just be a small theme for the metaphoric 'studios' which would be creating the production. This should be big and bombastic with a big brass section.

2. 'Something Is Killing My Men' *
This will introduce the tone and style of the rest of the soundtrack. It will start quietly will droning strings and a short brass piece which should help to create a mysterious and tense atmosphere.

3. Main Title- The Awakening *
The previous track should then segue into this big and bombastic piece which will play over the opening titles. This will probably be the track I will work on the most as it is the one that will be used the most throughout various examples of the production. A big brass section will be present as well as a large string section, creating a theme which sounds partly heroic, yet also dark and foreboding.

4.The Long Road To The Keep *
This will be a quiet and sombre march piece which will reflect the perilous journey though the Transylvanian Alps towards The Keep.

5. Molasar Is Released *
As the villain is released from his prison, this piece will start off quiet with a subtle piano and harp section before suddenly becoming distorted. By the climax, synthesizers will be heavily incorporated as if the demon's presence has an effect on the music itself.


6. 'Bright Eyes'


7. Theodore & Magda Cuza *
This track will be less dark with use of an acoustic guitar along with quiet strings and should reflect on the father and daughter relationship between the two characters and the troublesome situations they are finding themselves in.


8.  Erich Kaempffer & The SS *
As the theme of the secondary villain and his troops, this should also be a dark and foreboding theme through it will retain the traditional orchestra sound.

9. Main Title- The Convergence


10. Saved By The Demon *
This should be a reversal of how the demon is represented, almost as a thing of wonder as it rescues Magda from several SS officers. A choir and string sound should be used in oder to achieve this.


11. Molasar


12. Main Title- Ultimatum


13. Magda And The Stranger


14. Molasar Is Complete


15. Main Title- Annihilation *
This will be the same as the opening titles except some of the instruments will be replaced in order to reflect on how the demon's presence is also effecting the music and visual style of the show.


16. 'Take It!'


17. The Stranger Strides Forth *
This should be a more heroic theme which should build slowly as the Stranger steps forward and prepares to face Molasar.


18. Reunited.
A quieter version of the main theme, almost as an end coda to finish the narrative.


19. Credits/ Full Theme
A full version of the main isolated theme without the pre-teaser part.

Research- Soundtrack: Ron Goodwin

Ron Goodwin was born on the 17 February 1927 and died on the 8th January 2003.

He was an English composer who provided the score to multiple media, particularly war films predominantly during the era of the 1960s and 1970s. His notable works contributions include 'Where Eagles Dare' (1969), '633 Squadron' (1964), 'Frenzy' (1972) and 'Battle Of Britain' (1969).

Ron Goodwin's musical style utilises a full orchestra. The scores that were provided usually contain bombastic brass sections which normally follows a more heroic melody in oder to frame the protagonists in a typical heroic way. This follows the mood of the time where the Second World War had not long past and several productions were creating a spectacle out of certain events of the war, usually contain fictional, more heroic accounts of battles that took place during the war.

However, examples such as 'Where Eagles Dare', while retaining the more heroic aesthetic, sometimes explores a darker side of the war, as if to convey that the war itself was not as glorified and heroic as some other films may convey.

This is the kind of style I would wish to incorporate within my own project and score as it would reflect the stereotypical themes of the Second World War as well as the horror/ science fiction aspect of the narrative.

The Keep- Episode 4 Summary:

The Keep: Episode 4- Annihilation

Theodore sets off in search for the key which will ultimately free Molasar from the Keep.

Tensions start to grow between Woermann and Kaempffer. A massacre ensues when Molasar starts to systematically kill off every german soldier in the Keep. After retreating to Woermann’s quarters, Woermann starts to reflect on the futility of the Nazi ideology, stating that this is punishment for the war crimes the Nazis have been committing during the Second World War. Enraged, Kaempffer shoots the traitorous Woermann, killing him.

After heading back into the main Keep grounds, Kaempffer finds a a bed of mutilated corpses that where his own men along with rest of the german soldiers. He is then confronted by a now fully-formed Molasar. After pleading with Molasar, asking what he was, he is answered with ‘I am from you…’ before being killed.

Theodore returns, along with Magda, having found the key. Molasar orders that Theodore gives him the key. Theodore then realises his error works out that all Molasar would bring is destruction under his own rule, and that he was imprisoned for a reason. Therefore he refuses. Molasar attacks Theodore, returning him to his aged, weakened state.

Before Molasar is able to kill Magda, Glakken appears at the Keep entrance, fully recovered from his wounds and brandishing a mysterious sword which he had brought on his journey.

A climactic battle ensues.

Glakken is then able to return Molasar back to his imprisoned state, sealing back inside the Keep forever. Glakken then is reunited with Magda and they and Theodore leave the Keep together.