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Film


Our Business in Show Business

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Film


Our Business in Show Business

Photo Courtesy of Bruce Luetters/3Sixty Photography


Converging Paths


For Chloe, work in film has always been on course, and a matter of time. As a child, she was inspired by the work of her grandfather, Charles B. Pierce - a pioneer filmmaker of low budget, horror and mocumentary style pictures. And her aptitude for crafting photo-shoot scenery and content was nurtured early on by her creative parents until she inevitably blossomed into the imaginative and resourceful fine art, fashion and fantasy designer/stylist she is today. Ever craving the next fantastic theme to explore, she produced shoot after shoot, year after year, until her body of work was noticed by first-time filmmaker Hooroo Jackson, who would hire Chloe to art direct her first feature film in 2014, Aimy in a Cage.

Myself - myself being Brandon, you’ve no doubt deduced by process of elimination - my debut into entertainment was a little less than planned. Though my convoluted career began with carpentry, the hasty pace and uniform design of most modern construction was not what I dreamed it would be as a child and my path strayed. In the years that followed vocational school, I pursued other paths too disparate to concisely describe here, and my tools mostly collected dust. But Chloe’s shoots were becoming ever more elaborate, and it started to become clear that my particular skills could prove useful. Little by little, we began to work more as a team. So when Chloe was hired to art direct Aimy in a Cage, the next logical question was, “Who should we get to build the set”? Presto. A production company was born. 

 

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Alien


Out of This World

Alien


Out of This World

Photo Courtesy of Bruce Luetters/3Sixty Photography


Bad Drones


Sorry! Can't tell you about this one, YET! Hold your breath; it's pretty cool!  

*Coming March 2017, by Coaloptix Entertainment

Photo Courtesy of  Bruce Luetters, 3Sixty Photography


Set The Scene



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Speak Easy to Me


Speak Easy to Me

Speak Easy to Me


Speak Easy to Me

Photo Courtesy of Bruce Luetters/3Sixty Photography


Cat & Mouse


Set in a 1920’s era speakeasy, a kind of prohibition era underground club for those not so interested in following rules, this set was designed to look lavish, but makeshift, as if the rebellious owners had secretly crafted it in their basement.

One of our fastest jobs, this set was up and running in a week. Working around a stringent budget, we used 1/8” plywood and ceiling strapping for structure, sculpted bricks in patches, to look as though the plaster had begun pealing (this shortcut probably saved us a week sculpting and painting), after which we color-washed a multitude of layers to create detail along with age. The stage was built of shipping pallets, and the barrel stand of 2/4’s from a dismantled warehouse shelf.

Chloe and I also handpicked all the props from Westerman’s Prop House. After they were delivered, I of course submissively acquiesced to Chloe’s styling dictation.    

Video Courtesy of 256 Films & Manny X


Chloe's Photo-shoot 


Photo's Courtesy of Bruce Luetters/3Sixty Photography


Set The Scene


Photo's Courtesy of Bruce Luetters/3Sixty Photography


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Aimy In a Cage


There's a first time for everything

Aimy In a Cage


There's a first time for everything

Photo Courtesy of John Hession


Aimy In a Cage


Aimy in a Cage is a whimsical blending of a science fiction fairy-tale and an apocalyptic horror film. Set in an alternate reality, Aimy tells the story of a misunderstood teenage girl. Her conventional family, unable to tame her mischievous spirit, forces her to undergo a kind of mind dulling lobotomy, the effect of which proves more complicating than settling. Meanwhile, the Apollo Plague, a mysterious and deadly virus, begins to make the national news, slowly taking over life as the Micry family knows it. 

With lush cinematography and a challenging feminist infused narrative, Aimy in a Cage is unlike any other horror film in recent memory. While there are certainly traditional elements of the genre at play in the film (forced imprisonment, global plague), the narrative is less interested in creating a sense of impending doom and more focused on exploring how perceptions of sanity are dependent upon environment. The end result is a remarkable film that contextualizes adolescent female sexuality in a wholly original way.
— Horror Homeroom

                                             Set the Scene


Though there were a host of seasoned actors playing parts in this film, along with some tried and tested veteran crew members, it’s fair to say that there were more than a few newcomers to the industry involved, and we were no exception, but as the set began to take shape over the course of a mere 24 days, transforming the barren concrete mill space into the lavish and eccentric home of an alternate reality, we couldn’t help but feel some pride for our achievement. After all, this wasn’t simply our first feature film set; it was literally the first film set we had ever created. 

Though the set-build of Aimy in a Cage transpired within the lapse of 24 days, preproduction had begun nearly a year beforehand. Chloe, who wore many hats throughout the film, including Production Designer, Art Director, Costume Designer and Props Master, had begun flushing out the aesthetic months prior to construction, and I, shortly after, began working out the architecture with the film's creator, Hooroo Jackson. 

The Art Department's $55K budget included the set's construction materials, as well as all the set's stylistic interiors, along with over 150 practical props and over 150 wardrobe changes. The apartment set spanned nearly 2,500 sq. ft, utilizing "wild walls" that extended down its entire length. This made it possible to obtain those long, panning shots, end to end. The set, costumes and props are littered with subliminal messages, reflecting the mood of each character and scene.

Allisyn Ashley Arm may headline, and Crispin Glover’s name may sell tickets, but the real star of Aimy in a Cage is Chloe Barcelou, the production and costume designer. She creates an arresting world that looks like a post-apocalyptic “Pee Wee’s Playhouse.” Set in a single sprawling flat that recalls visual icons like Jeunet/Caro, Tim Burton, and even Peter Greenaway or a wacked-out Wes Anderson at times, the movie looks like a trippy graphic novel come to life
— 366 Weird Films
                                                    Photo's courtesy of Natalie Shmuel / Luna Rouge Pictures & John Hession
There is an unfair tendency of audiences to equate low budget with low production value but Aimy in a Cage shatters that myth with a visual flair that suggests a Hollywood style budget.
— Horror Homeroom

In character


I would go so far as to say the film’s production & costume designer, Chloe Barcelou, is the most visible star of the film, filling each scene with colour-drenched mise en scene and fantastical wardrobe, demanding a second or even third viewing to fully catalogue it all in our mind’s eye. Hair and make up match Barcelou in panache and invention.
— Urban Cinefile

                                                                          Photo's courtesy of Natalie Shmuel / Luna Rouge Pictures


                           "I Know Why the Caged Bird Sings"


                                                                        Photo's courtesy of Natalie Shmuel / Luna Rouge Pictures

It’s a film of arresting images, often surreal and fantastical, a visceral work that is void of physical violence, yet violent in other ways, absolutely committed to its creative chaos.
— Urban Cinefile



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LastLiftoftheLeg


Last But Not Least

LastLiftoftheLeg


Last But Not Least


Last Lift of the leg


A lovable short comedy, Last Lift of the Leg hilariously tells the story of an upscale pet funeral home, whose clients seek more than a solemn ceremony in the backyard; they want the pomp and ceremony that our dearly departed human kin are payed, but as the long list of friends and family arrive for this prestigious farewell, a series of gossipy revelations disturb the peace as mourners from all corners come to clash.

Last Lift was filmed on a sound stage in Manhattan - winter 2015. We were able to put this set together in under four days, with a $5K budget, which included construction materials, interior design, props and wardrobe. Though this set was significantly smaller and less complex than our previous work, we had a chance to apply what we had learned and really make the most of our time and our budget.