"Prey" was filmed and at edited at 4k resolution, utilising the Red Epic's incredible high definition visuals and slow-motion capabilities required for some of the key moments in the film.
Directed by Jonny Franklin
Co-Director Ben Kent
Producer: Ben Franklin
Director of Photography: Jonny Franklin
Written by Joel Morgan and Ben Franklin
Pray you never bring her home. When a one night stand has horrible repercussions, a sexual predator becomes the prey…
Bloody Cuts 3rd film takes a fresh take on lust and revenge starring Fergal Phillips, Jessica Blake and David Blood and with more superb work from Millennium FX.
As his Directing debut, Jonny Franklin was conscious of the overall desire to not only keep improving every episode, but also trying to do something different and unpredictable. He approached Joel Morgan and Ben Franklin with the nugget of an idea, and through some discussion that grew into a classic "monster under the bed" story. However there were some elements that the story shared with "Stitches", which we were keen to avoid for fear of repeating ourselves. After 8 drafts of the script, the story was finally settled on, which was a blend of J-horror, Fincher, and the age old legends of the banshee and the Succubus.
Continuing our trend for shooting in Norfolk, we found ourselves holed up in a beautiful house for the weekend where our complex shooting script was filmed over the space of 30 hours. Again we had Millennium FX returning, and this time taking the makeup reins was Karen Spencer.
We were all keen to get a bit of blood and gore on the screen (after all, we are Bloody Cuts!) so Karen went to work in detailing a giant gash along side of Fergal's face, treating the audience to a quite horrific and memorable scene. The VFX work, again handled by Alex Purcell, was much heavier this time too, with around 10 shots needing extensive and often subtle work.
"Prey" also saw another addition to the team, in filmmaker Andrew Martin, who arrived armed with his magnificent Red Epic camera. Andrew pulled focus, whilst Ben Kent did an excellent job on camera even though it was his first time operating it. And of course we can't forget the fantastic steadicam work that Peter Ford performed, perfectly matching Jonny's vision for stylistically transitioning between flashbacks.
Trivia: The 'scream' of the banshee was directly taken from the French horror "Martyrs", after many hours spent unsuccessfully trying to find a sound effect that would do the character justice.