Post Production: Method & Madness....
Jake remembers, "Since I hadn't done dailies, the weeks before screening the rushes was a scary time and even though I had absolute faith in my DP, as a filmmaker, you tend to be paranoid about that kind of issue....I kept remembering that story David Lynch told when his first film came back completely black!"

Fortunately that wasn't the case and the rushes gave Jake a great burst of energy, "I always edit my own stuff. Editing is the alchemical magic of film, it's really the process of turning the lead of the rushes into the gold of sequences that are dynamic, exciting and tell the story."

Then the 'Method Editing' period began: "I was working at this company who had their own edit suite - so I got some keys and went in at night! I worked from 8pm to 6am over a period of nearly 3 months - I truly began to feel like a Vampire - I'd sleep during the day, then stay up editing all night."

Part of the editing plan was to get a Trailer and Promo Reel ready for the Cannes Film Festival and Market. Yet even before, things were already shifting into a higher gear. The Trailer/Promo generated great press response from magazines, plus the Sci-Fi Channel gave them a camera to film their Cannes odyssey!

Also, and in retrospect most importantly, via Elliot Grove (organiser of the Raindance Independent Film Showcase) I received a call from Wendy Streich at Manga Entertainment/Palm Pictures. She'd heard the buzz being generated about the movie and wanted to know more. A trailer was promptly dispatched and a meeting set up. It was a bizarre and exciting time - I hadn't even finished the movie and all of a sudden tons of legitimate industry people were going ballistic for it! We had this great meeting with Manga/Palm who loved it. The next week we were off to Cannes, every filmmakers' dream destination.

Cannes really was crazy so we got into the spirit of things and went wild....there were parties with movie stars, free alcohol and free food - fantastic. Plus we set up a bunch of meetings with real players like Centropolis Streamline, Dimension Films and Fox Searchlight. It was a great place to make contacts and the film received a couple of serious offers, but on returning, Manga were back on the phone immediately - more meetings were set up - and they were simply offering all the right ingredients for the way we wanted a distributor to complete and handle the Picture. It was a dream come true!