The News From Red Feline Pictures

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Camille prepares for her role in the television series The Man From The Moon.

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This is one of the very first videos Camille made before her debut film Red Feline On The Cross. It precedes all the Via Crucis of Camille and The Training of Camille.

We're releasing this very exclusive video to raise funds for the four part film series The Crucified Four.

You can get this film here:

https://movies.redfeline.com/us/Camille ... s/p/192304
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Re: The News From Red Feline Pictures

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February

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“February is the uncertain month, neither black nor white, but all shades between by turns.Nothing is sure.”


We’re ALREADY in the second month of 2025 and much is happening, much will happen and much will not happen at all. Is it like that every year? I guess it is, but this year is plenty troubling, both, in our micro cosmos as well as the world at large.

Is there a future? Am I too negative?

Well. I’m not enthusiastic about what I see happening everywhere and in our little microscopic corner of the world and yet we must go on with our lives, ready to confront all the chaos ahead. Because it will be chaotic, it already is.

How do we go about facing the future under those conditions? With creativity, good humor, common sense a lot of daring and a lot of amazing films like we always do.

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We’re amazing, if I say so myself. There’s nothing in the world like us, really, and knowing that gives us the encouragement to go on creating new worlds.

Our most recent attempt to raise some funds for The Crucified Four movies is stuck in the twilight zone. That tells us something unpleasantly obvious, kind of tragic. There’s very little interest in this film series. How should we deal with that unavoidable fact?

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That question is the subject of lengthy discussions between the director, the producer and even the editor, most of these debates take place later at night in bed or in the shower, or during long cardio walks every morning, with Rocky (the dog) going along and who has to be patient with the producer who tends to slow down and step up without coordinating or consulting with the busy dog.

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Rocky and the producer after a troubled cardio walk.

Luckily these exchanges of ideas do not take place in the toilet, that time is used for something more productive, some kind of brain exercise, that’s the official version.

Should we cancel the pre production? The director asks the producer, hesitantly, knowing that maybe his boss? will just throw the project to the trash bin.

The producer doesn’t answer, he is distracted with some after thoughts of what he saw in the news that morning which disturbed him a lot. He saw Trump. Terrifying sight. It’s hard to understand such demonic outcome of events, all the prophesies turning into reality… but I digress.

The director insists, five or ten blocks later, so, should we cancel the pre production of The Crucified Four?

The producer looks at a pretty woman walking two beautiful yorkies, he smiles at the young woman who smiles back and says hello. The yorkies bark at Rocky furiously. Rocky ignores them completely, he’s busy smelling the latest news posted on the lamp posts, trees, walls, sidewalks of the block, every block has interesting news for him.

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The director is annoyed at the producer who seems to be ignoring him completely. Well? He insists.

The producer thinks he is in love with the young woman and her dogs, or maybe he’s thinking that he fell in love so he can ignore the question that has been plaguing his mind for a while now.

We should keep the work going for now, he tells himself out loud so the director could hear, and see what happens until march. In the meantime we should complete the CruXbound films with Dani, Mila, Simonne and Ligia and get Erix film, Aventura, on its way to production.

That’s a lot of production work, for sure.

Here’s Simonne rehearsing a nasty scene for CruXbound IV. She is working in two versions of that movie.

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The question from the annoyed director comes back. Will we be able to produce the most amazing stories ever brought to the big home screen?

The producer doesn’t answer, he’s too busy checking his wassap, it notified him of a message where Ligia shared a picture of herself during her performance singing Johnathan’s letter, in the musical Dracula. Guess who does Ligia play. If you answered Mina, you are right.

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The question remains floating above the producer’s head. Can we do it? Can we produce the incredibly extreme series of 4 crucifixion films? He doesn’t answer. His silence is deafening, only Rocky can hear what’s behind the silence, he can smell it too.

On Saturday the 8th Jac and Erix went to the location where most of The Crucified Four films will be shot, if it happens, that is, and some sequences for Erix new film Aventura as well.

Erix was happy with the location for his movie. A secluded cabaña with a lot of space around for a bloody battle between 2 beautiful young women against seven, well armed, male attackers. That’s the same cabaña that the cast and crew of Dead But Dreaming used for a few days back in 2013. One of the rooms was occupied by Amy, Jac, Mila and Cortney, the other was used by the all male crew plus Erix.

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Erix film, has different funding and budget, unlike The Crucified Four that apparently will depend on what we have at hand. We hope to sell a lot of our movies in the next couple of months to have enough cash. Unfortunately it’s not happening that way. Our sales are steady but not fantastic. So we will insist with the fundraising, for now.

Next week Jac will be negotiating the terms for the use of the location for all the films he wants to produce during the coming months. The plan is to shoot all four films beginning in April. Erix film will be shot in March.

He checked the terrain of the location he wants for the crucifixions. There will be four of them.

He walked to the edge from where he can get a good view of the place where the three martyrs suffered their crucifixion in Seditiosa. He thought he would find the three poles used during that film still in their place; but no, there was only one pole still standing and the terrain was greener, a lot greener.

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Finding only one pole there meant that Jac has the freedom to create anything he wants for the four crucifixions he is envisioning in his head and developing in his script. They are extremely bloody, pretty horrible, horrendous, awful, terrible, dreadful, appalling, frightful, revolting, horrid, ghastly, gruesome and yet, poetic and beautiful.

The producer, the director, the editor and the entire cast and crew are totally committed to make those four movies and are hoping that the support they need will materialize in the next few days.

There’s a bet going around. The pragmatic producer, who knows more about fundraising efforts, said, during one of those lengthy cardio walks, that people are not interested in those films and that he would most likely put them on a shelf somewhere, where unlucky scripts go to die. The director, in the other hand, the one that enjoys working on those films where some beautiful woman suffer the demands of the script and his extreme views of them, said that there has to be interest on the films somewhere.

So they decided to place a bet. If the campaign raises 1,000 USD in the next 7 days, the director wins the bet and he will have the choice of having any of the actresses in his dungeon for 7 days. If no money comes in then the producer will decided whether to continue or not.

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Help us make The Crucified Four films! And you can help the Director win his bet! All those who contribute 100 or more during the next 7 days will get an extra movie, one where the director enjoys torturing a beautiful actress! If he wins the bet that is.

We set up this campaign with a goal of $40,000 for ALL the FILMS. You can help us get those funds with contributions for as little as 25 USD.

For a 25 USD contribution you’ll get ANY new film of your choice, when these new films are released. The regular price will be 35 USD or more.

For a 100 USD contribution you will get ANY FOUR new releases when they come out, including The Crucified Four movies. The regular price for 4 new movies will be around 150.

All contributions will help us move from one stage of the production to another faster. Please help if you can. Every donation makes a difference.

You can contribute here!
https://www.paypal.com/donate/?campaign ... source=url

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https://www.paypal.com/donate?campaign_id=4J7DNEXYHW8J8
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Re: The News From Red Feline Pictures

Post by La Reine Margot »

New Cycles

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We begin 2025 with many changes and a question pops up. Is 2015 marking the end of a cycle and beginning of another one?

These days remind us of 2005, twenty years ago, when Jac didn’t know where things were going. It was a very difficult year in many ways. At the beginning of 2005 New York was the center of our activities but in that year we were already going through changes; drastic, life altering changes.

During that year we experienced some issues that were affecting the way we were doing things. For a couple of years we dealt with extreme problems that resulted from the 9/11 tragic events in NY. Our system of charging for our products was affected dramatically. The company that made the charges possible could no longer do it, so, for two years we tried different ways, including PayPal, but nothing worked the same way. It looked like the end of what we started back in 1998 was fast approaching. But something else happened.

At the end of that year, 2005, Jac went to a couple of festivals. One of them was in Oruro, Bolivia, it was in November. Jac was invited to show two films there, Martyr and Nocturnia, Amy was part of the full house audience in a beautiful theater with an actual silver screen, she was watching those films.

It was right after that festival, where Amy saw Martyr, that she decided to join Jac in his cinematic adventures and a new cycle of work began.

Jac met Amy, who was visiting Bolivia, a month or so before, when she showed up for a casting call for the NatGeo Docudrama. Both of their lives changed completely on November 15th of 2005, when, Amy, instead of going to Chile, as she was planning, she already had her ticket and hotel reservations, she stayed in Bolivia, with Jac, to begin an incredibly productive life.

When putting all that together, the problems, the traveling, the festivals for Martyr and that one event that changed things, the NatGeo documentary, we can say that 2005 was the year when one cycle ended and another one began.

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Ten years later Amy announced to Jac that she was leaving for the US. The announcement came after she returned from a long journey, first to Mexico, to show her new film Olalla at the Feratum Film Festival and then to the US, LA mostly, where she was offered to design and organize the film department at a university in Washington State. An offer she couldn’t refuse.

She went to Mexico and LA after we were done with the shooting of Pygmalion, and when she returned she learned that her new film Olalla, was invited to be shown at the same festival where she saw Martyr in 2005.

Amy and Jac went to Oruro, ten years after they met, and this time with Amy’s film, closing an immensely creative cycle.

Amy and Jac sat on a bench at the city’s main square in front of the theatre where Martyr was shown ten years before, there were tears in their eyes because something too cool was ending, it was a cloudy day, November 15, 2015. It was a sad and sweet moment. Their lives were about to change again, dramatically.

But before going back to the US, they still had Justine to produce, which they did right after returning from the festival to La Paz.

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Amy and Jac ending a cycle. The very night, after this picture was taken, on the last day of shooting Amy’s scenes on Justine, she was on her way to the US in the middle of December, 2015.

Coincidentally, as it happened in 2005, at the end of 2015, Jac was contacted to work on another NatGeo documentary. Coincidence? A message from the universe?

That made it clear in Jac’s mind that it was the beginning of a completely new cycle, without Amy working with him in amazing movies, as an actress, producer, director, heskinator, but with new projects in store for him, including the NatGeo documentary that took Jac back to the tropics of Bolivia for a many months adventure.

There some surprises ahead as well. New encounters, new possibilities.

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Another ten years have passed, and once again, Jac is looking back and ahead, knowing that he is in the middle of closing a cycle and on the verge of the beginning of a new one. We won’t know what the new cycle will consist of until later, maybe even by the end of this year, as it happened in 2005 and 2015.

Maybe we will work on Crucified Four and Maleficaum Excruciati during the closing of this cycle, like we did in 2015, when we closed the ten year cycle producing two films, Pygmalion and Justine.

However, that’s a big maybe because our director lost his bet to our producer. The bet was that we were going to raise another 1000 bucks before the end of March, and it didn’t happen. The campaign is active but there’s no hope that it will be half way successful. It didn’t work after all this time, a few months, where we raised a bit over 500 dollars of a 40,000 goal for the four movies. Sad, tragic, but enlightening.

The bet loser director and the actresses are very, very disappointed and the bet winner but unhappy producer decided to put all plans to produce new movies on hold.

Dani commented, when she found out that the campaign for Crucified Four was completely stuck, that maybe we should consider doing less complicated movies. Jac made her notice that even those less complicated movies were finding difficulties.

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And somehow, as it was happening at the end of 2005, we had a terrible week before the end of last month because a terrible incident happened which threatened our very livelihood.

People trying to buy a film from us encountered a message saying Error 16. Apparently our merchant account has a new security set up that suddenly started blocking all IPs coming to our store. The store’s IP was blocked. A big problem because no one could purchase a movie. It meant that there was no longer an income and for over 10 days nothing came in. We went into full panic mode. Was it the end? Did Musk had anything to do with it? After all, Jac is a big critic of him in social media.

It took more than ten days to solve the issue. Fortunately we are selling again, the store is back to normal, but we’re not so confident anymore. We became painfully aware that anything can happen at anytime and we need to have alternatives.

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That ungrateful incident made our Producer think that we cannot depend on what we have and we need to look into new ways of producing and selling our films. We need to embrace all the new things that are appearing, like we did way back in 1995 when the age of celluloid and video tapes was coming to an end and the era of digital cinema and the internet was beginning in full force.

Jac embraced that moment in time and by 1998 we had Red Feline Pictures all set up with a webpage, rfpix.com, and we had a new film out, reaching thousands of people out in the World Wide Web, Red Feline On The Cross. It was selling like crazy, a 500 dollar investment bringing in thousands of dollars, and suddenly we were living a whole new life, with new prospects and new ways of doing things.

I can say that the end of 1995, when Jac and Camille took the TV series The Man From the Moon to NY and then went to Paris, where Camille stayed for months, was the end of a Cycle and the beginning of another one. In 1996 Jac and Camille were back in Bolivia, they were shooting all those Via Crucis of Camille videos, leading to the first film to be released in the new cycle, Red Feline on the Cross and leaving Bolivia for New York, a year later, to move on the bran new cycle.

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Thanks for the update. It’s sad you don’t have contributors for these new films. I read a post about another Maleficarum film. When are you gonna shoot it? What is it gonna be about?
As we end this cycle and start taking the steps for the new one, we are becoming sadly aware that we are too dependent on the crucifixion genre, which Jac the director truly loves, but that it has a limited fan base, in numbers, that is. And when that fan base shows NO interest in future films, then the Producer in him thinks that it’s time to move on and take other roads.

One of those would be exploring the Inquisition base, which is not bad. We have that amazing script, Maleficarum Excruciati , which needs a lot of cash, locations, a large cast and crew and it takes place in colonial times, of course. It is the story of a young woman accused of witchcraft because the husband of a very domineering lady falls in love with her. Three other women are also accused of the same crime, all four beautiful and young women suffer the tortures of the inquisition and at least a couple of them end up burned alive at the stake. I can’t reveal much more of that, but it promises to be extremely cruel, more than Maleficarum and Monxa Mala combined.

We were thinking on launching a campaign for this new inquisition movie after completing the production of Crucified Four, but we are not so sure a fundraising will work anymore.

One of the instruments of torture we’re thinking of using would be the famous Inquisition Torture Chair, which we would have to design and build and would cost good money. And that’s not the only instrument for that film, we’re thinking of a whole bunch; but we don’t know if we can pull it off, so that project is a nice dream in the director’s head right now.

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We have some films in post, which we will be releasing this year, and Jac is working on the CruXbound movies, with some difficulties because a lot of issues get in the way of getting the cast together. They all had issues last year, which prevented them from having time to go into production.

It will take at least another month of work, on a painfully daily basis, to bring those four extreme films to completion. One of them was produced already, in two versions, the one with Simonne. That film is into post production. The other three are still in production. I’ll have more details on their progress by the 15th of March.

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We might take another road to do something else all together. Jac is toying with his old plan of working on a Television Series for Netflix or NatGeo, and that could take a good part of the next three years.

In closing, we’re no longer expecting the enthusiastic support for the proposed projects that we were hoping for, but we’ll keep the campaign until the end of March, at which point we will close it for good.

Crucified Four and all the other projects we are planning to work on will be on hold for now. It is becoming painfully obvious that if we want to make those movies, we have to find other ways of financing them.

And that’s where we are at this very moment. I don’t know what will happen in the near future. It’s up to the Producer, who won the bet and it doesn’t make him happy, it’s up to him which way we’re going to go and his principal cast is waiting to know what’s going to happen.

Meanwhile, the director dreams of the other instruments he would love to use in Maleficarum Excruciati. One of them is the infamous Judas Cradle. He told Dani that she would suffer a lot sitting on that contraption. Would she be willing to go through that? We won’t know, at least not for now.

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Here a memory of what we can do and what the world will be missing if we don’t.


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We can try again. You can contribute for a dream to come true.

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That’s it for now. Au revoir les enfants.
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Re: The News From Red Feline Pictures

Post by La Reine Margot »

Crux Conversatorium 01

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The Crux Forum is holding a very interesting conversation where we must put our 2 Quadrans in.

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Cruxlover24: Just found this picture of Dani. She looks so beautiful and evil!!!
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That’s the look Jac is thinking she should have in a Vampire movie. I believe she was cast in a vampire movie sometime ago, but that film was never made. So her thirst for blood wasn’t satisfied.

Jac is playing with the idea of making his own version of the famous 1872 Gothic novella by Irish author Sheridan Le Fanu Carmilla. It is one of the earliest works of vampire fiction, predating Bram Stoker’s Dracula (1897) by 25 years. where Mila would be the vampire that invades Dani’s home and turns her into a vampire. Well… that’s an idea in need of development.
JDArts: Personally, I find Simonne more attractive, but I admit that Dani is also very pretty.
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All the women working in our films are very beautiful and talented, each with their own personal attractiveness and there’s no competition between them as to who is the most beautiful.

What is important is how they perform their characters, how far they are willing to go, how strong they are when put in extremely uncomfortable situations, sometimes painful, and so on.

Jac casts them in the roles they would be best suited for. Like Simonne in the role of Yahel, Dani as Judith and Mila as Magdalena.

A director has to know the cast very well. A good director will know what character a particular actress will be best suited for.

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Cruxlover24: Any new details about the new films you are working with Mila and Dani? They both together are fantastic!
We are working on the CruXbound Series. One of them has Dani as the lead victim role, another will have Mila as the suffering protagonist. In the one with Dani, Mila is the one torturing her. Dani will be Mila’s torturer when Mila’s turn to suffer comes. The other two CruXbound movies have Ligia in one of them, as the protagonist who suffers extreme tortures at the hands of our Director and Simonne in the other, who is subjected to torments worthy of the inquisition.

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Cruxlover24: For what I’ve been reading in this thread there were things that were promised for Seditiosa, and some were disappointed about those promises not kept.
Originally, there was an idea proposed by two people who wanted to have a Female Christ movie, there was a basic script and some money involved. Jac accepted the proposal and in consultation with the two new associate producers, he embarked in fundraising, writing the script and preparing the production. There were a good number of things in the original idea that had to be trim down to what was actually possible to do with the budget that was raised. During the campaign some possible scenarios were mentioned, most of which are in the film, some bits did not make it to production for different circumstances.

This kind of situation happens with all productions, regardless of their budgets. It can happen during the script writing, during pre-production, during production and even in post production. Some shots, entire scenes, might end up in the cutting room floor, that’s the expression, for whatever reason. That’s the reality of filmmaking.

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JDArts: For me, Seditiosa is a perfect film. It’s the most faithful and best-constructed female Christ of all the ones I’ve seen. I don’t understand why others found it disappointing?
I believe that there’s the tendency of putting one’s own expectations in a movie, any movie. One hopes to see one’s own fantasies at play and it is disappointing when it doesn’t happen that way. It’s better to appreciate a movie for what is there and that’s it. Not compliant about what is not there. That’s a waste of emotions. However, I can understand why a few absent details can affect a person’s expectations negatively.

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Spiros: Only disappointment for me was the fake blood covering the naked bodies on the cross.
We don’t use real blood. That would be gross. So we have to use litters and litters of fake blood, which is called Stage Blood, that’s the technical name, and it is generally used in all movies and television series where blood is needed to appear. Either in great quantities or tiny drops running down a nose.

In our case, we purchase a few bottles of Stage Blood, every time someone in our company happens to go to NY.

The fact is that when people are tortured with whips, sometimes they tend to bleed, maybe not all the time, but a lot. So… we make them ladies bleed when they are whipped or a crown of thorns is pressed on their heads.

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Cruxlover24: My boyfriend and I loved the movie, I was not aware of the campaign as I knew about the director after this film. For me was good, it has some issues, but I guess maybe he is new in doing crucifixions. Anyways, we loved the movie![
The director is not new to crucifixions. A little research will show that. The first crucifixion he worked on was in a Docu-Drama about Haiti. A young couple are crucified in an sugar cane field. That is his first film which had a premiere at the Cannes Film Festival, the writer Graham Greene was present at the premiere. He invited Jac for drinks at his home in Antibes. That film was released in 1988.

The very famous French film magazine, Cahiers Du Cinema had an amazing review of the film:
Krik? Krak! carries the political documentary into the realm of the fantastic. The story of Haiti’s misery under two generations of Duvaliers is told impressionistically, mingling absolutely extraordinary documents of daily life, (including an interview with Papa Doc himself, and scenes from fiction films), to convey what a straightforward documentary cannot: the continual shifts between levels of reality in Haitian life, some of which are inaccessible to the camera, in particular, the omnipresence of the Voodoo religion.

Bill Khron – Cahiers Du Cinema
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After 2 years of traveling from festival to festival with that film, winning awards, getting great reviews and sales to television, Jac began to play with the subject of crucifixions for a film he had in mind where a young woman is crucified. That’s in the early 90s. That’s when Camille appeared in Jac’s life, to become the protagonist of a TV series and to become the first long suffering actress who was crucified again and again and again, gaining experience and sharpening her acting skills.

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During the decades that came after, Jac worked on dozens of movies where the main female characters are crucified, including the most recent female crucifixion movie Seditiosa, where three beautiful women suffer the cross after a lengthy walk carrying their patibulum.

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wanttoknowmore: There is a discussion of the film itself in the “Seditiosa” thread.

For me, the biggest issues were the complete removal of the promised (during fundraising) dialogue from and between the crucified women, and the unnecessary hair bra on Simonne.[
It was discussed before that once the production starts, priorities, plans, ideas, etc. might change. A lot of things can happen during production, particularly in extremely low budget productions, where somethings cannot be done the way they were planned. Even million dollar productions suffer problems during production.

When a day of production starts, sometimes the best plans go down the drain for some unexpected reason, the weather, the location, the cast, strange and negative circumstances, anything can affect the day’s production and decisions have to be taken to solve the problem or problems.



And as far as Simonne’s hair covering her breasts sometimes, well, that’s how long hair tends to behave. Simonne moves her head this way, that way, her hair moves too and sometimes goes over her breasts.

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JDArts: For me, it was beautiful how they whipped them while they were still crucified and tore off their loincloths with whips until they were bloodied and vulnerable.

If there was one thing I would have liked to see, it would have been Yahel/Simonne’s loincloth falling off, leaving her completely naked like her friends (and I’m a huge fan of loincloths).
Otherwise, it’s an excellent movie.
Shooting the crucifixion scenes was very, very difficult. It was sunny but cold, very cold. The Crucified Three had to suffer for a very long time without any kind of help while the cameras were rolling. That was difficult enough, but having to suffer the cruel whipping up on their crosses for a very long time was even harder than everything they did before.

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The scene had to be completed while the sun was still there. Some things were sacrifice for the good of the scenes. In the case of Simonne, she wasn’t comfortable with having her loincloth completely remove and that’s that. If an actress is not willing to do something, that decision is respected.

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wanttoknowmore said: A hair bra is the long hair that covers her chest throughout the film.
JDArts: Ahh, you were talking about her hair covering her breasts

But it wasn’t in the entire movie, only during the crucifixion.
In the whipping and procession scene, she did show her breasts.
During Yahel’s (Simonne) crucifixion, there are plenty of times where her breasts are exposed, depending on how she moves during her agony up there.

Setting up the crosses was a big deal, once the actresses are up there, there’s very little anyone can do. To make any little changes while they are up there would involve a lot of work.

During the testing of the crosses, Jac shot a video of how the scenes would work and look, how the protagonists were going to feel up there, etc. You can see in the video how complicated the entire thing is.

So, to have the crew work like that to fix a little problem, like someone’s hair falling one way or another and covering a nipple is kind of complicated and time consuming and there’s no guarantee that the hair will stay where it was set up for the rest of the shooting of a particular take.



We will continue this conversatorium on our next post. More intriguing comments are coming in.

Meanwhile, we still have our campaign for Crucified Four… any interested parties?

https://www.paypal.com/donate?campaign_id=4J7DNEXYHW8J8

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Re: The News From Red Feline Pictures

Post by La Reine Margot »

Crux Conversatorium II

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We continue the Coversatorium about Seditiosa, a subject that seems to occupy a lot of brain cells lately.

The main issues are Simonne’s hair covering her breasts sometimes and a dialogue that did not appear as it was recorded during the fundraising campaign.

About the breasts…
Cruxlover24: They all showed their beautiful breasts and look extremely beautiful and amazing. The cast was awesome, three beautiful women that work really good together!
Yes, they are awesome and beautiful women that work amazingly well together and give a lot of themselves to their work. They are proud of that. They shine on every single shot in Seditiosa, regardless of where their hair goes.

They put everything into their characters, they make them believable, totally. What you see on the screen are not the actresses, you see the characters, their inner selves, their motivations, their reactions to their circumstances. Their strength, their weakness, their capacity to suffer.

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Crux-Emperor Baracus X: Yes really disappointed that this excellent scene wasn’t included, as such….. I found Mila’s (original) loincloth quote alluring.
Maybe there were other scenes that were planned, thought of, that were in the script but were never shot. That always happens, in all productions, be they expensive, no budget, extremely low budget. It happens.

To find fault about something like that in the context of the entire film is unfair, to say the least. All our films receive reviews, excellent, good, not so good, bad… we are used to that from the very first film Jac made, the one that opened at the Cannes Film Festival. But when the discussion centers on a few seconds of screen time obscuring the entire movie is kind of silly, but here we go.

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JDArts There’s the video where you can see the deleted dialogue. Perhaps Jac cut those scenes because the film was getting too long.

I learned he deleted a scene where the three crucified women were talking to the three who were saved.
Actually, the scene where Sol talks to Simonne, while Camila and Ligia are in front of Dani and Mila, was not deleted. There’s a Long Shot that was filmed on the first day the crucifixion scene was recorded, where the three women stand in front of the crucified three. The shot was not used because when it was filmed the crucified three were still wearing their loincloths and the dialogue between Sol and Simonne takes place AFTER they have been whipped, stripped and tortured with lances while agonizing on the cross. The scene was not deleted, it is there, only that one long shot was not used. The close ups of Sol, Ligia, Camila licking the victims blood, Sol and Simonne talking to each other, it is in the film as it was filmed.

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The deleted long shot

Cruxlover24: Maybe we can ask the cast what happened, why they didn’t do that.

Maybe they just didn’t do it, or they didn’t want to do it at all! I’ll look for those rehearsals as I didn’t know about them.


wanttoknowmore: Both of your statements could be true. However, if you say you are going to do it when looking for support, then don’t, do not be surprised or disappointed when support for your next project is lacking.

Cruxlover24 Makes senses, maybe that’s the reason why there’s no support for this new project.
I don’t think a line of dialogue missing, which upsets one or two individuals, affects everyone; most people, 99.9% don’t even know about the supposedly missing dialogue. People who purchase the film do it on its merits, not on the perception of something missing by someone.

The lack of support for the Crucified Four project can have a good number of reasons, as many reasons as individuals unwilling or unable to back it up. The most common, of course, is the economy, which is not doing well this year and the uncertainty of the future. People are not willing to put some money into what might not happen because they see that there’s no support for it. It’s kind of a vicious circle. People see that the campaign is stuck, they don’t contribute, the campaign continues to be stuck, people don’t contribute because the campaign is stuck… and around and around.

But people continue buying our films. Seditiosa sells and sells. I’m totally sure that if and when the Crucified Four film comes out, it will sell very well. That’s a sure thing. All we need to do is find some cash to make it happen, maybe cut some expenses, do it on the low end of the spectrum… maybe. We did that a lot in the past.

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Cruxlover24: Well the movie is good, but you have problems making the nailing doesn’t look very real once they are hanging. Maybe you should work with people with expertise in special effects to make them look more realistic

I guess if we were as wealthy as Mel Gibson we could spend 25 million dollars to make a crucifixion movie, then we can hire a bunch of technicians, special effects experts and make it happen. We could also have a thousand extras, amazing locations in some Middle east country, and tremendous equipment, lots of lights, shades, platforms, cranes, cameras and sound recorders.

Unfortunately we only had around 25,000 in cash, which is what Mel Gibson probably paid for the transportation of his crew and equipment from the airport to the location.

We try our best with what we have.

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wanttoknowmore: A couple things –

First, if Simonne’s hair was initially place behind her shoulder’s when the crown of thorn’s was re-applied before her raising, there is NO WAY with it’s length and thickness that any head movement would have gotten that much hair forward. Not to mention it could have been shorter in the first place. The hair length and placement were IMHO deliberate calls, especially given the crux scene in Justine. which has the same hair covering affect
During Simonne’s nailing her hair was moved back. When she was raised and taken to the post, the hair was behind her back. When the crown was placed back on her head, the hair was behind her shoulder, when the ropes were pulled to raise Yahel up her hair was still behind her shoulder, but at one point she lowered her head and some of her hair fell over her chest. The scene was not going to be stopped because of that, all the attention was on how the scene was moving and how Simonne was reacting, not where her hair was going.

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As she was finally raised up the post, some hair was already over her chest. The nailing and raising were done in two separate days. On day one, the nailing of all three was done. The shooting involved a lot of takes of all three as they were raise up and set upon their crosses, that’s when the followers walked to them. The second day of the crucifixion scene, all the takes needed from the moment they are raised to their crosses until the very end.

In both days, efforts were made to have Simonne’s hair behind her shoulders, but once she was up on her cross, there was no longer control of the situation. From that point on the actions were under the dominance of the actresses, their movements, the reactions to their suffering, their agony, and to maintain the dramatic situation going, the shooting could not be interrupted. All the effort Simonne was putting into her acting, the real pain she was feeling not to mention the cold engulfing her naked body, her intense concentration on what was happening to her… none of that could be interrupted just because sometimes some hair was covering her nipple.

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wanttoknowmore: Second, I concur that a small budget will require cutbacks – less of a “crowd”. no true citadel, fewer props. However, we are talking about dialogue on a scene that is already staged. There is little if any cost to film that.
The promo video with the famous dialogues was made in the studio, under full control of everything, the lights, the sound, the time, everything, and in separate days for each of the actresses. All of it with one crew, Jac, doing the camera, sound, lights, directing the actresses. He could have them repeat their lines of dialogue as many times as he felt it was necessary for that to come out ok. It was a controlled environment.

Jac has a nice Tripod with a boom for the mike, another tripod for the recorder, once everything is set he’s good to go. And that was done efficiently. It’s different in a location where there’s wind, large spaces to cover, cold wind hitting the actresses, the same wind hitting the mike.

To shoot a big scene under the conditions the cast and crew had in the location was amazingly involved and difficult, not just the dialogues, everything, have a good number of takes of the suffering of the three women, the reactions of the people watching, their dialogues, the torturing, the whipping. the different angles of every thing that is going on, and all of that in two days.

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Each individual actress was set up on her respective cross, they began suffering the minute they were set up there, really suffering, there were a few hours in the day for the raising up to the post, the nailing of their feet, the stripping of their bodies with the whip… the torturing with the lance, with all the effects that it takes to do that one thing.

The actresses had their dialogues in their heads… maybe, but they were not thinking about them, they were thinking ‘when is this shit going to be over… I’m cold, I’m in pain, I’m hysterical

As a matter of fact, I think Jac told them to be ready for the dialogues and they responded ‘what dialogues, are you kidding?‘ If I find that in the outs, I’ll post it.

During the recording of the promo the actresses were at eye level. During the filming of the scenes they were up high on their crosses.

Some of the dialogue was recorded, specially when Simonne talks to Sol. It came out ok, considering the difficulties. It was hard to record Simonne up there, Sol was easier, she was at camera level.

It became evident that longer dialogues on the cross would be difficult if not impossible but Jac was going to do it. However there were lots of camera angles to be shot, a whole set of considerations to take care of and perhaps at one point there was no longer anytime to do those three dialogues and the willingness on the part of the actresses to do it. I can’t blame them, neither can Jac. They suffered enough for his art. But the lines of the dialogues were added to the film in post.

https://vimeo.com/865175731
wanttoknowmore: Lastly, I agree that filming outdoors, especially with nude scenes, in the middle of winter does make things difficult. Not just temp -wise, but fewer hours of and less intense/bright daylight. That is why the fact that you folks used Jan-Mar (after the money from the fundraising site was available) to produce the 69 movie -which was shot indoors – so aggravating. At the very least, the crux scenes should have been shot in those months.

No issue with any actress not wanting to do a full nude scene. Her call.
69 Anneé Érotique was a project that began pre production at the beginning of 2022, long before there were any plans for Seditiosa. The actual production started in November 2022, there were already commitments made, particularly with the club where the scenes of the All Girls Rock Band were going to be shot. The club closed for the two or three nights we needed to shoot there. All on Mondays. The club was sponsoring those scenes in exchange for the publicity it was going to get. It included drinks for the cast, crew and the extras; however, Jac had a couple of bottles of Havana Club rum at hand, just in case.

There were a good number of unpaid extras that came to the shooting of those club scenes, many of them were called back as characters or extras in Seditiosa, they were paid on a daily basis in the Female Christ movie.

Here un unedited take of the song filmed at the club. That’s a long shot of the entire song.

https://vimeo.com/790981884

Seditiosa was scheduled to be shot on weekends because it would take all day to shoot the scenes, including two hours of make-up work to cover Mila’s and Dani’s tattoos, most of the cast and crew had other jobs or school during the week. Simonne had a job at a hospital back then. There was plenty of time during the week to do some scenes for 69, but Jac used the time to start cutting the film instead.

The heavy rainy season in Bolivia is from January to March. Really heavy rains that cause massive damage and it’s getting worse every year. We were not going to shoot under those conditions. We began in May because the rainy season was almost over. There was some little rain, but nothing serious. But it was fall and winter so it was cold… but sunny.

Below a video of what happens on the avenue named Costanerita, which leads directly to the far away location at the Alkamari Resort. A 45 minute drive from that point. The video is from last year, but the same thing happened the year before and this year as well. Rivers overflow, houses come down hills, and it’s a mess all around, and dangerous too.

https://vimeo.com/928913687/dd3e9a16cf

Most of the scenes in 69 had very few actors, in most cases just two, sometimes three. Most of the scenes took place in Jac’s house or his street. Very easy to handle… and even that shooting was interrupted when Seditiosa went into production.

No money from Seditiosa was spent on 69. As a matter of fact, no money was spent on 69, we had sponsors for the ‘expensive‘ scenes, like the club… well, that was the only bunch of scenes that were ‘expensive’. The biggest expenses then, apart from the crew’s taxi ride to the location, with the equipment, were the bottles of rum.

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Seditiosa was shot in 9 days. Four Saturdays and Sundays and one Sunday at the end where the famous dialogue scene was supposed to be shot but wasn’t. Each of those days had a high cost. The large cast and crew that had to be fed, transported, dressed, undressed, had to drink water, a lot, and rum. A bus was rented for the extras, a minibus for the principal cast and crew and equipment. The daily cost was around 5,000 per day. Some days more, some days less, plus all the unpredictable costs, plus the costumes, the props and so on. So those 25,000 in cash we had did not cover everything. That’s usually the case with our films. We recover the rest with the sales of the film. At the end there was no more money to go back and shoot more.

69 did not cost any cash. Not daily, not monthly.

The scenes at Jac house were done without spending money, other than Jac serving refreshments, snacks, coffee and rum to the cast and the crew. A crew of two or three at the most. One assistant in the crew of three was working as an intern, to gain experience, he became second camera in Seditiosa with pay.

The refreshments, the water, the rum, the sandwiches, all that is in Jac’s budget for his daily expenses. He spends more on his cats that on a day of production at his house.

https://vimeo.com/856221058
Cruxlover24: Hope this time they keep their promises and, as suggestion, to have better effects for the nailing.
Promotional materials are not promises, they are just that, promos. What we set out to do was a film with a Female Christ scenario where the main character, Yahel, would end up on the cross.

All of the sequences were worked out to tell that story following the path of the gospels, more or less. A woman, Yahel, that heals, teaches nice but controversial things about the divinity, makes the religious leaders upset, enrages the Romans, is captured, flogged, a crown of thorns is placed on her head, is sentenced to die on the cross, she has a long via crucis carrying the patibulum, she’s nailed to it, raised to the cross.

The novelty in our case is that there are no thieves with her… no… the two other women that suffer with Yahel are her loyal companions. She has a couple of followers that stand by her at the cross. She talks to one of them, she says “it’s finished” and finally… she dies.

End of the story.

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That was a proposal, not a promise. We did not release a script with all the details we were planning to shoot and assuring the readers that every single word in that script would be followed faithfully no matter what. It was necessary to have a lot of control over what to do in difficult conditions.

It is extremely hard but exciting to work on a 90 minutes movie making sure all the main issues in the film are produced properly, with care and efficiency from the moment the three to be crucified walk in the first scene, go all the way to the market, and then they walk all the way back to be crucified. Maybe a minute there, a minute here, is lost in the process. Maybe a couple of pages never make it to the shooting because of many possible reasons. The important thing is the story, as conceived, is told in its entirety. There are lots and lots of dialogues at the beginning to establish the characters as they rescue a woman about to be stone to death, heal the sick, have their last meal, Yahel has her moment of solitude and doubt up in a hill, they finally go to the market, confront the priests and the romans…. get captured, whipped, sentenced to die and walk on all the way to the cross. All of it done dramatically, handsomely, powerfully… and with little time and little money. Time is money.

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JDArt: Watching the video where Ligia and Sol climbed onto the crosses, I dream of the moment when Sol Vargas can join us for future Crux films.

For now, that won’t be possible, as she’s away at university.

However, I haven’t lost faith in the possibility of seeing her return in a few years and starring in one or more Crux films.
Ligia will have her time up on the cross, she already had a couple of intense experiences on the cross. There are at least two new videos with Ligia in post production, but she’s eagerly waiting for her role as the slave that gets crucified three times, one for every crime she’s accused of, runaway slave, thief, assassin. One of those crucifixions she will suffer upside down. That’s in the Crucified Four movie, of course.

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Sol is another story. She’s far away, in a different city altogether, going to college, living her new life there, acquiring new interests and goals. It’s close to impossible for her to come back to make crux films. Not impossible, but very, very, very unlikely. She’s very cute, sure, and talented, and creative and she might have talked to her mom when we were doing Seditiosa, told her about the crucifixions, the three naked women whipped and crucified, like Christ, her mock crucifixion during the try outs, and maybe her mother said ‘over my death body‘. That too, is a possibility. Sol was eighteen at the time, she made sure to let Jac know that she was turning 19 in those months. She was just out high school… not exactly ready for the big time.

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And finally, a link here, to a place where if you put some cash, any amount, it might help us make FOUR movies. Really. Lets see if we can brake the vicious circle.

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Post by La Reine Margot »

Conversatorium III

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This intriguing conversatorium is changing its subject, apparently, from Seditiosa to St Eulalia, which, in a logical way, is natural.

But there are still some comments about Seditiosa and future projects if any. Here we go.
wanttoknowmore: I agree with part of this – people are not willing to support a movie they don’t see ever being made. Asking for a $40K retainer before doing anything is a bit high of a mark. Maybe split the projects up. I don’t buy the economy angle. The buy in is not $1000. There are other reasons.
We’re not asking for a retainer before doing anything, that’s just silly, we are already doing a lot with the goal of making the film. Jac went back to the location, recently, to make a deal with the people there, he walked to the one spot from where he could look over the place to see how it was and it was different, grassy.

We already are looking into the props, the effects, the cast and more importantly at this stage, the costumes. One costume in particular for one of the main characters, the Egyptian Priestess, Mila, needs a good Egyptian costume, not to mention special costumes for the Roman ladies. There’s someone who is going to be bringing some of those costumes from NY, next month.

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I stick to my theory that one possible reason people are not contributing is because the campaign is stuck and yes, people are hesitant to put any money, be 1 dollar or 1,000 if they feel that the movie will never be made.

The campaign offers 4 movies for a contribution of $100., that’s only 25 bucks per movie. When the four movies come out the cost will be almost twice that. The thinking was that if 100 people pre-bought four movies, that would give us 10,000, plenty of cash to start shooting the film. Five people gave over 100, which was great… one person gave 1.53, I’ll never understand why.

That was a good beginning but it stopped.

We never expected to raise the total of our goal. That figure, 40,000, is just a goal for the four movies. The Seditiosa goal was 25,000 and with the campaign we raised 14,000 or so, the additional money came from direct contributions.

The lack of funds does not stop a project, it delays it. The Crucified Four movie is in development, it hasn’t been cancelled, but we don’t have a date to start shooting, not yet. There are some factors that we have to look into before setting that up, but the fundraising campaign is not one of them.

Below you can see the location we used for Seditiosa, as seen from a hill, with one post still standing, which is difficult to see from that distance, but it’s there, the other two are gone. And the area has a lot of grass.

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AWHR037 Well I think I am late for this conversation lol, but have you ever thought about adding a scene depicting removing Yahel or others from the cross lol I mean it may be a fitting end to them.
The film is done, it was released over a year ago. What we can consider is having one of the Crucified Four be removed from her cross… or maybe two of them… or maybe three of them… who knows, everything is possible in a new production.

Ligia was removed from her cross in a new video. She looks kind of cool all dead, kind of.

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JDArts: Seeing the premise of Ligia being crucified three times makes me want to see a movie based on Saint Eulalia of Barcelona. I know there’s a movie called “Martyr,” which was inspired by Saint Eulalia, but it’s a far cry from the original story.

I’d like to see a movie about the 13 martyrdoms of Saint Eulalia in the future.
Loinclothslave: I think the entire forum would love to see a movie about St Eulalia of Barcelona!
Martyr, or The Death of St Eulalia, is a film set in modern times, with Carmen playing Camille, an actress model who wants to recreate the martyrdom of St Eulalia, going through all of the tortures she believes the martyr went through.

https://youtu.be/1UorXSU06wk?si=4HbhmVP3-Z4yjo4k

The original idea included something like flashbacks to the actual story of St Eulalia. The plan was to shoot those scenes in France. Jac went to Paris, did a large casting. He had all the possible actors, extras, he checked where he could rent the costumes. He also did some location scouting and found, with Carmen’s help, a great area where to shoot the ancient scenes. It looked good. Unfortunately there were not enough funds to do it.

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stepnash: I totally agree and it would be fairly easy to do, needing only a few soldiers and the governor, it seems the main problem is the fact that she was very young, about 13 or 14 years old, it should be possible to make it realistic perhaps as a religious project.

Cruxlover24
Dani or Mila would be fantastic for the role!

JDArts I like Simonne more for the role of Saint Eulalia

Loinclothslave:
The age part is easily fixed by just making her a little older. Just an innocent devout woman in her 20’s
Jac first had the idea of making a film about St Eulalia in the early 80’s. He was in Cuba, working on his Haiti project, recreating some scenes from colonial times in Haiti, he was also doing the editing there and the recording of the music. He had the entire Cuban Symphony Orchestra doing the music for him. Some of the laboratory work was done there as well. Those were the times of expensive production and… celluloid!

He was living at the very famous Hotel Nacional during that time, and he was there … for two and a half years! Good times.

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For reasons too long to explain, for about two or three months he had a lot of time in his hands, he did a lot of reading, researching for possible movies, he began writing a script, The Passion Of Mariselli, a story taking place in Colonial Cuba. A young woman who defies her father and has fantasies of being a martyr. Very good story.

During those days he visited a lot of bookstores to get some good books. One of those books, published in Hungary, in Spanish, attracted his attention. It was a book about medieval paintings from Spain. There was one painting that got his attention. The Altar Piece about St Eulalia.

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That was a revelation for Jac. He set out to investigate all he could about that saint. To make a story short, some years later, when Jac was in Bolivia to make a film, he met Carmen. He cast her for a leading role in a new TV miniseries he was about to produce. During her rehearsals, which involved some scenes where she’s tortured and killed, one of her characters, at least, he found she was tremendously talented, he thought she could be Mariselli, for the story he wanted to make in Cuba, which involved a crucifixion. After shooting the TV miniseries with her, they began to work on the possible scenarios for a crucifixion, just as tests, at first.

https://youtu.be/MZmL2iJc1oc?si=nf53Luve6vXqrR1S

The tests they began to work on, first very short ones and improvised, later more elaborated with more camera work, showed how comfortable Carmen felt on the role of a crucified victim. Each recording was very intense, as far as the acting. It didn’t matter that those were just try outs, Carmen was showing what she was made of. Eventually, in a few months, they worked on the first long feature film with a crucifixion theme, Red Feline on The Cross and some time later they worked on Martyr or The Death Of St Eulalia. Jac didn’t have to raise any money for that. With the release of Red Feline on The Cross, a film that cost 500 dollars to make, rfpix was created and this whole adventure began. The film was selling a lot, so much so that Carmen didn’t need to work during the time she was going to college in France and she was traveling back and forth from France to NY to Bolivia. It was not difficult to jump into making Martyr.

https://vimeo.com/637437688

Red Feline On The Cross
https://movies.redfeline.com/rf-on-the-cross/p/4464

Jac has the script for a film about St Eulalia, the story that he wanted to do in France but couldn’t. And it’s not so complicated, there are no crowds, just few characters that tell the entire story of what Eulalia went through with a few innovations from Jac’s imagination.

In theory, it could be made in Bolivia, it would be less complicated than any of the Crucified Four movies and there would be a complicated selection of the protagonist. Who can be Eulalia, who can perform as amazingly as Carmen did in Martyr? Maybe any of our big stars. Dani? Mila? Simonne? Ligia? Sol? Someone else? Maybe?… Maybe.

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Sometime ago, Jac began looking at some pictures that a very beautiful young woman was sharing with him. She’s someone related to Carmen, she’s French. Jac started wondering if she would like to be in a couple of movies. Jac thinks she’s perfect for both Maricelli and Eulalia. She’s at the same age Carmen was when he thought of her for those two roles.

Those two amazing stories he shelved decades ago began to stick their little heads up and making some noise, making some waves, interrupting some dreams, sneaking up on him, shaking him up. He often thinks about them when he’s preparing to feed the cats, or when he’s walking the dog.

Regardless of those dreams, at this point there are some very good films he’s working on, whether there’s money or not, and that’s that.

Let’s break the vicious circle, can we?
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Re: The News From Red Feline Pictures

Post by La Reine Margot »

Moving On Is A Must

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We’re already in the month of April, 2025, the year where an old cycle is ending and the new one is beginning to appear. As in the past, the clear signs are here and the need to face that reality has become unavoidable.

What does that new cycle looks like? We don’t really know. The changes that are happening all around us demand we adjust our ways to continue marching on to what is evidently an uncertain future. No just our future, everyone’s.

We have to complete a number of projects that we have on our digital shelves. There are many of them and as I type this Jac is busy putting together one of those movies. The one in the works right this moment is Agent Honey Trap, where Dani suffers extremely cruel treatment at the hands of Jac and Mila.

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There was a time when this trio, Jac, Dani and Mila, were coming out of the dark days of Covid producing, producing and producing. During that year they were on the set shooting a lot and the set itself was going through changes, physical changes.

After the trio shot a few films, they were ready for a major production, an idea Jac had for a long time and he had to do it, 69 Anneé Érotique.

That project went through a lot of changes in the script and after much thinking, Jac was ready to start the production.

Our team was pretty busy shooting that major production, involving a good number of extras for many scenes that take place at a club, where Dani, Mila and Simonne play the lead roles and they have an All Girls Band!


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The production was going on very well, it was pretty exciting, when an offer came our way along with some starting cash to produce a film about a Female Jesus, a big production values film, an offer we couldn’t refuse, great subject, a great opportunity, Jac said yes and our team began to work on preparing the new project while still working on 69.

The new project needed a title, a script, money, locations, cast and and a crew. In a relatively short period of time, things began to fall into place. Costumes were acquire and made, a casting call brought many new people to the fold, props were made, sets were constructed, things were moving rather fast.

The principal cast was selected, they were Simonne, Dani and Mila. Soon they were joined by Ligia and Sol, the five characters that were going to take the story on their shoulders to its final and tragic resolution.

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The film was produced and edited in what can be described as record time. Even with all the difficulties and limitations that came with a production such as that big production values film with a very small budget.

Seditiosa was released in March 2024 to an audience with high expectations and so far, the film is reaching it’s intended audience and it’s in the number one spot in sales since then, followed by Justine in the second place.

At the end of last year we were preparing and producing a few projects while working on the post production of a few others. The most ambitious of the films we were preparing is a four film project, Crucified Four.

With this project in mind we began a fundraising campaign with the intention of raising 40,000 for all four films. Considering that we raised almost 20,000 for One Film, Seditiosa, that seemed like a good idea, but, apparently, it wasn’t.

We lowered our expectations and now our goal is to raise only 10,000 for ALL FOUR FILMS!

We are working on a few films to be released soon and we hope that the sale of the new releases will help us have enough funds for the production of those four films.

We’re also working on a sweet deal for our contributors!

https://www.paypal.com/donate?campaign_id=4J7DNEXYHW8J8

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This month of April, we will set the possible date when the production of Crucified Four will start.

Dani, Mila and Jac got busy last week with the production with CruXbound III, where Dani suffers at the hands of Mila, while Jac does the rest of the work. The camera, sound, lights, and all the rest.

The CruXbound films are a preparation for the characters the actresses will have in Crucified Four, a physical and psychological preparation. The suffering and tribulations all four damsels in extreme distress go through in each of the Four CruXbound films is very demanding of these strong and courageous women.

Dani had a particularly tough shooting day recently.

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We will continue trying to fundraise for the Crucified Four movies, while releasing new films. There are more plans for then near future and we will be updating on those plan and on the progress of what we’re doing now. So much to do in so little time, indeed.

We would love to have some contributions to the projects and we would love it more if people buy our amazing movies.
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We’re having a 15% Discount APRIL SALE for all of our titles!

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Re: The News From Red Feline Pictures

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The Script – Taia The Slave

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We will be sharing in this post a little bit of the script for the first film in the series Crucified Four – Taia The Slave. The reason for this noble endeavor is kind of obvious, we want you to be interested in the stories. Maybe you will, maybe you wont.

In the first sequence of Taia The Slave, all the characters for all four movies will be introduced, establishing their roles, motivations and the consequences of their actions for all four stories.

Taia the slave, played by Ligia
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Talissa the warrior, played by Dani
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Ide the Egyptian priestess, played by Mila
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Paulina, Saturnino’s wife, played by Geraldine
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One person suggested Paulina too should end up on the cross, she should have her own film where she has a terrible end. Geraldine had a taste of what would be like when she was working with Jac on 69 Anneé Érotique. Although we don’t have a fifth movie for Crucified Four… you never know.

And later on in the sequence the missing protagonist is introduced.

Sabina, Hadrian’s wife, played by Simonne
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Four of these beautiful ladies will find their way to a horrendous and torturous end on the cross.

The other principal characters that are introduced in the first sequence of the film are Decius, the Roman Centurion who will have a moment of lust with Paulina. Saturnino, Paulina’s husband and the right hand man of the Governor will also be introduced, as well as Hadrian, the Governor. Another important character, Plubius, the Optio, second in command of the legion will also appear in the first sequence. These characters haven’t been cast yet. There are potential candidates for these roles but Jac hasn’t decided yet.

Taia The Slave – The Script

The first three pages of the script, around three minutes of screen time, this complete scene will be recorded on the first day of production.

EXT Market. Day

An almost empty market, a few vendors, here and there, some buyers.

A young woman, TAIA, poorly dressed, her head and face covered by a dark cloth, walks cautiously. She stops in front of a stall where she looks at the baskets containing loafs of bread and cheese.

Taia looks nervously around her first, paying close attention at some of the people walking around. She notices another woman, TALISSA, completely covered by a dark cloak, only her shaded eyes are visible, her gaze fixed on four Roman soldiers walking nearby.

Talissa has her eyes on DECIUS, the Centurion, and PLUBIUS the Optio, who walk in front of the other two soldiers.

A noble woman, PAULINA, walks ahead of the soldiers.

An Egyptian woman, IDE, wearing the traditional garments of a Priestess, approaches the noble woman, they salute each other. Paulina gently grabs Ide’s arm.

Paulina: I will be in the temple before the sun comes down

Ide: I will wait for you with everything prepared.

Paulina: I am looking forward to such a solemn moment in front of Anubis. I will be begging for him to come down to me, to have me in his arms.

Paulina walks away, smiling at Ide with suggestive and complicit eyes. Ide smiles back.

DECIUS, the Roman Centurion breaks away from his soldiers and approaches Paulina. Talissa looks at him. Ide also turns to see the Centurion approaching Paulina.

Decius leans toward the noble Roman woman and speaks to her in soft tones.

DECIUS: Have you had the pleasure of receiving the gift born of the wishes that my heart carries inside?

PAULINA: That gift, like the many others, has suffered the same fate, at the feet of the pigs in the pantanal.

DECIUS: Let the pigs enjoy them then.

PAULINA: One more gift and my husband, the great Saturnino, to whom you owe the devotion reserved for the gods, will make of you a delicacy for his best pigs.

Paulina walks away from Decius and passes by Taia who glances quickly at her.

Taia turns to see the old man selling the bread who appears distracted by the passing of Paulina and the soldiers.

Making sure she is not seen, Taia reaches the basket with the bread and carefully takes a loaf to then quickly hide it under her cloak and walks away slowly.

Suddenly the seller sees that the loaf of bread is missing from his pile, he sees the young woman who quickens her step.

SELLER: Thief! She stole my bread!

Taia turns to see the screaming man as two soldiers turn around and block her path.

PUBLIUS: Stop!

SELLER: Stop that thief

TAIA: Have mercy, I’m hungry

PUBLIUS : You will pay for that bread with the hide of your back.

The soldiers remove the cloak that covers her and they see that she is wearing a metal neck brace with part of a chain.

Delcius approaches Taia, grabs her jaw, forcing her to look at him.

DELCIUS: You are a runaway slave. (to Publius) Take her to the camp, and hold her until you find her owners.

The soldiers throw away the cloak, rip part of Taia’s garment and tie her wrists behind her back. After tying her Plubius grabs, the end of the chain attached to the metal brace around her neck, and pulls the terrified woman away.

PUBLIUS: Come on bitch!

The prisoner passes near where Talissa stands looking at the soldiers. The women exchange glances. Then the prisoner passes by Ide, who looks at her with pity and anxiety, as if she knew her.

Taia looks at Ide, her expression changing from fear to anger.

Paulina watches Taia pass near her and smiles with a cold expression. Decius also passes, behind Taia and the soldiers, smiling at Paulina.

The soldiers move away toward their camp, pulling their prisoner along, who stumbles every now and then as she is led away.

End of Scene.

As project develops and the script goes to re writes, there’s the possibility of some additions to the scene, but the basic elements are there.

So, now that you know a bit more of what the film will be like, are you willing to contribute?

Here is Ligia telling the story of Taia

https://vimeo.com/1039064519/b5e0bfda83

To convince you to contribute to these great movies, we changed the perks for the campaign. This is what your contribution will get you:
  • For a 25 USD contribution you’ll get ONE of the Crucified Four films when the films are released. The regular price will be 35 USD or more.
If you love on of the films you will probably want to buy the rest. We’re sure of it.
  • For a 100 USD you will get ALL Crucified Four films plus ANY NEW movie that is released before The Crucified Four movies. The regular price for the five movies will be around 200 USD.
There are a good number of films coming out this year, you can choose any of those.
  • For a 250 USD contribution you will get all the Crucified Four movies PLUS any Four New Movies of your choice. The regular price for the 8 movies will be around 400 USD
The first FIVE contributors for the 250 contribution will receive an additional film at no cost!

https://www.paypal.com/donate?campaign_id=4J7DNEXYHW8J8

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We will be bringing more bits of the script in the near future.

In addition, we’re having a 15% OFF April Sale for any and all of our films! This April Sale will go until the end of the month or until we release the next movie, Agent Honey Trap, whichever comes first.

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La Reine Margot
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Re: The News From Red Feline Pictures

Post by La Reine Margot »

Conversatorium IV

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We came across some interesting, intriguing and defying posts and, obviously, it became necessary to have another CONVERSATORIUM!
Cruxlover24: Would be awesome to see Dani suffering in such uncomfortable and painful positions. I found some nice pictures of her. Here at home we are her fans.
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Dani did a lot of suffering in many movies, some more uncomfortable than others, all of them painful to the extreme and with the promise of more pain.

Of all the work she did the one she enjoyed the most is CruXtreme III – The Callback, where she suffers one terrible impalement after much torture, followed by MORE torture.

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CruXtreme III is a film that the most demanding of fans would find that it’s too good to be true.

And now this film and all others have a 15% DISCOUNT! Maybe some of you should take advantage of this deal and get this film or any of our other terribly delightful movies!

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https://movies.redfeline.com/bo/cruxtre ... k/p/169362
Iconoclast12: I didn’t have any issues with the timetable. If anything, I thought there was too much pressure on you to get things finished sooner. Art can’t always just be churned out in the ways some folks wanted. It also was probably challenging that three of us main investors had differing views on things, and that can be hard to reconcile.
I have to admit that there was a lot of pressure about the timeline, but most of it was in some way absorbed by me since I was the go between. I didn’t want to add to the normal pressure Jac was going through with the work itself.

One of the earlier lessons Jac learned about filmmaking is that it is impossible and undesirable to make a movie by committee. That lesson was taught by none other than Spike Lee, who shared some of his experiences when he made Malcom X. There were all kinds of different opinions of how that film should be made, what to include, what to ignore, and so on. At the end not everyone who gave some advise to Spike was happy with the results.

That’s to be expected in any production.

In the case of Seditiosa there were many ideas coming in at the beginning, from different sources, not only from the main backers, some of those ideas were so pretty grandiose that they needed a budget equal to Mel Gibson’s Passion of the Christ.

There were some suggestions, like dialogues between Yahel and her mother and/or father, and so on. That’s just a tiny example of what the ideas were.

At the end, the work was done according to what was the most obvious story line, with all the means at our disposal, and with the limitations of the location, the budget, the time and so on. But the work was done and it was done beautifully and in a most reasonable time.

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Iconoclast12: I’d financially support these current projects beyond what I’ve already given, but I’m all tapped out after investing in Seditiosa. It’s just not something I can afford again. All of this was a learning experience, and I really enjoyed the process of watching the movie come together and the experience of working with you, Margot. I’ve felt spoiled to get these updates from you over the years.
We are immensely grateful for your support and inspiration to make Seditiosa. Don’t hesitate to send me your ideas, opinions and we’ll be updating you as a great supporter of our work, we can spoil you and the principal backers of Seditiosa some more.

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Saw you response to my message on your thread.

One other thing you need to address – that you folks have fixed whatever issue(s) that happened where folks who pre-ordered the Seditiosa film did not get their download code. A statement of what happened and how it was fixed would be great. (I was actually happy to see others had the problem – it wasn’t just me,)


Our dependance on the different forms of communication online has its problems, one of them is that we can’t always know if an email we sent was received most people do not send a response, or a thank you. Some do, but very few, really.

Another issue is that the company that handles the downloads is the one that has the control of the codes. They do the work, so if one code didn’t work we would not know unless someone tells us. The codes have a deadline and once the deadline passed they don’t work.

We sent codes to all of the people that contributed to the film, some people didn’t use them, we might have missed a couple, but we can only fix a problem if we are notified that there’s one. If people did not get a code until now, they should let me know, asap, so we can correct the issue. Send us an email to redfeline@gmail.com

Technical suggestions –

Have the arms less stretched on the crossmember (hands closer to center). That position will still be correct and be more stable, so the ladies will be mor able to bend their knees when crucified rather then just stand to maintain balance in the over-stretched position.


Once a person is set up on a cross, there isn’t much anyone can do. If the crossbar is too high, the victim can’t bend her knees down, she is overstretched, for sure. If the crossbar is too low, she might hit her head on it during the crucifixion. There were a few of people working on that and even after testing how the set up would work, and after Jac gave the instructions of how it should be done, still, it was in the hands of the people doing the actual work of setting them up on their cross.

https://vimeo.com/840894509

There are cheap small wireless mics available. Attach one to the cross by the crossmember so the victim can actually have dialogue from the cross. I know the lack there of was a major upset.


Having a small mic up there is not that simple. The remote mic doesn’t come alone, it has wiring attached to a transmitter that sends the signal to the recorder. We use those in dialogues happening in under control situations where there are no issues that can affect the recording.

In Seditiosa we would’ve needed 3 of those for that to be effective. A good mic and a long boom is more effective for the dialogues up on the cross, and we had that, but the wind was too strong and blocked the sound coming to the mic. That’s what happened. It would’ve happened with the small mics too.

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The sound director setting up the remote mic on Jac during Pygmalion

Please don’t have Simonne have hair covering her while on the cross and looking down the whole time. Bit of a disappointment in the Seditiosa film.


Those kind of issues will come up on any production with an actress with long hair. In a previous film Bea was the protagonist and her hair was very, very long, way down below her waist, but that length of hair did not get in the way, it was too long to move over her shoulders when she moved her head. It was always very neatly behind except when it was placed in front for whatever reason.

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The Passion of Isabel is one of the many films you can get at 15% discount!

https://movies.redfeline.com/bo/the-pas ... el/p/97810


As for contributions – I am still in a wait and see mode. willing to provide some support beyond the minimum, but frankly still don’t trust that Jac won’t go wondering off to some other project before these are done – the release of the 69 film coming to mind.


The release of 69 Anneé Érotique hasn’t been set yet. There are a couple of festivals interested in the film, that’s for November of this year, one of them is in France. So the actual release will be either in November or early next year, after the film goes to a couple of festivals.

The work for a film release is not something that gets in the way of producing other films. There’s some minimal work still needed for 69, color correction, sound mix, that kind of thing. Nothing too engaging.

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The best time to produce Crucified Four is between the middle of August and the end of October. We are considering the possible dates within that time frame. All four films will be produced as one, it means that they will be scheduled as ONE FILM with that in mind.

An example, all the “Sentencing” scenes take place in the same location, the palace, and most of the characters in it are the same, except for the one to be sentenced, thus, each individual sentencing scene will be shot around the same time and in the same location and in four separate days but on the same week.

Next week there will be some strategy meetings where our team will define when the production will start and what needs to be done to get to that point.

I’ll have more news about it by the end of next week

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https://www.paypal.com/donate?campaign_id=4J7DNEXYHW8J8

With regard to “minor changes” – Referencing Seditiosa content – Not having different feet nailing positions, minor. Change to a group whipping scene versus what was first proposed, minor. Change in when the characters arrive at the posts (Simmonne was originally supposed to be arriving after one of the others was on her cross, the other being raised), minor. Not including the content of the dialogue short, which was a major fund raising inclusion – that was NOT a “minor revision”.


The script for Seditiosa went through changes even in the middle of production. Most of them creative, of course, like having all three protagonists whipped at the same time.

A lot of the changes were made because of the location itself. There were some practical issues that made having all three of them going through the entire experience together work very well in the story.

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The fundraising clips and promos for Seditiosa were done specifically for the purpose of giving an idea of what the story of the film was going to be. The dialogues on the cross were just a small part of what the intention was for the scene. There were other dialogues in the script, many more, but all of that could not be done because of the conditions of the location, mostly the wind and the cold. There were some issues with the mic as well but that was not the biggest problem.

But there are lessons learned in every production and in the case of Seditiosa one lesson is to try not to shoot naked women crucifixion scenes in far away locations where the winds of June and July are too strong and the cold is unbearable… for them… not to mention the bright light of the sun that is too harsh and it burns the skin without being warm.

In the Crucified Four productions only one person will be crucified in each of the four movies, all the attention will go to the suffering and torture of that one person. In the first movie the person to suffer all the torture will be Ligia, who will be crucified three times, different crosses, different situations, and one of them upside down.

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The other three characters will have their own unique and spectacular suffering, from the moment they are sentenced to the very cruel end up in the cross.

I believe Talissa The Warrior (Dani) will begin her torments before the sentencing and her treatment from then on will be too extreme for words.

I haven’t seen any comments about the bit of the script I posted. So I won’t be sharing that again, lesson learned. But I will be describing tiny bit of a scene, like, for instance, that the plan is for the torturer to break the Runaway Slave's feet before her second crucifixion, where she will be crucified upside down. Nasty, right?

We still have the offer for those first ten supporters that contribute with 100 or more for all four films in the next ten days – DAY 3 – 9 supporters left.


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There are 7 days left and 9 chances!


https://www.paypal.com/donate?campaign_id=4J7DNEXYHW8J8
Read More of What Is Going On:
https://redfeline.com/chronicles

DOWNLOAD
https://bit.ly/1JADqCK"

Get our DVDs
https://bit.ly/1PpswWE

Watch Our Films at Vimeo
https://bit.ly/1M7xmpu
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