RESURRECTING
THE
ZOMBIE
MOVIE
part
I
In
recent
years,
it
seems
to
have
been
the
Brits
responsible
for
bringing
back
the
zombie
film
with
a
vengeance,
as
illustrated
in
28
DAYS
LATER,
SHAUN
OF
THE
DEAD,
and
now,
the
thrifty
but
fantastic
COLIN
-
making
its
African
debut
at
the
South
African
HORRORFEST
an
exclusive
interview
Marc
Price
writer
/
producer
/
director
/
editor
of
the
highly
original
and
accomplished
UK
zombie
movie
COLIN
(Marc
Price
image
credit:
Damon
Webster) |
Colin
is
made
from
the
zombie's
perspective,
how
did
this
idea
come
about,
and
were
you
yourself
surprised
at
the
fact
that
no-one
has
explored
this
avenue
within
the
genre's
extended
life-span?
When
I
first
moved
to
London
I
lived
with
a
make-up
effects
artist
and
in
a
desperate
bid
to
make
friends
invited
anyone
and
everyone
I'd
met
up
to
that
point
for
a
pleasant
Sunday
in
Bermondsey,
South
London,
to
fill
a
room
with
zombies.
The
idea
was
to
create
an
action
sequence
that
I
could
turn
into
a
fake
movie
trailer
for
my
showreel.
That
was
a
great
day
and
really
got
me
excited
about
doing
something
with
zombies
but
I
couldn't
come
up
with
anything
that
felt
original.
A
few
years
later
the
idea
of
doing
a
movie
from
the
perspective
of
the
undead
cropped
up
and
we
were
able
to
look
at
it
practically,
realizing
it
was
entirely
possible.
I've
always
been
a
fan
of
zombie
movies
and
after
that
fake-movie
trailer
thought
it
would
be
great
to
make
a
zombie
movie,
but
it
was
really
important
to
do
something
that
was
different.
The
idea
of
telling
a
story
entirely
from
the
perspective
of
a
zombie
was
something
that
I
was
convinced
had
been
done
before.
But
we
couldn't
find
anything
that
had
been
done
in
the
way
we
wanted
to
do
it
so
we
felt
there
was
something
original
enough
to
make
it
worth
making.We
first
looked
at
what
we
had
available
to
us
(namely
actors
and
excellent
locations)
and
built
our
story
taking
this
into
account.
There
were
also
a
few
technical
advantages...
the
idea
of
ditching
all
of
the
sound
and
re-building
an
essentially
dialogue-free
movie
in
post
allowed
us
to
shoot
scenes
with
much
more
freedom
without
having
to
worry
about
background
noise.
The
most
important
creative
choice,
as
it
always
should
be,
was
to
tell
an
engaging
story
with
a
solid
emotional
core
and
create
a
character
the
audience
would
willingly
go
on
this
journey
with.
That
was
our
plan,
at
least!
How
did
you
pull
it
all
off
and
how
long
did
it
take
from
pre-production
to
final
cut?
I
spent
3
months
writing
the
script
whilst
working
out
what
was
achievable
with
head
make-up
artist
Michelle
Webb.
It
took
3
months
because
I'd
only
allow
myself
to
write
whilst
at
my
regular
day
job.
Deciding
to
write
it
that
way
kept
me
fairly
disciplined
and
eager
to
write
every
time
I
started
a
shift.
We
shot
and
edited
the
film
simultaneously
over
an
18
month
period.
The
bulk
of
the
shoot
was
done
during
the
first
9-10
months
and
the
rest
of
the
time
was
spent
editing
the
rest
of
the
movie,
shooting
pick
ups
and
working
on
the
sound
design
in
my
bedroom.
Being
involved
in
every
aspect
of
making
this
movie,
did
you
ever
get
precious
or
obsessive
about
any
aspect?
I
knew
specifically
what
story
I
wanted
to
tell
and
how
I
wanted
the
film
to
work
structurally.
But
I
was
very
open
to
any
ideas
that
would
help
bring
depth
and
a
sense
of,
hopefully,
realism
to
the
movie.
I
was
very
much
obsessed
with
every
aspect
of
the
production
needing
to
feel
like
a
real
movie
and
not
like
something
some
friends
had
made
during
their
spare
time.
It
was
important
for
the
audience
to
connect
on
an
emotional
level
with
Colin.
This
just
meant
taking
time
to
create
as
believable
a
world
as
possible.
Not
just
visually
but
the
sound
design
also
needed
to
feel
very
sincere.
If
no-one
contributed
their
time,
efforts
and
talents
for
free,
what
would
the
budget
have
been?
If
that
would
have
been
the
case
our
budget
would
have
been
irrelevant...
I
never
would
have
been
able
to
make
the
film
without
the
help
of
everyone
involved.
No-one
(with
the
exception
of
the
actors
and
make-up
guys)
took
on
a
single,
specific
role.
People
just
showed
up
to
help
out
and
eventually
fell
into
areas
of
responsibility.
For
example
Justin
Hayles
ended
up
becoming
a
fantastic
make-up
artist
just
by
asking
lead
make-up
artist,
Michelle
Webb,
a
lot
of
questions.
She'd
give
us
precious
make-up
materials
that
she'd
acquired
from
other
film
productions
and
show
us
how
to
make
our
own
zombies
for
the
days
when
she
couldn't
be
around
to
help.
How
did
you
manage
to
shoot
the
exterior
city
scenes?
We
just
did
on
"Colin"
what
we
did
for
our
short
films.
We
looked
at
what
story
we
wanted
to
tell,
then
looked
at
what
we
had
available
to
us
(namely
some
professional
actors
and
a
familiarity
with
our
locations
that
we'd
need
to
feel
quite
desolate)
and
I
wrote
the
script
taking
advantage
of
this.
We
didn't
have
any
permits,
we
just
went
to
a
location
and
shot
our
scenes.
The
only
time
this
became
a
concern
was
when
we
shot
the
street
skirmish
sequence
between
a
group
of
angry
humans
and
some
cornered
zombies.
With
all
the
screaming
and
body
parts
strewn
around
the
street
it
was
only
a
matter
of
time
before
the
police
arrived
to
see
what
was
going
on.
Luckily
I
was
shooting
the
film
using
a
domestic
camcorder
so,
aside
from
the
chaos,
we
didn't
look
like
a
professional
film
shoot.
The
policeman
simply
chuckled
to
himself
and
took
a
few
pictures
on
his
mobile
phone
to
show
friends
and
left
us
to
shoot
the
rest
of
the
sequence!
Was
the
name
“Colin”
always
the
first
choice,
or
were
there
others?
Yeah,
Colin
is
my
father's
name
and
always
seemed
to
fit
quite
well
to
me.
Colin
is
a
relatively
gentle
name.
Very
British.
I
thought
it
would
help
make
the
character
that
little
bit
more
endearing
(so
we
could
have
him
chew
someone's
face
off,
dig
into
intestines
and
rip
off
people's
ears
and
still
have
the
audience
like
him)
What
are
your
favourite
zombie
movies
and
why?
I'm
very
fond
of
Day
of
the
Dead,
specifically
because
of
Bub.
We
pay
homage
to
the
great
Howard
Sherman
by
naming
a
coffee
shop
after
him
in
"Colin".
Dawn
of
the
Dead
is
probably
my
favourite
zombie
movie
but
Shaun
of
the
Dead
has
managed
to
achieve
something
that
not
even
Romero
could
pull
off...
a
zombie
movie
that
can
appeal
to
everyone.
If
you'd
never
seen
another
zombie
movie,
you
can
still
love
Shaun
of
the
Dead
as
much
as
a
hardcore
zombie
fan
because
there's
plenty
in
there
for
everyone
to
appreciate.
What
are
your
favourite
movies
in
general?
I'm
a
fan
of
all
film.
I
try
to
watch
as
many
as
possible.
I
don't
dislike
a
particular
kind
of
film
and
one
of
the
things
I
love
most
about
living
in
London
is
that
I
can
see
the
latest
Hollywood
blockbuster
in
the
same
day
as
the
smallest
independent
film
and
enjoy
them
as
much
as
the
other.
Why
a
zombie
theme
and
not
something
like
vampires,
ghosts
or
a
masked
killer?
I
guess
I
didn't
have
anything
I
felt
I
could
contribute
to
vampire
or
masked
killer
movies.
I
like
vampire
movies,
"Let
the
Right
One
In"
is
one
of
the
best
films
I've
seen
this
year
and
I
even
liked
what
Rob
Zombie
did
with
the
"Halloween"
remake
insofar
as
creating
a
masked
killer
with
more
of
a
motive.
Maybe
there's
room
for
a
new
werewolf
movie...
I
know
I
personally
prefer
the
look
of
film,
but
often
the
video
look
adds
to
a
movie's
character
-
do
you
think
Colin
would've
had
the
same
effect
had
it
not
been
shot
on
video?
I
think
that
some
audiences
may
be
more
patient
with
the
structure
of
the
film
if
we'd
shot
it
on
35mm.
The
nature
of
shooting
on
Mini
DV
unfortunately
lends
itself
to
something
initially
assumed
to
be
quite
amateurish.
When
Michael
Mann
chooses
to
shoot
a
film
on
this
format
the
audience
accepts
that
he
is
an
accomplished
film
maker
and
trusts
that
he
can
tell
his
story
well.
No-one
really
knows
who
we
are,
so
the
fact
that
our
movie
appears
to
be
quite
loose
structurally
(until
you
get
to
our
final
scene)
does
run
the
risk
of
losing
their
interest
if
they
aren't
entertained.
But
I
feel
strongly
that
an
audience
want
to
be
challenged
which
is
why
we
chose
to
tell
the
story
the
way
we
did.
The
look
of
the
film
only
became
a
problem
when
looking
for
a
distributor.
At
market
screenings
a
distributor
will
generally
give
a
film
between
10-15
minutes
of
viewing
time
and
decide
whether
it
can
fit
into
a
marketing
strategy.
"Too
low
budget"
is
something
we'd
hear
a
lot.
Pretty
heartbreaking
stuff
to
hear
for
anyone
who's
labored
over
their
project.
We
felt
so
much
more
emotionally
involved
with
this
movie
-
was
it
difficult
extracting
sympathy
for
Colin,
where
usually
zombies
get
5
second
screen
time
before
their
heads
are
blown
off
by
the
human
heroes?
As
an
audience
it's
interesting
how
we
put
anthropomorphic
traits
on
animals
and
objects,
so
I
definitely
felt
it
was
possible
to
create
a
character
that
an
audience
would
willingly
connect
with.
I'm
a
huge
fan
of
King
Kong
and
always
found
it
particularly
interesting
that
none
of
the
characters
from
the
'30s
version
connect
with
Kong.
Only
the
audience
feel
something
for
him
as
he
lets
go
of
the
Empire
State
Building.
Colin
was
our
guide
through
the
apocalypse.
We
didn't
want
him
to
be
anything
other
than
a
normal
zombie,
we
just
get
to
spend
more
time
with
him.
I
liked
the
idea
of
seeing
a
zombie
away
from
the
single-minded
horde
with
that
goal
to
just
feed.
Of
course
we
wanted
to
have
scenes
like
that
in
"Colin"
(it
would
have
been
irresponsible
as
a
zombie
fan
to
not
have
the
cool
stuff
in
there!)
but
it
was
important
to
see
what
objects
and
places
affect
him
and
in
what
way.
How
did
you
prepare
Alastair
Kirton
for
his
role?
Alastair
was
great.
He
was
the
first
person
I
had
in
mind
when
the
idea
for
"Colin"
came
up
and
I
wrote
the
part
very
much
with
Alastair
in
mind.
I'd
worked
with
him
as
an
actor
and
we
always
had
a
good
time
exploring
performances
and
knew
he'd
bring
a
lot
to
the
character.
I
always
had
this
view
of
Colin
as
something
of
an
infant.
As
we
discussed
his
physical
limitations
one
of
the
ideas
I
had
was
that
our
zombies
would
have
limited
visual
perception...
like
a
baby.
They'd
only
be
able
to
focus
on
something
if
it
was
within
a
few
feet.
Sound
would
do
the
rest
in
regards
to
capturing
their
attention.
Was
there
anything
you
would've
loved
to
do,
but
simple
couldn't
pull
of
be
it
for
budgetary
reason,
logistics
or
time-constraints?
Not
really...
It
was
more
important
to
create
a
sense
of
realism
and
make
sure
that
emotional
core
was
working
for
the
story
and
character
more
than
anything
else.
There
are
a
few
things
scripted
that
may
have
seemed
like
we
were
over-reaching
for
a
film
of
our
meager
scale
but
that's
essentially
what
film
making
is:
problem
solving.
It
wouldn't
have
done
anyone
any
favours
if
I'd
stomped
my
feet
and
had
a
director's
tantrum...
mainly
because
no-one
would
have
been
around
to
care
because
for
the
most
part
of
the
shoot
it
was
just
me,
Alastair
Kirton
(as
Colin)
and
my
camcorder
in
a
quiet
location.
Do
you
think
big
budget
American
films
are
side-lining
good,
small
to
modestly
budgeted
British
movies
by
overwhelming
them
with
their
multi-million
dollar
marketing
campaigns?
I
think
it
has
less
to
do
with
the
major
studios
and
more
to
do
with
distributors.
It
was
small
distribution
companies
who
told
us
our
film
was
too
low
budget.
They
are
the
ones
insisting
on
picking
up
movies
only
if
there's
a
star
or
known
actor
in
a
lead
role.
It's
more
to
do
with
marketing.
If
a
film
can
comfortably
fit
into
a
pre-existing
marketing
strategy
the
distributors
will
give
it
a
good
chance
regardless
of
whether
the
film
is
any
good
or
not.
It
leaves
low
budget
film
makers
with
a
genuine
skill
for
storytelling
at
something
of
a
disadvantage.
The
only
reason
we
were
given
any
time
with
UK
distributors
was
because
of
the
press
we
were
lucky
enough
to
generate
when
we
were
in
Cannes.
Have
you
had
the
big
studio
offer
to
remake
Colin
with
a
serious
budget
yet?
Some
have
made
queries
regarding
the
remake
rights,
but
we
haven't
had
a
serious
offer
made.
It's
interesting
because
there
can
be
a
lot
of
benefit
to
a
studio
remake.
Even
if
the
film
is
remade
as
a
terrible
movie,
the
multi-million
dollar
marketing
campaign
can
draw
attention
back
to
the
original
and
bring
in
a
new
audience
to
discover
these
classic
movies.
A
remake
couldn't
possibly
take
anything
away
from
an
already
great
film...
however
I'm
as
insecure
as
the
next
film
maker
so
I'd
be
terrified
that
in
this
case
the
remake
would
end
up
infinitely
superior
to
our
cheap-ass
original!
Have
you
resigned
your
day
job
to
make
movies
full-time,
and
if
so,
what's
next
on
your
slate?
Unfortunately
not.
I'm
lucky
in
that
I
have
a
nice
job
with
some
fantastic
people.
I
was
able
to
write
and
edit
Colin
at
the
office
(I'm
even
typing
up
this
interview
at
work).
So
it's
not
torture
waiting
for
the
next
film
job
to
come
in.
I
have
also
written
the
script
for
the
next
film
project
here.
The
plan
for
our
next
film
is
to
hang
onto
our
low
budget
ethics.
Not
for
any
reason
other
than
we'd
like
to
have
as
much
creative
control
as
we
did
on
COLIN
and
the
best
way
to
achieve
this
is
to
keep
costs
low.
With
that
in
mind
it
will
be
a
bigger
movie,
just
not
irresponsibly
bigger.
We
will
be
paying
everyone
this
time
round
and
we'll
certainly
be
feeding
people...
I
just
won't
be
promising
much
more
than
a
vat
of
pasta,
maybe
with
some
crusty
bread.
Besides
making
its
African
premiere
at
the
2009
South
African
HORRORFEST,
Flamedrop
Productions
are
looking
at
both
a
theatrical
and
DVD
release
of
COLIN
in
S.A.
click
here
for
an
interview
with
COLIN
star
Alastair
Kirton
www.colinmovie.com
www.horrorfest.info
-
Paul
Blom
|