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LIKE AN OPEN HEART IT SHINES

A Film By
David CollupyPart concert and part narrative, LIKE AN OPEN HEART IT SHINES features singer/songwriter, Chuck Mosley (former lead vocalist of Faith No More), playing a fictional version of himself in this posthumous release of his final on-screen performance. In the film, Chuck's past seems to be catching up with his present, but what does his future hold?

Teaser trailer (30 seconds)

Q&A with David Collupy,
Writer & Director of "Like an Open Heart It Shines"

Q: As a filmmaker, will you please introduce yourself?A: I was born and raised in New England, and I've always been a natural storyteller. I grew up loving movies from a young age, so in my adolescent days I jumped at the chance to experiment a bit with 8mm film utilizing some of my neighborhood friends. I began my college years as an on-air radio disc jockey at WMWM in Salem, Massachusetts; I also immersed myself in shooting and editing video through the college’s Media Department as well as Salem Access Television. After working on some local independent productions in the New England area post-graduation, I decided to move to Southern California.In Los Angeles and the surrounding area, I worked mostly on independent films and mostly as a cinematographer. As a bass player and songwriter, I also co-founded the ambient-metal band, 66 Steps.In the visual medium, I found a niche in the horror genre and various eclectic filmmaking. Some projects brought me to New York City as well as various locations around the world including England and Kenya. Eventually I began to transition more into directing and producing.After two decades in Hollywood, I decided it was an opportune time to leave California and I relocated to the Ozarks where I'm currently based and pursuing new projects in filmmaking and creative media.Q: Why did you became a filmmaker and take on the particular position(s) you have?A: Filmmaking just felt like a natural fit for me as I began to explore various paths in life. It's tough, but I love the creative process, the collaborations, and the satifaction of a finished project. As a storyteller, directing is probably the most fullfilling role I could take on.Q: Will you please give us some more information about yourself, the films you have made so far, and about your experience?A: I sort of fell into cinematography, because out of all my film buddies that I made after arriving in Los Angeles, I was the only one who had any experience operating a camera. When we came up with movie ideas, I'd end up shooting the ones we decided to make. I've worked on numerous films and videos, with some of them being listed on my IMDB profile. I usually stayed pretty close to horror and odd tales with that early group of collaborators; "Puzzled," an unsettling black comedy that borders on pyscho-horror, is probably still my favorite from that time period.Q: What are some films or who are some people that had an impact on you and deeply inspired you to become a filmmaker?A: There are so many films and filmmakers that have inspired me! I'll mention just a few. Sam Raimi and the entirety of "Evil Dead" really blew my mind with the ferocity of the story and camerawork (even though it didn't take itself too seriously as the series went on). Stanley Kubrick's "The Shining" I've always thought was a masterpiece. Lucio Fulci's "The House By the Cemetery" has that Italian visual and musical aesthetic to it that I really admire. Of course those are all horror films. I appreciate all genres, and have a genuine interest in making many different kinds of films. I've even been inpsired by anime; "Ghost in the Shell," "Grave of the Fireflies," and "Ninja Scroll" are all fantastic!Q: You have made your film "Like an Open Heart It Shines," which is making the rounds on the film festival circuit. As a filmmaker, why did you decide to make this film?A: At the time, I hadn't made a film in awhile and was itching to make a new one. Chuck Mosley was on my mind and I realized there might be an opportunity to converge for a short film while he was on tour. It helped a lot that we were already acquainted. I conceptualized essentially the entire story over the course of a hot shower and then immediately pitched the idea to his camp (which was basically him and Doug Esper). I got the greenlight and then wrote the actually screenplay.Q: What were some of the challenges you faced in making this film?A: It would be easier to answer what wasn't challenging! There were so many challenges making this film as it teetered on flying off the rails nearly the entire time. Trying to raise funding, find the right cast and crew from across the country, an extremely tight schedule, illness, uncooperative weather, and so much more...all made this film nearly crash at every twist and turn. Nothing, though, could prepare us for our biggest challenge: the unexpected and devastating loss of Chuck. It took us quite awhile to pick up the pieces and find our way through, but we eventually did.Q: What else can you tell us about about your experience with this film?A: After I approached Chuck about doing the film, he was totally onboard, and his thoughts on the story had a direct effect on the ending, which I believe made the film stronger. However, he was very reluctant to personally get involved with trying to raise funds for the film; Chuck felt that he had already sailed that ship once before, and that one time was personally enough for him. I completely understood and respected his stance on that. For the bulk of the film's budget, we were still able to raise the funds through crowdfunding with Indiegogo. We are so thankful to all the people that contributed, because ultimately we could not have made this film without them!Q: The actors are big part of what the audience sees and relates to. What was your experience working with the cast?A: The cast really came together through what felt like pure magic in the end. We had a mix of actors and non-actors that either auditioned or fell into certain roles. I have to give them their due credit, because they really did a wonderful job.Q: The crew supports the story in a very effective way. What was it like to work with them?A: We were so fortunate to have an amazing crew that worked an incredibly long day to see principal photography to completion. The post-production finishing ended up being the most logistically challenging with the longest delay imaginable, however, we eventually found a phenomenal team to tackle it.Q: What was the biggest lesson you had to learn after making this film?A: There were periods of the post-production where I perhaps waited excessively long for—what I considered to be—ideal conditions to move forward; as a result I am never again going to let a film take so long to be completed if I have any say! Another lesson I learned is to budget better and maybe not wear so many hats as it can be quite overwhelming!Q: What keeps you inspired to continue filmmaking?A: As difficult and frustrating as it can be, there's still a lot to be said about the pure joy of filmmaking. I'm still a cinema buff, and I love checking out what my friends and colleagues are working on. Being involved in film festivals is also inspiring when I meet new filmmakers and see what they're screening as I look for potential new collaborators.Q: Ultimately the most important phase of filmmaking is distribution so the film can find its audience and be seen. What is your distribution plan for "Like an Open Heart It Shines?"A: After it runs the festival circuit, I'm planning some kind of digital streaming release. I haven't chosen a platform yet. Unfortunately short films typically aren't bought, though I am open to offers should they come my way. Chuck actually has one final album that has yet to see the light of day; my original goal was to first get the film on a physical disc and packaged with that album, even if it was a only a limited release of so many copies. The film and the album would go together like peanut butter and jelly.Q: What are your filmmaking goals?A: I'd like to get back to feature film in a director role, maybe producer role. I like episodic too, particularly short series that run 3-6 episodes, maybe even a few seasons if it's really good and the story arc requires it. Shows that span numerous episodes over many seasons most of the time hit a point where they just become tedious and kind of dumb. I like 'em short, tight, and leaving me wanting more!Q: Do you have anything else to share, any last thoughts regarding "Like an Open Heart It Shines?"A: When people view the film, I wish for them to experience the realness of Chuck's performance and personality that is so rooted in his actual self. I want people to reflect on what regrets in life might mean to them, and that redemption is possible if you don't waste opportunities. Also, I intend this film to play as a "love letter" from a father to a daughter. As time has marched on, I hope the audience will view this film with a shining open heart and smile while remembering Chuck. "Like an Open Heart It Shines" will always be so special to me for all the amazing people I met through making it and because of it, and of course for the treasured experience to collaborate with one of my music heroes, Chuck Mosley, on a creative project before he sadly left us all too soon.Q: And finally, what is your next project?A:  My next project I am very excited about. I'll reveal the LOG LINE:"The most important discovery of ancient texts in the 20th Century revealed the origin of humanity and the source of evil—but only one scholar got the message."Do you remember the worldwide sensation that was The Da Vinci Code? There was the book by Dan Brown and then the movie starring Tom Hanks. Well it is kind of like that, however the Da Vinci Code story was based on source documents that were later found to be forgeries while the documents in this story are authentic and very much real. It will play as a feature-length mystery-thriller which could be presented as a narrative fiction based on true events, or it could be presented in a pure documentary form. Either way, this is highly controversial subject matter, but I assure you that the film would most certainly leave people talking no matter what their opinion is!We are currently looking for a development deal. Seriously interested parties, please feel free to reach out to me! We have a treatment to show upon the signing of a Non Disclosure Agreement (NDA).Other than that, I'm always interested in connecting and collaborating with other filmmakers, especially in the Ozarks.

© 2024 Davora Media Group

INFORMER "Wires"

A Music Video By
David Collupy

Created for the electronic indie pop band known as INFORMER, "Wires" is a music video stylized as a lo-fi 1960's spy thriller with a tinge of Italian phantasmagoric horror.

INFORMER
is
Johanna Sadonis ♦ Ashburn Miller ♦ Rayshele Teige

Also starring:
Jeff Dylan Graham ♦ Douglas Jantzen Jr. ♦ David Lloyd Wilson ♦ Celmuun Dawcharbajar ♦ Bob Zoren

The screen flickers in for 2 seconds and then we are slowly pulled in to see Creeper #1 (a mysterious hulking figure in a dark room) plugging wires into back of two TV sets featuring the faces of two equally mysterious Women on the screens.The scene cuts to Creeper #2 waking up with his head on a table. He grabs his briefcase—paranoid and twitchy—and leaves hurriedly; meanwhile, Detective Freddy Malloy's face peers over a newspaper in the background. Freddy radios Bennett (his contact on a rooftop) to let him know the pursuit is continuing. For Freddy, this is just another sting operation in his short yet illustrious career. What he doesn't realize is that this time . . . it's personal, and HE is the hunted.While Freddy pursues his target, we keep seeing cutaways to Creeper #1, and the sinister activities going on in the dark room: the slow pulling of the chain, the chaining down of the person on the table, the wires being pulled, the unsettling tools & devices, the torturous scenarios . . . and just WHO is that on the table??Freddy is still tirelessly in pursuit—on a train, through crowded streets, through twists and turns. Creeper #2 is just as relentless in his determination to get to his destination. But his paranoia of being followed goes with him, as he often hides out for several minutes at a time. Even an attack by a disgruntled street performer, while slowing him down to seek nourishment, doesn't dissuade him to abandon his mission.Throughout this entire pursuit, we're still seeing cutaways back to Creeper #1's sinister actions in the dark room. There are multiple cutaways to the Women on the TV screens on the floor of the dark room, often singing the song lyrics.We also continue to see cutaways to the rooftop where Bennett is using his radio to communicate with Freddy and watching with binoculars; initially calm, slowly the conversations become more intense. Also revealed, is Bennet's partner, Dariimaa, in the foreground. Dariimaa is an information technology specialist, but also possesses additional skills that were acquired through unorthodox means (and unknown to her present company). She is working steadily on the laptop, compiling information about the pursuit in real-time. Dariimaa also has other plans that are outside the perception of Bennett and Freddy.Eventually, Creeper #2 leads Freddy to a disorienting alley. Creeper #2 runs up to the foreground and slowly looks up—he has a newfound certainty glaring in his eyes; this is a certainty that makes you wonder if he knew along along what was REALLY going on. Then he disappears to his left. Freddy then comes running through the alley, frantically calling on the radio to Bennett. Where did Creeper #2 disappear to? Bennett is somewhere on a rooftop nearby—but where?? Which way should Freddy go?? He needs guidance, and fast!Meanwhile, Dariimaa spots Bennett turning his back to her. She analyzes the current situation and acts decisively in stealth as she approaches him from behind. A knife swings out as she rushes toward Bennett without him suspecting a thing. A double agent has made a bold and irreversible move.On the ground, Freddy is still frantic with the radio. Where did his target go and why is Bennett not responding?! By now, Freddy has lost his hat and it barely phases him. Then we see a female's boot standing on someone's leg and it is revealed that a bloodied Dariimaa has betrayed and killed Bennett; she now has the radio and binoculars. She informs (wrongly & purposefully) a confused Freddy which direction to proceed in. Freddy has no time to question the suddenly-odd circumstances and makes a snap decision to run through a doorway to his right (not realizing it is in the opposite direction of where Creeper #2 went). Dariimaa, knowing her role in all of this is over, abandons her position.There is a shot of Freddy running from the light through a dark corridor, and into something . . . horrible. "The fly has been caught in the spiderweb." Freddy sees who he must now face, and he slowly backs up as he is overcome by shock and fear.We cut back to Creeper #1 in the dark room, who senses someone approaching, gets up, covers the person on the table, and then leaves the scene immediately through an alternate escape path.Inside the dark room, the camera moves to reveal the face of FREDDY being the one on the table the entire time; he has been tortured and wrapped in wires. It is now understood that the entire chase sequence was a flashback the leads up to what has been happening inside the dark room.There is one final reveal of the television sets on the floor—the Women on the screens are staring and have exacted their revenge on Freddy . . . through their sinister henchmen, and through . . . the wires.