Fatima’s Ghosts was created for the 48 Hour Film Project July
18th-20th, 2008. Uranium City Films formed a unique association
with American Firelight to create what was, in our minds, the best
picture made that weekend.
It is a uniquely American story examining how in this decade the
appearance or mirage of truth carries more validity than actual
truth, that what we think has happened or what someone tells us
has happened is far more important than what has actually
happened.
The genesis of the story came from the opportunity to use an
empty piano warehouse as a set. The idea of creating an entire
film from script to final cut in 48 hours was intriguing but not nearly
as intriguing as the filmic possibilities of that warehouse. This film
was created on scraps of paper, old napkins and yellow legal pads
after pre-production meetings in the warehouse. Ideas for images
turned into ideas for characters which evolved into ideas for dialog
which transformed into ideas for scenes which finally turned into
the script, completed just four hours after the start of the contest.
It is a rare situation indeed where one can be surrounded by as
many talented filmmakers as attuned and in touch with their
individual crafts as I was that weekend. It was clear from the
outset that every member of the cast and crew had a deep
appreciation and understanding of the language and the history of
film. We all reached deep within our souls and far beyond what we
knew our abilities to be (on an impossibly tight schedule on the
hottest day of the summer) resulting in a film that matches my
initial vision almost precisely.
It is with deepest admiration and respect that I offer special thanks
to production manager Benjamin Karl. His talents and expertise in
bringing this amazing cast and crew together will forever be
remembered. Please take a look at his extensive pages on
Fatima's Ghosts.
-Joseph Johnston, Writer/Director,
Fatima's Ghosts
18th-20th, 2008. Uranium City Films formed a unique association
with American Firelight to create what was, in our minds, the best
picture made that weekend.
It is a uniquely American story examining how in this decade the
appearance or mirage of truth carries more validity than actual
truth, that what we think has happened or what someone tells us
has happened is far more important than what has actually
happened.
The genesis of the story came from the opportunity to use an
empty piano warehouse as a set. The idea of creating an entire
film from script to final cut in 48 hours was intriguing but not nearly
as intriguing as the filmic possibilities of that warehouse. This film
was created on scraps of paper, old napkins and yellow legal pads
after pre-production meetings in the warehouse. Ideas for images
turned into ideas for characters which evolved into ideas for dialog
which transformed into ideas for scenes which finally turned into
the script, completed just four hours after the start of the contest.
It is a rare situation indeed where one can be surrounded by as
many talented filmmakers as attuned and in touch with their
individual crafts as I was that weekend. It was clear from the
outset that every member of the cast and crew had a deep
appreciation and understanding of the language and the history of
film. We all reached deep within our souls and far beyond what we
knew our abilities to be (on an impossibly tight schedule on the
hottest day of the summer) resulting in a film that matches my
initial vision almost precisely.
It is with deepest admiration and respect that I offer special thanks
to production manager Benjamin Karl. His talents and expertise in
bringing this amazing cast and crew together will forever be
remembered. Please take a look at his extensive pages on
Fatima's Ghosts.
-Joseph Johnston, Writer/Director,
Fatima's Ghosts
FATIMA'S GHOSTS
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