This is the resulting film. It was started in the second week of August and finished on the 7th of September. But I took a week and a half's break to finish the LARP props and masks I previously blogged about, so the entire production time for this project was around three weeks.
Lovecraft is actually not the author per se of the short story upon which this film is based. He wrote to his friend and fellow weird fiction author Donald Wandrei (to the left in the above photo) on 24 November 1927 about a curious nightmare he had experienced. In this dream Lovecraft found himself walking through a swamp and later scaling a cliff to reach a plateau, where he eventually finds what seems to be a derelict, but working street car. Suddenly two monsters in a conductor's and a motorman's uniforms appear and scare him off. He then woke up and jotted down his memories of the dream.
Another writer, J Chapman Miske, later took Lovecraft's entire recollection verbatim from the letter and wrote a bookend story around it. The resulting work was published in the 1941 January issue of the magazine Bizarre. Lovecraft had by that date been dead for four years, and I'm assuming Miske published the story with the good memory of the circle of friends Lovecraft had amassed, and who were by then attempting to keep his literary heritage alive.
It's the Miske story that I have adapted without leaving anything out, or adding anything to it. It's interesting to read both the Lovecraft letter, and Miske's story side by side, which you can do in the online Lovecraft archive HERE.
Lovecraft's nightmare world was quite barren, and all of the story took place at night. Occasionally people ask me if I can't find real locations for my films, and the answer is usually no. To achieve the visuals I'm aiming at, I go full greenscreen, and create the locations in Photoshop and After Effects. That was the case for "The Thing In the Moonlight" as well. Finding locations which had all the disparate elements (a yellow street car in the middle of a barren plain, for one thing) was impossible, and would have meant making changes to the story.
There are two persons appearing in the film. The main character, the dreamer, was played by Andreas Nordkvist, who lives just a stone's throw from me. He was previously featured in my film "What Is It?"
We shot all of of his scenes in one day, actually starting off in a real location. We went to the sea, which is about ten minutes from my house, and I filmed Andreas stumbling through a swampy woodland area.
As you can see, filming in the sunny mid-day doesn't really lend itself to creepy nighttime monster tales, so lots of filters were added to achieve a dark dreamlike look. This technique was applied to all shots in this film.
This is probably the most complex shot in the film for a number of reasons. The dreamer is supposed to scale an almost vertical wall to reach the top of the plateau.
Not surprisingly, in reality Andreas was lying almost horizontally on a flat cliff side, and mimicked struggling to keep his foothold. The wind was blowing in almost-gales this particular day, which made for great dramatic movements in both Andrea's clothes and the grass next to him. But unbeknownst to me the wind also rocked the camera, something that caused me a bit of a headache when I was editing the footage.
I used photos I took a few years ago of seaside rocks further down the south of Sweden, and though they might look massive they're only a few feet high. I've used these photos to construct mountain textures for several of my projects. So I built up a fake mountainside surrounding the footage of Andreas, and tilted the footage at a proper angle. However, as the wind shook the camera, the entire image of Andreas was wobbling. Luckily there is a tool in After Effects that allows you to stabilize the footage to a dead standstill.
The rest of the day was spent filming Andreas in front of my trusty greenscreen. Since the weather was fair we shot the whole thing outdoors in front of my house. It was dead calm at my place, so I used a big plastic sheet to wave in front of Andreas and simulate wind moving his hair and shirt.
Since Makt i Media folded I have been incorporating Andreas into my own filmmaking group of pals, so you'll see more of him pretty soon. We shot the scenes of Morgan in Andreas kitchen, simply having him sitting by his kitchen table dressed up in period clothing. His sister Fia and his assistant Martina stood behind him, holding up the greenscreen.
The landscapes of the film were a mix of Wikimedia photos of Norwegian mountains, and timelapse stock footage of cloudy skies downloaded from Videoblocks.com. I really can't tell how good I am at selling my fantasy worlds as real. It's beside the point to me. I want to achieve visions that can't be experienced in real life, so I don't mind my shots looking a bit cartoony or like collages. I am probably more of a folk artist than a pure filmmaker.
I read a the short narration bookending the nightmare sequence, but the very talented Isaiah Plovnick provided the voice of the dreamer. Don't hesitate contacting him if you need a good voiceover. Here's his Facebook page.
There are, of course, also some stop-motion monsters in the film, but I'll talk much more about those in the next blog post.