Caleb"s Door
Caleb's Door


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Caleb is an ex-marine who's drifting through life, moving around, jumping from one pointless job to another, trying to find answers. He moves back to his childhood home to escape his nightmares and get his life back on track.

He finds that everything's different. His high school sweetheart is now engaged. His parish priest, to whom he always turned for support, is struggling with his own crisis of faith.

And instead of getting better, the nightmares start getting worse.

Then they start coming TRUE.

About The Film

Caleb's Door is the debut feature film from writer/director Arthur Vincie and producer Marilyn Horowitz.

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"The idea for the film came from a series of dreams I had, combined with various life experiences," says writer/director Arthur Vincie.   "But at first, I was interested in the money.

"I was trying to develop another script I wrote, something that would have required a good deal more money than Caleb ended up costing. I was waiting for the heavens to line up and investors to come through - a position many filmmakers find themselves in early on in their careers. I wrote Caleb's Door very quickly, after having some very intense dreams.

"The script became like a form of art therapy, keeping me fresh for another round of talking to people who I was hoping would write large checks.

"Then I looked around and realized that all of these films had come out - Pieces of April, 28 Days Later, Lustre, Virgin, and others - that were made on a budget, AND had beautiful stories, acting, sounds and imagery. My producing partner, Marilyn Horowitz, took the next logical step, and said 'why not put the other project aside, and focus on getting Caleb made instead.

"Suddenly everything fell into place... the investors, cast, crew, gear... clearly this was a 'meant to be' project.

"The main thing was that I didn't want to make a straight-up horror film. I love horror and would be happy to direct a horror film someday, but I really thing that the 'dreams are scary' concept has been taken to its limit in the genre. I wanted to do something was definitely creepy or eerie, but more along the lines of David Lynch's work. The visuals should get you deeper into Caleb's head, and make you feel the weight of his problems.

"It was obvious that we wouldn't have a big special effects budget to work with, so I tried to concentrate on the biggest one of all: the performances. Having seen how bad indie acting can be while working on other people's films, we sought out a solid casting director and spent a great deal of time casting. In the end, we got an excellent cast, one that could really roll with the punches. Given our hectic schedule and nearly zero time for rehearsals, it's amazing they put in such good performances.

"Post took an especially long time, since by the end of the shoot I had to go back to line producing other people's work and my editor, Adam Nadler, was finishing his own first feature, Shoot George. But having that extra time made a big difference - we were able to try a lot of very wacky things, a few of which made a huge difference and really 'punched' the story up.

As the film neared completion, we did end up having to spend some money on visual effects. Fortunately, Final Cut Pro comes with a powerful set of transition and basic effects tools. It was very liberating to try effects out while we were still cutting picture. It made it possible to frame the effects in the context of the larger story. For the "big" effects, however, we relied on our colorist, Lian Tal, and George Englezos of Park Avenue Post.

"Sound became an even bigger concern - that is probably the biggest difference between well-made and poorly made films. Also, the sound mix had to make up for our budgetary shortcomings, creating a creepier atmosphere than we were able to achieve by visuals alone. We worked with a series of sound editors, all of whom did solid work, but finally settled on World Wide Audio for our final design and mix. Georgia Hilton at World Wide supervised the mix and gave it that extra level of polish that marks a well-made film.

"At the end of the day, we hope we've created something unique - an eerie drama, if you will. Hopefully, the film speaks to our need to deal with our inner conflicts and past in order to have a future."

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