SPAM

ONE SHEET CAN BE DOWNLOADED HERE!
CONCEPT
A sci-fi action feature, with heavy thriller ingredients, set in the submarine sub genre of war movies. It’s a action packed haunted house movie – set on a submarine, with a futuristic environment! 

PITCH
A military researcher is faced with the task to harness a nuclear submarine, infected with a computer virus – programmed to wipe out mankind!

SPAM – PROMO TRAILER from Tomas Amlöv on Vimeo.

SYNOPSIS
A hacked underwater drone, with capability to wipe out computer technology on enemy ships, constitutes a clear and present danger to the strategic nuclear submarine USS Delaware. Research scientist ALICE is called in to upgrade the defense system onboard, with the latest technology: Biotechnical software, implemented not only in the ships infrastructure, but in the crew members onboard as well – Making them partly transhuman. 

However, Alice soon finds herself in middle of the action when a computer virus infects the ship – and transforms the submarine to a conscious being with a mind of its own. In her efforts to take control over the virus inside the computer system, Alice discovers hidden facts about a secret experiment she herself was part of an experiment that pushed the limits of artificial intelligence and bioengineering. 

Later, Alice search for a defense against the virus turns into a fight for survival when she discovers that the captain of the ship is actually a cyborg controlled by an artificial intelligence. A new life form with a mind set to wipe out mankind as we know it, and makes way for a next evolutionary stage: The world of the transhumans! A global nuclear war is at the horizon…

As Alice manages to defeat the cyborg-captain, she herself is put into a coma as becomes paralyzed. When she wakes up it turns out the virus spread to her body, by reproducing with 3d-printing technology on the nano level. Creating small nanoboots, with a mission to take control over her body.  Alice forms a plan to fight back, by hooking up to a computer brain interface. This way she can hack the control unit of the cyborg and take control over his consciousness – living through his body as a form of physical avatar – and stop the approaching disaster. 

Alice tries to locate the source of the virus and isolate it, so it can be led towards the nuclear reactor and destroyed. However, during the process, Alice discovers that her real body now has been separated from the brain in order to save her from the transformation from human to machine, that’s created by the virus. While her consciousness mind now is hooked up to the interface that controls her cyborg body, she has no longer anything else to return to. The only way to save her conscious mind and escape the cyborg she’s trapped in, is to kill her old, transformed, body and upload her mind to a virtual reality – unless of course she’s already there…. 

TARGET AUDIENCE
The movie is mainly targeted at the international TV and other ancillary markets, but aims at theatrical releases. The core audience is the fans of the action- and submarine genre, but we strongly believe that it has potential to reach out to the wider fan base, of the mainstream action- and sci-fi genre. Depending on what cast we manage to attach.

TECHNICAL INFORMATION & CREDITS
Title:                SPAM (Working Title)
Status:               In development
Prod start:        2014
Completion:    2015
Genre:               Sci-fi | Action | Thriller
Budget:             $500 K
Length:              Expected 110 min
Language:        English
Director:           Tomas Amlöv
Writers:             Lars Norberg | Tomas Amlöv | Johannes Pinter
Producers:       Tomas Amlöv
Casting:             Casting agent will be attached later in 2013 and key casting begin in early 2014 

DISTRIBUTION & SALES
We will begin talks with selected sales agents and distributors in may 2013. The goal is to have to have a signed agreement in place in early 2014 – and then begin pre-sales. Our main target will be sales agent and distributors with experience of independent low budget sci-fi/action genre features. 

FINANCING
We will start a crowd funding campaign as part of the financing and promotion in late 2013 – during which we will also approach various co-producers .  When the campaign is closed, in early 2014, and we’ve signed with a sales agent, we will begin talks with local Swedish co-production funds who can issue a LOC valid for three months, which will be enough for us to secure the rest of the financing through pre-sales – so the production can get a green light in May 2014.  We will also continuously approach angel investors through Sweden’s newly launched tax deductable investment allowance. We will also seek out effective product placement opportunities.

DEVELOPMENT PLAN
First draft:                        Jan 2012
Page one re-write:                  Jan 2012– May 2013
Revisions (outline format):    May-Aug, 2013
“Financing ready” script:         June 2014
Revisions:                          July-Dec, 2014
Pre-production script:              2013-2015
Shooting script:                    January 2015

First draft of the script was optioned and later purchased from Johannes Pinter. The page one re-write was performed by writer/producer Tomas Amlöv, as well as following revisions (with script consultants attached). The “financing ready scrip”, as well as following revisions, will be written by Lars Norberg. 

PRODUCTION SCHEDULE
Development:                      Jan 2012-Dec 2013
Financing/Casting:                May 2013– May 2014
Pre-production:                   Jan 2014-May 2014
Production:                       June 2014
Editing (off-line):               July-Dec, 2014
CGI/Visual Effects:               2013-2015
Sound design:                     Oct. – Dec.,  2015
Online/Mix:                       January 2015
Delivery/Completion:              February 2015 

PRODUCTION PLAN
Our vision is to produce “a big picture, with a small crew”. The movie will be shot almost entirely in front of a green screen – and most of the set design and effects will be added as part of the post production process. This allows for a compressed shooting schedule, while we stretchi out the post production over a longer period of time, where such things as modeling sets and creating some specific effects will start early and be a part of the development process. We will use our network of competent and freelancers in Pakistan to produce the CGI and visual effects Tomas Amlöv will also the director and one of the writers. He has the required background from both the field of feature films, as well as the computer industry (including visual effects) – which is a key aspect to the operative part of this production plan. 

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