Writer/producer Destin Pfaff sent Fango the scoop on a nice little sashimi roll of exploitation called SUSHI GIRL. The film, which Pfaff co-wrote with its director Kern Saxton, begins production this March at Universal Studios, and tells the tale of a robbery crew reassembling to celebrate one of their own’s release from prison—and reminisce about a job gone wrong—while eating a buffet of sushi off the nude body of a beautiful young woman. However, things quickly spiral out of control and, as Pfaff describes it, “torture, madness and violence ensue.”
This is fight three from the film with temp picture and underscoring - the way I saw the film until yesterday when the screeners arrived. The final picture looks amazing. I also have to send a great big Thank You! to my friend Chris Salmassy over at Post Haste Sound who did a great, great job creating the final mix. Rumor has it there may (will?) be a screening in NYC in the coming months.
After a couple false starts, Kern Saxton and Destin Pfaff's retro thriller is getting made - which makes me happy because I've been asked to do the music. Kern put together a playlist comprised of late 60's and early 70's bond film scores, soul, and garage rock. Here is the poster full size. I'm starting demos next week - stay tuned - some might start popping up here.
This is another Kern Saxton collaboration. This scene was finished after a week of shooting to help lure investors. Another set of unique challenges both musically and in terms of sound design.
Kern and I discussed the music on and off for a while. He was interested in a fully-orchestrated electronic score ala Brad Fiedel's score for Terminator. I had some ideas of my own, so I did a demo that had an acoustic, gritty vibe. Kern liked it, but asked for a demo that conformed more to the Terminator aesthetic. Four demos later, I revised my original idea and we had ourselves a scene.
The sound design has lots of fun elements. This scene lives and dies on production tricks. The violence is essentially well-edited footage that makes it feel real. The sound design takes the same tact. Looking at the raw footage, you lose any sense of foreboding or tension. My goal was to make sure attention was drawn to the more frightening aspects of the scene: the razorblades, slingshot, the impacts etc.
I'm looking forward to finishing the rest of the film.
