Writer/Director Myles Sorensen holds an MFA from the USC School of Cinema- Television, where his thesis film, THE ARSONIST, premiered at the Venice Film Festival.
In 2006 he relocated to New York, where he earns both bread and butter working as a television editor. PLATO'S REALITY MACHINE is his first feature film.
Q: Tell us a bit about Poison Door Productions. Who is your team, and what do you specialize in?
Q: Plato's Reality Machine is a feature film that combines the use of real video footage with iClone animations. Tell us about this project and its filmmakers.
I started writing Plato's Reality Machine about five years ago. I had this idea to do a film about 6 single New Yorkers and their interlocking relationships. And I also knew that part of the film would be interviews with these characters, in a reality-show format. But I knew I needed a third part to the film, as the first two parts were so dialogue driven and talky. I wanted the third part to be something visual, exciting. So eventually I came up with the idea of having the third element be a video-game, and to have the story in the video-game be another one of the "relationships" we see in the film. Once I had that idea, I finished the script and we were ready to go.
I signed on four producers here in New York: Clifford Fields, Padmini Narumanchi, Christopher Vitale and Owen Cooper, and they started helping me put the project together. Our first crew member was cinematographer Dagmar Weaver-Madsen, who won the ASC Heritage award coming out of UCLA Film School and was able to secure an amazing camera package from Arriflex for us. Then we started casting. I had seen Trieste Kelly Dunn in a film called Cold Weather, and offered here the role of Zoe. She has since gone on to become a series regular on the Cinemax hit series Banshee. And Mackenzie Davis, who plays the video-game character Sophia, is now a big star on AMC's hot new show Halt and Catch Fire. All of our cast, including Doug Roland, Carolina Bartczak, Ed Renninger, Heather Shisler and Nathan Spiteri were really great. We shot the film in 2011 over 11 days here in New York, and the post-production process took a long time. We commissioned an amazing original soundrack from industrial music legend Raymond Watts (KMFDM) and I think his electronic synth-based score really jives well with our video-game themes. We had our world premiere at the Oaxaca Film Festival in Mexico in September and have been on the festival circuit since. We are especially excited about our upcoming screenings at the Manhattan Film Festival on July 1st and the big Gen Con video-game conference in August.
Q: Is there any particular reason why you chose to use iClone in this movie? What can you say about iClone?
Q: Could you also explain how iClone enhanced your movie, and how the production process went?
Q: Are there any future plans for Poison Door Productions that you can share with us?