Now that principal photography for the pilot of Ghost Writer is done, what are the next steps?
HH: Brian Dickett is digitizing the footage and doing the rough assembly and special effects. We’ve got about four hours of raw footage to edit tight for our 22-minute finished piece – but that’s a reasonable ratio. Lou Antonio, my precious Director Mentor with fifty years experience in the biz, said our toughest challenge will be figuring out what to cut because every take we have in the can is excellent. That’s a great problem to have. I am especially looking forward to my spotting session with Emmy-award winning composer, Steve Martson and writing the lyrics for the theme song: “I can see right through you.” Then we’ve got digital imaging (color correction) to do, sound design. The final piece will have three potential avenues. Ideally, we’ll get it sold and set-up as a one-hour television drama series but we also have plans to hit the film festival circuit with it as a short and it also serves as an investor trailer for a full feature. ED: What other projects are you planning in th
