RubyFilmz

A little xmas gift for all who have not seen this great fan film. This probably is the best fan film made to date. So if you have not watched it yet sit back and enjoy Ultra Yuletide Violence!

The Lobo Paramilitary Christmas Special

[youtube:http://www.youtube.com/watch?v=t9ooZYjF0mI]

DC Comics resdient Badass Lobo is sent to track down Jolly old Saint Nick. Prepare for the glorious Yuletide Ultra Violence!

 more after the jump

 more links on LOBO:

IMDB page 

story about LOBO from James W. Thompson, Jr, the production designer for the film:

“We had a week and a half maybe two weeks to prep for this particular film. And then we have four days to shoot,” Thomson said, adding that the school only allots $2400 for the movie’s budget. “Then you have about a week and a half to edit this film, score it and screen it. To throw a piece like this together in that amount of time is a really cool thing.”

Thompson said he tried to reference the comic books as much as he could when working on the Lobo movie. “It’s difficult because when you look at stuff that’s drawn within comics and you have to somehow materialize it and it has to function within our world. It’s not an easy task,” Thompson said. “For instance, a gun was drawn oversized. You’re not going to find [a gun like] that so you have to make that.”

Thompson said that his art department budget was about $800 for the movie. Given that, the art department had to make do with the materials they could find in the AFI inventory. “The stainless steel walls that were behind Santa Claus, they were flats that were donated to AFI. I thought this would be really cool to take that industrial, stainless steel and then put a fire place in it and paint it so that it’s Christmassy and homey,” Thompson said. “The same thing with the control booth for the elves.”

Scrounging for parts in the AFI inventory raised a few eyebrows on the production.

“One of our prop designers, Melanie Rein, she said after the piece was done she was quite amazed because she saw the stuff that I was pulling out of the yard and she looked at this stuff and said ‘what’s he going to do with this shit,” Thomson told us.

The Space Bar, where the film opens, was also quite a challenge, leaving the design team to start with the movie-set equivalent of a blank canvas.

“It was this totally white room, there was nothing in there. I had to convert [it] into a black, space kind-of bar that you see. The trick of it was that I was not allowed to paint the walls,” Thompson said. “So I had to cover the walls with paper and fabric and everything possible so that it looked like a bar but yet, not touch those walls.”

The team managed to create an environment that convincingly portrayed the seedy world Lobo lives in. Thompson also emphasized that the the production design is clearly a team effort. “Without all these people I couldn’t possibly have done it. My job is to keep them all on the same page.”

Thompson had particular praise for the supervising art director Gretchen Houk and properties master and assistant to the production designer Melanie Rein. “The beautiful thing about both of these people is that they’re not students. They’re professionals in the real world and they do this sort of thing in their spare time because they enjoy helping students get their work out. They live for the art,” Thompson said.

Thompson applauds everyone involved with the movie for contributing to the top-notch production. “One of the things I learned working on these short films in school is that, even though the script is really good and even though the members of the team all were talented, if they didn’t work together as a team then the film was going to flop,” Thompson said. “Although all of my films had aspects of them that were good, this was the only one that I think that everyone was on the mark with what they had done.”

 stoy from comics2film