THE TEAM

Director Matthew Collins and Producer Ryan Daly met four years ago in the indie game industry. They worked on various game-related projects until Matt moved to the East Coast and met Actress/Writer Delfine. Collectively, they formed Center Mass Studios in New York, and began producing numerous award-winning short films. One of those films took them to the Cannes Film Festival in 2009. That gave them the contacts and the wherewithal to shoot their first feature: “All That Glitters”

THE FILM

A young woman awakens in a bath, half-drowned, with no memory of who she is or how she got there. As she explores an unfamiliar New York penthouse a young man arrives claiming to be her brother. They embark on a journey to unravel the mystery behind her stolen memories and what they uncover is beyond anything they could have imagined…

ALL THAT GLITTERS is a harrowing, suspenseful thriller that weaves a cerebral and emotional story through believable characters and extraordinary situations.

THE PROCESS

With a measly budget of $20,000, peanuts by industry standards, and a highly ambitious script that called for 12 principal characters and 39 unique locations Center Mass and the rest of the production crew was forced to maximize the potential of every cent spent on ALL THAT GLITTERS. Matt, Ryan, and Delfine were very fortunate to have developed a solid working relationship during the filming of their shorts with Director of Photography Lukasz Pruchnik, who lent them his time and RED camera for no money. Every member of the production crew had something to offer, whether it be more contacts, equipment, or even inside access to gorgeous locations for free – such as Webster Hall, Phelps Memorial Hospital and Our Lady of Refuge to name a few.

This was a labor of love for all involved and was created in the true spirit of independent film-making.

THE FUTURE

Everyone who worked on this film was wonderful to donate their time and energy for free, but unfortunately in this business that will only move a project so far. As editing continues we’re beginning to look at our next expenses – mastering the film to HD Cam and DigiBeta, time in an ADR studio, and studio time for the recording of our score. Also we’ve had an amazing opportunity from a sound designer at Fox Studios, Chuck Michael, http://www.imdb.com/name/nm0584093/. Based on an early cut, He offered to have a full 5.1 Surround Sound mix done by him and his team for a generously small fee.