Running Time: 4'22''
J. Rose Black
Married for 30 years to a woman he loves, their marriage has become routine and cold.
He loves her but knows he must break free to find himself and take his last chance.
Without turning back he leave his home and wife asleep in bed heading into the unknown in his vintage car.
His car is the only possession in his life that still makes him feel alive and free.
He drives without a route, not knowing where he will land in search of himself.
A chance encounter with a woman in a café on the road?
We will never know.
A new beginning.
A second chance.
A different end.
'Turn' has been produced by Laura Gregory, Fionn Groeger, Elin Van Der Velden and Maura Blake Kelly.
Barbara Williams had the leading female role as 'Detective Sharon' in Rutger's 1998 film 'Bone Daddy'.
Various moments on the set
TURN was shot in 2 days outside Los Angeles.
The poem was the base to see if a filmmaker would be able to make in film. It was written a few years before by its producer Laura Gregory, who I did "Split Second” with.
She had asked me if I could put my voice to the poem while I was shooting “Dracula”
in the north of Italy. I had to ask if I could "tinker" with the words to get a bertter flow and she agreed. It was written angrier.
I recorded it on my iphone and sent it back. I love that.
She loved it.
A good year went by before she called me again to invite me to an event held for the clients of her company. Could I show up for a Q & A with them. As I happened to be in LA I could and did. We Pow-wowed afterwards - long time not so nice - and said she was casting for a short film they would shoot in the next three days.
They were looking for their leading man. Did I know someone who could do it?
I asked her what age. Between 40/50 something. When I left I think I asked what the story was.
"The poem you recorded!"
On my way home I thought about my finest colleagues.
Then I called her. I found someone if age was not crucial. And who was available.
“You?” she said. "I never thought you would be available."
And so it shows how things just go. In their wonderful way.
It took the director Stuart Gilles, who seemed almost
too young to grasp the interpretation Laura and I had,
many months to edit a first cut.
It was not playing well and I felt for the director.
18 months later another cut came in. It was this.
I should know better not to judge too soon. And I did. It also shows
how coincidence plays its part.
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