For his first film, director Bob Konop took a bold stroke in moving away from his comedy origins into political intrigue. Enemies Within was a project which offered Konop a vast array of challenges, not the least of which was the budget level on which it was undertaken. However, the low budget offered an opportunity to prove some theories which director Konop had formulated over the last decade concerning the technical quality which he believed that filmmakers on even the lowest budgets can achieve. This new level of technical quality was made possible by advances in desktop computer technology which brings advanced techniques within the grasp of all film makers.
Director Konop met his challenges on a tight schedule and a low budget, even taking on much of the responsibility of a line producer. He put together a talented production team which will aide him tremendously in his upcoming projects. And now that the process has been proven, Konop is certain that even better quality will be forthcoming with new, innovative and exciting films.
Richard French entered the Enemies Within project at a very early stage, jumping in with help on some critical story points after the first draft of the project's script. Having been an undergraduate film major with director Bob Konop at Loyola Marymount University, French was able to work closely with Konop throughout the course of the project. French even acted as assistant director through the principle photography and aided the project through its edit and post production phases. A talented film maker in his own right, French is currently pursuing development of two of his own scripts which are commited to future production.
Cinematographer Blake Jackson came to Enemies Within offering a vast array of talent and experience. With his origins in production design before completing USC's graduate program in cinematography, Jackson's keen eye gave Enemies Within the precise dark look which writer's Konop and French had envisioned for the project at the outset. Jackson also brought a highly experienced camera team with him including USC classmate James Sweeney who, though a very talented cinematographer himself, acted as Jackson's chief lighting technician as well as the Second Unit Director of Photography.
The look and feel of a film always rests with the talents of the art director or production designer. Mark Rizzo can take credit for coming through with a stellar performance in this regard, even though he was hindered by a tight schedule and a meager art department budget. Rizzo's talent shown through when he was not only able to reasonably equip a complete hospital, but also in his ability to bring the best out of the many other sets and locations which became his responsibility to dress and decorate in accordance with the planned style of the film.
Composer Marco Marinangeli was taken by the theme and subject matter of this film to the extent that he dedicated substantial efforts in assuring a first quality musical score for Enemies Within. Working closely with director Konop, the two were able to create new technologies to bring Enemies Within a musical score utilizing the latest that technology has to offer, bringing the film in on budget without sacrificing the acoustic quality or musical integrity which his score offers. In this regard, Marinangeli carefully composed his music to incorporate sixteen tracks of brass and woodwinds which was recorded across the continent by Real Live Horns¿, then mixed back in Los Angeles under Marinangeli's supervision.
The many theories which director Bob Konop formulated concerning the technical side of his film were confirmed and verified by Hollywood technical whiz Charlie Brewer. Where Konop had theorized that low budget productions could readily utilize some of the most advanced technologies available in post production, it was Brewer who was able to bring these theories to reality without incurring any the massive costs usually associated with film post production. A single mono production track was expanded, by virtue of digital technology, into the Dolby Stereo surround sound track which rivals some of the top productions in Hollywood. Essentially only desktop computers were used in this process until the final sound mix.
Producer Kamine Watson is a breed apart from the usual Hollywood crowd, but nonetheless a strict perfectionist. She personally supervised the entire process of the film from its inception to its final print, egging on Director Bob Konop with the regal bearing of an oriental queen. When energies began to sag in the post production process, it was Watson who kept the process rolling by cajoling director Konop back into the editing room at sunrise every day until the film was complete. It was Watson who would accept nothing less than the best.
ENEMIES WITHIN POSTER
ABOUT ENEMIES WITHIN
PRODUCTION INFORMATION
THE CREDITS
BACK TO TOP PRODUCTION INFORMATION
The MovieLand Web INDEPENDENT FILM LINKS