Machine of Quiet Killing follows brothers Jonah and Milo, as they continuously subject themselves to The Machine, a mechanism they believe will let them see their deceased father again. As Jonah’s obsession with using the Machine begins to consume both of their lives, the brothers come into conflict over how far they are willing to go.
Machine of Quiet Killing is a deeply personal film, rooted in the conflict which arises between brothers dealing with their different experiences in response to the shattering death they have experienced. Following the story from the perspective of Jonah, we aim to blend elements of harsh realism with more subjective qualities reflecting his addictive behaviour towards the Machine.
Through the film's visual style, we seek to convey the bleak unease of the warehouse, the story's central setting. From Jonah's perspective: the raw vulnerability of the space has reached a crescendo which can only be relieved through the refuge of the Machine. The aim is for the audience to experience this as Jonah does. The tension and anxiety of the space become so intense that using the Machine comes as relief.
Visually the main inspirations for the project are Hiroshi Sugimoto, Khalik Allah and Chris Marker - utilising harsh, industrial lighting in combination with heavy shadow. This would be combined with intense, intimate camerawork akin to films like Good Time, Happy Together and Climax. Through all these elements, we hope to capture the atmosphere of a space unnatural to the world.
With our promo video, page and visualisers we will convey an idea of the film we want to create. To draw together the different elements to be able to deliver the final film, we need your help! Building this world provides a great challenge for every department involved, particularly for the experimental 'vision' sequences which come with Jonah's use of the Machine. To give you an idea of what the team have been working on so far, here is a visualiser we've developed:
For the setting of Machine of Quiet Killing, our aim is to evoke the sense of an 'industrial nightmare'. Through the continued experiments of the characters, we peer into a space which has long since been consumed by the tendrils of the Machine. The monolithic mechanism at the core of the warehouse, the Machine's presence looms over at all times, covering the space like a parasite. Thus the Production Design is a major aspect of the film, involving immense amounts of detail to convey the imposing nature of the Machine and of the dystopia of the setting.
Director/Writer statement:
Whilst my father was comatose in hospital, I believed he would hear me if I tried to speak to him. But, despite that, I couldn't bring himself to try - and said nothing to him. Years on after he passed, I asked myself: 'Would I want to speak to him again now?' It was that question which led me to write Machine of Quiet Killing.
This is a story about control, exploring the different ways we respond to the immense vacuum of all control in the wake of loss. I want us to explore how Jonah's obsession with his loss has led him down a path deeper and deeper into a complete absence of control.
If you are able to donate, you will make a fundamental difference to the making of the film. Every penny helps us to achieve our vision and make the film as strong as it can be. Funds will be used to ensure we can access professional cast, equipment and material to bring the script to life.
We appreciate that not everyone can donate to this project. But every share, follow, and comment helps – you can find us on Facebook and Instagram to stay up to date with what's happening behind the scenes.
We are hugely grateful for your support – whatever it may be.
So, you may ask... where exactly is my money going? We've created a pie chart to see a rough breakdown of our costs and how each portion of funds will be divided between each department. These percentages will ensure that each and every penny is spent wisely throughout production.
Raphael Allason
I'm Raph, Director and Writer of Machine of Quiet Killing. I've drawn a lot from my personal experiences in developing this film, but the project has become something larger. Every member of the crew has already put such a great deal of themselves in, and I strongly believe that the final film will have an emotional potency which everyone can connect to. What appealed to me in originally developing this project was the chance to approach reality in a heightened perspective. These characters are real people with real experiences, and now we hope to capture that through an entirely unique lens. This project is born out of a love for the film medium and I'm extremely excited to show off what the crew and myself have been working on.
Zuzanna Słupińska
Hi! My name is Zuza, the producer of MOQK. I’m beyond thrilled to be a part of the team for a project so exciting in its form and significant in its themes. Over my three years of university I have produced several projects, with Machine of Quiet Killing now the greatest challenge yet. Being involved with shaping the story from its earliest stages has been an honouring experience. The script explores themes of bereavement, and the ease with which one can lose themselves in their grief - issues many of us have or, regrettably, will experience in our lifetimes. I believe it is that universality of our film’s subject which is why it is so crucial to be told. I hope all who read might please consider supporting us to help make Machine of Quiet Killing a reality. I’m excited to work with our fantastic crew on bringing it to the big screen!
Tomakay Percival
I’m Tomakay, the Co-Producer of Machine of Quite Killing. This project is about grieving, loss, and the places these emotions can take us. I believe that this project has real vision and ambition; utilising experimental techniques to realise these dark themes, whilst also tethering them to the idea of familial bonds. I’m excited to rise to the challenge of bringing this film to the screen, and am looking forward to working with and helping organise all of the talented individuals involved.
Matt Bramham
I'm Matt, the Director of Photography for Machine of Quiet Killing. After working on numerous projects inside and outside of university in camera and lighting, I’m extremely excited to bring all I’ve learned into being DOP for the project. The story offers a large canvas for creativity and experimentation, and I'm keen to capture the complex nature of the central characters' relationship and separation of reality and vision. I’m honoured to have the opportunity to take up this role within such a brilliant crew and to bring my skills to the table to make the film something special.
Davy Stephenson
Hey! My name’s Davy, and I’m the Gaffer on Machine of Quite Killing. In my time at university, I’ve been focused on mastering the art of lighting. Over the years, I’ve created all kinds of unique setups ranging from realistic and subtle, to the more abstract and artistic. I’m excited to bring the best of both worlds to this project, combining grounded, natural lighting with creative setups that bring something special to each scene. I can’t wait to help shape the look and feel of Machine of Quite Killing. Thanks for your support!
Jodie Watson
I'm Jodie, Co-Production Designer for Machine of Quiet Killing. I was immediately drawn to this project through its challenge. The Machine is an oppressive presence, beckoning Jonah to choose a fleeting moment over his own brother Milo. The clash of perspectives from each brother is a challenging theme to communicate through the design of the film. I am ecstatic to have the opportunity to create the Machine and design the space around it, infecting it with the Machine’s suffocating nature. Production Design is the key to telling a story without words, and our department is aiming to tell Milo and Jonah’s story through metal, wires and concrete.
Ryder Pomerleau
I’m Ryder, Co-Production Designer for Machine of Quiet Killing. The film follows a very real story of the loss of control in the face of grief through the lens of an industrial hellscape, which can, in our very real world, only be manufactured. This is what drew me to the film - the potential to construct a landscape so unnatural yet grounded within a very real struggle, one deserving of discussion. Our design of the set and the Machine itself aim to provide the atmosphere necessary to complement the brothers’ anxieties, crafting an oppressive space in which their conflict can take place. It is our job to express their mindset as strongly as possible through the space that we create, while also ensuring that it is suitable and safe for the rest of the crew to film within. It will be a very complicated but rewarding build, and one that I am incredibly excited to turn into a reality!
Abe Gallagher
I’m Abe, the Production / Post Sound for Machine of Quiet Killing. Sound is an integral part of any film, whether through creating immersive spaces, informing the tone of the story with provocative score, or most important of all - creating an audible connection between the audience and characters. I am very excited to be a part of both the production and post-production process for Machine of Quiet Killing. I hope to elevate this intense story about grief by designing the sound to convey the desolation we feel in the wake of death. Having worked with the director and many members of the crew on several projects beforehand, I’m once again passionate to work alongside them and breathe distorted life into this film.
Will Mackenzie
My name is Will, and I am the editor of Machine of Quiet Killing. My role within the production is to assemble the beautifully crafted puzzle pieces created by the talented crew to construct a cohesive and emotionally resonant film. My creative process, as the film’s editor, will be fuelled by my love of body horror, science fiction, experimental filmmaking and synth music. I feel that these elements are an effective way to explore abstract ideas such as faith, love and grief. As a film fan these are themes that I am drawn to frequently and persist as everlasting anxieties of the human condition. The medium of film and the craft of editing can utilise these aesthetics to build a story of dramatic intensity and pathos in which a juxtapositional collage of ambiguous and expressionistic imagery can be weaved through the narrative. By editing this film I am really excited about being guide for the audience in our journey to describe the indescribable.
George Clarke
Hey! I’m George and I’m the 1st AD for Machine of Quiet killing. From first hearing the project's pitch, I immediately knew I had to work on it in some regard, whether that be on or off set. The industrial horrific overtones of the film, combined with the extremely well written character work, made me instantly fall in love with it. I’m extremely excited to work with a 5 star crew to give this script a platform, and bring the film to life.
Yéléna Moss & Adelaide Ragan
We are Addie and Yéléna, Co-Designers in the Costume department for Machine of Quiet Killing! Costume contributes to film in a significant way, as it immediately informs the audience about a character - who are they as a person, what are they inspired by, comforted by, and even how they relate to other characters within the piece. We can tell so much by the choices people make clothing wise, not only through the items themselves, but in the various ways that the characters may wear them. In the case of Machine of Quiet Killing, we are developing the costumes to be very stripped back to convey a cold vulnerability in the characters. As we progress, we will be utilising breakdown to indicate the pressure the characters are under from their own conflict, and from the pressure of the Machine itself. We are really looking forward to playing a part in the of telling this story!
Poppy Mullholland
Hi! I’m Poppy and I’m the Head Makeup Artist and Designer for Machine of a Quiet Killing. I’m very excited to work with the rest of the crew to fully realise the director's vision for the Machine. Through use of special effects, makeup and prosthetics, I will be exploring the physiology of the Machine's effect on the body of the characters.
Malina Midera
Malina Midera is a pianist, composer, and improviser - sensitive to every sound, and looking for her language. Raised and growing up in different cities across Poland, Malina gained experience within several cultural, social, and musical areas. Studying Jazz Piano at the Academy of Gdansk she focused on Free Form, Improvisation and Classical Jazz Piano approach. Currently, she lives in Copenhagen, and studies Music Performance at Rhythmic Music Conservatory. In addition to music, she has great interest in photography and visual arts. Furthermore, she runs her broadcast "Mambo Dżambo" on Radio Kapitał (PL).
CREW HEADSHOTS @danbowhay
You’ve made it to the bottom of the page - on behalf of all of us from Machine, thanks for taking the time to read everything. We are so grateful for your support in making this film happen. Stay tuned for what we get up to in production!