Exclusive Angie: Lost Girls Trailer Starring Olivia d’Abo, Dylan Sprayberry & Randall Batinkoff
Exclusive Angie: Lost Girls Trailer Starring Olivia d’Abo, Dylan Sprayberry & Randall Batinkoff
ComingSoon.net is debuting the exclusive trailer for the upcoming drama Angie: Lost Girls, starring Olivia d’Abo (Conan The Destroyer), Dylan Sprayberry (Teen Wolf), and Randall Batinkoff (For Keeps?). Releasing on VOD on December 18 from Freestyle Digital Media, you can check out the trailer for the film in the player below!
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Angie Morgan (Jane Widdop) is deep in her rebellious teen phase, acting out against her absent parents with her secret new boyfriend, Mario (Sprayberry). However, unbeknownst to her, Mario is a reluctant agent of a vast sex trafficking network, and he is forced to drag Angie into a horrifying world of rape and abuse. As the police and her heartbroken parents fight to find her, Angie and the other trafficked girls struggle to maintain hope and stay alive. When Angie finally escapes and is brought home, she is haunted by the atrocities done to her and by the shadowy figures still pursuing her. She must eventually confront the shame and fear instilled in her in order to save the girls she left behind. This story depicts the horrors of sex trafficking in a deeply visceral way, serving as a call to action for many who consider their lives untouched by this world. Beyond that, however, Lost Girls is also a story of family, of bravery, and of self-worth that cannot be dictated by the world around you.
Angie: Lost Girls also stars Jane Widdop (The Kicks), MC Lyte (Bad Hair), Amin Joseph (Snowfall), and Anthony Montgomery (Star Trek: Enterprise). The movie is directed by Julia Verdin who co–wrote the script along with Janet Odogwu Butters.
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The drama is produced by Verdin, Jason Piette, Sean Acosta, Cady McClain, and Morris S. Levy.
The post Exclusive Angie: Lost Girls Trailer Starring Olivia d’Abo, Dylan Sprayberry & Randall Batinkoff appeared first on ComingSoon.net.
Guillaume: The most challenging part was constantly changing and tweaking the score because of all the picture edits. Since I started on day 1 of picture editing, I had to change the score multiple times because of the different edits. Through the post-production process, it’s always challenging making sure your initial musical ideas are still valid through the changes.
CS: Later in the film, Beauty endures a lot of hardship and even comes face to face with Ginger in one of the saddest parts of the film — there’s a rendition of Silent Night that plays during that moment. How did you decide on that piece for that scene?
Guillaume: Regarding more freedom or more direction, it depends on the film. Most of the time I do prefer to be working alongside the director, as opposed to being left alone to do my own thing. Working with the person who has the vision for the film, definitely helps finding new ways of composing and creating new music. When I am completely alone, the risk of repeating myself is larger. So, I definitely like the more collaborative process because it helps me better understand what their vision for the characters and scenes are. Working with Ashley has been such a fulfilling experience, she is very into music, so we exchanged a lot of ideas. She really inspired the music you hear it in the movie. She had such a delicate and sincere approach to every aspect of the movie. She helped me with delivering a very sincere score.
CS: What challenges did the project present?
PLM: Personally I find the process pretty different. With TV and film you have limited time to experiment – a film is normally 2 or 3 months from start to finish. With games, you have the luxury of time at the beginning to try things out and discover what sounds work. With the 3 of us sending stuff back and forth between us, this was a wonderful 6 months, which meant that when we really got our heads down to composing, we had already established a pretty clear idea of what was working for us and what wasn’t. But even with that said, you always end up going down unexpected paths as you progress with the scoring process and develop stuff. The main difference between film and game writing, though, is HOW you score it. With film, you just write on stereo (OK, surround!) track which is scored to picture. The same action happens in the same place on every viewing. With games, we all play at different speeds and make different choices, so there’s a massive technical aspect to it – using layers of atmosphere, bass, percussion, distortion, etc, with each layer triggered by an event that happens. And it needs to appear seamless so the player doesn’t notice. Again, with a game the scale of Cyberpunk and number of choices you can make, it’s a big deal.
PLM: All of it! I want them to feel they’ve been taken on a journey by our score and the game. People have been so inquisitive/supportive over the last few years, asking “will it sound like this, will it sound like that?” and we’ve had to keep quiet. So once this baby is released into the world, we’re hoping it’s going to blow people’s minds and defy their expectations.
