How Group 793 Produced a Short Branded Horror Film for this Tax Software
Although the Canadian tax deadline has passed, the mental anguishes of the season have left their mark in full, and for many, have not fully dissipated.
After all, tax season is a loathed affair for many. Research by Citizen Relations shows that 85% of young Canadians are haunted by anxiety and stress induced by the deadline, while over 70% of them experience significant life events that impact their filing, further intensifying their tax-related misery.
Of course, it doesn’t have to be quite this bad. With the right support, filing can be a significantly lower-stress process than it often is, which is exactly what Citizen set out to prove on behalf of the popular tax software, TurboTax… albeit with a slight catch. Specifically, the idea of creating a short branded horror film to spotlight tax anxiety was brilliant, but with a low budget and short time window, the production would require some real legwork and efficiency.
Enter Group 793. Loaded with full in-house capabilities from sound to direction to post, the team, along with director Filip Terlecki, was not only able to meet the ask, but do so in a visually striking way. From great monster makeup to entertaining practical effects, such as receipts raining down and monsters jumping out of tiny boxes, the work represented the perfect blend of a great creative pitch and technical know-how, resulting in an awesome film, titled ‘Undone’.
To discuss exactly what it took to bring this to life on the logistical and production side of things, LBB’s Jordan Won Neufeldt sat down with Group 793 partner and executive producer, Rob Plaxton, founder, Paul Irving, and Filip for a chat.
LBB> From the top, what was the brief for this project, and why was this something you were keen to be involved in?
Rob> Citizen Relations came to us with this really great idea for a short branded horror film highlighting the anxiety experienced around tax time by young Canadians, and ultimately, how TurboTax can help alleviate this ‘tax anxiety’.
The team was wondering if it could even be accomplished with the quick turnaround and tight budget. However, eager to dive into something new (a horror short) and to showcase how, by keeping everything in the building (production, post, audio), we are able to achieve what otherwise might not be possible, and were thrilled to accept the opportunity.
LBB> Given the restraints, at what point did you even know this would be possible to do, and how did you plan to make sure execution would actually be feasible?
Rob> There was a brief moment, when I realised that we couldn’t afford a set build or a location fee, that I worried we might have bitten off more than we could chew. Thankfully, plan C proved to be the best of them all – in the support spaces of our building we were able to find some great locations that we were able to dress accordingly, and we ended up in shooting locations which really added to the feel, aesthetic and overall creepy vibes of the film.
Communication and collaboration very early on between our director, Filip Terlecki, and our post production partner, Rob Del Ciancio, ensured that we were able to meet our deadline. In fact, Rob and his team were hard at work on the VFX before we even went to camera. In short, being all part of the same team is what made that happen so smoothly, and is how we were able to bring all the components together in such a short time.
LBB> Let’s talk about the storyboarding process. How did you plan to make the script achievable via the limitations, and creatively, how did you integrate a horror tone into this process?
Filip> Part of the limitations of this project were that we didn’t have the luxury of storyboards – there simply just wasn’t the time. But, my DP, Jan Belina, and I are used to frequently shooting without boards, so we weren’t phased. We did a thorough walk-through at all the locations and meticulously reviewed my shot list to figure out how the impact of each shot could be maximised visually, and how each sequence could be improved by either adding, eliminating or combining shots. This process ensured that we were 100% on the same page, allowing us to move quickly and efficiently during the shoot.
To capture the horror tone, we relied on specific horror movies for references – a combination of classic horror and contemporary movies that we wanted to use as an inspiration. Our good friend Pawel Pogorzelski shot ‘Hereditary’, so there’s a bit of a creative nod to his work through two specific shots that we incorporated into ‘Undone’. Mood wise, I wanted a constant sense of intrigue and tension. Intrigue stemming from the mysterious contents of the box, while tension rises with the anticipation of impending terror – creating a palpable sense of dread.
LBB> From here, what was the pre-production phase like? What did it take to ensure the shoot could be done in the compressed time frame?
Filip> For me, preparation is always the key. And that includes clear communication with my department heads to make sure that they understand my intentions as well as the requirements of each scene. If they know what’s needed, they can do what they need to do to deliver on the day.
The other important component is to commit creatively and to eliminate any second guessing – I make as many concise creative decisions as possible during pre-production so that on shoot day, we’re going full throttle and my focus is entirely on achieving the vision.
LBB> Tell us about the casting! What made Mitsuko Noguchi and Dylan Simpson the right people for the job?
Filip> Casting is a bit like marriage – you know that you’ve found the right partner when you see them. Both Mitsuko and Dylan nailed their auditions – they just fully embodied what we needed. For Mitsuko (who plays Sophia), there was a strong physical presence combined with a fragile interior. And the fact that she reminded us of a young Ripley (‘Alien’) didn’t hurt. For Dylan, I wanted someone who had a strong command of his body and could use it to physically give us the creeps. Dylan had previous experience playing creatures and grasped the role instantly.
LBB> For the shoot, what was the experience like? Do you have any anecdotes from on set?
Filip> Because we shot the entire thing at Group 793 Studios, it was a jam-packed two-day affair, complete with creature makeup and practical visual effects. I strategically planned the most complicated shots for the end, thinking that with time running out, we wouldn’t be able to overcomplicate or overthink things – we’d just need to get them done. These were the shots with the creature bursting out of the box, as well as a hurricane storm of receipts.
However, when it was time to shoot them, I was a bit concerned with how long it might all take, especially the time needed to reset everything after showering the entire set with actual receipts. But, after a great first take and the entire crew springing to action to clean up the mess and prep for another take, I knew we were in good shape.
LBB> Speaking of the receipts, it’s one of the standout shots of the film! Can you tell us more about your other favourite sequences, and how they came to life?
Filip> An iconic image is a hallmark of every exceptional horror movie. Just think of Freddy's claw emerging from the bathtub in ‘A Nightmare on Elm Street’, or the chilling monster reveal in ‘Smile’.
With ‘Undone’, I always wanted to make sure that we had our own memorable images, and I wanted to do as much practical work as possible. CG can be super useful and is definitely a great resource, but you just can’t beat having real elements for the actors to interact with. So, not only was the monster reveal of primary importance, but it presented a fantastic opportunity. Then, it was just a matter of figuring out how to practically bring it to life. I mean how do you practically get a 6-foot tall actor to emerge out of a small banker’s box? Luckily, Nick Haraszty, our on-set props supervisor, came up with an ingenious solution.
Specifically, we pulled this off by utilising a larger replica of our smaller banker’s box, while Nick elevated the carpeted floor so that our actor could crouch below the box and then emerge from it on ‘action’. Old school techniques such as that work like magic when combined with smoke and mirrors.
Finally, to enhance the suspense and horror, we really embraced the darkness; our minimal lighting ensured that the viewer’s imagination went into overdrive, filling in the gaps of what the eyes couldn’t see.
LBB> Building on this, what sort of equipment did you use for the whole shoot? And what inspired these decisions?
Filip> We shot on an ARRI Mini with a set of Blackwings7 1960s optically inspired lenses created by Tribe 7 (they’re killer lenses). And we utilised a 2.39:1 aspect ratio. The intention was to use the widescreen format to provide a more immersive viewing experience, and to emphasise the anxiety and terror that Sophia experiences by filling the frame with either darkness or the clutter that’s in her apartment.
Compositionally, the wider frame offered opportunities to craft more visually striking images and to employ creative techniques for jump scares and misdirection involving the mannequins – revealing shapes, shadows, and movements in unexpected parts of the frame.
This is where great set design and wardrobe really elevated the film. Jen Beckford, our production designer, did an outstanding job of using set decoration to mirror Sophia’s overwhelmed mental state. And there are a number of fun Easter-egg props to highlight Sophia’s tax anxiety: for example, the constant reference to 430 (whether that’s the time on the clocks or the unit number on Sophia’s apartment door) is a nod to the April 30th tax deadline.
Similarly, our wardrobe stylist, Serena Vaz, cleverly used costuming to reflect the duality of Sophia and our monster. The monster resembles a ghastly version of her own insecurities. In essence, Sophia and the monster are one and the same, hence their look is very similar.
LBB> Of course, the VFX, post and audio was also all done in house. How was the collaboration, given you were working under a single roof?
Paul> That’s the beauty of Group 793 Studios – we have incredible in-house talent that can take any project from start to finish. And, because we’re all in the same space, there are no 24-hour turnarounds with answers to questions or overnight hard drive shipments. Everything on ‘Undone’ was practically immediate, and the work was always moving forward. In an industry where efficiencies are everything, ours is the model to be.
LBB> Do you have any anecdotes from the post experience? How does one create horror via sound and editing?
Filip> Editing and sound design play such vital roles – especially in horror. Pacing wise, it was important for me to let this film breathe, to build tension through longer shots and minimal cutting, and only picking up the pace during really climactic moments.
In terms of sound design, we used sound and music cues to draw parallels between the box and the monster, highlighting their connection. And growing sounds of voices and the ticking of clocks and digital beeps really accentuated the mounting pressure that Sophia faces to meet her deadline. Supervising sound editor Pino Halili and I previously collaborated on another horror film which worked out great, so I was happy to have him on board for ‘Undone’.
LBB> What lessons have you learned in the making of this campaign?
Rob> This was an eye-opening project in a lot of ways. In fact, I’d say it was the most challenging project we've had the pleasure of working on to date. So, it was great to see the team put their money where their mouths are, so to speak, and masterfully execute all aspects of this production. It’s one thing to speak about efficiencies you’re able to offer, but it’s not really special until you’re able to prove it. I’m not surprised, but still proud that we were able to do just that with ‘Undone’. In addition to now knowing what we’re capable of, this project helped to reaffirm a number of my beliefs:
- It’s all about the script or the idea: When everyone can get on board and behind a great idea, that’s when magic happens.
- A great leader is easy to follow: When your director is as prepared, communicative and as collaborative as Filip, it makes everything that much easier.
- You’re only as good as the crew you’ve assembled: One bad apple can, indeed, sour the bunch. Thankfully, Jan Belina is wonderful and his crew was hardworking, dedicated and delightful. We wouldn’t have been able to do what we did without them.
LBB> Since launch, how have people responded to the work?
Rob> Generally speaking, the response has been overwhelmingly positive. Most people have found the story to be anxiety-inducing and legitimately frightening. I’ve also received numerous compliments on the look and sound of the film. Both, I’m told, add to the suspense and scares. The music has also been very well received.
In short, all of this is thanks to the hard work and effort of our client and agency partners, our director and crew, our incredible talent, Mitsuko and Dylan, and our talented post production artists, sound designers, engineers and composers.
LBB> Finally, are there any elements of the project you’re particularly proud of? And why?
Filip> I’m really proud that the entire team was able to bring this project to life in such a well-crafted way. It was a very unique project and kudos to the TurboTax and Citizen Relations teams for having the courage to do something so different, and for producers Rob Plaxton and Paul Irving for putting their faith in me. I love the collaborative nature of film, and I was happy to steer the ship in a way that brought everyone’s talents to the forefront in a way that exceeded expectations.
Finally, I’m particularly proud of how this film looks – Jan Belina is an extremely talented and insightful collaborator, and I think that he hit this project out of the park.
