By MCN Editor editor@moviecitynews.com

“SAVING LINCOLN” Finishes Post-Production Process

Authentic Lincoln Film introduces a new filmmaking technique, CineCollage, into industry lexicon

Los Angeles, July 12, 2012 – SAVING LINCOLN, a new film based on the true story of our 16th President and his bodyguard, has completed production. Directed by Salvador Litvak and starring Tom Amandes, Lea Coco, Penelope Ann Miller, and Bruce Davison, SAVING LINCOLN tells a unique tale in a unique way: using actual Civil War era photographs as locations, the film explores Lincoln’s fiery trial as Commander-in-Chief through the eyes of his closest friend and protector – U.S. Marshal Ward Hill Lamon.

In the process, SAVING LINCOLN officially introduces a new cinematic style to the industry: CineCollage.  Developed by director Salvador Litvak, the new filmmaking technique allowed a sprawling period piece to be made on an indie budget (a full description of CineCollage is included below). While various types of layered images have been used in other films, this is the first time CineCollage, or “cinematic collage,” will be employed for every scene in a feature film, and the first time that the technique has been branded in an official capacity.

About the production process, Litvak said: “We had a huge story to tell, and we were determined to tell it.  During our research, we dug into the enormous trove of Civil War photography in the Library of Congress, and I visualized scenes taking place in those locations. In the wake of movies like ‘Sin City’ and ‘300,’ I realized we could use the photos to replace physical sets. Of course, the process was far more complex and time-consuming than I imagined, but thanks to an extremely creative and passionate team, we were able to make SAVING LINCOLN a reality.  Further possibilities for CineCollage are unlimited, particularly for subjects that can exploit well-photographed periods and locations.”

Based on detailed research by Litvak and writing partner Nina Davidovich Litvak, SAVING LINCOLN follows Abraham Lincoln’s journey from country lawyer to conflicted Commander-in-Chief, as recounted by his self-appointed bodyguard, Marshal Lamon. Lamon halted many attempts on President Lincoln’s life, but he was not present at Ford’s Theater the night Lincoln was shot. To understand why, one must hear his tale.  SAVING LINCOLN stars Tom Amandes (as President Lincoln), Lea Coco (as Ward Hill Lamon), Penelope Ann Miller (as Mary Todd Lincoln), Creed Bratton (as Senator Charles Sumner), Saidah Arrika Ekulona (as Elizabeth Keckly), and Bruce Davison (as William H. Seward).

CineCollage, by definition, uses existing images as a backdrop to create a cinematic collage. The process combines off-the-shelf visual effects tools with techniques borrowed from theater, animation, and photography.  A typical scene contains live-action elements – including principal actors, tiled layers of extras, furniture and props – all shot on a green screen stage, as well as multiple layers of location and architectural elements culled from period photography. The layers are composited together to create a stylized look that works hand in hand with the story’s narrative structure: in this case, Marshal Lamon’s very personal recollection of his friend, Abraham Lincoln.

SAVING LINCOLN is directed by Salvador Litvak, written by Nina Davidovich Litvak and Salvador Litvak, produced by Reuben Lim, and executive produced by Horatio C. Kemeny. The film stars Tom Amandes, Lea Coco, Penelope Ann Miller, Creed Bratton, Saidah Arrika Ekulona, and Bruce Davison, with songs performed by American roots-rocker Dave Alvin.

For more information about SAVING LINCOLN, please visit the official website at http://www.savinglincoln.com/, “like” the page on Facebook at http://www.facebook.com/SavingLincoln, and follow the stories of US Marshal Ward Hill Lamon at twitter.com/savinglincoln.

And today is a notable date in Lincoln history as it is the anniversary of the Battle of Fort Stevens (July 12, 1864) – the only time an American President stood on the field of battle, and is a crucial scene in the movie.

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2 Responses to ““SAVING LINCOLN” Finishes Post-Production Process”

  1. Russ Gleeson says:

    Thanks for the up date Mr.Pride. Folks that loved Lincoln REALLY need an authentic representation and this can’t miss that mark with the ‘Cine Collage’ approach. Can’t wait t’see it!!! Russ

  2. Glad we could help out ! What a great experience! We can’t wait to see the final cut! Thanks .

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“Yes, yes, yes. Now I am also the producer on Jean-Luc’s films, so I need to raise the money. Yes, there are two projects in preparation with the pretext of virtual reality. We are beginning with two approaches: we can either do or undo VR. Maybe we will undo it more than we do VR, because thinking about VR leads to the opposite of VR. Is there concrete imagination in virtual reality? For me, cinema is concrete imagination because it’s made with the real and uses it. VR, virtual reality, is totally the opposite of that, but it might be interesting to use this and then to destroy it. No, we’ll see, we’ll see. First, it’s just an idea of a beginning. There is a forest to cross, and we are just at the beginning of the forest. The first step is development. As they say in business, first there is development and research. We have to develop somehow an idea for the film; I won’t say a script, but to see what we can do with this system, and what we can undo with this system.”
~ Fabrice Aragno On Godard’s Next Projects

“Why put it in a box? This is the number one problem I have—by the way it’s a fair question, I’m not saying that—with this kind of festival situation is that there’s always this temptation to classify the movie immediately and if you look at it—and I’ve tried to warn my fellow jurors of this—directors and movie critics are the worst people to judge movies! Directors are always thinking, “I could do that.” Critics are always saying, “This part of the movie is like the 1947 version and this part…” And it’s like, “Fuck! Just watch the movie and try and absorb it and not compare it to some other fucking movie and put it in a box!” So I think the answer’s both and maybe neither, I don’t know. That’s for you to see and criticize me for or not.”
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