As a lifelong fan of horror films, I grew up reading magazines like Fangoria, Gorezone and CineFX and plastering posters of Freddy Krueger, Pinhead and Frankenstein on my bedroom walls.  The movies that always scared me the most were about the unknown or the supernatural.  Gearing up for this short film, I wanted to make something that really gave the audience some chills and hopefully would linger with them a few moments after the film ended.

My thoughts immediately went towards the concept of a girl being haunted by a stalker. The scariest ‘bumps in the night’, for me, always came from unknown sources or from things you couldn’t see.  Serendipitously, while I was writing the first drafts of the script I spoke to a co-worker at an after work drinks event and she confided in me that she had a stalker in college. Listening to the details of her experiences, how the cops couldn’t help her and she felt so vulnerable and so alone, my thought was that the concept of a stalker is already scary, but what about a stalker whom you escaped a few years ago and has now found you again. A stalker who could not be escaped.  That, I felt might be a truly terrifying experience.  My goal is for a few people to sleep with a nightlight on after a screening of “Forever.”

Youre Mine



Shot over the course of three very hot August days in 2013 in the Los Angeles valley of North Hollywood, “Forever” was a testament to a dedicated cast and crew who worked hard with little resources to create the best film they could.  Considering that 95% of the film took place at night, the scheduling of the film’s production in the middle of the summer with the longest hours of daylight was unfortunate.  Completely self-financed by the Writer / Director, Blair Franklin, shot the project mostly in his own apartment and he pulled in every favor he could do get the film made.  The film, shot in Los Angeles, was brought to the San Francisco Bay Are for post-production. His longtime childhood friends, Roger Hall and Stephen Beacham are now working audio and video professionals that added to the production immensely. Roger Hall edited the film on Final Cut Pro and Stephen Beacham designed the sound mix in his professional recording studio in Northern California.  The Dir. of Photography, Ioana Vasile, provided her own camera for the project, which was shot on the Cannon 7d.