It just kinda puts a damper on the whole thing

I wish Orson Welles was still around. I sure could use some advice. I'm trying really hard to convince myself that I'm not doomed to a career of mediocrity. Not that I think I'm a bad filmmaker or that Deadroom is a bad movie. Getting a review like that, two days before the world premier, is not healthy for the film. I'm not worried about the opinion of the reviewer, I could care less that he didn't like the film. But he more than didn't like the film, he said it was poorly made all together, which is a bald face lie. I can deal with not liking the concept and story but the execution is flawless. Anyone who says different is very lacking in their knowledge of film and it's process. Which a reviewer of film should be well versed in. Obviously this one isn't. Even though reviews don't mean a thing to me, they do unfortunately mean a lot to marketing and publicity and when you're a no name group of filmmakers like we are, well there you go. A review like this can stop any momentum dead in it's tracks. So there you have it. This jerk wad decides to exercise some vendetta he has against our little film. At what cost to our SXSW experience? Who knows. People tend to accept negativity faster than praise when they aren't familiar with the subject. Of course I'm probably giving this situation too much credit. Obviously, Matt Dentler and the others in the selection committee thought the film was great or why would they have accepted it amongst the thousands of entries they received. I just hope that people trust SXSW taste more than this reviewer's.

I'll just keep reminding myself that a couple of really cool people, people of note within this industry have had positive things to say. I'll also keep reading this from the Cleveland Film Website:
"To talk to the dead is a very human desire – to say what was never said, to ask a great question, to get the last word in. In DEADROOM, it happens. A stripped-down psychodrama with four storylines, each with its own director, the film slowly pulls the viewer in with each revelation. Each conversation happens in a sterile room with different lighting, each person facing the other across a long table. Kate wants the blessing of her late husband Layton to remarry; Julie confesses her attraction to Trevor, a gay co-worker; Tim interviews Percy, an arrogant author who seems to have written the tragic story of Tim’s family; and a mysterious man urges a woman to remember the events of the day before. The dead are alternately sweet, na├»ve, bewildered, confident and even honest, while the living are quivering bundles of anxiety, pain and rage. The film relies heavily on the writing and directing, and these folks deliver."

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