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Spencer Susser Adapting His Zombie-Apocalypse Short ‘I Love Sarah Jane’ Into A Feature Length Film

Spencer Susser Adapting His Zombie-Apocalypse Short 'I Love Sarah Jane' Into A Feature Length Film

The filmmaking collective known as Blue-Tongue Films are slowly but surely embedding themselves into Hollywood with their recent string of films — “Animal Kingdom,” “Hesher,” “The Square” — raising eyebrows around town.

The main project in the works at the moment from the production shingle is Kieran Darcy-Smith‘s debut with psychological thrillerSay Nothing” but among the gestating films from the team is one from Spencer Susser — the man behind the upcoming “Hesher” starring Joseph Gordon-Levitt, Natalie Portman and Rainn Wilson — and it will see him adapt his acclaimed post-apocalytic zombie short “I Love Sarah Jane” into a full-length feature film. No word on if the project will be Susser’s next but, with zombies all the rage at the moment, there’s probably never been a better time for him to tackle it.

The short film was released back in 2007 starring a pre-fame Mia Wasikowska along with Brad Ashby, Vladmimir Matovic, Beau South and Peter Yacoub. It’s a simple story of young love in a zombie-infested, post-apocalyptic world. Despite the low budget and already dated SFX, the mood and tone created by Susser and the performances by leads Ashby and Wasikowska result in a cute, compelling piece of work — which bodes very well for “Hesher,” a film that also juggles drama and chaos. Check it out below. [TheAge]

As well as Susser’s own plans, rising actor Joel Edgerton also recently had a short film of his unveiled at Tropfest, which holds the title of being the world biggest short film festival. Titled “Monkeys,” the short stars Edgerton himself along side Aussie television mainstay Damian Howling-Walshe and follows the story of two friends and a haircut. It’s pretty much a straight-up comedy and is quite different to the array of projects from the Blue-Tongue barn so far — nevertheless, it’s a hilarious piece of commentary on the psyche of the modern male (Australian, at least) that may very well precede a feature-length debut behind the camera for Edgerton somewhere down the track.

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