In 2012, filmmaker extraordinaireMartin Scorsesespoke with GQ abouthis preference forvampire moviesover zombie movies. He discussed the extensive list of stories to be told about vampires due to their diversity and sexual allegory, but zombies? Not so much. That being said, there was onezombie moviethat Scorsese had seen in London during the production ofHugothat “took the zombie idea to another level.” The film was 2008’sColin, written and directed by Welsh filmmakerMarc Priceand made for absolutely zero budget (£45 according to an interview Price gave to theGuardian). “He shot it, I think, digitally by himself, edited it himself. It was savage,” said Scorsese. “Really interesting filmmaking. Disturbing.” Ahead ofColin’s 15th Anniversary, now is the perfect time to rediscover this hidden gem shot entirely on a camcorder.
What Is ‘Colin’ About?
Colinfollows its titular character, played byAlastair Kirton, as he gradually transitions into a mindless bloodsucking monster amidst an apocalyptic world. That’s right,Colinis a zombie movie told from the zombie’s perspective. Very little dialogue is given to the character or the film as a whole, even before Colin becomes a zombie. This leads to some innovative visual storytelling; a welcome surprise from a feature directorial debut. It also doesn’t commit to its silent movie gimmick to a fault either. Whenever there’s cause for someone to speak, they do, but otherwise, Marc Price opts to place its audience in the character’s deteriorating mind. Perhaps this was what led to the guerilla-style indie film catching the eye of the auteur behindGoodfellasandKillers of the Flower Moon.
How Does ‘Colin’ Compare to Other Zombie Movies?
Having spoken with writer-director Marc Price, he explained that his no-budget project would never have been able to compete with the spectacle ofInDigEntfilms or28 Days Later, which were popular at the time. It’s thanks to this realization thatColinbecame a more intimate, personal film. The movie’s unique selling point of showing everything from a single zombie’s perspective became its saving grace. The film follows one man’s struggle to accept his transition, much like inDistrict 9which premiered 9 months later. The film also explores the relationship between an undead Colin and his living friends and family, five years beforeWarm Bodiesdid something similar (and only half as well). Martin Scorsese is a known fan of films that are “humble, sweet, funny [and] disturbing in a good way,” so it’s no surprise that these fresh elements were what piqued his fancy.
As a film that wasn’t able to feature enormous set pieces,Colincould be excused for feeling small-scale. But by featuring few crowd scenes and an abundance of innovative sound design, it creates the implication of a worldwide apocalypse as seen from a pedestrian level, heightening the tension and immersion. “It’s like you’re a witness to a disaster and it’s so big that you have no impact on it,” said the filmmaker. Since our hero is no longer afraid of becoming a zombie, this is where the film draws its fear factor. Be it consumerism orrace riots, the bestzombie movies are never really about zombies. As a result, Price reveals he never sawColinas a genre film. “I’m just telling a story about this guy, his feelings of isolation, which is something you may get in a big city.” This is what makes the film more than just the sum of its parts.
‘Colin’ Has Gone On To Earn Major Recognition From The BFI And Martin Scorsese
In the 15 years since the film premiered at Wales’Abertoir Film Festival,Colinhas been recognized bythe British Film Institute. “It’s nice that the BFI has decided there’s enough cultural relevance in me running around the streets of Tooting with a camcorder,” says Marc Price, who admitted he never thought anyone would see the film when he was making it. The director’s original plan to promote the film was to write on horror forums as someone else and say, ‘Hey, have you heard of this movieColin?’ However, after reaching out toFangoriaand receiving a positive write-up, the film piqued the interest of sales agentHelen Gracewho tookColinto Cannes and secured distribution for the zero-budget zombie flick.
It wasn’t until 2012 that Price would become aware of quite how much reach the film had, however. Coincidentally, the director was at the home ofColinactor Alastair Kirton when he was sent a tweet informing him of Scorsese’s praise. “Me and him were doing this little Snoopy dance in the kitchen ‘cause we were really excited. I was like, ‘Your face is in Martin Scorsese’s brain! And he liked it!'” Price calls himself a massive Scorsese fan, and “Between that and [George A.]Romeroreferencing it before a screening ofDiary of the Deadat Toronto, I thought those two moments were pretty damn great.”
