Film festival submissions sometimes require production notes, pithy essays that chatter on about what a film is all about, where it came from, who did what, how and why it came to be. Below is my attempt, in 250 words, to fill that space on the application form:

"You've got no excuse," a filmmaker friend said to me over cocktails in a fancy hotel on Sunset Boulevard. "Go out, spend a couple of grand, get a camera, Final Cut and start making movies again."

My friend was right, and it wasn't just the Martinis talking. Empowered by a computer upgrade, DV camera and discount eBay software, Flashfilms was born. 40 documentary shorts later, a short story took root combining frustrations of modern urban living, insomnia and migraine headaches into a 12-minute story in the style of the old classic TV shows The Outer Limits and The Twilight Zone.

The result was The Glitch, a digital short movie about Harry Owen (Scott Charles), a man who experiences a strange anomaly in his daily insomniac workaholic routine. To explain any more would spoil any attempt at walking in the shadows of the great genre writers Joseph Stefano, Richard Matheson, Rod Serling and their contemporaries who tapped the zeitgeist of the technological age with gothic tales of technology and morality gone awry – with a sting in the tale.

Many talented people made The Glitch a reality. Kudos must go to fearless leading man Scott Charles, who brought to life the many facets of poor Harry Owen; director of photography Tom Gleason, who made so much possible in high definition; composer Laurent Watteau, who channeled the ghosts of Herrmann, Goldsmith and more; and visual effects guru Alex Frisch and the team at Method, who put the glitch in The Glitch.


Japanese Glitch poster

by Richard Nye / L. Watteau