East of Byzantium: 451 A.d.

VARTANANTZ or the CELEBRATION of the WARRIOR SPIRIT...

2012-02-16T14:50:00.001-08:00

Personal message from EOB Creator Roger Kupelian:

There are Facts and there are Mythologies, and as writers we reinvent the Myth using the facts at our disposal but for greater effect, as limited by our medium.

After so many years of development, I've come to the conclusion that there are a number of different 'versions' of what happened that Spring morning of 451 AD, at the Edge of Rome and the Gates of Persia, where an outnumbered and embattled Armenian force met and fought a superior Persian army (themselves reinforced by Loyalist Armenians).

The resulting stories vary from the official Armenian Church account (by all Armenian Churches) of highly exaggerated numbers of combatants, complete or partial decimation of the Armenian forces (but my, how we sold ourselves dearly) to the more recent revisionism of "never happened that way, or that big".

To some pundits, it's about the Church selling us a bill of goods (ripped off from the Jewish Maccabees of the Old Testament , no less) . To others, it's about a strong literal battle of mythological proportions. To yet others, it was a bit of both. The truth is out there, somewhere between the extremes. Perhaps.

Regardless of what you actually think happened, what the final numbers were, who killed who in what order... the results are always the same. Vartan and his top generals were slain. The Rebellion (or uprising, depending on your view) left the field with high casualties. The Imperial Forces suffered big but took the day. Later on, after many years of trying to subjugate an indefatigable people, the Persian Shah gave in and granted religious and cultural freedom. He had to. His position was a lot weaker and the Armenians fought back from their strongholds with a new cadre of warrior, led by the widows of the very men they had slain decades before.

There are some accounts of this battle I have always had an issue with. Call it a writer's choice or what you will, but the idea that the Armenian military was a rag tag band of merry misfits facing a professional army etc... that may be Braveheart, but it was not Avarayr.

From what I can gather, the Armenian nobles of that time maintained highly professional forces of both cavalry and infantry from a very ancient and proud military tradition. Even the Royalists who supported the Persian side were of that cloth. There may have been clusters of hastily-assembled ground troops there that day, or people fighting more from heart than skill, but many in that world knew how to string and fire a bow with precision, at the very least. It was part of life. Maybe the Persian War Elephants spooked them a bit but the Pros would have known of this side of the Persian war machine and been ready for it. The battle itself, (and there have been studies), plays out rather like an actual battle would have. Whether it marshaled the Hordes of the Entire East, or a smaller precise engagement of reasonable magnitude, is missing the point.

And the Point is Honor.

Honor demands things of a Warrior, especially one entrusted with the Hereditary command of his nation's forces.

There was no way Vartan would have backed down from that battle, especially IF he was the Vartan of our Mythos; borne of a proud warrior tradition, reinforced by a tribal religion

- whose clergy sainted those who died for their Country (not Church, mind you, Country).

Sometimes we forget that like so many other ancient cultures, Armenians also have an embedded fighting spirit. After a brief stint documenting the conflict (and Armenian bravery) in Nagorno Karabakh, I refuse to believe it was either a fanatical religious 'suicide charge' or an ambush that caught the Mamigonians with their shalvars down. But that's my storytelling...

In the mythology we celebrate today... Warriors met warriors on an distant battlefield that still resounds ... a battle for the honor of fighting for your land, your ideals, your people back home, the warrior compatriots next to you. Was there cowardice that day? Was there fear...? Brutality..?

War is all things. And it was hard fought: these armies knew each other's tactics. Both had great leadership. But one had greater numbers and War Elephants...

To those that have stood by us as we develop, push , pitch, redevelop, repackage and repitch this project from day one, from the re-enactors such as the Order of the Boar (New Zealand) to the many others worldwide... the hope remains: that in the telling of this great story, we fought nobly and stayed the course. How could we not? I wish the road was easier but this is what it is. As a culture we've built monuments on impossible cliffs and held our own for millenia...

I digress. While we work on getting the film(s) going, read the graphic novels. Those tell of what I (and those brave souls who shared my dementia) feel is the DNA of what the story should be. You may dispute some facts, but hopefully, all will agree on the spirit of the telling of it..,

Thus I remain honor-bound to tell that story for the sake of future generations... whatever form it takes.

GRAPHIC NOVEL VOL 1, now unveiling!!!

2012-01-02T18:52:00.000-08:00

EoB GRAPHIC NOVEL BEGINS ONLINE

2011-11-10T15:03:00.001-08:00

An online offering of the graphic novel begins today with 1oo Paces, a stand-alone story from the point of view of a soldier in the ranks during the big battle of 451 A.D. Written and Digitally Painted by vfx veteran and indie filmmaker Roger Kupelian (The Lord of the Rings Trilogy, X-men: First Class, The Invention of Hugo Cabret, Serj Tankian's "Honking Antelope" videos etc) this is a sample that has been making the rounds in Hollywood as part of the pitch package.

The Prequel, WAR GODS, begins before Christmas and will be available both digitally and in print. The 451 AD Graphic Novel, WARRIOR SAINTS is pushing for a summer 2012 release. Pass the word.

100 Paces is free to view on Graphicly.com. You'll have to download their Adobe Air software (free) for best results.

Rockin' the Wall Studios announces EOB Documentary Feature

2011-11-08T11:15:00.001-08:00

Rockin' The Wall Studios has announced their join production of a Documentary Feature of East of Byzantium. The new teaser is on their website and you are welcome to check it out, as well as share it along.

EoB creator Roger Kupelian has optioned out his project to Rockin the Wall Studios, so that the project would move forward under the direction of Peabody Award winning documentarian and writer Marc Leif (who had previously penned a miniseries teleplay for the same). RtWS has teamed up with Journey Pictures and Seda Melkoni to produce and market.

Fugitive Studios Ent. will be supplying their brand of imagery to augment the storytelling, and Kupelian is on board as consulting producer.

The goal is to coincide this news with an upcoming online release (and subsequent publication) of Kupelian's lavishly painted East of Byzantium Graphic Novels, War Gods (the Prequel) and Vol 2, Warrior Saints (the Mamigonian epic), tentatively due in mid 2012.

This is not 'In Place of" the feature project, as that is still in the heavy pitch phase, as there are many steps that need to precede a large scale project, especially one of that magnitude, and they are being taken as you read this.

Watch for an announcement of the graphic novel's online release soon, first as a free sample stand alone story, then the release of Volume 1 : War Gods.

For contact info, just click on the hot links above.

NEW SAMPLE ART from EOB: Graphic Novel Vol 1

2011-07-04T17:35:00.000-07:00

Dear EOB fans (You know who you are).

Here's a sample page (sans page numbers or speech balloons. ) Some layouts run the full page as you see here, and others are broken up into smaller panels.

Volume one will most likely run 72 pages or more and focus on the 301 AD story arc. Volume 2 will follow up with the 451 AD story arc. The current discussions are centered around releasing Vol 1 online, at least partially.

Watch for a step-by-step page coming up soon.

CURRENT UPDATES, June 2011

2011-06-08T16:10:00.000-07:00

While a production can never legally reveal any information that is not 'official' yet, we can certainly divulge the types of activities in progress.

The East of Byzantium Graphic Novel is well underway. We are exploring the best way to deliver the content to those eagerly awaiting it and getting the most exposure, and likewise tie all that in with film clips of back story and side characters. The Graphic Novel was requested as a necessary step by studios to consider a story previously unknown by the mainstream.

Here again are the sample pages presented previously. These are part of an 8-page Ashcan that will be given out as a free gift at conventions, once the epic's first volume is published. Copies of the full 8-page sample have been passed around as part of pitch meetings we've had. The completed Vartan Collectible statue is also pictured here.

(Please scroll all the way down... there is more to this post)

And as per funding, Kupelian and Co. have continued taking meetings with producers and production companies interested in either the earlier (301 AD) story arc or the later (451 AD) story arc. Once there is an official agreement there will be a detailed announcement.

Kupelian has agreed to a candid interview when next he has a chance to look up from his Cintiq. Here's a snapshot of work in progress. More samples to come so stay tuned.

From Canada: Reprint of Interview with Roger Kupelian

2010-12-21T00:52:00.000-08:00

WHO WE ARE IS WORTH FIGHTING FOR: Roger Kupelian’s efforts to revive history
By: Raffi Sarkissian

Toronto witnessed the power of film once again during Hamazkayin Toronto’s third annual Pomegranate Film Festival, which took place from Thursday, September 25th to Sunday, September 28th. The films spoke to the hearts of many, telling stories of experiences, feelings and thoughts in such a way that those observing may not have been able to visualize them through any other medium. However, through the power of film, some viewers were taken on a ride through memory lane, while others journeyed towards an unfamiliar path, through uncharted territories filled with foreign thoughts and feelings that opened new doors to one’s perspectives and imagination.

On opening day, I had the honour of meeting with Roger Kupelian , who was present at the Film Festival as a member of the jury. Kupelian is an outstanding visual effects artist who has worked on many successful Hollywood films such as The Lord of the Rings Trilogy, Charlie Wilson’s War, and Flags of our Fathers. Also, Kupelian inspired both old and new generations of Armenians throughout the world with his stimulating documentary on [Nagorno-] Karabakh called, Dark Forest in the Mountains, which brought the struggle for the survival of our people into our homes, community centres and hearts.

Kupelian is planning to fill our hearts and minds with images of our peoples’ glory once again. However unlike the contemporary stories told in Dark Forest in the Mountains, this time he will be resurrecting one of the most significant and pivotal pages from our history books, the birthplace of the courage and bravery he himself witnessed in Karabakh, the Battle of Avarair. “Avarair represents us always having to struggle” said Roger during our interview, “If you really care about a culture and maintaining it, its always going to be a struggle of some sort. Avarair also proves that people should not be afraid of paying the ultimate price for something they really believe in. You just have to live courageously.”

Armenians are introduced to the story of Avarair at an early age and it immediately captures a special place in their hearts. Kupelian is not exempt from this reality, according to his interview with Yerevan Magazine, “I grew up in Freetown, Sierra Leone in West Africa. There was only a handful of Armenians. My Dad raised us with a very strong understanding of who we were. He taught us the Armenian alphabet by drawing it on the sands of Freetown’s beaches. I was also taught the poems of Vartan from a very young age. I remember sitting on my Dad’s shoulders as we greeted a ship from Soviet Armenia, and when my Dad said these are Armenians getting off the boat, I was so fascinated I started reciting the Vartan poem at the top of my lungs, “Hye am yes! Armenian am I, the descendant of Vartan, am I!” These people couldn’t believe it, imagine somewhere in Africa this kid yelling “Hye yem yes!” They were literally in tears.”

The movie will be called East of Byzantium and will incorporate both the birth of Christianity in Armenia and the first battle to defend the faith led by Vartan Mamigonian against the Persians. Kupelian will be using the state of the art technology he has employed in the various Hollywood films he has worked on in the past. This production is determined to resurrect the single most famous Armenian national hero and tell his story to the world through the silver screen.

Roger Kupelian strongly believes that our children too have the right to be proud of their past and they too should be allowed to share their peoples’ history with the world through the medium of film. This is exactly why Roger believes the community must support this production, “…the next war for the Armenian culture is the war for the imagination of our children. If we lose this battle, we lose our children. If we dwell on the past too much we will loose the future as well. So by supporting a project such as this, Armenian parents are putting their money where their mouth is. I’m the product of Armenian parents who did all they could to keep me Armenian. So if you train a soldier for a certain type of battle you should give them the weapons needed for that kind of fight.”

LATEST NEWS and ANSWERS TO YOUR QUESTIONS.

2010-10-20T22:39:00.000-07:00

Latest Factoids.

1) The Graphic Novel is what we are currently focusing on. Story and Art by Roger Kupelian, based on his screenplay for the project first written in 2002. The other principals are Mark Irwin, Story Editor, Dan Panosian as our consultant on barbarianism, with additional story editing/writing by Razmig Tchaglasian. Martin Yernazian also contributed to the story arc, which we hope to springboard into a stand alone featurette following the release of vol 1 and 2 of the graphic novels. The first part will be released around Christmas, this year. Obviously the success of the Graphic Novel will further help the cinematic pitch's cause.

2) Along that note. We've just signed a joint production agreement optioning the East of Byzantium property for a feature documentary. Details to come-- as soon as the optioning company announces it on their website... This in NOT in place of the feature we are still working to bring about, but a good interim step to educate the playing field.

3) The EOB Vartan Mamigonian statuette, carved by Cinematic Artisan Duncan Crawford, and refinished by veteran Hollywood Designer, Artist and Indie Director Greg Aronowitz, is ready to mold. We're just looking for a way to get it out there for people that want it. We think it's cool and many others do too. Duncan initially carved it on his own, based on a sketch by Dan Panosian. (Dan's lovely wife, Elena Evangelo, plays the lead female role in our test footage and models for a lead role in the upcoming Graphic Novel as well).

4) We recently had a very important meeting on the Feature Project itself and the ball is in the other court. Once things solidify, and we hope it does, we'll get the go ahead to announce more details.

5) For those that imagine this project is already 'In the Can' and simply awaiting distribution, that's a misconception based on leaked test footage that has by now made a big row on YouTube. Our intention was to get the story noticed in order to attract the producers we needed to push it along. At the very least it does more than merely talking about it. We stand by that methodology. While not intentional, the controversy has brought attention to the other battlefronts of East of Byzantium. For that we are thankful.

Article Published in Argentinean Magazine on EOB Graphic Novel

2010-07-10T19:07:00.001-07:00

451 A.D.: Test Clip

2010-05-23T18:55:00.000-07:00

http://www.youtube.com/watch?v=KPtEfPCAIjQ

"At the start of 2008, the team I had thrown together, including my own company Fugitive Studios, came together and finally filmed concept footage for what was then called "East of Byzantium: Fugitives and Warriors." The idea was that with a number of fundraisers coming up later that year, we wanted to show more than the mini-DV test footage shot in New Zealand years before... we wanted something that would reflect what we were going for more closely. A longtime friend of mine, FX supervisor Eli Jarra had two Red Ones on order and it was fast becoming the camera of choice for many of the filmmakers I respected. Also on board were Renegade FX to handle the construction of the costumes, which we wanted to be presentable not only on screen but at the fundraising events themselves. These would add to previous pieces of armor created in New Zealand previously.

Great energy (and cost) was put into gathering up all the research and development from preceding years and unify them into the whole of the narrative, which , it was decided, would cover the entire 200 year span of the Saga itself. It was, in hindsight, quite an undertaking but an important one, flushing out the characters and story arcs that lent themselves to the strongest possibilities. Out of the dark hallways of time, the characters began materializing into their visual forms. Their worlds were beautifully conceptualized and storyboards drawn up for a few key moments of visual impact. Being a Digital Matte Artist by vocation, it was a natural step to create a project that would rely on digital backgrounds to add scope and grandeur.

However, the decision to shoot so much in front of a green screen was a convenience. The plan was always to find a balance between real and re-imagined locations for the actual production. Martin Yernazian handled the cinematography and Eli Jarra supervised the VFX as we entered into 3 intense days of no less than 17 set-ups a day. Even with the considerable investment in authentic costumes and armor, a lot more would have to be rented. That considerable tightrope act was supervised by Alina Khanjian (Costume Designer) and her team. Everyone, from the stuntmen to the actors, were highly charged. This was to be the first filming ever known of this subject matter and I reminded everyone of that on the day of the shoot. (Watch for a full list of participants and credits soon).

After an exhausting 3 days, we got most of what we needed, and made the deadline by our first fundraising event in a converted factory building in Los Angeles. The event went off amazingly and it seemed we would have the momentum we needed to push ahead and secure the support required. We even had the endorsement of notables such as composer and musician Serj Tankian (Lead singer from System of A Down) and Australian Director Paul Currie (LightStream Pictures), who lent their taped endoresements for the evening.

2008, however, was to have its surprises for the economy of the planet. Subsequent fundraisers brought in diminishing returns, and our focus shifted to seeking partnerships with the studios themselves.

We also experienced a real surge in fans on our facebook pages and coverage by an eclectic assortment of new sources, both on tape and in print. There is still a great deal of enthusiasm for a project like this one, and no little amount of controversy. It's a charged topic for a culture not quite used to seeing itself expressed this way. We are also having to educate studios as to this part of ancient history. It's not ancient Egypt, Classic Rome or Greece, or the Crusades. It falls in that sleeve of history between the decline of Rome and the coming of the Dark Ages -- a fresh topic to be sure, but not the "remake of a sequel" that studios seem to keep looking for.

That's why we could not just rely on a bunch of borrowed footage ( a rippomatic) or just submitting a screenplay. It had to explain the vision as best we could with what we had. This was no mere financial venture... it was about stories we felt passionately about.

This test clip, then, is part of that ongoing process. It represents the focus of the project and also one of the major facets of the story of the upcoming graphic novel , pages of which I previously released ( the full first chapter has been handed around to certain industry notables). At this point, it probably represents best what the 451 A.D. project is all about both in terms of story and emphasis, and draw to itself the final cast of producers and filmmakers that will do the undertaking justice.

And the best part of it all is that it is all based on stuff that really happened."

Roger Kupelian 5/2010

All inquiries should be directed to info@eastofbyzantium.com

Swordmaker of the Rings: EoB Interviews Peter Lyon

2010-04-07T21:47:00.001-07:00

This week we are proud to pick the mind of one of our original fellow adventurers. Roger Kupelian met Peter Lyon while working in New Zealand in 2002. Peter has been part of our Vartan-verse ever since, as both a medieval and reeneactment expert. From his busy schedule as a swordmaker for features (such as the LOTR trilogy, Last Samurai, among others,) and medieval equestrian and combat reenactor, Peter put some time aside to answer our questions.

EOB: East of Byzantium:451 AD represents a peculiar period in world history, of which less is known than other periods in Roman and Persian history. How should one approach historic accounts from this era?
PL: Accounts from the period were always written with some biases built in which have to be accounted for when interpreting them today. A good example is estimates of numbers in battles etc – these are almost always exaggerated, and so have to be interpreted cautiously, and with reference to other sources such as the available military manpower to assess their reliability. Armenian texts often deliberately draw parallels between their protagonists’ actions and those of the Christian saints, and may skew the facts to fit the story structure and message being sent to Christian readers. Sassanian Persian texts (of which there are there are very few surviving) are mostly aggrandising the Emperor’s omnipotence and power. The Islamic texts of the final conquest of the Sassanid empire are built on the base of the Arab tribal histories, which dwell on the sharing of spoils of war (very important to a raiding-based people), and the fervour of the Islamic expansion emphasises the weaknesses of the enemy and the inevitability of Islamic victory. Byzantine texts tend to bemoan their weaknesses against the pagan forces, but can also be reasonably balanced, though often misunderstanding the motivations of the Sassanids. Overall, it is necessary to do a lot of reading of histories of the period in order to understand the motivations of each writer as well as the literary structures of their histories, in order to evaluate the usefulness and problems with each source.

EOB: What are the peculiar differences of the armor of this period from previous periods, or what came after?
PL: The Classic imperial roman armour that most people today are familiar with, was already changing when the Sassanids came to power in the 3rd century; in order to equip a greatly expanded army, Roman equipment was becoming simpler and cheaper to manufacture, and as equipping was done in many parts of the empire now, equipment took on regional flavours. In particular, equipment was influenced by that of the Germanic tribes, notably the use of Spangenhelm type construction (helmets made of panels joined with riveted strips), and in the Eastern Roman Empire (Byzantium) there was considerable Persian influence. Similar equipment was used in the Persian empire, but with probably more lightweight armour due to the hot and dry conditions in many places. Both Rome and Persia developed heavy and super-heavy cavalry in the 3rd century, even in desert warfare, to break enemy formations; both man and horse could be completely armoured. Both can be seen as a precursor to the knight of the high middle ages, though there is no direct connection. The end of both empires in the 7th century also marked an end to enormous armies in Europe until the Renaissance, as the highly organised supply and control structures needed for this broke down.

EOB: How does the re-enactor/medievalist approach to history differ from the purely academic one?
PL: Academics tend to rely on documents, and the standard of evidence required to withstand robust academic debate means that conjecture without strong evidence is actively discouraged. There tends to be great understanding of the legal and civil structures of the period, but often the individual human is lost or misinterpreted. Re-enactors, especially those operating at the highest levels, are able to show how the individuals were able to use their equipment effectively and the possibilities and limits that go with that; often they can illuminate aspects of the period in a way that academic study alone cannot, and parts of academia are recognising the usefulness today of high quality experimental archaeology.

EOB:What could a warrior on a 5th century Byzantine or Persian battlefield expect in terms of fighting style? Leadership quality?
PL: Both Byzantine and Persian warriors were trained to a high standard which would not reappear in Western Europe until the 14th century. Lower level soldiers had a good background in drill and tended to be well disciplined, while the best warriors (such as Byzantine cataphracts and Persian Savarans) were very highly trained, well equipped, and were expected to provide leadership on the battlefield as well as being outstanding individual warriors, as their training and equipment consumed major resources. Leadership was expected from nobles, as part of the social contract for the privileges of nobility; they were expected to lead from the front and be an example to the lesser soldiers, so any failure on their part was magnified and could cause a general breakdown of discipline.

EOB: How were swords and weapons of this period different from previous periods, especially on the Roman side? And related to that, how do the popular depictions of St. Vartan (18th century engravings etc) fare in terms of armor accuracy?
PL: Roman swords had changed from the short Gladius to the longer Spatha, based on Germanic weapons. Even longer were the Sassasid cavalry swords, with very long and slightly curved blades up to a meter long. But most of the Roman and Sassanid weapons were more similar than different. The depictions of Saint Vartan are generally more theatrical than historical, and those of the 18th and 19th century suffer from the poor understanding of the arms and armour of Sassanid Armenia; general details such as scale armour are appropriate, but the helmet Vartan is often depicted wearing is more appropriate to a Roman parade than a battlefield, and is nothing like the spangenhelm construction usually used.

EOB: could you describe the process of what making a sword of this period would have entailed?
PL: Creating the steel for the blade was a complex and time consuming process as the furnaces of the time were not hot enough to fully melt steel; instead, a “bloom” of iron and slag was hot-worked to remove most of the slag, then forged to shape. The best blades were made from a high quality crucible steel today called Damascus and had superior strength and edge-holding. The hilt of a Persian style sabre was wood or horn, covered with stamped sheets of brass, silver or gold, with the wood scabbard similarly decorated. All of this work was done by highly skilled craftsmen, each specialising in their own part of the process; it was expensive, and marked the sword bearer as somebody of wealth and status.

EOB: Has your film industry experience reshaped your approach to reenactment, or vice versa? Can you describe how?
PL: Not really. Each is separate and distinct, and I have actually made efforts to keep them separated as they have different aims. The film industry requires props that fulfil artistic requirements as much as historical ones and look correct to the camera, and as each shot is planned separately, props can be optimised to suit the needs of the particular moment; for example, a carefully made “hero” steel and bronze sword for close up shots, and aluminium-bladed swords with plastic hilts (themselves moulded from the original hero steel sword) for the combat scenes, as they are lighter, safer and cheaper to produce. Re-enactment items are generally made to look and function as much as possible like the originals, and are closely based on the archaeological record. If anything, my film experience puts me at greater pains to point out the differences with re-enactment equipment and how re-enactments are conducted.

EOB: what projects and endeavors are you involved with currently?
PL: Currently I am making limited-edition replicas (ten of each type) of the swords from the Lord of the Rings films; Anduril was released last year and all have now been delivered, and currently I am working on Strider’s sword. Over the next few years there will be further releases, built around my involvement with other projects, notably The Hobbit, which is in pre-production now.

for more on Peter Lyon, please see: http://www.swords.co.nz/

PAGE 3 of GRAPHIC NOVEL posted on FACEBOOK

2010-03-20T10:11:00.002-07:00

http://www.facebook.com/photo.php?pid=3510713&id=28209607862 on the fan page. Show your support by becoming a steadfast fan today.

INTERVIEW WITH COSTUME DESIGNER ALINA KHANJIAN

2010-03-07T12:16:00.000-08:00

Website: http://www.alinacostumes.com

Journalist Lara Garibian interviews Alina Khanjian, Costumer Designer for the EOB Teaser Footage, as well as for the upcoming 451 Graphic Novel.

LG: How was working on the East of Byzantium teaser a big achievement for you?

AK: For starters, EOB was a period piece. It was a project that involved not just art, but a lot of research and well-thought-out choices. While it was just the teaser, there were four main characters that were being portrayed, so you couldn’t just rent out costumes. Everything had to actually be designed and made individually. Another component, as well as challenge, was designing costumes for two different armies. The EOB Saga took place from 3rd to the 5^th century and the test lied in how little background there was on this particular period in terms of how clothing and armor looked. It wasn’t like working in the 1920’s period where you could just find a book about the style of the time. Additionally, this period was definitely a first for me, that’s why I jumped at the opportunity to work on it. The challenge was a thrill. Initially, I was worried about how would I even begin to start designing for a story and production as epic as EOB. However, being able to put all of that together really felt like a huge accomplishment.

LG: How true to the 4^th century did you stay?

AK: As an artist you stay as true to the project as possible. I am a believer in taking chances and working with Roger Kupelian was great, because he really gave me some artistic licensing. I took a number of artistic liberties, especially with Anahit’s costume and worked closely with the director to make sure we were on the same page with where we wanted to take the concept and look.

LG) How does the costume design play a key role in the development of the major characters?

AK: Costumes help create the character aside from their personality. It brings the writing to life. You can really tell a story about the character with the costumes alone. For example, Anahit wearing pants during that time tells you a great deal about her empowerment. The pants and bodice really speak volumes about her willingness to fight for her beliefs. However, she held tight to her roots and tradition. The way we portrayed that is through her traditional headdress. You could see through her look alone that she meant business. However, [for the teaser] Anahit couldn’t take the spotlight. The story is really about Vartan. The way I avoided that was by using deeper and muted colors, which is the kind of thought process that goes into creating a story for the time and capturing the essence of the characters in a strategic manner.

When it came to designing Vartan’s costume, I stayed true to his legacy of wearing red, which really made him a prominent figure. Finding the right shade of red was crucial. His armor was made of real iron pieces, which were created by Renegade FX. It was specifically designed to Vartan’s character and it maintained Vartan’s specific traits, such as courage, charisma and how dominant his personality was as a leader. However, it didn’t let his ego take precedence over the cause and his costume needed to really show that.

LG: How were you able to find all the right pieces for the costumes and what are some of the challenges you faced in doing so?

AK: For starters, the two biggest challenges were budget and time. We had a certain amount we could work with in terms of the financial aspect. As with any movie, you have to be careful to work within the means of the project and that was something I really took into consideration. In terms of time, we had a certain time deadline we needed to meet so it was important to remain focused and goal-oriented.

As for the pieces, we rented a number of costumes that were used for the Oliver Stone movie "Alexander", which we strategically modified to fit our needs. The original hero helmets were made in New Zealand by the people who made the costumes for "The Lord of The Rings". Since we had two different armies we needed costumes for, we had some of the original helmets duplicated in fiberglass for background use and that really helped us stay within our budget.

LG: What influenced you most in bringing East of Byzantium to life?

AK: The first is Khandjian’s painting of Vartanance. That piece really spoke volumes in where I wanted to take my own vision. I looked at the Persians and Romans of that time period and really took examples from them as well in helping me create the period as authentically as possible. Roger Kupelian’s vision of this project was also a huge motivation and a great inspiration. I was fortunate to work on a project that really had a great deal of heart and soul. When you get to be in an environment that speaks to you as an artist, the creating is the best part.

First Page of First Chapter: Upcoming 451 Novel

2009-12-31T06:49:00.001-08:00

In honor of our Facebook Page Fans , we continue the 451 A.D. Graphic Novel by Roger Kupelian, as well as a temp cover. Click on images for Larger View.

Next post at 4000

Shooting Vartan 2: Cinematographer Martin Yernazian

2009-12-27T16:01:00.000-08:00

Martin Yernazian served as Cinematographer (and subsequently as Editor) during the Teaser shoot for the "East of Byzantium" promo footage, prepping for and executing a grueling 3-day shooting schedule. He balances his cinematographer duties with directing/producing and editing a variety of long and short form projects. Martin has collaborated with Roger Kupelian on a variety of such efforts such as the music video for Serj Tankian's "Honking Antelope" (Elect the Dead).

EoB: What were some of the challenges in shooting this teaser?
MY: "East of Byzantium" started visually as a painting from the mind of Roger Kupelian. After 7 years of research he had produced an large number of production art pieces, (references, maps you name it he had done it.) My job was to recreate those elements with a camera and lights. And for those who has seen Kupelian's art they know the amount of detail that is involved. So with the same intensity that he treated it his paintings we treated the shoot. And I believe we delivered!

EoB : How did you past experiences help you in meeting the challenges of shooting the EOB footage?
MY: I was born and raised in Argentina. A country that very rarely gives you second chances. I came in to the shoot with that attitude, or we do this right or it will suck! No time to practice! it has to be great. I was very adamant to put in all the 15 years of film making and photographic knowledge to bring this to a prime. My biggest goal was to light things very well, knowing that afterwards we were going to have to place new backgrounds in and cut the sequences to match. It was important that the camera wasn't intrusive but at the same time remain with the characters, specially during the fight scenes. We were very lucky to count with 2 Red ONEs for coverage and about 80 some lights to blast the scene with, plus a great crew that allowed itself to be pushed to the limit.

EoB : Did you know of these historic figures previously?
MY:Of course! I'm an Armenian from Argentina. I grew up listening stories about them from my grandparents. But now I think I can tell them a few stories that they might not know ;D. Let me tell you, it has been a pleasure been part of a project that complements our culture by taking it to the next level artistically.

EoB : What would you change if you had to do this shoot over again?
MY: Change? Mmm that is a good question. But I think I wouldn't change too much but if budget allowed, I would add more dramatic scenes, 2 more cameras (a Phantom HD to shoot 1000 frames per second sequences and another Red One for coverage.... oh an a mini Si 2k to put in characters swords, shoulders etc) I would play with water, fire, dust elements. The good news about all of this is that we can still do this! And after 2 years of working side by side with Roger I think we can kick some serious ass, better than before.

EoB : What would you recommend for those who want to shoot a project with the Red?
MY: Have a great script, Be prepared like if it was the last thing you will do. Don't conform, push the limit. Try old lenses, weird lenses, be creative and enjoy it. The Red cam ( And for that matter any digital camera today) gives you the chance to do things that our Cinematic forebears couldn't do. Take advantage of that. Be responsible with that great power. Make things better than before, make things honoring those that came before you and those that will learn from you in the future.

All photographs ©2008 EoB LLC. Photography by Ruzz Vardanian.

Martín Yernazian
http://imdb.com/name/nm2270693/

Atorrante! Films
http://www.atorrantefilms.com

Art Officially Favored
http://aofthemovie.com/

Filling Iconic Shoes: Dro Arzooian

2009-12-27T15:20:00.000-08:00

Dro Arzooian plays the part of General Vartan in the Teaser Footage for the "East of Byzantium : 451" Project. Dro pursues Fine Art and regularly has gallery showings. Playing this iconic hero from Armenia's 5th Century history was a new challenge for him.

EoB: What's your professional background? How did you get the part?
DA: I was born in an artistic family and soon began following in their footsteps. I have a BA in Graphic Design, but am more interested in painting and sculpture. Getting the part was kind of interesting too. I had a small studio next to Fugitive Studios and kept seeing all these people going in and out there [for casting sessions] but didnt really know what is going on. At the time I was going to one of the "hairy" periods of my life meaning I kept my hair long and my face unshaven. That caught Roger's attention one day as he was passing by my studio. He asked me for some head shots and explained the project, and that is how it started.

EoB: How much did you know about the character of Vartan before you started working on this project?
I had a pretty good history knowledge so I would say I knew more of an average person about Vartan and Battle of Avarayr.

EoB: What was the process of training for the role of Vartan like?
DA: It was very interesting to me; I had to do some workout sessions to get in shape, and at the same time we had very good trainers who were working on our battlefield skills. It was a blast being there every day with all these interesting people and doing something different. It opened up new possibilities in my mind and showed me how we can develop ourselves beyond what we are when there is a cause.

EoB: How would you describe the 3 day shoot for the teaser footage?
DA: Those were some of the best days of my life.The energy was flowing all over the studio and everybody was so focused and determined to do whatever possible to make it happen. I enjoyed every second of it, especially being the main character, which was a blast. They made me feel like I was the ruler of the world.:)

EoB: What would you say were people's reaction to this subject, as many Armenians have very strong opinions about it and non-Armenians approach in a different way? Do you have any Persian reactions you can tell us about?
DA: There were some Persians among the actors and they seemed very enthusiastic about the project. I myself was very cautious about Persian side because I was raised in Iran and I have seen how beautiful they are as a culture. After their depiction in "The 300" I didn't want to see Persians being represented as savage monsters. Our project was depicting a historical event without putting down the other side and I think that was why everybody was feeling OK with the concept.

EoB: What do you think is the importance of the story?
DA: The story has been bound to Armenian's survival for centuries, Vartan is a hero for our youngsters and the story is an action of faith and freedom. I have a little different view to the whole story but right now it doesnt really matter: we had to really be of that era in order to feel and realize what our real options would have been, and how our actions would affect our future as Armenians. I think the story is about one of the major turning points in our history, which caused us to forever remain as Armenians.

EoB: What takes up your time now?
DA: I am concentrating on Painting these days : I've had several sold-out shows, and I am planning to go to Armenia and start a studio, so I can divide my time equally between there and my home in California.

All images by Ruzz Vartanian and are copy-protected. All rights Reserved.

Training Vartan: Interview with an Infantryman.

2009-12-16T13:11:00.000-08:00

Henry Torossian AFFA and NASM is a professional physical trainer and runs his own gym in Los Angeles. Henry not only trained Dro Arzooian (the Teaser Footage's General Vartan) for the part, he also appears as a soldier in a variety of roles. The training of the troops was at his gym, and it is our pleasure to interview a participant and longtime fan and supporter of the project -- as well as a frequent art model for Roger Kupelian's paintings, (notably the upcoming graphic novel for 451 A.D.)

EOB: How did you get involved with the project?
HT: Roger and I are good friends... like brothers I would say. When he told me about this project he had been working on for years and even better, it had to do with our Armenian history, I had an instant curiosity to know what it was. Just knowing Roger's film work, I knew this was going be an unprecedented movie about our ancestors. Once I saw his storyboards, I was taken by the rich story and bravery of our people. I firmly believed it needed to be shared with the world and I would do my part in helping him in anyway I could to see his dream come to reality.

EOB:What did it feel like to become your character?
HT: It was an amazing transformation for me. I'm not an actor, nor care for the spotlight. I like flying under the radar, but for some reason when Roger asked me to be a part of the journey and best of all, wear a real chain mail vest (which weighed about 60lbs for the entire shoot) I instantly wanted to feel what it was like for our Armenian warriors to wear this gear during a real battle. It was the closest I could get to tasting a bit of what it was like back then. Once they helped me put that heavy armor, I was instantly in warrior mode. It was as if I was put on cruise control and some furious gladiator had taken over.

EOB:Not only were you training one of the main characters but you got trained yourself? Can you tell us a bit about the the process?
HT: It was a process I enjoyed very much. I trained "Vartan" aka Dro for about 6 weeks and was able to push him and motivate him to be in tip top shape. He (Dro) was a trooper. We had sessions twice a day. In addition, we had an our of sword fighting lessons and fighting formation training [by Lou Klien and Oberon Selicio]. By the time filming came, we were ready for battle. "300" had nothing on us :)

EOB: Can you describe the fundraising events that took place at the Casitas
stages?
HT: It was good to see all the supporters come out and show their respect and support for the hard work Roger and the crew had put in working non-stop for months.

EOB:What is the one thing you hope people take away from this project?
HT: That "who you are is worth fighting for"......

EOB:What are you up to now?
HT: I'm enjoying my time with my newborn son, Tristan Torossian, who is 13 months old and already knows who Vartan Zoravar is, (thanks to Roger's amazing painting of Vartan(451) in the last battle, that hangs in my living room.)

Henry can be reached at: Fitness Forum, Fitness Forum, at 3191 Casitas Avenue , in Los Angeles, CA. TEL: (818) 679-7808.

Interview: Eli Jarra, VFX supervisor: Red Cam films Red Vartan

2009-12-08T12:57:00.000-08:00

Eli Jarra is an award-winning Visual Effects Artist, and accomplished VFX Supervisor. He has worked extensively in television and film. Jarra supplied two Oakley Red Cams for the filming of the East of Byzantium Sizzle Reel as well as some the most memorable visual effects shots.

EOB: What were some of the challenges in shooting the EOB teaser?

EJ: Always in working with new technology, there's usually a reluctance to using gear untested in its infancy such as the Red cameras. After all we were creating a fully virtual environment. Each scene each take each shot would be green screen and would need to be treated as a visual effect later in post. We'd have to create a pipleline that not only transcoded the footage to a format readable by all the different applications, but create an infrastructure that could support all that tremendous amount of data.

EOB:How did you past experiences in technology and VFX help you in meeting the challenges of shooting the EOB footage?

EJ: Shooting with the experience I've learned over the past 15 years really helped me contribute to the production. There's a solution to each problem, trick is to find the quickest most effective way to that solution within the boundaries of production. It's is a machine that's constantly churning, it's not gonna slow down and wait for you. So when production calls, you've gotta answer and that can be quite challenging within the confines of working with this new technology.

EOB:Can you describe how shooting with the Red is different than other HD cameras and what innovations have been going on lately?

EJ: Red allows us to shoot at a resolution 4 times greater than current HD cameras on the market. (see attached jpg) Having that extra real estate or picture canvas allows us greater flexibility when it comes to visual effects. You can punch in a little tighter for the re-framing of a shot, so your composition can be more cinematic even after you've finished shooting. Obviously having that higher resolution allows us greater flexibility in the software when pulling green screen keys and layering the production elements within a composite. The new technology coming in the next six months is really exciting. More resolution capabilities, higher frame rates (slow motion work), and better overall throughput on the next generation cameras is going to simplify certain tasks as well as give us broader creative choices.

EOB:What other projects have you been involved in shooting lately?

EJ: I shot some plates and did some FX work for Michael Jackson's "This Is It" using our Reds. We were doing this incredibly intensive FX shot with dancing soldiers. We shot the soldiers using a motion control rig on a huge green screen soundstage in culver city. The idea was to replicate a dozen soldiers into hundreds, even thousands and have them all dance in unison to the music. We used the reds to shoot individual soldiers and groups of soldiers to map on 3D sprites that would later be used in the software to generate the massive crowd replication. Anyone who sees the movie should recognize the shot straight away, it was an honor to work with Mr. Jackson. And as you can see, setting these soldiers up in an completely virtual environment shares a lot of commonalities with what we were doing on East of Byzantium.

EOB:What would you change if you had to do this shoot over again?

EJ: Now that we've gotten the lay of the land, it will be nice to explore more dynamic camera moves and implement those into our environments. Having more grandeur type of shots mapped out and storyboarded helps in aiding us visualize when we shoot but now with the means of pre-visualization, we are able "see" what the environment and camera move is doing beforehand allowing us to tweak the parameters so when we're there on set, we can execute shooting all the plates necessary to create a fantastic looking shot that transcends us beyond just having the camera 'locked off'.

EOB:What would you recommend for those who want to shoot a project with the Red?

EJ: Consult with someone who's VERY familiar with the technology. When realizing your project, the work from the Reds doesn't stop at the production level, it carries straight on through post production as well. Having that information worked out ahead of time can keep you ahead of the curve and on budget!

Eli Jarra / Think Pictures
Visual Effects Supervisor / East of Byzantium
http://www.thinkpictures.com

Mythbusting Byzantium

2009-12-08T11:29:00.000-08:00

Editor: It's come to our attention that there are a number of persistent myths circulating over the internet (so what's new?) by individuals unattached to the project. Before we go forward dispelling the ones we know of, we should say that this blog, and indeed the East of Byzantium: 451 A.D. website exists in honor of those who have, in times past, supported us with time or resources, and also to keep old and new fans informed of our progress.

Once negotiations are finalized and production begins, this site will most likely be pulled down and replaced. That may be the end of the blog as well. At the end of the day, there now is a lot more buzz, both within and without the Armenian community, about these characters, stories, and upcoming project.

Now, for the Facts, or Fiction:

#1: The Teasers and footage we are seeing now, even unofficially over the net, is the final product.
Fiction. We discussed this in our FAQ (See earlier post). This is part of a sizzle reel, and in-and-of-itself represents an accomplishment. To our knowledge this is the first time this subject matter has been filmed, especially by the latest technology (see Eli Jarra interview). Some of the costumes and actors, as well as design elements will doubtless carry on to the final feature in some fashion, but this level of proof-of concept was important, as very few outside our community (and some within, believe it or not) had any idea of these events.

#2: Production is underway.
Some Fact, Some Fiction. We have just completed an extensive development period, and negotiations are ongoing to secure executive producers and funding towards production.
A feature screenplay exists and its Graphic Novel is underway. Samples have been posted.
There is always initial interest, and often ongoing interest from production companies. It's just a very big project and those take to secure the green-light.

#3: The AGBU (Armenian General Benevolent Union) is funding the film.
Fiction. We're in touch with AGBU staff to try to get to the bottom of this one, as it keeps getting published. If anyone knows where this originated they should contact us at info@eastofbyzantium.com

#4 East of Byzantium is encountering legal issues with distribution.
Fiction. And please be wary of people claiming to know people who know people attached to the project. The Hearsay Rumormill is renowned. Added to the internet, it is potent. Plus if they really did have inside information, they are legally obligated to keep it confidential.

#5 The history behind the project is inaccurate.
Fact or Fiction? We have been answering questions from day one from people suddenly 'concerned' that history is told correctly. However, many of these individuals had no problems seeing Braveheart, Gladiator , Glory , or The 300 many times over, or tuning in every week to catch the next steamy episode of the Tudors. All those immensely successful projects 'tweaked' their history in order to tell a story within constraints. East of Byzantium's story arc is based on real events, which even upon the best research, bears itself out as a tangle of fact and legend. Sometimes there are gaps and one has to fill those in with the best deductions. Some are understandably not comfortable with that.
They are welcome to make a documentary on the subject.

Finally, a little thank you from us at EOB; to all those who donated time and resource; were there on our shoot days, the fundraisers and got us news coverage, all to make sure East of Byzantium had a fighting chance at the big screen; and especially to the Arthur and Sona Parian( 13) who donated the contents of your piggy bank to the project (the envelope sits on Roger Kupelian's work-desk as a reminder) we hope to make you proud. (For more about Arthur and Sona's gift please see:

http://www.facebook.com/photo.php?pid=30105281&op=1&o=global&view=global&subj=734136577&id=1007083719

Making the Teaser: Cast and Crew; Elena Evangelo

2009-11-08T16:53:00.000-08:00

EOB: What is your cultural background and was it a factor in preparing you for your role?
EE: I am a first generation Greek and my husband is Armenian. My cultural background helped me open the door to understanding Anahit. The similarities between Greece and Armenia are innumerable. It gave me a shorthand for her.

EOB: Anahit is a pretty crucial character in the Mythology of this Saga. How would you describe her?
EE: An extraordinary woman who survived and persevered through extraordinary times. She found an inner strength in the worst of conditions, and helped others to find that strength to persevere and fight on.

EOB: What is the one memory that sticks with you from the experience of shooting these teasers?
EE: The feeling that we were all involved in something bigger than us. I have rarely felt that in my life! This is a story that needs to be told!

EOB: Can you tell us a bit about the fundraiser event that followed the shoot?
EE: I was blown away by what was put together! It was just stunning! And I was deeply moved by the support and excitement it generated! There was sense of pride and history that filled the room.

EOB: What projects are you currently involved with?
EE: I was in the movie GI Joe this past summer and I am working on a new show called Victorious. I also had the insane honor of being on the cover of the Oct 26 issue of Time magazine. The photograph was shot by the critically acclaimed Ralph Gibson.

EOB: Is there any advice you could give anyone aspiring to become an actor?
EE:It is so cliche, but do it because you love it! So many aspects of this profession are not in our control and it is filled with rejection. It is hard not to find yourself trying to please, or looking for the right formula, or trying to guess what they want to see. The easiest trap to fall into is going after results, which in my opinion, is the enemy of acting. And yet it is how we approach so many things in life. The moment we exert control by becoming result-oriented, we've lost being honest and alive in that moment! Do the work for yourself, your experience, your fulfillment. Put your voice in it!

Making the Teaser: Cast and Crew : Nevin Millan

2009-10-30T22:06:00.000-07:00

EOB: Can you tell us a bit about your background?

NM: I was born and raised in St. Louis, MO in an international household with
immigrant parents from Croatia and India. I dabbled in acting in grade
school and performed some amateur theatre, but began to pursue it seriously
during and after college/grad school in Miami, FL, eventually ending up in
LA where I've been honing my craft and gaining experience with outstanding
film projects and talented filmmakers, while also developing additional
skills such as perfecting a myriad of different accents, sword/stunt
fighting, horseback riding, classical Shakespeare training, vocal work and
body movement techniques. I also began my foray into screenwriting a few
years ago, another facet of the industry I'm hoping to make my mark in as
well. I am also a musician currently working on my first album where I play
all the instruments (guitars, drums, bass) and write/sing all the songs.

EOB: How did you get involved with the EOB project?

NM: I submitted on a posting I saw on LA Casting, got called in to an audition,
and booked it.

EOB: Was your cultural background a factor in helping you prepare for your roles?

NM: Personally, I don't have a background congruent to those in the story or the
particular Persian Prince role or soldier roles I portrayed, however, as an
actor, I always thoroughly research every role I play, as well as the other
roles in the story, regardless of what type or size of project or role. I
do this to gain a perspective and an understanding of the time, place, and
setting of the piece in order to feel grounded in this world we all achieve
to create in the film.

EOB: What did you take away from the experience?

NM: The experience with EOB was very special to me, and I'm sure for many others
as well, mostly because it was one of the projects where it felt like a big
family. From the very beginning of the sword/stunt training sessions, I
could feel a very positive energy drawing everyone together and after a few
weeks, it felt like we'd all known each other for months or years. That
energy was mirrored on set by the rest of the cast and crew when we began
shooting and I think the outcome was a fabulous experience that most of us
were sad to see end. I look forward to working with them in the future and
continuing the friendships we forged for years to come.

EOB:How would you describe your time on set? Anything extraordinary happen that
you can relay?

NM:At the end of the last day of shooting, I really felt like I was accepted
into another family. Not being Armenian and not familiar with the culture
and story, at first, I did feel like I was a bit of an outsider, but
throughout pre-production training and shooting on set, I got to know more
about the Armenian culture, the people, the history, and by the end of the
shoot I truly felt like I was an integral part of something special and
historical, having helped bring an Armenian hero to film for the first time
in history. Quite an extraordinary experience I will never forget.

Another amazing experience was watching all the weeks of hard work and
training come to fruition on camera. Many of the actors playing soldiers
had minimal sword experience, if any, before the training and others like
myself who had previous sword training had never trained in this particular
style or weapon. We had come a long way in a relatively short amount of
time and to watch everyone succeed, while remaining safe, thanks to the
Lou's brilliant guidance, was unforgettable.

EOB:What is the meaning behind this story as you see it?

NM:This story is about believing in who you are and standing up for those
beliefs, a true testament to perseverance and sacrifice. To stand up
against all odds to fight for what you believe in takes an incredible amount
of courage and conviction that we should all aspire to. I think this story
is one that transcends cultures, time, and history and can inspire people
now, anywhere in the world. As a global collective, we need to be reminded
and enlightened by stories like this in order to avoid making the same
mistakes all over again, and to reinvigorate those virtues our ancestors
stood up for so fervently. Universally, we can all benefit from the lessons
this story has to teach.

EOB:What projects are you involved with currently?

NM: I recently wrapped principal photography on two independent films shot this
summer, one was a Native American ghost story, spoken entirely in an
Iroquois dialect, that I starred in called 'The Windigo', the other was a
supporting role in a post-apocalyptic/action/adventure film shot in Death
Valley, currently untitled. I am slated to star in two films coming up in
early 2010 which I'm currently preparing for and looking forward to. I also
plan on finishing up several scripts I'm working on by the end of this year
.

FAQ about EOB:FAW

2009-10-05T11:42:00.000-07:00

East of Byzantium: Fugitives and Warriors has been, with its exposure, interpreted a number of different ways. The following will hopefully answer some of the questions people have been asking lately.

1) What does East of Byzantium mean?

Byzantium was the latter part of the Roman empire, when its Eastern half became more wealthy and powerful than the decaying West. Beyond it was the mighty and resurgent Persian empire. Between those two superpowers were ancient peoples fighting for their survival. This saga covers that story.

2) What exactly is EOB? A miniseries, a feature? A graphic novel?

The project was started with a feature in mind. It went from feature to miniseries based on a few meetings with international networks who thought that format was more workable at the time. Currently the interest has been back to a feature version involving one or both of the two major arcs in this saga (the Gregory/Tiridates story and the Vartan Mamigonian story, which takes place 150 years later). A documentary version was even entertained but that is not being pursued currently.

3) What is the history the project is based on and how accurate to details will EOB be (whatever its final form)?

The EOB saga is an historic fantasy based on real events and real people. It pulls upon the mythological and legendary aspects and the meaning behind those stories, rather than a step-by-step documentary retelling of history. People who are attracted to the historic aspects can no doubt pick up a history book after wards and delve into the facts a bit more, but the purpose here is entertainment, not a lecture. That said, very detailed research has gone into the fabric and layering of the world of these characters.

4) Will Roger Kupelian be directing the feature version of either of the EOB stories?

Undecided as yet. Kupelian, who owns the project and known for his visual effects and design work, is directing its development and look, and creating its ancillary products, such as the graphic novel. Major studio funding will obviously require that an A-list director and talent is attached. A number of such entities are being approached. It is always the tug of war between private investment and studio commitment.

5) What is the footage we are seeing now? Was that not part of the final movie?

Fantastic as it is, that footage was produced as proof of concept, both for the pitch reel and the fundraisers that occurred in 2008. There are a few more pieces which will be released strategically, along with animated online graphic novels building the universe surrounding the core stories. The footage also served to imprint a visual style which will set it apart from similar projects and its further use is being explored.

6) Is this a project primarily for an Armenian or religious audience in mind?

We get this question a lot. It's true that religion and identity play a part in the fabric of the events in EOB. But the story and the resulting releases are intended for a universal audience. It was a pivotal era in world history where the question of identity and what is worth fighting for resonated just as loudly as it does today. We did not have to be Greek to like "3oo", Highland Scots to love "Braveheart", nor high elves to watch "Lord of the Rings" umpteen times, so everyone's welcome. Even Byzantines.

7)Which part of the EOB saga is likely to be made into a film first?

Screenplays and development exist for both parts - part 1 being the Tiridates/Gregory story and part 2, the Vartan epic, and both have gotten considerable interest. So it is difficult to say at this point.

8) Has there been a lot of support in the Armenian community?

Interesting question. The short answer is yes. But again, the goal is not to primarily target an Armenian audience and make this an "Armenian project". It's far too big for that. There is obviously a lot of excitement from anyone who likes period pieces and also from those who are more familiar with the role of new media in entertainment. There are a number of "unofficial" promos floating around youtube, for example.

9) What does the Graphic Novel you mentioned focus on?

It primarily focuses on the major confrontation that occurred in Asia Minor right in 451 A.d. right about the time Attilla the Hun was rampaging through what was left of the Roman Empire. The Persian Shah sought to limit Western influence among the nations of his realm, and at that point in history religion was almost synonymous with cultural identity. Much like the Maccabees of the Old Testament, the Armenians (and their allies) refused to give up their ancestral faith (Christianity in this case) knowing it was cultural suicide. There were of course those that thought differently. The resulting civil war and eventual military intervention by a mighty Persian force was met with extreme bravery and sacrifice, arguably changing the course of Western Civilization itself.

The Graphic novel tells their stories in chapters, each from the point of view of different characters surrounding these events, which in the chronology of the EOB saga would be considered Story #2.

10) Is EOB:FAW supported by a major studio?

Meetings are ongoing, and new interest from various studios and production companies is frequent. "It's making the rounds" as they say. It's only a matter of time.

11 )How can I support EOB?

One way is to join the facebook page dedicated to Vartan Mamigonian himself
run by EOB artists:
http://www.facebook.com/profile.php?id=1007083719&ref=name

as well as becoming a fan for project itself:
http://www.facebook.com/pages/East-of-Byzantium/28209607862

Some have even started fan sites on their own.
The most important thing is that fans keep coming back and enjoying the story and the visuals, and of course, spread the word and excitement. This is an out of the box approach for a very unique and engaging subject.

Important Contact Info

2009-03-11T23:48:00.000-07:00

For updated information please contact us at info@eastofbyzantium.com, or become a fan on our facebook page :here

MORE FOOTAGE ONLINE

2008-11-24T21:20:00.000-08:00

A sampling of EoB footage online:

The above is teaser material only . It also includes characters from both acts of the full 200 year saga. Graphic novel is underway.

Kupelian to Join Panel at AFFMA '08

2008-10-25T11:45:00.000-07:00

Results of the Pomegranate film festival 2008, which was held in Toronto, is to be found here.:
Pomegranate Film Festival
Kupelian had made a presentation to a packed theater on the progress of EoB.

Also, here are some of the most recent links on EoB progress:

Tech Zulu
MySpace
Facebook: Vartan Mamigonian

More to come.

-R

Yerevan Magazine: on EoB

2008-10-04T18:22:00.000-07:00

Kupelian interview in Yerevan magazine's English edition (see page 99 of Issue #3. ), regarding the East of Byzantium project.

Yerevan Magazine
Here is a sample:

"East of Byzantium – WHO WE ARE IS WORTH FIGHTING FOR"

The ultimate sense of accomplishment comes to people who are able to use their expertise to bring their visions to life. Roger Kupelian, a celebrated matte artist and concept painter, uses his vast experience in Hollywood to fulfill a passion he has carried since childhood.

Roger and his team at Fugitive Studios have worked on the visual effects for such Hollywood blockbusters as the Lord of the Rings trilogy, Charlie Wilson’s War, The Mummy 3, Cloverfield, The Spirit and many others, currently including Oliver Stone’s W and the Emmy-award nominated dark comedy, “Pushing Daisies”. The young filmmaker has also tested himself in the role of a director in the documentary Dark Forest in the Mountains. Risking his life in the trenches alongside Armenian fighters and amidst the devastated villages and towns of Northern Karabakh, he brought the amazing story of their struggle to the world. His current project, East of Byzantium, is an attempt to tell the world about what is important to Armenians, and what he has cherished since childhood.

The home of Fugitive Studios is an office space in a funky, repurposed complex that was an industrial site in its previous life. Fugitive Studios fits in perfectly among its neighbors – free-spirited, cosmopolitan-yet highly professional artisans and artists. The office is crammed with elaborate costumes, armor, and weaponry created for the development of the Armenian Epic. Roger’s own paintings and sketches pertaining to various project decorate the walls. A large bookshelf to the side of the conference table contains the fruits of Roger’ profession: thick albums with sketches and computer graphics of characters and backgrounds for feature films.

(Please see the magazine article for more information.)