The Telling Room was directed and produced by Duncan Scobie, and co-produced by Kristi-lee Landrey. The film was shot across various locations in Harare and Bulawayo, Zimbabwe, which resulted in a visually rich and unique world never before seen in a film!
In the shadowy city of Stonelake, a young street performer known as "The Magician" uncovers a dark legacy at an ancient manor, forcing him to confront a past he can’t remember and powers he barely understands.
A 30 minute screener of the film has been put together for potential investors, buyers, sales agents, or distributors to view. Please note that this is not a final sample, but represents the film in it's current state of completion.Watch First 30 minutes
This is a link to a temporary concept trailer that was put together when sound and VFX were still very incomplete from an older version of the movie. This is not an official or final trailer, as the final will need to be recut and sound designed from scratch.Watch Concept Trailer
Duncan: I needed someone who really stood out, so I took one trait—unyieldingness—and dialed it up. His arrogance stems from that, but deeper down, he's driven by a need to understand who he is and where he fits in. I wanted him to be a stark contrast to the other characters, which helped reveal both his strengths and weaknesses. As I developed him, his determination became the core of who he is.
Duncan: It evolved quite a bit. We cut some scenes, added new ones after the final cut to clarify certain points, and some scenes ended up with different pacing. There’s a saying that you make a film three times: once in the script, once in production, and once in post. That’s definitely true here—it changed at each stage.
Kristi-Lee: We started at dawn, usually hitting up three locations in one day. The day would kick off with Dean brewing coffee for the groggy crew while we set up. After rehearsals, we’d start shooting, with me running around making sure everyone was fed and on schedule. Duncan would push to get through each scene without losing his vision, despite the inevitable delays like lost props or power cuts. We had a lot of cast on set every day, creating a real sense of camaraderie. We’d wrap up late, often around 2 a.m., only to be up again by 5 or 6. It was exhausting, but I loved every minute.
Duncan: The script required a pretty ambitious production. We had multiple locations, a large cast, a runtime of over two hours, and a mix of visible and invisible VFX, including a CGI creature. Every aspect was challenging, but I learned a ton from the process.
Kristi-Lee: Looking back, we could have made things easier by tweaking the script. If we’d known how much work a 70s-set fantasy would be, we might have written something more convenient. But then we wouldn’t have had this epic, adventure-filled story. No regrets, but maybe I’d have hired a catering company instead of doing it ourselves!
Kristi-Lee: One of the coolest days was when we had 150 extras at Nesbitt Castle. They were all decked out in period costumes, some even arrived in vintage cars. It was amazing to see so many people excited to be part of the film.
Duncan: We mostly stayed true to the script, but there were challenges. Sometimes a location didn’t match the vision, so we had to switch things up. Other times, the dialogue wasn’t working, and we had to improvise to make it feel right for the actors.
Kristi-Lee: The period setting made finding locations a nightmare, especially for street and city scenes. We ended up using greenscreens, dressing up private property to look like public spaces, and employing every trick in the book to get the shots we needed. Making it all look cohesive despite the different locations and CGI was tough, but I’m happy with how it turned out.
Kristi-Lee: June was tough. We cast her twice before finding Kelly. Both previous actresses dropped out last minute due to personal reasons, and we were a week away from shooting with everything scheduled. It was stressful, but finding Kelly was a game-changer. She nailed it.
Duncan: It all started when I visited Nesbitt Castle for a wedding. The gothic interior and griffin statues were so inspiring. I thought, “This place would make an amazing setting for a story.” That idea grew into writing the screenplay and making the film.
Duncan: I love every part, but shooting is the most exhilarating. That’s where the key decisions are made under pressure, and it’s the most collaborative phase. It’s where everything comes together, and I find that incredibly energizing.
Send an email to Duncan at dunx@duncanscobie.com, or call Duncan on +44 7903 366781