Private Project

All You Can Eat

A young waitress at a fast food diner has a bad feeling about things going on behind the chrome and neon facade of the diner. She finally believes she has the proof she needs to bring this secret to light, but unseen evil forces are unleashed in a blood thirsty attempt to stop her.

  • Kieran Reed
  • Kieran Reed
  • Kieran Reed
  • Verity Hayes
    Key Cast
  • Project Type:
  • Runtime:
    12 minutes
  • Completion Date:
    January 11, 2022
  • Production Budget:
    1,000 GBP
  • Country of Origin:
    United Kingdom
  • Country of Filming:
    United Kingdom
  • Language:
  • Shooting Format:
    digital RED
  • Aspect Ratio:
  • Film Color:
  • First-time Filmmaker:
  • Student Project:
Director Biography - Kieran Reed

Kieran Reed is a UK based film director who is very passionate about bringing outré filmmaking to the fore. He manages weaves in a element of the bizarre or schlock into all his work, yet making sure it is still accessible, or in keeping with the style and genre of the production.

All You Can Eat is Kieran's first solo narrative directing project.
Kieran's list of credits for joint directing project and producer roles include a road-trip documentary focusing on the special effects industry in America (aired on Channel 4)
A psychological thriller, short film, shot entirely on location in Poland and several music videos and live performance recordings for garage rock and underground music promotion.

After a working as a freelance illustrator Kieran began his work in the film industry at a creature effects company at Pinewood Studios, where he worked for several years on Independent horror film FX.
He later got the opportunity to transfer his skills over to the opposite end of the filmmaking spectrum and began freelancing for some major studio 'blockbusters'.
Kieran still freelances as a designer for the film industry. His interest in all aspects of production have allowed him to work in, and with, everything from Concept design, traditional/practical special effects, through to high end visual effects, editing and post-production.  All of which have been invaluable in allowing him to understand and bring his knowledge to his directing projects.

Kieran Is currently working on the 'pitch deck' and proposals to finance a feature script (from which All You Can Eat was taken). This includes animated storyboards and a full proof of concept trailer shoot.
He is also developing a projects with CORBOULD PRODUCTIONS and FLYING EYEBALL PICTURES.

Add Director Biography
Director Statement

All You Can Eat began life as a proof of concept exercise, it was originally a snippet of a scene extracted from a feature length script.  At the time I did not consciously consider the section that I chose to be anything other than a vehicle with which to showcase the style and feeling that I intended for the feature.
Like anything that is 'plucked' out of context, the snippet, that would become All You Can Eat, needed a bit of further development of it's own to enable it to stand on up on its own merits as a short narrative film.
The 'back story' or the 'world' that All you Can Eat takes place in, was a know because of the descriptive wealth I had from the feature scripts, but I was looking for an interesting narrative and felt that the character of Nola went through a quite a range, in terms of 'character arc', in a relatively short space of time, So I began to work up this particular scene.

It was during this very early development that I began speaking to VERITY HAYES, who would later play the role of Nola, as soon as I saw the life that Verity brought to the character I knew that the original extracted sequence had become 'Nola's story', and was perfect for a short film.

It took a while to gather together a shooting crew that understood the stylistic direction that I wanted for the film. My vision was quite specific, I wanted to emulate a style of shooting that was a homage to early 1980's horror, right down to framing for a 4:3 aspect ratio.
This proved a lot more difficult than expected simply because of the change in expectations, of the modern viewer, as to how the composition of a shot or scene should be set up. Eventually we formed a solid crew that understood each other and the vision.

In keeping with the ideology of 'creature features' from the 80's, I wanted to use as much 'physical' special effects as possible.  There is a tangible simplicity to the 'rubber monster' school of filmmaking that is crucial to achieving the style that I was after. That is not to say that we totally disregarded the modern (CGI) methods of special effects, All You Can Eat makes extensive use of VFX but careful attention was paid to ensure it worked in conjunction with the practical effects, and with the genre in general.

All You Can Eat was a labour of love that was realised by the hard work and dedication of a talented crew of people.
It became more than just a 'proof of concept', it became a passionate 'love letter' to a particular time and genre of horror films.
We enjoyed making the short film (looking forward to the feature) we hope that you get as much entertainment and fun (as well as a few scares) as we did.