Sexual Predator: Behind the Scenes       Sexual Predator was shot in the spring and summer of 2000 during simultaneous production of Clarence Homo Sapien. Concieved as a re-adaptation of a short film made by Zone 5 Pictures in 1995, Sexual Predator was to achieve a new level of storytelling perfection as the most gripping, original and beautiful film shot to date by the young production company. Director and Cinematographer, Adam Starr decided with the rest of the team that the film would be shot entirely without dialog, relying on natural sound and a minimal amount of music to bring the story to the surface.       As in the 1995 film, Jared Starr played the title character of the rustic mountain man. But this time, the mountain man was to take on some new interesting attributes. "In the first film, Willie, the mountain man was a long-johns sporting hill-billy. For the Millenium updating, we wanted to change his character to a more animal-like, sensual spirit of the forest. We changed his outfit to furs and leather and explored his sensuality throughout the film. The movie is called Sexual Predator for a reason!"       Also returning to his role from the first film was Justin Karoway-Waterhouse. As the hiker, Justin basically picked up where he'd left off without any major character re-vamping except for the addition of some cutting-edge styled shades (sported on the cover). Also, joining the cast was Dawn-Marie Starr as Justin's wife. Shooting was done on location in deep forests and river beds but was augmented with the addition of digital background paintings and composited vistas to give the forests an other-worldly feel. An XL1 was chosen as the principal camera because of its light weight and image quality under varying lighting conditions. Most of the film is shot under natural light (i.e., the sun) so we needed a camera that could handle the different qualities of light that come with that shooting situation. The XL1 was good because its detachable lens allows the use of different behind-the-lens filters to be used without becoming apparent at high F-stops. Heavy use of large reflectors and graduated filtering also added to the stylized look.       The most striking aspect of the film, however, is its previously mentioned omission of dialog. At approximately one half hour in length, the film takes the audience on a journey into a totally natural world of wind and running brooks, where the hand of civilized man does not interfere. From the first to the last frame, not a single word is spoken; a silent but deadly testament to the realities of the natural world.