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synopsis 2012. The recently deceased are mysteriously rising from their graves. An emerging group of the living dead have people down-right scared...of losing their jobs. These fresh (and sometimes not so fresh) corpses are not here to eat the living; they have retained their memory of work and need to feed their hunger. With the recent economic crisis and other issues that dominate the news and popular zeitgeist, a new and inexpensive work force has evolved. They work for practically nothing. They don't need bathroom breaks. They don't need health care. They technically don't need food. For the corporation constantly criticized for its lack of compassion and ethics, it is the perfect answer to outsourcing. From blue-collar and white-collar jobs, to film, music and fashion; no one is safe.Everyone is feeling the bite. Where did these zombies come from? How did they evolve right under our noses director L.E. Salas is an award-winning filmmaker and visual artist who has had the honor of working and studying diverse, award-winning directors, producers and production companies. His professional directorial debut Far From the Island: A Cuban-American Documentary (2006), garnered attention from the academe and was invited to screen at colleges universities such as Duke, UVA, Seton Hall, Missou, and Yale. It would later become an official selection at the Orlando International Film Festival in 2008. Salas went on to work as assistant director on Canadian filmmaker Bruce LaBruce’s L.A. Zombie, which premiered at the Locarno Film Festival in Switzerland and made its North American premiere at the Toronto Film Festival in 2010. In 2013, his allegorical docufiction Dead Man Working, about the recently deceased rising from their graves and taking jobs from the living during the current economic climate, was well received in the film festival circuit and garnered awards for “Best Editing,” “Best Screenplay” and “Best Feature.” Alumni Filmography filmmaker's note I began research on this project in August of 2009 while on production of Bruce Laburuce’s L.A. Zombie in Los Angeles. This was not your typical zombie movie in production. Labruce made a career with films that teeter on a mixture of art and erotica had crossed another road; gay zombie erotica. As an avid horror and zombie film connoisseur, I decided it would be interesting to use this element of the living dead tied to a narrative comedic film that would have satirical aspects of current U.S. political issues such as immigration, healthcare and the economy. related links
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