A young waitress stumbles upon a dark and sinister cabal operating behind the scenes of the fast food diner where she works. She now has the proof she needs to bring this secret to light, but unseen evil forces are unleashed in a bloodthirsty attempt to stop her.

NOLA GOMBO loves her job at the diner, but loathes her boss KIP MEATSOCK.
The 'day to day' workings of the diner would grind to a halt without her, but there has always been a niggling doubt in the back of her mind that things at the diner are not totally as they appear.

Working early one morning, and while attempting to stay out of Kip's way, Nola over hears something that is chillingly disturbing, but also seems to confirm her suspicions that the diner is a front for more nefarious undertakings.

Nola, armed now with hard evidence, attempts to convince and gain the help of her close friend and co-worker GURDIP CHUTNEY, but before Nola get to fully explain her concerns a frenzied and grizzly incident causes Gurdip's disappearance.
In desperation Nola goes looking for Gurdip, only to suddenly and viciously have to fight for her life as she becomes the focus of a blood crazed, ghoulish nightmare.

Thank you.

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 secton 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 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) and we hope that you get as much entertainment and fun (as well as a few scares) as we did.

Thank you.

Verity trained with RADA Youth Company, where Verity got to performed Shakespeare's A winters Tale, and The National Youth Theatre.
Verity’s acting credits include:
Only Love Matters directed by Kamran Qureshi
Federico García Lorca's House of Bernarda Directed by Jerome Joseph Kennedy.
Veritys non speaking roles include:
Acting Double for Vanessa Kirby (the White Witch) Mission Impossible 7. Skrull solider Marvel's Captain Marvel 2 and many others.
Verity is actively writing her own monologues for character parts she hopes to play. She has a huge passion for traditional British comedy and is keen to pursue this in her acting career.

Jello Biafra is best known as the frontman, and driving force behind Punk rock outfits like Dead Kennedys, Guantanamo School of Medicine, Lard and many others collaborations, He is also widely known as a spoken word artist and socio-political commentator and founder of Alternative Tentacles record label, so you could be forgiven for not immediately associating him with sub-culture film. However, Jello has worked in various film projects for many decades.
I first became aware of Jello, in the 'film world', with his portrayal of Bruce Coddle, in Terminal City Ricochet (1990) and spent many years tracking down a copy, (not easy back then in the UK).
Jello has continued to dip into the film medium over the years since, with numerous documentary, and music documentary appearances as well as the occasion acting rolls, but that distinctive voice can now be heard on Jello's very own podcast Renegade Roundtable.
I will be eternally grateful to Jello for agreeing to be part of ALL YOU CAN EAT. His input was not only exactly as required for the roll, in terms of direction, but the vocal mannerism and intonation that Jello brought to the character are beyond perfect.
If I could convince Jello to play the roll in the feature film version, I would bite his hand off. Thank you Jello.

Danny is an official RED Digital Cinema trained D.O.P.
Along side this Danny has 15 year experience in the Adult entertainment industry as performer, Director and Producer.
Directing and co-Directing production credits include No Mercy For Mankind, a post apocalyptic feature film and The Pulse, an episodic TV hospital drama/comedy, all for Digital Playground. PowerBangers a Power Rangers parody and numerous 'scene director' credits for Brazzers.
Danny has a large filmography of Producer credits under the umbrella of his production company AHUSSYXXX through which he is working to push for interesting and creative work, both in and out side of the adult entertainment industry

Neil’s company Neil Corbould Special Effects Ltd is one of the world’s leading special effects companies.
In May 2007 he made his directorial debut filming the pop promo ‘The Price Ya Gotta Pay’ for the band “Saints of Eden”.
2012 Neil produced his first short movie ‘Coward’ directed by David Roddham set in the trenches of the First World War.
SID is Neil first short movie as director, producer & writer. Mainly shot in Poland under the Film Spring Open banner and run by the well-known Slawomir Idziak, it was very much collaboration between Neil and the students of Film Spring.
Neil is in the early stages of producing and directing his first feature film ‘Billingsgate’ which is about female bare knuckle fighting in the 18th century London..

William Long is a film editor from Hertford.
His work includes the horror-comedy Fanged Up (2018) and the music-documentary United Nation (2020), as well as the short horror film Night Feed, which was commissioned by Film4 for FrightFest.
His short travel film, Life In North Korea, won the 2016 FiLMiC Pro Places award.

Composer, Orchestrator & Multi-Instrumentalist.
Peter Lewington has scored award winning short films and worked as an orchestrator and copyist on features and series for Netflix and Arte France among others.
In the summer of 2022 Peter Lewington signed on to compose the music to his first feature film which will be out on VOD sometime later in the year.

Jack Kelly is a Surrey based sound recordist and designer working with the likes of production sound mixers Tim White and Matt Mccabe.
On his first ever project as a sound designer Jack won a RTS student craft award for his work.
During his time working with advertising agency Still Moving as a sound recordist, he had the opportunity to work with brands such a Lotus and Scuff gaming for a variety of campaigns.
Although he enjoys all aspects of sound, his greatest strength is sound recording.

The 'B' camera and all AC duties, including most related filming responsibilities, were undertaken by Lawrence Whelan and Robert Shaw. They were a hard working, dedicated and creative team, invaluable to the production. This dynamic comb went on, after the wrap of ALL YOU CAN EAT, to form their own production facility.
Dark Chamber Media was founded in 2021, post ALL YOU CAN EAT wrap, by Lawrence and Rob with the intentions of combining their knowledge and skill of camera tech and rigging towards their common goal: to reinvent how action and stunt sequences are captured.

Lawrence and Rob were invaluable to ALL YOU CAN EAT from pre-production all the way through to post! Thank you chaps, all the best with DCM.



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i = 0;

while (!deck.isInOrder()) {
    print 'Iteration ' + i;

print 'It took ' + i + ' iterations to sort the deck.';



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Name Description Price
Item One Ante turpis integer aliquet porttitor. 29.99
Item Two Vis ac commodo adipiscing arcu aliquet. 19.99
Item Three Morbi faucibus arcu accumsan lorem. 29.99
Item Four Vitae integer tempus condimentum. 19.99
Item Five Ante turpis integer aliquet porttitor. 29.99


Name Description Price
Item One Ante turpis integer aliquet porttitor. 29.99
Item Two Vis ac commodo adipiscing arcu aliquet. 19.99
Item Three Morbi faucibus arcu accumsan lorem. 29.99
Item Four Vitae integer tempus condimentum. 19.99
Item Five Ante turpis integer aliquet porttitor. 29.99


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