Final First Edition

 

Within moments of meeting Rich Horn, it was clear to us that his mission—to meticulously recreate the first issue of Teenage Mutant Ninja Turtles #1—was more than an act of nostalgia. It was a dedicated celebration of artistry and the enduring legacy of the TMNT franchise. Rich’s project is, at its heart, an attempt to recreate a sensory experience: offering comic book lovers the chance to own a replica that looks, feels, and smells (yes, smells) indistinguishable from an original work of art. Is it forgery, or the ultimate expression of fandom?

We saw in Rich’s story an opportunity to reflect his meticulous intent. To bring this escapade to life, we embraced a hybrid of docu-fiction, drawing inspiration from the gritty tension of 70s action-thrillers like All the President’s Men and Sorcerer, paired with wall-to-wall Robert Altman-style mega-zooms. The result is a film as obsessive and layered as the man—and the cargo—that inspired it.

 
 

Rich Horn has spent his entire life collecting Teenage Mutant Ninja Turtles comic books and meticulously archiving them in his Littleton, Colorado basement. When he uncovers a once-in-a-lifetime piece of memorabilia, it ignites a cross-country mission: Reprint the very first edition TMNT comic in Maine using the exact same techniques and materials it was printed on in 1984. With a style that playfully references the cinematic turns of 1970s conspiracy dramas and political thrillers, Final First Edition documents Rich’s quest to make his name in the beloved history of Teenage Mutant Ninja Turtles.

Making the film took just under a year from initial discussions with director Wes Sterrs and cinematographer Jeff Griecci, to coordination of travel with Rich Horn as well as crucial 2nd unit material with Justin Balog in Colorado. Getting the look and feel right for a film about such treasured 1980s material as the Teenage Mutant Ninja Turtles was crucial. Griecci and Sterrs wanted to give the film a conspiratorial feel from the 1970s using vintage lensing in conjunction with the Alexa35. Using long zooms and fast-paced editing helped amp up the intensity for a film that’s essentially centered around an inanimate object. Thanks to the magic of colorist Flip Kotsishevskiy, composer Cormac Brown and post mixer, Justin Asher, the piece finally came together.

Press:

Foster’s Daily Democrat 1.21.25

Portland Press Herald 1.27.25

 
Christoph Gelfand