Inspired by a true story of a house in Chadds Ford, Pennsylvania, haunted by the ghosts of Revolutionary War soldiers who died there over 240 years ago, David M. Flynn wrote the first draft of THE UNDYING and submitted it to the Nicholl Fellowship where the script became a finalist that year.  Sensing that this country's Civil War would make a more tragic backdrop for the romantic element crucial to the story he moved the framing story for Elijah Parmenter forward 85 years.

Encouraged by industry reception, Flynn took his first pass at trying to produce the story for the next three years, during which he joined forces with award-winning filmmaker and playwright, Steven Peros (Lionsgate’s THE CAT’S MEOW, starring Kirsten Dunst).

Several producers and production companies attempted to finance the film, but in all cases, financing either fell through or could not be ideally realized. 

Discouraged by the delays and missteps but not by the quality of the story, Flynn decided to take the bull by the horns and produce the film himself without a production company partner.  After arranging the necessary financing entirely through private equity, he began pre-production activities just as the WGA strike was imminent.  Instead of being a problem, it proved a blessing as production began in January, just as the strike was idling cast and crews throughout the entertainment industry, allowing him access to some of the most talented people working both in front of and behind the camera.

With the help of his director and now co-writer Steven Peros, he retained Susan Shopmaker as his casting director and the project was off and running. Based in California, Peros had just three months earlier completed his first feature directing assignment on FOOTPRINTS, which he also wrote.

With 15 years of experience in real estate development, Flynn used his resources and expertise, along with the help of the New Jersey Film Commission, to research and locate all the necessary locations in the State of New Jersey to stand in for Pennsylvania where the story is actually set.

As part of an outstanding crew assembled by the Director and Line Producer, Robert F. Smith joined the production as Director of Photography.  Robert's amazing camera work, guided by his total understanding of the goal his Director was aiming for, delivered an abundance of choices of each scene for the editor to work with. 

With a well-prepared and researched schedule, shooting commenced and moved throughout New Jersey, shooting all location photography before landing at a sound stage 30 minutes west of Manhattan where all the interiors of the farmhouse - the primary location - were shot over the next two weeks.

Because of the incredible attention to detail of the sound stage set by Production Designer Laura Hyman, the interior shots are virtually indistinguishable from the camera work captured 50 miles away in Western New Jersey at an historic farmhouse, which serves as a most important sixth main character in the story.