Tuesday, 23 October 2018

Hammer Classics Season to premiere on Horror Channel



From November 3, Horror Channel celebrates vintage 1950s home-grown fantasy and horror with a HAMMER CLASSICS SEASON, The primetime Saturday night season, consisting of four network premieres, which star the iconic Peter Cushing, kicks off with Val Guest’s atmospheric masterpiece, THE ABOMINABLE SNOWMAN, The other three, all directed by Terence Fisher, are the highly successful adaptations of the classic Universal monster movies: the brilliantly lurid THE CURSE OF FRANKENSTEIN (1957), the hypnotically sensual and gory DRACULA (1958), which launched Cushing and Christopher Lee into global stardom, and THE MUMMY (1959), perhaps the most critically well-received Hammer movie of all time.



Full film details of season in transmission order:

Sat 3 Nov @ 21:00 – THE ABOMINABLE SNOWMAN (1957) – *Network Premiere
An adaptation of a drama by Nigel Kneale, creator of the Quatermass series, this horror fantasy stars Peter Cushing as scientist John Rollason, who, ignoring his wife's objections, joins an expedition lead by brash American Tom Friend (Forrest Tucker). They are searching for the legendary yeti in the high Himalayas - a quest with deadly consequences.


Sat 10 Nov @ 21:00 – THE CURSE OF FRANKENSTEIN (1957) * Network Premiere
Scientist Victor Frankenstein (Peter Cushing) will stop at nothing in his quest to reanimate a deceased body and assembles a hideous creature (Christopher Lee) out of dead body parts. He succeeds in bringing it to life, but the monster is not as obedient or docile as Frankenstein expected…


Sat 17 Nov @ 21:00 – DRACULA (1958) *Network Premiere
On a search for his missing friend, Jonathan Harker (John Van Eyssen), vampire hunter Dr. Van Helsing (Peter Cushing) is led to Count Dracula's (Christopher Lee) castle, where he finds an undead Harker in Dracula's crypt and discovers that the count's next target is Harker's ailing fiancée, Lucy Holmwood (Carol Marsh). With the help of her brother, Arthur (Michael Gough), Van Helsing is determined to protect Lucy and put an end to Count Dracula's parasitic reign of terror.


Sat 24 Nov @ 21:00 – THE MUMMY (1959) *Network Premiere
When a family of British archaeologists (Peter Cushing, Felix Aylmer and Raymond Huntley) discover the ancient tomb of an Egyptian High Princess, Kharis (Christopher Lee), a mummy of a high priest who has been buried alive, comes to life to seek retribution against the trespassers of the tomb.       

There are also Friday night network premieres for darkly gripping sci-fi thriller SPLICE, John Carpenter’s brilliant body-mangling monster horror THE THING, starring Kurt Russell, Aussie shark schlockfest BAIT, the 2008 US remake of THE EYE, starring Jessica Alba and psychological thriller HOUSE AT THE END OF THE STREET, starring Jennifer Lawrence.


Plus, STAR TREK: ENTERPRISE returns for the network premiere of Season 3, from Friday 2 November at 8pm.

Horror Channel: Be Afraid
TV: Sky 317 / Virgin 149 / Freeview 70 / Freesat 138


Monday, 22 October 2018

Competition: Win The Changeling Bluray


The Changeling is out on Blu-ray 29th October

And to celebrate we have a great competition for you and 3 copies to give away.

Synopsis
Following the tragic death of his wife and daughter in a car crash, composer John Russell leaves the city and retires to an old mansion in the hope of rebuilding his life. The peace and quiet he craves is soon disturbed however. Unexplained noises are just the beginning. Convinced there is a supernatural presence in the house he enlists the help a local historian. What they uncover is more shocking than he could ever have imagined.

The Changeling is one of the most chilling and highly acclaimed horror films of all time.


For your chance to win just answer the question below.

Who Directs Changeling?

Send you name, address and of course the answer to competition@mastersofhorror.co.uk

Terms and conditions
1. Closing date 05-11-18
2. No alternative prize is available
3. When the competition ends as indicated on this page, any and all entries received after this point will not count and emails blacklisted due to not checking this page first.
4. Winners will be chosen randomly and will be informed via email.

Tuesday, 16 October 2018

Interview with Julian Richards


Ahead of the World premiere screening of REBORN at Arrow Video FrightFest Halloween, Julian Richards discusses the torturerous challenges of DADDY'S GIRL, why he wishes every actress was like Barbara Crampton and future plans, including directing the English language remake of RABIES.


Q: After six years away from directing, you have two films, REBORN and DADDY'S GIRL poised for distribution. Why these two very different films now?

My previous film SHIVER was completed in 2012 and it took longer for me to get back into the directing saddle because of commitments I had to my sales company Jinga Films. The company was growing quickly and needed more of my time and energy. We had grown from handling three films a year to handling ten films a year and our titles were getting stronger. At the same time my wife and I decided to have a family and in 2016 we became parents to twins. I think we both underestimated how demanding parenthood would be, and understandably, I lost momentum with the directing projects that i was developing.

But I had no intention of giving up on directing and was always on the lookout for new opportunities. The first, DADDY'S GIRL came from an unexpected source; an Indian broadcaster Zee Studios, based in Dubai who approached me to help them put together a slate of three horror films that they planned to shoot in Eastern Europe. I sent them three scripts from which they chose DADDY'S GIRL for me to direct and OPEN 24 HOURS for Padraig Reynolds to direct. My sales company Jinga Films represents two of Padraig's earlier films RITES OF SPRING and WORRY DOLLS, so I was happy to share this opportunity with him.

The next opportunity came during Cannes when I was asked by John Penney and Brian Yuzna to recommend directors for REBORN, a feature they were planning to produce in Los Angeles. I recommended myself,  gave feedback on the screenplay and was quickly hired for the project. Of course, the idea of directing two feature films in 12 months whilst raising twins was daunting, but I had lost time to make up for, and with the support of my wife, Rosana,  I (we) somehow managed to do it.



Q:  DADDY'S GIRL is a contentious, challenging film, to say the least. Did you have reservations about the storyline, given the way the film industry is shifting morally and sexually?

The screenplay for DADDY'S GIRL that went into production is different from the original screenplay. The original had a Haute Tension-esque twist whereby several characters in the story turn out to be the same character, the protagonist, with many events taking place inside her mind. It was this deeply psychological context that attracted me to the script, but the producers didn't like it and so it was removed. Without this twist, and with the torture scenes actually happening rather than being the machinations of a deranged mind, the project was in danger of becoming just another torture porn film, and being a sales agent as well as a director, I was acutely aware of the problems this might cause, particularly post #metoo. So, I introduced a new theme to the story, making both the killer and the cop Iraq war veterans and linking the torture to Abu Ghraib, turning the film into a metaphor for the anxieties of post Iraq war America. When I directed the torture scenes, I panned away or cut away from anything too extreme or degrading, focusing instead on the protagonist as she watches. Re-action is stronger than action, and horror is more effective when left to the imagination. The producers did question my direction, they wanted less clothes and more torture, but I did not want to make an exploitation film and personally I felt uncomfortable taking the material in this direction. Ultimately DADDY'S GIRL is not a film about a bad guy torturing women, it is a film about a captive women staving off the desire to commit suicide and choosing to survive instead.


Q: Jemma Dallender puts in a brave, compelling performance. What she your first choice for the role?

Actually, we first cast Jemma as the vigilante, but when two of the actresses cast to play Zoe pulled out we had to re-shuffle our cast and offered Jemma the lead. She jumped at the opportunity because she had never played a character like that before.


Q: You extract an equally commanding performance from Barbara Crampton in REBORN. What was it like working with such a genre legend?

When I read the script for REBORN, Barbara was the first actress I thought about for the part of Lena, so I was really pleased when she agreed to board the project. Actually another actress was already attached to the project but had to leave just before we started shooting, so when Barbara arrived she only had a couple of days to prepare. It was a fraught start to the production but she was like the cavalry coming to the rescue.


Barbara gives commanding performances in all her films, so all a director has to do is cast her and provide her with a good script with good dialogue. Occasionally I would step in and ask for a little less or a little more, but generally speaking, you just roll the camera on Barbara and often you get what you need in one or two takes. Working with Barbara is therefore a director's dream. She comes fully prepared and is willing to go above the call of duty to get the best result for the film. I wish every actress were like Barbara...


Q: Even though REBORN is a violent supernatural thriller, at heart it's a moving story of a young woman's search and reunion with her birth mother. How did you find balancing the emotional narrative with the brutal tone of its visual effects?

It was the mother, daughter reunion aspect of the story that attracted me to REBORN. The script had a strong, dramatic, emotional through-line which reminded me of Frankenstein. Most horror scripts don't have such a strong dramatic ingredient, so I knew that this was something special. However, the script was lacking in strong horror beats, so I did a directors pass, ramping up the kill scenes in which Tess uses her electro-kinetic power. The Omen franchise became an influence here, dramatic family scenes intercut with inventive murder set pieces. Of course, Carrie was also an influence, as was The Fury and Scanners. The film has a strong sense of nostalgia for the genre, so I introduced a meta-horror ending to give it a contemporary twist.


Q: Juggling a career as a film director with that of running an established sales and distribution company (Jinga) must be a constant challenge. How do you do it? Do both give you equal satisfaction?

I moved into sales after making THE LAST HORROR MOVIE. I put a lot of my own money into that film and needed to make sure that I got it back. I also wanted to learn more about the business side of films and sales seemed to be the most immediate and accessible way to do that. I never intended to switch career, but I did need to do something that would provide me with a more reliable income. Jinga went from strength to strength and by the time we released A SERBIAN FILM in 2012, we had established ourselves as one of the key genre companies in the World. It was, and still is, an incredible learning curve and it compliments my film-making in many ways.

I think the opportunity to direct DADDY'S GIRL and REBORN came because of my experience in sales, so although Jinga initially diverted me away from directing, it ultimately provided opportunities that I might not have got going through the conventional employment channels such as agents and managers.


Q: You made a massive impact with THE LAST HORROR MOVIE and many people are still hankering for a sequel. Is this on the cards?

I did toy with the idea, about doing something with Max on Facebook and Twitter etc., but technology and social habits are evolving so quickly that I was concerned that any script that we came up with would be dated by the time it got made. Also, the market has changed. There is not much of an appetite for found footage, and crime films are less popular than supernatural. If somebody out there has a viable idea and wants to write a sequel to THE LAST HORROR MOVIE, I would certainly consider making it.


Q: When you look at the Jinga library, are there any films you would have liked to have made?

Well, A SERBIAN FILM does spring to mind, but actually no, I don't think I'm capable of that level of transgression. The three films I would choose are STILL/BORN, OUR EVIL and THE HOUSE AT THE END OF TIME. All have a strong family drama at their core which gives them a greater sense of reality, despite the supernatural events wreaking havoc elsewhere in their stories.


Q: You come from Wales but your last film shot there was the BAFTA Cymru award-winning SUMMER SCARS. Do you plan to return to your homeland to make more movies?

The first opportunity I got to direct a feature came from Wales, when I received lottery finance from Film Agency Wales to make DARKLANDS, which is arguably the first Welsh horror movie and which has been credited as kickstarting a new wave of UK genre production which continues to this day. Film Agency Wales also supported SUMMER SCARS, and without this support I may not have been able to achieve the level of success that I have obtained, so I owe them and Wales a huge debt of gratitude. I would love to make more films in Wales, particularly films that focus on Welsh history, myth and folklore. If any writers out there have a script that I could shoot in Wales, please send it my way and I would be happy to read it.


Q: Finally, what's next for Julian Richards?

I am in talks with Israeli production company UCM to co-produce and direct the English language re-make of RABIES and I am also developing  an action thriller based on the terrorist attack on British holiday makers in Tunisia. I am also involved as a co-producer with the English language re-make of THE HOUSE AT THE END OF TIME which is currently in development at Good Fear.

REBORN has its World Premiere at Arrow Video FrightFest Halloween, Cineworld, Leicester Square on 3 Nov, 10.40am.
http://www.frightfest.co.uk/tickets.html

Monday, 15 October 2018

BBC One and Netflix team up to co-produce Dracula from Sherlock producers Hartswood Films


BBC One has commissioned Dracula from the co-creators of multi-award-winning hit BBC drama Sherlock. It will be produced by Hartswood Films and is a co-production between BBC One and Netflix.

The 3x90’ mini-series is written and created by Steven Moffat and Mark Gatiss and inspired by Bram Stoker’s classic novel. Three feature length episodes will re-introduce the world to Dracula, the vampire who made evil sexy. In Transylvania in 1897, the blood-drinking Count is drawing his plans against Victorian London. And be warned: the dead travel fast.

Co-creators, writers and executive producers Steven Moffat and Mark Gatiss said, “There have always been stories about great evil. What’s special about Dracula, is that Bram Stoker gave evil its own hero.”

Charlotte Moore, BBC Director of Content, says:“Genius duo Steven Moffat and Mark Gatiss turn their attentions to Dracula for unmissable event television on BBC One."

Piers Wenger, Controller of BBC Drama, says: “Steven and Mark’s ingenious vision for Dracula is as clever as it is chilling. In their talented hands the fans will experience the power of Bram Stoker’s creation as if completely anew. We are thrilled to be collaborating with them and the brilliant team at Hartswood on yet another iconic British series.”

Larry Tanz, Vice President, Content Acquisition, Netflix, says: “We can’t wait to bring Steven Moffat and Mark Gatiss’ brilliant storytelling to our members around the world and we are eager to collaborate on yet another series with the BBC.”

Sue Vertue, Executive Producer, Hartswood Films, says: "We are absolutely thrilled to be back at the BBC, and also delighted that Netflix are coming on board with Dracula. There’s nothing like fresh blood.”

Dracula was commissioned by Charlotte Moore, Director of BBC Content and Piers Wenger, Controller of BBC Drama. It is written and created by Steven Moffat and Mark Gatiss; executive producers are Mark Gatiss, Steven Moffat and Sue Vertue for Hartswood Films, Ben Irving for BBC and will be handled by Larry Tanz for Netflix.

The series will premiere on BBC One in the UK and on Netflix outside of the UK, and China where the service is not available. BBC Studios Distribution, who brokered the deal with Netflix for Hartswood Films, is the international distributor.

Competition: Win Down A Dark Hall on DVD


Down A Dark Hall is out on Digital and DVD 22nd October

And to celebrate we have a great competition for you and 3 copies to give away.

Synopsis
In an old mansion deep within the forest, Blackwood Boarding School promises to turn rebellious teens into straight-laced young adults. Desperate for a fix to her daughter’s dissident behaviour, Kit Gordy’s mother sees no other option. Kit (AnnaSofia Robb) is placed in a class with four other equally reluctant teens, miles from any outsiders and no contact with the outside world.

There is something odd about the enigmatic Madame Duret (Uma Thurman) who’s unconventional methods unsettle her pupils. Strange inexplicable events occur during the night, and the girl’s behaviour grows increasingly unnerving.

The girls must band together to unravel the terrifying secrets at the heart of Blackwood Boarding or risk losing their sanity completely.


For your chance to win just answer the question below.

Who Directs Xtro?

Send you name, address and of course the answer to competition@mastersofhorror.co.uk

Terms and conditions
1. Closing date 29-10-18
2. No alternative prize is available
3. When the competition ends as indicated on this page, any and all entries received after this point will not count and emails blacklisted due to not checking this page first.
4. Winners will be chosen randomly and will be informed via email.

Competition: Win Xtro on Bluray


Xtro is out on Bluray on October 22nd.
And to celebrate we have a great competition for you and 3 copies to give away.

Synopsis
Three years ago young Tony watched with horror as his father was taken into the night sky by a mysterious blinding light and never seen again. Until now. His father is coming home but he's not the man he used to be!

A 'must-see' cult rental of the 80s, Xtro is one of the most outrageously bizarre, gory and insanely enjoyable horror films of its time complete with infamous 'alien birth' scene. 'Not all extra terrestrials are friendly'!

SPECIAL FEATURES:
New restoration featuring option of alternate endings plus the original UK video version edit
New director restoration
‘Xploring Xtro’ - a new 57 minute documentary featuring interviews with Harry Bromley-Davenport, Mark Forstater, Bernice Stegers, Susie Silvey, ‘Tik’ – Tim Dry, ‘Tok’ – Sean Crawford, Robert Pereno, Alan Jones and Craig Lapper
‘The World of Xtro’ - a new featurette with Dennis Atherton, Harry Bromley-Davenport and Mark Forstater
‘Beyond Xtro’ – a new featurette with Harry Bromley-Davenport and Mark Forstater looking ahead to new reboot ‘Xtro – The Big One’, including excusive test footage
‘Xtro Xposed’
‘Loving The Alien: A Tribute to Philip Sayer’ featuring exclusive Brian May music tribute
Reversible sleeve with 2 original artwork options
English subtitles for the hearing impaired


For your chance to win just answer the question below.

Who Directs Xtro?

Send you name, address and of course the answer to competition@mastersofhorror.co.uk

Terms and conditions
1. Closing date 29-10-18
2. No alternative prize is available
3. When the competition ends as indicated on this page, any and all entries received after this point will not count and emails blacklisted due to not checking this page first.
4. Winners will be chosen randomly and will be informed via email.

Sunday, 7 October 2018

Competition: Win The Amityville Horror on Blu-ray


The Amityville Horror is out on Bluray on October 15th.
And to celebrate we have a great competition for you and 3 copies to give away.

Synopsis
Based on terrifying true events, The Amityville Horror tells the story of George and Kathy Lutz who believe they have found the perfect family home on the coast of Long Island. But the house has a shocking history and within its walls a demonic presence lies in wait that will turn the Lutz’s lives into a living nightmare. Their only hope is to get out before it’s too late!

SPECIAL EDITION FEATURES
‘Brolin Thunder’ – A New Interview with Actor James Brolin
‘Child’s Play’ – A New Interview with Actor Meeno Peluce
‘Amityville Scribe’ – A New Interview with Screenwriter Sandor Stern
‘The Devil in The Music’ – A New Interview with Composer Lalo Schifrin
‘My Amityville Horror’ – Feature-Length Documentary with Daniel Lutz
‘For God’s Sake Get Out’ – Archive Interviews with James Brolin and Margot Kidder
Intro by Dr Hans Holzer, PhD. in Parapsychology (Author of ‘Murder in Amityville’)
Audio Commentary by Dr Hans Holzer
Original Trailer, TV Spot, Radio Spots
DTS-HD Master Audio 5.1 and Uncompressed Stereo Audio Options
New Optional English Subtitles for the Hearing Impaired



COMPETITION CLOSED

Terms and conditions
1. Closing date 22-10-18
2. No alternative prize is available
3. When the competition ends as indicated on this page, any and all entries received after this point will not count and emails blacklisted due to not checking this page first.
4. Winners will be chosen randomly and will be informed via email.

Thursday, 4 October 2018

Arrow Video FrightFest announces line-up for Halloween 2018 event

 

Arrow Video FrightFest unleashes an intoxicating six-pack of horror, sci-fi and fantasy for their popular Halloween all-day event, now at the Cineworld Leicester Square on Saturday 3 November. The 12-hour monstrous marathon embraces four continents and includes two world premieres and four UK premieres

 

The day kicks off with Julian Richards' latest chiller REBORN, a Carrie for the Z Generation, starring the First Lady of FrightFest, Barbara Crampton, and featuring a stunning performance from rising newcomer Kayleigh Gilbert. Richards, famous for The Last Horror Movie, is with us for this World Premiere screening.

 

Next up is the UK premiere of PARALLEL, director Isaac Ezban's first English language horror fantasy after The Incident and The Similars. Be prepared for an ingenious killer alternate-universe concept, pitch-black thrills and a top-notch cast including Brit-star Georgia King.

 

You'll definitely keep your eyes wide open for the UK premiere of MARA, Clive Tonge's intensely tormenting psychological thriller about Sleep Paralysis, This demonic jolter stars the dazzling Olga Kurylenko, with sterling support from Craig Conway. Olga is planning to attend.

 

Technology has no boundaries in our next presentation - the world premiere of Paul Hyett's sinister and unsettling PERIPHERAL. Hyett's latest sci-fi horror fantasy boasts an astonishing performance from Hannah Arterton and both Hannah and Paul will be present, alongside co-star Elliot James Langridge.

 

This is followed by the UK Premiere of Swedish blockbuster THE UNTHINKABLE, a nail-biting disaster epic reminiscent of The Mist and the Cloverfield franchise, with jaw-dropping action sequences, a gripping plot and punchy performances that will leave you breathless.

 

Last but definitely not least, is the UK premiere of The Onetti Brothers' ABRAKADABRA, the final instalment of their fantastic giallo trilogy after Sonno Profondo and Francesca. This is definitely their wackiest, wildest and most twisted thriller yet, complete with film stock grain, a trippy Suspiria colour scheme and black-gloved maniacs!

 

Plus, we'll be showing two fantastic shorts, the London premiere of comedy horror DEEP CLEAN, starring Paul Kaye, and the world premiere of Zombie romance THE PREDICAMENT, And of course there will be intros, Q & A's, give-aways and a few special surprises…

 

Alan Jones, FrightFest co-director, said today: "After a hugely successful Arrow Video FrightFest at the Cineworld Empire Leicester Square this August, we are thrilled to be returning to such an auspicious venue for our annual sort-of-Halloween, all-screaming, all-entrancing Shriek Saturday. Team FrightFest searched long and hard for the most trenchant, traumatizing and trend-setting movies, which we hope you'll remember for a long time to come".

 

Day passes (£45) and single tickets (£15) go on sale at noon on Saturday 6th October. 

To book: http://www.frightfest.co.uk/tickets.html

(Online booking only)


Tuesday, 2 October 2018

Competition: Win The Hatred on DVD


The Hatred is out on DVD on October 8th.
And to celebrate we have a great competition for you and 3 copies to give away.

Synopsis
Reagan and three of her closest friends travel to her former professor and mentor's recently purchased country estate for a weekend of fun, house sitting, and watching the professor's young daughter, Irene. Unbeknownst to everyone, the house and grounds hold a dark secret and evil deeds perpetrated and buried within by its former malevolent owner, a former Nazi officer in hiding, who menacingly forbade anyone from entering his property.

Their arrival, the first since these secret acts of horror occurred, unleashes a night of terror and a fight for survival none of them could have ever imagined.

Stars: Sarah Davenport, Andrew Divoff, Darby Walker


For your chance to win just answer the question below.

COMPETITION CLOSED

Terms and conditions
1. Closing date 15-10-18
2. No alternative prize is available
3. When the competition ends as indicated on this page, any and all entries received after this point will not count and emails blacklisted due to not checking this page first.
4. Winners will be chosen randomly and will be informed via email.

Wednesday, 26 September 2018

Competition: Win Halloween 4K UHD Blu-ray


Revisit Haddonfield this Halloween as John Carpenter’s classic horror film is re-released on DVD, Blu-ray
and for the first time on 4K Ultra HD Blu-ray (which also includes 5 lobby-style artcards) to celebrate 40
years of terror.

And to celebrate we have a great competition for you and 3 copies on 4K Ultra HD Blu-ray to give away.



Synopsis
It may have been 40 years since Michael Myers returned to terrorise his hometown but the horror is as real
today…

Jamie Lee Curtis and Donald Pleasance star in the ultimate, original slasher movie HALLOWEEN… Escaped psychopathic child-murderer Myers returns to the home where he butchered his sister with a carving knife to torment and murder residents once again. Baby-sitter Laurie Strode becomes his new target in this creepy, evil and unforgettable film.

With a soundtrack to remember, a face mask you’ll want to forget and scares that stay with you beyond the 31st October - this is the only movie worth watching this Halloween.

HALLOWEEN is out for the first time on 4K Ultra HD Blu-ray from the 1st October.

Click here to buy from Amazon (Opens in a new window)

COMPETITION CLOSED


Terms and conditions
1. Closing date 08-10-18
2. No alternative prize is available
3. When the competition ends as indicated on this page, any and all entries received after this point will not count and emails blacklisted due to not checking this page first.
4. Winners will be chosen randomly and will be informed via email.


Tuesday, 25 September 2018

Film news (UK): 13-night Halloween Season haunts Horror Channel


Horror Channel presents its Haunted Halloween season this October, taking possession of the nation’s TVs for thirteen nights with a supernaturally spooky selection of premieres and classic favourites, including the UK TV premiere of Jesse Thomas Cook’s THE HEXECUTIONERS, a nerve-shredding American Gothic tale of terror. There are also network premieres for the gripping US-remake of THE GRUDGE starring Sarah Michelle Gellar, and Carles Torrens’s paranormal chiller APARTMENT 143. Amongst returning channel hits are James Wan’s supernatural stunner INSIDIOUS, John Carpenter’s iconic THE FOG, and Lluis Quilez’s Colombia-shot suspense thriller OUT OF THE DARK.


Full film details of season in transmission order:

Fri 19 Oct @ 21:00 – APARTMENT 143 (2011) *Network Premiee

A team of parapsychologists sets out to investigate a series of strange phenomena taking place in a newly occupied apartment. With the residents plagued by telephone calls with no caller, mysterious shadows and flying objects, the team attempts to contact the “other side” in order to bring peace to the apartment. However, the investigation grows increasingly dangerous as the team delve further into the apartments mysteries


Sat 20 Oct @ 21:00 – THE UNBORN (2009)
Sun 21 Oct @ 21:00 – THIR13EN GHOSTS (2001)
Mon 22 Oct @ 21:00 – DEAD SILENCE (2007)
Tues 23 Oct @ 21:00 – OUT OF THE DARK (2014)
Wed 24 Oct @ 21:00 – THE FOG (1981)
Thurs 25 Oct @ 21:00 – THE HAUNTING IN CONNETICUT 2

Fri 26 Oct @ 21:00 – THE HEXECUTIONERS (2015) *UK TV Premiere

In a future world where sanctioned euthanasia has become an industry, Malison is has just started a job assisting suicides for the Rite-To-Die company. After a distressing first call-out, she is paired with seasoned veteran Olivia, and they head to the remote estate of a man on his deathbed wishing to expire via a Tibetan death. Soon the shocking reasons why this arcane method has been chosen become clear, as the demise-inducing duo find themselves fighting vengeful spirits determined to stop it.



Sat 27 Oct @ 21:00 – THE GRUDGE (2004) *Network Premiere

In this remake of the original horror, also directed by Takashi Shimizu, the action moves to Tokyo, where where American nurse Karen (Sarah Michelle Gellar is exposed to a mysterious supernatural curse, one that locks a person in a powerful rage before claiming their life and spreading to another victim. Also starring Bill Pullman, Ryo Ishibashi (Audition) and Roswell’s Jason Behr.


Sun 28 Oct @ 21:00 – WIND CHILL (2007)
Mon 29 Oct @ 21:00 – CONFINED (2015)
Tues 30 Oct @ 21:00 – DEMONIC (2015)
Wed 31 Oct @ 21:00 – INSIDIOUS (2010)

There is also a small screen debut for Bruce McDonald’s atmospheric and impressive Halloween horror HELLIONS, and network premieres for Scott Derrickson’s terrifying THE EXORCISM OF EMILY ROSE starring Jennifer Carpenter and Tom Wilkinson, Peter Webber’s HANNIBAL RISING, Greg McLean’s ROGUE starring Sam Worthington, vampire action thriller PRIEST starring Paul Bettany, and found-footage monster horror EXISTS.


Plus Stephen King’s popular sci-fi adaptation UNDER THE DOME returns for Season 2 from Wed 10 Oct at 8pm, with Season 3 kicking off on Mon 29 Oct at 8pm.


Horror Channel: Be Afraid
TV: Sky 317 / Virgin 149 / Freeview 70 / Freesat 138

Thursday, 20 September 2018

Interview with Ruben Estremera

Ruben Estremera left “corporate hell” to work in the significantly more exciting world of film just three years ago. Since then, he and producing partner Gregory Wolk have produced several movies, including the sci-fi zombie movie Apocalypse Rising, Trump-Halloween spoof President Evil and A Lesson in Cruelty.


When did your producing career begin, sir?

Fairly late to the game, in 2015. Left the corporate world to do something I’ve been wanting to do for years. I’m finding that my years in corporate hell are coming in handy. Filmmaking is a business.


Was it always the dream to produce movies?

I wanted to be involved in making movies but producing them wasn’t in the initial plan. Once my partner and I experienced being ripped-off by a hired producer, we knew we had to do it ourselves.

How many films have you done now?

Four feature films


The one we’d like to discuss is your addition to the fantasy category. Is that a genre you’ve always been fascinated with or was it a matter of simply making a movie that you know would sell?

I’ve always loved dark fantasy. Would it sell? I knew it would appeal to a wide audience, even though some studios gave me the brush-off, saying that “zombies are done.” When someone tells me that I can’t do something, it makes me want to do it even more.


And how did APOCALYPSE RISING come to be?

My partner, Gregory Wolk, had written a novel called “The Dead Site” and we decided to adapt it into a film.


What came first? The script or the idea?

The novel came first, and then the script.


How did you pitch the film to your cast? What interested them?

If you like The Walking Dead, Star Trek, or Game of Thrones, you’ll love this. As if that wasn’t enough to have everyone wanting to be involved, saying that the film contained sex, violence, zombies and Jesus Christ, clinched the sale.


And the look of the film, based on the trailer, suggests a similar tone to the classics. That intentional?

Yes. There’s so much great material from what came before us. However, today’s audiences demand a fresh take on everything. There is no going back to the old days (tell our politicians that, please!) but we’re wise to keep what works and incorporate new methods, updated humour and sensibilities.


When did you watch your first cut?

Autumn of last year. Then it sold at AFM.


Did the distributor change anything when they came aboard?

They suggested that we change the title. We filmed it with the working titled of The Dead Site. I came up with a few alternates, one of which was Apocalypse Rising, and they loved it.



Thursday, 13 September 2018

Interview with David Kempf - By Jon Donnis


David Kempf has written over fifty short stories, many with themes of horror fiction. He has won several writing awards including first place in Millersville University's Lemuria magazine's short story competition. Two of his short stories were selected for the 2007 publication of The Grackle.

In 2014 he wrote The Horror of It All, featuring interviews with prominent figures in the horror community. All the proceeds from that book went to help those suffering from ALS.


So this is your fourth novel?

Yes. Dark Fiction, The Petsorcist, Travel Bug and now this one, Damned Fiction.


With a title like Damned Fiction, I assume this is finally the official sequel to Dark Fiction. 

Yes. This new noel Damned Fiction is an official sequel to my first novel Dark Fiction. Although one of the characters (Dr. Henry David Wells) is in The Petsorcist, it is not a sequel to Dark Fiction. Christopher and Dr. Wells (from Dark Fiction) are mentioned in Travel Bug but once again, it is not a sequel. Damned Fiction takes place about a few months after the events of Dark Fiction. This time out, Dr. Wells and Christopher do not have to deal with the evil wish masters known as the Jinn. They must deal with the Devil himself who is interested in finding a writer worthy to write his biography. Thus the title Damned Fiction.


Dr. Henry David Wells is the central character once again. Why?

I suppose because he is my most intriguing character. His Faustian bargain with evil forces in the first novel made him interesting. Now he is literally about to do a deal with Satan himself, with the Devil. He has unnaturally long life, the man fought with the British during The Revolutionary War. Now he is an American college professor and bestselling horror author. He is an extremely promiscuous man as well as a tragic hero and everyman. Wells is the opposite of Christopher who is essentially goodness incarnate. Christopher is the Christ figure, just like his name he is the Christ-bearer, the hero, the force of good. Not Wells. He is good and evil coexisting. There is simply no other character I enjoy writing about more than Dr. Wells.


Tell us about how you came up with the premise for this one. 

Well, I thought about how Dr. Wells has already made a Faustian deal with the Jinn so it would only be a natural progression to take the next step. To watch him deal with the Devil himself. I also assumed that if Satan returned to earth he would want to have the number one bestselling book on Amazon. I thought that would come natural to us just like it does to all of us. There is also another key element with the Sarah character and what she writes about. I want to keep that a secret for now. Christopher’s goodness and selfless nature also plays a key role in fighting against Satan’s plans but I hope people will read the book to find out for themselves what I mean.


How would you classify the genre you write?

I honestly don’t know. It’s fantasy, horror, science fiction, drama, comedy and tragedy all mixed in together. It’s whatever works and whatever I need at the time.


Why do you think people are so fascinated by the Devil?

Funny you should ask that. I was just watching The Exorcist again the other day. The movie never gets old. I mean people are afraid of the unknown and we don’t want to take full responsibility for the terrible evil that humans inflict upon each other. Men have been slaughtering each other for thousands of years. We don’t want to blame nature so we need to blame a supernatural being that influences us if we will it or obey it or whatever. Believing in the devil preys upon our deepest fears of an invisible world in this world and the one that is to come. The Devil is also a symbol of man’s vanity and this narcissistic culture is fascinated by fame more than fortune these days. So I can see many people who would sell their soul to him for glory. I know Dr. Wells would at least be willing to hear the Devil’s presentation!


What your favorite stories and books about Satan?

Well, Milton’s Paradise Lost, Dante’s Inferno, Faust, Christopher Marlowe’s Doctor Faustus, Washington Irving’s The Devil & Tom Walker, Ira Levin’s Rosemary’s Baby and William Peter Blatty’s The Exorcist.


What are some of your favorite films dealing with the Devil?

The Exorcist, Rosemary’s Baby, The Ninth Gate, The Devil’s Advocate, Angel Heart, The Omen, Bedazzled, Legend, John Carpenter’s Prince of Darkness, Spawn, Legend and Needful Things. The irony is that movies like The Empire Strikes Back, The Lord of the Rings: The Two Towers and The Dark Knight were bigger influences on this novel. That’s because these films were all important central parts of a trilogy or even sequels that could stand on their own. In that way I guess I hope this book is similar to The Godfather Part 2.


So the Devil wants to be the number one bestseller on Amazon?

I think that goes without saying.


Is this straight horror or a mixture of comedy and horror like your previous book The Petsorcist?

There is some tongue and cheek stuff, yes. I mean, come on, the Devil has been done to death. He has been done to terrify, enlighten, educate, warn and entertain. He has been used by religion to scare people into submission and by writers and playwrights as a punchline to make people laugh. I chose to walk a line in-between to make the reader laugh uncomfortably throughout the novel. That was my desired goal anyway.


Why the release date of May 5th?

I am superstitious so I just thought I would get it out on Smashwords anyway on May 5th. That is when Anne Rice published Interview with the Vampire in 1976, one of my favorite novels.


Why did you choose to write actual people as characters in this novel?

Oh, like real life writers and artists? Yes, I thought that would be a nice touch. Something interesting, you know. It’s a longstanding literary tradition like making fun of real life people who have wronged you as thinly disguised characters in your books. In this case, though, I use the actual names of real life people I admire and look up to. Jon Donnis, the editor of Masters of Horror U.K. comes to mind. As for thinly disguised characters with a different name used for petty vengeance, I think we know I am much too mature for that sort of thing.

   
Why are you choosing to make the novel permafree on Amazon?

It’s not like I am a household name or anything. A free book could possibly attract readers to my other work. It’s kind of my gift to readers of horror, fantasy and science fiction.


What are your current projects?

I will be working on promoting The Wisdom Tree, a children’s book about addiction I wrote with my eight-year-old Andrew this summer.


What’s next?

There is a laundry list, I think. I have a book that pays tribute to Arthur Machen, a very dark novella about a comedian on house arrest, a novel about a psychotic novel editor, lots and many unedited books. I wrote the first and second drafts but never actually bothered finishing getting the final edits done. In a weird way, I think I have already finished my life’s work; I just have to essentially get the stuff edited. Before I bother with that, I will finish up with the sequel to Damned Fiction, to really conclude the storyline of Dr. Wells, Christopher and all Faustian dark fiction literary bargains. The working title of the novel is The Wage of Sin.

Links:
Amazon
Official Website

Wednesday, 29 August 2018

Interview with Sean Bingham and Jeff Hall


We caught up with Sean Bingham and Jeff Hall, the duo behind the new horror release IT LIVES INSIDE, ahead of the DVD release of the film next week.


Why this film? Where did it all begin?

SB - Interesting story here. Jeff and I have been friends since high school in Columbus, GA. We grew up together.  We played in bands together but we lost touch with one another after he went into the Air Force and moved to Oklahoma. Years later, I moved from Georgia to Oklahoma myself and we re-connected. Come to find out we’d both come around to film-making as a creative outlet independent of one another but simultaneously. Neither of us had shot a film before but we were determined to do it somehow.

Jeff developed the original concept and wrote the script for It Lives Inside but we hadn’t planned on shooting that film first. We were working on several other film ideas when Jeff brought up the opportunity to film It Lives Inside in a small rental house. He had to talk me into it because I was really focused on another film idea at the time. It turned out to be a great learning experience for both of us.
And did you go through several drafts before ending on your final shooting script? Much change along the way?

JH - Yes, there are several draft.  However, the basic story has not changed.  This was one of those ideas that wrote itself.  As soon as I had the concept, I just rode the wave.  The only thing that changed in the drafts were lines and dramatic elements.   


Was it an easy movie to get up? Can you talk about the process involved in getting this film ready?

SB - There were a lot of challenges to shooting and completing It Lives Inside. Pre-production comprised photographing locations, diagraming scenes to understand blocking and camera positions, and scrambling to find props and building sets for the upcoming shots. Our crew primarily consisted of me and Jeff with the help of my daughter, Lexi when she was visiting from college. We all took turns doing make-up for the actors. We tried to maintain continuity from day to day, since we were shooting out of sequence but there are some shots where you can tell we went too heavy on the blood. The actors in our film were great to work with. They stepped in to help us when we were struggling. Most of them had already been in several films so they knew what they were doing.

Having no budget and being first-time film makers made it all the more challenging. Most of our equipment was DIY; the dolly, crane, car mount, and most of the lights we used. Not to mention that before It Lives Inside, I’d never shot anything beyond some test footage and some home videos. Big learning curve there!
With the exception of the VFX, I did all the post-production work. That was a monumental challenge for me, since I’d never done any post-production, outside of the aforementioned home movies. Another big learning curve there!


Tell us about the inspiration for the script? 

JH - I came across a small blurb about a Native American Cannibal spirit called “ATCHEN”.  I simply told a story as if it were to happen today.  As far as the visual, The phenomena of Shadow People played a huge role.  I wrote the first draft back in 2010 and I don’t believe the subject had been touched at that time.  So the spirit took the form of shadows and black smoke. 
They don’t make movies like these anymore do they?

SB - It definitely has a different feel than most modern films. There’s a lot of subtle foreshadowing that takes place. It might take a few times viewing it to catch them all. There’s an homage to The Shining in one of the paintings hanging on the bedroom wall. I won’t tell you which one but it also hangs on the bedroom wall in the Overlook Hotel. There are several other shout-outs to the genre that we baked in there for astute viewers. 


Did you sit down with the classics and rewatch them as part of your research into the script?

SB - We both watched quite a few movies when deciding how we wanted the film to feel. The Shining, The Thing, Return of the Living Dead were some of my influences among many others.
Where did you find your actors?

JH - Michelle De Long runs a superb acting school here in Oklahoma City.  All props to her and Jessica Pierson!


If one of them ends up a breakout star as a result of the movie, who do you predict it’ll be?

SB-That’s a tough one. One of the things I enjoyed most was working with our actors. When we had to re-shoot something it was mainly because of something we did to flub it, not the talent. I’m hoping that all the actors are able to continue doing what they enjoy.


And what do you hope the film does for your career?

JH - I only want the opportunity to keep telling stories.  We are blessed to have found distributorship with High Octane and hope to keep producing better and better films. 

SB - This film experience has already taught us a lot. After we shot It Lives Inside, we met Ryan Bellgardt, another very talented local film-maker. He put together a forum to help local film-makers, after several successful films of his own. Galen Christy, the founder of High Octane Pictures was there and they both gave us some great advice on getting started in the film industry. Our hope is that the film is successful so that we can continue to improve our craft.


What’s the best piece of independent filmmaking advice you can offer others reading this article?

JH - It is a marathon.  There will be many problems and issues that have to be solved.  Keep an open mind.  The story is the star, so do not let ego get in the way.  It could be the death of your project.

SB - First of all, if you want to make a film, go make a film. You may have to decide whether you want to make art or sell a product. If you’re good or lucky or both, you may not have to compromise. Study the films you like and the one’s you dislike. Find some like-minded people you can work with and form a team, a film crew. If you go it alone, your world is going to be very difficult.


Tuesday, 28 August 2018

Competition: Win Hatchet 4: Victor Crowley on DVD


Hatchet 4: Victor Crowley is out on DVD on 3rd September 2018. And to celebrate we have a great competition for you and 3 copies on DVD to give away.

Synopsis
In 2007, over forty people were brutally torn to pieces in Louisiana’s Honey Island Swamp.

Over the past decade, lone survivor Andrew’s (Parry Shen) claims that local
legend Victor Crowley (Kane Hodder, Friday the 13th series) was responsible for the horrific massacre have been met with great controversy. But when a twist of fate puts him back at the scene of the tragedy, Crowley is mistakenly resurrected, and Andrew must face the bloodthirsty ghost from his past.

Featuring Laura Ortiz (The Hills Have Eyes), Dave Sheridan (Scary Movie) and Brian Quinn (Impractical Jokers), writer/director Adam Green’s triumphant return to the helm of his beloved slasher series proudly assures an all-new, horrifying journey into the haunted, blood-drenched bayou.

Click here to buy from Amazon (Opens in a new window)

For your chance to win just answer the question below.

COMPETITION CLOSED


Terms and conditions
1. Closing date 10-09-18
2. No alternative prize is available
3. When the competition ends as indicated on this page, any and all entries received after this point will not count and emails blacklisted due to not checking this page first.
4. Winners will be chosen randomly and will be informed via email.

Monday, 20 August 2018

Interview with Kristian A. Söderström - Director of Videoman

Ten Questions with Kristian A. Söderström, director of VIDEOMAN


So Kristian A. Söderström, who are you, where do you come from and what’s your creative arts background?

I grew up in Gothenburg Sweden and was a film fanatic from the start. I got me an education in film directing from UCLA in Los Angeles, but I’ve studied film theory and psychology as well. For many years now, I’ve been making short films and commercials while trying to finance feature films. I write and direct.


What’s the Swedish horror movie scene like? Is it a vibrant culture? Or has it been very limiting and hard for you to break through?

I would say that the Swedish horror and genre scene is almost non existent. I’ve had a lot of problems financing films. Some years ago I was asked by a commissioner at the Swedish film institute if a script I submitted was supposed to be a horror film or a drama. I answered ”It’s supposed to be both.” That was something they could not tolerate. Anyhow, horror has never been a popular genre with the film financers in Sweden. Experimental stuff is also tough. At the moment it seems like you either must make a nordic noir, a comedy or an obviously ”important” film. There are always exceptions to this off course, but generally speaking, not.


Is the movie autobiographical, are you that central VHS collector, Ennio, and is that your house covered in fabulous Italian posters and wall-to-wall videos?

The main character, Ennio, is a combination of three people I know. One of them is me. So there are definitely autobiographical moments in there. It’s not my house depicted in the film, altough I own a lot of Italian movie posters. I collect them, as well as movies.


You are clearly a massive Italian horror/Giallo fan, so in keeping with the playful atmosphere of movie choose:  Dario Argento or Lucio Fulci?

That is a really tough adoration match…I will go with Argento though. He was the one that got me into italian genre cinema and his filmmaking inspired my desire to make movies.


The ‘stolen’ video is ZOMBIE, any reason why you picked that title?

In Sweden in the early 80s, we had a similar thing to the UK to Video Nasties. A distributor called ”Video Invest” put out 26 horror titles. After a debate on national telly, these films were quickly banned from the video stores. Many years later these titles, from this particular distributor, became a VHS collectors wet dream. Therefore I wanted it to be one of these. Zombie, which for some reason carry the cover of ”City of the Living Dead”, was chosen because of the cover art, which I love. It’s also a Fulci film. The main character has a thing for Fulci, the same goes for me.


Of course Ennio’s VHS obsession is yet another of the many addictions you depict. Is that what VIDEOMAN is really all about? 

On the surface it's a film about film fanaticism and 80s nostalgia. Thematically, it's a movie about loneliness, passion and addiction. The starting point of this film was me meeting a video store owner who had not taken a vacation for 14 years. He seemed to be imprisoned by his passion (films). The thought of how something you love can lead to loneliness and exclusion was something that really appealed to me.


Stefan Sauk from THE GIRL WITH THE DRAGON TATTOO (Swedish version), Lena Nilsson and Martin Wallstrom (‘Mr. Robot’) are your main stars and they are all terrific. How did you go about casting them?

When deciding on which script to make as my low budget feature debute, my path crossed with Stefan Sauk, whom I kind of forgot as an actor. I liked him very much many years ago when he was making a very far out thing on television. I realised that he could bring the black humour and desperation that I needed for the main character Ennio. Stefan being long time absent from feature film work also fitted Ennio, who is trying to make a comeback, life-wise.

Lena Nilsson was an up-and-coming star in the 80s. She also had not worked in movies for many years. Stefan told me I should see her as he thought she was great. I did and was blown away by her naturalistic presence. Simone, who Lena is playing, like Ennio, has gotten stuck in the 80s. Both these characters were succesful back then, that’s why they’ve gotten obsessed with trying to evoke these times anew. Life seemed to be imitating art a bit with these two actors.

Regarding Martin Wallström, I had been a fan long before MR Robot. In Robot he was so amazing and he got so much hype that I thought it impossible to get him in my small movie. He loved the script though and the rest is history.


Your poster tag line is ‘A Movie Can Change Your Life’, do you truly believe that?

Well yes, I think that’s possible. In the case of Ennio in ”Videoman”, the Zombie film becomes a financial life savior, like the bicycle in ”Bicycle thieves”. In real life I think that a movie can have a very strong impact. It can hit you in many different ways. It can make you question yourself and others, it can make you obsessed and so on. Sometimes you will never be quite the same after watching a particular movie. In a small way, or a big way…


Great score by Waveshaper and Robert Parker, how did that come about?

It’s great, isn’t it! John Carpenter is the reason that I wanted to have analogue synths  on the soundtrack of my first feature. I loved him and his scores since forever. I’ve been a fan of the neo analogue synth movement ”Synthwave” since Nicolas Winding

Refn’s ”Drive”. When I realised that Waveshaper, whom I adored, was actually Swedish, I had my producer track him down. Through Waveshaper I got to Robert Parker. These two side by side felt like a match in heaven, in order to reach the whole pallette of feelings in this genre bender of a movie.


You describe VIDEOMAN as “Dario Argento meets Mike Leigh”. Can you explain some more? 

Dario Argento and Mike Leigh are two of my greatest influences. I’d like to combine realistic filmmaking (Leigh) with genre elements (Argento). I love complex characters that feels like real human beings and I also love the mood and storytelling of horror films. I feel like there often exists a segregation between commercial and ”important” movies, such that it must be either or. I want to change this. I think people like Ben Wheatly, Alice Lowe and Peter Strickland are breaking down barriers like these. They are very inspiring to me. ”Kill List”, ”Prevenge” and ”Berberian Sound studio” are masterful and innovative filmmaking.


VIDEOMAN plays at Arrow Video FrightFest on Sun 26th August, Cineworld Leicester SQ.

Tickets: http://www.frightfest.co.uk/2018Films/videoman.html


Friday, 17 August 2018

Interview with Johnny Kevorkian - Director of Wait Further Instructions


What was it about Gavin Williams’s script for AWAIT FURTHER INSTRUCTIONS you liked so much, and what did you add to make it more personal to you?

Well, when I first read the script I thought: “How the hell am I going to make this!” It was like nothing I had ever seen before. I knew it was going to be a massive challenge in every way possible. Overall, this was a very unusual script and that also appealed to me. My main addition to the script was to push it in a much darker and serious tone overall, which is more my style of filmmaking. I’m pleased that I managed to retain the dark humour at the start but then move into a different and much more serious realm as things start getting nastier for the family.


GOD’S OWN COUNTRY producer Jack Tarling thought of you as director because the script is a solid character study in the same vein as your previous film THE DISAPPEARED. Can you see the similarities?

Yes, in some instances (apart from the VFX) there are lots of similarities to THE DISAPPEARED. For instance we are seeing our characters break down in front of us and observing how they subtly start to transform into someone else. Ultimately it’s all about characters for me when I make a film, if I don’t have a script which doesn’t have interesting or dynamic characters then its not something I’m interested in doing.


It’s extraordinary how the film’s subject matter has chimed with the current hot issues of misplaced authority and fake news?

The timing is pretty unbelievable, considering the script was written a few years ago! It’s really hit a raw nerve with the American audiences when screening it at Chicago. They are pretty much seeing what’s going on in the world played out in front of them. The family in my film are people who simply don’t know what’s real and what’s not in the news anymore!


Was it always a Christmas setting and what did that add to the horrific atmosphere?

Yes. Families tend to always argue when they get together over Christmas, it seems to generally bring out the worst in people. Now imagine locking those families together in one house and then dousing them with fear and paranoia. You’re left with the most extreme and horrible scenario imaginable, which is what AFI shows us.


There’s a definite David Cronenberg/John Carpenter vibe going on, how did you ensure to strike the right balance between homage and innovation?

Yes there are influences by such films as ‘The Thing’ and in particular ‘The Fly’ by Cronenberg, with the whole body horror elements. I was also very influenced by Hitchcock’s ‘The Birds’ as well as ‘The Twilight Zone’ episodes and 50’s paranoid sci fi films.


Seven people in one enclosed place like CUBE and the ensemble cast is amazing. Did the rehearsal period you insisted on before shooting engender that family-style cohesion?

Yes that was definitely a challenge for sure. Again, you want to be able to manage seven characters speaking at the same time but still keeping it as exciting and dynamic as possible. I was fortunate enough to be able to rehearse with the actors on the actual built sets, which really help with blocking and being able to play around with different ways to shoot it and for the actors to feel comfortable.


Dan Martin’s special prosthetic effects are wonderful. How important was it for you to do as much in camera as possible?

I had never met Dan before the film but I knew his wife Jen Handorf who introduced me to him and that’s how he became involved. The film uses old school SPFX techniques, prosthetics, animatronics, wires, puppeteers, shooting in reverse etc. and  finding someone these days who specialises in these is hard. Fortunately, Dan is one of them.  I presented Dan with a bunch of concept art, which I had worked on with my Creature Designer Steve Trumble and Dan immediately got the concept. It was then a matter of making them work, which he did!


How difficult is filming on interconnecting sets in one locked location?

We had the main stage as the living room and kitchen and dining area. I insisted on having that as one entire space so it would feel authentic and if the camera moved around that space then it could do so continuously. That’s where we pretty much shot most of the film, which made it easier. But we did have to shoot the bedrooms, bathroom and upstairs landing on the two other stages which did require careful planning,


Can you say something about Annika Summerson’s terrific lighting, how would you define the look?

Again I wanted it to look cinematic, rich and by her lighting style she achieves that excellently. By the second or third act in particular we played with colour a lot. Annika used a colour chart to map out the lighting colour changes throughout the film, For example, as we start to push the claustrophobia element then the house starts to darken and the dominant light source is the TV.


At the movie’s centre is an amusing concept regarding television’s last power push in this age of multi-visual platforms. But you play it completely straight. Was keeping the humour in check hard?

I think the humour is there at the start but then it dies away as things start to get more serious.  Yes, there is a challenge making this insane scenario as serious and feeling as real as possible. There was always a danger it could go the wrong way regarding tone. So by really going for a dark tone and by the serious way the actors play their parts does definitely help that!


AWAIT FURTHER INSTRUCTIONS plays at Arrow Video FrightFest, Prince Charles Cinema on Sun 26 August.

Tickets: http://www.frightfest.co.uk/2018Films/await-further-instructions.html

Wednesday, 15 August 2018

Interview with Justin P. Lange, director of THE DARK


THE DARK is based on your Columbia University thesis short film. Was it a difficult process expanding it into a full-length feature?

I never really saw this as a traditional short-to-feature type of deal, to be honest. My thesis film was my first real foray into genre filmmaking, so it was very much a trial-and-error process for me, almost like a sketch, in which I wanted to see what my version of a horror film would look like. Luckily, the short had some success on the festival circuit, which gave me the confidence I needed to launch into writing the feature. Some of the ideas from the short definitely carried over, but ultimately it feels like a totally different film to me.


You shot the film in North Ontario, Canada, but what’s the Austrian connection?

The film’s connection: the Austrian production company DOR Film were the primary producers, and the film was majority-financed by Austria, which makes it an Austrian film. While we initially intended to shoot in Austria, later in the process I was talking with my acquaintance Robert Eggers about his experience making THE WITCH, and he made me aware of a production incentive in Northern Ontario they had accessed, called the NOHFC. I brought it to DOR’s attention, and they ended up exploring the incentive, and eventually linked up with the Canadian production company First Love Films and decided to move the production to Canada.

As for my personal connection: I met Executive Producer Florian Krügel while we were both studying at Columbia University’s Graduate Film Program. There we became friends and collaborators, and even though Florian ended up leaving Columbia early to return to Vienna and continue his studies at the Vienna Film Academy, we wanted to continue working together, so he went on to produce all of my student films as well as develop the script for the feature version of THE DARK. It was through Florian that I met Klemens Hufnagl, as well as several of my other Austrian collaborators, who I consider to be like family. So it was important to me that we all make THE DARK together, and I was ecstatic when Florian was hired by DOR Film and they optioned THE DARK as the first feature film he would oversee at the company.


Klemens Hufnagl is credited as your cinematographer and co-director, how did that union work exactly?

Klemens and I have been working together as DP and Director respectively for years, so at this point we’re not only collaborators, we’re really good friends. As I mentioned, for most of the development and pre-production process, we planned to shoot the film in Austria, as a German-language film. I’m far from fluent in German, and even though I directed a student short film in Austria a while back that was German-language, I realized a feature film is a different animal altogether. Luckily, Klemens and I have a pretty seamless working relationship, so I really relied on him to help me through the Austrian prep - whether it be the painstaking process of going through the script line-by-line in order to translate it to German in a way that didn’t lose any of my specific intentions, helping me translate my vision for the film to a more authentically Austrian setting, or participating in the German-language casting process. All of which changed once we moved the production to Canada, at which point we were able to return to our normal routine of focusing our collaboration on achieving the desired look of the film. But regardless, it was important that Klemens be credited for the work that he did.


What was the look you wanted to achieve?

So much of the film is from Mina’s perspective. My priority with my storyboards was to design a visual language that created a strong subjectivity for Mina, so the audience would more easily align with her. I was also interested in reflecting Mina’s slowly expanding world, so in the beginning things feel slightly claustrophobic, and then as the kids break out of the woods the world starts to open up. Lastly, the fact that Mina and Alex are on screen so often, and they look the way they do…it was important to me to find ways to balance things out so that this story still felt like it was of our world. It was like walking a tight rope. Both the minimalistic sound design and the camera, during the present day sections of the film, reflect a sort of realism while still maintaining the ability to depart with some subtle flourishes. But then, during the flashback moments where we’re totally in Mina’s subconscious, we were able to let loose and play a bit more, both with sound and look.


You’ve said LET THE RIGHT ONE IN was a big influence. Anything else?

I grew up in a pretty strict household that didn’t allow me to watch a lot of things, horror films included. Whenever I did get the chance to see a horror film at a friend’s house, it would torment my dreams endlessly, so when I started writing and making my own films, I never felt like there was a place in horror for me. But then I went to film school, and was introduced to movies like LET THE RIGHT ONE IN, PAN’S LABYRINTH, DEVIL’S BACKBONE, PSYCHO…they were like a gateway into this whole new storytelling world for me. They sort of invited me in to play, and I haven’t looked back since.

Horror is all around rather than the monster simply residing in the main character, Mina, so THE DARK is primarily a genre reversal?  As much as I loved LET THE RIGHT ONE IN, after watching it I was left with this nagging question: what would the film look like from the perspective of Eli? It was like an itch I couldn’t scratch, and even though THE DARK wasn’t even on my radar at the time, I think that was the earliest seed of the film. I was interested in seeing a horror film from the monster’s perspective - and not only that, but also having an emotional journey with her. Part of that was finding the monster whose anger I could fully share and become consumed by, and that was Mina. The other part was seeing the world the way she sees it - this unfeeling, dangerous place, where everything is sort of a mirror for the source of her anger. Everything except Alex.


Aside from the zombie horror trope, THE DARK is really about two victims of abuse finding a common empathy and bonding together?

Very much so. At this early stage in my career, abuse and the cyclical nature that seems to go along with it, have been common threads that run through much of my work.   


You call THE DARK a twisted fairy-tale? 

There’s always been a certain fairy-tale quality to it for me, albeit probably more in line with the darker Grimm tales…so I guess at some point that’s why the term ‘twisted fairy-tale’ came to my mind. It’s about dark and twisted subject matter, but underneath it all there’s this layer of hopefulness to it. Subtle, yes…but it’s there…


Nadia Alexander and Toby Nichols are amazing as the ‘Babes in the Wood’, how did you come to cast them?

I worked with the wonderful casting director Lois Drabkin. I saw over 100 girls in total for Mina - all very talented performers, but for this particular role, I felt I needed someone very specific: I needed to cast the monster, and that wasn’t something that was easy to find. In fact, the only actor I saw who was able to disappear into the monster convincingly was Nadia. I knew it the minute she sauntered (yes, sauntered) into the room. She’s such a talented and emotional performer, but also incredibly versatile. She approaches her work and the characters she is interested in playing with a fearlessness I think we’re more used to seeing from actors who are much later on in their careers, which for me makes her all the more impressive.

Once I’d cast Nadia, I asked her to read with the actors we had in mind for Alex and help me with the decision based on her chemistry with them - and luckily we both loved Toby for the role. Similar to Nadia, I knew very early on Toby would be great as Alex; what I didn’t realize was just how great. Toby was only 14-years-old when we cast him, and he initially came off as quiet and reserved, but once I started to work with him I realized just how intelligent beyond his years he was. His instincts are uncanny, and his dedication is remarkable. He brought equal parts fragility and fierceness to Alex that I could have only expected in my wildest dreams.


The emotional release at the climax is quite something, a hard element to pull off? 

To be perfectly honest, there weren’t very many easy elements to pull off in this film…I’m not totally sure I quite knew what I was getting myself into production-wise when I wrote the script. But by the time we were in pre-production, I had grown to care so much for these two kids, and so badly wanted to protect them, that I just used that as my guiding light through the entire journey. As long as I felt like I was doing right by Mina and Alex, and being true to them and their stories, I felt comfortable that I was making the right choices for the right reasons, and the rest would fall into place.


THE DARK plays at Arrow Video FrightFest on Mon 27th August, Cineworld Leicester SQ. It will receive a Home Entertainment release Oct 2018, courtesy of FrightFest Presents.

Tickets: http://www.frightfest.co.uk/2018Films/the-dark.html