There's more than one reason for you to pick up a copy of Brad Paulson and Chris Watson's new book, "Dwarfsploitation". Just let me go through them... first off, it's the FIRST quintessential book on dwarf cinema. Secondly, chances are that you're a bit of a cinephile. I'm thinking that this book is full of films that you've never seen and you'll want to put on your radar. Thirdly, the authors are both indie horror filmmakers... look 'em up. Lastly, Brad Paulson is my partner at Dead Harvey. Is that enough? If not, read through their press release. Support indie horror, buy your copy of "Dwarfsploitation"!
PRESS RELEASE: DWARFSPLOITATION
Description:
A new book from Brad Paulson and Chris Watson:
Dwarfsploitation is an entertaining and educational look into the world of dwarf cinema. From Freaks to Willow, Dwarfsploitation analyzes a wide variety of both independent and mainstream films, chronicling the number of ways in which little people are exploited. It is a must have for any fan of little people or film itself. Includes an introduction by Lloyd Kaufman.
"Dwarfish reviews about dwarf films seems an odd basis for a book, but it's surprisingly entertaining and enlightening and respectful about the little folk. A snappy, unique guide to all films Dwarf."
- Joe R. Lansdale, author of Bubba Ho-Tep
"A salute to Little People everywhere that belongs on every film aficionado's desk."
- Joel M. Reed, director of Bloodsucking Freaks
"This book is truly a one-of-a-kind. An inspired idea, and an equally-inspired book. Chris Watson and Brad Paulson have created something special with ‘Dwarfsploitation'. In an age when there seems to be books about every aspect of cinema, these authors have discovered a niche that had yet to be explored. Kudos."
- Andrew J. Rausch, author of Turning Points in Film History
"Paulson and Watson's book is a unique perspective to say the least. We seem to have books on everything these days, so, why not something that is entertaining, informative and celebrates our little friends in cinema."
- Robert Davi, actor from License to Kill
"The first time I went to the Library of Congress to do research on midgets in film, I was directed to a single tattered volume produced by the MGM publicist on "The Wizard of Oz." I was astounded. The literature was virtually non-existent. Later I had a special assignment involving dwarf-tossing, and I sought out any dwarf-tossing trade association that could possibly be of any assistance. Again, my exertions were frustrated. That's why, when I first heard that "Dwarfsploitation" was in the works, I was cautiously hopeful but still ready for a Billy Barty headbutt to the nuts. I'm happy to say that the resulting book is a resource that we've needed for 60 years, and should take up permanent residence on the Ikea children's-room book shelves of anyone shorter than 4-foot-4."
- Joe Bob Briggs, author of Joe Bob Goes to the Drive-In
"Brad and Chris's book stands head and shoulders above the run of the mill cinema book types. It makes little people everywhere stand a little."
- James Bryan, director of Don't Go in the Woods
"It was a short read and I loved it. Don't overlook it!"
- Joe Estevez, actor from Soultaker
"Wow, I'm impressed! This has to be the most comprehensive guide to cinematic dwarves that you'll ever read. Meticulously researched, with hysterically funny yet genuinely fond comments by the authors, running the gamut from dwarfsploitation to 'normal' life. A must-have for any film-fan's library."
- scream queen Brinke Stevens
The authors can be reached at the contact information below.
Brad Paulson: walkenboy@hotmail.com
Chris Watson: chriswatson@gus.pittstate.edu
The guys behind the film "Scary or Die" are not only a bunch of good guys, they're what indie horror is all about. We're proud to say that we've been working closely with them on a few projects, projects that we hope to be able to talk about soon. In fact, those projects are what's been occupying a lot of my time. All I can say is, hopefully we get some traction on one of them and we can unleash something new and exciting on all of you.
Anyhow, "Scary or Die" premieres TONIGHT on VOD and you should be supporting your indie horror! Here's a link to the Facebook Invite, check it out for details: http://www.facebook.com/events/364757303570599/
If you're in the New England area, you need to be aware of the fact that Mass Indie Film is presenting a Night Supporting Independent Film. Details are below and you can also read the picture, as I think I left it big enough to read. I should also mention that if any of you have an event or film that you want to promote, please send info our way!
On April 26 At Belmont Studio Cinema, Mass Indie Film is presenting a night showcasing independent film with screenings from some of the best filmmakers in New England. This is the perfect opportunity for film fans in the area to support independent film by simply buying a ticket. If you work in film we want to hear from you! The night will also be a great networking opportunity for people in all aspects of filmmaking. We will be conducting interviews to shine the spotlight on all the talent that independent film has to offer. If you are interested in sharing your experiences working in indie film drop us a line on our website at www.massindiefilm.com.
Tickets are $9.
All proceeds go to support independent film production.
Doors open at 7:30pm Show starts at 8:00pm.
There will be a Q&A.
"Her Heart Still Beats"
DIR: Christopher Di Nunzio
"Christopher Di Nunzio is able to hit all the right beats in adapting and modernizing Poe’s classic tale."
-Ain't It Cool News
"2 A.M."
DIR: David Trodella
"Along A Dark Road"
DIR: Bryan Casey
"Longreach - The Web Series" (Preview)
Written By: William Decoff
"Certainly Never" (Preview)
DIR: Matt Phillion
“The Loudest Sound” (Preview)
DIR: Jason Miller
Belmont
David Blyth's "Wound" has done what most indie horror filmmakers could only hope of for their films... first off, and most importantly, it's a completed film. That can be a big hurdle for a lot of us. After that, it kicked some serious ass. It had a great festival run, it won various awards and it secured world wide distribution. So, what's it all about? How did David do it? Read on....
Tell us about your film, what’s it all about?
WOUND is a Supernatural Horror Film that explores the dark worlds of mental illness, incest, revenge and death. We follow Tanya as she searches for the mother she has never met – a mother (Susan) who gave her up for dead after being abused by her own father who remains stuck in her present life.
Tanya returns from the dead to confront and possess Susan with all her deepest fears and desires, sending Susan into a state of madness and gore filled retribution.
WOUND explores and confronts the dark, distorted supernatural world that lurks within us all.
Check out: www.woundmovie.com and www.davidblyth.com
If you don’t mind us asking, what was the budget for the film and how did you secure financing?
The budget for Wound is commercially sensitive, but lets just say it’s very low budget. Financing came from two long time friends who wanted to give me the opportunity to make Wound exactly the way I wanted.
As of right now, what are your goals for the film and what kinds of things are you doing to make sure you reach your goals?
My goals with Wound were to get noticed at Film Festivals and secure distribution deals in the main territories. Two years on from making Wound, the film has achieved these goals.
What about film festivals? Are you going to enter your film? If you have, how did it do? Tell us about your feelings around the indie film fest circuit.
Wound has been selected for over 12 International Film Festivals worldwide, where it achieved good audience responses including winning Best Film , Best Director and Best Actress at the Night Of Horror International Film Festival Sydney Australia 2011.
Talk about distribution. Have you secured distribution? If so, how did you go about doing that? If not, what’s your plan?
Wound has secured distribution in USA Britain, Germany, Benelux, Australia, New Zealand.
I was lucky to have an Independent Sales Agent friend, Lars Bjorck, who was able to make connections and eventually deals at the various markets ( Berlin, Cannes and AFM)
Where can people find out more about the film and/or get their hands on a copy?
Talk about the production. How did it go? Tell us one good or funny story that demonstrates the trials and tribulations of being an indie filmmaker.
Wound was shot in 12 days over one month. This allowed for more preparation during the actual shooting which was split up into short shooting bursts where you could then focus your resources in the best possible way.
My story, from Wound.
Arriving at location one morning to see 20 chairs laid out in a row for the film crew to sit on to be lectured by the irate bookish home owner who informed us he had found in his house after filming, two books sitting on a window sill, that may have suffered “sun strike” damage, thus reducing there monetary value and wilful misuse of his property.
Turns out the books in question were supplied by the art department and cost two dollars for twenty at the local hospice charity shop. Plus the day was overcast and there had been no sun bursting through to brighten the day yet. So because of long shooting days the home owner had become delusional.
Moral of the story, securing locations are a key part of low budget filmmaking, and if you can’t afford to pay a fee for the main location and pay for the home owner to stay in a Hotel then you have to factor in the unexpected, if they are present during shooting.
What about you? Tell us a bit about yourself and how you got into indie horror.
I made an indie horror classic, Death Warmed Up in 1984 down here in New Zealand, which turned out to be seen all around the world. I worked in North America doing amongst other feature films, four early episodes of Mighty Morphin Power Rangers. More recently I have reconnected with my indie roots through producing writing and directing a number of documentaries including Bound for Pleasure and Transfigured Nights. Check out my website for details www.davidblyth.com
Talk about the indie horror scene. Where do you think it is now and where do you see it going?
With the digital revolution in full swing the Indie horror film has been opportunities in front of it. Low budget Indie horror can translate to the one genre where you can make the film you want to make without having to compromise with the generally old fashioned and conservative distribution demands.
Uniqueness and originality have real value in a market swamped with sequels, remakes and derivative product.
Do you have any more projects in the works? What’s next for you?
Yes I am working on several new project ideas in the low budget arena. This has proved to be quite hard to do as, you need to tell a story in an affordable way on a micro budget that can crossover into the mainstream market based on your unique angle.
There's a pretty good reason why I haven't been posting on here regularly and I'll let you know what it is...
I'm polishing up a script that I'm going to be entering into the PAGE International Screenwriting Awards. I've been working on this script for a while and, a few weeks ago, I saw that the late deadline for the contest was Monday, April 2nd. So, I made that my goal. When I say I've been working on it a while, I mean I've been working on it for a while... like, 2 years. I wrote my first draft fast, like a month and a bit. Then, I rewrote it a couple times, I gave it out to a few people to get their advice and feedback, then I sat on it... for about a year. Not sure what I was doing during that time, probably just drinking and contemplating the shittyness of aspiring to be a screenwriter. Anyhow, I picked it back up a few months ago and, well, here we are. So, every spare minute I get, I've got that fucking thing open and I'm tweaking words, phrases and sentences. I'm cutting lines of description and I'm really working hard to polish this turd up. At absolute worst, I want to be done with it so I can move on to my next script, for Christ's sake.
There's only a handful of screenwriting competitions that are worth entering, let's start with that, and PAGE is one of them. Slamdance's early deadline is in a couple weeks, that one is also worthwhile, especially as they have a horror specific category AND they've developed some of the screenplays. I'll be entering it, as well. Here's a link to the PAGE Awards site, as well as Slamdance, if you're interested. I actually know a couple people that have been judges at PAGE and I've spoken with the festival director before. I've also spoken with the festival director at Slamdance. Long and short, I trust them. For horror, there's also Screamfest and Shriekfest, but I don't know when their deadlines are. I'm going to look into that.
The cool thing is that, for an extra $50 or so, both PAGE and Slamdance will give you feedback on your script. This is really what I'm looking forward to. Truth is, not that many people have read my work. Sure, a lot of my friends in the industry have, but they're going to be bias. Sure, a few friends outside the industry have, but they don't know a good script for a piece of shit. Sure, my film professors and some script supervisors have read my work, but I was paying them. This will be industry folks that don't know me at all and have nothing to gain. I want to know where I stand with them. Quite frankly, so should you. If you're an industry outsider and you're an aspiring screenwriter, what kind of options do you have of getting noticed? Well, I'll tell you what... some sort of accolade from one of these competitions is a good start and if you get the big heave-ho right away, knowing why you suck is just as important.
Anyhow, I'll let you all know how it goes, every step of the way.
Sometimes you get to do a wicked interview and sometimes you get to do a WICKED interview... and, what can I say? This interview was particularly wicked. Why? Because we're talking with Drew Daywalt. Who's he? Well, Drew Daywalt is a name you should know and, if you don't know it, get to know it. He's truly someone that all of us indie and micro-cinema horror filmmakers should look up to and strive to be like.
He first came to our attention with his short horror films on Youtube and when he was doing that, he was one of the first. Fast forward a few years, he's now at the helm of a big project for SyFy called "Leprechaun's Revenge". What's next? I can't wait to find out.
Anyhow, let's cut to the chase here... You need to see "Leprechaun's Revenge", which premiers on SyFy this weekend, but before you do... you need to read this interview. Trust me, you'll be glad you did.
We’ve been following your career path for a while now, but for those who might not know, please give us a bit of a recap. Tell us a bit about yourself and some of the projects that you’ve worked on.
Thanks for talking to me Ted! I actually think you were the first person online to interview me ever, come to think of it, and I’ve always been really grateful of your support. I love Dead Harvey.
I have been a working screenwriter and director in Hollywood for 15 years. I used to do big studio action stuff. I’ve written for Tony Scott, Jerry Bruckheimer, Brett Ratner. Lots of high octane, young male driven action and buddy stuff. But I was in that loop in the studio system where I was making a living but nothing was getting made. So when the writer’s strike happened in 2007 -2008, I decided to make a bit of a career change. I saw how horror films were getting made so readily, and they were done on these controled budgets. I also realized how much influence watching monster and horror films as a kid had influenced my going to work in Hollywood -- and I decided I would pursue my heart’s desire and try and make a go of it in horror films.
So during the WGA strike I got together with friends and we made a bunch of horror shorts, only a few minutes long each, more like skits, and we posted them online. One of the first ones I made, BEDFELLOWS, went viral and had 2 million hits in the first week, and I knew I was onto something. It was a weird thing discovering I could scare someone.
Your latest project is “Leprechaun’s Revenge”. So, what’s the quick synopsis?
A young girl picks a red four leaf clover and inadvertently releases an ancient creature that was magically imprisoned beneath the roots of an oak tree by her ancestors. The thing gets loose and terrorizes her small New England town. And now the girl and her drunk grandfather and hapless sheriff father must stop it before it kills everyone.
You worked with some great actors on this film, including Billy Zane, William Devane and Courtney Halverson. How was it working with such a talented cast?
Even I’m shocked at how good the cast is. I think that speaks to the script and the work of my team, in drawing them in on such a small budgeted project. Billy Zane and I immediately bonded and it was like going to work with your brother every day. He’s smart and intuitive and put a lot of work into his character. Every day he’d come to set with new thoughts and ideas on how to make his character and the film a sa whole, better.
I hate to call anyone an icon because it’s like short hand for “old” but damn it, William Devane is an icon. And he’s such a great guy. He’d come on the set and have everyone laughing and enjoying themselves. And he really dug in to the light spirit and fun of the piece. We took the work seriously and tried to make an entertaining film, but god forbid we ever take ourselves seriously.
Courtney Halverson is a dear friend of mine now. I first worked with her on Death Valley at MTV and we hit it off immediately. I remember reading this script and instantly thinking it had to be her. And I’m really proud of her. She carries the entire throughline of the film and does a great job of bringing real moments and real pathos to a character that could easily been another horror damsel in distress. I know everyone’s going to be impressed with Courtney’s work on this. I know I am.
You worked with Jeff Farley, one of our favorite effects guys. Talk about the effects and will the gore-hounds have something to look forward to?
Jeff saved the day on this film. It was awesome. I knew that if we went full CG on the creature in the short time we had to make this film (5 months, by the way from start to finish) then the creature would look like dogshit. There’s just no way to do good CG on this budget and this schedule, but if we went old school physical effects, and just enhanced it a little bit with CG, then we could pull it off. But even that was going to be tough. Jeff came in and made it work. He’s really a great joy and a creative force. There’s no “We can’t do that,” with Jeff Farley. He just rolls up his sleeves and makes it happen. It’s inspiring to work with him. I think gore hounds and creature fans will be more than pleased with his work, as well as the work of Ashley Walsh who supervised all of the gore while Jeff focues on the monster.
Do you have a favorite moment in the film? Tell us about it… and why?
I have a few. The thing about creature features is that we’ve seen every kind of kill you can imagine. There’s nothing knew under the sun, in that regard. I also had no money to do the kills right, so instead of going for super realistic gore, we did a stylized thing and most of the deaths are hysterical to me. But my favorite has to be one of the main characters who gets it in the end. I don’t want to spoil anything, but you’ll know it when you see it.
Do you have a favorite behind-the-scenes story? If so, what is it?
Thanksgiving fell into the middle of our shooting schedule, and we shot the film in Baton Rouge, Louisiana so a bunch of us were orphaned on location over the holiday. But I flew my wife and children out and we had a great thanksgiving dinner with the cast and crew. It was really nice. There was a great bonding that occured on this film and we felt like family. Billy was my surogate brother at the table and there was William Devane, our family patriarch watching football and enjoying the little kids. It was awesome.
You come from very indie roots and this is a pretty big project. Tell us, how did this project come about?
Oh man. This one came out of nowhere on me. It was so fast, it sent me reeling a little bit, actually. I was developing a really dark and horrific script with After Dark when they told me that Syfy had approved me to direct this other thing they had that was going right away. It was about a town caught up in it’s own dark history with a mythological creature, in this case a leprechaun. I read the script, it made me laugh and I thought, what the hell. I’ll try a creature feature. And we were off to the races.
When we first started watching your films, you were making short, indie films on low, low budgets. Since then, you’ve directed some episodes of MTV’s “Death Valley” and now “Leprechaun’s Revenge”. What are the most important skills that you acquired from your indie days?
Somehow, being able to work fast and cheap is still one of my greatest tools, much to my own damn chagrin. The thing is, the more money they give you, the more they ask for. So while my early stuff was indie short film horror, we didn’t have much, but we had time to deliver. Here I had more money, but the demands were much higher, the bar is raised, so I really felt very much the same as in my early indie stuff. The pressure was on, but in a different way.
I’m sure that a lot of our readers would aspire to follow in your career path… if you could pass on a few pieces of advice to them, what would that be?
My advice is that, with the advent of digital DSLRS and wide bandwidth to boradcast on the internet that occured last decade, you need to buy a camera, write short films, then film them and post them. It’s way easier than in the 90’s when I started and you had to save up to rent film cameras and buy film stock. It’s crazy how easy it is now to access the gear. The saying has always been “Writers write.” Well now it’s “Filmmakers film.” I really believe in just going for it and practicing your craft until people notice. I really do. I love the age we’re in.
So, tell us, where can people find out more about “Leprechaun’s Revenge” and when does it air?
You can see a trailer of it here -- and it airs This Saturday night March 17th at 9pm and I think again at 11pm. So it’ll make a great St. Patrick’s Day party viewing. Just make sure to have some green beer on hand!
What’s next for you? Do you have any more projects in the works?
I’m off to do a high profile web series and after that I’m directing another feature. A ghost story. This one is incredibly dark and character driven. It’s so completely on the other end of the horror spectrum from lighthearted murderous Leprechauns.
I always like doing interviews with filmmakers that we've talked to before. It's great to see how they've evolved and, also, to know that they're still out there, fighting the good fight. A true indie horror filmmaker is kinda like those cheap clown punching bags, you know? They don't cost much, they get the shit kicked out of them and they're not widely regarded as the best toy on the market, but they keep popping back up and they're always smiling. I don't want to say that Christopher DiNunzio is like a cheap clown punching bag, but he certainly is an indie horror filmmaker. The last time we spoke with him, we were discussing his feature vampire gangster film, "Livestock", which is a great flick and if you'd like to go back and check out that interview, click here. Now, DiNunzio is back with a horror short called "Her Heart Still Beats" and here's what he had to say about it...
Tell us about your film, what’s it all about?
The film is called "Her Heart Still Beats" here's the synopsis: When Ed's wife comes home early from work one day he becomes overtaken by a strange feeling when he looks into her eyes. Disturbed or possibly just paranoid, Ed becomes possessed with his wife's eyes and struggles to understand these feelings. Is she evil or is he insane? They may not have enough time to find out.
If you don’t mind us asking, what was the budget for the film and how did you secure financing?
I don't mind you asking but I'm not telling! LOL. It was low. Very low. We own a lot of equipment so it cuts the cost down. Me and my producer Jason Miller financed the entire thing.
As of right now, what are your goals for the film and what kinds of things are you doing to make sure you reach your goals?
My goals are to get as many people as I can to see "Her Heart Still Beats" and use it as a show piece to get more films made. Right now I'm looking into self distribution. I really need to get on that but I just started a film festival with a few great filmmakers and friends of mine (Jason Miller and Nolan Yee) It's called The Massachusetts Independent Film Festival. You can send us Horror by the way! So I've been putting in a lot of time into that. It's been fun! As the film goes I've sent the film out to some people and the response has been great! I'm looking into streaming and hope to get that off the ground soon.
What about film festivals? Are you going to enter your film? If you have, how did it do?
Tell us about your feelings around the indie film fest circuit.
I have sent "Her Heart Still Beats" out to a few festivals, I won't hear back from any until summer. I just started a film festival myself so I think they are great! But seriously they are a good way to get you and your film's name out there. Just make sure you research the festival before you submit and remember if your film gets rejected it doesn't mean it sucks. Some people have no taste and others may have to cut your film because they've gotten a ton of good films in and someone needs to get cut. No one likes cutting films.
Talk about distribution. Have you secured distribution? If so, how did you go about doing that? If not, what’s your plan?
My plans are to stream it but I still need a tech guy to help me with that. I can safely say I know nothing about this stuff so If you know someone please let me know! If a company wants to take it on I'd love to hear them out. I'm not dying to give it to a distributor who's just going to sit on it.
Where can people find out more about the film and/or get their hands on a copy?
I have a donations button on my website (CreepyKidProductions.com) If you donate and send me an email or a note though paypal I'll send you a DVD or Blu-Ray. They are burnt but they look really good. The Blu-Rays look amazing!
Talk about the production. How did it go? Tell us one good or funny story that demonstrates the trials and tribulations of being an indie filmmaker.
I don't have any funny stories because my cast and crew were great to work with and are just good people. We had fun and the set was full of positive attitudes. When you get people who know how to work hard and are willing to do so it makes it easy. I got to work with Fiore Leo and Leighsa Burgin again, and they are just so talented. I love them both. I also worked with a few new people, John Martellucci, Michael Capozzi and William Bloomfield. All three are great to work with and have a lot of talent. I really had an A list cast. No exaggeration. I also would like to mention some of my crew who worked their butts off.
James Sullivan, Chris Hebert, Martin A. Begue, Justin Thibault and Scott Reardon. They all put so much into this film. Also Nicholas David Potvin gave me another great score for the film.
What about you? Tell us a bit about yourself and how you got into indie horror.
I got in to Horror from watching Dario Argento. He showed me Horror is an Art. Then I found Mario Bava, who came before Argento but just as cool. Filmmaking gives me so much pride. I love to create something and have people feel something cause of it and Horror lets you use so many emotions. To go back to Dario I just love his work he seems so free with his filmmaking. He makes the films he wants to see and that's what I try to do. I make films I want to see and hope people dig them and if they do I love them for it! Really all the people who have given me support over the last few years I thank you!!!
Talk about the indie horror scene. Where do you think it is now and where do you see it going?
The indie horror scene is cool. It's a lot of people that want to see new stuff and share with each other. That's always a great thing. As far as it's future is concerned... Horror will never die!
Do you have any more projects in the works? What’s next for you?
I do. Myself and another friend of mine, Pedro Alvarado, are writing a feature. It's a crime/drama about the tough decisions people need to make in order to stay alive or to keep feeling alive. It's going to be a dark neo-noir film. We got our inspiration from all those great old Noir films from the 30's and 40's. I can't say too much more about it right now but we hope to start shooting this Spring/Summer. Keep a look out for it!
I think we're all well aware of the fact that the online world is the future of distribution for us indie horror filmmakers. It sounds stupid to say that, actually. I mean, we all know it to be true and people have been saying it for years, but... it hasn't really happened yet. The technology is all there, it's all possible, yet, for some reason, we're just not there. Having said that, there's a few guys out there that are blazing the trail and Douglas A Plomitallo is one of those guys. Check out this great interview about his web based project, "Scared Stiff".
Tell us about your project, what’s it all about?
“Scared Stiff” is an anthology series of short horror films. The show features a variety of stories featuring an assortment of zombies, ghosts, vampires, serial killers and other fun creatures.
If you don’t mind us asking, what’s your budget for each episode and how do you secure financing?
The show is completely self-financed. Our talented cast and crew graciously volunteer their time to help make the show the best it can be. Over the course of the past three and a half years, I have been slowly purchasing higher-end equipment to help achieve the high production value that we strive for. As far as budget for each episode goes, not counting the cost of the equipment purchases, the cost of each show is actually quite minimal. It is actually rare for the cost of each production to go over 100 dollars. On some of our productions, the only cost will be food and refreshments for the cast and crew.
As of right now, what are your goals for the project and what kinds of things are you doing to make sure you reach your goals?
As the show goes on we aim to continue to raise the production values and to reach a much larger audience. On top of investing money in new gear, we’ve continued to gel as a team and strengthen our talents to help improve the product. We’ve been trying to do some new stuff with the show and add different kinds of content to attract different audiences. We try to give a little something for everyone on the show and I’m confident that with our high quality entertainment and original stories, fans are bound to come across “Scared Stiff” at one point and share with other horror fans. On top of that, we’ve been more active in the social media sites such as Facebook and Twitter to try to spread the news of our product.
You’ve chosen to distribute your project online in webisodes. How’s that going and what are your goals now that it’s out there?
On top of creating new content, our goal is to introduce as many people as possible to our existing episodes. “Scared Stiff” is available to watch for free on many sites including YouTube, Vimeo, and Blip and can be downloaded for free on our own website, ScaredStiff.tv. We are confident that by allowing the viewers free access to the content, they will like what they see and want to watch more. We hope to grow our fan base to the point where we can show investors that we have a big enough following where they can help fund our future films with little gamble.
Where can people find out more about the project and watch it?
People can watch and download our shows for free on our website, www.ScaredStiff.tv or they can watch the shows in high-definition on our YouTube channel at youtube.com/scaredstifftv.
Talk about the production. How did it go? Tell us one good or funny story that demonstrates the trials and tribulations of being an indie filmmaker.
Well one story from last summer I won’t forget anytime soon. We were shooting in an old girl scout camp in Kent, CT that had been abandoned for the last 20 years. (The camp is less than a mile way from the location used as Camp Crystal Lake from Friday the 13th Part 2!) To avoid any possible interference, I always kept the gate to the camp locked whether we were in there or not. One afternoon, I was coming back to the camp from lunch and there was a state trooper’s car blocking the gate. I got out of my car and slowly walked up to the patrol car to find out what the deal was. As I approached the car, a trooper immediately jumped out, pointed his gun at me, and yelled “Hold it right there”! He questioned who I was and why I was there. He wouldn’t tell me what was going on but told me to open the gate so he and another trooper could check the premises. The whole time I had no idea what was going on and thought that the production was going to be shut down! To make a long story short, there had been two guys who had been pool hopping around Kent and decided to go skinny-dipping in one of the pools. Little did they know that they had jumped into former speaker of the house Henry Kissinger’s pool and it had now become national security! One thing I am glad I did was before the Patrolman left to go into the camp I warned him that we had a prop gun on set and that one of the actors might have it on him. It turns out that at the time we were driving down to the set, they were testing out the prop gun. The thing looks and sounds like a real gun. I could only imagine what would have happened if the patrolman happened to arrive on set as that gun went off without warning!
What about you? Tell us a bit about yourself and how you got into indie horror.
I had always been a big horror fan and always wanted to make horror films since I was a kid. A few years ago, I was working a job that regularly had me there for 60 to 70 hours a week. As a creative outlet, I decided to start writing a book of short horror stories to keep myself sane during the demanding schedule. Always being more of a film guy, I couldn’t help but visualize them as movies. I had always being a fan of anthology horror shows such as “Tales from the Darkside” and “Are You Afraid of the Dark?” so I was excited about the idea of actually shooting these stories. I wouldn’t have time to shoot full-length television episodes, and at the time there were no other horror shows on the web so I figured short mini-horror movies would be a novel idea.
Talk about the indie horror scene. Where do you think it is now and where do you see it going?
There are so many different options for distribution now than there were just 5 or 6 years ago. The Internet has completely changed the game. Now with YouTube, Vimeo and other video sharing sites, people can share their work all over the world. It is now possible for even low budget indie films to get a distribution deal with Netflix and Hulu. And with niche market message boards and with the influx of social media sites, it is much easier to introduce your film to an audience. Although the other side to it is, with so much material out there, it is easier to have your films get lost in the shuffle so filmmakers need to use that as motivation to try harder to make their films stand out.
Do you have any more projects in the works? What’s next for you?
In addition to “Scared Stiff”, I am constantly working on new projects. Last summer, I produced a feature length zombie film that we hope to have in film festivals this summer. I am also currently editing “The Housesitter” which is the first in a planned trilogy of horror films. Also, very recently I started shooting a documentary that will be released next year. When I am not making movies, I run a production company, D2 Media, which produces television commercials and corporate videos. On top of my film work, I also have several web projects I am working on and am currently writing a book that I hope to have out next year.
Zombie films are, and always have been, one of my favorite horror genres. The problem is, I used to like ALL zombie films, but lately, with the mass explosion of zombies (I salivate at the thought of those words being written into an action line in a zombie script), there's been a lot of shit on the market. So, I'm really excited to check this one out, "Night of the Living Dead: Resurrection" because it looks pretty damned good.
It's a remake, sort of, of the 1968 Romero classic, "Night of the Living Dead". What's interesting (and what a lot of people might not know) is that it's completely legal to rip off the original movie, as it's in the public domain due to a mistake made by the original distributor. Because of that, we've seen a few notable re-imaginings, including last year's "Night of the Living Dead: Reanimated", which was very different and very entertaining.
Now I'm excited to check this one out. James Plumb, the director, offers us up a great interview here, but before we get to it... he'd like to duly credit Victoria Rodway for all the stills that you see here.
Tell us about your film, what’s it all about?
Well, our Producer hesitates to call "Night of the Living Dead: Resurrection" a remake, preferring the phrase "companion piece", but essentially it's a remake of the 1968 Romero classic, set in the UK. However unlike a number of the studio-driven remakes of the past few years, NOTLDR is not a straight, shot for shot remake. Instead it looks at the core concept that made the original NOTLD so powerful, and then goes in its own direction.
For examples of how to do a remake well, I looked to John Carpenter's version of The Thing and Cronenberg's The Fly. Beyond the central idea, these films keep very little of their originals.
If you don’t mind us asking, what was the budget for the film and how did you secure financing?
We're not at a stage when we can throw that figure around yet. But like the original, NOTLDR is a low budget, independent film. Shot in the style of our low budget, independent predecessors. We secured financing through private investors that our producer had worked with in the past.
As of right now, what are your goals for the film and what kinds of things are you doing to make sure you reach your goals?
Well the first goal was to make a feature film! It's my feature film debut and it was a hell of an opportunity. I also wanted to make a real effort to try and redeem remakes. Most of us groan at the thought of another remake, but really we're just not looking forward to a BAD film. My main goal for the film was to make a horror film that was a straightforward horror film. Sounds simple, right? But there are so many action films out there with horror genre set dressing, masquerading as horror films. A girl, two guns and a thousand zombies/vampires/werewolves to be shot at. That's not a horror film.
With NOTLDR we went back to basics, we had characters that the audience could empathise with, so that when horrible things did happen to them (spoilers!) the audience would care and get upset.
What about film festivals? Are you going to enter your film? If you have, how did it do? Tell us about your feelings around the indie film fest circuit.
What's odd is that, in the UK at least, the majority of horror film fests are around Halloween time. By that time I imagine, due to the interest so far, our film will have been released already. Which is a shame because in the UK we have some great horror fests including my personal favourite Abertoir, Wales' only horror fest, run by the wondrous Gaz Bailey. Usually five or six days long, it's a great place for horror fans and filmmakers to get together, drink and watch horror films for 15-16 hours a day. A great atmosphere, I'd definitely recommend it to fans and filmmakers alike.
Talk about distribution. Have you secured distribution? If so, how did you go about doing that? If not, what’s your plan?
It's still early days, at this exact moment we just sent off the picture lock to the Sound Designer, but already we've had some confirmed deals in some territories and plenty of interest from the big names in horror distribution. For the most part, that was on the strength of four things, a "brand" name, a great poster, an intriguing teaser trailer and the hard work of our producer Andrew Jones.
Where can people find out more about the film and/or get their hands on a copy?
Everything's moving so quickly at the moment, but interested parties can find us on twitter: @madsciencefilms and @northbankentertainment. Or at our websites: madsciencefilms.com and northbankentertainment.com. But the teaser trailer is available to view:
Talk about the production. How did it go? Tell us one good or funny story that demonstrates the trials and tribulations of being an indie filmmaker.
Low budget film shoots are really just an endurance test. Its not the money directly that can put pressure on a low budget film, its the time restriction. That being said, surviving on one semi-decent meal a day and a maximum of four hours sleep for ten days was still one of the best experiences of my life.
On day one when we had some practical SFX set and ready to go, and I was surrounded by a hardworking crew made up of true horror fans, it was great to peer through the viewfinder and watch our film come together. For most of the shoot we were at nice secluded locations, so we had plenty of privacy, although we definitely felt the isolation for those ten days. During the course of the shoot I, and most of the cast and crew for that matter, managed to get fake blood all over my clothes. So on the drive back to civilisation, we stopped off to top up on petrol and for the life of me I coudn't figure out why I was getting so many odd looks. It wasn't until I got back in the car that I realised that, in the real world, its not normal for a guy to walk round covered in dried blood. It took me a couple of days to make that mental shift, and to do all my laundry.
What about you? Tell us a bit about yourself and how you got into indie horror.
I'm a child of the 80s, raised by the VCR and used to spend hours in my local video shop, just staring at the VHS covers of horror films. When I was very little, that was the closest I'd get to these films, staring at them like works of art in a gallery. When I finally got to see the films, often those with the best covers were the worst films! I always wished that the films would live up to the promise of the posters. But when the films were good, horror films achieved something spectacular. They were able to tackle weighty issues, but make them more "palatable" with the genre set dressings. As a lifelong horror fan, I couldn't wait to develop my own horror projects. The chance to tell a story, convey a message and play with all the toys of film making. I was hooked.
Talk about the indie horror scene. Where do you think it is now and where do you see it going?
In the UK, and in South Wales in particular, there seems to be a real horror/exploitation revival going on. Dave Beynon is working on a fascinating documentary called "Industry My Arse!" which looks at the independent British exploitation scene at the height of the VHS boom. SJ Evans and David Melkevik have another great slasher project on the go "New Year's Evil". For me, its a very exciting time as both a fan and a filmmaker.
Do you have any more projects in the works? What’s next for you?
I'm working on a feature film version of my love letter to slasher films "Final Girl" (handy link here: http://www.virginmediashorts.co.uk/film/1647/final-girl) which I'm going to fund through the crowdfunding route. I also have another top secret project at the moment, which I'm not allowed to announce just yet.
The title of my film is "Rage". Rage, tells the story of Dennis Twist, a suburban 30-something whom unintentionally provokes the wrath of a homicidal motorcycle rider.
If you don’t mind us asking, what was the budget for the film and how did you secure financing?
Let's just say that the budget was less than craft services on a Hollywood production. Way under 1 million! All of the financing was secured by individual investors.
As of right now, what are your goals for the film and what kinds of things are you doing to make sure you reach your goals?
Our goals are to get worldwide distribution through all channels: theatrical, VOD, DVD, etc. Currently we are doing heavy social media promotion, as well as reaching out to as many reviewers as possible. In addition to any print or online magazines.
What about film festivals? Are you going to enter your film? If you have, how did it do? Tell us about your feelings around the indie film fest circuit.
Rage has been in over 20 festivals across the globe. It has won multiple awards, including Best Horror Feature (Int Horror & Sci-fi Film Fest, Great Lakes Int Film Fest, Hollywood Independent Film Fest, Worldfest-Houston Int Film Fest and the Horror Quest Film Festival). Lead actress Audrey Walker also picked up the best actress award at Horror Quest. I loved traveling to the film festivals and meeting great people! I do believe that the festivals need to do a better job at filling the seats however! I also hate the politics! Sometimes, if you have a larger budget, known talent, or just are friends with the director, you just may receive an award that you may not deserve!
Talk about distribution. Have you secured distribution? If so, how did you go about doing that? If not, what’s your plan?
We have not secured distribution as of yet. Our plan is to continue to promote and market the film. Hopefully, that will attract the attention of distributors.
Where can people find out more about the film and/or get their hands on a copy?
Talk about the production. How did it go? Tell us one good or funny story that demonstrates the trials and tribulations of being an indie filmmaker.
The production went pretty well!. I do have one story to tell. A day before shooting began, we found out that several big Hollywood productions were shooting in the area. They ended up taking some of the locations that we had planned to use! Not only that, but they took up most of the radio bans for walkie talkies. We did some guerilla filmmaking, so we had to be careful not to interfere with their productions and get shut down! One of the Hollywood productions was starring a major actor. So one day we hear on our walkie talkies, "Please bring Mr. so and so to the set". So, we are all scrambling to change the channel, thinking that we were on the radio band for his movie. Eventually, one of the crew members comes in and when we told him what just occured, he starts laughing and says that it was him just fooling around!
What about you? Tell us a bit about yourself and how you got into indie horror.
I have been a horror fan since the 70's. Yes, I am that old!...lol. As a kid Ioved horror movies. My favorites were the old British Dracula movies, produced by Hammer Films. I loved Peter Cushing and Christopher Lee. Those horse drawn carriages and old castles; wow! I met fellow horror movie fan and "Rage" director Christopher R. Witherspoon in the 90's, when he was looking for investors for a movie. When I saw a poster of the movie "The Reanimator",a film he had worked on, and another personal favorite of mine, I knew I had to work with him.
Talk about the indie horror scene. Where do you think it is now and where do you see itgoing?
The indie horror scene is where you are going to see original material. Hollywood only seems to want to recycle hit films from the past. The only concern I have is that some filmmakers think that every film has to have buckets of blood and a whole myriad of ways to kill someone! Sometimes simple psychological terror is just as, if not more effective!
Do you have any more projects in the works? What’s next for you?
The next project I plan on working on is a horror anthology titled, "The Twilight Hotel". It can best be described as "The Twilight Zone" meets Alfred Hitchcock. I will once again be teaming with Christopher R. Witherspoon for the film. After that, who knows! I hope to have a long and successful career!
