Emerald Gore Society

Ireland's No.1 Dedicated Horror Website

For All your Irish Horror, with Horror and Gore from Ireland And Around the Globe!

Gorecast Chat- To Jennifer and Bethany Director James Cullen Bressack

On a very special Gorecast later today Giz and Johnny chat with the mind behind To Jennifer James Cullen Bressack talking about his latest feature Bethany Full Movie HD starring Stefanie Estes, Tom Green, Zack Ward,Shannon Doherty and Keith "The Dean Of Mean" Jardine all on this Friday instalment of the gorecast brought to you by Emerald Gore Society in association with Hart D.

The Cadaver Club -­ An Interview With Mr. Crowe!

From the moment I heard Lunatic in Love, on the vocal track I was able to hear nuances of a familiar sounding accent – had I finally found a horror punk band hailing from the same emerald island that I do? It turned out I had, and not only that but one of the freshest sounding horror punk bands I’d come across, regardless of region. That band was called The Cadaver Club. Now, this group of funeral haunting cadavers have once again risen from their mausoleum and are about to unleash their second album. I got in touch with the head cadaver – the mysterious Mr.Crowe to find out more.

The Cadaver Club, comprised of the brothers Filth, Boom Chic Chic and Mr. Crowe formed on Halloween 2013 have thus far released their debut album ‘A Fate worse than Life’, last years single ‘Southern Cemetery’, and live album ‘Lunatics in London’ through Pirate Heart Records. Mr. Crowe describes the bands sound as a ‘heart-stopping, be-bopping, toe-tapping, finger-snapping, neck-cracking, earth-quaking, bone-shaking, blood-swigging, grave-digging Funeral Punk.

The club have brought a variety of influences to the table; while still remaining true to that horror punk sound we’ve all come to know and love. Throughout the bands output to date I can hear the punk rock influence of bands like The Ramones, The Misfits and snuff, but also sea-shanty, folk and rock n’roll. This seems to be a fair assessment, as when asked about their influences Mr Crowe said “I suppose the obvious influence is the Misfits but that’s just because we fall into the horror punk style. Mix that up with some Ramones, Wildhearts, Alice Cooper, Nick Cave and Tom Waits and you’re probably getting close. I love the innocence of upbeat punk rock n’roll with the underlying threat of really nasty darkly humorous lyrics and for the most part, that’s what we aim for but we like to mess around with different styles too. There’s a sea shanty on the first album which is always a live favourite and we have a really dark, twisted song written for the new album that will bring our creaky crawling Cave/Waits tendencies to the fore”. Sounds like us listeners are in for a treat! (Or a trick as the case may be?)

Crowe says he came up with the concept of the band when he ‘was painting a portrait of Jerry Only one day and started coming up with lyrics to what was undeniably turning into a horror punk type song. It was about a man who was working on an improved version of his wife, using bits and pieces of her friends and even the family dog’s brain so she’d be more obedient. That became “I’m Making A Monster, Baby” so there I was with this song that didn’t fit into my band. Setting off Sirens. I rang Dirge and Draggle, the brothers Filth (guitar and drums respectively, when they’re not digging graves or bothering villagers), and Boom Chic Chic ( or Dr. Jo, now my wife, holding down the low end with her bass-lines) and asked them if they wanted to start a horror band – within a heartbeat of decomposing corpse they all said yes”. That just leaves the head cadaver – the mysterious Mr. Crowe himself who “leads the dance macabre and relays the tales of terror.” But what about the guys (and gal) behind these personas, surely there's some semblance of humanity in there? “You know the old saying – behind the mask, or in our case make-up, you can truly be yourself. Even though we’re playing a role so to speak, I think more often than not we’re more ourselves in Cadaver Club than when we’re walking down the street.”

In true punk tradition, The Cadaver Club have a strong DIY ethic. The music is released through Pirate Heart Records, their own label, Mr. Crowe does the art and they orchestrate their own music videos to accompany each single. “A video, like and album is forever and should reflect the quality of the music, that’s why we put so much work into making them as great as we can. They’re also a good way for us to develop our characters within the band and have some fun. We all have a wicked sense of humour so we like to write about horrible things in a matter of fact way. We’ve hit most of the undead bases with the likes of ‘Lunatic in Love’ and ‘Vampires Ain’t What They Used To Be’ and have devils and bad men littered throughout our songs, drifting through graveyards, dark corners and misty streets”.

That being said, there is an extended club of helpers, as even otherworldly powers from beyond the grave won’t give you the ability to do everything – “We’re very lucky to have some really creative friends who share our vision for the band. Ronan McGrade and Olivia Johnson have been crucial in helping us develop our image for the videos and Ronan has been the one to shoot them. Once we decided which song we will release as a single, the four of us get our heads together and come up with a theme for the video. Once we settle on that we fairly loosely script it out and come up with maybe half a dozen little character quirks or stunts to perform in the video. Then the search for a location begins. The most recent on we did for ‘Southern Cemetery’ required an old country style house that we could have a wake in. We eventually found one and got the use of it for a day. A friend of ours is an undertaker (naturally) so we got all our props from him – coffin, candles etc. He even makes an appearance in the video, that’s him laying the coins on my eyes. We rope in anyone we can find, willing to play extras. The videos require an enormous amount of preparation but we think they’re worth the effort. Like I say they’re forever”

Of course the main creative force that drives the band are Mr. Crowes darkly comedic lyrics that at times conjure romantic depictions of the days of yore – “We also have a great love for the Irish folklore and there are little elements of old ghost stories and superstitions woven into the songs. The two most obvious being My Rictus Smile about an Irish wake and The Warning which covers everything from the Banshee and the Pooka to the Will o’ the Wisp. We have a new song too that is steeped in Irish fables which will appear on the new album”

On to the good stuff- new Cadaver Club tunes! “We have been in the studio recently and have a fair amount of the new album recorded. There are still some bits and pieces to go on and of course the mixing and mastering. The core ingredient in the music is still very much punk but we’ve deliberately branched out into other styles with some of the songs to keep it exciting for us. The songs’ protagonists inhabit dark country lanes and shadowy dead ends. Mist covered graveyards and rain soaked streets. We think we have the theme nailed down and I’m getting to work on sketching out the possible cover art which we’ll keep refining it until it’s written in stone. There’ll be a couple of singles lifted from the album so we’ll shoot videos for those. We have loads of great ideas for new merch so we’ll be releasing some cool stuff, to coincide with the album and of course we’ll be packing up the hearse and hitting the road again. For a band, there are a couple of different stages of rewards. The first reward is when you write and finish a new song and you know you have something special. The second is when you record, mix and master and finally say that’s done and it sounds amazing. The third and final reward is when you bring your show around the country and step onto a stage and hit that first chord. God, what a feeling, the culmination of everything you’ve worked for. Then you start the whole process all over again!”. 2016 will mark the return of Cadaver Club. Make-up will be applied, guitars will be tuned, shins will be digged and bats will be belfried. We’re not only raising the stakes this time round, we’re driving them into the hearts of all our beloved Gravediggers and sending them off to their plots humming a tune”

And finally a note on the current state of the horror punk scene: “There aren’t too many horror punk bands in Ireland, at least that we know of. Skeleton Crew from Dublin and Tragedy Vampires from Fermanagh are the only ones I can think of off the top of my head – both great bands. I’m sure there are more and I’d love to hear them”. (at this point I’d like to mention Belfast’s So Long Until the Seance – I wrote 5-Skull review of their glam-horror single ‘Dead Boys’ on Horror Punk New UK’s website earlier this year). “The UK seems to have a very good scene building up with the like of Headstone Horrors, Thirteen Shots, Lupen Tooth etc. and some great people keeping it alive with The Travelling Morgue Horrorfest. The Undead 13 and Savage Monster Presents as well as all the bands doing it for themselves. I’m a firm believer of everyone mucking in and helping each other out and creating something that’s more than the sum of its parts. (making a monster, baby) and broaden my music collection, I’m ALWAYS on the look-out for great music and I hope that we can contribute to that ourselves in the upcoming months”.

 

The Cadaver Clubs new album ‘It’s Always the Quiet Ones’ is slated for release on 28th of October 2016 and you can pre-order your copy (and some limited edition merch) at http://www.cadaverclub.com/  where you can also check out the video for the lead single ‘Southern Cemetery’ also linked below.

Article written & submitted by Aaron McGe

Official video for 'Southern Cemetery', the brand new single from Cadaver Club. Available on iTunes, Amazon and all good digital outlets Monday 16th March 2015. For more info visit: http://www.cadaverclub.com http://www.pirateheartrecords.com

If you don’t like the “IT” Remake, then Henry Bowers has some words for you!

Have you seen the pictures floating around the internet teasing the new look for Pennywise the clown in the upcoming remake of “IT”? Well if you have and are not a fan of the new film you might want to keep your opinions to yourself, unless you want to invoke the ire of the new Henry Bowers.

Recently TJ, known online as “The Amazing Atheist” a well-known YouTuber, social commentator and co-host of the Drunken Peasants podcast, made a short video expressing his opinions on the new look for Pennywise from the upcoming “IT” movie remake based on the 1986 Stephen King novel.

The Video was originally published on August 16th. I won’t go into detail about what the Amazing Atheist thought of it but you can check out the video yourself below:

Then yesterday on September 8th it seems it came to Henry Bowers attention.

Nicholas Hamilon (IMBD Link), who is playing Bowers in the upcoming remake, took issue with TJ’s opinions and decided to strike back at him in the comments section of the video.

As of publishing I cannot locate his comment on the video, but he did post it to all of his social media links in some effort to gain attention or perhaps to dogpile a critic of his future work. I have to wonder where he may have learned that tactic. *Cough… Ghostbusters… Cough*.

Here are the pictures, but in case you may not be able to read them too well Hamilton says:

“Hey Bud, Henry Bowers here.
Just wanted to let you in on a few things.
It’s just one picture. How can you base all your thoughts and assumptions off of one photo? If you seriously think that we are going to ruin the book by making it just your everyday Hollywood horror movie, Full of useless junp-scares and a shitty story. Then you’re wrong. We are respecting Mr.King and the novel as much as we can in every way possible. All of the Characters have their own arc and are played by brilliant, incredibly versatile actors who are talented at what they do. Muschietti is also the only person who could direct this movie. His directing is second-to-none and is going to result in a movie that is going to scare the next generation of kids and adults but will also make you come out of the theatre thinking how good of a movie it was.
As for Bill as Pennywise, he is perfect. There is no other word for it, to just stand next to him is an experience in its own. You feel like he should be giving you a balloon or telling a joke but at the same time, you feel like you shouldn’t be there next to him because he’s creepy asf. Bill plays beautifully into this as he says just the right things to lure you into a conversation but his look makes you not want to be near him. If you could see him with any of the kids, especially Jackson as Gorgie, you’d change your mind about everything you said in this video.
So trust me, the movie will be something that you are going to want to watch again and again and a film that a lot of people, Stephen King fan or not, will admire.
I will give you props though for having the imagination to dream up all these crazy assumption about a movie just by looking at one darkly lit picture.
PS: Get a new camera, this one seems to favour your right side. Oh and I like your hair. Goes well with the hat… And Swearing… You must be a really pleasant person to be around.
Bowers Out”

So of course, being the kind of YouTuber he is, The Amazing Atheist felt he had to respond. Check out that video below:

Ok, so where do I even begin to start this one. Before I even begin to address young Mr Hamilton’s attitude towards people, let’s take his comment point by point.

“It’s just one picture. How can you base all your thoughts and assumptions off of one photo?”

Nicholas, I have checked your IMDB and you do in fact have experience in the movie industry though you seem to lack a huge amount of info about how it works. Yes people DO make assumptions based on the Teaser photo that is EXACTLY the point of releasing the pictures in order to generate hype and interest in the project. Just because people are not jumping out of their skins with excitement for your upcoming project does not mean you get to play the ignorance card or play all wounded about it. I’m sure if you read your contract in full or spoke to an agent you would be aware of this. If you really were not aware of these advertising gimmicks and teasers then you really are in the wrong business.

“If you seriously think that we are going to ruin the book by making it just your everyday Hollywood horror movie, Full of useless jump-scares and a shitty story. Then you’re wrong. We are respecting Mr.King and the novel as much as we can in every way possible.”

Firstly- You cannot ruin the book, unless you burn every copy, but yes you will taint people’s opinions and impressions of it with a bad movie, and a re-make at that.

Secondly - You are making an everyday Hollywood horror movie, that was the reason for the change in Directors and the fact that you are remaking what is considered to be a classic film. If you were doing something good for both the film industry and the Horror community you might listen to them and give a chance to the MANY original writers out there instead of trotting out the same thing again. We, in the horror community, are not just sick of remakes but the fact that this one is a classic means they got it RIGHT the last time. It does not need to be done again, only for the potential cash grab using laziness and name recognition to attempt to line the pockets of those funding this thing. If you don’t want to take my word for it, go look up how financially successful the recent Ghostbusters movie was. If you respected Mr King or even Horror then you would have walked away but it is clear from this entire exercise that you do not. You are fooling NO ONE!

“All of the Characters have their own arc and are played by brilliant, incredibly versatile actors who are talented at what they do.”

This I will give you. Having not seen the movie yet we cannot comment. We know you want to support the cast you worked with and this is an admirable thing but if you turn out to be wrong you will have made yourself quite the laughingstock.  I hope you got an outside opinion on this as no offense but I doubt your impartiality due to you being directly involved with it.

“Muschietti is also the only person who could direct this movie. His directing is second-to-none and is going to result in a movie that is going to scare the next generation of kids and adults but will also make you come out of the theatre thinking how good of a movie it was.”

Ok so, off the bat I admit that I was a fan of Mama. When I went to see it in the Cinema I really enjoyed it. It was a wonderful fantasy story. Sadly it was marketed as a Horror movie, which it was not. Almost all of the people I was in the cinema with did not enjoy it and felt they were ripped off.  I know this because many expressed it quite loudly as we left the theatre.

Now I do not feel Andrés Muschietti is a bad director. But many people are not fans of his work. So to make this claim is quite bold given his past experience and given that the first movie done the job quite well, at best you are treading old ground or at worst you are just outright lying or are deluded.

“As for Bill as Pennywise, he is perfect. There is no other word for it, to just stand next to him is an experience in its own. You feel like he should be giving you a balloon or telling a joke but at the same time, you feel like you shouldn’t be there next to him because he’s creepy asf. Bill plays beautifully into this as he says just the right things to lure you into a conversation but his look makes you not want to be near him. If you could see him with any of the kids, especially Jackson as Gorgie, you’d change your mind about everything you said in this video.”

This might very well be true. Sadly Nicholas this is also an opinion, and many people have them. I’m sure this is something you will have to get used to cause when the movie is released you are going to hear many different types of them and they will not all reflect your own.

 

Ok so now we get to the end part. Who would think that it is a good idea to insult your audience? Have we learned nothing from all the previous re-makes and the recent ghostbusters fiasco? Nicholas Hamilton sounds to me like a young man who knows what he has done and knows exactly the type of movie he has been involved in making. Right now it seems he has pre-emptively gone into damage control mode and instead of addressing the criticism of the artwork/film which he could have done or simply remained silent and let time be the judge on this one. He simply could not resist making personal attacks on someone for voicing their own opinion on something. I wonder is he aware that this is exactly one of the primary uses of the internet and YouTube itself. A lot of it is commentary on everything and anything. The Amazing Atheist is a prime example of this; he has a very outspoken opinion on almost everything. One of the reasons why his channel has so many followers {yours truly included}.

Attacking and poor attempts at insulting your future audience is not a smart move, especially in the Horror world. Horror is a surprisingly small but very tight little community and to go out of your way to give yourself a bad name is not a good choice. We will remember and it will reflect in your future endeavours.  Finally to Nicholas, if you ever get the chance to read this, some of us actually do want this movie to be enjoyable. We do want to like it. So stop making it worse by vomiting half-baked insults in people’s comments sections and come talk to the people you are trying to sell to, The Horror Fans. Assuage our misgivings about the movie in a positive way. We would be delighted to have an open dialogue with you. The Door of the Emerald Gore Society is always open if you would like to chat publicly about your film if you really believe in it and Yes! this helps in a Positive way to promote a movie, even a potentially bad one. If not, feel free to hide behind your keyboard and stew in that anger you seem to have, it is only going to get worse. Speaking as someone who has been watching the Amazing Atheist and the Drunken Peasants for a long time I can tell you; TJ is not done with you yet and you have simply given him a lot more fuel.

 

{Editor’s Note: The Emerald Gore Society is in no way affiliated or connected to The Amazing Atheist or The Drunken Peasants} 

ScreamVention Special ILL WILL interview with Tony Todd

Here we have another Special Interview from Screamvention for you all to enjoy!

This week iLL Will gets out of his Padded Cell, dons the face of a normal person and sits down to talk with none other than the Candyman himself the one and only Tony Todd.

Greenie Interviews Steve Spade

Greetings Minions, This is my first ever interview and my guest is Steve Spade of Spade Lion Productions. We have a laugh and talk about His upcoming Movie, ScreamVention, Kane Hodder and more...

Cavity Trailer: https://youtu.be/krssHY5YYkU

The Night Before Christmas: https://youtu.be/sGbHQ92mnD8

Interview with Artii Smith, Phil Simon – directors of LILIN’S BROOD

We just wanted to start this interview by saying thanks to Clint Morris for giving it to us. This Interview was not done by us but was giving to us by Clint, so thanks my friend!

Gents, how was your 2015?

2015 was a good year for us but very busy. This year was really focused on finishing Lilin’s Brood and getting it ready for the world to see.

Did you spend most of the year filming the movie?

No, we actually only filmed for two weeks during the month of February. Post production was a longer process when it came to adding in VFX and Sound Mixing.

Do you also have day jobs or is filmmaking the day job?

At the moment, filmmaking is our priority and our day job.

Which aspect of making the movie did you enjoy more – writing or directing?

Artii: I would say I enjoyed directing more, because at that point all the writing was done and we were getting a chance to really see our words come to life through our talent. It was even more fun in postproduction because we finally were able to see the story fully come together on screen.

Phil: None more then the other.  I enjoyed creating the world then watching that world exist.

How did you get Lilin’s Brood going – was it independently financed?

We created a Proof of Concept for Lilin’s Brood and we were able to independently raise financing to get the movie off the ground.

Great cast! Have any of them made a particular strong impression on you?

We were very happy with everyone’s performance. They all gave us grade A performances that we were impressed by. They were able to perform really long and elaborate scenes while delivering solid performances without stumbling over their lines. Maxine [Goynes] really dedicated herself to the role and gave us a naturalistic performance. Martin [Sensmeier] really gave us everything he had throughout the film and it will really shines through when you watch the film. Brent [King] was able to make the words his own and was very good with adlibbing, which made his character even more enjoyable.  Alberto [Barros, Jr.] gave us a solid performance and really stayed true to his character. Melinda [Milton] blew us away with her complete transformation into the alluring & mysterious Madame Plu.

Will you work with any of them again on your next project?

We definitely see ourselves working with them in different capacities again on some of our next projects.

You can check out more info and the Trailer for Lilin's Brood in our EGS news article by clicking the link below:

http://www.emeraldgoresociety.com/newswire/2015/12/21/egs-exclusive-trailer-for-upcoming-horror-lilins-brood?rq=Lilin

MILES DOLEAC INTERVIEW!

MILES DOLEAC – THE HOLLOW, DON’T KILL IT, THE CONTAINMENT 

We just wanted to start this interview by saying thanks to Clint Morris for giving it to us. This Interview was not done by us but was giving to us by Clint, so thanks my friend!

2016 looks to be a big year for Banshee alum Miles Doleac. The prolific actor, writer, director and professor (!) has his own film out-The Hollow; he directed it, as well as co-stars in it – as well as participates, in an acting capacity, in a new TV show called The Containment and a Dolph Lundgren demon-hunter movie titled Don’t Kill It.

 

You’re a busy name these days. Do you prefer TV or film?

  There was a time not long ago when I would have absolutely said film, but television and television writing, in particular, has gotten so good now. TV scripts and characters in a lot of shows rival, even surpass, what you see in most films. TV has come a long way in a relatively short period of time. I would say that I enjoy the freedom, familial environment and collaborative spirit that is more common in independent film, but, then, I was fortunate to experience all those things shooting CONTAINMENT this fall.

 

Where did you get you start though? Which medium?

My very first pro acting gig was a small role on a soap, ABC’s ALL MY CHILDREN, followed very closely by some theatre gigs, then, after moving to L.A, I was a stand-in on TERMINATOR 3, did some more theatre, some student films, a bit of work on another soap, DAYS OF OUR LIVES, but mostly, in those days, I worked in food service. I worked at the Brentwood Starbuck’s serving coffee to Steven Spielberg and Kate Capshaw and Robert Downey, Jr and Paul Stanley of KISS. I worked for a catering company that worked the Governor’s Ball at the Academy Awards. That night I’m serving pizza to Tom Hanks’ son and I’m like, I’ve either got to make it or get the hell out of here, but I can’t keep doing this. Eventually, I moved to my favorite city in the world, New Orleans, and kinda broke through there with decent roles in a couple of SyFy Original Films, then a good deal of TV work starting coming.

 

And do you feel you had a breakthrough role?

 I’m not sure whether that’s for me to decide. I’m hopeful about CONTAINMENT and audience responses to the show and what I’m doing in it. I’m very proud of the work I did in my latest film, THE HOLLOW. I feel like my performance in that film is my most layered work to date. People talk a lot about the small but showy roles I played in BANSHEE and AMERICAN HORROR STORY: FREAK SHOW. The latter was just so vital to the Jessica Lange character’s backstory and so wonderfully disgusting and horrific, it was hard to miss.

Do you consider yourself a character actor? Are you a type?

I do consider myself a character actor. Always have. It was nice to finally get old enough for casting directors and directors to agree. I guess I had to grow into it. I tend to play a lot of villains and authority figures, although I like to think I’m fairly versatile.

Are you playing the villain in Don’t Kill It?

Not exactly. I play the FBI boss who swoops in when things go south and I’m definitely a thorn in Dolph’s and Kristina Klebe’s (the lead actress) sides. I can’t really say much more since my character looms large in the film’s climax and I wouldn’t want to spoil it for folks.

 

Do you fight demons or Dolph Lundgren in it?

Both.

The Hollow

The Hollow

Who do you play in- your own film – The Hollow?

I play Ray Everett, a corrupt, small-town sheriff’s deputy, with demons a-plenty . Ray runs meth for the town kingpin, who’s making his life increasingly more dangerous and difficult, especially in the wake of the murder of someone of real profile and the white-hot light of an FBI investigation that follows.  Ray’s not a straight-up villain; he’s just severely comprised, morally and psychologically. At the root of so much of his plight is his deep desire to make sure his family is safe and cared for.

What can we expect from Containment?

I’d call it HOMELAND meets 24 meets THE WALKING DEAD. It’s a real departure for the CW and Julie Plec, who’s already done so many great things for the network (VAMPIRE DIARIES, ORIGINALS etc). Julie and the other producers are taking things to a whole new level. It feels so visceral, so current events, which makes its premise all the more terrifying. A mysterious virus with a 100% mortality rate breaks out in a major American city, leading authorities to quarantine a large portion of said city. Then all hell breaks loose.

Has the show been test previewed yet?  How’s it looking?

A few critics and journalists saw a preliminary version of the pilot I believe. That’s all I really know. From what I’ve seen, it looks terrific, incredibly cinematic.

How has the industry changed in the time you’ve been in it – is it a lot more about promotion now than it ever was?

For the independent filmmaker, yes, it’s so much about hustling now, generating buzz. In some ways, that’s because there’s so much product out there now. And I’d have to say that’s the biggest change I’ve seen: the explosion of viewing platforms, streaming etc., which has provided a lot more ways for small films to get seen and a greater demand for product, but also a lot more competition and a lot less money to go around. I think we’re all still learning about how exactly streaming outlets and the instantaneous availability of product is changing our industry. Time was, if your film didn’t get a theatrical release, it was pretty much dead in the water. That’s just not true anymore. I’m something of a purest and still believe that most films are better seen on the big screen, so I insisted on at least a small theatrical for my first film, THE HISTORIAN, although the vast majority of folks who’ve seen it did so via streaming platforms like Amazon, iTunes etc. I have higher hopes for THE HOLLOW, which, because of how we shot it, screams to be seen in a theatre. Let’s hope audiences and distributors maintain an appreciation, a desire, for seeing movies the old-fashioned way, with a bunch of people in a dark theater on a big screen. There’s still something magical about that experience. Anybody who experienced the recent STAR WARS: THE FORCE AWAKENS in the theater knows that. So, while I’m grateful for Amazon and iTunes and Netflix and Hulu and Google Play and the rest for the opportunities they provide an indie filmmaker like me and the quality of product some generate in-house (Netflix’s HOUSE OF CARDS for example), I worry about the marginalization of theatrical viewing, at least for anything except huge Hollywood tentpole films.

 

 

THE CURSE IS HERE – AN INTERVIEW WITH DYNAMIC YOUNG FILMMAKER BAYDEN REDSHAW

If you are thinking of taking a step into Independent filmmaking and don’t know where to start, you need look no further than the young dynamic Australian filmmaker and actor, Bayden Redshaw for inspiration.  Overcoming the adversities of bullying and a lack of opportunities, the teenage hotshot made things happen for himself now has several short and full length features under his belt.  I got to chat with Bayden about his life, projects and latest feature, ‘The Thin Man’, with the ominous tagline ‘The Curse is Here.’

Welcome to the Emerald Gore Society Bayden! You are an actor, screenwriter and director and one half of the creative force behind Indie Horror Film ‘The Thin Man’ – tell us a bit about yourself and your background.

Pleasure to be here for this interview with the Emerald Gore Society!  To answer your question, I'm 19 years old, I live In Albany Western Australia, and ever since I was a young boy I was fascinated with things of a dark nature as well as having a love of and storytelling in general. The man who made me fall in love with storytelling was Stephen King, his stories were completely outrageous and dark and funny and gripping!  Those words spoke to me, I was only 8 years old at the time and that's who I wanted to be when I grew up, I wanted to be like my hero Stephen King, the master of horror. I lived in a town called Busselton at the time and I wasn't popular there, struggled with bullying and, finding it hard to fit in so shied away from drama classes. It got to the point where I was actually too afraid to leave my house because of physical and cyber bullying so our family decided to move to a town called Albany and I never went back to a public school again. I had to find other ways of connecting with people my age so I went to youth groups and I met a guy named Elliot Campbell, who shared the same interest of Film and we made a ton of really bad but also fun and even some good short films. During this time I learned how to set shots up the right way and so on then bought a camera of my own when I was 15. I got my brother Dylan Redshaw involved and in the years that followed Dylan would learn from me and we'd recruit our friends and teach them how to act and make films - so The Redshaw Pictures journey began!

Redshaw Pictures is very much a family affair, run together with your brother Dylan Redshaw. As well as the film production, you both act in the movie as well. How do you work together at such demanding and close quarters and is there any sibling rivalry?

Surprisingly no, Dylan Redshaw is my best friend and always has been as we are just 11 months apart - not only are our dates of birth very close, our relationship is too! My friends were his friends growing up so we're pretty much inseparable.  It’s weird just how similar our tastes and interests are. 

Both yourself and John Von Sheldon met online via YouTube and have collaborated several times despite the fact that he is based in the UK and yourself in Australia. How difficult are these kinds of collaborations or does the internet break down global barriers?

Long distance is always going to be a tough thing, but me and John worked easily with one another - the collaborations were a treat to me! it's always a joy to make something spectacular with someone across the other side of the world that has pretty much the same love, passion and appreciate for film like me - of course we couldn't be on screen in the same room together but instead we made some pretty cool things with what we knew we could achieve in our limits and that to me is enough! We still created magic together.

You have written screenplays and directed the same. How hard is to have turned your vision into a script then direct on a budget while keeping the integrity of the plotline?

It’s always very tough, don't let anyone tell you that making a movie is easy! I started making features in 2013 and 2014, one of them was called ‘The Victim’ and the other was called ‘The Thin Man’, a precursor to the current production.  I was unhappy with it as it didn't line up with the vision I had for it, neither did The Victim so those movies were shelved and they were never seen by anyone other than the cast involved. After making them and hundreds of shorts however, I finally decided after making ‘The Thin Man Part 3’ short film that I believed that I could remake ‘The Thin Man’ but much better.   I thought people would see how I've matured in the filmmaking area and come to like the movie.

In the past you have worked on a few Horror Short film and anthology projects, tell us a bit more about your early work and how it all led to ‘The Thin Man’.

Well for years me and Dylan and our good friend Adam made nothing but Comedies, Batman Parodies, but we loved horror even though we didn't attempt it much.  Finally we did a YouTube series called Family Secrets and from then on our material got a lot darker.  I then met John and we decided to collaborate together, with Redshaw Pictures providing a short for his ‘Halloween Creep Tales’ YouTube production.  During discussions with Dylan I decided I wanted to create an urban legend of our own, one we can be proud of and say that we made that ourselves – within a short time we had come up with the backstory of The Thin Man, as to why he exists and what happens if you summon him,  how you summon him, and I'll keep saying it to this day, it was a spur of the moment thing but it's by far one of the best ideas I have ever come up with and I've always believed it need to be seen on a larger scale by a larger audience, it has the potential to be horrors new icon!

During that year I made a ton of horror shorts that saw me improve and in early 2015 Ihooked up with my old buddy Jacob and we made ‘The Thin Man Part 3’ short film which is the best one out of them all, there was much improvement and the tone felt different from the first 2.  My ‘The Thin Man’ vision was coming to its full form in my eyes and that's when I decided that 2015 would be the year that we'd remake the feature and do it better. ‘The Thin Man’ feature is complete and when we did the press release for the online screeners before we decided to go for distribution, people did reviews, not just reviews, good ones! People liked it! We didn't get one bad review and that made me so happy! I put a lot of hard work into this on and I'm happy with the results despite our limited budget.

So ‘The Thin Man’ is a part of the genre of horror film, ‘found footage.’ What made you take this approach?

I wanted to do found footage, at the time when we did the original short. I saw no other way of doing it, it was just.... something about the found footage was cool, it seemed like that style was the perfect match for this story that I was trying to tell.  You see people on YouTube trying to summon bloody Mary and the Candy Man all the time - people are curious creatures, they want to see if they can capture things of another world on tape, they love seeking a thrill, even if they know its fake. Deep down it’s fun to seek a thrill, that's why people make movies, that's why I make movies, I get a thrill out of it.  I’m not saying found footage is the only thrilling form of cinema because it most definitely is not! It just went together well with the story I was trying to tell.

‘Found footage horror’ is associated with poor sound, shaky camerawork and poor lighting to add to the ambience of the production. Do these techniques aid a low budget film or is it actually harder direct and produce?

It was a major help to this kind of film we were going for, we wanted it to be made by average people for average people, not big and fancy like Hollywood, we wanted it raw and real, that's the only way I saw doing it.  Why even make found footage if it doesn't look or feel real? We deliberately made mistakes with the camera because that's how passionate we feel about wanting it to look real and feel real.  That's why ‘Paranormal Activity’ succeeded, that's why the ‘Blair Witch Project’ succeeded and were independent successes, you don't hear much about other films from the found footage genre though, why you ask? Because they are too glamorous, it should only for the average guy in my eyes and that's what sells in the found footage field, rawness and realness. We also used our real names, and real life situations we were dealing with to be a part of the movie, we wanted things to feel as real as it could so we could get into the groove of it all more like the successful ‘found footage’ predecessors.

As the Editor for your projects as well as Director, Writer and Actor, how hard is it to be objective when cutting your own scenes or dubbing?

it's always going to be majorly tough, especially when there's that one line that you love a certain someone saying but realising it doesn't flow well with the movie and needs to be cut -it's always tough but what's got to be done is what's got to be done, if it's going to make the movie better and make it run well as a whole then you have to say goodbye to a few gems along the way. There’s always special features and directors cuts and special editions so who knows, you may see the 2 hour version we did for ‘The Thin Man’! A lot was cut from the movie but it’s still looking good.

This particular film is based on urban legend, a mainstay of recent horror productions. What is it about the urban myth that people buy into so much that it leads them to try and prove or disprove at great personal cost?

Curiosity, it's in all of us, we want to know if there's something out there in this world that is so bizarre and not of natural causes, it's fascinating, it's gripping, it's tempting. To hear about a story of a legend and to blow it off and not seek it out? Where’s the fun in that?! It's much more exciting to seek it out, even if it's dangerous, to explore that curiosity that we all have inside of us and indulge in it - it can be a very tempting character trait to have but it also can be very treacherous if that curiosity leads you into harm’s way and that's pretty much what this movie is, displaying the curiosity of humans and what that curiosity can do to you if it leads you in the wrong direction.  In this case they were led to ‘The Thin Man’ and trust me.... that's not the entity that you want your curiosity to lead you too!

What are your favourite types of horror film to watch and why?

I love a good paranormal one, a great slasher from the 80s is always brilliant, and one with a good story is always great! I love originality too, something different, I think we've seen plenty of films with the black guy getting killed off and only the girl being the last one standing at the end, I want something surprising out of a horror, that's why I made ‘The Thin Man’ a bit different, it's not like every horror you see, it's a lot of tension building and creeping you out but also the main characters are different, they aren't the nicest of guys, well they are but they get drunk and show a really bad side to themselves that they normally wouldn't had they not have had the alcohol.

If you could have an unlimited budget and remake any horror film what would it be and what horror film would you loved to have changed the ending to?

I'd Remake Stephen King's ‘It’! I loved that movie as a kid! Actually I hear they've been trying to remake it but have had troubles with the directors that come on board, listen, if they come to me... I'd stick with them and give them the best possible It remake provided I have the tools to do so! and on that note I'd also change the ending to Stephen King's ‘It’, I think everybody agrees with me when I say that the ending (SPOILER!) with the giant spider is such a let-down, we all wanted to see the clown. I know Stephen wrote the ending with the spider in the book, but nobody wants to see a spider after watching a clown do all the work throughout all the movie, we want to see an ending with that demented clown!

Without giving too much away, give us a brief synopsis of ‘The Thin Man’ and what the audience can expect.

‘The Thin Man’ is about a local urban legend called The Thin Man in the town of Albany Western Australia.  Now let me clear something up before I get into explaining what the movie is about, this is not and I repeat, THIS IS NOT a horrible low budget version of ‘Slender Man’, this has absolutely nothing to do with it! Okay, now let me get into the story - it's about 3 friends that get together and decide to do a new YouTube project about an urban legend called The Thin Man who they would attempt to summon try to prove or disprove its existence.  They do exactly that and the results are terrifying. The Thin Man, was a human from the 1800's a black sheep, who practiced witchcraft, so he was of the dark side.  The Catholics tried to convert him but he had no interest and wanted to be left alone, but the Catholics kept bugging him, but he wanted no part of converting to their religion, so they decided that if he wasn't going to join them, they'd need to get rid of him instead, so one night the town come with pitchforks, flaming torches, rope, etc. He was left to starve to death in a blocked up cave, becoming very thin, but before he died he had a lot of hate in his heart for these people, so he placed one final curse on the world, the curse was that if anyone would disturb his spirit after he had died and try to summon his spirit, he'd come after them and pursue that individual until he had captured them like the Catholics did to him, revisiting the same awful ending upon them.   With a story like that there are bound to be curious teenagers that are going to want to play games and try to summon The Thin Man.  I'll be honest, I tried summoning Bloody Mary and The Candy Man when I was younger, it was a fun game to play at night when friends would have sleep overs, so hopefully I've created something cool here and hopefully people will enjoy this and maybe get a bit curious and try to summon The Thin Man with their friends!

Finally when and where can ‘The Thin Man’ be seen?!

There's not a set release date yet, but we did sign a contract with Parade Deck Films, an independent company in Portland Oregon, I look forward to working with those guys and getting the movie released, We are hoping that maybe January or February, somewhere earlier in 2016, we are hoping that will be the time of release.... so fingers and toes crossed!

Pleasure speaking with you!

You can see more about Bayden, Redshaw Pictures and of course ‘The Thin Man’ right here!

https://www.facebook.com/Bayden-Ray-Redshaw-221586424537289/timeline

https://www.youtube.com/channel/UCYq1iyF-z5QZ4ClcVzokPmQ

https://m.facebook.com/The-Thin-Man-The-Curse-Is-Here-1431291837100424/

 

BRAINS, GORE AND SO MUCH MORE – AN INTERVIEW WITH SPECIAL EFFECTS AND PROSTHETIC MAKE UP ARTIST EOGHAN HEGARTY.

BRAINS, GORE AND SO MUCH MORE – AN INTERVIEW WITH SPECIAL EFFECTS AND PROSTHETIC MAKE UP ARTIST EOGHAN HEGARTY.

Halfbeard 1.jpg


The Emerald Gore Society is all about horror and gore!  All those gruesome scenes, body parts and dripping blood are all fundamental to a horror film however we do take them all for granted.   I was delighted therefore to have the opportunity to speak with the extremely talented Irish creator of prosthetics, models, props and costumes, Eoghan Hegarty to find out where they all come from!

 Welcome to the Emerald Gore Society Eoghan! You are the creative and driving force behind Halfbeard Creations based in Dublin, tell us a bit about yourself and your background.

Hey All, I’m originally from Sligo now living and working in Dublin,  I’m a recent graduate of Model making, Design and Digital Effects in IADT but have been working in the Film world for the last year. I’ve worked on Several productions within that time, but I’ve started to blog my work on Facebook under the business name “Halfbeard Creations”, which was a bit of a last minute name, but people seem to like it, so it’ll stick for now.
Although my passions lie with sculpting, moulding and the process I go to create the pieces I can’t help but get a little excited when I’m dipping my hand into a bowl of brain matter.


When it comes to realistic gore versus fantasy, which is your personal preference and why?

Ooooh, well that’s a bit of a tough one to answer really, because, I always try to bring fantasy to reality. It’s kind of my job in some aspects. For example If someone is to fantasise about bringing their story of a, 4 legged skin-less monkey horse with eyes for teeth and it’s called “Diblugesh”, inspired by some Lovecraftian bastard spawn, to life on screen, well then it’s my job to make sure it is exactly the way they envision it, with the skill and style I have.


Face Off brought the work of make-up and special effects artists to the mainstream and for the first time we could really see the kind of work and talent needed to create the effects we take for granted in film and television.  Do you feel this show cheapened what is after all a craft and made it the X Factor of the prosthetics world, or do you think it helped highlight the profession?

No I don’t think it has cheapened it all and I think that it has definitely highlighted the profession. It has given people an insight into the work behind the screen, behind all the actors and flashing lights and given a view of the artists working really hard to achieve some impossible goals and tasks, but at the end of the day it’s just more reality TV at least they have finally got one interesting enough to watch.

You recently did some demonstrations for students at the RDS – what was that experience like?

 Well at first I thought it was going to be god awful, because I remember being that age, and I knew there was going to be a lot of students attending the RDS that day, but it was an amazing experience, and they were all really interested in the work and I enjoyed the fact that some of the more squeamish were just as impressed. It was a great day and I got to see some really talented artists perform their skills that day, and well done to the LA college of creative arts for putting on such a presentation.

 

 

When needing to produce effects and prosthetics that need to be realistic, how do you source ideas and what are the strangest materials you have used for replicating things like blood, flesh or brains?

 Well a lot of artists will tell you, including myself, that all ideas, realistic or not, you need reference, you need something that can guide you while you’re designing so if you’re sculpting or drawing or whatever, get some pictures that you can use, shapes, colours, textures even pieces that are of the same style, for example if you want to make a miniature Georgian house, then google it and use it as a point of reference when crafting - the same with blood and guts if you’re able to stomach it, it’s out there, but always remember to respect those photo’s, we are artists of replication and making things seem real, the reference unfortunately are real people and situations.


But on a lighter note I used dog food for brain before. Whenever you’re making something you’re always working within a budget and sometimes you really need to be imaginative when crafting the pieces.



 Science fiction and fantasy ultimately play a huge part in the horror films of today, particularly with the surge in popularity of vampires, werewolves and zombies – where do you draw your inspiration?

               Oh my inspiration comes from everything these days, you really do have to abstract with your ideas most times to get what you need. But my favourite film, and all-time favourite for inspiration, I even wrote part of my thesis on this, is John Carpenter’s The Thing (1982).

 

When it comes to make-up artists and special effects, for me the name that immediately springs to mind is H.R Giger and Alien, although of course he started out as a painter and sculptor.  Who do you admire most in your field and do you think it benefits creativity for make-up artists to have a foundation or experience in other art forms as well?

 

Rob Bottin’s work in The Thing has given me so much inspiration and just fills my head with ideas and really has been a guide for the direction of my work. Although I take inspiration from loads of other artists, Steve Johnson, H.R. Giger, Stuart Bray, Bowsie Workshop (they’re Irish and big horror fans, they did the work in Stitches) Usually in this field you’ll find that everyone is skilled in more than one field and has the capability to do much more than you expect and it always starts somewhere.

 

What is the best example of make-up effects in a horror movie that you have seen and are there any that creatively blow your mind?

 I really enjoy the how much Paleman, from Del Toro’s Pan’s Labyrinth (2006), freaked me out when I saw him first, it was an amazing show of craftsmanship and Doug Jones is such a performer, it really all came together beautifully.

 

You have of course worked on many productions, which have been your favourites and why?

 I don’t think I have any favourites, I’ve always had a real different experience on every job, always more amazing than the last, however the awful the hours got, I’ll never forget my first job working Taryn Barker: Demon Hunter, which should hit the festival market soon so watch out for that. You can find out about it on Twitter, Facebook, IMDb - Everyone worked so hard on that film and really showed what young new talent in Ireland can do and how much can be accomplished when you’re budget is the sandwich you’re eating.

 

Which of all your creations are you most proud of and which was the hardest to do?

 

My final project in college was a big stretch for me because I had to try and come up with a conceptual mechanism to make my fingers, move extended latex fingers, without any springs or strings, and I ended up completing it after a lot of tears, sweat and blood (real this time), there’s a video of the finished project and a whole blog on the process on my Facebook page, if you’d like to see how it was done - it goes from Idea to Concept to Design, Mock ups, Lifecast, Sculpting, Moulding, Casting, Mech Building, Painting and Performing with the Fake Alien Arm.


Every year our College puts on an Exhibition that shows what all the graduates had made that year for the end of year project, it’s a real fun night and it’s a great way to see so many great artists in all the different fields that have just graduated.

 

The favourite time of year for The Emerald Gore Society is here – Halloween! You also produce masks, costumes, props, sets and give party design consultation to make Halloween and any horror event or production extra special!  What sort of things have you been asked to design/make in the past?

 Oooh I’ve made bodies, masks, costumes, last year I was a Game of Thrones Giant, on Stilts and everything, this year, I have some custom prosthetics, bodies, an anime costume, along with some blood, my favourite.

 

So what is next for Halfbeard Creations and how can people follow your work or make enquiries?

Halfbeard Creations has a lot ahead, it all seems prosperous from here anyway, I have a LinkedIn, under my real name Eoghan Hegarty but I have accounts on Imgur, Twitter, and Facebook under Halfbeard Creations.

Go raibh míle maith agat,

 Eoghan Hegarty,

Halfbeard Creations.

halfbeardcreations@gmail.com

https://www.facebook.com/PropsSetsandSFX/?fref=nf

 

 

DON’T ABANDON HOPE ALL YE WHO ENTER HERE – AN INTERVIEW WITH INDIE FILMMAKER KEV HARTE

As you know at the Emerald Gore Society we are always excited to speak to talented Indie Horror Filmmakers about their work.  Kev Harte is such a talent - a Writer, Director and founder of Abandonhope Films creating such acclaimed horror films as ‘The Sceptic.’ As Kev says himself, “We want to try and create films that honour our preferred genre, while still hoping to entertain, frighten and excite all who give us their time.”  I was lucky enough to speak with him about his stimulating new project, ‘The Morning Star Preserves Company.’

 

Welcome to the Emerald Gore Society Kev! You are a filmmaker of the horror/fantasy genre.  Tell us a bit about yourself and your background.

Thank you, been following you guys for quite a while now, so it's a pleasure. I originally hail         from Co Armagh in the North of Ireland and have been living in England now for around 8 years. I have been a fan of the genre since I was very young when I saw John Carpenter’s     Halloween. From then, horror has always been my passion, along with metal music, being a     musician since the age of around 14. The two seem to go hand in hand really.

The Sceptic’ is a cleverly written and well directed horror short film.  So much was packed into the screen time and yet the viewer was left wanting to know so much more, which is a key component of a decent psychological horror.  What was your inspiration for the script?

Well, the film was ambiguous on purpose. I wanted to try and attempt to make a film that           was really a two hander - it works as a short film, but also it could easily be a play. My      approach was to treat it like a segment from those old classic shows that came from Britain   in the early 80's like ‘Hammer House of Horror' and ‘Tales of the Unexpected’, those are           the main inspirations. I also wanted to set up an uneasy tone and mood. The majority of the  film was shot using just one light and I think with that set up, it helps draw people in,     wondering, what's going on just in the darkness, while these two people are learning about     each other.

You seem to be able to create polished, high class productions on a shoestring budget – what is key for you when dealing with restricted funds, the bane of all Indie films?

Getting the right cast would be the main priority. People who believe in the script and what     you’re trying to achieve. If the actors can really sell the story, make the audience believe in         the characters, then the budget really shouldn't be apparent. The second vital element has      to be the locations. I'm a great believer that just because you can set a film in your house, it     doesn't mean you should. There are amazing buildings and locations all around the UK and         you would be surprised what you can get by just asking. The Sceptic cost roughly £250 pounds and that was to feed everyone and pay the actors a small amount which they kindly agreed to as I believe they believed in the story. None of the budget went towards locations as we got them all for free. Once you have those two things in place and you know what your story is and how you visualize it coming to life, the rest is all pretty easy.

 

Now let’s talk about your new and exciting project, ‘The Morning Star Preserves Company.’  You of course are the writer and director and it stars Emerald Gore favorite Emma Dark.  Without giving too much away, give us a brief synopsis of the film.

Basically, the beginning of time when Lucifer is cast out of Heaven, he and God formed ‘The Heaven Agreement’. Essentially, God gets the good guys, and the Devil gets the sinners.  As long as this is adhered to, peace on earth with no interference from either side. So ‘The Morning Star Preserves Company’ is born, which has a unique way of bringing the souls of sinners to the big man downstairs.  It involves demons, killers and jam!

 

‘The Morning Star’ of course has biblical connotations and references to Lucifer – indeed you have included ‘The Heaven Agreement’ regarding good and evil in your taster for the film.  With everything from ‘Constantine’ to ‘Dominion’ on our screens and the constant horror franchises everywhere, how are you going to make your film stand out?

I think we are taking a unique approach to how the supernatural is perceived. Again, back to low budgets, yeah it restricts you as far as the tools are concerned, we can't build animatronics and all that craic, but we can still sell the ideas with creativity and with what we have at our disposal. Trying not to give too much away of course, but how hell is envisioned in our story is not the hell of flames and steel rods up bums that we all know and love, but something altogether more relatable. Keeping ‘The Heaven Agreement’ stable, is just a job for these guys, and like any job, we don't always want to have to do it, but we do regardless. It’s a quirky vision of hell I think best sums it up.

 

You have said it is important to you that this production has a strong female lead character.  Why do you think it is required for this script and what does it bring above a typical male lead?

 For this story in particular and for the lead character Laura Kinsey who is played by Emma Dark as you mentioned earlier, the arc is something really interesting, I hope. I felt that having a female lead makes the audience warm to them right away. There is nothing imposing about her or special, in the way it’s written, and Laura becomes very relatable early on in the story. So it's not to say, that it couldn’t be a male role, but for me, and for this story, it had to be a female. There is always something much more shocking when bad things happen to people you like. Not that I'm saying something bad happens, it doesn't. Well, it might! HA.

 

There is always some criticism when a female plays the lead in a horror. Either too girly, too masculine, stereotypical slasher bait or the ‘Scream Queen’ label lends to a preconception of a damsel in distress.  How difficult is it to find the right balance when creating a female lead character?

For me, it's in the dialogue. Yes there are always going to be certain stereotypes, but if you      set out from the start, that this person isn't that, and then take them somewhere else the            audience least expects, then that's always really fun for me, as a writer. I am a huge fan of         Kevin Smith, and I tend to write a lot of dialogue, probably too much, but I feel it helps              establish the character and give the viewers a clear idea of the capability of the player. I           think recently a good example of that would be the film ‘You're Next’ which was really clever  at setting up these type of stereotypes you mention, then just surprising everyone by taken     them down a different route.

You have cited both my personal favorite, Guillermo Del Toro and classic Sam Raimi as your inspiration for the style of movie you wish to make with ‘The Morning Star Preserves Company’.  What is it about their work that you admire and how do go about emulating their techniques and direction without their deep pockets?

I think it’s more their creative spirit that inspires me. I am a huge fan of all their work but it’s not so much an aesthetic inspiration I take from them, but how they both struggled but still manage to make films within the studio system, and still be classed as indie film makers. With Raimi for example, he can do ‘Evil Dead’ one minute, then ‘A Simple Plan’ the next, then ‘Spider-man’, but still manages to come across as the same personable goof he always was and not be tainted by the Hollywood system. With GDT, his complete vision of all his films is what inspires me. He seems to be the type of guy that has everything planned out to the last detail, sound, lighting, make up etc. and still manages to come out with more or less the films HE wants to make, even with studio guys getting in the way. So those are the qualities I admire in those two in particular.

You have also mentioned that visual stimulus is vital in this type of horror and something that GDT does so well.  Why do you think it is so important to set the tone of your movie visually?

It brings the audience in and invites them into your little world for a while. If you can create something that's visually strong right from the get go, people will hopefully invest in the film. Yes the story is as important, but as Dario Argento has taught us, sometimes, people just want that visceral, visual experience, and others want some stories to have a bit more meat on the bones. Hopefully, we can give them both.

 

You have brought on board some other outstanding Indie horror film actors for this project –tell us a bit more!

 Yeah, it really is a great cast. With Emma , I had always seen the things she did from a modelling perspective, and music videos etc, then I started to see the interviews she had been doing at Fright-fest and some of her paranormal investigation pieces, and in those she always carried herself really well, and I felt she could really bring that likeability to the Laura character, as well as be able to deliver some great passionate dialogue - of course with the ‘Seize The Night’ trailer it gave us a glimpse at what she can also do physically, which the role requires too. Mark Rathbone will be well known to the indie horror community and is just great at those quirky, funny characters.

Liam Olsen, is also an actor I have worked with before, and is the kind of actor that you don't need to give too much direction too. Liam gets it, knows his lines, and hits the mark every take. We will be shooting the standalone teaser for the film in the next few weeks also, with two really great North East actors, Stephy Cattran-Robinson and Dan Dobson. It’s going to be a really cool introduction to the Morning Star world too. So yeah I couldn't be more pleased with all the cast we have on board.

 

When it comes to horror films, what would be your favorite viewing and what do you avoid like the plague?

Any early Argento Giallo's I can sit and watch over and over, and see new things everything. ‘The Bird with the Crystal Plummage’ being a favorite. These days I’ll avoid anything with zombies. I think once you use a zombie to advertise a Kit Kat, then haven't we said all we need to? If I need a zombie fix, I will look back to Lucio Fulci .With a glass of wine and a Kit Kat.

 

With an unlimited budget, which horror film would you remake and why?

Oh... Eh I wouldn't. I would just take the money, pretend I'm remaking an old classic and use it for my own flicks! Ha!

 

Obviously ‘Morning Star’ is a huge priority right now.  What does the future hold for Kev Harte?

I'm really focusing on this at the minute. There are a few other possible projects lined up but nothing concrete. I am developing the script for a sequel to ‘The Sceptic’, which picks up ten years after the events of the first. I still also have a few un-shot scripts waiting to be filmed, but hopefully we can get ‘Morning Star’ done in time for Fright-Fest next year, and get it into the hands of producers who hopefully will help us take the next step towards future projects.

 

Now horror fans have a very exciting opportunity ahead.  They can be a part of the stimulating horror film ‘The Morning Star Preserves Company’ by contributing and becoming a backer through Indiegogo.  How do we go about this?

You can visit the page right here. Every little bit helps so share, donate, pledge and hopefully we can get this really cool flick made for everyone to enjoy.

https://www.indiegogo.com/projects/the-morning-star-preserves-company#/story

 

 

ScreamVention -Special Announcement!

“I am the writing on the wall, the whisper in the classroom! Without these things, I am nothing. So now, I must shed innocent blood. COME WITH ME!” (Candyman).

Yes folks, the man, the legend, Candyman himself! Tony Todd will be joining us at ScreamVention!

Mr. Todd will also be joined by Scream Queen Jessica Cameron, Alex Vincent, whom you might know as Andy from Child's play 1 & 2 & Curse of Chucky of course! The legendary Jason Voorhees himself - Kane Hodder, who is one of Horror’s all-time Icons will be there. While mentioning Horror Icons, we will also be joined by Nicholas Burman-Vince & Barbie Wilde, true pillars of the Horror genre but you may know them best as the Cenobites from the Hellraiser Series!

And that is not all!

We will be having some Q&A panels with our Horror Guests.

You can come watch talented short film-makers from Ireland and beyond and get the chance to enjoy a feature Film or two!

We will also have a special Room of Horror for those daring enough to venture inside. With many of Horror’s well known characters as our guests, can you imagine who we have kept locked up inside, is it worth the risk?

Also you could try your hand at making your own horror movie! We shall be hosting a “Mini ScreamVention Film Competition” you can find all the details about this on the official ScreamVention website. These movies will be shown at the convention and we will be getting some “special judges” to pick the best of the convention! Who knows, there may even be something fantastic or gory we shall have as a surprise… I mean Prize for you…

Yes! We shall be promoting Cosplay, heck we may even have a little competition for those who put in the extra effort! We all know you want to be able to get on stage and show off your work to everyone and possibly win something for your efforts.

Jessica Cameron will be helping us promote and celebrate Women in Horror month, to show our support and celebrate women in the horror industry! We may need your blood for this one!

With this and so much more we have yet to announce, you would be a fool to miss it! Check out the trailer below, you may see a familiar face or two…

ScreamVention shall be on Saturday the 28th and Sunday the 29th of February 2016 at the Red Cow Moran Hotel, Dublin.

For all your ScreamVention news, keep an eye here on The Emerald Gore Society as we will keep you up to date on what surprises there will be in store for you…

ScreamVention is brought to you by O’Brien Event Management in association with The Crypt Radio show and The Emerald Gore Society.

Also make sure to visit:

http://screamvention.com/

http://www.emeraldgoresociety.com/

http://www.thecryptradioshow.com/

TERROR TALES – AN INTERVIEW WITH INDIE HORROR FILMAKERS JOHN VON SHELTON AND BAYDEN REDSHAW!

John Von Shelton is the blogger, vlogger, actor and filmmaker behind MrSheltonTV and Bayden Redshaw an actor, director, screenwriter and is part of film production team Redshaw Pictures with his brother Dylan. 

Together John and Bayden are the creative team behind ‘Terror Tales of the Crimson Creeper’, currently in production and something here at the Emerald Gore Society we are very much looking forward to!

Ann O’Regan managed to convince the dynamic duo to take time out of their busy schedule and have a chat!

Hi Bayden and John! Together as MrSheltonTV/Redshaw Films you are the driving force behind new Independent Horror Anthology, ‘Terror Tales of the Crimson Creeper.’  Tell us what brought you together for this collaboration?

John: It was a situation when my producer left the project, but still on good terms. I needed an editor and Bayden Redshaw was luckily on the list! We had worked on a few YouTube videos from across seas - I'm from the UK and Bayden is from Western Australia!

Bayden: Well for years I've known John, We met on YouTube and we each shared an interest and passion for film and making videos online and John had an idea to create a short horror anthology called ‘Halloween Creep Tales’.  From then on me and John joined together on a few more anthologies and had stayed really good friends.  For quite a while I had talked to John about making a proper feature film version and I guess after a while John thought why not!? So this is it!

The ‘Crimson Creeper’ has of course reared his creepy head a number of times before.  Tell us some more about what inspired the creation of this macabre masked beast.

Bayden: I'll let John answer that one because that's all entirely his creation.

John: Interesting story, I wrote a story in primary school about a masked man that came out at bonfire night but I figured Halloween was more suitable! Everybody loved the story in school, but thought nothing of it. Irony!

So ‘The Crimson Creeper’ is your childhood bogeyman creation John! What made you choose that particular mask?

John: I was just into wrestling and thought I'd buy a mask for funny occasions.  Nothing special at the time, it never crossed my mind it would be used for this! I also liked that Mike Patton of Faith No More wore a mask on stage for his High School Band, Mr Bungle!

Mexican wrestling was the first thing that came to my mind and ‘The Crimson Creeper’ of course sounds like a wrestling name!

John: It does indeed - I bet Mr Redshaw would agree as he loves WWE!

Bayden: Indeed! I do love WWE and I also love ‘The Crimson Creeper’!

Your first Anthology was ‘Halloween Creep Tales’, what did that entail and how was it received?

John: ‘Halloween Creep Tales’? Yeah, it had mixed reactions, but thanks to research my trash and websites like Emerald Gore Society, it breathed new life into a two year old YouTube video that had been collecting dust on the shelf, so, Gracious!

So a few lessons learned plus a revival to boot! How is the putting together of ‘Terror Tales’ progressing?

John: Well, I’m shooting this week on the ‘Crimson Creeper’ parts. Other shorts from other directors will/should follow. Bayden is going to be editing and providing a very special short to help wrap-around the ‘Crimson Creeper’ legacy! He’s creative like that – I love it!!

Tell us more Bayden!

Bayden: Might I just add that if it wasn’t for John and ‘Halloween Creep Tales’ myself and Dylan Redshaw would never have even come up with the idea for ‘The Thin Man’ which is a character and film idea we quickly threw together for John’s anthology film! And over the years the story has grown and became more in depth and we finally made the official feature film version of it this year - so thanks be to John!

Now I’ll get into the ‘Crimson Creeper’ legacy film...

It’s amazing how these things take off and ideas snowball.  Yes please tell us of the legacy!

Bayden: A while ago I made a short anthology of my own called ‘Bed Time Stories’, which I did as somewhat of a tribute to John and the work he’s done. I didn’t copy the whole ‘Crimson Creeper’ gimmick but I just did something similar to what he was doing with creep tales.  During that time I had told John I’d like to shoot a short film on the origins of the ‘Crimson Creeper’ and how he was as a younger man - now I did make a short which was called ‘Crimson Origins’ but it definitely wasn’t in depth and it was rather short and could’ve been any other film. Ever since then I had wanted to make a much more dark and in-depth version of ‘Crimson Origins’ so I told John I’d like to give that a shot in this anthology of his!

And not only that I’ve been also very interested to start a feature film based entirely on the ‘Crimson Origins’ idea alone, so you just may be seeing an origins to the ‘Crimson Creeper’ in full length detail at some point down the line! I can feel it - I’m sure John can too!

You have said ‘The Crimson Creeper’ is introducing the Anthology in your last interview John, is he featured in any of the stories?

John: Have to wait and see – it’s Bayden that is handling a ‘Crimson Creeper Origins’ story as the younger Creeper! A prequel within the Anthology Universe of Horror!

Now that I can’t wait for! OK so much is under wraps of course, but what is ‘The Crimson Creeper’ really about? Is he a metaphor like ‘The Babadook’ or is he a downright creepy nightmare like ‘Freddy Krueger’?

John: He’s an entity – a mischief maker who plays in the dark! A bit like me? Maybe he is inside all of us!

Bayden: The way I see it ‘The Crimson Creeper’ as a disturbed but misunderstood individual, a bit of a victim turned into a predator, he’s a man to me but a monster of a man which was created by the toxic sins of the world. That’s my idea of the Creeper that I’ve gathered so far.

John: The Creeper loves you all!

Ok so what makes you afraid of the dark? For me its clowns but I find everyday people more terrifying than my wildest imagination!

John: Good question...the dark is scarier if you know you’re not alone!!

Bayden: The fear of not knowing what could lurk deep in the darkness - you look out into it and cannot see anything but if someone’s hiding inside the darkness looking out into the light, they’ll see you.

Finally, when can expect ‘Terror Tales’ to terrorize us?!

John: Touch wood when a distribution deal comes through on DVD or Blu-ray - it's not impossible for next year! Wish us luck! Meanwhile here is a Teaser Trailer! 

We wish you both the best of luck and looking forward to seeing the finished film! For more on ‘Terror Tales of The Crimson Creeper’ follow on Facebook at:

https://www.facebook.com/Terror-Tales-of-The-Crimson-Creeper-395144770696512/timeline/

INDIE HORROR AND THE CRIMSON CREEPER – AN INTERVIEW WITH JOHN VON SHELTON

At The Emerald Gore Society we love Independent Horror Films! That is why I was thrilled to have the opportunity to chat with John Von Shelton of MrSheltonTV, who not only has his own Indie productions, but is very much an ardent supporter and promoter of Indie Horror!

John, welcome to The Emerald Gore Society! You are the driving force behind the successful vlog MrSheltonTV, as well as being part of the awesome team behind Terror Tales of The Crimson Creeper – tell us a bit about yourself and your background.

Yes, I am a Film Extra, Blogger and Vlogger for YouTube. I have been doing the background extra work for some time now and it's time to try and get the Terror Tales movie onto DVD or Blu-Ray for a more open market.

As an actor, you have appeared in other productions as well as your own and obviously have a good understanding of both sides of the camera.  Which is your favorite to be on and why?

I loved Bad Moon – Starring Dani Thompson. I was only on set briefly, again in the background in a werewolf night club scene, but it was a great experience going back to London to film. Meeting Dani and Angela Holmes was a great day.

You have appeared in 2013 Horror Wasteland as a Zombie, what was that experience like and what other films have you made an appearance in other than your own?

Wasteland has just come out on to DVD and Blu-Ray and I got to be a waiter in a scene behind the lead actor and the wonderful Jessica Messenger – a rising star I feel in horror and film. Yes, I was also a zombie, but my scenes were cut, sadly! It was a great time being able to work with director Tom Wadlow and crew, they just left me to it to be gruesome and undead.

I was also in The Confusion of Tongues (2015) as a pub by stander – that was filmed in Birmingham on a really hot day in summer, 2014.

As well as being a producer, blogger and actor, you are a very strong advocate of Independent Horror films and tirelessly promote Indie Artists and Models.  How did you get involved in this and why?

I fell into supporting others on line as a hobby and through good gesture. I've been rewarded through perks like DVDs and merchandise of films. I do it because one day, I might need help myself in doing an Indie feature in future.

In fact one of your own productions is the brilliant 7 Sinful UK Indie Horror Scream Queens including Emerald Gore Society favorite Emma Dark! How hard was it to put this list together?

It was very tough... you try to cover all angles and not leave anybody out! You don't want people to take things too personally if they didn't make the list – I have, however met most of the women that were promoted in the video, like Emma Dark of Seize the Night. It was a UK based video of my personal Top Seven beauties of Indie Horror from over the years!

 

One of your passions is the Kaiju genre, with the most famous obviously being Godzilla – how do you feel about the likes of vampires, werewolves and zombies being included in this genre?

I like the classic dark horror icons, I know people really related to such beings.

Speaking of Godzilla, from cartoons to film catastrophes Hollywood isn’t letting go of this sub-culture anytime soon.  How do you feel they have handled what is a major part of Japanese film making?

Godzilla (2014) had its problems – like not much of the ‘Big G’ but I can look past that and have hope for Godzilla 2 (2018) and films like Pacific Rim (2013). I take it with a pinch of salt and still get chills when I hear Godzilla roar – like he should in Theatres – it's a long time coming!

So what is your preferred Kaiju film and why?

The Return of Godzilla (1984) – I grew up on that film as a kid and in College. It's atmospheric, dark and sometimes bleak with a very sad ending, which I won't give away. I like all Kaiju films, mostly.

You have previously cited The Walking Dead, Night of the Living Dead and Zombie Flesheaters as favourites of yours, as well as playing a Zombie yourself.  What is it about these undead monsters that grabs your attention?

It's just nice to play a zombie for a day. I love The Walking Dead, I love the TV series and spin-offs as well as the merchandise and characters. Zombies can be scary and my dad grew up watching classic zombie movies too so there is that connection.

On a serious note, you have made an excellent vlog on mental health and the benefits of music for destressing.  Music is evidently a huge love and influence for you, who do you listen to?

Faith No More, Fear Factory and many other bands of the genre and a lot of Soundtrack Scores. I like most music.

Indie Film is clearly close to your heart, how do you think large film franchises affect these smaller and quite frankly more original and interesting productions and what needs to be done to counteract that?

I guess you just have to be true to your creativity and work well with others. We can't argue at the first hurdle and must resolve our needs to push forward to make the best film/art we can for future film makers to enjoy and be inspired.

In our next interview with yourself and Bayden Redshaw of Redshaw Pictures we will be entering the world of The Crimson Creeper, Creep Tales and the up and coming Terror Tales! Can you give us a little taster of what The Crimson Creeper is about?

It's a Horror Anthology. The Crimson Creeper shall return to introduce it and he is an entity – a misunderstood soul that likes the macabre – a bit like me!

Thank you so much to John Von Shelton and for more about the man and his work you can find him here:

http://officialmrsheltontv.weebly.com/

https://www.youtube.com/user/MrSheltonTV

http://mrsheltontv.blogspot.co.uk/

Fire City interview with Michael Hayes & Brian Lubocki

FIRE CITY-Key Art Final_Hi Res.jpg

Recently, I got the chance to screen Fire City: End of Days for a review. Then, as luck would have it, I got the opportunity to sit down with two really cool guys, 
Michael Hayes and Brian Lubocki, the writers of Fire City. This is how it went down.

Me: So, you guys are the writers for Fire City: End of Days. Now, you guys got this film off of your idea from the short Fire City: King of Miseres, right?

Michael: Um, that's somewhat true, in a direct sense. We've actually been working on the world of Fire City for about 5 years, since late 2010. Brian and I were writers who were also friends, but we weren't writing partners. Now, I don't know if you know writers, or are a writer, but it's just sort of a life of constant frustration and misery. So, we were trying to alleviate that misery somehow and decided that we should make something. We wanted to originally make a web series. So, over lunch one day we were batting around some ideas and came up with this idea about demons and that was the origin of it, way back then in 2010. The more we started to explore the idea the more we built out the world. We knew we didn't want to do the Judeo-Christian demonology. We really wanted to make it an original world, but just left of center, but not something so far from it that people couldn't access it. So, it required us to build everything from the ground up in terms of the content, and the more we did that the bigger the world became. We realized that this is much more suited for a feature film franchise and everything that comes with that, than it is for a web series. Or maybe we're just delusional.

Brian: (laughing) Probably both.

Michael: Yeah probably. Since that time we've just been writing and making things. One of which was the short film King of Miseres, that Tom Woodruff Jr. directed. We had made footage prior to that as well that ADI (Amalgamated Dynamics) was involved in. Although - not Tom as a director - but Tom as a creature designer and suit performer. So there are sort of iterations and evolution of Fire City since then but the feature film comes more or less directly from King of Miseres. We specifically shot that short knowing that we want to shoot a feature with Tom. We hadn't been in production in awhile and we wanted to get our feet wet again. So, that's how that happened.



Me: Now, you mentioned Tom, had you guys worked together before this, or knew of him?

Brian: No, it really came about when we decided we wanted to do this web series. One of the first things we did was take a business plan writing class; thinking if we're going to do this as a series, we're going to need to generate some money and potential investors. So, we took a class to think about funding, and where this would go if we made it, and how it would get distributed. The guy who taught the class said, "Well, it seems like you're going to need creatures based on what you're saying this project is going to be. Have you given any consideration to who you're going use, and who's going to do this?" He said, "I know some guys, they're kind of higher level. They do big studio films, but it might be worth a phone call." So, we were kind of given his blessing.

Michael: What he said was literally, "I don't know that they'll talk to you, but you can... try."

Brian: Yeah, so literally, we just cold called them and said, "Look, you know your friend said we should give you a call. Here's what we're trying to do. We would just love to tell you about our world, where we come from, and what we're trying to accomplish." They were gracious enough to take the call. So, then we went into their studio and they decided to make our monster - our big 12 foot demon for us.

Me: Wow

Brian: Yeah, it was really miraculous and would have never expected it in a million years. What they ended up making for us was incredible, and then just another miracle after the next, Tom actually performed in the suit. We shot 2 days for what ended up being an opening sequence for what we thought was going to be the first feature film. Tom was in that suit for 12 hours and he was a champ. Then Alec Gillis (from ADI) came, and I guess they not only liked what they saw, but how we ran the set and the kind of excitement in the air, and they said they would like to do this more and they did.

Me: So, do you see more for Fire City in the future, or is this a situation where the story has been told, and now it's time to move on to something else?

Brian and Michael: Oh no!

Brian: This is just the tip of the iceberg. Since 2010 we wrote short stories and a demon compendium. And then as we got to the short film, we actually started creating our own version of a tarot. We have our own demon tarot and we have plans for a full deck, but all the artwork is original - every card has a background. So, honestly, End of Days came out of necessity. We had another film in mind that we wrote and scheduled. It was just so expensive that there was no scenario where anybody with money and half a brain was going to let Michael and I be the ones to make it. So, we held off and ended up making what we're calling the prequel Fire City: End of Days, and if we have our druthers we already have what the sequel would be: Fire City: The Demon in the Darkness, which as the follow up, would be one of a trilogy. I know that sounds insane but that's how we roll.

Me: Insane, but something I am definitely looking forward to!

Michael: Awesome

Brian: Thank you

Me: Like I said in the review,  I think once people see this film the fan base will grow. I dug the different world you guys created, cause like you said it was something you could relate to but not straight down the middle every day.

Michael: Yeah, you know, it's always been one of the principle concepts of Fire city that it is the ordinary world. We really wanted to treat it as not a supernatural world but an ordinary world that supernatural things happen to live in that humans just can't access. The same way they can't see radio waves. We really wanted almost a scientific explanation for it to ground it in reality. Now, of course, the demons have things that can't quite be explained scientifically, so we're allowed to kind of push into that space. In terms of their mundane existence, that's really what we were most interested in - insuring that we kind of preserved that in whatever we're trying to do, from a narrative stand point in a film. Even in the short stories everything is very ordinary. The way the original short stories worked it's centered around a detective who is human. Later stories will center around Vine, the main demon character in this movie, who is a drug dealer and sort of manages the building, as you know, but later becomes a vigilante.

Me: Nice! Alright, so you guys have been writers for a while,but for how long and what got you into writing?

Brian: My first job was as a production assistant on the TV show Frasier in 1998. It had been a long time, and I kicked around on movie sets and did my best to write and try to develop TV pilots. In fact, it was sitcom writing, which is a far cry from what I'm doing now. At the time my writing partner and I were rep'd by Evolution Management, who rep'd Charlie Sheen and did two and a Half Men. But they also took a gamble on the Saw movies, and then when it worked, developed Twisted Pictures. So, they came to me and said, "Could you write a horror movie?" and I said, "Are you kidding me, I have 20 in my brain!" So, that was always in my kind of zeitgeist.

Michael: I've always written more fiction, and sort of started out as more of a kind of fiction writer. I did the whole MFA program thing, and published a few short stories and a few out of the way journals, very obscure stuff. Then I thought I really want to screen write. It's something I've always wanted to do, and I love movies and kind of had my eye on it. I thought rather than work on a novel, for however long that's going to take, I want to try my hand at screen writing. So, I did that and I was living on the East coast at the time, roughly around 2002, and I sent it to a coverage service that gave it a consider, and then, with a rewrite, gave it a recommend. I thought Hollywood was calling for me! Well, it wasn't but I decided to come here anyway.

Michael: So, we've both been writing for awhile and we've had a kind of success in the sense that we've had properties that have been optioned and properties that have had some heat on them. This is just an incredibly difficult business, especially for a writer to succeed in. This is really sort of the time of being able to very economically make your own film.

Me: I totally have to agree.

Michael: Although we don't want to direct.

Me: Ok and that was the next question for you guys. Because you guys have so many feathers in your cap: writing, directing and producing. Where do you guys feel most comfortable, where would you rather be?

Michael: We definitely don't want to direct. I directed a short film about 7 years ago, I loved it. It was kind of my film school. I never went to film school. I got to do everything: pull permits, SAG, schedule, build things, but at the end of the day I didn't dig being on set and being so focused on the actual execution of the script. I much preferred being the guy who was watching that happen and then making sure that happened in a good time and on budget things like that. I think that's where are strengths are. It's really writing and producing which is what Brian and I, I think, prefer. Brian what would you say?

Brian: Yeah, absolutely! I come from the background of tv where, as they say, the writer is king. It's really the writer does produce and does create the world and oversee a lot of the decisions that are not complimentary to the movie world typically, whereas the writer goes away. What I loved about working with Tom, and I think Michael did too, is that it was really, we were the 3 stooges. We were able to put our brains together and combine our ideas and really be a united force, which I think is very atypical in films - usually between a writer, directer and a producer. Usually all three of them are at odds.

Michael: At some point anyway.

Brian: Right!

Michael: Producing to some extent. Well, you know, everything is so time consuming. Producing is very difficult and it's extremely time consuming. It's hard to both write as well as produce. So, for instance, now we're juggling producing more content for the world because we're having to deal with deliverables for the film, PR fulfillment, contracts. It's things we like to do but there's really only so many hours in the day.

Me: Speaking of all that, the contracts and what have you. Are you guys still heavily involved with Fire City or is it in a spot where it's coasting on it's own now?

Michael: (laughing) Nothing coasts on it's own.

Brian: Yeah, there's no such thing. In fact, what's funny is like now we're coming back to the Kickstarter backers who were so generous to give us their attention, and sometimes... and often money and support. So, now there's a ton of things we owe them as we promised, so now we are going back to fulfilling all of that now that the deliverables are pretty much finished for the film. Then, of course, all of the PR and marketing for the film. Just because you build it doesn't mean they will come. So, now it's getting people to actually know there's a film out there that they can watch if they want to.

Michael: I suppose in terms of considering it having a life of it's own, which maybe is kind of what you may be getting at. That's really when we connect with that wider audience, and that's what we're sort of on the brink of, and it's really sort of the unknown for us. We have around 500 people that gave money on Kickstarter, which is fantastic, but certainly that's not going to be enough of an audience to warrant a sequel, much less if it even warranted a first film. We were fortunate enough to be able to get through this process, which was a very difficult process. Now we're at the point that we get to show this thing. Frankly, there are ways in which our budget is quite obvious, and we're hoping that the audience out there can forgive that to some extent and see the successes the film has, as well as the potential it has to really be something greater. That's really where we are at this point. If this thing has a life of it's own it will be proven by finding an audience for this film. So, we're just hoping for the best. We're contacting everyone we know and telling them to watch it, pre-order it, give us reviews... but there's only so much you can do. It has to find its audience or it doesn't.

Me: Like I said, I had been hearing about the movie for awhile but I didn't know there was a short until after I saw the finished project. All I do is movie reviews,  I don't really know what goes on behind movies except what I pick up as I'm going along. Like you were saying production permits stuff like that. So, I kind of like to dig and put something else in the review to just to let people know it's not just about the movie, you know? Like it took a Kickstarter back in 2013 to get this started. Digging around to do the review is how I found out about the short. I had to do a bit more digging, but I found it.  Watching the short just makes you want to see the movie again because there's such a tease of visuals and story.

Brian: Did you know there's a comic that precedes the short?

Me: No, I did not!

Michael: Yeah, we actually had our fantastic artist, Kurt Komoda, who drew our images for our tarot cards, draw a comic that we were going to use for promotional uses. We decided to make it kind of a set up of the characters for the short film. So, you'll see the actors in the short film and recognize their faces. We think the comic came out really well. We still have some of them that we're not quite sure what to do with, but at some point we'll figure that out. This is just a giant learning process for us. We're just a couple of writers that decided to make something, and that required us to be producers and figure that out, and we did figure out that we're pretty good at that. We still don't really know what the hell we're doing. Certainly when we get to this point when we're through post and distribution it's a whole separate side of the business, and we feel that learning curve again, but we're also anxious to see how it's going to go. Hopefully it'll go well and we'll get another chance to do it and we'll have all this experience to do it even better the next time. Maybe at that point we'll know what to do with a bunch of comics.

Brian: Also to your point, I'm delighted to hear that you found out there was a short and you sought it out. One of the hardest things about creating this world is that you want everybody to know the world and dig in and find all the Easter eggs in the film that lead to the short that actually talk toward the sequel and the history of the world, and there's tarot cards, and there's so much... it's an annoying amount of backstory and information. So, the fact that you took that extra step and wanted to, I think gives us a huge amount of hope.

Me: Ok, like you said, you guys are still learning your way and this is all new to you but one of the things I really like about both of you is your writing style. The way you build things and the way you move the characters - stuff like that. Now, like I told you guys earlier, this was my first live interview. Usually I just email some questions, type it up, and I'm done. So, I was a bit nervous and was digging through trying figure out what to talk about with you guys. While looking around I came across a tv show called Horror Haiku and found out you guys wrote an episode called I Know What You Know (2013), starring C. Thomas Howell. I really had to dig for awhile but I found it, (thank you YouTube!) I gotta tell you guys, I liked it. 

Michael: Oh wow. Yeah, there's a funny story behind that horror haiku. That was actually something we put together for a couple of folks that we met. Michael Hendersen and his producing partner had this series Horror Haiku and I think we met at a Screamfest mixer or something?

Brian: Yeah exactly.

Michael: Both were very sweet and genuine people. They found out about Fire City and saw all the footage and wanted us to put together a horror haiku for them. So, that horror haiku actually comes from footage we shot with Tom in the suit that happened probably a year prior to that, and that really started everything. The idea at that time was we were going cast it, shoot the first seven minutes of the film, and then a few extra scenes to make a trailer. So, we had a trailer, and then a seven minute opening sequence. And that came out so well that it opened a lot of doors for us. We culled the horror haiku from that footage, but you won't see some of that footage in Horror Haiku. We got it from what wound up on the cutting room floor, just little bits to try and make a horror haiku. It was really a fun process actually, to re-look at that footage, and go back to it and show Tommy Howell in the diner.

Brian: That actually is a full blown scene that's in the script of what will be the sequel to this film, should we be so lucky. The scene was never meant to be shown in it's entirety. It was really meant to take pieces of it for the trailer, but that scene is actually a really important in the sequel film.

Michael: We don't know if you've seen that, Michael?  

Me: No I haven't.

Michael: Well, if you go onto YouTube, one of them is called Test Footage for Fire City: A Demon in the Darkness and the other is called Test Trailer for Fire City A Demon in the Darkness. So, those are the two pieces that were the first pieces of the world that we actually got on film. That's where horror haiku came from by taking bits of that. It was fun to look at that scene, because Brain's right, we shot scenes that we knew we weren't going to show in full. We just wanted them as bits of trailer. So, no one's ever really ever seen that scene and a couple of the other scenes but it was really fun to go and explore that scene within the frame work of horror haiku.



Me: Alright, one question I have to ask because the Emerald Gore Society is all about the horror. What's your favorite horror film?

Brian: Wow, do I have to pick just one? Man! If I had to pick just one, and I don't want to... I just watched four of the Hellraiser movies over the last couple days... but I would say that the number one would have to be Silence of the Lambs because it's so complete. For everything that you love about horror: the scary, the gory, the superb writing, acting, everything. If I had a desert island and had to pick, it would be that one, but I grew up as a total fanatic of Freddy Kruger. To the point that I would make the claws before you were actually able to buy them in stores. In grade school when you had to do skits it was always related to Freddy. I did Freddy's four finger food slicer as a product we had to sell. I also did Freddy My Love from Grease as a singing skit where it was the girl friend of Freddy getting the hat and sweater sent to her in the mail.

Michael: For me? I don't know what it is about this film, but it's just a film that when you say favorite horror it's just the first thing that comes to mind. Every time I hear mention of it or every time I see it, or every time I'm able to mention it, I try to mention it. Because it just spoke to me. It's not obscure but it's definitely not one of the truly main main stream like Halloween or Nightmare on Elm Street, but I think my favorite horror is a movie called Phantasm. It was just such a styled film in moments... and I don't know, there's a way... that there's a texture to it that you know it's less intellectual than it is just really visceral.  I mean not least of which when the ball drills into the head, but I mean like the moment when he's sitting and he's at the fortune teller and he has to put his hand in the box. Those moments I almost felt like it was my hand. It really got under my skin and I think that's what it was. I identified with the main character Michael. I can remember that movie in great detail, and with such intensity that it's always the one that comes to mind.

Me: Both are great choices, and like Brain said, picking one is really hard. For me it's a mood thing. Do I want to see something for the writing or the effects? It's just too hard at times to pick a favorite. Alright, so we have Fire City: End of Days, we have hopes for sequels and the fan base can start growing October 6 when the DVD comes out, right?

Brian:  Absolutely, in fact they can pre-order it now for a sweet deal on Amazon and get it shipped to them. It's cheaper than if you wait till the 6th. Although the deal with the demon is that you have to give it a five star rating in order to get that sweet deal... unofficially.

Michael: (laughing) That's not true, but that's our hope.

Brian: (laughing) Ssh, it's true Michael.

Me: Like I said, I dig it. I think the fan base will dig it, and like what we talked about earlier with just the whole Kickstarter programs and stuff like that this is definitely one of those times where individuality is able to push through the industry and bring a lot more to the fan base.

Michael: Thanks that's really gratifying to hear. We are just hoping that it finds its audience and we're able to do it again.

Me: It may take a second or two, but I can see you guys really getting ready for the sequel so get your pens ready.

Check out the Trailer for Fire City: End of Days here:

 

And you can check out my review of Fire City: End of Days by clicking on the image below:

Michael Carter  - Back Seat Viewer

Twitter - @Michaelcar34
Facebook - Back Seat Viewer

Google - Michael Carter

Interview with Eric Elick of Seize The Night

By now you should have realised that here at the Emerald Gore Society we are very excited about the upcoming short horror film SEIZE THE NIGHT, directed by Emma Dark! No film is complete without its score or soundtrack of course, so I was delighted to have the chance to speak with Composer Eric Elick about his work on Seize the Night, his other horror projects and more about the man himself.

Eric welcome to the Emerald Gore Society! You are the composer of the Soundtrack for Seize the Night, tell us about yourself and your background in music.

I started playing piano and writing music back on December 18, 1998 after having a recurring dream about playing "Blood Roses" by Tori Amos in my maternal grandmother's house in front of a small audience.  Around the same time one of my brothers purchased a keyboard and I began to orchestrate my compositions using the keyboard and a digital audio workstation (DAW).  Eventually I invested in my first keyboard and continued composing music of all different types even more feverishly for about 2 years on my own. After that, I studied music for about 3 years in community college as a piano performance major and finished all of my undergraduate work before deciding to switch majors as I saw many graduates of music had a difficult time finding work post-graduation.  Since then I have continued to write original music on my own and in a few indie bands until 2014 when Damon Rickard (my cousin) posted that he was going to be making a film called The Tour with co-director Alex Mathieson.  This was one area of music I was intrigued by, so I made three music cues with a slideshow of promotional images of The Tour.  Alex and Damon decided to give me a chance and they were happy with the score I produced for The Tour. Since then I have studied composition and orchestration privately with a New York based film composer.  That's the story of how I arrived to become a composer for film and media.

Blood Roses by Tori Amos: 

Since The Jazz Singer in 1927, music has been a fundamental part of production in all films, television programmes and even video games.  What productions inspired you to begin film scoring?

It was more an opportunity that presented itself to me that I went after as mentioned before, rather than specific productions that inspired me to become a film composer; however, some movie soundtracks I absolutely love and that do inspire me are Aliens by James Horner (may he rest in peace), Terminator 2: Judgment Day by Brad Fiedel, Jurassic Park by John Williams. In particular I would listen to my Jurassic Park CD on repeat over and over growing up; it captivated me.

Aliens Soundtrack: 

Terminator 2 Soundtrack: 

Jurassic Park Soundtrack: 

As a composer of a variation of musical works in general, how do you find scoring a film, different to say composing a performance piece?

For me the main difference lies in diving into my own thoughts, feelings and perspective versus someone else's thoughts, feelings, and perspective.  Diving into the film (reading script, discussion with director, looking at promotional images, watching the film, etc.) is helpful for me in order to really be able to resonate with the deeper themes of the film to create music for it. Getting into someone else's work to that level can be very taxing emotionally, and also very rewarding once it all comes together.  Creating performance pieces is a portrayal of exclusively my vision typically (such as the EP I released last year, Eden's Secret), whereas the film compositions are the collaboration between the director and myself to help create a unified vision bringing together both the picture and music. It's the director's task to communicate what their vision of the film is, and it is my task to create a score to support that vision with my own musical perspective and voice.

Eden's Secret EP: https://itunes.apple.com/us/album/edens-secret/id945489574

As well as ‘Seize’ you have also previously worked on horror films.  How different is the creative process and how do get yourself in the right frame of mind to produce such a dynamic score for this genre?

I do a lot of my composing very stream of consciousness, attempting to keep the thinking mind out of it while I'm in the act of channeling the music through. Afterwards, revisions come in. Before anything, I study each film to understand the deeper messages of the film, the emotions of the characters, and the overall tone.  I dive deep, and once there, I open the musical flood gates. 

So many scores and musical pieces are produced by only using computers and synthesizing the instruments as opposed to the old days when full orchestras could end up being used! Which media do you prefer to work with and if using live music, do you play yourself and how do you source musicians?

It is much more cost effective to utilize sample libraries than full blown orchestras, and while sample libraries have limitations, unless you have a budget that would allow the hiring of an orchestra or live musicians, you won't have access to that level of music production. I have written music that live musicians have played back in college, which were satisfying experiences, but other than that any performances are done by myself.

Which film would you love to go back over and redo the film score for and what is your favorite example of music done well in a film, particularly horror/suspense?

I would love to go back and redo the film score for the 1985 classic Ladyhawke.  I love that movie!  Now I don't dislike the soundtrack like a lot of people do, because it reminds me of my childhood.  A lot of brave choices were made for the soundtrack, but the soundtrack was a product of its time.  I think it would be a fun project to update the music.  Favorite example of music done well in a film is John Carpenter's 1978 film Halloween.  That soundtrack terrified me growing up; it's just so creepy and effective--it still gives me chills.  It's amazing to me that he both directed AND composed the music for that movie; quite inspiring, really.

Halloween Soundtrack: 

There have been some incredible film scores and composers over the decades, John Williams being the foremost in my mind.  Who is your favorite composer and why?

It's hard for me to pick a favorite. While John Williams is definitely high on the list because of classics like Jurassic Park and Jaws, I'll choose the composer that has been most influential on me: Tori Amos. Without her music (in particular, her earlier work Boys for Pele (1996)) I probably never would have become a composer myself.  While her work for film is largely focused on soundtrack work, the way she composes on the piano inspired me to find my own musical voice.  I have studied and devoured her work like some composers do of John Williams, Ennio Morricone, or other well-known film composers. Studying her work, I also was encouraged to study the work of other female composers back in college (to the confusion of my piano teachers) such as Amy Beach, Wanda Landowska, Fanny Mendelssohn, Elizabeth Jacquet de la Guerre, etc. All brilliant but under appreciated by the classical music world in my opinion.

Jaws Soundtrack: 

Seize the Night is set to take on the film festivals and be seen by audiences in the UK and beyond, with your film score.  How does this make you feel?

Amazing! I can't wait for people to see the film and enjoy it.  There is a certain delicious satisfaction one feels when they experience their work on the big screen for the first time. My first time was with The Tour last year.  I'm looking forward to watching Seize the Night on the big screen soon!  I just have to also say it was amazing to work with director Emma Dark as we really were able to tune into each other and work well together, despite the distance. I look forward to working with her again.

What is next for Eric Elick?

I have recently completed a couple of projects namely The Package directed by Damon Rickard which is also set to make the film festival rounds in addition to a project that has yet to be announced that I co-composed with a fellow composer-friend of mine.  I have just signed on to score the feature film Egomaniac directed by Kate Shenton and Rats directed by Mark Logan.

For more information, you can check out my website:

 www.ericelickmusic.com

 Or ‘like’ my Facebook page https://www.facebook.com/ericelickmusic to keep up date with my musical journey.

SEIZE THE NIGHT IS COMING YOUR WAY AND YOU CAN SEE THE TRAILER AND MORE HERE!

Interview with Max Phillips of Seize The Night

Here at the Emerald Gore Society we are very excited about the fast paced sci-fi horror short film, Seize the Night.  When it comes to Horror or indeed any film, it’s more often than not the sound that makes us react - whether a footstep in the shadows or a zombie eating the brains of a victim, sound is everything.  As viewers we just take it all for granted but so much work goes into getting those sounds and music in just the right places to heighten our scares and thrills.  I was fortunate enough to speak to Max Phillips from Seize the Night and find out more about the sound designer/mixer and his work.    

Max, welcome to the Emerald Gore Society.  You are the sound designer/mixer for Seize the Night, tell us about yourself and your background in sound.

It started  in my early teens playing guitar and piano in bands, I ended up finding a job in a local pub learning live sound engineering and taught myself how I could record my own stuff at home - after some time I got into making digital music like drum n bass and dubstep. Through meeting enough bands and artists I got into producing EP's and albums, then I met a mastering engineer.  When I was in college as a part of my music tech course we had a module where we had to help the film students and make some music for their films. I remember spending as much time on sound effects as I did on creating the music and I loved it so from then on I just wanted to do audio, weather is was to go out finding the weirdest thing I could record or sat with and instrument n see what I could get out of it and the best thing it was to compliment a visual so it was collaborative and you could really show it to people.

When I think of Foley artists, my mind goes back to early horror films with the terrifying creaking door and claps of thunder – of course then I thought the sounds were real!  When did you first become aware of sound effects in film/TV/radio and what inspired you to begin to create your own?

I think I first realized about sound when I watched films like Jurassic Park and Star Wars, after a while you realize that there's no way they had a real T-Rex or lightsabers lying around.  When you watch the behind the scenes and see them layering all these different animal sounds and synthesizers to make them – I was just amazed. I realized it was the same sort of thing I did when I was putting together drum samples and layering guitars together and it just seemed so creative so I had to do it.

Today’s sounds are mostly computerised, from a head being decapitated to the good old creaking door, which ones have you found the hardest to replicate?

A lot of the sounds from ‘Seize’ mostly start by a recording, being a Sci-Fi horror film there's a nice level of layers and processing sounds to get what you want.  Something I was constantly keeping in mind was the grade of the film, that it was very cold coloured and I really wanted my sound to do the same.

I remember being amazed and somewhat disappointed that the sound of the TARDIS was originally nothing but a humble key being dragged down a piano wire until it became synthesised – are there still sounds being replicated using the traditional Foley method?

Some sounds are kinda like being shown how to do a magic trick, you were completely baffled then you realize how simple the trick is.  But you really can’t beat the old school, when you spend a day getting as much fruit and veg, then just tear it all apart and throwing it around. I salute anyone who's ever lost a bit of sanity sitting for days in from of a synth or tape machines just trying to get "that sound!"

 

When it comes to sound design/mixing, we can’t forget video games. As they become more realistic in graphics, the sound needs to keep up.  What are your favourite examples and have you done any video game work yourself?

The media of film and games is definitely starting to merge. With games becoming more cinematic and a broad range of styles, I think the ends are going to meet somehow, in games from one spectrum to another.  One of my favourites is Journey just for its beautiful artistic nature and soundscape, I can quite happily watch a walk through of that like a film.  It’s truly stunning and it really shows all games don't have to be about shooting something - that being said Alien Isolation is a great game to play, just ‘cause it is scary as F**k!

I have done some of my own works, recently some mobile games that were great because they were age appropriate for my little brother to play, have some games in the pipeline which are definitely in sci-fi realms so cannot wait for those puppies to come out all singing and dancing........... just with giant plasma grenades and big teeth!

 

 

Seize the Night is a horror film and would have a need for a specific range of sound effects.  What challenges did you need to overcome on this project and what was your favourite effect that you produced?

My favourite had to be the flash/plasma burning grenade, just all the different layers that went into it - can’t beat a bit of post processed cooked meat for burns. One of the more simple ones but very pleasing was the hissing sounds, just adding a little extra to them made them just right.

 

When faced with challenges on a film set, obviously negative noise is a big problem, especially in a horror film when tense situations can rely on that ‘hear a pin drop’ moment.  How do you handle these situations, especially if shooting has taken place in a busy city such as London?

 

Being in all the hustle of London there no way the city isn't gonna come through a recording on the street.  Lawrence Brightman and the assistant recordist did a great job considering what a tight spot they were in to record.  Dialogue editing was something I really sat with to make sure the city wasn't taking any attention so you were really sitting in the story, of course with the help of Eric Elick's score sitting nicely to pull out the dialogue in the mix and make sure it was nice and prominent throughout.  A lot of the scenes were gluing together nicely with some multiband soft ratio gating and a dialogue denoizer, every now and then a bus or truck would pass and some lower tones creep up so you have to manually notch them out, you just watch the scenes one by one until the distractions from the characters and story are gone. Dialogue editing is definitely an art form all by itself and has to be treated thus.

 

Of course when talking about sound, we can’t forget the inevitable soundtrack, leading us from pure tension to despair at the drop of a note.  Tell us more about working the score into the finished film and how Seize the Night differed from your other projects overall?

 

Erick did a great job putting his pieces together, going through the stems for the soundtrack, we had a lot of back and forth making sure he was happy with my mix, with Emma and Eric giving feedback to get as much out of it as possible.  Getting the big score sound to get some adrenaline going and making sure the punches and explosion were still shocking you.

Knowing what you do and with advances in technology, which film would you love to go back over and redo the sound and what is your favourite example of sound done well in a film, particularly horror/suspense?

I’d love to redo Alien 1979 and do a Dolby atmos mix that would be a lot of fun.

Great examples have to be Paranormal Activity for is low sub sounds acting as a suspense soundtrack and if you haven’t noticed it then it’s the reason your hair stands on end before S*** goes down! No Country for Old Men did some really interesting things for me like trains passing in the strangling scene. Not sure if it was Carter Burwell or Craig Berkley that went with it but it’s really made me treat my ambiance like a score and pick my spots.

Seize the Night is just about to take off with film festivals and future screenings where audiences will be reacting to your work throughout the film, which is very exciting.  What’s next for Max Phillips?

Can’t wait to see how the festivals take this on and what the future holds for Emma Dark, I hope we get to work together soon. I’m currently working with Merlyn Roberts and director Steve Lyons with their 1000bc Serurta, just finished the soundtrack for the trailer and finishing the first half. Working on J.C Ralls new short thriller Kathryn set in the 1890's which I’m looking forward to scaring the S*** out of everyone with. I’m on all sound on that one, from boom to score so I’m really excited.


Seize The Night: Behind the Scenes with Cast & Crew Part 1

We here at the EGS are lucky to be able to bring you Part 1 of our behind the scenes info from the upcoming Seize The Night! We hope you enjoy.

 

Producer / Director (Emma Dark)

Emma is a filmmaker, actress and model specializing in all things macabre. She started modelling in 2008 and quickly made a name for herself. In 2012 she won World Goth Day’s Best Model, which was covered by Cosmopolitan and various other media machines. She went on to star in Kim Wilde’s horror music video ‘Every Time I See You I Go Wild’ in 2013, playing a lead role.

2014 also saw her moving forward in her film career, taking part as an official judge at the prestigious British Horror Film Festival, producing/directing a horror fan short (Island of the Blind Dead) with fellow filmmaker Merlyn Roberts and embarking on her first, self-produced, horror short Seize the Night (2015).

“ I’ve lived and breathed Seize the Night for the best part of 2015. It’s been a distinctly tough but extremely rewarding journey. I’m looking forward to showing off the result of the hard work and dedication from everyone involved in the production. ”

 

Screenwriter (Richard Humphries)


Based out of Virginia, USA, Richard is a prolific screenwriter crossing genres from action to drama, fantasy, and horror.

He graduated from the Savannah College of Art & Design in 2011 and when not writing he is an Associate Manager with the Regal Entertainment Group theater chain. 

“ A big thanks to social media otherwise I would never have been able to participate. Despite issues with time-zone and distance, I was never out of touch during the development and writing of the screenplay. It was a wonderful collaborative effort, being a soundboard for ideas to grow and developing them and the universe into something more than what the audience would expect. Looking forward to pulling back the veil, the night holds many secrets to be seized. ”

 

Cinematographer (Donato Cinicolo) 

Donato shared the camera work with AJ Singh, assuming more of a traditional on set DOP role. He also assisted Director Emma Dark with a level of co-direction when required.

His interest in cinematography began in art school where Donato made experimental shorts on 16mm and 8mm format. In 1999, after several years as an established professional photographer, he made the move to digital photography and once again began making short films and music videos. A photographer, filmmaker and published author, Donato believes that creativity comes in many forms, and that different crafts or disciplines cross-fertilise each other.

“ Seize the Night is probably the best looking, slickest short film in which I have worked for years. I’d like to work with Emma again, though not in sub-zero temperatures! ”

Cinematographer (AJ Singh)

With a skill set ranging from cinematography and stills photography to action direction and stunt coordination AJ assumed multiple roles on SEIZE THE NIGHT. This included sharing the cinematography role with Donato Cinicolo, action direction alongside Roy Scammell and behind the scenes videography.

A practitioner of the Martial Arts, for over 20 years, AJ has a solid background in several fighting disciplines, and has spent the past 15 years studying the art of on-screen action. AJ has served as Action Director and Fight Choreographer on several Independent action features

Composer (Eric Elick)

Eric is an American composer and singer-songwriter based in southern California. He started composing music in 1998 in a diverse range of genres, including classical, alternative, pop, experimental, new age, jazz, epic, solo piano, and electronic. Most recently Eric has broken into film scoring, being most well known for the award winning independent film, The Tour (2014).

Eric has recently completed original scores for the films The Package (2015) and Seize the Night (2015) with other projects set to be announced in the latter part of 2015.

 " Working on the music was a fun experience! Emma has been wonderful to work with! ”

 

Fight Coordinator (Roy Scammell)

 

Roy is a legend in his own lifetime, having spent over six decades in the movie business. He began skating professionally while still in his teens, eventually touring the world with a show called “Holiday on Ice”. This led to gaining the interest of Hollywood and getting involved in stunts on a film called TRAPEZE starring Burt Lancaster and Tony Curtis. On returning to England, Roy’s film career as a stuntman quickly accelerated. He drove one of the Minis in THE ITALIAN JOB; was stunt arranger on Stanley Kubrick’s CLOCKWORK ORANGE; worked on six Bond films; did many projects with Ridley Scott including ALIEN, where he doubled for Sigorney Weaver as well as playing the Alien itself in the shuttle ejection scene. Roy has shared the silver screen with greats such as Frank Sinatra, John Wayne, Sean Connery, Roger Moore, Michael Caine, Tony Curtis, Paul

McCartney, Peter Sellers, etc. Roy also worked on many TV series including DR WHO, THE SWEENEY and THE PROFESSIONALS.

 “ I had been hearing about pre-production on Seize the Night from my friend Donato – we always talk about films when we’re together. When Emma asked me to be fight coordinator on the short I was delighted to be able to help. I try to encourage young talent whenever I can; it’s important for young film makers to learn from experienced people in the business. On location, I was very concerned about actors’ safety. When you’re doing a fight scene with actors that is always my primary concern. The beauty of working with a small team is that it becomes a temporary family. I felt sorry for the location owner; he just watched us having fun and he got very cold! ”