- New Book JOSHUA HOFFINE HORROR PHOTOGRAPHY Collects 13 Years of Gorgeously Haunting Images
- Suntup Editions Releasing Limited Edition Signed Copies of Stephen King’s MISERY
- Interview: Co-Writer/Director Brandon Christensen Talks STILL/BORN
- Zombie Loses Limbs While Skiing on the Slopes in New Installment of Jeff Fuller’s Living Dead Comic Strip ZOMICS
- Q&A: Jesse Moss Discusses Playing a Father in STILL/BORN and Reflects on GINGER SNAPS
- Watch an Exclusive Clip from the New Sci-Fi Horror Movie BLACK HOLLOW CAGE
- Harrowing Home Invasion Takes Place in Blue Fox Entertainment’s Official Trailer for EAT ME
- Interview: Director David Bruckner on Adapting Adam Nevill’s Novel for THE RITUAL
- Full Release Details for Scream Factory’s BEHIND THE MASK: THE RISE OF LESLIE VERNON Collector’s Edition Blu-ray
- Q&A: Director Christopher Lawrence Chapman Discusses the Time Loops and Hospital Horrors of INOPERABLE
Posted: 08 Feb 2018 05:31 PM PST
For 13 years, photographer Joshua Hoffine has merged the worlds of reality and nightmares through images that are often as gorgeous as they are haunting. These glimpses into the darkness beneath the light of our world are on prominent display in a new hardcover art book collection coming from publisher Dark Regions Press, and we have full release details and a look at a gallery of Hoffine's work that might make you think twice about turning off the lights the next time you go to sleep.
Now up for pre-order (and expected to be released this March) as both a trade hardcover and a limited edition signed deluxe hardcover from Dark Regions Press, Joshua Hoffine Horror Photography includes two new photos created just for this release, in addition to Hoffine's previous stunning and unsettling visuals, some of which you can experience in the gallery below.
Some of these photos are NSFW:
The post New Book JOSHUA HOFFINE HORROR PHOTOGRAPHY Collects 13 Years of Gorgeously Haunting Images appeared first on Daily Dead.
Posted: 08 Feb 2018 04:50 PM PST
Last year through their coveted The Covers Collection, Suntup Editions gave Stephen King fans the opportunity to begin collecting prints of the iconic artwork that graced classic Stephen King novels such as Pet Sematary, 'Salem's Lot, and IT, and now they're releasing something that would please even the insanely high expectations of Annie Wilkes: the first-ever signed limited edition copies of Misery.
Scheduled to be published on August 8th and going up for pre-order on Suntup's online shop beginning Monday, February 12th, the new limited edition copies of Misery are a collector's dream come true. Featuring eight new illustrations by artist Rick Berry and immaculate, incredibly detailed craftsmanship, the new copies of Misery come in three versions: an Artist Gift edition signed by artist Rick Berry, and numbered and lettered editions signed by Berry and Stephen King.
In the official press release, photo gallery, and video below, you can learn more about all three editions of Suntup's gorgeous limited edition releases of Misery, which celebrated its 30th anniversary of its original publication last year. Will you be adding this collectible release to your bookshelf? We have a feeling that Annie would...
Annie Wilkes & Misery Chastain Art © 2018 Rick Berry
The post Suntup Editions Releasing Limited Edition Signed Copies of Stephen King’s MISERY appeared first on Daily Dead.
Posted: 08 Feb 2018 03:57 PM PST
Vertical Entertainment is set to release co-writer/director Brandon Christensen's Still/Born in theaters and on VOD tomorrow, and in anticipation of the supernatural thriller, Daily Dead caught up with Christensen to chat about his feature directorial debut and what inspired the script that he co-penned with Colin Minihan (Extraterrestrial, It Stains the Sands Red). Christensen also discussed the challenges he faced while making Still/Born and his experiences collaborating with the film's co-stars Christie Burke and genre favorite Jesse Moss.
Congratulations, Brandon. This movie subverted a lot of my expectations, and I thought it was really interesting that as much as the story is about Mary, it's also this story about Jesse's character as he's trying to save his wife and keep his family together. I'd love to hear about where the idea for the script came from and what your process was working with Colin, as I know you guys worked together on It Stains the Sands Red, which is another film I also really enjoyed. What was that back-and-forth like between you guys as you were putting this story together?
Brandon Christensen: Yeah, I was the producer on It Stains the Sands Red. It was the first time I ever worked on a feature film, and I'd been friends with Colin for a long time. When he sent me the script for that, and because I'm in Las Vegas and it's a script about Las Vegas, I was really adamant on helping out as much as I could.
So, Colin and Stuart [Ortiz] came out, and we just kind of scouted for a couple of days and found a bunch of little locations that we could shoot at, and immediately we went into pre-production and made that film. Then, as Colin was finishing up the film, he was thinking about the next one already. I had done some short films, and I'm a commercial guy, too—that's how I pay the bills—so he wanted to try and find something for me to direct. We looked around different script services to see if there was anything that we could option or something like that, but nothing felt really all that compelling for us at the time.
I randomly had this vision about a woman giving birth to two babies, and one of the babies dies and that information is communicated just through the looks between the mother and the nurse's eyes. Then, it would go to a smash cut of the mom in the nursery holding one baby, but there's two cribs on each side, so Colin and I started talking about that, and just developing it, looking more into postpartum depression, and ultimately postpartum psychosis.
The writing process was kind of interesting, just because we're long distance, too; he was in Toronto at the time, I'm in Las Vegas, so there were a lot of Skype calls and FaceTime calls, mostly pitching ideas, bad or good, and writing them down into Google documents and trying to format this script just how we needed it. It was super-fast. We had a really good rapport working. I know it was the first time we ever really worked together in that capacity, so it only took two or three weeks before we had a full treatment, and then maybe two or three weeks more we had a first draft. I tackled the first half of the film, and he tackled the second half, and then we would just go and read the script together, and make changes all the way through until we had a draft that we felt was good enough to send out to some of the producers that we wanted to work with.
You mentioned your commercial background and that you've done some shorts, but what were the challenges for you coming into this being your first narrative project? Considering this is mostly a one-location film, I'm guessing one of the biggest considerations you had to make was keeping the location visually interesting for viewers. You guys did a good job with that, though, because I thought the way you played up the shadows really heightened the atmosphere of the film.
Brandon Christensen: After we did It Stains the Sands Red, where we were in the desert with an hour or two-hour drive at four in the morning every day, when we were thinking about writing this script together, one of the main focuses was keeping it contained and comfortable because that was such a nightmare. So, like every writing decision, it was based on keeping it as small and cheap as possible, but it's funny because when we were scouting and everything, we were looking for a small, suburban, cookie-cutter home because this was a young family, it's their first house, and the script is written that way.
And we found this great house. It was empty, it was for sale, and the owner agreed to let us rent it for a month, and then when we were a week out of production, someone made an offer, a cash offer, and they couldn't turn it down. The possession was right at the beginning of the filming schedule, so we had to scramble. We looked all over for similar houses until we decided that my parents have this nice big house, maybe we can talk to them. So, the house in the film is actually my parents' house, and it's funny in some ways because this young couple has this huge, gorgeous lake house, and that's pretty improbable.
So, we wrote a couple lines in the film after we changed it, just to try and deflect from that, with the mom saying, "Aren't you a little too young to have kids?" and making Jack a partner in his firm at work and everything. But I think it was a blessing in disguise, ultimately, because the house is so ridiculously cinematic. Because Mary lost one of her kids, she doesn't feel whole, there's this fracture through her, and having this big house for them to be in, and even though it's a beautiful home and it's very well-decorated and everything, it's still very off-putting how small and alone she always feels, even when she's with the baby and her husband.
The house being the way it is definitely lent itself to just being able to dwarf her character and make her feel small and weak. It's also scarier any time you've got this big space to look at, when you're looking for something in the dark, because you never know what's going to be around the corner.
Can you talk about working with Christie and getting her into the fragile mindset of her character, Mary? You definitely put her through the wringer in this.
Brandon Christensen: Christie, in pre-production, started working with an acting teacher who had apparently gone through postpartum depression, so she was able to tap into that a little bit before we even went into production. She had a lot of ideas and thoughts about the places she could take Mary. And a lot of them were awesome and we were able to use a ton of them, but the nice thing is since it was an emergency move back to the house, I was actually living on set, and because the house has enough space, Christie was as well, so it was kind of a nice opportunity for us to be able to work together a lot during the day. If we were doing a night shoot, we would get up and talk about the day and go through all the things we were going to do that day, and some situations we'd be able to block them out fully before the crew even showed up, so it was a nice dynamic to have that because you don't typically have that much time.
It's a super tough role, obviously. It was her first time being the lead in a film, and she's on screen 95 percent of the time. Most of the time she's alone, so the movie lives and dies with her, and I think she did a great job, especially because we threw her into the gauntlet because of Jesse's schedule. He was only available for the second half of the shoot, so Christie was alone for six straight days before we started bringing in other actors. We started to film with all the big horror beats and stuff like that first, and then got into the other parts of the film later on.
You mentioned Jesse, who has been in a lot of films, and a lot of great genre movies as well. How much did his experience lend itself to the production itself, because he has been through this so many times in his career already?
Brandon Christensen: Jesse is just the most professional person I've ever worked with. It's hilarious because he's been a lifelong actor. I mean, he was on old episodes of Are You Afraid of the Dark? and he's lived on camera his entire life. One of the things that excited me, because normally with this kind of a budget and this range of film, we wouldn't be able to get someone like him, but Colin Minihan, my partner on this, had worked with him on Extraterrestrial, so they had a friendship from that. There was really no casting process outside of me having a 30-minute Skype call with him and just talking about parenthood.
And because he has a kid, he was able to tap into that for the film, which I was happy about because even though it's a film about Mary, it's also about this dad that doesn't really relate to what his wife is going through. There's a disconnect between them, because she had two babies inside of her for nine months, and at the end of the day, his character still sees the product of that pregnancy whereas the character of Mary will never feel the entirety of what she went through for those nine months. He just got this character, and he always knew exactly how to handle his scenes. Jesse was awesome to work with on this.
The post Interview: Co-Writer/Director Brandon Christensen Talks STILL/BORN appeared first on Daily Dead.
Posted: 08 Feb 2018 03:36 PM PST
You can lose more than just your skis when you hit the slopes in the zombie apocalypse... Since the first panels premiered on Daily Dead during Comic-Con, we've been excited to showcase artist Jeff Fuller's living dead comic strip Zomics, which finds the macabre humor in the everyday horrors of a zombie apocalypse. We release a new installment of Zomics every Thursday, and we're excited to share another panel with Daily Dead readers today!
This week's Zomics is a reminder that when zombies go skiing, it's not always a good idea to strap into your skis, especially if have a close encounter with a tree!
In case you missed Fuller's previous Zomics panels, you can check out all of them in the gallery below, and stay tuned to Daily Dead next Thursday for another installment!
Influenced by Dr. Seuss and The Addams Family creator Charles Addams, Fuller has worked as an award-winning art director for nearly a quarter of a century, garnering multiple Emmy and BDA awards. He turned his artistic talents to zombies when he started thinking about the comedic qualities that would live on in a zombified world:
"The origin of Zomics: While camping with my wife and kids we stared discussing what life would be like if there really were zombies. We decided that it would be a little scary, a little gross and a lot of funny. This was the birth of the single panel zombie comic strip, or ZOMICS for short."
Posted: 08 Feb 2018 03:07 PM PST
From his work on Ginger Snaps and Final Destination 3 to more recent projects such as Extraterrestrial and Ghost Wars, actor Jesse Moss has been a constant source of reliable performances in the horror genre, and his role as a first-time father in the supernatural thriller Still/Born is certainly no exception. With Still/Born coming to theaters and VOD platforms beginning February 9th, Daily Dead had the pleasure of catching up with Moss for a new Q&A feature, and in addition to discussing the character-centric story of Still/Born, Moss also reflected on the enduring love for the cult favorite Ginger Snaps.
Thank you for taking the time to answer some questions and congratulations on your new film Still/Born. What was it about this story that stood out to you and made you want to help bring it to life on screen?
Jesse Moss: Well, first of all I just wanted to work with the people involved. I'd worked with Colin Minihan and Christie Burke before and knew how incredibly talented they were. Then, when I had a Skype conversation with Brandon Christensen, I could tell that we were all on the same page and that we had the potential to make something great. It also happened around the same time I had become a new father myself, so the subject matter was quite interesting to me.
What did you enjoy the most about diving into your character, Jack?
Jesse Moss: Becoming a first-time father, you automatically have a certain amount of fear and anxiety around the well-being of your child, so it was interesting living in the extremes of those through Jack. It was almost therapeutic to be able to work out some of my issues through my character. It gave me some perspective.
Where did filming on Still/Born take place? Did you get a chance to hop on your long board and explore the local area?
Jesse Moss: We shot on location in Calgary, Alberta. I was filming something else at the time so I was flown in for basically ten days of straight shooting and then flown out. Not much time to cruise around and explore, unfortunately.
Still/Born is the feature film debut of director Brandon Christensen. What was it like to collaborate with Christensen on his first full-length movie? Did you give him any advice from the many experiences you've had on movie sets?
Jesse Moss: Brandon was great. We worked very well together. You wouldn't be able to tell that it was his first feature. He had vision, kept things moving, and he's a funny guy, so we were able to keep things light. That's important when doing a film like this. He's an old vet from shooting commercials and music videos, so he's very comfortable behind the camera. He didn't need any advice from me.
Looking back on the filming of Still/Born, is there a favorite or funny moment in particular that stands out to you?
Jesse Moss: The days with Michael Ironside were always great. It was the second time I'd worked with him and he's always such a force of nature. He's such an incredible actor, so to get to sit with him and pick his brain or just watch him work was amazing.
You and Christie Burke share some really intense scenes together, and your characters go on quite an emotional arc. What did you enjoy about working with Christie to make that relationship as genuine as possible?
Jesse Moss: Christie is such a powerhouse, so it wasn't hard to get there with her. We'd worked together before, so we were comfortable enough to be present and let the scenes live. She put so much work into her character and really carried the film. I was just along for the ride.
You've been in a lot of beloved horror projects over the years, and Ginger Snaps in particular continues to resonate with new generations of viewers who embrace its story and characters. Why do you think that film continues to have such a dedicated cult following?
Jesse Moss: Ginger Snaps was so well-written and directed, and Katie and Emily were so amazing as the two leads that it ticks all those boxes. It's also funny and quirky, yet still dark with all of the elements that horror fans are looking for. But I think the main reason is that it's still relatable today. Teenagers are going through the same things now as they were then. They can relate to the changes Ginger was experiencing both mentally and physically. Sometimes those changes really can feel like you're turning into the beast.
With Still/Born coming out in theaters and VOD platforms on February 9th, do you have any other projects with acting or writing that you can tease? Also, where can our readers stay up to date on your work online?
I shot a TV series last year called Ghost Wars for SYFY that will be coming out on Netflix worldwide sometime this year. It's about a small Alaskan town that gets overrun by paranormal forces. It's a really fun show that covers both the supernatural and science fiction sides of the afterlife. People can stay up to date with my work online through Twitter and Instagram @realjessemoss.
Photo credit: Above photo by Kristine Cofsky.
The post Q&A: Jesse Moss Discusses Playing a Father in STILL/BORN and Reflects on GINGER SNAPS appeared first on Daily Dead.
Posted: 08 Feb 2018 02:18 PM PST
If you've ever had a dog, they may have let you know when someone was outside your home at night, but the canine companion in the movie Black Hollow Cage goes one step further by warning their human friends of a nighttime visitor via a voice box in our exclusive clip from the sci-fi horror film.
You can experience a dog's futuristic communication and the eeriness of being watched from the shadows in our exclusive Black Hollow Cage clip below, which is a special treat just for Daily Dead readers!
Written and directed by Sadrac González-Perellón, Black Hollow Cage stars Julian Nicholson, Daniel M. Jacobs, Lowena McDonell, Haydee Lysander, Lucy Tillett, Marc Puiggener, and Will Hudson. Black Hollow Cage will be released in US theaters and on VOD platforms beginning February 9th.
The post Watch an Exclusive Clip from the New Sci-Fi Horror Movie BLACK HOLLOW CAGE appeared first on Daily Dead.
Posted: 08 Feb 2018 12:08 PM PST
Although she was in the process of taking her own life when intruders broke into her home, Tommy (Jacqueline Wright) ends up fighting to save her life one fateful night in the new movie Eat Me. Ahead of the film's theatrical and VOD release this March, Blue Fox Entertainment provided us with the movie's official trailer, poster, and images to share with Daily Dead readers.
Directed by Adrian Cruz and based on Wright's acclaimed play of the same name, Eat Me will be released in theaters on March 2nd, followed by a March 6th VOD release from Blue Fox Entertainment. You can view the official images, poster, and trailer below:
The post Harrowing Home Invasion Takes Place in Blue Fox Entertainment’s Official Trailer for EAT ME appeared first on Daily Dead.
Posted: 08 Feb 2018 11:28 AM PST
Exclusively arriving on Netflix this Friday is The Ritual from filmmaker David Bruckner, who has directed a variety of great genre projects over the last 10 years, including The Signal (which you'll definitely hear more on later this month for its upcoming anniversary), V/H/S, and Southbound. For his latest movie, Ritual, Bruckner has adapted Adam Nevill's novel of the same name. The film follows a group of friends (led by Rafe Spall, Hot Fuzz, Prometheus, Life of Pi) as they take a hiking vacation in honor of their friend who recently died, but their trip takes a sinister turn once they realize they're being stalked by an unseen malevolent force that will stop at nothing to ensure they suffer greatly.
Daily Dead had the opportunity to speak with Bruckner earlier this week, and he discussed his approach to tapping into the horrors of Nevill's novel, collaborating with Spall as well as the rest of his cast, the inspirations behind the mythology of The Ritual, and more.
Let's start off by talking about the genesis of this project, and creating a folk-centric horror film with The Ritual, especially because we don't see nearly enough stories like this in the world of genre cinema these days.
David Bruckner: Well, we had the benefit of basing this off of [Adam] Nevill's book, which goes much more in depth into who each of these guys are in a sense. Whenever working with adaptations, you do have to distill some of the territory he covers down into more defined beats in a sense, simply because you don't have as much time with a movie that you would have reading a book. But it starts with that in mind, where you've got that source material and you're trying to find a way to get across not just who these guys are in the situation they're experiencing, but who they are together as a group—their group dynamic.
To some degree, one of the things that interested me about the movie and the book was that Nevill had a character, Luke, who at one point or another, and for better or worse, was the alpha of this group of friends. As they have aged over time, and found themselves in their mid-30s, the tables had really turned, and he had lost the confidence of his friends in a lot of ways. I thought that was just a really interesting dynamic to stage a horror film upon, and so we created this convenience store moment at the front of the film, as a way to kind of distill those conflicts down into something the audience could experience. Most of the book is very much in Luke's head, and stuff like that wouldn't really translate directly to a movie.
So, I think all those things informed it, and then I just had the benefit of a really great cast and they were all bringing something different to it, in a sense. All you can do is just do the character work, whether you're in the woods or not, and hopefully a lot of that shows up on screen.
Oh, it does. And it's interesting that you mention the convenience store moment because it makes for a great gateway into this story, where you're forced to think about just what you would do in the same situation. And for me, that was a really human moment in The Ritual and it really helps define Luke as a character.
David Bruckner: There's a tension because he's playing the alpha, he's giving everybody hell for their ideas on what to do with their vacation and whatnot. And then in the moment where he could do something, he falters. So yeah, it instantly silences this brash character and I think Rafe had a really good handle on it from the get-go. When he got involved, we talked a lot about this kind of stuff. He's very interested in characters' weaknesses, and how they can sometimes not live up to what they had hoped to be, and I think that was a huge entry point for him.
I don't want to go into too much detail, just so we don't ruin anything for viewers out there, but there's an interesting pagan-esque folklore at the center of The Ritual, which I found incredibly interesting, and really unnerving, too.
David Bruckner: Well, I think Nevill's book really hopped through several different chapters in the history of the forest. So, they were finding ruins from old Norse cultures, and then Christian cultures that erupted after that, and there were many different variances of paganism that they sort of brushed against, too. Again, we had to distill that down to something simpler for the movie, but we wanted the sense that you were wandering through a history that you were only getting glimpses of, and there is a thread that can be followed in that sense in the film.
But, you're always trying to figure out how much you want to show the audience in that regard, because there's a certain audience member that wants everything laid out for them in a sense, so they can get the whole picture. And then there's another argument to only brush up against those things. So, we tried to strike a balance in that regard, and the mythology is built on a lot of Norse concepts, but we definitely took license to take it in a direction where there this is the malevolent thing that pursues you, but it is something that hasn't been explored yet, and it could have existed in that world.
The Ritual feels very ambitious, and I'm sure shooting out in the wilderness like you did here comes with a whole set of challenges for you as a filmmaker. How did you tackle being able to take an entire ensemble and crew out in the woods and get this film made?
David Bruckner: The Ritual is not a huge movie, but it was the biggest thing I'd ever done. I mean, bubble gum and duct tape is pretty much the kinds of stuff I've worked on up until now. This was a huge leap of faith in that regard. Also, I wasn't able to bring a lot of my regular collaborators with me on this, but I did bring a few in the end. To shoot in the Romanian wilderness was super challenging, though. We were racing winter because we never knew when the snows were going to come and once the snows come, you have serious continuity problems. We intermittently had to deal with hail, thunderstorms, and snow. We had an earthquake, and we had a bear problem, too.
I was told that the particular area we were shooting in has more bears than anywhere else in Europe—they are these big, impressive European brown bears. I never saw one, but the crew would often catch video of them, so we had to have security on set. That kind of stuff is interesting to pull from in a sense. As long as you're actually safe, just the awareness that it's out there probably feeds into the movie one way or another.
But yeah, I wouldn't have it any other way. The fact that it's an endurance film, and that it required a certain amount of endurance to create it, that's something you're pulling from the whole time. This was an on-location cast and crew, with everybody all in one lodge on top of a mountain in the Carpathians, and we all went for it.
You mentioned the endurance of this shoot. Can you talk about finding the cast that you knew would be able to do this film, because it's not just asking actors to go sit on location and shoot their scenes. There's a physical demand that comes with this film, beyond just the emotional things that they're going to go through as characters. How was it putting these guys together and making sure that they were going to be able to run the gamut from day one to the last day of shooting?
David Bruckner: Well, I had a lot of help from Rafe on that front. We knew we wanted Rafe to lead the movie, he was our first choice. I met with him when he was out here doing a TV show in Venice. We instantly spoke a similar language and saw the potential in this, so when he jumped on board, that was enough to guarantee the financing. Then, we brought on a great casting director, Julie Harkin, and she introduced me to many, many talented, fantastic actors.
I got to do group reads with all of the actors, and that really provides an opportunity for some rare exploration of the script, because you don't get a lot of rehearsal time on an indie of this size—if any. So, getting to measure their dynamics in the room, and calling some of these guys in several times, God bless them, to come in and read again, was a gift. That gave us room for everybody to explore what this is really going to be about, and what the challenges are going to be physically.
Once we got on set, Rafe really took it on as the lead actor, and a lot of days, I'm not sure if they did it every day, but a lot of days they would train in the morning before we would shoot, just to get in touch with the physicality of it all. That shows up on screen a great deal when it comes to their performances. But yeah, it was a lot of hiking into set and that particular plateau, I don't think there was more than 10 feet of level ground anywhere. Everything was on a slope, one way or another, so there's a lot of dimensional landscape going on, which I love because it photographs very interestingly, even if it can be really, really challenging to just get around. So, yeah, it was very physically intense for everybody, but particularly Rafe.
The post Interview: Director David Bruckner on Adapting Adam Nevill’s Novel for THE RITUAL appeared first on Daily Dead.
Posted: 08 Feb 2018 09:31 AM PST
Over ten years after Scott Glosserman introduced horror fans to a new name to fear in slasher cinema, Scream Factory is bringing Behind the Mask: The Rise of Leslie Vernon home like never before on a new Collector's Edition Blu-ray this March, and we now have a look at the full list of special features, including several new interviews:
Posted: 08 Feb 2018 08:48 AM PST
Combining the eerie atmosphere of The Twilight Zone with the time loop predicament of Groundhog Day and the immersive qualities of a first-person shooter video game, Inoperable was one of my favorite viewing experiences of 2017, so I was especially pleased to catch up with co-writer/director Christopher Lawrence Chapman to discuss the film in a new Q&A feature.
Thanks for taking the time to answer some questions for us and congratulations on Inoperable, which made my list of Favorites of 2017. When did you and Jeff Miller first come up with the idea for this movie?
Christopher Lawrence Chapman: Thank you so much! I was really flattered to make your list of favorites for 2017! I am so fortunate to have critics and writers like you who really know this genre and help tell the filmmaker's stories!
I had shot a few films in the past, and began working on a film with Jeff Miller. He and I met on the project Clowntown, and there we began the discussion of making another horror film. Jeff is a very accomplished producer and has produced many films. He gave me some thoughts about what he felt was interesting generally and what he felt would "move the needle," so I took the ball and ran with it. I drew on an experience I had (years and years ago) in a hospital while an actual hurricane was threatening the general area where this hospital was located. My mind began to wander and I felt it was such a great "world" in which to create a narrative to operate inside of. Natural disasters in films, especially if done discretely, are a really interesting tool to help drive a story along.
I love the hospital setting of the film. The operating rooms and long hallways really add another dimension of creepiness to the story. Where did filming take place, and how long was your shooting schedule?
Christopher Lawrence Chapman: We shot Inoperable in Pasco County, Florida, which is located about 30 to 45 minutes north of Tampa. It was actually an empty building, and production designer Bobby Marinelli and his team turned it into a hospital. At one point, many years ago, the location had been a functioning hospital, but then it was a government administration building, and then finally vacant. We resurrected it, and with proper production design, turned it back into a "hospital." After shooting, it was slated to be demolished.
It was fun shooting there. The building had character and one could feel the eeriness and loneliness in simply being inside. Personally, I felt really connected to the building since we were likely going to be the last real bit of "liveliness" and activity this old building would ever see again. The building, in my opinion, really helped sell the story.
Filming took 20 days, not including the time we spent prepping the location. Like most directors and filmmakers, I wished I had a little more time to shoot, but in our budget level, 20 days was about all we could squeeze out of the funds we had available.
It was so much fun to follow Danielle Harris on her character's journey throughout Inoperable. Did you already have her in mind for the lead role when you were writing the screenplay?
Christopher Lawrence Chapman: We didn't have her in mind when we wrote the script. We had a few names we wanted to talk to once we refined the script and began to crew up. Jeff brought up Danielle's name and the more we talked about her, the more we felt she was a great fit. She was great to work with, honestly, and very professional. A wonderful actor!
I have to commend you and cinematographer Giorgio Daveed on filming long, fluid scenes. Each segment felt like an orchestrated dance, because Harris had to travel through these labyrinthine hallways and hit her marks around every corner, and it was so fun to follow her via Daveed's immersive camerawork. How important was it for you to put the viewer right next to Harris in these time loop scenes?
Christopher Lawrence Chapman: Thank you for noticing that! We really wanted to bring the viewer along on an adventure of horror. Giorgio and I had worked together on numerous other projects and like the past projects, we always spend a lot of time in pre-production discussion and perfecting what we are trying to accomplish. I wanted this film to have a different/non-standard feel to it. I was kind of going for a third/first-person shooter type video game, to where the viewer felt like they were really experiencing all the sights, sounds, and feelings that "Amy" was experiencing.
Giorgio is an excellent DP and camera operator and by working as a team we were able to take risks with the camerawork that can pay off. Directors should allow their DPs (and other department heads) to use their craft and take the film to the level in which they have the skill set to achieve. After all, they are experts at their craft, and directors should realize that they were hired for their skill set and let them do their job and provide them the tools they need to accomplish this.
Again, Giorgio and I truly felt that we could take some leaps with the camerawork and push the envelope on what is more or less expected in horror films. I wanted it to have a very eerie feeling and be unsettling, almost to the point of being claustrophobic and physically uncomfortable. Since horror films especially are adventures of the senses, we wanted to immerse the viewer in that experience.
Looking back at your time on set, what was the most memorable experience you had while making the movie?
Christopher Lawrence Chapman: I love working with a good crew and cast. I love it when the cast and crew are enthusiastic about the film and bring that energy with them to set. I really enjoy sitting with them at a meal break or during a different scene set up and working with them to extract the most out of their character and sell it to the audience. For Inoperable, it was really fun, too, because some of our actors were related and two were actually married to each other, which I didn't realize until we were actually shooting, which was humorous the way I found out. It is very rewarding when a complicated shot, a long shot, works out well and everyone hits their marks perfectly. The energy you feel from the cast/crew is magical. I'm not a big sports fan, but I guess it would be like watching your favorite sports team win a game by scoring the final deciding point.
What was the most challenging scene to shoot?
Christopher Lawrence Chapman: It was probably some of the scenes where multiple actors are all running down a hallway and they have to break apart as a group and different things happen to different characters. Since we shot the film with a lot of long shots, this was especially complicated as the camera department, sound, and cast all had to be on their "A" game to the highest order. It's hard enough delivering your lines well with believability, but also when you have to run around, grab weapons, escape bad guys, and fight, all with crew members buzzing about their duties, it's much more difficult.
Were you inspired by any movies, novels, comic books, or video games when you were making Inoperable? To me, this movie feels like The Twilight Zone meets Happy Death Day meets Metal Gear Solid—a combination that I really enjoyed.
Christopher Lawrence Chapman: That's an interesting combination! I hadn't seen Happy Death Day, but I think, in retrospect, the film does feel like a combination of The Twilight Zone meets a third/first-person shooter/adventure game. We wanted the film to have a realistic, almost immersive feel to it, so the video game component was definitely a thought and design in the shooting. If horror films can be compared to rides at amusement parks, what better way than to have the viewer follow our lead than in an immersive, video game type of experience. As far as inspiration, I wanted a sort of psychological, thinking type of film where viewers would have to pay attention to be rewarded. But I don't think that a specific film or films really inspired me in the development, it was more of a combination of creepy thoughts and ideas that I had and the way we could weave that fabric together into a cohesive film.
Have you and Jeff thought of making a sequel to Inoperable or would you prefer to leave this story as one movie?
Christopher Lawrence Chapman: We didn't think of that possibility when working on the concepts/film, but it could totally work as a feeder for another film or sequel/prequel. The world we created, a hospital with a hurricane and time disturbances, would be a fun world to play in again and there is a lot more we can do to expand upon the story or tell a new one within a similar film universe. In fact, there was a good deal more to the story, originally, with a lot more depth and eerie backstory, that we were not able to tell due to budget and time limitations. It would be amazing to tell those backstories!
With Inoperable coming to VOD and DVD on February 6th, what other projects do you have on deck that you can tease, and where can our readers follow you and your work online?
Christopher Lawrence Chapman: Actually, we just wrapped on another project last week, where I was in a production/executive production roll. I can't give away too much detail, but it's a sort of horror film within a horror film. But for now, it's a closely guarded secret!
But check out our website at zoryafilms.com and also a new company that I started with a website of Akhlys.com. It's a film support company which is already off to a good start! Of course, we have Instagram and Facebook pages as well.
If you like other horror films, check out Clowntown, which is out on Amazon, iTunes, and various other sources. I was one of the producers on Clowntown. If you like simple love stories, I produced and directed a film called The Accident, which is out on iTunes, Amazon, and others. The scenes in The Accident are absolutely beautiful and it shows off, again, some of Giorgio Daveed's stunning camerawork. I loved working on The Accident and it is such a sweet and innocent love story which takes place around the holidays and Christmas.
The post Q&A: Director Christopher Lawrence Chapman Discusses the Time Loops and Hospital Horrors of INOPERABLE appeared first on Daily Dead.
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