I love scary movies and I love blood and guts and severed heads and tangled up intestines everywhere. I guess tangled-up intestines are kind of the same thing as guts, but, wow, do I love grisly gore. It seems like older horror movies often focused more on the psychology of how horrifying a situation or act was and newer horror movies put more attention into convincingly showing every stab and every spurting artery on camera. For example, especially when you factor in what audiences of the time were used to, Last House on the Left was really shocking in 1972. It’s slogan was “To avoid fainting, keep repeating it’s only a movie, only a movie, only a movie.” Most of the most horrible events in the movie, you hear the suffering, but you can’t really see what is going on. By contrast, the 2009 version seems to be shot somehow higher quality, partly just due to the technology of modern cinematography. To my modern eyes, the color palette is more pleasing in the 2009 Last House on the Left. More of the gruesome parts are visible, although they could still go more extreme with that, for my taste. But the new one somehow loses some of the aura of menace, while at the same time vastly improving special effects and general overall look. Partly I suppose Aaron Paul just didn’t seem very scary to begin with and he already seemed like a tragic hero to anyone who had seen him play Jesse in Breaking Bad. You can research more about both the 1972 film version and the more recent 2009 remake at Wikipedia and you can read a bit about Last House on the Left distribution channels for horror at Blue Blood.
Horror special effects definitely have come a long way since the seventies. Now though, the special effects are, not to sound ironic, to die for. Trust me, if the quality of movies were still the same as they were a few decades ago, you can bet that I wouldn’t drop what I was doing over at http://www.partybingo.com just to watch some crappy special effects, and acting that we will just label as sub-par. Thank god though, that isn’t the case! To prove my point, just go watch one of the many (I think there are eight) movies in the Saw series, or if you are really up for some cringing, then watch Hostel.
So, in conclusion, I’ll watch the seventies movies for the acting and the newer ones for the special effects, but the special effects really have to be pretty impressive. I’m thinking about going to see Texas Chainsaw Massacre 3D. I figure, even if the acting is all Disney Channel, the special effects on that have to be worth a theater ticket.
Though it’s already available on home video over in the UK, Lowell Dean’s insanely fun WolfCop (review) has still yet to make its way stateside. That all changes in the early portions of 2015, when a big ole howl will be heard in your DVD collection!
Bloody Disgusting got the exclusive on this tasty tidbit of news, as RLJ/Image Entertainment tipped them off that WolfCop is soon headed to the states in the form of a DVD, Blu-ray and VOD release.
In the meantime, check out the new release art below!
Written and directed by Lowell Dean, the film stars Leo Fafard, Amy Matysio, Aidan Devine, Jesse Moss, Sarah Lind, Jonathan Cherry, and Corrine Conley.
WOLFCOP follows Lou Garou (Fafard), an alcoholic cop who tends to black out and wake up in unfamiliar surroundings. However, lately things have taken a strange turn. Crime scenes seem oddly familiar; Lou’s senses are heightened; and when the full moon is out, he’s a rage-fueled werewolf. WOLFCOP is one cop’s quest to become a better man… one transformation at a time.
Are you in Los Angeles and looking for a little Sasquatchploitation to get dirty with? Then YOU are in luck because we’re giving away five (5) pairs of tickets to the premiere of Eduardo Sanchez’s Exists!
The screening takes place on October 23rd at an L.A. theatre at 7:00PM PT with a Q&A with Eduardo Sanchez to follow. These tickets GUARANTEE you entry so once you’ve been picked as a winner, you’re all good!
To enter for your chance to win, just send us an email at email@example.com, and we’ll contact you on the 22nd if you’re chosen with the exact location and more details! Be advised you must be at least 18 to win as the flick is rated R.
Exists will be arriving on various VOD platforms and in limited theaters on October 24th.
In Bigfoot’s bold return to the big screen, five friends on a camping weekend in the remote woods of East Texas struggle to survive against a legendary predator that is stronger, smarter, and more terrifying than anything they would have ever believed exists.
The film stars Chris Osborn, Dora Madison Burge, Roger Edwards, Samuel Davis, Denise Williamson, and Brian Steele and is produced by Jane Fleming, Mark Ordesky, Robin Cowie, and J. Andrew Jenkins. Exists, written by Jamie Nash, is executive produced by George Waud, D. Todd Shepherd, Gregg Hale, and Reed Frerichs, and the Sasquatch creature was designed by Spectral Motion.
Synopsis For five friends, it was a chance for a summer getaway— a weekend of camping in the Texas Big Thicket. But visions of a carefree vacation are shattered with an accident on a dark and desolate country road. In the wake of the accident, a bloodcurdling force of nature is unleashed—something not exactly human, but not completely animal— an urban legend come to terrifying life…and seeking murderous revenge.
The Buffalo, New York, area is making quite a name for itself in the indie horror realm, and set to kick off in just a few weeks is the Buffalo Dreams Fantastic Film Festival, which shines a light on both notable new international films and homegrown talent involved in the genre and beyond. Here are ALL the details for 2014:
From the Press Release Buffalo Dreams Fantastic Film Festival, which runs Friday, November 7th, through Thursday, November 13th, at the Dipson Eastern Hills Cinema, has announced a diverse selection of films for its sophomore season. Eastern Hills Cinema is located in the Eastern Hills Mall, 4545 Transit Road in Williamsville, New York.
The mission of Buffalo Dreams is to bring the finest independent films from around the world to Buffalo and to spotlight the most talented artists from Buffalo’s burgeoning film production community. The festival focuses on science fiction, fantasy, horror, action, thriller, and animation and this year included comedy for the local categories.
Some highlights from this year’s slate include the Buffalo Premiere of The Romans, a crime drama written and directed by Korey Green and co-written and executive produced by Larry Quinn, former owner of the Buffalo Sabers; a new spaghetti western, 6 Bullets to Hell; the Mexican metaphysical mindbender El Incidente/The Incident, which premiered at the prestigious Sitges Film Festival and sold out four screenings at Fantastic Fest in Austin, Texas; and the sci-fi flavored action film Channeling, which combines reality TV, car chases, and cutting edge technology. In all, the festival will screen 19 feature films, two medium length films, 39 shorts, and 12 music videos. In addition, the festival will judge 18 entries in its Original Screenplay Competition. Eighty-six works were selected from almost 300 submissions from around the world.
“This year’s roster of outstanding films proves we’re about more than horror films, ” says Dreams co-founder Gregory Lamberson. “We program all genres and feature several comedies and a local drama, and we continue to support locally produced films such as Rhonda Parker’s romantic comedy Friends Don’t Let Friends – Date Friends, Ken Consentino’s horror thriller Within, and 13-year-old Hope Muelbauer’s short film Zombie Kids.”
Many films at the festival will be followed by Q&As with the filmmakers. Green, Quinn, and several cast members from The Romans will attend their gala event, and Isaac Ezban is traveling to Buffalo from Mexico City to present El Incidente. Canadian filmmaker Brett Kelly will screen his James Bond spoof Spyfall, and Ryan Bellgardt is coming from Oklahoma to show his raucous time travel adventure Army of Frankensteins.
“The notifications from filmmakers who will be attending are already pouring in,” says Lamberson’s partner, Chris Scioli. “Last year 30 filmmakers came to screen their work. This is what makes a film festival truly special: the opportunity for festival goers to interact with filmmakers of all stripes and for the filmmakers to network with each other. A real camaraderie develops that shows the city at its best.”
A complete listing of all selected films follows. Admission is $9.00 per block, usually consisting of one micro-short or music video, one short, and one feature, with a $7.00 discount available for students, seniors, and patrons with military ID. A Day Pass for four features on Saturday, November 8th, costs $25, and Day Passes for Sunday-Thursday (three features per day) cost $20. An All Festival Pass costs $99. Advance tickets will go on sale soon from Dipson Theatres, and you can get more info on the Buffalo Dreams Fantastic Film Festival website. Submissions for 2015 will open in December.
Buffalo Dreams Fantastic Film Festival Official Selections 2014 – 19 features, 17 Original Screenplays, 2 Medium Length Films, 31 Short Films, 3 Micro Short Films, 12 Music Videos = 84 works
FEATURE FILMS 6 Bullets to Hell Army of Frankensteins Athena Axe to Grind B.O.Y.D. (WNY, Non-competition) Call Girl of Cthulhu Channeling The Drownsman (Canada) Elizabeth Bathory (WNY) Friends Don’t Let Friends Drive (WNY, World Premiere) El Incidente/The Incident (Mexico) The God Question Julia Mostly Dead (WNY) The Romans (WNY, Buffalo Premiere) The Search for Simon (UK) The Shower Spyfall (Canada) Within (WNY)
ORIGINAL SCREENPLAYS (Feature Length) “Belzec: The Made Undead” by Steffan Postaer “The Crimson Confession” by Raymond Just “The Cursed Flesh” by Anders Nelson “The Devil Inside” by Gabriella Messina “Don’t Let the Bedbugs Bite” by Ron Brawer “East Side Girl the Musical” by Max Segal “Hangover Man” by Nick Roth “Iron Dogs” by Neil Chase “The Last Vikings” by David Throndill “Lost Cause” by David Schroeder “Love & Robots” by Dennis Schebetta “Midnight Daisy” by Jesse Vigil “The Night Witches” by Steven Prowse “Rain of Terror” by Matthew Lorentz “The Roman Downsizing” by John Leary “Sardis the Merciful” by Christian Thomas “Silverblood: Dawn of the Wolf” by Fiore Derosa and Samantha Talbot “Steal Away” by Jon Paul Reese “The Witch’s Hand” by Wendy Joseph
MEDIUM LENGTH FILMS The Outlaw: Evil Women (WNY) Scope of Practice (WNY)
SHORT FILMS Bodies in Irreversible Detriment By the Hair of the Head Chomp Dead Hearts (Canada) Demonic Frequency Dieu Reconnaitra les Siens/Let God Sort Them Out (France) Gave Up the Ghost (WNY, Non-competition) Ghost Light Hands Like Suitcases (WNY) Happy Birthday, Mr. Zombie (Belgium) The Heebie-Jeebies Hellyfish Henry and the Midnight Dentist (UK ) In Fear Of: Glossophobia, the Fear of Speaking in Public In Fear Of': Toxiphobia, the Fear of Being Poisoned Job Interview (Germany) Killer Kart Meet Your Maker Monstro! One More Day Orbit Ever After (Ireland) Road Test (WNY) The Routine Ruby’s Skin (UK) The Shepherd 9m, (Canada) Sepulcher (WNY) Stolen from Society (WNY) Sunshine for Breakfast Teasers Territorial Waterborne (Australia ) Watch Over Me (UK) Zombie Kids (WNY)
MICRO-SHORT FILMS A Fight to Propose Sign (WNY) Leviathan Ages (UK)
MUSIC VIDEOS Ace in the Hole: Enthralled (WNY) Bill Carter – “Anything Made of Paper” Bohemian Rhapsody: Star Wars Edition Burn Away: Shane Cole Decapitation Delica-m: Mean Something Delica-m: Pretty in the Dark (Canada) Find a Little Boogie (WNY) Loving Myself Mulligan’s Island The Outlaw: Theme Song (WNY) Stay With Me
At the end of April, Syfy announced a third installment in its Sharknado juggernaut will be heading our way in summer 2015, and today they dished some new details. Read on and bring an umbrella.
After the original Sharknado swept across Los Angeles and Sharknado 2: The Second One turned its deadly fury on New York City, be on the lookout for Sharknado 3 to hit the entire Eastern Seaboard. The announcement was made at the network’s Orlando-based press tour this morning and reported by IGN.
Interestingly enough, beginning with an attack on Washington, D.C., where, as Dave Howe, President of Syfy and Chiller, said they will finally be giving the nation’s capital “what it deserves,” the sharks will move along the coast, landing in none other than Orlando, FL. The airborne water beasts will wreak havoc on the “Feast Coast.”
Sharkado 2: The Second One co-stars Ian Ziering, Tara Reid, Vivica A. Fox, and Mark McGrath. Among the guest stars are Kelly Osbourne, Judd Hirsch, Judah Friedlander, Andy Dick, and Perez Hilton. The movie, which was filmed in New York City, was directed by Anthony C. Ferrante from a screenplay by Thunder Levin (both of whom worked on the original Sharknado).
The upcoming Sharknado 3 will once again be produced by The Asylum. Look for more soon!
It isn’t often that I have the time to do book reviews these days, but when Christopher Rice’s The Vines showed up in my mailbox just days before I was leaving on a cross-country trip, it seemed serendipitous, and I excitedly packed the thin volume in my suitcase, planning to check it out on the return leg of my journey. I cracked it open just moments into my four-hour flight home, and now, less than three hours later, here I am writing this review, feeling happy to have spent time with such interesting characters and situations, yet slightly sad that our time together had come to such a swift conclusion.
The book’s synopsis, which mentions “dark forces” residing in the ground beneath a former Southern plantation located just outside New Orleans, didn’t quite prepare me for the wild ride I was about to take. The Vines begins the night of a birthday party for Caitlin Chaisson, wealthy owner of the aforementioned estate, known as Spring House, during which she spies her husband, Troy, cheating on her with a pretty blonde. All her life Caitlin has felt unattractive and inadequate so needless to say, this discovery leaves her in quite a state; and she retreats to the gazebo located on the grounds, where she cuts her arms and wrists, ready to end it all. But those forces – the “vines” of the title – have other plans and absorb her blood. They spring to life, consuming Troy, traumatizing his paramour, and leaving Caitlin questioning reality. They also heal her wounds and leave her feeling empowered so maybe they’re not all bad?
Meanwhile, Nova, the Spring House groundskeeper’s daughter, sees just enough of what transpired to begin her own investigation, teaming up with Caitlin’s childhood friend, Blake, to try to put the pieces together. Currently Blake and Caitlin are estranged because he tried to warn her about Troy’s two-timing ways, and she wouldn’t hear of it. When he tries to overcome their differences and learn more about the vines and their magic, she shuts him out, leaving him no alternative but to work with Nova and, later, her father, Willie Thomas, to save himself and Spring House.
A lot of bat-shit crazy stuff happens that would probably sound ridiculous if I were to attempt to summarize it so suffice to say that although The Vines is lean (just 214 pages), it’s also quite mean, and horror fans should eat it up! Oh, and did I mention that there’s also some very nasty business involving massive swarms of bugs that do the vines’ bidding? That ought to get your attention if you’re the squeamish type.
As you’d expect for a story set on and around a plantation, slavery and racism play a big part in the history and subsequent actions of the vines, and there’s also a subplot regarding a hate crime that took place several years prior involving Blake and his young gay lover during their high school years. To Rice’s credit, neither of these hot button issues feels heavy-handed or preachy in any way as things organically unfold and the vindictive vines begin wreaking havoc on those unlucky enough to find themselves in their path.
Most of the action revolves around Nova and Blake, and things move quickly with the entire tale taking place over just a few days. Rice’s style is brisk and spare with no fluff or filler; every word belongs and advances the story. The violence the vines and their insect minions leave in their path is brutal and vivid, and the characters are richly drawn, proving that just a few well chosen words can convey volumes. As for that hasty ending I mentioned above, while it does leave a few questions open for a possible sequel, it is so completely satisfying that if one never comes, I won’t be mad at anyone.
The Vines is the first of Christopher Rice’s books that I’ve read, but it certainly won’t be the last. He may have only just begun to dip his toes into the supernatural waters his mother, Anne Rice, has mined so richly over the years, but here’s hoping he continues on that path with his entire foot, leg, etc.
Given the time of year it’s only fitting that we have a quick update on everyone’s favorite October franchise Halloween.
Earlier today in Orlando, producer Malek Akkad was on hand at a small Halloween screening event at the AMC located on the Universal CityWalk Orlando and he offered the following update. Thanks to STYD who was in attendance.
“It’s been a joy to work with so many creative people – ten films,” Akkad said, touching the franchise’s legacy. “We’re working on eleven as we speak. We’re working on a script right now. A new draft – perfect timing – is supposed to hit the day before Halloween. Hopefully my Halloween night reading will be a good read.”
Earlier in the year, reboot and sequel director Rob Zombie confirmed to SciFi Now that he wouldn’t be returning to direct. “I’m definitely not directing it if they ever do go ahead with a third movie.” Keep in mind at one point in his career Zombie also stated that he’d never do a remake.
Usually I’m the guy who knows all about what b-movies are airing where and when long before everyone else. Clearly I’m out of the loop of late because I only discovered late Thursday evening that Starve, a new horror movie from director Griff Furst (Ghost Shark) is premiering tonight on Syfy. This was particularly surprising news to me for four reasons:
1) Again, I’m usually the guy all over this kind of information.
2) Starve was not a made-for-Syfy movie. In fact, it’s very much not the style of movie they typically premiere. More Saw than Sharknado; it will be curious to see how much language and gore gets censored for television.
3) I don’t think Syfy has ever premiered a movie on a Monday before.
4) Did I mention I sort of co-wrote Starve?
I guess you could say I did a ghost rewriting of the film. Mostly put my spin on a good chunk of the dialogue and reworked a few of the story elements. I did more on Starve than Ghost Shark but you won’t see my name in the opening credits. If you squint really hard while the squished closing credits fly by at the end you’ll see my name billed as “additional dialogue”.
So what is Starve about?
A comic book writer, along with his vegan girlfriend and wisecracking brother, is researching a ghost town’s urban legend regarding cannibal people mutated by mercury contamination living in the sinkholes. What they find is even worse when they’re held captive by a madman in the town’s abandoned school, starved for days, and forced to fight other captives to the death for food.
Starve is the movie that answers the age old question, “Who do I have to kill to get a square meal around here?”
Bobby Campo, Mariah Bonner, Dave Davis, Bobby C. King, and Copper Huckabee star.
Starve premieres tonight on Syfy at 9/8 Central as part of their “31 Nights of Halloween”. If you miss it, it re-airs several times in November.
I really hope a bunch of internet film critics don’t make snarky comments about the movie. Those guys are such dicks.
While Halloween mazes and haunted houses may be de rigueur for most folks when October rolls around, the fun turns into true horror in the new found footage indie The Houses October Built. Bobby Roe directs and stars along with Zack Andrews, Brandy Schaefer, Mikey Roe, and Jeff Larson. It was made by Insidious and Paranormal Activity producer Steven Schneider and Andrews.
The Houses October Built (review) tells the tale of a group of friends who decide to visit extreme haunts all across the country leading up to Halloween. Throughout the documentation of their trip, they realize that something evil has followed them home.
The cast and crew were all on hand this past Friday night (October 17, 2014) in South Pasadena, CA, for the season opening of one of the country’s best and most beloved haunts: Evil Twin Studios’ Haunted House “Resurrected” at the Fremont Centre Theatre and Raymond Hill Mortuary.
There were also a few celebs wandering through the fog, most notably former Playboy model and Hefner plaything Bridget Marquardt. As you may know, she’s a huge fan of horror films and Halloween. She was in the first group of people to go through the Raymond Hill Mortuary haunt this year along with the filmmakers and talent. She immediately tweeted on the terror:
The quality of the sets and props is top-notch, and the interactive presentation offers the best blend of theatre and labyrinth. Last year some Yelp reviewers noted that younger children were observed crying upon exit, and a couple of patrons were cramped following the crawlspace portion of the haunt… what’s wrong with that? Seriously, though, be warned: Evil Twin Studios’ Haunted House is not for the faint of heart or weak of knee.
“Theatre of Terror” was ranked as one of LA’s top ten haunts in 2013. This year’s is even scarier and more interactive (this is not just a maze… it’s far more extreme than that). To make the Raymond Hill Mortuary the most memorable haunt of the Halloween season, the folks at Evil Twin Studios (Todd Schroeder, Scott Peterson, Jennifer Bandich, Russell Eaton, Mike Brunner, and John “DJ” Desjardin) have started fresh with an all-new theme, different scares, and a cause: Proceeds go to the South Pasadena Educational Foundation (SPEF). This October brave haunt tourists can support the schools, get the scare of their lives… and maybe even live to tell about it.
All the details and our image gallery follow with more about the movie below that.
Remaining Dates: October 24, 25, 26, and 31; November 1
Hours: 7-11 PM PT
Tickets: $13 online advance purchase, $15 at the door
You can watch The Houses October Built right now on VOD via all cable providers, iTunes, and Vudu thanks to a pervasive push by RLJ Entertainment and Image. The home video version arrives on January 6, 2015.
As Hollywood studios push for cinema to exist exclusively in digital media, there is a not-so-quiet cry for the grit of analog VHS. Part nostalgia and part need to hold on to something that is not just an ephemeral format, this fascination has kept the V/H/S franchise alive in the marketplace with its third installment, V/H/S: Viral, arriving first on (ironically) VOD platforms October 23, 2014, with a limited theatrical run slated for November 21, 2014.
The fetish for crackling tracking lines, the lack of image stabilization—this texture applied again to the subgenre of the found footage film, wrapped around an anthology series exploring highly different voices and narrative obsessiveness. These bits of hand-held voyeuristic techniques situate the audience’s eye as a direct participant within the movie’s action.
This immersion can also be compared to the first-person shooter type of video game, and it’s not just for kids anymore—on phones, tablets, and in most households we are experiencing worlds in a direct point-of-view orientation (heads-up-display) as we, ourselves, run headlong into strange worlds filled with danger and monsters, only to respond within seconds or lose our simulated life onscreen.
At Fantastic Fest Dread Central was escorted into two abandoned karaoke rooms to discuss V/H/S: Viral. The first room was inspired by Disney’s Haunted Mansion; the second, Jem and the Holograms. Our first interview with some of the creators behind the film’s segments did not start until everyone had whiskey— these then are their tales of applying the digital to resurrect the analog, told in two parts.
We bring you Part #1 from our Haunted Mansion group below; check back for more tomorrow.
GREGG BISHOP – WRITER/DIRECTOR (DANTE THE GREAT)
DREAD CENTRAL: Where did your idea come from?
GREGG BISHOP: The idea came from an article in 2007 about a police raid on David Copperfield’s warehouse, and it ended up being nothing; I think it was just a crazy assistant or something. But it just kind of was a springboard to the idea of: What if a real famous magician was dabbling in black magic and making people disappear? I thought it was just kind of fun, something you hadn’t seen before. That’s the whole thing with the V/H/S movies… each short is so unique and something you hadn’t seen before, and that’s what we’re aspiring to.
DREAD CENTRAL: How did you establish the point of view in the film?
GB: This one is a little unique in that it is a hybrid. Kind of like a documentary-style idea, where you have footage from the real world—so you have interview footage, security cameras, just footage from everywhere all put together…The idea is to give the film an energy. In found footage there are always challenges that happen in justifying the camera, so it becomes a problem. The whole thing’s a cheat anyway. We’re not trying to fool anyone. The producers say, ‘We’re past trying to fool anyone.’ Nobody’s been fooled by found footage since BLAIR WITCH. Everything’s a cheat. If you cut it’s a cheat. If you add subtitles it’s a cheat. We went in with the idea of not letting the found footage [style] mess with the story. Stick with story first, and abandon the found footage if we have to.
DREAD CENTRAL: So it’s an evolution of found footage; what would you call this new style?
GB: I don’t think it’s a new style. I’m definitely not the first director to do it. I mean, Neill Blomkamp did it in District 9, which I’m a big fan of. I I think we’re abandoning the tape idea this time. It was very much the rules in Part 1 and 2, but not in Part 3. There’s been END OF WATCH. Audiences are so smart these days they can make that leap. We had some ideas of making the whole thing found footage and floating cameras around, like in CHRONICLE, but that would take me more out of it. ‘Why is this guy floating cameras and pointing them at himself?’ Versus just telling the story.
JUSTIN WELBORN – ACTOR (DANTE THE GREAT)
DREAD CENTRAL: How were you selected for the role of Dante?
JUSTIN WELBORN: [Gregg] told me he had written this script with me in mind. We had done other films together—DANCE OF THE DEAD, THE OTHER SIDE. We’ve been collaborating for a while. He told me he wrote something with me in mind, so I said, “Let’s make a movie! What’s it for?” And when he told me it was V/H/S—that was a deal-sealer.
GREGG BISHOP: I just want to add that in casting Justin Welborn, I wrote the script for him because I knew he would come in with the missing pages. That’s what all great actors do is come in with your missing pages. He adds so much to the role that I couldn’t come up with myself. You turn the camera on the guy and he’ll say crazy stuff that you’re like, “Oh God! Thank God! I didn’t write that, but that’s awesome! We’re gonna put it in the movie!”
JW: I think all the craziest stuff was with the practical effects and especially the fire. I’m wearing this very flammable cape. We’re in a warehouse full of sawdust. I start throwing around fireballs, and you can’t missed with that stuff. And I missed. ALL THE TIME. I almost set myself on fire several times during the movie—but all worth it.
DREAD CENTRAL: Both you guys are huge horror fans?
GB: I didn’t really set out to do that, but horror films became the way to do indie films. If you want to make movies, make a horror film, and then we’ll do whatever else. And then all of a sudden you’re watching horror films all the time because you want to see what everybody is doing, and you’re involved with all the directors and all the other actors who are doing things. You can tell when somebody didn’t have a lot of money and took the world with it. So that’s really inflated the amount of horror that I’ve watched over the past ten years.
DREAD CENTRAL: Horror actors are always game to do crazy shit that actors in other genres aren’t.
JW: I think it’s a relief, and a release, and it’s always fun. You can have more fun making the movie than the movie turns out to be if you’re not too careful.
NACHO VIGALONDO: This is the first time I confess this, but this segment is inspired by my sexual past life. My story portal links two universes. I’ve been in both of them in my life. I don’t want to be too specific about it. My two most beloved genres are horror and science fiction. I love science fiction. I love horror.
DREAD CENTRAL: What do you love about science fiction?
NV: Science fiction is not a genre, actually. Every science fiction movie is a different genre, with science fiction tropes. Science fiction is more than a complete genre: it is a catalog of tropes which creates the craziness, the pull of some ideas. It makes your story reach for bigger places. (I don’t know how to say it properly, even in Spanish!)
I love science fiction. You can make a drama, you can make a comedy—it can be a perfect drama, a perfect comedy, even if they don’t have something new. You can make an old-school drama and go to the Oscars. But if you make science fiction, if you make horror, you are forced to do something new because people are not going to buy the same thing twice. So I love the fact that if you make science fiction or horror, you are forcing your imagination every time, and I love that aspect of the thing.
A good horror movie, a good science fiction, somehow has to tell you something new every time. It’s in constant renovation—I love that. And in this case when I found a way of mixing horror and sci-fi in this organic way, I instantly fell in love with the story. I wanted the found-footage element to really link it to the story. I wanted the camera in the hands of the guy to be part of the plot all the time.
DREAD CENTRAL: How is this very personal to you because they’re not polar opposites if you think about an average love affair?
NV: In the common universe, in the first universe, in the common universe, it’s not a sexual universe. The kind of relationship they have is kind of boring because he’s working in the basement, and she’s sleeping up there. That universe is not sexual at all. And the other universe is hyper-sexual. Everything has to do with sex, all the time. They have genital monsters, and they seem to be sexual predators all the time. And they seem to have set this kinky time. The Satanic element is somehow in the background, it is not as important. I thought it was funny to tell how in both universes, the non-sexual and the hyper-sexual, things are going wrong for the two guys, in two places. I wanted to find some kind of balance between these two different universes.
DREAD CENTRAL: How did you come up with the upside-down crosses, with the blimps, with the world-building aspects?
NV: I love Satanism. I love all the aesthetics around it. If I lived in San Francisco in the ‘70s, I’d be a follower of Anton LaVey. In science fiction, I’m more of a fan of Philip K. Dick than of Ray Bradbury. I like Ray Bradbury, but he’s so nice all the time. I prefer darker science fiction.
DREAD CENTRAL: What was the inspiration for your segment?
MARCEL SARMIENTO: The inspiration in general was to try to do something different from the first two movies. Instead of having a slow burn like the first two movies, which kept coming back to the same place, to come back to something different each time. To sort of jolt the movie forward. There was this viral video that some kid took of a police chase right outside his house To take it on the road, to expand the mythology a little bit.
DREAD CENTRAL: Did you use a lot of analog techniques in your cutting and to create the texture of your segment?
MS: Yeah, I thought because this was like a change, because it was the wrap, and after breaking it up each time for twenty minutes at a time, it was difficult for the audience to come back for two or three minutes, to get back into it. I felt that emotionally… very glitchy, arty, to have fun with that whole thing, to take it to the nth level.
DREAD CENTRAL: How was it working with the actors in your segment?
MS: It was good. Most of them, it was the first thing they ever did. It was fun—we had all night shoots, and wet, in the L.A. river in muck. When you do something like this, you’ve got to be down for it because you’re certainly not doing it for the money.
DREAD CENTRAL: So you do it for the love of the genre?
MS: Love of the genre, yes. This was a chance to do an experiment. You don’t have that many opportunities to do that, and V/H/S is one of those. That’s why so many segments really shine, because people really took a chance.
DREAD CENTRAL: Do you think because of this experience, it will evolve the look and feel of what you work on in the future?
MS: I don’t think I will do found footage stuff, unless I find something that’s more of a hybrid, something like Gregg’s segment. I’m not a fan of shaky-cam – I know my wrap is very shaky. So I approached it as doing something that I know really isn’t my forte.
DREAD CENTRAL: So you approached it as ‘I don’t like shaky-cam; I’m going to do a lot of shaky-cam’?
MS: We didn’t say we were going to do a lot shaky-cam, but just the fact that there were a lot of chases, and we were running around with GoPros — it was going to be fucking shaky. So we just made the choice to try not to make it as less shaky as possible, but it’s going to be frenetic, and right in the middle of the movie, it might not make a lot of sense, but at least it’s going to be something fresh. It’ll feel like you’re getting your money’s worth because it’s five different little stories and we’ll tie it all up in the end. So that was what was exciting for us to try.
Dread Central: Were any of you influenced by the anthology horrors of the ‘80s or ‘90s, like Creepshow or “Tales from the Darkside”?
GREGG: I grew up watching old “Twilight Zones” and “Amazing Stories.” I really looked forward to every episode. It was more TV stuff for me. I’d always loved anthologies and always wanted to be a part of one, so when they invited me, I thought, ‘What better one to be a part of?’ It has such a long line of fantastic directors and creative people.
JUSTIN: I watched “Tales from the Darkside,” but I also read all the comic books. House of Mystery, House of Secrets, all that kind of stuff. I was always, “I want all the comics in the world!” (SCARY VOICE:) “YOU GET ALL THE COMICS IN THE WORLD!!!” “NO! AAARRRGHH!” (LAUGHS). Now, Cain, give me the evil moral of the story! “Be careful watch you wish for!”
MARCEL: Watching all that stuff growing up, I don’t even remember referring to them as anthologies. I feel like that term is sort of a new conceit in the last ten years. I just remember seeing shit I liked on “Twilight Zone.” They worked perfectly for what they were, and I didn’t expect any more. I loved that shit.<
NACHO: Compared to US television, Spanish network is a piece of shit!
DREAD CENTRAL: But you had boobs, though, right?
NACHO: Not on television: We didn’t have boobs, we didn’t have “Twilight Zone.” But here I am, I don’t know—I survived! I remember being blown away by the ‘80s remake of ‘”Alfred Hitchcock Presents” on Spanish TV. I didn’t know it was a remake at the time. I was so impressed by the stories, and then later I found out they came from people like Roald Dahl. I loved the fact that the morals are there all the time. Those are not fantastical stories, but I love how perfectly crafted they are. They found a way to tell the perfect story, with the perfect assemblage of pieces, of really small pieces. I loved the fact that you could tell a story with so few elements.
Synopsis A police chase after a deranged ice cream truck has captivated the attention of the greater Los Angeles area. Dozens of fame—obsessed teens flock to the streets with their video cameras and camera phones, hell—bent on capturing the next viral video. But there is something far more sinister occurring in the streets of L.A. than a simple police chase. A resounding effect is created onto all those obsessed with capturing salacious footage for no other purpose than to amuse or titillate. Soon the discovery becomes that they themselves are the stars of the next video, one where they face their own death.
“Congratulations. You are still alive. Most people are so ungrateful to be alive. But not you. Not anymore.” We live in a vastly different world than we did 10 years ago when the original Saw captured billions of fans worldwide in its cinematic trap. Between Facebook and Twitter you can now connect to Jigsaw’s universe like never before. That being said…
Do you want to play a game? There is only one way to win. One key and it lies within your video camera.
To enter this contest, record your best impersonation of “the Jigsaw voice” and post it to social media (Facebook, Twitter, Vine, Instagram, YouTube, etc.) so that we can see it, and one lucky survivor will be rewarded with all sorts of Saw related goodies courtesy of Lionsgate.
The prize pack include these items:
– 10th Anniversary Final Poster
– SAW DVDs 2, 3, 4 & 5
– SAW 4 T-Shirt $15
– SAW 4 Final One Sheet
– SAW 3 Mini One Sheet Final
– SAW 2 Key Chain
– SAW 3 Post Card (puzzle shape)
– SAW Pen
This is IMPORTANT: Make sure your post is tagged with the hashtags #MYJIGSAWVOICE and #DreadCentral so that we can find you. Earn additional entries by getting your friends to share and retweet your posts. The more times your Jigsaw impression is shared and reposted, the more entries you get!
Hurry, the deadline for this contest is 11:59pm on Sunday, November 2nd. One winner will be selected at random from all the entries that fit the above criteria. Make sure you follow @DreadCentral on Twitter and Like https://www.facebook.com/DreadCentral so that we can notify you if you win!
Be as creative as you like. Impress John Kramer and you might just survive the game!
So, get to it and enter this Saw 10th Anniversary contest right now!