Crash Discussions: Deadly Dolls

The Last KnockPuppets, mannequins, and dolls bring terror in a special psychological package called pediophobia. We explain where this unwarranted fear comes from and how producers have used it to plague audiences with these deadly dolls from MAGIC and POLTERGEIST, to LOVE OBJECT, DEAD SILENCE, and the entire PUPPETMASTER series.

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Crash Analysis Support Team: A Little Bit of Horror in Paris… Guest Post from Emilie Flory

Visuel1Pifff

With the explosion of a genre stunner that’s going to trigger some serious shock waves: Starry Eyes

A little bit of horror in Paris with the Paris International Fantastic Film Festival that just wound up its fourth year!

A little bit of horror… But too little, far too little in the end! If it’s true that globalization pushes creative movie products and works to the sidelines, French distributors’ heroic blinkered attitude toward genre films, which are constantly growing, makes you wonder! Showing hastily subtitled copies of John Dies at the End and All Cheerleaders Die was, from this standpoint, an unbelievable challenge for PIFFF during its previous years. The possibility of offering us stock cinema horror in 2014 has been reduced even more. Yet the audience is there, always in greater numbers, eager, loyal… Cult screenings, X-rated, out of competition or in competition, evening or afternoon, genre film fans filled the Gaumont Opéra movie theater, just a few minutes from the Paris Opera house.

Out of the eighteen movies shown, only eight were in competition. The festival’s highlight was the fantastic “Alien Invasion” night from 11PM to 7AM with: Invasion of the Body Snatchers by Philip Kaufman, The Blob by Chuck Russell, They Live by John Carpenter and Killer Klowns from Outer Space by Stephen Chiodo. Great movies all, but nothing very new. Whether it was French rigidity or this still young festival’s poor visibility, no world-wide premiere found its way into the selections.

Two fun nightmares, a delirious pseudo S&M tale, a trashy trip in the everyday life of a video journalist and the appalling transformation of an aspiring actress into a star without a soul, here is a brief summary of what we could have seen during these horrific Parisian screenings…

*** SPOILER ALERT ***

The Cult Screenings:

A NIGHTMARE ON ELM STREET (1984) Wes Craven – 91 min

Re-released in theaters and presented at PIFFF with a perfect copy for its thirtieth anniversary, A Nightmare on Elm Street was certainly one of the best moments festivalgoers experienced. This top-notch horror film, winner of the Critic Award at the Avoriaz Fantastic Film Festival in 1985, still surprises by the tension it establishes from one end of the movie to the other and by the imaginative insanity it displays. Right from the tense and biting first scene with opening credits, shivers thrill through us… The movie’s impact on the big screen is phenomenal and Wes Craven’s genius fantastically powerful. Craven is never better than when he films our nightmares as being the sole and unique reality: We are awestruck by Tina’s disembowelment and levitation, we are staggered by Nancy’s fall into the bottomless pit that her bathtub has become and, most of all, we are petrified by the horrendous carnage committed in the bedroom of Nancy’s boyfriend where a young Johnny Depp, playing her immature lover, turns into a geyser of blood before changing into a torrent, then into a swimming pool full of gore. These mind-blowing scenes are pure moments of madness and filmmaking genius, of rare visual and emotional beauty. A Nightmare On Elm Street still remains today just as surprising, terrifying and exhilarating. In the same style, one has seldom done as well since.

WAKE IN FRIGHT (1971) Ted Kotcheff – 108 min

Shown in the festival with a restored copy after long years in limbo (there were no VHS or DVD releases or TV airings, nothing that would have made it possible to build up this fierce, exceptional movie’s reputation), Wake in Fright has been released in theaters and finally shines forth in all of its voracious, nihilistic and frightening splendor.

The director of First Blood puts us alongside John Grant, a polished “Rambo” who takes on the appearance of a young teacher on his way to Sydney to find his fiancée in an arid Australia where the feeling of isolation and insecurity rival with stupidity, idleness and cruelty. After stopping at Bundanyabba, a small town where he’s going to get bogged down in a gambling addiction, forced alcoholism, sexual brutality, the slaughter of kangaroos and self disgust, Grant is going to return to his home, back to square one, without managing to make it to Sydney…

By showing us the tragic path taken by his sleek, conformist hero, Ted Kotcheff reveals the fine line that separates humanity from animality, and the point where loss of morality and survival merge: An arduous and intimate trip in the revolting lands of human disgust.

The X-Rated Screening:

R100 (2013) Hitoshi Matsumoto – 100 min

R100, whose title refers to the Japanese system of movie classification (understand here that this movie is off limits to any moviegoers under the age of 100), is an “X-rated” comedy, half-absurd, half-cartoonesque with parallel plots and scenes of people in the audience commenting on the movie, apparently to muddle the story. The film is about an ordinary man who signs a one-year contract (with no breach possible) to get roughed up by delectable creatures. Frightened by the painful and dangerous onslaughts these eccentric dominatrixes inflict on him every day, the man ends up breaching his contract at the risk of his life.

The inclusion of short sequences, revealing possible questions the audience might have about the show it’s watching, confirms the idea of a movie by staging the fantasized reality of a hero who’s suffering. All these women, torrid and cruel, are in fact the fruit of his imagination. Through them, the hero gives his tormented mind the punishment it deserves, and gets him closer to the woman he loves – who now lives hooked up to an artificial respirator. The movie ends with the idea that a maximum threshold of suffering would explode all rationality, making this man even capable of giving birth…

Is R100 screwy? Oh, yeah, big time! Yet we remain outside of what is happening on the screen. There are a few striking moments in the movie, like its superb introduction with this fascinating creature who is primping in front of a mirror, or the grotesque dance of the “queen of spit” who inadvertently kills herself plus the irresistible whip attack by the amazing Lindsay Kay Hayward, the movie’s real revelation. But the lack of pace, suspense, provocation and outrage (no scandalous scenes interrupt the comfort the story settles into), when coupled with the movie’s complex meaning, make R100 a lovely objet, somewhat cold and unconventional, but rather boring.

Out of Competition:

NIGHTCRAWLER (2014) Dan Gilroy – 117 min

Released as Night Call in France, Nightcrawler, screenwriter Dan Gilroy’s first feature film, is a tour de force. It’s a thriller where day scenes were shot in 35mm and night scenes in digital. Scope was added in a lab.

The action takes place in Los Angeles. The hero, Lou Bloom, is a petty thief who finds his calling by selling shock video footage to local TV stations. His ambition, supported by a successful beginning and questionable methods, gradually turns into an obsession…

Nightcrawler is a hypnotic movie totally driven by an impressive Jake Gyllenhaal. The actor, who also produced the film, gives 200% of himself in a role of chilling ambiguity. Less charming and rougher than Tom Cruise’s Vincent in Collateral (the two movies are somewhat related particularly in the atmosphere they generate), Jake Gyllenhaal’s character hides behind his good-natured smile as a predatory being that’s purely sadistic. Since Gyllenhaal is very likable, we accept Lou’s true face and his flaws.

In the movie, we follow the path of Lou, a sorry ass loser who struggles to find a job and is forced to steal to survive, up until the day he happens upon an accident. He sees two reporter-scavengers specialized in shooting shock footage that, once sold, will be shown on local TV stations’ major shows. Driven by an evident thirst for revenge, by a definite liking for risk and a remarkable sense of initiative, Lou sees his chance, seizes it, and builds the future he wants as a video journalist. Quicker and smarter than the average person, Lou learns and calculates everything in a flash. He’s out of place, he surprises, he even manages to reach his goal, but once all his efforts are rewarded, he knowingly proves unworthy of what he receives and sets out to enslave all those who helped him on his way up. To make her his “thing,” he humiliates the woman he desires (René Russo’s magnificent) and sacrifices his only friend, hastening his death. He becomes monstrous and bluntly reveals his true nature: “And what if I didn’t have communication problems with people… In fact, what if I didn’t even like them!” he concludes as his “best” friend dies in front of him.

Besides Lou’s fantastic character and Gilroy’s brilliant directing, one of the movie’s most interesting aspects lies in this unbelievable feeling we have of living through certain events as though they were real news items, which suddenly invite themselves into the story without having been asked. In this regard, the murders perpetrated in the villa, the shootout in the fast food restaurant, and the amazing chase through the streets of Los Angeles, are impressive in their realism and efficiency.

One of the other fascinating things about the movie is the vision it portrays of our cannibalistic society – of the alarming insecurity in which individuals struggle and the callousness the hero displays to get ahead (which he succeeds in doing very well). If Lou’s character has no empathy, doesn’t the system as it exists today contribute to the emergence of this kind of person?

In Competition:

STARRY EYES (2014) Kevin Kolsch/Dennis Widmyer – 96 min

Starry Eyes is the second feature film by the duo Kolsch–Widmyer, who also directed Absence, released in 2009.

Starry Eyes showcases the descent into hell of Sarah Walker, an aspiring actress who is ready to do whatever it takes to get her name on the top of the bill. Sarah lands an audition likely to open the doors to glory, but to get the part she covets, she has to pay a high price by submitting to the wishes of a strange sect that holds the keys to power in Hollywood.

Shot with a Red Camera in Los Angeles over a period of 18 days, the movie benefits from a solid screenplay, directing that is spot on and incisive, cinematography more than well-crafted, and fabulous actors including the brilliant Alexandra Essoe in the title role of Sarah, and the extraordinary Maria Olsen as the casting director, the pawn of a libidinous producer.

Alexandra Essoe, literally bares all in the role of this fragile beauty suffering from trichotillomania (the compulsive urge to pull out one’s hair), and who is determined to sell her soul. She becomes just as disgusting outside as inside after having inflicted the worst upon herself and having accepted the unacceptable. Very Faustian, the character undergoes multiple physical transformations according to her psychological malaise and her mentality and body suffer. Sarah is pushed in her descent to Hell by a woman who could be her mother and whose character, played by Maria Olsen, has a central place in the story. In fact, this woman is going to catch Sarah pulling out her hair in a ladies restroom and decides to let her pass another audition so she can make her dreams come true. She’s the one who is going to warn her about what she will bring upon herself if she refuses to follow the rules, and she is also going to encourage Sarah to prostitute herself. This severe-looking woman, who sees everything and knows everything, is her true catalyst. She represents the maternal authority that Sarah is deprived of. She is the one who could positively guide the heroine and would almost be tempted to do so, as a certain gleam in her eyes suggests when Sarah sees the producer for the second time. A sententious mother, a possible protector, a rival, a confidante? The character is all those things and Maria Olsen recreates them fantastically. When Sarah chooses glory and the sale of her soul by joining the sect, the character of this fictitious “mother” disappears…

Sublime, radical and atrocious, Sarah’s metamorphoses captivate and repel. The movie’s high point takes place in the last half hour when Sarah takes control of the story by becoming the story, and by giving herself what she wants more than anything else: to be a star, even if that means being responsible for an unprecedented massacre. The communicative elation with which the heroine gets revenge on her entourage (especially her oblivious and futile roomie friends) and the memorable, endless carnage she delights us with, offers one of those intense movie moments that remain etched in our memories for a long time.

With the theme of the actor who dreams of glory and gets tangled up in her fantasy world, Starry Eyes is somewhat related to Black Swan (which deals more with the performer’s schizophrenia) and especially Mulholland Drive (more oriented toward rivalries, the quest for recognition and absolute love). Just like the latter film, Starry Eyes attacks the Hollywood star system and the monstrosities it engenders. But even though its criticism of Hollywood is admittedly heavy-handed, the movie is more satirical and the presentation of the cheap group that constrains Sarah to prostitute herself (the sect represents temptation and the base instincts that lie dormant in Sarah) is resolutely symbolic. As for horror, it’s well rooted in reality, both brutal and straightforward. The directors confide having been more influenced by the French trash horror wave (Frontier, Martyrs) and Polanski rather than Lynch or Cronenbeg.

Starry Eyes is therefore a real little cluster bomb that has already had a lot of press since being shown in festivals. I would bet that the shock wave effect it produces isn’t about to stop.

Emilie Flory.

English translation by Cameron Watson.

 

Emilie Flory is a screenwriter/filmmaker.

She has, among other things, written and directed Processus5, a 10-minute futuristic short movie shot in 35mm that was critically acclaimed and screened at HollyShorts Film Festival in Los Angeles. She is currently writing a sci-fi feature movie and looking for producers and investors for her horror feature film project Trauma Dolls.

Trauma Dolls was a semi-finalist at the Shriekfest Screenplay Competition in 2013, and finalist at the Fright Night Film Fest in 2014.

In 2014, the Trauma Dolls’ trailer was an official selection at the HollyShorts Film Festival: http://www.imdb.com/video/wab/vi2091035673

Find Out More Here:

Interview with Billy Crash on THE LAST KNOCK:

http://crashpalaceproductions.com/2014/08/10/crash-discussions-interview-trauma-dolls-director-emilie-flory-cinematographer-tariel-meliava-dialogue-coach-cameron-watson/ …

 

Interview with Dean Sills for UK HORROR SCENE:

http://www.ukhorrorscene.com/an-interview-with-emilie-flory-by-dean-sills/

 

Interview with Emory Slone for MALEVOLENT (16-19):

http://joom.ag/1aTb?page=18#.VDKVHcLrPxU.mailto

 

http://www.iconelabelpictures.com/

https://twitter.com/EmilieFlory

https://www.facebook.com/ilp.iconelabelpictures

 

Paris International Fantastic Film Festival Trailer: http://youtu.be/3KHxMjMXcOA 

(Photos from Emilie Flory.)

 

Crash Discussions: Atomic Terror

The Last KnockThere’s a reason why GODZILLA and THEM! spread fear across the screen in 1954, as well as CHUD and CLASS OF NUKE ‘EM HIGH in the 80s. We swim through pools of nuclear waste to discover why radioactive mutation scares the hell out of us – even beyond the fears of the Cold War. Atomic terror…don’t miss this show.

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Crash Reports: 1,000 Foreign Horror Films

A-Tale-of-Two-Sisters-posterOkay, that title is a lie. Although I’ve hit the magical number of 1,000 foreign horror films, the end result is tremendously skewed. After all, many are co-productions, and some even have four nations involved.

I love foreign horror because it brings insight into what haunts other cultures. For instance, Asian horror cinema is loaded with revenge ghost stories that say much about their collective concerns for those who have passed on. Yet, many American fans of the genre fail to indulge in foreign terror tales because they hate to “read a movie.” Get over it. Dubbing is abysmal because the voice actors can’t capture the emotion the original actors brought to the narrative. In addition, native tongues bring a beauty and resonance lost in flat and usually emotion free dubbing. For instance, the fabulous vampire tale LET THE RIGHT ONE IN is amazing in its native Swedish, but the dub is horrendous and completely detracts from the viewing experience. (I think I threw up a little when I heard the lifeless voiceover.) Plus, the more subtitle based films you indulge in, the easier it gets to read and watch at the same time.

Here are the nations that serve as my top ten for horror, including how many films I’ve engaged in from that country:

  • UK                                206
  • Canada                        134
  • Japan                           119
  • Italy                               85
  • France                           75
  • Germany                       66
  • Spain                             55
  • South Korea                  38
  • Australia                        37
  • Hong Kong                    19

Most notably, if you avoid foreign horror because of subtitles, you are missing out on some amazing work from non-English speaking countries. Here are my top 33 favorite foreign horror films (the list excludes any co-production with the United States):

 

The Legend of Hell House (UK, 1973): A haunted house with a murderous attitude.

The Last Wave (Australia, 1977): The great Peter Weir brings more suspense and introspection.

The Changeling (Canada, 1980): One of the creepiest haunted house movies of all time.

Possession (UK, 1981): The most gut wrenching breakup every captured on screen.

Videodrome (Canada, 1983): Amazing thematic body horror from master David Cronenberg.

Cemetery Man (Italy, 1994): Quirky zombie horror comedy fantasy that mesmerizes.

Cube (Canada, 1997): Low budget character study with ramped up intrigue.

The Ninth Gate (France/Spain, 1999): Roman Polanski’s under-appreciate horror book hunt.

Audition (Japan, 1999): Takashi Miike “be careful what you wish for” freak out.

Blood: The Last Vampire (Japan, 2000): Mind blowing vampiric brilliance anime.

Ginger Snaps (Canada, 2000): Coming of age in grand lycanthropic fashion.

Dog Soldiers (UK, 2002): Pack versus pack! A stellar action horror from Neil Marshall.

A Tale of Two Sisters (South Korea, 2003): Mind-bending suspense with punch.

Grimm Love (Germany, 2006): Gut twisting true tale of consensual murder and cannibalism.

The Orphanage (Spain, 2007): Amazing, dramatic horror for people who hate the genre.

Let the Right One In (Sweden, 2008): The greatest vampire film of all time?

Martyrs (France/Canada, 2008): Brilliant, disturbing film with one of cinema’s best final lines.

Pontypool (Canada, 2008): Horror’s most unique premise with the great Stephen McHattie.

Triangle (UK, 2009): After each viewing, more is learned from this stellar mind trip.

Antiviral (Canada, 2012): Celebrity obsession in the extreme.

 

What are your favorite non-American horrors? 

(Photo from Thoughts on Film.)

Crash Discussions: The 100th Episode!

The Last KnockCome join us as we tackle some pretty hefty questions from fans in our 100th episode. Billy and Jonny talk about what scares them most, what they look for in a horror film, and what child friendly horrors might exist. We’ll even tell you about our favorite lines from HELLRAISER, and what movie we’ve both been dying to talk about. Oh, and there’s so much more – maybe too much!

Interested in more? Check us out on iTunes.

Crash Analysis Support Team: Found (2012) – Guest Post from Jonny Numb

c0957-found-poster[103 minutes. Unrated. Director: Scott Schirmer]

(Potential SPOILERS)

IN A GLASS CAGE remains one of the most potent films in an admittedly small subgenre pond: that of the psychological horror centering around child molestation and murder. Its status as an anomaly has only strengthened its reputation and effect over the years – like SALO, it lingers long after being viewed. Despite the potential tastelessness inherent in tackling such a taboo subject, writer-director Augusti Villaronga never steers the material into easy resolutions or tension-relieving humor (indeed, there’s no place for it). The tale of a symbiotic relationship between an iron-lung-confined Nazi and his male nurse, it seethes with queasy sexual tension and psychological darkness. CAGE shows less than it tells (and implies), and therein lies the difference between it and something like FOUND.

I will give director Scott Schirmer credit – his treatment of Todd Rigney’s source novel is something we haven’t really seen since CAGE. That being said, while FOUND gets points for its concept, it also falls victim to the technical, aesthetic, and thematic pitfalls that Villaronga’s film so carefully avoided.

In the eyes of the status quo, Marty (Gavin Brown) is your atypical fifth-grader: a social recluse obsessed with horror movies and comic books, with a normal-on-the-surface home life. Mom (Phyllis Munro) and Dad (Louie Lawless) are supportive, if distant. Perhaps this has something to do with Marty’s older brother, Steve (Ethan Philbeck), who wears a permanent scowl and disappears during the night. In the opening scene, Marty discovers a severed head in a bowling bag in Steve’s room, and rightly suspects his brother is a serial killer. The increasing body count and Steve’s unhinged, anti-social behavior begins to manifest in Marty, leading to a conclusion that represents its own sort of symbiosis and torch-passing.

As far as horror goes, this is an excellent premise, ripe with sociological and psychological potential. Rob Zombie’s HALLOWEEN cast light on Michael Myers’s childhood, showing his transformation from a troubled kid into a killer, but that only constituted a portion of the tale. Similarly, TV’s “Dexter” visited the main character in flashback, chronicling his need to satiate “the dark passenger.” While FOUND doesn’t venture into the pedophilic terrain of IN A GLASS CAGE, its depiction of the relationship between the brothers still possesses the same type of dueling psychological heft.

Like I said, there’s much potential for greatness. But FOUND is a painful example of a concept unmatched by its execution.

Per the IMDb, the movie was made on a shoestring budget of eight grand. While I don’t debate a film’s merits or shortcomings based on budget alone, here it casts an impossible-to-ignore glare over nearly every aspect of the production. The actors are unfamiliar, and the performances range from compelling (Philbeck almost single-handedly redeems the film…almost), decent (Brown), to caricatured (Munro, Lawless, and nearly every other adult). One of the challenges of incorporating children into an adult-content storyline is the potential that the underlying themes will go unarticulated, and such is the case with FOUND – the interactions between the child actors fluctuate between apathetic and exaggerated (almost every four-letter word is delivered with a self-consciousness that is, frankly, understandable).

Insofar as the film’s violence is concerned, there are effective moments that recall the “less is more” approach of HENRY: PORTRAIT OF A SERIAL KILLER (particularly the opening), but the scenes of on-camera brutality are a mix of poor fight choreography, unnatural reactions, and inconsistent make-up FX. As FOUND lurches into its final act, it gets lost in its gory extremes, reducing the impact of the character piece that’s gone on before. (That being said, it would make an interesting addendum to Crash Palace’s “Home Is Where the Horror Is” study.) Furthermore, a sequence midway through – intended to show the blurring lines between Marty’s fantasy and reality – overstays its welcome, transforming into a gratuitous excuse to see some sicko fuck a severed head.

On the technical side, FOUND shows its low-budget faults in the sound recording: I found myself frequently adjusting the volume on my TV to make out what characters were saying, and noticed a fair amount of background noise on the soundtrack. At best, this disengages the viewer from the action; at worst, it diminishes the profundity of the subject. Additionally, Schirmer’s scene setups are unimaginative, attempting stylistic flourishes that run counter to the realistic tone the film is trying to capture (the “under-the-bed” scene is a prime example).

But there are affecting moments to be found: when a pastor (Andy Alphonse, who turns in the film’s best performance) questions Marty on his bad behavior, the words and delivery match the greater ambitions of the script, bringing notions of spirituality and redemption into the morally murky waters. Better still is a well-performed scene between Marty and Steve that culminates in a confession followed by an unexpected display of brotherly love. Amid the weaker aspects of FOUND, these are two examples of the greater movie trying to break through.

Unfortunately, this intersection of performance and aesthetic doesn’t occur often enough. It’s hard to deny the ambition of FOUND, but it lacks the proficiency in front of and behind the camera to sustain itself on ambition alone.

2 out of 5 stars

Jonny Numb is a proud prole in service to that Orwellian nightmare known as State Government. He writes movie reviews at: numbviews.livejournal.com. Also find him on Twitter at @JonnyNumb and Letterboxd – username Jonny Numb. And, of course, he is the co-host of THE LAST KNOCK horror podcast on iTunes.

(Photo from Hell Horror.)

Crash Discussion: Interview with the Keeper of the Crimson Quill

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Billy Crash sits down with the grand master of the horror film review as well as the short story, known as the Keeper of the Crimson Quill. In a sincere discussion, we explore his work, what drives him, and what may be next for him in film. This is one candid conversation with a truly devoted craftsman you won’t want to miss.

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Crash Discussions: Interview with Donna Swensen

1404738834_37795279001_3662535362001_video-still-for-video-3662506531001In the Jacob Ennis horror, KILL, GRANNY, KILL! Abby Daniels (Alicia M. Clark) leaves her family and rents a secluded farmhouse in the country. But there are rules to follow, and once she breaks them, Grandmother Mildred Mays (Donna Swensen) unleashes the horror.

Now, the star of the film, the wonderful Donna Swensen, takes time out from her current film projects to introduce herself and answer a few questions.

KILL, GRANNY KILL! will be released soon…

 

Tell us a little about yourself.

My family roots are Utah Mormon although I am not a Mormon. I grew up in St. Paul Minnesota where my father was a commercial illustrator. My mother was also an artist. We moved back to the Salt Lake area and I majored in art (painting) at the U and eventually worked as a commercial artist. This went on as I moved to San Francisco, Los Angeles, and finally to New York with twists and turns along the way. Around 2007/2008 any art career I had was very diminished and I thought perhaps I could do some background work for film. I found that frustrating and started acting classes. The main teacher I had for more than four years was Roger Hendricks Simon. I managed to get some principle jobs for TV, the Internet and short films in a fairly short time.

 

In KILL, GRANNY, KILL you play grandmother Mildred Mays who harbors a disturbing secret in her home. What drew you to the role?

I was invited to audition for this role and I sent them a couple of videos. They contacted me through my Backstage resume, I think, because of my age and non-union status. They needed a grandma type. I was never drawn to horror especially, but the Mildred character had some complexity and the fact that it was a lead role drew me in. You might say I just stumbled into this horror film.

 

How did you prepare for the performance?

Practicing going over lines repeatedly. I also was going to another theater class and practiced some of the scenes with others as a performance.

 

What was the set like on KILL, GRANNY, KILL, and how did it differ from your other films?

I was flown out to Kentucky and driven from the Louisville airport to a small town. I stayed in the director’s mother’s home. The area around the town was readymade for horror. Decrepit barns, broken down houses, weird artifacts, etc. Kentucky is famous for ghosts. It was difficult in that it was so low budget the hours could extend more than comfortable to get the work done. The director, Jacob Ennis, did an amazing job in directing, doing the camera work, and improvising in a limited time frame. The whole experience was unlike anything else I have done as an actor and was more interesting.

 

Do you enjoy horror films? Do you have any favorites?

I do not seek them out. I watched a lot of “True Blood” on HBO but got tired of it eventually. I like some of the old classic horror films. The current horror films I have not seen.

 

In 2015, your other horror, DEATH: A LOVE STORY will be released. Have you developed a taste for performing in horror Films?

I like strange, offbeat characters, horror or not. In that movie I am in a story called “Flip.” I am a creepy, slightly demented lady next door to a haunted house.

 

How did you get involved with television’s “Celebrity Ghost Stories”?

It was on one of the actor sites and I submitted. Also, I had a ghostly experience myself.

 

How does television differ from feature films, and which do you prefer?

If I had to choose, I think film, but I certainly wouldn’t turn down television. One may have more preparation time for film.

 

You have been involved with film since 2009, what brought you to acting and when did your career actually begin?

The last thing I ever thought I would do is act. I am an introvert. I did like to playact as a child with my friends and wanted to be in a Cinderella play as an ugly stepsister. My family left the summer resort area where it was to be, so that was the end of my childhood acting ambition. I thought I was going to be a visual artist and did a lot of drawing and school art projects. With acting, I started getting parts as soon as I started classes. At first they were student films and other unpaid jobs. I started getting paid local commercial work around 2009.

 

Besides acting, what do you enjoy doing?

Seeing live music performances. Mainly classical but I like many types of music. I would like to see more theater than I do. Films of course and good TV series. I like nature walks. Conversation. Food. Reading.

 

What is something you’d love horror fans to know about you?

I am speechless here.

(Photo from Movie Pilot.)

Crash Discussion: Thespians of Terror: Dee Wallace

The Last Knock

We take a look at one of horror cinema’s favorites, the amazing Dee Wallace. She brings a special strength to her characters – even when they seem most vulnerable. We’ll take a close look at her work in THE HILLS HAVE EYES, CUJO, the HALLOWEEN remake, THE LORDS OF SALEM, and more! Don’t miss this salute to one of the genre’s best performers!
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Crash Discussions: That’s Not a Horror Movie!

The Last Knock

Or is it? We take a look at those films horror fans love, but aren’t listed as official horror entries, such as: SEVEN, SILENCE OF THE LAMBS, THE TENANT, SALO, and much more. Find out why these films didn’t make the horror cut – and why it might not even matter…

Don’t forget to check us out on iTunes!