Exclusive Still and Q&A: Director Chad Archibald Talks Bite – Part 2
Sean Decker
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Earlier this week we brought you Part 1 of our exclusive Q&A with Bite director Chad Archibald, and now, as promised, we’re back with Part 2!
Revolving around a young woman who, upon returning from her bachelorette party in the tropics, begins to succumb to an insect bite (in most hideous ways) she acquired while there, Bite (review here) was conceived by Archibald, whose previous horror entries include the 2014 features Ejecta and The Drownsman. Jayme Laforest scripted, with the film produced by Archibald, Cody Calahan, and Christopher Giroux.
Bite is continuing its festival circuit run and currently seeking distribution so we should have some release info coming shortly. In the meantime let’s talk about the film’s effects.
Dread Central: You’ve previously mentioned the micro budget; yet, the production design in the film’s “hive” set is entirely impressive, as are the effects. What was your approach in set design, how did you execute it, and exactly what did you employ as the eggs?
Archibald: “One of our big struggles in the film was in how we were going to get enough eggs to fill that set. I went through tons of ideas, but it came down to a site that was selling these little pebbles you put in water and they grow. I ordered a pack from Ohio and put them in a bowl of water overnight in my bathroom. The next day I walked in, and they were everywhere! I was like, ‘These are perfect!’ So I ordered thirty thousand of them.”
Dread Central: Given the nature of the set, what challenges, if any, did you find in lighting and shooting?
Archibald: ”It was actually a great set to light because everything glistened. The DP and I had discussed our palette many times: We wanted this room to have cockroach colors. The goo was to be full of amber-like honey in front of a flame. As for challenges, the entire set was wet, sticky, and dripping so everyone was a mess. Once people gave up on the idea of staying clean, things moved a lot faster.”
Dread Central: The same can be said for the (refreshing) practical effects approach to your lead’s transformation. Who handled the FX, and do you feel your vision was achieved?
Archibald: Jason Derushie, Ariana Roberts, and Amanda Wood all worked tirelessly on [lead actress] Elma [Begovic] to create her final stages of makeup. They were the busiest people on set, as there was always a gag or some crazy goo request. Aside from that, our art team of Vince Moskowec, Jamie Kiff, and Cameron Nash, with help from basically everyone on set, created the entire set and worked nights to evolve the space between shoot days. Heroes all.”
Dread Central: The film has two very distinct locales and seasons, both further highlighted by the decision to frame one in cinema verite and the second in more traditional cinematography. Comment?
Archibald: “I think the found footage style has a place in films, but it’s often forced. This opening lent itself to the style as it fits the story. It’s a few girls on a bachelorette trip with their camera taking home videos. I also liked that the footage of their trip not only contrasts in season but in style.”
Dread Central: What was your experience with the Fantasia screening? Audience members are said to have either fainted or vomited during the film. Marketing ploy to go along with the branded Bite vomit bags passed out for it (nice William Castle touch, btw), or the real McCoy?
Archibald: “We had sent the screener out to a few reviewers before Fantasia, and the response was amazing, but the quotes were all describing the film with words like ‘disgusting,’ ‘vile,’ ‘uncomfortable,’ and ‘horribly putrid.’ As a horror filmmaker, I know those are rare compliments, but if my parents read them, they would think these people absolutely hated the movie. [So] we decided to own the gross factor and created these little barf bags that included a postcard of Bite along with a breath mint [for after you barf]. It was just kind of a joke giveaway. During the screening we witnessed some commotion along with some people stumbling out of the theatre (one woman fainting while climbing the steps of the theatre). I wasn’t sure exactly how to take it. It wasn’t until the credits rolled and the festival director came up to me and started showing me photos of the ambulance out front that I realized we got some serious reactions. Since then the story has gone viral, and we’ve been compared to everything from The Exorcist to A Serbian Film. It’s hard because the press is great, but Bite is nothing like A Serbian Film. I like to think it’s ‘fun gross.’ There’s nothing [in it] nearly as horrific or shocking as in A Serbian Film. I think maybe some people are just sensitive to tossing bug eggs and creepy crawling horror. I played with the materials for weeks so none of it grosses me out except maybe Elma eating the dead cockroach in the film, which was real!”
Dread Central: The punctuated ending sets up a potential sequel. Have you conceived a follow-up?
Archibald: “Right now we’re just focusing on this one, but ideas are always flying around. We had so much fun making the first that I’m sure it would be a great time making the second, but only if an idea is raised that gets us excited like this. I wouldn’t want to make the same movie over again.”
For more info visit the official Bite website, “like” Bite on Facebook, and follow Bite on Twitter.
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