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Mark Steensland Talks The Weeping Woman and Tengu

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Filmmaker Mark Steensland has been in our newsfeed quite a bit recently. Between the world premiere of his short film The Weeping Woman this weekend at Motor City Nightmares and the news that he had just acquired the rights to the novel Tengu, we thought it was time to talk to the man himself and find out more about his projects.

Dread Central: This spring has been shaping up to be huge for you, first the world premiere of your new short film, The Weeping Woman, and now the announcement that your Chang Shao Trading Co. recently acquired the rights to the novel Tengu. You have to be riding pretty high, right?

Mark SteenslandMark Steensland: Yes. It’s all good. We have a lot of irons in the fire right now, but that’s a requirement these days because the wheels in the film business tend to turn slowly.

DC: You are having your world premiere for The Weeping Woman this weekend at Motor City Nightmares in Detroit, do you have anything special planned for the screening? Any Q&A, etc.?

MS: We do. We have a couple of posters that have been signed by Stephen Geoffreys, and we plan to give those away. We also have buttons with the tagline that we’re going to give away, and I’m planning to give a few lucky audience members copies of Fabio Frizzi’s soundtrack from the iTunes store. I’m not sure what else we will have time for.

DC: You cast Stephen Geoffreys as your lead in The Weeping Woman; how was it working with Evil Ed?

MS: Steve is a great actor, and I knew he would be perfect for this role. I have to admit that I was nervous. We were going to have a very limited amount of time with him — only two days total — made even shorter by the fact that we had so little daylight because we were shooting in the middle of winter. I had met him at the Eerie Horror Festival in 2010, and I had a good impression that was only confirmed during the shoot. He really was a trooper to work in those conditions for that amount of time. We’re hoping to work together on something else in the future.

DC: Be honest. Did you ever say, “Oh, you’re so cool, Brewster!” to him?

MS: (laughs) No.

DC: You also cast Melissa Bostaph (a DC alum) as the titular Weeping Woman in her first role; how did she do?

MS: She was great, given all the pressure. And I think she really enjoyed the work. I understand she’s been cast in a couple of other things already so maybe this will be the start of something new for her.

DC: I have to ask: Fabio Frizzi, the man behind some of Lucio Fulci’s most memorable tunes — you got him on a genre project, his first in 20 years. How did that come about?

MS: I’m a huge Frizzi fan. I have to say it’s Fabio’s music that, for me, anyway, makes the Fulci movies what they are, especially City of the Living Dead and The Beyond I worked with Patrick Savage and Holeg Spies on my last three movies. They’ve since gone on to score films such as The Human Centipede so things are really breaking out for them, which is great. But there was some concern about getting our schedules to mesh. And then it just kind of hit me one day. I was listening to some of Fabio’s music and thought he would be perfect to score this movie. So I wrote to him and told him a little bit about the project. He read the script and he watched my other short films and he really liked everything so he agreed.

DC: What do you think about the final product (score)?

MS: Honestly, I can’t imagine anything better than what he did. The first time I heard his main theme, I totally flipped out. In my mind this score is right in there with the other two scores I mentioned. His music is so identifiable, and yet he managed to do something totally new without making it sound like an imitation of his other work. It’s fantastic. And it’s on iTunes for only 99 cents!

DC: How has The Weeping Woman been received by those that have seen it? How has the reaction been versus your previous projects?

MS: I have discovered that I am a more divisive filmmaker than I think I am. It just seems that some viewers get things out of my movies that I didn’t intend or see until afterwards. On The Ugly File, for instance, I heard that many people were really offended because it had to do with deformed children. Frankly, I was shocked. This wasn’t a reaction I expected — especially from a horror audience — but there it was. A lot of people were very uncomfortable with Sucker, but I think that was mostly because they were thinking about where the movie could go rather than where it actually goes. And as much as people seem to like Peekers, there are some haters out there. But that’s just the price of doing business. So with this one it’s been split. Some people really like it, and some people don’t like it as much as my other films. For me, personally, I have to say that I am very satisfied with this one. Working with Stephen and having Fabio’s music and the winter backdrop — I love it.

DC: Tengu. You just picked up the rights; what do you have in mind for this one?

MS: Well, I think it’s ironic that when we optioned the book, the Japanese tsunami and nuclear problems had not yet happened. So I feel like this might be a raw nerve out there because of the novel’s subject matter. On the other hand we’re exploring some ways that we might be able to make it work for us.

DC: Anything to say to fans of the novel?

MS: I’m a writer first and a filmmaker second so I respect the writing. As with every project of mine where we’ve adapted an existing story, we’ve made sure to involve the original author as much as possible. I won’t name names, but my writing partner and I were involved with pitching our take on a book to a major studio, and we came up with something we thought was a good adaptation. We were told that we had “stuck too closely to the source material.” Needless to say, we didn’t get the job. So, as with those other projects, Graham Masterton is totally involved. I think we may have to make some major changes — especially if we set it in the present day — but I don’t want to do anything unless Graham is happy.

DC: Any other projects coming down the pipe that you can talk about now?

MS: Rick Hautala and I have written two drafts of a feature version of Pigeons from Hell. This is my favorite short horror story of all time. It was written by Robert E. Howard, who is better known for Conan. The story has been adapted before — for the Thriller series in the 1960s. And as good as that version was, it really missed the best parts of the story. This was a case where our pitch to the studio was to stick as closely as possible to the source material, and they agreed. So while we did make some changes, they really have more to do with making the story big enough for a feature film.

We also still have the option on James Newman’s book Animosity, which was just published by Necessary Evil Press. It’s a great book and James loves our screenplay. We also have a script called The Special, which Rick and I wrote for Masters of Horror, but we were pitching it for the third season, which didn’t happen. So we re-wrote it as a feature and have a good cast attached so far, including Stephen Geoffreys, Tiffany Shepis and Lynn Lowry. We’re trying to get this financed now so we’ll see. There’s a bunch of other things in various stages of development, and you just never know which one might take off. I’ve been in the business long enough to understand that at least.

Mark Steensland Talks The Weeping Woman and Tengu

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The Strangers: Prey at Night Official Site is Live and Waiting

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It was just last week that we shared the all-new trailer and poster for the upcoming sequel to writer-director Bryan Bertino’s home-invasion thriller The Strangers.

If that trailer for The Strangers: Prey at Night wasn’t interactive enough for you then you’re in luck – the film’s official site has just gone live.

The site starts off playing the film’s trailer but you can click that shite off asap and get to the other goodies.

From there the site tells you that “They’re only Strangers until you tell them your name” and then asks you for your name, your email address, and your phone number.

Yeah. Right.

That’s how they get you.

Truthfully, I’m not brave enough to put my info on the site. Not that I’m scared of, you know, a knock at the door late at night or anything… Just… I don’t feel like it is all.

If you are brave enough to give the site your info, make sure to hit us up and let us know how it goes in the comments below or on social media! If you can… Moo-haha.

Visit the site HERE.

The Stranger: Prey at Night is directed by Johannes Roberts (47 Meters Down) from a script by Bryan Bertino and Ben Ketai. It stars Martin Henderson, Christina Hendricks, Bailee Madison, and Lewis Pullman.

The film hits March 9, 2018.

Synopsis:
A family’s road trip takes a dangerous turn when they arrive at a secluded mobile home park to stay with some relatives and find it mysteriously deserted. Under the cover of darkness, three masked psychopaths pay them a visit to test the family’s every limit as they struggle to survive. Johannes Roberts directs this horror film inspired by the 2008 smash hit THE STRANGERS.

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Exclusive: Patrick Brice on Creep 2

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Patrick Brice blipped onto our radar a couple of years back with his audacious horror film debut, Creep. He directed the film, plus he cowrote and co-starred in it with Mark Duplass (interview) (Baghead, Manson Family Vacation). Creep introduced Aaron, an affable serial killer who lures people to his remote cabin by placing ads promising a fun filmmaking experience… while you could see where the story was going in terms of plot, what made it so striking was the way in which it was written and directed. There’s a massive amount of dread throughout.

Brice is back for Creep 2 (review), and we caught up with him to ask about it.

Dread Central: It must have been hard to try to top Creep. Or did you already have a sequel in mind?

Patrick Brice: It’s funny, but when we made the first movie, we had no idea we would eventually be making a sequel. So we didn’t necessarily set ourselves up for an easy road that way. It ended up being something we had to reverse engineer a bit. And we had actually came up with maybe three or four other ideas for Creep 2 before we landed on the one that we ended up shooting. Including a feature length screenplay that I had written but I shelved because it didn’t feel right. And so, it was a combination of things in that we didn’t want to make a sequel until we knew there was an audience for it. Once we realized the first Creep had caught on in the way it did, that was when the idea of making one did started to come up a little bit. Then it wasn’t until we landed on the idea we landed on, sort of the approach we ended up taking, that things started to feel right and it started to make sense with going forward to making one.

DC: Is you audience mainly horror fans? Because it seems serial killer stories are mainstream now, what with “Hannibal” having been on network TV and now we have “Mindhunter” on Netflix.

PB: I’d say a lot of horror fans, and, I think people with masochistic tendencies as well. I think it’s a pretty dark endeavour for an audience to be brought into with that movie. I think because of the sort of minimalist approach, when you’re watching it, especially when you’re watching it alone, it demands a different kind of attention than a normal movie. Because the Creep is only two characters, if you’re an audience member, you essentially become the third character in the movie, bearing witness to it. So I’m grateful that people are willing to engage with this type of material in that way. I’m also just surprised by it because I think it’s a challenging film on some level. I think it’s a rewarding film. And I think if you’re willing to give in to the conceit of it and willing to take the ride, it is a rewarding experience, but I also completely understand anyone who’s not willing to do that, just because it is such a specific thing. And so going into a sequel, there was a certain amount of confidence that we had associated with a lot of the decisions we were making that would have felt strange and odd with the traditional movie being make in a traditional way, but because we were doing it this way and kind of replicating at least the production style of how we made the first one, we were willing to take that leap a little bit more than we would normally do.

DC: Would you consider dropping the found footage format if you do another Creep movie?

BP: Completely. I think that down the road that would be a nice surprise and a nice way to inject sort of a new form into the story telling. One of the things that’s been fun with Creep 2 and thinking about other Creep movies is giving in to that sort of style completely and letting that be something that informs the character. A huge thing with cracking the second movie was creating the character of Sara that Desiree Akhavan (interview) plays and giving her her own specific needs and motivations for being there, which then hopefully justifies the camera being on. That is the big challenge with found footage movies. It’s something that Jason Blum says that all the time, ‘don’t make a found footage movie unless the story dictates it.’ And so we knew we wanted to do it this way and so it was really delving into character and sort of the more emotional side of things to justify that.

DC: One of the intriguing things about Aaron is that he has no backstory. But it seems eventually audiences demand origin stories and prequels. Will you reveal how Aaron got started someday?

PB: It’s something that’s emerging, having made the second one. We have him tell two long monologues. And it’s detailed, it’s very specific, it makes sense as far as the character goes, but there is still this layer of knowing that this guy is a pathological liar and none of this could be true. And so the hope with that was to have this be a story that convinces Sara, the other character in the film, that it’s true but the audience once again, existing on this other level where they know what this guy’s capable of, they also know he’s a total liar and it may or may not be real.

DC: Do you see yourself ramping up the horror if there are more Creep sequels?

PB: I still think there’s a lot of places to go in terms of the horror aspect of it. I think we only scratched the surface with the second one. I think it made sense we sort of upped the blood and gore with the second movie but also, like you said, kept things pretty much in the space of just uncomfortable tension for eighty minutes. I think that’s something that always going to be our ultimate goal with these movies and that’s sort of the trademark of these movies. What’s nice about knowing that there’s other places things can go whether it be, further into the slasher genre, further into the supernatural, we’ve got some options and we’ve left a lot of doors open in terms of having other avenues to explore.

DC: Any horror stories on the horizon apart from Creep 2?

PB: Yes, actually. I’m going to be directing a few episodes of “Room 104” on HBO and at least two of them are horror based. I’m really excited about that, because I get a chance to delve into more pure classical horror than I’ve been able to do with Creep movies.

Written by Patrick Brice and Mark Duplass with Brice directing, Creep 2 stars Duplass, who reprises his role from the first film, and Desiree Akhavan.

Synopsis:
CREEP 2 stars Desiree Akhavan as Sara, a video artist whose primary focus is creating intimacy with lonely men. After finding an ad online for “video work,” she thinks she may have found the subject of her dreams. She drives to a remote house in the forest and meets a man claiming to be a serial killer (Mark Duplass). Unable to resist the chance to create a truly shocking piece of art, she agrees to spend the day with him. However, as the day goes on, she discovers she may have dug herself into a hole she can’t escape.

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Exclusive: Director Dennis Bartok and Lead Shauna MacDonald Talk Nails

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With writer and director Dennis Bartok’s feature film Nails having bowed Friday on VOD via Dark Sky Films, here’s a bit of our interview with the flick’s filmmaker, Cinelicious Pics Head of Distribution and General Manager of the American Cinematheque Bartok (he wears many hats), as well as the film’s star, Shauna MacDonald (of The Descent series).

Nails revolves around “…track star Dana Milgrom (MacDonald), who, having survived a near-death car accident, finds herself almost completely paralyzed and trapped inside her own body, and while recovering, she becomes convinced that some evil presence exists inside her hospital room and is intent on killing her,” and was executive produced by Joseph Kaufman (Assault on Precinct 13) and produced by Brendan McCarthy (Cherry Tree, The Hallow).

Bartok, who previously wrote and produced the 2006 feature anthology film Trapped Ashes, said of his approach to the narrative of Nails, “It’s very ‘anti-flight.’ Most horror movies are built around the idea that you are running away from something. The Halloween and Friday the 13th movies, there’s a mysterious creature that’s trying to track you down, or conversely you are walking into some horrible haunted house that nobody in their right mind would ever go into, for example, The Woman in Black, which is a really terrifying film. But from the very first moment Daniel Radcliffe’s character goes up to the front of that house, the audience says, ‘Turn around! Get the hell out of there! You are going to die!’ And of course he walks in. So I was really fascinated by a narrative in which the lead character was physically trapped in one space, and actually trapped in her own body. So I thought a lot about narratives like The Diving Bell and the Butterfly, The Sea Inside and Hitchcock’s Rear Window, where the protagonist is physically handicapped and forced to confront that, so both as a writer and as a filmmaker and for Shauna it was a huge challenge, in that how do you make that (type of story) kinetic and compelling, and how do you build suspense when the lead character is trapped in the bed for eighty percent of the story?”

MacDonald said of the script’s appeal, which is a departure in ways from the action-packed The Descent films for which she’s most known, “Oddly, I don’t want to be labeled a horror girl, although the older I get, the cooler I think that sounds. Certainly in the UK they like to fit you in the box of low-budget horror films, and every year after The Descent (films) I get scripts to read, and some of them would say, ‘OK, the lead actress is tied to a stained mattress in her underwear,’ and I would be like, ‘Next!’ and for me, I knew it would be a massive acting challenge to play the lead (as it was written) in Nails, someone who is bed-ridden and paranoid and can’t speak. Her physical journey and her emotional journey is what attracted me to the role.”

“I think it’s important also that she has self-doubt,” MacDonald continues of her role, “and that she thinks she may be having a mental breakdown. No one else is seeing the things she is seeing or experiencing what she is experiencing, so I thought upon that a lot, and also I thought, as a mother of three girls myself, that the character’s connection with her daughter in the script was really heart-wrenching, and I love mother/daughter stories.”

Filmmaker Bartok added, “I thought very much about the bond between a mother and her daughter while writing it, and the sacrifice a parent would make in order to protect their child, and that was one of the main themes from the very beginning. When I set out to make the film I knew that there were two things that I needed to make it work. One was that I needed to make it scary, and to really unnerve people, and to build that suspense and a rising tension throughout, and the second thing was, that I’d really need someone amazing to play the character of Dana, because she’s in nearly every scene of the film, and we experience the story entirely through her perception. And if we hadn’t cast someone with Shauna’s acting gifts, the film would have fallen flat.”

In regards to casting the film’s antagonist, the gaunt, towering and ghostly figure of ‘Nails,’ Bartok states of actor British Richard Foster-King, of which he’d been introduced to via an audition tape for an entirely different movie, “Richard had done these beautiful movements (in that tape), as if he was swimming in the air and elongating his arms, and I think he had even crawled along the floor at one point. And as soon as I saw that tape, I said, ‘That’s it. That’s Eric Nillson. That’s Nails!’ And the producers, because they wanted to keep the budget as low as possible, had wanted to hire local actors out of Dublin, and I would look at those tapes, and they were OK, but I felt we really needed to get Richard. So bit by bit I kept saying, ‘No,’ to these other suggestions, and finally I was able to convince them to bring Richard in from London.”

As for the evolution of the character, which itself possesses some of the nuanced tragedy of Universal’s classic monsters, Bartok stated, “It was really fascinating because we had reached out to several gothic, surreal artists who had been recommended to me by various friends, and asked them to submit concept designs, and the one that we liked the best, and they were all actually excellent, was by a French photographic artist named Nihil, who takes photographs and then manipulates them digitally. So Nihil did an amazingly creepy concept, which provided the blueprint as to how we approached the character’s design. There were several steps in getting it onto the screen, though. Maybe seventy-five percent of it came from Richard’s physicality and his on screen presence, and the rest could only be achieved digitally, and we brought in an incredibly gifted visual effects artist named Eli Dorsey, who had worked on Ted Geoghegan’s film We Are Still Here. And Eli created the milky white eyes, and the dentures which kind of sit outside the palate, and the ghostly pallor. But primarily, I think its Richard’s performance which makes the character, an evil tormenting character who is also tormented, so very haunting.”

Nails also stars Ross Noble, Steve Wall, and Charlotte Bradley. You can watch the film on iTunes.

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