Exclusive: Evanescence's Rocky Gray Talks Volumes of Blood: Horror Stories - Dread Central
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Exclusive: Evanescence’s Rocky Gray Talks Volumes of Blood: Horror Stories



To celebrate the home video release of Volumes of Blood: Horror Stories on August 1, we decided to talk to former Evanescence musician Rocky Gray, who scored several of the anthology segments in the film.

If you enjoy his work, you can follow Rocky on Facebook.

Dread Central: How did you come to be involved?

Rocky Gray: After scoring the music for The Barn it had finally put me on the map as a new indie horror film composer and I wanted to get to work on another film as soon as possible. So I had gotten in contact with P.J. Starks and he and I were talking and trying to figure out how much I could get involved with VOB:HS because there were some other names already attached as composers. In the end I did 3 full segments and some themes scattered around the film. I was really happy with what I was able to bring to the film.

DC: Which of the segments did you work on?

RG: Deathday Party, Murder Death Killer and Fear, For Sinners Here were the complete segments I scored.

DC: How did you approach creating the score?

RG: Lots of discussing with Justin Seaman for his segment Deathday Party and Nathan Thomas Milliner for his segments Murder Death Killer and Fear, For Sinners Here.

Justin’s was probably the most difficult composing I’ve had to do because the characters are a bit quirky and we wanted to kind of turn it on its head at the same time. So it was a tricky balancing act between the quirky and full blown insanity. Nathan’s was more straight forward with a few details he wanted to convey a certain way but overall it was pretty smooth sailing on those two segments. P.J. had the few themes he needed and had ideas of where he wanted to go with those and we knocked it all out fairly quickly. It was a lot of fun really.

DC: How do you find the process of composing films compared to your usual work with bands?

RG: I like the composing process because its a subversive process for me. I’m totally in the movie and I’m trying to make sure I’m hitting everything the director wants plus I want to be as creative as I can as well and give the director some options if possible. Sometimes the director is thinking about music one way and I’ll do that for them but also show an alternate version to show maybe a different emotion or foreshadow things that are yet to come.

The scoring process is so unlike anything else, it’s hard to compare it to the band situation. Yes there are instruments and melody and a story but maybe it’s the approach that is so different. As a band we write music we like and were happy if the fans like the music but its a pretty selfish way of writing but in film we write for the story, it’s all about serving the film. The film is everything, it’s not about me, even though I want to be creative and bring something to the table in the end it’s all for the moving picture.

DC: You’re also working on 10/31 and Cryptids, which are also both being produced by P.J. Starks. What can we expect from them?

RG: You can definitely expect a good time. Our Halloween themed anthology 10/31 is just about finished and from everything I’ve seen from the directors (I’m directing a segment as well) it is really something special. I’m composing all but one of the segments. The other directors include Justin Seaman and Zane Hershberger from The Barn, Johnny Holt from The Dooms Chapel Horror and Brett DeJager of Bonejangles. It’s a solid lineup and I think we will all be doing a lot more stuff together. Speaking of, we pretty much are all working on the Cryptids movie too haha. I’m composing on that one as well. An anthology about cryptozoology monsters? You know you want to see that!

About Volumes of Blood: Horror Stories
Volumes of Blood: Horror Stories is a sequel to the indie horror anthology Volumes of Blood, hailed by critics as “The best damn anthology of 2015!” The first project under the newly created Blood Moon Pictures, LLC. the film is produced by P.J. Starks and Eric Huskisson (The Confession of Fred Krueger) and Christopher Bower (The Dooms Chapel Horror). It features actor Moses Moseley, best known for his role as one of Michonne’s “Pet Walkers” on AMC’s “The Walking Dead”; the acting debut of WWE legend Sir Mo from Men on a Mission; and original music by Rocky Gray (drummer for We Are the Fallen, Living Sacrifice, formerly of Evanescence) and Shane Prather (Sharknado franchise, Sinister Squad, Lavalantula).

Pre-orders are now available: DVD / Blu-ray




Darren Lynn Bousman Teams With Russo Brothers To Expand The Tension Experience



The Russo Brothers

Recently, The Tension Experience announced that they will be teaming with Anthony and Joe Russo’s company AGBO to develop new immersive experiences, destinations and brand partnerships.

In this new joint venture, AGBO will be joining as producers of the groundbreaking show and support the development and expansion of Tension to more cities.

We’re always searching for new and innovative ways to interpret narrative,” said Anthony and Joe Russo. “We’re beyond impressed by the wholly immersive experience that Tension has brought to all of their shows, and we look forward to helping them expand their reach.”

The Tension Experience was created nearly three years ago by director Darren Lynn Bousman (Saw II, III, IV), writer Clint Sears and producer Gordon Bijelonic. The immersive theater experience allows fans become the stars of their own real-life, cinema-quality thrillers that have taken place all over the country, incorporated nearly hundreds of actors.

As a consumer, I became passive… I sit back and I watch while things happen around me,” Bousman says. “I wanted to feel more engaged. I needed something to wake me up and inspire me. Immersive theater did that. It forces the audience to be active. We want to create environments where the audiences are the stars… Their action unlocks the narrative.”

When we embarked on this journey our goal was to change and disrupt the traditional storytelling format,” said producer Gordon Bijelonic. “We wanted to give our audiences a true visceral experience incorporating all five Human Senses.”

The first planned project is the creation of a permanent destination in Las Vegas. This high-end interactive entertainment and nightlife experience will be a fully realized living and breathing world ready to react to all of the audience’s individual choices and decisions and will also incorporate new and cutting-edge technology that will be in play before, during and after you step through their doors.

This is the most fulfilling creative endeavor we could possibly be involved with. It’s unparalleled in its scope and possibilities,’ stated writer Clint Sears. “The team feels that their experience along with the unparalleled creative force of AGBO will help create the most exciting immersive collaboration in the world.”

For more information on the Tension Experience visit thetensionexperience.com

About The Tension Experience:

The Experiences, a newly formed venture of the Russo Brothers’ AGBO and The Tension Experience, intend to be the leader of immersive entertainment through live theatrical experiences, brand activations and the use of unparalleled cutting-edge technology.


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Claire Foy Refuses to Cooperate in New Clip from Steven Soderbergh’s Unsane



We have already shared with you guys a number of clips from director Steven Soderbergh’s new horror-thriller Unsane starring Claire Foy, Juno Temple, and Amy Irving (Carrie). Not that that’s a bad thing…

But all the same, today is no different as, you guessed it, we have yet another Unsane clip for your viewing pleasure. The clip is called “Refusing to Cooperate” and it features star Claire Foy, you guessed it, refusing to cooperate.

All jokes aside I am looking forward to checking out this new psychological thriller once it hits theaters tomorrow, so give the new clip below and then let us know what you think!

Unsane is directed by Steven Soderbergh from a script written by Jonathan Bernstein & James Greer and stars Claire Foy, Joshua Leonard, Jay Pharoah, Juno Temple, Aimee Mullins, and Amy Irving.

The film hits theaters nationwide March 23, 2018.


A young woman is involuntarily committed to a mental institution where she is confronted by her greatest fear–but is it real, or is it a product of her delusion?


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Kip Weeks, Original Man in the Mask, Slashes The Strangers: Prey at Night




We need to quit the knee-jerk hatred towards sequels; recent follow-ups like Ouija: Origin of Evil, The Conjuring 2, and Annabelle: Creation prove that creative ideas and talented directors can exceed expectations set by an original.

But we can’t give sequels a free pass to be mediocre either. For example, the response to the follow-up to Bryan Bertino’s home invasion masterpiece, The Strangers: Prey at Night, recently debuted to extremely mixed reviews. Pessimists bemoan, “What did you expect? Most sequels are unabashed cash-grabs!” In the case of The Strangers, I expected a lot more.

Fans of the 2008 shocker have been clamoring for a sequel for years, but no one wanted the wait to end with the unceremonious dispatches of some of the 21st Century’s most iconic new villains. I’m talking about the titular Strangers themselves, the murderous trio dubbed Dollface, Pin-Up, and The Man in the Mask.

While attempts to give characters like Michael Myers and Leatherface backstories have backfired by turning manifestations of evil into melodramatic anti-heroes (thus demystified and deflating their sources of terror), such an endeavor isn’t always a liability. In the case of Prey at Night, it should have been considered a necessity. The first Strangers concluded with hints that Dollface was conflicted; simultaneously, the juxtaposition of Mormon missionaries hinted at cultish motivations (beyond the infliction of random acts of violence).

While the unknown was key to the terror of The Strangers, it was a one trick pony; the franchise could only flourish with an expansion of the implied mythology created in 2008. Of course, Prey director Johannes Roberts’ decision to assassinate these compelling masked invaders proves he really had no intention of turning Bertino’s original into a franchise, something that left me feeling extremely disheartened.

And I’m not the only one; among the lambasts of fans and critics comes a vocal response from the original Man in the Mask, Kip Weeks (replaced by Damian Maffei in Prey). I caught up with him after he chimed in on a negative review in Variety. And lest you think it’s a case of sour grapes, I wouldn’t be sharing his insights if I didn’t agree fully.

Dread Central: We were all bummed the original Strangers actors weren’t recast. Now that Prey at Night has premiered to mostly negative reviews, can we get your thoughts? Specifically, why does Prey fail where the original Strangers succeeded?

Kip Weeks: I had a long back and forth with one of the producers. I told him, “You destroyed an art form.”

DC: Did you give him any specifics?

KP: I told him: “You have no idea what it means to create a character from its core. You made a piece of shit, jump scare movie without realizing you had gold in your hands.”

DC: What should the producers have done differently?

KP: They could have made a movie about “The Strangers”: where they came from and why they became killers. Instead, they made it about some bullshit family and wasted Christina Hendricks’ acting skills. The fans wanted depth and story and honesty. They gave them shit.


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