Shriekfest 2011: Exclusive Q&A with Filmmakers Mike Bradecich and John LaFlamboy - Dread Central
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Shriekfest 2011: Exclusive Q&A with Filmmakers Mike Bradecich and John LaFlamboy



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In The Mole Man of Belmont Avenue (which has to be one of the catchier names on the indie horror scene these days), we meet down on their luck brothers Jarman (LaFlamboy) and Marion (Bradecich). Following a failed stint raising llamas, Jarman has just returned to the rapidly depopulating Chicago building managed by his deadpan brother, Marion, who’s got his own struggles to contend with.

See, the gas has just been shut off in the building, and Marion’s been left to deal with the fact that their building’s electricity is being stolen from a church next door. The only tenants that remain are a generally disagreeable bunch including a couple of cranky oldsters (including horror icon Robert Englund), a prostitute and an apartment full of stoners.

As if all of that weren’t enough to deal with, the brothers suddenly realize that all the pets in the building are disappearing at an alarming rate, and after witnessing the film’s titular creature trying to seize a small dog through a mail slot, they set out to capture the creature. What they didn’t plan for was that the “Mole Man” would still be hungry once the pet supply ran out, and he’s now set his sights on the human residents so it’s up to reluctant heroes Jarman and Marion to capture and kill the “Mole Man” before there’s no one left to pay rent!

After recently screening in Chicago (Flashback Weekend), Atlanta (Atlanta Horror Film Festival) and Iowa City (Landlocked Film Festival), the horror-comedy The Mole Man of Belmont Avenue is set to make its West Coast premiere during the 2011 Shriekfest Film Festival on Saturday, October 1st, at 2:00 pm.

Dread Central recently caught up with Second City Chicago alum Bradecich and Zombie Army Productions founder LaFlamboy to chat with the pair about their feature film debut, how the concept behind The Mole Man of Belmont Avenue came about and their plans to continue working in the realm of horror comedies.

Dread Central: Let’s start at the beginning for both of you- can you talk about what brought you into the industry and, more specifically, how did you guys meet and decide to collaborate on movies together?

Mike Bradecich: We met each other doing theater in college at Southern Illinois University in Carbondale. We started collaborating with each other and a core group of friends then and have continued working with those people ever since. John and I both started doing on-camera work as actors in Chicago, getting agents through theater work and just auditioning whenever the chance came up. Then we started making shorts as a means to give ourselves the opportunity to act and write and direct, knowing it would be a much longer road if we waited for someone else to give us those opportunities. After we had built up some experience and a network of people that we loved working with, we felt like it was time to make a feature.

DC: Where did you guys come up with the idea for The Mole Man of Belmont Avenue? Was the game plan always that you guys would co-direct and star in the flick too?

Bradecich: The idea came the same way that we always got the ideas for our shorts, which was by looking at the assets we had on hand and figuring out from there what we could make using those people and materials and locations. Since college John has been designing and operating some of the largest and most popular haunted houses in the Midwest so horror was a natural fit. I had spent the last few years working at a sketch comedy and improv theater in Chicago called Second City so comedy was another natural fit. With the designers and artists John knew, the comedic actors I knew and access to this great old building on the south side of Chicago, John put the initial idea together and pitched it to me. I thought it the dumbest idea I’d ever hear for a movie, but after a couple more drinks John started talking me into it. Once I saw that the monster could be a device to set these two idiot characters into motion, the potential for having fun with it quickly became clearer and clearer.

John LaFlamboy: The original concept came from a short flight from Chicago to St. Louis, three Jack and Cokes and the insatiable desire to make a feature film with Mike. I started with casting us, creating a ridiculous monster and then built the idea around our own assets. I took my original Southwest Airline napkin to the bar to pitch the idea to Mike, and he did not like it. He told me that it didn’t sound funny at all so I bought another round and pitched it again. After the third round Mike did what I count on him to do so often; he took my ridiculous loosely formed idea and turned it into a smart and funny script. I am glad he let me pitch it three times; otherwise, I would still be holding on to that napkin.

DC: How quickly did the project get off the ground once you guys had your script together? Since you both wear so many hats in this project (writers/producers/co-directors/actors), how did you balance all of those responsibilities between the two of you?

Bradecich: We started writing the script in November of 2008, knowing that we would start shooting in the summer of 2009. We met once a week to hash out an outline, and once that was done, it wasn’t long before we had a first draft, which we just kept revising until there was no more time to revise and we had to start committing to pre-production on the script we had. Luckily, by that time we were pretty happy with what we had.

The balance of responsibilities worked surprisingly well and worked very much the same way in the writing, on set and in the editing. Usually one of us had a very strong feeling about the way a line or a shot or a cut should go, and the other would defer. Most of the time we were on the same page about the way things should go since we had conceived of the thing together from the very beginning of the process. On the rare occasion we differed, the one who was more emphatic always won out. It was all very 50/50.

When we started getting our hands full with all the aspects we were overseeing, we also had great people working with us that we were eager to get input from. Our AD Jeff Hadick gave a lot of great input to the acting, having also come out of Second City. Our DP Nance Jordan had a lot of great ideas with the look of the movie, and our actors needed very little direction because they were all just so brilliant. John and I wore a lot of hats, but we had a lot of help putting and keeping them on our heads.

DC: Can you talk a little bit about how Robert Englund and some of the “Strangers With Candy” alumni came on board the project?

Bradecich: The “Strangers With Candy” guys (David Pasquesi and Gregory Hollimon) are both from the Second City/Chicago comedy scene, and so our casting directors in Chicago (Mickie Pascal and Jennifer Rudnicke) had great relationships with them.

Our LA casting director Rachel Tenner put the script out to Robert, and we were just lucky that the right people got it into his hands and he had an immediate sense of the character. He knew how he should dress, where he was coming from, tons of stuff that hadn’t even occurred to us in the writing. So the short answer is just that we asked and they, luckily for us, said yes!

DC: Had you guys always intended to make Mole Man on the independent level? Did you ever consider taking it to the studios at any point?

Bradecich: No, we wrote it very specifically knowing that we were going to make it ourselves. Like I said before, it was written to take advantage of the assets that we knew we could get our hands on. The only big questions were with equipment and post-production. We had relationships with people that worked with our producing partner, Resolution Digital Studios, so we knew we could at least get a meeting there to pitch the idea of them coming on as a partner, and luckily that meeting turned into what has been an incredibly relationship. We would have made the movie if they hadn’t provided the cameras, lights, gear and post-production, but I have no idea how we would have.

DC: Talk a little bit about what your experiences have been so far with screening the movie during other conventions and fests. How does it feel to be making your West Coast debut this weekend as part of Shriekfest?

LaFlamboy: The Mole Man has been making friends on the festival tour. I am constantly surprised by the reception that it is getting. We have made fans in the horror world, comedy crowd and the coveted demographic of high school/college kids. We have recently been honored with the “Best Directors Award” at Atlanta Horror Film Festival and “Best Comedy Horror” at Chicago Horror Film Festival. But I must say that the moment I realized we had something going on was when I began to hear people quoting the film several days after seeing it.

Bradecich: We are VERY excited to be at Shriekfest, so excited that we hired a PR person specifically to help us promote here and at the other fests we have coming up for the rest of the year. To be screening at a festival here in Hollywood that has such a great reputation and history is really huge for us in terms of letting people know that this movie exists. And that’s the big challenge- just letting people know that we’re here among all the other things being made right now. The reception we’ve gotten at festivals so far has been very good- people are really enjoying the movie so we know that there’s an audience out there; it’s just a matter of making sure they know we’re here and can get their hands on the movie once it’s available.

DC: What’s up next for you guys, and more specifically, do you see yourselves continuing to collaborate as closely as you did on this movie on future projects?

Bradecich: We definitely plan to keep working together. This experience, for being at this budget level and for being a first feature for both of us, was WAY more fun that it had a right to be. It should have been a nightmare, but it just made us instantly ready to do it again.

Before we made Mole Man, we shot a trailer for another comedy/ horror called Haunted House: The Movie, and the feature version of that will probably be our next project once we’re finished ushering Mole Man into the world. We are anxious to apply what we learned on our first movie to our next one and to exploit the great talent pool in Chicago once again. It’s a great place to make movies, and we’re also excited to do our small part in making sure the rest of the world is aware of that.

For more information on The Mole Man of Belmont Avenue check out

Shriekfest 2011:  Exclusive Q&A with Filmmakers Mike Bradecich and John LaFlamboy

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DVD and Blu-ray Releases: January 16, 2018



Welcome back, friends.  One would imagine that a release list containing only five entries wouldn’t contain any discrepancies, right? Nope. The Amicus Collection may have come out on December 5th, but it popped up again this week, so if you missed it then, go get yours now.

The big hit of this week, and of 2017, Happy Death Day gets it release this week on both Blu-ray and DVD.  This was a great movie and recently surpassed $100 million dollars worldwide. I highly recommend it.

Up next is The Snowman.  You can check out the Dread Central review of this winter time serial killer thriller here.

If you’re feeling more of a science fiction kind of vibe, check out Beyond Skyline.  Basically there’s a little something for everyone this week.  What are you going to watch?

Pleasant viewing, friends.


Beyond Skyline (2017)


Frank Grillo, Bojana Novakovic, Iko Uwais, Jonny Weston


When the population of Los Angeles is vacuumed off the face of the Earth, Detective Mark Corley storms his way onto an alien ship to rescue his estranged son. But after crashing the ship in Southeast Asia, he must forge an alliance with a band of survivors to discover the key to saving his son and taking back the planet once and for all.


Eye Of The Cat (1969)


Michael Sarrazin, Eleanor Parker


A man and his girlfriend plan to rob the mansion of the man’s eccentric but wealthy aunt. However, the aunt keeps dozens of cats in her home, and the man is deathly afraid of cats.


Happy Death Day (2017)


Jessica Rothe, Israel Broussard, Ruby Modine, Rachel Matthews, Charles Aitken


Blumhouse (Split, Get Out, The Purge) produces an original and inventive rewinding thriller in Happy Death Day, in which a college student relives the day of her murder with both its unexceptional details and terrifying end until she discovers her killer’s identity. The thrills continue with an Alternate Ending never-before-seen in theaters.


Snowman, The (2017)


Michael Fassbender, Rebecca Ferguson, Charlotte Gainsbourg, Toby Jones, Chloe Sevigny


From executive producer Martin Scorsese, The Snowman is based on Jo Nesbø’s New York Times bestselling thriller series. When an elite crime squad’s lead detective (Michael Fassbender) investigates the disappearance of a victim on the first snow of winter, he fears an elusive serial killer may be active again. With the help of a brilliant recruit (Rebecca Ferguson), the cop must connect decades-old cold cases to the brutal new one if he hopes to outwit this unthinkable evil before the next snowfall.



The Amicus Collection


Peter Cushing, Britt Ekland, Herbert Lom, Patrick Magee, Stephanie Beacham


Known as The Studio That Dripped Blood , the British film company Amicus Productions founded by American writer/producers Max J. Rosenberg and Milton Subotsky built a legacy of horror anthologies and twisted thrillers that remains among the very best genre movies of the 70s. In this trio of Amicus classics featuring stars that include Peter Cushing, Herbert Lom, Britt Ekland, Patrick Magee, Stephanie Beacham, Calvin Lockhart, Michael Gambon and Charlotte Rampling you ll discover the studio s legendary portmanteau Asylum, their insane gothic shocker And Now The Screaming Starts, and exclusive to this set the infamous werewolf whodunit The Beast Must Die, as well as a Bonus Disc of Amicus trailers, TV commercials, rare interviews and more all in this 4 disc box set.


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Pride and Prometheus Fuses the Horror of Mary Shelley with the Romance of Jane Austen



This year marks the 200th anniversary of the publication of Mary Shelley’s Frankenstein so you can expect to see several articles tied in with that momentous occasion over the next several months. Today we have your first word on Pride and Prometheus from John Kessel, which fuses Shelley’s Gothic horror with the Regency romance of Jane Austen in an exciting novel that combines two age-old stories in a fresh and startling way.

Born in Buffalo, New York, Kessel holds a B.A. in Physics and English and a Ph.D. in American Literature. He helped found and served as the first director of the MFA program in creative writing at North Carolina State University, where he has taught since 1982. He is the author of the novels Good News from Outer Space, Corrupting Dr. Nice, and, in collaboration with James Patrick Kelly, Freedom Beach. His short story collections are Meeting in Infinity (a New York Times Notable Book), The Pure Product, and The Baum Plan for Financial Independence. Also with Jim Kelly, he has edited five anthologies of stories re-visioning contemporary short sci-fi, most recently Digital Rapture: The Singularity Anthology.

Pride and Prometheus arrives February 13th from Sega Press. Look for a guest blog from John Kessel in the coming weeks!

Pride and Prejudice meets Frankenstein as Mary Bennet falls for the enigmatic Victor Frankenstein and befriends his monstrous Creature in this clever fusion of two popular classics.

Threatened with destruction unless he fashions a wife for his Creature, Victor Frankenstein travels to England, where he meets Mary and Kitty Bennet, the remaining unmarried sisters of the Bennet family from Pride and Prejudice. As Mary and Victor become increasingly attracted to each other, the Creature looks on impatiently, waiting for his bride. But where will Victor find a female body from which to create the monster’s mate?

Meanwhile, the awkward Mary hopes that Victor will save her from approaching spinsterhood while wondering what dark secret he is keeping from her.

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Why Brad Anderson’s Session 9 Scared the Hell Out of Me



“Hello, Gordon.”

Invariably working for sites such as Dread Central I am always asked the question, “What is the scariest movie you have ever seen?” And, well, truth be told movies don’t tend to scare me that often. Sure there are my go-to flicks time and time again, such as The Blair Witch Project, Paranormal Activity, and Lake Mungo. But sure enough everytime I spout out that list to a fellow horror fan they always follow up with, “Well, what is the scariest movie you’ve ever seen that ISN’T found footage?” Fair enough question.

Now while I’m not going to go into what I consider to be the scariest non-found footage horror movies (we’ll get into all of that at some later date) I do want to point out a movie in particular here today. The way it goes is that when I tell people my list of scariest non-found footage films, they always nod in agreement. Until that is, I get to a film called Session 9. It is at that point that whomever I am talking to cocks their head to the side and says, “I’ve never heard of that one.” Which is a shame and it happens far too often. So today I want to, yet again, give any and everyone who’s willing to listen the recommend.

Let’s begin with a quick rundown of the film. Session 9 was written and directed by Brad Anderson, who is a name you might recognize as the creative force behind such films as The Vanishing on 7th Street, Transsiberian, and the “Christian Bale is as skinny as a skeleton” mindfuck The Machinist.

But as good as those film may (or may not) be, without a doubt Anderson’s masterpiece is Session 9. Written specifically to be filmed inside the Danvers State Mental Hospital, the film stars David Caruso (don’t let that stop you), Peter Mullan, Josh Lucas and a few other gents as a group of asbestos removal guys who are possibly haunted within the walls of the institute while on a job.

If that rundown isn’t the best, here is the film’s official synopsis: “A tale of terror when a group of asbestos removal workers starts work in an abandoned insane asylum. The complex of buildings looms up out of the woods like a dormant beast. Grand, imposing…abandoned, deteriorating. The residents of Danvers, Massachusetts steer well clear of the place. But Danvers State Mental Hospital closed down for 15 years is about to receive five new visitors…”

Brrr… freaky enough, right? Well, trust me, the actual film is leaps and bounds better than even that creeper synopsis lets on. And best of all, with all horror and terror aside, the film is a tight flick about a group of men and how they interact as a team. While that may not sound too appealing, the actors, yes, even David Caruso, make for a lovable group of grumps that I enjoyed spending 90 minutes with.

Let’s talk about the horror for a second. You have to wait until the end, but once it hits (full-force) it is well worth the wait. The first 2/3 of the film are creepy but are mostly about the men and the job. Horror looms in the background at all times, sure, but it isn’t until the final act that the shit really hits the fan. And boy, does it. The final act is as bloody as any slasher you could ever hope for and even features a fun, very cool cameo by Mr. Larry Fessenden himself. But it is the final, give or take, 30 seconds of the film that still haunts me to this day.

You see the film is constantly playing a game of “Is it ghosts? Is it all in your head? Or is there a human element to the horror?” And that game comes to nightmarish reality in the film’s final moments. I specifically remember having fun with the film until its last frames. That was when I needed to turn the lights on. But that still didn’t help. The horror that Session 9 presents in its final moments are horrors where there is nowhere to run, no way to prevent it from finding you in the darkness, and no way to save yourself, or your loved ones, if it finds you.

“I live in the weak and the wounded.”

Being that I am prone to being one of those dudes that let’s shit bottle up inside until I explode (sad but true), this film is fu*king terrifying to me. I get it. I fear it. And I hope you will too. As kids, we need cautionary tales, and let’s not forget that we as adults do too sometimes. Session 9 is a warning for grown-ups. You almost deserve it to yourself and your loved ones to see this film and allow it sink in. Just don’t expect to sleep for a few nights…

In the end, why did Session 9 scare the hell out me so bad? Was it that voice that haunts my dreams to this day, or was it what the voice says? I’m still not sure. But trust me when I say that Brad Anderson’s Session 9 is one of the absolute scariest films I have ever seen. If you haven’t given the film its day in court yet, remedy that ASAP and thank me (or hate me) later.

You can buy Session 9 on Blu-ray HERE. And while you’re at it make sure to check out Villmark Asylum now on VOD.

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