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Exclusive: Steve Hoban Talks Darknet and More!

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Exclusive: Steve Hoban Talks Darknet and More!From Blood and Donuts and Ginger Snaps to Splice and, his latest, Haunter, producer Steve Hoban has been a staple in the Canadian horror scene since the mid Nineties.

He’s now working again with director Vincenzo Natali on a new experimental web series called Darknet that should be making its way onto television here in the States in the near future. For now, as of 12:01am this morning, fans can watch the first installment over at Darknetfiles.com. And, believe me, it’s worth checking out. Consisting of interweaving storylines and connected characters in different instances of urban horror, the first episode runs about 25 minutes and features some really solid, well-crafted moments. Just before the debut, Hoban was kind of enough to speak with us for a few minutes to talk about the series.

Dread Central: Since the idea of the Darknet files has been kept close to the chest and the teasers don’t really show too much, can you expand on the concept and talk about what horror fans can expect from the series?

Steve Hoban: Sure. We kind of flew under the radar because of the way we put it together. We ended up shooting six episodes but really we shot them as a prototype block of six. They are an adaptation of a very successful Japanese show called “Torihada” and they really key off on what that show originally was. Their show was very lo-fi and really just had creepy or scary or horrific things that felt very immediate and felt like they were things that could happen in the real world. Our show is a little more polished than that show is but we started with that. It’s short, visceral, fast, scary things that should feel like it could happen to anybody in the audience. You should watch this show and think as you’re stepping out your door that night or the next morning, ‘Hmm, maybe I should keep my eyes open.’

DC: With “Torihada”, it’s difficult for fans here to find a version with English subtitles but apparently it’s available everywhere in Japan. Are you taking any moments from that series or is it completely original?

SH: We’ve done both. We have a combination of episodes that are literally the same stories that were in “Torihada” episodes and then we have others that are originals. Then, we have some that mix them. The biggest difference is that we could have four segments within a half-hour episode. In Darknet they tend to be interrelated, so there are characters that go from one to another or there are elements that connect the stories. So, in a way, it’s a little bit more like a pulp fiction TV-series in that there are connected episodes. We even have characters that go from one episode to another even though each segment is its own unique story with a beginning, middle, and an end.

DC: Now, how do those connections work with different directors? When they sign on, do they have to use a certain character or a certain moment?

SH: Yeah, the way we did it is that Vincenzo [Natali] and I develop the scripts in-house with six different writers, so we were developing all of the scripts. Then, we put it to the writers initially to find the connections within the segments within their episode; then, we worked with them to further enhance those. Then, we took the six scripts and said, ‘Let’s take this character – she’s in the first episode – and let’s put her in episode three and in episode six.’ So, in some cases, it was to take a character that a writer was writing in one episode and make her a slightly different character or make him a her or vice-versa. Vincenzo and I were really just marshalling along the screenwriting. Vincenzo directed the first episode and I directed the second, so we had seen so many actors by the time we got to the third episode that we had a very good idea of what actors could fill a lot of the roles. It was done as a very collaborative thing.

DC: Well, I like the inner connections like that, especially with actors playing different characters. That’s been proven successful with something like “American Horror Story.”

SH: Absolutely. In a way, I think fans of “American Horror Story” would like this show and in another way it’s very very different. “American Horror Story,” of course, gets a whole season to explore these characters. In ours, you can have a whole story, beginning and end, and never see any of the characters again or hear anything about that story in four minutes. Or, then a character can reappear a number of times. I’m a huge fan of short story fiction and have been for years, so, to me, it’s what makes short stories so fun. They’re so visceral; they’re so fast and so satisfying as opposed to waiting so long to find out what’s happening. I would say, for any of our ongoing elements, nobody needs to see an episode where a character reappears because they get everything out of every discrete episode itself.

DC: How interactive will the Darknet site actually be? After the first six episodes, the series is opening up for fans and other filmmakers to direct or to contribute, right?

SH: That’s one of the things we’re most excited about. Once we get up and running in the new year, people will be able to submit their own scripts or even finished stories or finished segments that can be compiled into other episodes. Ultimately, we’d like to have those play on the website and some of the selected ones would ultimately become part of a TV show and end up on the DVDs that will follow the broadcast of the show. It’s a real opportunity for people out there to start becoming part of the show and make the show themselves. Even though we haven’t put a call out or anything, people have become aware of the show in, I guess, a grassroots kind of way. So, the core of people that are already interested in this type of thing already know about it. We’re not at all set up right now to handle submissions; we really don’t want them yet. We may put out our ten favorite scripts online and get people to vote on them.

DC: I’ll be sure to put a little disclaimer saying, ‘Screenwriters, do NOT send your scripts in yet!’

SH: (laughs) Yes, please. Not yet. We definitely want them; we just don’t want them quite yet!

Darknet is directed by Natali, Hoban, Brett Sullivan (“Orphan Black,” Ginger Snaps 2: Unleashed), Rodrigo Gudiño (The Last Will and Testament of Rosalind Leigh) and newcomers Anthony Scott Burns and Jeremy Ball. The writers are Natali, Pascal Trottier, Doug Taylor (Splice), James Kee, Randall Cole (388 Arletta Ave) and Sarah Larsen. Darknet is executive produced by Vincenzo Natali and Steven Hoban, producers are Jensenne Roculan, Mark Smith (Haunter, 388 Arletta Ave), Paul Rapovski (Lost Girl) and supervising producer Kana Koido.

To learn more about this mysterious project, “like” Darknet on Facebook!



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Inside Remake Gets New Poster and U.S. Release Date

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It’s about time.

It has been a whopping four months since we shared with you guys the red band trailer for the upcoming English language remake of Inside starring Rachel Nichols and Laura Harring.

Today we have an all-new poster for the film (via our buddies at Arrow in the Head), and the one-sheet also boasts the remake’s U.S. release date. Yes, Inside will be hitting Stateside on January 12, 2018.

You can click on the poster to the right to check it out in higher-res. After that make sure to hit us up and let us know if you’re planning to check out this remake in the comments below!

Miguel Ángel Vivas directed the Inside remake.

Produced by Adrian Guerra and Nuria Valls at Spain’s Nostromo Pictures, the remake was written by Manu Diez and [REC] creator/co-director Jaume Balaguero. “We took the original idea and made it an edge-of-your-seat thriller, more Hitchcock-ian than a splatter-fest,” said Guerra.

Again, Inside hits U.S. theaters and VOD January 12, 2018.

Synopsis:
Pregnant and depressed, a young widow tries to rebuild her life following the fateful car accident where she lost her husband and partially lost her hearing. Now, about to go into labor, she’s living in a remote house in the suburbs when, one Christmas night, she receives an unexpected visit from another woman with a devastating objective: to rip the child she’s carrying from inside her. But a mother’s fury when it comes to protecting her child should never be underestimated.

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Deep Blue Sea 2 Rated R for Creature Violence/Gore and Language

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Five months ago we shared the news that there was a secret sequel to the 1999 killer sharks vs. Tom Jane and LL Cool J movie Deep Blue Sea filming, and today we have the sequel’s rating.

And it’s about what you’d expect. Not that that’s a bad thing.

Yes, the upcoming shark attack sequel Deep Blue Sea 2 has been rated R by the MPAA for “creature violence and gore and for language.”

Not only that, but we have a few words on what we can expect from the sequel via a creative executive over at Warner Bros. named Matt Bierman.

“We are a true sequel,” Bierman said regarding the sequel. “We wanted to keep to the spirit of Deep Blue Sea and why people love it. The research that was used on the sharks in Deep Blue Sea 2 comes from the mythology and storyline of the first movie. We have given the lead shark a personality and hope the fans will embrace that as it really helps the storytelling and the narrative in a way that [the] first one didn’t. Deep Blue Sea 2 has a slightly slower build, but once the rubber band snaps, things go boom really quickly!”

The lead shark has a personality? How could that be a bad thing?

Let’s just hope there aren’t scenes of the rugged Tom Jane stand-in lovingly hugging/stroking the shark after it does something cool and telling the new guy how the shark (nicknamed Bruce) is just “misunderstood.”

…And then the shark saves everyone at the end. Called it.

The sequel is directed by Darin Scott from a screenplay by Erik Patterson, Hans Rodionoff, and Jessica Scott and stars Danielle Savre, Rob Mayes, and Michael Beach.

The movie is set to premiere on Syfy sometime next year. Once we know the exact date we’ll let us know so stay tuned!

“Deepest. Bluest. My head is like a shark’s fin…”

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Friends Don’t Let Friends Review – A Haunting Mixture of Psychological Turmoil and Brutal Supernatural Horror

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Starring Brittany Anne Woodford, Jenny Curtis, Kanin Guntzelman, Brendan McGowan, Jake White

Directed by James S. Brown

We all like to think of ourselves as being surrounded by friends, but let’s face it, if we were to ever truly hit hard times, there are probably very few, if any, people we could truly rely on. So on some level, Friends Don’t Let Friends is a film we can all relate too, as it deals with this very issue.

Stephanie is an emotionally unstable young woman who strangles her boyfriend to death after he insults and breaks up with her. She calls her friends to help her dispose the body out in the Joshua Tree National Part area, and instead of reporting her to the police, they reluctantly comply. As their car breaks down, the four friends find themselves alone at night in the Californian wilderness with the rotting corpse in need of disposal. Given their dire circumstances, they begin to become more and more aggressive towards each other, and this was where the film was really at its best. I was on the edge of my seat, wondering how far the limits of their friendship could be stretched, and who would be the first to crack and turn on the others.

Anyway, their body disposal endeavor soon proves to be a mistake, as Stephanie’s ex rises from the grave as vengeful zombie demon thing with claws as long as knives. I’ll admit, I first I thought Friends Don’t Let Friends was going to be a movie purely about the limits of trust, so I was pretty surprised when the supernatural elements came into play. And when they did, the trust and friendship elements of the plot were somewhat downplayed in favor of a more traditional horror approach, and while it was still entertaining, I still would have preferred for the film not to have strayed from its initial path. At least the ending came as a shocker. I won’t go into spoilers, but let’s just say the even the most attentive viewers probably won’t see it coming.

As you can probably guess from a psychologically-driven film of this kind, the performances were top notch, with Brittany Anne Woodford being on particularly top form as the manipulative and unstable Stephanie, a character who revels in the revels in the power she felt when ending another human life.

With its mixture of psychological turmoil and brutal supernatural horror, Friends Don’t Let Friends is a film I would certainly recommend, but keep in mind that it may make you think twice when confiding in people who you think of as being your friends.

8 out of 10.

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