GUEST BLOG: SOUNDTRACK SPOTLIGHT: BLACK CHRISTMAS

For this soundtrack spotlight it’s time to get festive with the 1974 ‘Black Christmas’ and an expertly minimal soundtrack from Carl Zittrer.

For a Christmas horror it starts with a nice rendition of silent night to get the audience into the right mood and create a nice sense of calm, but then as the camera changes to an ominous first-person view, the music shifts to a more sinister tone using overlapping drones. 

Any sense of calm is extinguished when the sorority receives a menacing phone call.

When Claire leaves to finish packing, we can see from the first-person camera that there is someone else in the room with her, this time rather than the drones heard previously, there are muffled percussive piano sounds as though the piano strings are being struck and dampened from within the piano. After this scene the music again stops until Claire’s body is revealed to the sound of sudden plucked strings fading to an eerie single vocal.

The next time there is any music is when the sorority receives another strange phone call, this is accompanied by the same muffled percussive piano sounds as before.

In a later scene Peter is playing a rather intense piano piece badly for a recital, this is the first diagetic piece of music since the Christmas songs at the party in the opening scene.  Peter later takes out his frustrations on the piano by smashing the strings inside, creating the same percussive piano sounds as the non-diagetic music used for the killer. 

After the death of Mrs. Mac and during the next phone call from the killer the piano sounds begin to become clearer. 

Other than the sounds during the death scenes and phone calls there is not really any music in the film, making the music all the more effective when used. 

The next use of diagetic Christmas music is when a group of carol singers come to the sorority house, this is then mixed with the non-diagetic piano sound as the killer enters Barbs room while Jess is at the door listening to the carol singers. 

When Jess starts to investigate after finding out that the calls were indeed coming from inside the house, the drones begin again this time building slightly in volume each time the further Jess gets into the house.

During the final scene as the camera pans from the house and the credits start to roll there is no music at all, just the sound of the phone ringing, getting louder.

All in all this was an extremely effective soundtrack in creating an identity for the unseen killer and his erratic behaviour with the use of very percussive atonal sounds. A recommended Christmas classic.

INTERVIEW: Geroge Elias of Geprge Elias presents.

positively horror recently got the chance to ask George Elias some questions, please enjoy the full interview below:

Please tell us a bit about yourself and your relationship with the genre?

I'm a writer/director/producer and occasional actor. I am a fan of horror of any kind although I'm not much of a fan of possession horror or horror comedy to be honest.

What was your introduction to horror, and at what age? 

I honestly couldn't say when my exact introduction to horror was but I remember being very young and being introduced to Texas Chainsaw Massacre and The Exorcist. Good times.

You produce a lot of genre content that is readily available online through George Elias Presents and Antiks Entertainment. Has social media helped push your work out there?

Absolutely! In fact a big portion of my audience comes from Facebook.

Your pieces often play on lighting and score to create the horror atmosphere. Do you have any artistic influences for these that you think have translated into your work?

I always enjoyed films that left a lot to the imagination. I love suspense! I feel that what you don't see is often more important than what you do. As far as influences go? I have always been a HUGE Kubrick and Hitchcock fan.

You recently made your first found footage film, Review, which I found to be really affective. Are there any other sub genres you'd like to explore, or ones you've already worked with that you'd like to take a deeper dive into?

Hmm? That's a tough one. I would definitely like to explore a western or space film. As for the found footage genre? That was actually a request by several people in my circle. They challenged me to make a found footage film and I thoroughly enjoyed making it.

Who are some of your favourite people working in the genre at the moment?

Vincente DiSanti of Womp Stomp Films, David Sandberg, Nicholas Grant of Graveyard Cinemas has some interesting ideas, Isiah Cain is a unique up and coming talent and Freeze Frame Pictures are really good too.

And are there any projects you're involved with when the lockdown is lifted that you'd like to talk about?

I am always working on new things so the best answer I can give is simply to just stay tuned. 

Thank you again to George Elias for the interview. Click the link below to check out his great work:

https://www.youtube.com/c/GeorgeEliasPresents

SOUNDTRACK SPOTLIGHT: 1920 (SPOILER VERSION)

 

For today’s soundtrack spotlight I will be looking at the Indian possession horror 1920, directed by Vikram Bhatt with a score composed by Adnan Sami. 

During the opening pre-credits scene the first five minutes has no music as introductions are made and Mr Mehta, an architect, is to stay at a mansion to work on the designs for a new hotel that will be its replacement.  When Mr. Mehta is working late at night alone in the mansion the first minimalistic music is introduced in the form of high pitched, scratching strings which gradually crescendo as the tension builds, the tension is suddenly broken by a clock chiming much louder than the music.  Mr. Mehta begins looking around the mansion further bringing the swelling high pitched strings back with a lower pitched ostinato repeating, this is when he begins to hear someone screaming from upstairs, as Mr. Mehta investigates the noise he becomes trapped in the staircase at which point percussion is added bringing the tension to a head. 

In the opening scene we hear some sparse strumming of a sitar over some gentle strings while Arjun is praying. The music changes to Beethoven’s Fur Elise that Lisa is playing on the piano this weaving of diegetic and non-diegetic music carries while Arjun is writing a letter to Lisa leading then to a full string melody to end the scene. 

In the next scene Arjun and Lisa are ambushed by Arjun’s family. The strings mount as the family set fire to the car to kill Lisa, Arjun manages to fight off his family, bringing in a pulsing bass line within the strings and the melody ascending in pitch informing the urgency of the scene. 

After this first act, a montage scene begins accompanied by a musical number commonplace in Indian cinema, this technique is used throughout the film to break up the acts. 

The couple arrive at the house and an intense melody plays, foreshadowing the horror that awaits them. 

During the couple’s first night in the mansion Lisa wakes up to hear the same screaming from the intro scene,  and the high strings begin to build as she looks around the house, though this time there are sounds that begin to mirror Lisa’s movements. 

The next day as she brings up the subject to Balwant, the caretaker, there are low pitched bass swells accompanying her questions regarding a presence in the mansion, this technique is used to great effect portraying Lisa’s unease as Balwant is obviously hiding something. 

Again Lisa begins to look around the mansion to the same high strings, finding that a previously locked door is now open, inside she comes across a piano, she begins to play and as she does we get a crescendo of intense strings and horns again mixing the non-diegetic and diegetic sounds. While the music plays, the imagery suggests the presence is moving towards the mansion, as if summoned by the music. Lisa runs outside triggering fast paced strings as she chases the presence to no avail. Upon Arjun’s return the door is again locked as if it had never been open. 

During the next night Lisa has fallen asleep next to a gramophone, upon waking she takes the needle off of the record, but as she leaves the room a sudden and loud outburst of Beethoven’s fifth symphony blasts from the gramophone, as Lisa returns and removes the needle once again the music begins to play. She removes the needle for a third time and in the silence begins to hear her name being whispered through the horn of the gramophone. This time when Lisa runs through the mansion we are not met with the same quiet tense strings from that of previous nights, but rather a loud orchestral movement with weaving horn and string melodies. 

Another montage and musical number introduces the next act, in which the music grows in intensity on the night that Lisa is awoken and attacked by the demonic presence, a chase then begins, re-introducing the fast melody heard earlier when Lisa was chasing the presence, but this time she is running from the presence, until it finally catches her and the music suddenly stops and we are left with Lisa’s scream echoing through the otherwise silent house. 

After Father Thomas visits the now possessed Lisa, they have a brief exchange in which the music takes a secondary role, staying quite low in the background while Lisa shouts at the priest. We are then greeted with a gentle melody as Lisa is admitted to hospital, until again it is returned to the large intense orchestral score while Lisa confronts the doctor. 

Again a montage and musical number is played out to end this act and move onto the next, which deals with the history of the mansion. 

During the flashback sequence the music becomes minimal and sparse until Radha runs to the well to discover Mother Kesar’s body, when a higher and more staccato piece is played in substitute of the earlier lower chase music. 

We are again greeted with a final montage and musical number to bring in the final act. 

In the final act, the exorcism takes place, beginning with minimal music as the tension builds and as Lisa breaks from her binds, the music becomes heavily percussive and then cutting out to single repeated piano notes. 

As Arjun and the priest search around the mansion the music builds from percussive into the loud strings and horns this time accompanied by choral vocals representative of the religious ritual being performed. The choral vocals eventually drop out but the music keeps building until Arjun begins his prayers from his introduction of the film, a constant cacophonous percussive rhythm intertwines with the prayer and becomes louder and louder as Arjun goes from speaking to shouting the words of the prayer. 

The use of crescendo throughout the film works perfectly to build the tension of each act, especially with the slow build of each night leading to Lisa’s possession starting quite minimalistic and adding greater instrumentation and more intricate melodies with each night that passes, this theme progresses through the film with the crescendos building to a cacophonous pulsing rhythm in the final act.  Also the use of mixing the non-diegetic and diegetic music helps to immerse the viewer and creates an empathy for the characters.   

Due to the films North Yorkshire location and 1920 time period mixed with the orchestral score makes it feel like a Hammer Horror version of the exorcist.  I highly recommend giving this film a watch and a listen.  

SOUNDTRACK SPOTLIGHT: 1920 (SPOILER FREE)

For today’s soundtrack spotlight I will be looking at the Indian possession horror 1920, directed by Vikram Bhatt with a score composed by Adnan Sami.  

The film tells the story of an architect given a job at a mansion, at which he and his wife stay while he works on the designs for a new hotel that will be its replacement. And of course the mansion is home to a malevolent sprit. 

The film is broken up into several acts, with first act starting with minimal instrumentation and melody, with each act that follows the instrumentation and intricacy of melodies grows to enhance the tension of the film as a whole. Each act is separated by a montage accompanied by a musical number commonplace in Indian cinema. 

Within each act there are moments of diegetic and non-diegetic music and sounds being utilized together, diegetic being sounds that are heard by the characters within the context of the narrative and non-diegetic sounds being a score heard only by the audience.  For example, there is a scene where the main character Lisa, played by Adah Sharma, is playing the piano, which is considered diegetic, however the non-diegetic background strings of the score begin to accompany the piano, emphasising and representing the tension of unseen forces felt by the character. 

There are foreshadowing techniques used in the score, to alert the audience to something that may not be obvious or known by the characters yet, for example when the couple arrive at the mansion and an intense melody plays, foreshadowing the horror that awaits them, and also shows the mansion as a key protagonist of the film. 

The use of crescendo throughout the film works perfectly to build the tension of each act, especially with the slow build of each night leading to Lisa’s possession starting quite minimalistic and adding greater instrumentation and more intricate melodies with each night that passes, this theme progresses through the film with the crescendos building to a cacophonous pulsing rhythm in the final act.  Also the use of mixing the non-diegetic and diegetic music helps to immerse the viewer and creates an empathy for the characters.    

Due to the films North Yorkshire location and 1920 time period mixed with the orchestral score makes it feel like a Hammer Horror version of the exorcist.  I highly recommend giving this film a watch and a listen.  

INTERVIEW: Derek Nelson talks infront of, and behind the camera

Positively horror was recently lucky enough to spend some time chatting with the brilliant Derek Nelson.  Please enjoy the full interview below.

Please tell us a bit about yourself and your relationship with the genre?

So I’m originally from Chicago and have been acting ‘professionally’ since 2012, but didn’t get much work until moving to the UK in 2015. Two years later in early 2017 I was cast as a small role in my first horror film Cabin 28 directed by Andrew Jones. Andrew gave me my first big professional job in a feature film and I have him to thank for giving me my first job in horror. Since then I have done 15 horror films and have found that the horror fan community has the most kind and loyal fans anyone could ask for. 

What was your introduction to horror, and at what age?

I have this memory from when I was a kid, about 8 or 9. My father used to watch all the bloody, violent, and horrific films in the basement as per orders from my mother. I remember walking through the basement seeing gory snippets from the opening of Blade, parts of Predator, and also From Dusk Till Dawn 2: Texas Blood Money. Flash forward about 5 years and I’m sharing a room with my older brother and I come home from school to see the ending of the Exorcist. I remember being both grossed out at all the green and engrossed at what was happening on screen. Those were some of the earliest memories I have with Horror films. 

You work both in front of and behind the camera, do you have a preference to where you like to be? 

I’ve been very lucky to get the opportunity to work both sides of the camera and I have to say my preference is to work crew and act in the same project. What I love about working on the crew is you get to see the entire film being shot. You’re there from the first set up to the last and I just love that. If you’re acting then you usually get to do cool stuff like punch a Nazi or get strangled by a guy in a clown mask. However, when you are just acting, unless you’re the lead, you’re generally there for a few days max so you don’t get a great sense of how the rest of the film is going. I love being able to dive into a project and devote all of my energy into one overall goal which only happens when I’m on set. I find that the more I work with a crew and make friendships the better my performances become when I step in front of the camera. We build a trust together and for me it makes for a positive environment where everyone creates their best work. 

Your filmography is almost entirely horror is that something you've actively worked towards?

Yes I have! I love the crazy things we get to do while making a horror film. I’ve fought Nazi-Werewolves, hunted a T-Rex, killed by a raptor, killed by a killer clown, killed by a psyco in a panda mask, been a werewolf tearing apart people in an inn, and been an undead scarecrow hell bent on reuniting with my long lost daughter. I mean what other genre allows you to do cool shit like that? My wife thinks I’m crazy when I tell her what film I’m off to do next and I love it. 

You have a few projects recently released, and some coming up, would you like to tell us a bit about them?

So the US just saw the release of Andrew Jones’ A Killer Next Door which we shot last year in Wales. The film is about real life family butcher John List, played perfectly by William Meredith. It follows Harriet Rees as our lead female in a James Stewart type role spying on her next door neighbour whom she thinks to be John List. The project was really special to me as Andrew gave me a lot more responsibility on the crew side of things and I consider it the film that really developed my interest in all the aspects of filmmaking. Unfortunately there is no UK release yet but it should be out soon. 

September 1st sees the US release of The Haunting of Margam Castle which was another film I shot with Andrew last year. The film is about a group of American parapsychologists who are tasked with doing an investigation at Wales’ most iconic haunted castle. That project was really exciting because we got the opportunity to shoot 4 nights in Margam Castle which was incredibly eerie! The film also stars many hammer horror greats such as Caroline Munro, Judy Matheson, Derren Nesbitt, Vernon Dobtcheff, Jane Merrow, Simon Bamford, and Star Wars alum Garrick Hagon. I was really lucky to work with such experienced legends of the genre and we were so grateful to get so many for the film. The UK release is slated for October 19th!

And on September 28th A Werewolf in England comes out in the UK. The film is about A Parish Council and a criminal taking refugee in a countryside inn that becomes besieged by blood thirsty werewolves. This film is directed by the incredibly talented Charlie Steeds. What makes me so excited for people to see this one is that all of the effects are practical. It was bloody carnage and all done in camera. Charlie was kind enough to let me play one of the werewolves as well as help him with his crew duties. The amount of heart, soul, blood, mud, and tears we all put into that film has made it something really special to me. The cast is incredible, Charlie is a mad genius and what he’s been able to do with the film will give people the werewolf film they’ve been waiting for!

Who are some of your favourite people working in the genre at the moment?

Some of my favourite people working in the genre at the moment are Mike Flanagan, David F. Sandberg, Patrick Wilson, and Fede Alvarez to name a few. The first thing I saw from Mike Flanagan was Oculus and thought it was such a unique take on the genre, and he smashed it out of the park with Hill House. David F. Sandberg just comes off as the coolest, most humble famous person making horror movies out there. I also love his youtube channel and how candid he is when talking about his process in filmmaking. I find him really inspiring. Patrick Wilson is just one of the most grounded actors I’ve seen in horror films recently and he’s gone to work with some incredible directors. And finally Fede Alvarez blew me outta the water with his Evil Dead remake and I really enjoyed 90% of Don’t Breathe. 

And are there any other projects you're involved with that you'd like to talk about?

This month I am working on a killer rat film called Rats: Reborn with Scott Jeffrey and Jagged Edge Productions. In that film I will be playing the Rat as well as working on the crew. After that I will be helping Charlie with his next film. I have also been attached to Huw Lloyd’s feature film debut School Hall Slaughter which is an 80s inspired slasher film which we are currently funding and plan to shoot next year!

Thank you again to Derek Nelson for the wonderfully insightful interview. To find some of the projects mentioned in the interview just follow this links below:

Pandamonium:

https://mycho.weebly.com/pandamonium.html#

Werewolf in England:

https://www.amazon.co.uk/Werewolf-England-DVD-Reece-Connolly/dp/B08976YWJG/ref=sr_1_1?dchild=1&keywords=a+werewolf+in+england&qid=1596803044&sr=8-1

Haunting of Margam Castle:

https://www.amazon.com/Haunting-Margam-Castle-Derren-Nesbitt/dp/B08BG7QPBW/ref=sr_1_1?dchild=1&keywords=The+Haunting+of+margam+castle&qid=1596803155&sr=8-1

Killer next door:

https://www.amazon.com/Killer-Next-Door-William-Meredith/dp/B087646CNK/ref=sr_1_4?dchild=1&keywords=a+killer+next+door&qid=1596803114&sr=8-4

And to support the upcoming School Hall Slaughter, click this link:

https://www.indiegogo.com/projects/school-hall-slaughter?fbclid=IwAR2Q-JPnxinaKkTsfvDYVy_ZtT51_OR8YLsP6JvTMiVMe792Onngf9iCh-s#/

INTERVIEW: Maniac star Megan Duffy on working in the genre

Positively Horror is pleased to bring you this great interview with the brilliant actress, producer and director Megan Duffy. Please enjoy the full interview below.

Please tell us a bit about yourself and your relationship with the genre?

I’m probably most known to the horror community for my role opposite Elijah Wood in the Maniac remake. I also appear in All the Creatures Were Stirring, Holidays, Fun Size Horror, Dread Central’s Monsterland to name a few.

What was your introduction to horror, and at what age?

Probably PBS is fairy tale theater! Shelly Duvall! Omg! I remember being haunted by so many of them, especially “the Little mermaid.” The original tale is much different than the version Disney gave us.

Your role in the Maniac remake is a fan favourite, what drew you to the project and what was the experience like for you?

I normally turn down auditions for roles in horror movies with nudity, but when the audition for maniac came in and I saw that Alexandre Aja was producing, I had been such a big fan of Piranha 3-D that I decided to go in to read for it. At that time Elijah wasn’t attached yet.  The POV style made it extra tricky to shoot, but I’m always up for a challenge. It was hard work for everyone involved and still one of my favorite projects that I’ve been a part of.

What other horror film do you think would make a great remake/reboot?

I sometimes wonder what a new EXORCIST would be like. (For the record, AutoCorrect capitalized the title, not me! )

You have been involved in different genres but you can often be found in horror. What keeps you coming back to the genre? 

wild horror isn’t my main career focus, I really enjoy much of the horror community. Some of my best friends are horror creators and I have received terrific support from the fans.

Who are some of your favourite people working in the genre at the moment?

Everything Jordan Peele touches turns to gold. I spent some time in Nashville in the fall working with Tony Todd on a new film, and he was such a delight who exceeded my (already high expectations). I think the new Candyman is going to blow us away. I also can’t wait to see what Chelsea Stardust does next. She directed a project called Seeing Green that I star in and I got to see first hand that she’s an incredible talent who’s only just beginning to show everyone what she’s capable of.

And are there any other projects you’re involved with that you’d like to talk about?

The film I worked on with Tony is called “The Reenactment. It’s the first feature by filmmaker/director Andrew Ford. It’s set in the 1990s and is about a crime reenactment show film crew who get more than they bargained for while investigating a location. I play Jane, the crew’s producer/director. Tony also stars, as well as the wrestler James Storm. We had an absolute blast filming in Nashville.  I could really go for some hot chicken and whiskey right now! I’ve also gotten into directing recently. I just had a short film I made premiere as part of the Chattanooga film festival, and I am currently rehearsing a (zoom) play I’m directing that will premiere online August 7 starring Tony award winner Daisy Eagan, Star Trek’s Rico Anderson, and Whitton Frank of The Under VR world.

Thank you again to Megan Duffy for the interview. Below are some links to check out:

Embrace your inner monster 

Directed, shot and edited by Megan Duffy:

https://vimeo.com/345767132

Music video directed and edited by Megan Duffy:

https://dailydead.com/megan-duffy-directed-music-video-for-sean-kellers-the-monsters-trick-or-treat/

Short film Seeing Green directed by Chelsea Stardust, starring Megan Duffy:

https://youtu.be/MzFcxBykQmk

You can find Megan online at:

https://instagram.com/imateacuphuman?igshid=f1a3xo2qag6m

INTERVIEW: Felix I.D. Dimaro talks writing hard hitting horror

Positively Horror recently got the chance to chat with the brilliant up and coming  horror author Felix I.D. Dimaro during the lead up to the release of his new novel Bugspray on eighth of August. (Pre order link at the bottom of interview).  Please enjoy the full interview below. 

Please tell us a bit about yourself and your relationship with the genre?

I was born in Nigeria and raised in Toronto, Canada in a couple of ‘at risk’ neighbourhoods. Rough places that helped to shape my outlook on the world as well as what I include in my stories. From there I went to the University of Toronto and graduated with a BA in Psychology. The combination of my upbringing and interest in psychology both play into the horror that I write. I write mostly about human monsters and issues of morality.

What was your introduction to horror, and at what age?

I feel like I’ve been watching horror for as long as I can remember. I am the youngest of four boys, and I had to watch what they watched. Most of that was horror. I distinctly remember being terrified of the Cenobites from Hell Raiser at like seven years old. In terms of books, it was Goosebumps by R.L. Stine.
  

Your debut book, How to Make a Monster, a collection of short stories is pretty hard hitting, where does your inspiration come from and how do you get into a headspace for your writing?

My inspiration comes from what I’ve seen and experienced in my life. I was dealing with death, discrimination and other hardships pretty early on. On top of that I have known good people who have had to do bad things (sometimes for good reasons). So, I write about the thin line between humanity and monstrosity that we all struggle not to cross. Sometimes it’s hard to get into the right headspace for the really dark stories, but that’s what vodka’s for :P

Your upcoming novel Bug Spray is available for pre-order now, could you tell us a bit about it? 

Thanks for asking. Bug Spray is a hard one to talk about without spoiling. I’ll just say it’s a story that centers around a power-hungry man, the suicide of his employee, love, and vengeance. I’m calling it a Romance of Horrors, and I think it’s a fun but scary story that touches on a lot of what’s going on in society, particularly in terms of  sex and power dynamics.

Who are some of your favourite people working in the genre at the moment?

Like a lot of horror readers, I was stuck on mainly Stephen King for most of my adult life. Over the last few years, I’ve realized that I’ve been cheating myself out of a lot of great stories by not branching out. So, that’s what I’ve been doing, particularly with Indie horror writers. There are some great ones out there, and I’m looking forward to figuring out a favourite as I explore them more.

And are there any other projects you’re involved with that you’d like to talk about? 

I’ve actually just finished up the rough draft to a novel called “Blue Lips” that centers around addiction, gang violence, and things that exist inside and outside of this world that may influence us more than we know. I’m excited about it because it ties into some of the other stories I’ve written, including “Bug Spray.”  

Thanks again to felix for the great interview. You can pre order Bugspray by following the link below, and buy How to Make a Monster which is out now:

https://www.amazon.co.uk/Bug-Spray-Felix-I-D-Dimaro-ebook/dp/B089QZCMM8/ref=sr_1_1?dchild=1&keywords=Felix+dimaro&qid=1595147019&sr=8-1 

You can find Felix on his social media accounts by following the links below:

https://www.facebook.com/thingsthatkeepmeup

https://www.instagram.com/thingsthatkeepmeupatnight

INTERVIEW: Huw Lloyd talks school hall slaughter and more

Positively horror recently got the chance to interview the brilliant genre podcast host, and creator of the upcoming horror School Hall Slaughter. Please enjoy the full interview below.

Please tell us a bit about yourself and your relationship with the genre.

My name is Huw Lloyd and I’m a writer, director and the host of The Undead Wookie Podcast. I live in Pontypool South Wales with my wife and dog. I have been obsessed with horror all my life and the podcast came about from my obsession and love of discussing and dissecting horror.  

What was your introduction to horror, and at what age?

My introduction to horror was being taken to the cinema in Merthyr Tydfil to see Ghostbuster. So I was about five years old and I clearly remember when Sigourney Weaver started rising off the bed and snarling I freaked out! I had to go and stand outside with my mother until that scene had finished. From then on I was just hooked.

Your upcoming film 'School Hall Slaughter' is currently in the crowdfunding stage, with some great perks for backers. It started as a short, did you always know that you wanted it to be a feature?

Thank you, I love the perks we have put together and I think they are a lot of fun. I always thought it had the potential to be a feature and I had written various drafts over the years of the feature script. But after I had finished putting the short film together I knew the universe needed to be expanded. So I just ploughed ahead and put the script together and then Derek Nelson came on board and we are up and running.  

Where did your inspiration for the film?

The short film was nearly eight years in the making and the feature script had spent the best part of eleven years in various different stages and desk draws. The idea was born out of one of those special moments that only a true horror fan can truly appreciate. Alone, in total darkness, wandering the corridors of the school I teach in search of a prop for a school production that had been left behind. The caretaker had let me into the building and swiftly vanished. So there I was fumbling around in partially lit corridors with only emergency lighting to guide my way. When my brain decided to ask the question, what if we couldn't get out and someone wanted to kill you? On that night School Hall Slaughter was born.  

You also host a podcast where you get to talk about the genre with fellow horror lovers in different areas of the horror community. Is there anything coming up on the show that you'd like to share?

We have got some great episodes coming, Welsh filmmaker Andrew Jones will be back on soon. Gareth Evans (Director of the Raid, Raid 2, Apostle, Gangs of London) said he will be back on at some point. The show is great because we tend to be very laid back and we all pitch different episodes, its great.

Who are some of your favourite people working in the genre at the moment?

That’s a good question… I’m a big fan of Ari Aster, I loved Midsommar. I love folk horror anything involving a sinister cult, I’m in. Of course there’s Robert Eggers who is such a clever filmmaker and packs so much detail into his films. There are some great indie filmmakers working in horror, guys like Andrew Jones and MJ Dixon. I think the MYCHO universe he has created is really good and clever. However I always find that I return to my favourites Carpenter, Bava, and of course Fulci.

And are there any other projects you're involved with that you'd like to talk about?

I’ve been doing a little bit with Jae Prowse who has been on the show a number of times and is just a great guy. Jae is putting together a new horror magazine called Horrified Magazine (@HorrifiedMag). However my main focus is on School Hall, it’s pretty all consuming at the moment.

Thanks again to Huw Lloyd for the wonderful interview. You can catch the Undead wookie Podcast by following the link below:

https://podcasts.apple.com/gb/podcast/the-undead-wookie-podcast/id1279443501

And to donate to School Hall Slaughter, just click this link:

https://www.indiegogo.com/projects/school-hall-slaughter#/ 

Musings on Willow and Tara during Pride.

Over the last few months I have been doing a rewatch of Buffy the Vampire Slayer, and as it is Pride, I've been thinking a lot about Willow and Tara. Having just begun season five of the show their relationship is really starting to take more of a spotlight. I've always loved the character development in Buffy, and although season four isn't my favourite season, it has some of my favourite moments. The introduction of Tara, and the start of her and Willow's relationship, leading up to Willow coming out to Buffy always get me. The way that Willow coming out was written was so nuanced and delicate, and Buffy's reaction to her best friend's news was so supportive and loving that it was just perfect. It could have been exploitative and gratuitous, but the understated, emotional approach was just what was needed for audiences all over the world, and they kept that up for the duration of Willow and Tara's relationship, never stepping into gay stereotypes that are so often seen in film and television.

What Joss Whedon, Marti Noxon, and the cast and crew had to fight against just to get this relationship portrayed on television is astonishing,  especially considering it was in the twenty first century. I'm so glad they fought for this though, because Willow and Tara's relationship was not only something that was needed on prime time television, it was so beautifully written that it is still my favourite relationship in Buffy, and it still breaks my heart every time.

I feel that what Buffy the Vampire Slayer did by pushing for the relationship between Willow and Tara, paved the way for more LGBTQ+ representation in television today, with shows like The Chilling Adventures of Sabrina. I've read articles talking about the fact that Willow and Tara's relationship was toxic, and this is true, especially when the show covered the topic of addiction with Willow's use of magic. But that is another thing that I believe is good about it. Most of the relationships in buffy are toxic, or become toxic, (as is the way in a television drama) and Willow and Tara were treated no differently. Their relationship wasn't fetishized into a 'hot lesbian couple', it was treated as a normal relationship on the show, and that adds to the importance of it.

For this reason, and many, many others, Buffy the Vampire Slayer is still my favourite show ever to be aired on television.

HAPPY PRIDE EVERYONE.

INTERVIEW: Briana Morgan talks about spooky things.

The latest interview that Positively Horror is happy to bring you is with the magnificent, multi-talented, author, playwright and editor Briana Morgan. Please enjoy the full interview below. 

Please tell us a bit about yourself and your relationship with the genre?

I’ve loved spooky things for as long as I can remember. When I was a kid, I watched Are You Afraid of the Dark? peeking out from behind the couch. I’ve always loved Halloween, the macabre, and the weird shit in the world. Horror is a natural fit for me.

What was your introduction to horror, and at what age?

I know it was early! I mentioned the show Are You Afraid of the Dark?, which I think I watched wayyy too young, when I was five or six years old. Along with Scary Stories to Tell in the Dark and Goosebumps, that show gave me an early start.

Your last release, Livingston Girls has been receiving great feedback in the bookstagram community, how do you feel the online community benefits your work?

Thank you! I am so honored and humbled by the positive reception the book has received, since it’s so near and dear to my heart. I don’t think I can say enough good things about the bookstagram community. It’s one of the most supportive groups I’ve ever been a part of!

Your next release, Unboxed is available for pre-order now, can you tell us a bit about it?

Absolutely! Unboxed is a horror play that centers on a paranormal vlogger, Greg Zipper, who orders a dark web mystery box to unbox for his channel. He sets out to hit one million subscribers and gets much more than he bargained for in the process. It’s a dark, fun story, and I can’t wait to share it with the world.

You go between writing novels and plays. When you get an idea, do you immediately know which format it will be in, or is that something that comes later? 

Weirdly enough, I always know going into it. I can’t say how I know, exactly; it just kind of comes to me. I will say that some stories lend themselves more to playing out on the stage. Maybe that explains it.

Who are some of your favourite people working in the genre at the moment?

I love, love, LOVE Gemma Amor, along with Paul Tremblay, Kealan Patrick Burke, and Beverly Lee.

And are there any projects you're involved with that you'd like to talk about?

Right now, I’m working on reviewing the audiobook version of Livingston Girls, which features Valerie Rose Lohman and is going to be amazing. I’m also working on producing the Unboxed audiobook, drafting the Livingston Girls sequel, and writing an adult horror manuscript I might query someday.

Thank you again to Briana for the the interview. To find out further information on all of Briana's work just head to her website by following the link below. 
https://brianamorganbooks.com/

INTERVIEW: Faisal Hashmi on horror

Premier Dubai based genre filmmaker Faisal Hashmi recently took the time to answer some questions for Positively Horror. Enjoy the full interview below.

Please tell us a bit about yourself and your relationship with the genre?

My name is Faisal Hashmi and I’m an independent filmmaker based in Dubai. Dubai is a city where almost no horror content is produced, so it’s interesting to be a director here who focuses on that genre primarily. The horror genre allows me to have a real grasp of the audience and that control is very addictive, coupled with the fact that I can tackle difficult themes within the lens of a horror film. But I am a die-hard fan of horror and seek out films from around the world, which is where channels like yours really help me discover those hidden gems that I may have missed.

What was your introduction to horror, and at what age? 

I was introduced to her at a very young age because my mother is a huge fan of horror films. In fact, she used to watch a bunch of schlocky films on TV or VHS rentals when she was pregnant with me. So you could say that I’ve been exposed to horror films from the womb itself! It explains why I’m so in love with the genre.

Your latest short 'Amber' has been getting a great reception at screenings and winning awards. Can you tell us a little about it, and when the public might be able to see it? 

Amber is my most recent short film and it has been having a whirlwind of a reception. It’s about a barber at a highway barbershop who’s caught in a deadly situation when he realises that his first customer of the day isn’t who he seems. It’s not actually a horror short film per se, but more of a Hitchcockian thriller that keeps building in tension to an explosive finale. The plan with the film was to do a festival run around the world through the rest of the year, but obviously the ongoing pandemic has put a dent in those plans. Nevertheless, audience should expect to see it online sometime towards the end of the year.

Your short 'The Wicken' has become a viral hit and has even got people coming up with theories surrounding the mythology of the Wicken. Have you heard any fan theories and do you have any favourites?

Wicken has been a crazy experience and the film has indeed taken on a life of its own in YouTube comments where people are very passionately trying to build on a mythology and rules of the character which is the greatest feeling in the world to see from a scrappy little indie horror short made in a city without horror content. One of my favorite fan theories is someone who suggested that the Wicken actually possesses and kills the person who sends the file to their loved one rather than the one who receives it because since she was betrayed, she kills the betrayers and the whole thing is a test. I think that’s a solid theory and is backed up by what you see happen to Ethan on the computer screen.

Who are some of your favourite people working in the genre at the moment?

Some of my favorite directors working in the genre at the moment would be James Wan, Mike Flanagan, Ari Aster, Scott Derrickson. I also am a huge fan of M. Night Shyamalan and especially the films he’s been making of late. We are living in the golden age of horror filmmaking with so many unique voices leading the way through and I hope to be a worthy part of that list myself.

And are there any projects you're involved with when the lockdown is lifted that you'd like to talk about?

I was working on writing two feature film projects before the lockdown hit, so thankfully that hasn’t been affected by the lockdown itself. It’s actually given me more time to finish them and less excuses to procrastinate. One of them is a horror anthology of six interconnected horror stories set over one night in Dubai which I’m excited about, and the other is a contained thriller with a hint of sci-fi called Fractal that I’ll actively start looking for financing for when all this is over. I also am working on an outline for a potential feature film adaptation of Wicken so we will see!

Thank you again to Faisal for the brilliant interview. We look forward to seeing what the future holds for you and your art. Follow the link below to check out the award winning, viral sensation horror short, The Wicken:

https://youtu.be/de4KccwcASc

GUEST BLOG: Soundtrack spotlight - A Nightmare on Elm Street

This month’s soundtrack spotlight goes to a classic favourite; A Nightmare on Elm Street. 

At the helm of this synth centred soundscape is composer Charles Bernstein.  This stands out as one of Bernstein’s earliest film scores, yet quite different from his earlier projects. One of which being the Oscar winning documentary ‘Czechoslovakia’.

The opening scene shows our favourite villain Freddy, making his signature glove, while this first scene plays out synth drones overlap and swell with occasional percussion leading to a crescendo into the opening credits and introducing us to the main musical theme.  This gives us our first taste of the sinister almost music-box style lullaby music.

In the next scene as the main characters walk into school we are greeted with the children’s skipping song over the music them music beautifully foreshadowing things to come. After this the music takes a backseat until everyone goes to bed at Tina’s sleepover when a single note melody begins to play, using a serial technique which helps to create unease as the melody line does not resolve in a standard way, this builds to two staccato striking chords repeated in quick succession.

During Tina’s dream/death scene the music builds to a much more percussive movement as Tina is being chased and then cuts to a high pitched drone, this is a repeated motif throughout the narrative, where more percussive sounds represent Freddy chasing his victims. This is next shown during Nancy’s classroom dream which takes on the similar style to that of Tina’s in the way in which the music builds, at first with the overlapping drones to create dread and then the percussion to create tension during the chase.

Slight deviations from the main style occur a few times during the film, such as the bridge scene where Glen and Nancy are discussing dreams, with a slightly lighter melody.  Another example is during Glen’s death scene, the percussive music used for chase scenes is replaced by high pitched repeated staccato stabbing chords.   

During Nancy’s final dream sequence and confrontation of Freddy, all of the techniques used throughout the film come together to create a fantastic crescendo.

All in all the soundtrack to this film is testament to the depth that can be achieved with synthesizers!  Go on, give it a listen.

INTERVIEW: Gemma Amor talks White Pines and more!

The latest Positively Horror interview is with the magnificent, Bram Stoker nominated author of Dear Laura, Gemma Amor. Enjoy the full interview below:

First of all, congratulations on your Bram Stoker award nomination for Dear Laura, and good luck. It's a truly brilliant story. Your new book White Pines is out now, would you be able to tell us a little about it? 

Thank you, and sure! It’s a genre-blend of cosmic-folk-cult horror and celtic lore with a little bit of body horror thrown in for good measure, too. It’s quite difficult to describe in too much detail without giving away too much, but it involves a woman called Megs, who moves back to a remote part of Scotland where she lived as a child. There is an island, some spooky trees, and some very strange locals to keep her company. 

  

What was your introduction to horror and at what age?

My earliest introduction to horror would have been the Point Horror young adult series of books, which I found mesmerising, not least for the amazing and very collectible cover designs. They were enormous fun and very accessible. Later, I studied classical literature at university and fell into Shelley and Carter, Stoker and Charlotte Perkins Gilman. I grew very fond of Stephen King in my twenties, a little late to the game, but better late than never. 

  

I discovered your work after seeing many posts about your books on bookstagram. Has this online community helped to grow the fanbase of your work? 

Bookstagram has been invaluable to me as an indie and self-published author. The entire community is so supportive and encouraging, and a vital marketing tool for me to help engage with new readers and old alike. People like Sadie Hartmann (Mother Horror) and the Nightworms crew are half the reason I have a job. But it’s also more than the benefits they offer as book readers and bloggers and grammers- its a genuine family, a community of like minded people I consider friends. It’s helped me to grow as a writer, too.  

Where do you get your inspiration?

Everywhere and anywhere. Movies, books, music, walks in the countryside, paintings, something my son will say, news articles...I see potential in all the little details of life, and try to write about normal things made extraordinary. 

What has the current lockdown situation done for your inspiration?

Lockdown has been absolutely terrible for my inspiration. It’s impossible to write when you feel stuck, trapped, anxious and thoroughly saddened by world events. Plus, schools have been closed so my priorities have changed to surviving and keeping my son happy. Writing has always been easy for me...until now!

Who are some of your favourite people working in the genre at the moment?

Oh man, I don’t think I could choose a few, there is a staggering amount of talent in the horror community at the moment, and so many more brilliant authors, podcasters and film makers out there than I could ever hope to do justice to. I’m going to show my love and support for the entire writing community, particularly my horror family from twitter and instagram. I also need to share my deep and abiding love for the horror podcasting community, including the incredible cast and crew of the NoSleep Podcast, who do amazing things for the horror community and you really should listen if you haven’t already. If we’re talking mainstream authors, I’m all in for everything Jeff VanderMeer writes, which isn’t really horror, but I try not to limit myself to a single genre if I can help it. I read widely and don’t really discriminate. 

And are there any projects you're involved with when the lockdown is lifted that you'd like to talk about?

I do have a few projects on the burner that I can’t really talk about, but as a largely self-motivated and self-published author I can tell you about the two new books I hope to bring out shortly: Girl on Fire, a novella based on my short story of the same name, about a woman called Ruby Miller who is more of an anti than a hero, and City in Ruins, which is another short novel that I can’t really define beyond post-war-mystery, as I haven’t finished it yet, but hope to soon! I also have tons of short stories in development and lots of other bits to keep me busy. But like I said, lockdown isn’t too conducive to productivity, so I’ll keep plugging on the best I can and hope that this madness eases off soon, so I can get back to what I love- creating things for other people to enjoy. 

Thanks again to Gemma Amor for participating in the Positively Horror interview.

Follow the link below to check out Gemma's books:
https://www.amazon.com/Gemma-Amor/e/B07DNGYLNV%3Fref=dbs_a_mng_rwt_scns_share?ref_=d6k_applink_bb_marketplace

INTERVIEW: Eve Oliver, star of Mask of Thorn and the upcoming Dear Sister Margaret talks horror.

I recently asked the brilliant actress Eve Oliver some questions about the genre. Please enjoy the full interview below:
Please tell us a bit about yourself and your relationship to the genre?

Hi, I’m Eve, and I’ve been working as a horror actress for around 5 years now - time flies when you’re having fun! From the first time I stepped on set and started working in Independent Horror, I fell in love.  Maybe I’ve just been incredibly lucky with the production companies I work for, but on every project I have worked on, there has been a real, deep sense of team spirit and in a way, family.  I love how all-consuming the work can be, at times - it’s really pushed me outside of my comfort zone and I’ve learnt a lot about myself as a result.   Despite the incredibly rewarding work, I believe it’s been the awesome people that I’ve worked with that have made me go back, time and again for more!  It’s been an amazing journey so far, and I’m very excited to see what happens next!

What was your introduction to horror?

I feel like I kind of ‘fell into’ the genre.  A couple of years after graduating (In “Musical Theatre and Professional Dance” – so the polar opposite to horror!) I was really keen to focus on the film side of my career rather than the dance and choreography (which I had predominantly worked on this since my graduation).  I wanted to look locally, and MJ Dixon’s company ‘Mycho Entertainment’ stood out to me.  They had such a bold, vibrant and unique look to all their films and work, and I followed them for a while and made contact - keen to get involved with them one day.  It was actually MJ who put me in touch with Andy Gilbert, at ‘Hundy Gilbert Media’ where I ended up landing my very first horror / thriller role in a short film ‘Flytrap’ (2016).  It was such a fun shoot, I guess I caught the bug, and started auditioning for anything horror-related I could find! I’ve never looked back either – it’s been so much fun.

                      Still from FLYTRAP

You have become one of the badass heroines of the Mychoverse, what attracted you to the role of Bethany in Mask of Thorn?

Since I came across MJ Dixon’s work, I’d always wanted to work on his films, so I actually applied for a number of roles with Mycho, before I landed the role of Bethany.  I’d seen behind the scenes photos and videos they had posted online, and the atmosphere always looked so positive, and I loved the thought of being a part of that.  I’ve always loved performing, and if I could do what I adore, with such a positive company – I was going to do it!
The actual role of Bethany Lovell was incredibly special to me. Once I had the full script through and I could start to understand the character, I realised that Bethany; this shy, awkward, quiet girl who doesn’t fit in or want to go out and break the rules with her ‘friends’, really resonated with who I was as a 16 year old.  I had a lot of sympathy for her, and I wanted to do her character justice – all too often, characters like her are made the butt of the joke in film or TV, but I had been given this opportunity to portray her, and her awesome character arc to become the Bethany we see towards the end of the film.

                Still from MASK OF THORN

 During the lockdown, we’ve been lucky enough to see you do some singing on your social media, is that something you would incorporate into genre roles if you could? Maybe something like Rocky Horror?

OH HELL YES! I adore singing (sorry neighbours) and as I mentioned earlier, my training is in Musical Theatre and Dance, so any opportunity to sing and dance, I’ll jump right in!  Before the lockdown, I actually had a couple of projects in the pipeline which use both the horror genre and singing!  I can’t say too much just yet, but when I have a little more info to share, I’ll be telling you guys all about it – I’m very excited as it will be the first time I get to put those two skill sets together and hopefully create something really cool!

Who are some of your favourite people working in the genre at the moment?

Of course, without a doubt Anna and MJ at Mycho Entertainment (Mask of Thorn), (Slaypril Fools ’82) are an absolute joy to work with.  They have an awesome team around them, and they have made me feel like family since day 1.  Shoots are really hard work, but working with these guys, the time flies and it’s an absolute pleasure to collaborate with them.
Hundy Gilbert were also awesome fun to work with, I worked with them on the film ‘The Edge of Extinction’ and again, the time onset with them flew! I haven’t yet seen that film, so I’m really excited to see how it turns out!
In a broader sense, there are just too many to mention, someone who I love watching their career is Milly Shapiro.  She started out in Musical Theatre, and has moved over to the horror genre and does some really cool stuff!

And are there any projects you’re involved with when the lockdown is lifted that you’d like to talk about?

Yes! A couple of projects coming up… I’m working on a film with Sophie Phillips called ‘Dear Sister Margaret’, in which I’ll be playing the role of Sister Margaret.  We should actually be part way through shooting right now, but of course the shoot has been put on hold!  This is Sophie’s debut feature film as Writer and Director, so I’m really excited to be working with her!
I’ve also been offered a role in the Amazon Prime series ‘Days of the Apocalypse’ Directed by Adam Lezemore.  I acted alongside him in a short film by MKFN last year called ‘Roundabouts’, so I’m really looking forward to working with him again!  The series is free on Prime, so if you can - check it out!

                  Cover of ROUNDABOUTS

THANK YOU AGAIN TO EVE OLIVER FOR ANSWERING THESE QUESTIONS. WE LOOK FORWARD TO KEEPING UP WITH YOUR FUTURE PROJECTS. 

FOLLOW THE LINKS BELOW TO SEE SOME OF EVE'S WORK:

FLYTRAP (short film) -  https://youtu.be/41ep6_HPHu8

buy MASK OF THORN here -  https://mycho.weebly.com/mask-of-thorn.html#