Interview with Michael Simon, writer/director of "Gay Zombie"

Not too long ago, if you scoured the internet looking into horror festivals, looking for new horror films or were just trying to find out what's going on out there in the world of indie horror, the name of one short film was popping up everywhere... "Gay Zombie". Michael Simon's "Gay Zombie" played in over 60 festivals, has garnered him various awards and accolades and, aside from that, it's a great film. When it comes to short form film, it's spot on. It's got a great, concise, story and it doesn't shy away from the gore or the humor. We talked with Simon and, on top of being a really down to earth, nice guy, he had some great insight for other indie horror filmmakers looking to do the festival circuit. If you're making a horror short, thinking of making a horror short or want to do the festival circuit, this is a great read. Check it out...

Just when I thought the zombie genre was getting tired, I saw “Gay Zombie”. Where did the idea come from?

I kept seeing all these awesome zombie movies on the festival circuit the last few years – I got jealous – I’ve always loved the genre (especially Return of the Living Dead). I was sort of obligated to make a gay movie cuz I’d made all these connections with festival directors and distributors, thus Gay Zombie was born. The more I developed it the more he became a closeted zombie.

How did you go about securing financing and what was the approx. budget?

Gay Zombie cost WAY too much! I was very fortunate to have a backer who footed about 2/3’s of the budget. My backer was actually a friend who wanted to do the project and had the spare dough. We spent approx three grand on just the zombie make-up and gore FX, so do the math from there. Gay Zombie had a full paid crew and hired locations etc. One day I had 40 people on set – as writer/director/producer I just about shit myself.

Tell us about the make-up and effects. I thought Brad Bilanin’s make-up was particularly good… Very zombie-like, without looking too grotesque. Who did the effects and how were they achieved.

We met with a Makeup FX artist named Frank Ippolito. My producer Maria Montgomery and I needed to decide if we were going for the “high production level” look and if we were willing to pay for it. The answer was “yes”. People are a taken aback that the zombie makeup is so professional – Frank had the whole system down – it really added to the film not to mention photos, pr, etc.

What did you shoot on and how long was the shoot?

We shot on HD, Panasonic HVX200. We also used a 35mm adapter to get the film look.

We shot 18 pages in three days – tons and tons and tons of set ups.

The acting was great, another high point. How did you cast the film? Was there any difficulty there? I can only imagine that you got some strange looks when you were telling potential actors what the film was about.

I hate casting. I usually use friends and actors I’ve met over the years in acting class – I usually write with specific actors in mind. I actually had a tough time casting the leads in this one – I opened up the casting and had official auditions – as an actor, I really hate seeing people pour their guts out when I know they’re not right. It makes me feel icky and then they email wanting an explanation why they weren’t cast. I was thrilled with Brad and Ryan.

BTW – I pride myself that actors have turned down my movies. I love it! I have had many actors pass on my projects only to see them play worldwide – too gay – too this – too that.

After it was all said and done, what would you have done differently?

Well, the 35 adapter was a pain in the ass – very tricky and difficult to focus – caused some big headaches in post. It also had a spec of dust (bad luck) on the lens which plagued us in post as well. My shot list was SO HUGE it was near impossible to shoot it in 3 days, but we had no choice. I was nearly lynched by the crew the day we shot all the house stuff when everyone realized we weren’t near done and it had already been 6am-11pm – oops. We had to cut a scene of the actor whose house we were using – he wasn’t too pleased.

One of the most impressive things about the film, to me, is the fact that it screened in over 60 festivals. What kind of advice can you pass on to a filmmaker who’s hoping to make a film that gets into festivals?

Well, you have to use the With-out-a-Box website to do multiple submissions. It’s the only way – unfortunately, the fees range from $10/$15 up to $65 a pop – however, the horror fests generally keep them pretty low. I played so many festivals because it was gay. When your movie gets into Outfest or one of the big gay fests, you start getting multiple invitations and requests to screen at gay fests all over the world. That’s how Gay Zombie has played in 15 countries – almost all without submission fees – and some even paid me!

What did you get out of the festival experience? How beneficial would you say it is to a career?

The festival experience is a fun ride, BUT, at the end of the day you’re left standing in the lobby with your friends and the other directors. Again, with gay genre, you’re much more likely to be approached by a distributor. I’m telling you – go gay! If you’re straight – go gay anyway – good story – good production value and you’ll get distribution and exposure. Also, the gay horror genre is GROWING

What about distribution? How’s that going? Are there any lessons that you would pass on to other indie filmmakers who’ve just finished a film?

Again, I’m not really savvy on the straight or horror compilations – they are much tougher to find. 2 out of my first 3 shorts got worldwide DVD distribution deals. Gay Zombie got a 3 year broadcast deal with the LOGO network – so it’s been playing on TV for real! I also signed nice DVD deals with Germany, France and the UK – at this point I don’t have a U.S deal, which is curious.

There is a company out of Canada called Ouat! They seem to be a very reputable distributor of shorts – but go for the exposure – you won’t see much money.

Where can people find out more about “Gay Zombie” or, better yet, buy a copy?

People can go to my website gayzombie.net for all that is zombie and to buy a copy for $14.95 including shipping.

What’s next? Do you have any projects in the works?

I just finished the feature length script Gay Frankenstein – it’s a real winner and will hopefully get made. I don’t think my friend with the extra dough will cough up half a million.

What kind of advice can you pass on to other indie horror filmmakers?

ADVICE from me? I’d say this – Story is the most important thing – an audience will forgive production glitches as long as the story/concept is entertaining – you don’t need to spend a ton with a great idea. Also, PACE!!!!! It’s a short – keep it moving – don’t let the audience lose focus for a second or ask, ”What is this about?”

"AAAAAH!! Indie Horror Hits - Volume 1"... and how you can get in Volume 2

I've mentioned Aaaaah!! Indie Horror Hits before... but, to refresh your memory, their plan was to take a bunch of horror shorts and put them together on a DVD to give them a life after the festival circuit. In the meantime, the filmmakers of those shorts would keep 100% ownership of their film, there's no up-front fees or anything and you get to split profits with Aaaaah!!. Let me just tell you this, the more and more we talk to people in the industry, the more and more we know that there's lots of sharks out there that are going to try to rip you off. From my conversations with Miguel Gallego, the guy behind Aaaaah!! and The Crypt Club, I can tell you... he's not one of those guys. He's really in it to help filmmakers out. That's why I'm happy to let you know that "Aaaaah!! Indie Horror Hits - Volume 1" is just about ready and that you should really check it out! Here's some info from their press release...

"ALL KILLER – NO FILLER” This is the good stuff. The short horror films that caused a buzz on the festival circuit - then vanished. If you saw them the first time you know what we mean. If you didn’t, you can enjoy them now - for the first time.

From a dark, cautionary tale (The Crypt Club - with Alison Pill from Pieces of April) to gallows humour on the job (Ghost Busted); from the grotesque otherworld of H.P. Lovecraft (The Veil) to today’s outbreak fears (The Ninth Entry); from the stylishly bizarre (My Skin! – with Tony Simmons from Human No More & Carnie) and the chillingly macabre (Oculus) to the dire family survival drama (Old Friends - from Kevin Greutert, editor of the SAW films).

We've resurrected these great short indie horror films. Turn down the lights and dig in for your own private horror film festival.

The DVD will be available in September, but they're holding the DVD's Worldwide debut at the Crypt Club Productions booth at the Rue Morgue Festival of Fear in Toronto, August 22-24. Drop by and pick up a copy! Otherwise, you can go to the Crypt Club Productions site here or go directly to the Aaaaah!! Indie Horror Hits site here... if you're interested in submitting your short film for the Volume 2, click here.

From Sesame Street to Indie Horror: Dead Harvey Interviews Adam Matalon, Director of, "Death On Demand"

Adam Matalon has loads of great advice in this interview. After reading his answers, I couldn't help but think to myself how all the filmmakers we've spoken with are a film school in and of themselves. What's even more awesome about Adam's interview is how varied his career has become. After all, he's gone from Sesame Street to indie horror. Talk about never having to worry about getting pigeon-holed into one genre.

Dead Harvey thanks Adam for this awesome interview! Now head on over to Amazon, buy yourselves a copy and support independent film making! And be sure to check back in with Dead Harvey for Adam's upcoming work. It sounds like he's got a lot of great stuff headed for us in the future.

DH: Tell us about your background. Where are you from and what got you into filmmaking?

AM: I started my life working in theatre and then moved into production in TV first in lighting and grip and then into work as an AD. I have always needed creative outlets so becoming an active indie filmmaker is a natural development. Writing and producing are very important to me but in an ideal world I would mostly direct. I love working with actors.

DH: Film school: yes or no?

AM: Never went to film school although I did a substantial amount of study in the areas of still photography and that taught me a lot about composition. I have picked up all my knowledge of shots, composition etc. from observation, discussion, trial and error and obviously being around production in other departments.

DH: What one film has had the most influence on you as a filmmaker and why?

AM: I think in recent times the film that has resonated with me most was Moulin Rouge. It seemed such a groundbreaking and daring mix of so many different styles. It’s a true Technicolor extravaganza, which could have been either a huge success or a miserable failure. It also opened the doors for so many other films, which have since had success, and created an awareness again of music and dance as an art form. It had commitment vision and lack of fear. In the areas of horror I’m a fan of the Final Destination concepts but am more drawn to films like Stigmata, which blend terror with true cultural fears.

DH: What was the main inspiration for the story behind, "Death on Demand"?

AM: You know the film was really created on a dare. “Can we make a film with next to no money and get it out there?” My producing partner Kevin Burke had worked on some Indie Horror films but I hadn’t, even though I have always been a fan of the genre. We put out notices for scripts that had single locations, small casts. And we got several interesting ones including a couple that we optioned but require bigger budgets. We decided on Brian O’Hara’s “Web of Horror” Although it fit into our budget criteria, it was only 60 pages and not really a feature script. It also had some character and plot points, which we thought stretched credibility too far, but basically we knew we could do something with it. So we got with Brian and agreed that Kevin and I would put work into it and change some characters, (originally the Goth lesbian panty fetishist Haydn was a nerd/geek called Herbert.) We also wrote a couple of extra plot points in and changed Sean the bad guy into an ice climber and not a mountain climber.

We always knew we were backing into a specific cash budget number and we refused to compromise on that end. Where we managed to add production value was in the post, music, and audio, where we got everything basically for free.

DH: You've directed a number of Sesame Street episodes, which is f'ing awesome, by the way. Why did you decide to switch gears and direct a feature horror film?

AM: Well I think the question maybe answers itself. After a lot of kids TV work I am looking for a big change. When you work in kids TV you gotta realize that most of your audience is still pooping their pants. Personally, I am interested in much darker subjects and harsher social issues. I will continue to have those interests and connections but right now my focus is on material, which suits me better, emotionally.

DH: What was your approach to the reality show/horror film?

AM: Well I wanted to make sure that we always related back to the college campus crowd, so that we understood that there was a certain amount of performance going on from all the players. There is a certain presentational style to the acting, which was intentionally heavy handed. The college kids know they are on camera, so they’re showboating for their friends etc. I also wanted to retain a kind of cheesy approach, which commented on Richard’s inability to actually do something really decent. I think this was a fine line, which I think many people miss on viewing. I wanted to represent all the archetypal horror characters in a film and make fun of them to some degree as well as providing us with some decent deaths.

DH: Describe your directing style?

AM: I am not a great fan of hand held camera work unless it is integral to the style of the film. I enjoy more composed shots. Static, Steadicam, small jib, low and high angle shots are things I like. That was the plan for the film. Budget restricted us to a very low shooting ratio. 3-4 takes per setup and a fast schedule, which demanded we shoot about ten pages a day. That is pretty hairy. We certainly compromised our plan as the production moved on. We had a decent set of prime lenses for the cameras we shot on but because the house had limited size in the rooms we often had to use zoom lenses so that we weren’t waiting on lens changes and to get the wider-angle shots.

DH: What was the budget and how did you go about securing financing? What, in your opinion is most important thing aspiring filmmakers need to know about raising money for a movie?

AM: The cash budget for Death On Demand was a very different number to the official budget because we got over 150K worth of free post services. So know what you need in both cash and services and then work from there to present a plan that looks good.

So my advice is have a clear business plan whether it’s a 10K or a 10Mil film. Take it seriously and make it clear that you want a retail presence for the film, and that your intention is to repay your investors. Nobody wants to invest in an unclear plan. We actually raised 50% of the budget from a European investor.

We went out to several sources and presented a film, which already had a worst-case plan for distribution as we knew we had a DVD deal with a small company going in. Because of that it was easier for us to present a decent risk scenario to investors.

What we got was a much better deal once we presented the finished film. I am under no illusions about the film. I think we did a great job with the resources we had, however, I also know that I will not do it again that way. The next horror flick we do will have at least double the budget and at least one name. That’s the only thing that makes sense right now in the market.

DH: What were the biggest challenges you faced while making, "Death On Demand"?

Money and time. This had several impacts. We never had the time to build up enough suspense in the film because we didn’t have the ability to do the longer tracking shots throughout the house to send the audience in the wrong direction.

We also made an early compromise that we would go with non-union actors because we didn’t think we could afford SAG actors. Although I really like the actors we cast, their inexperience under pressure created some uneven performances. It’s tough to know where you make your sacrifices and I think that one was a mistake on my part.

DH: What did you personally sacrifice to get the movie completed?

AM: Wow! There was a lot, but I think that is best summed up by giving up paid work to work on the film for nothing and to spend three months in post and getting the film ready for delivery for the price of lunch. I also lost 18 pounds during production because I was always too busy to eat.

DH: Your movie is in pretty much every video store I've been to around town. Describe your experience with distribution on this film and what tips can your pass on to people trying to get their movie out there?

AM: We knew we were making a DVD movie, so we were more committed to getting a strong retail presence for the film than making money. This film was about beginning to build a name for us as people who can make and sell a film into the market. We got several offers from the original screeners that went out but although we wanted to jump on the first offer we were very cautious. We tried to audition the distributors who were interested. Did they have output deals? What had past films done in terms of visibility? We cut a deal with one company who was to represent the film at Cannes Film Market last year, but we realized quickly that we had been wrong and then we made a momentous decision and we spent the entire advance buying ourselves out of the contract so that we could sign another one. We ended up with Barnholtz Entertainment, knowing that when it did release we would have some good presence but I have to say it has all been better than expected. MTI Home Video has been very supportive of the film and has been very good to us. We are looking forward to continuing the relationship.

DH: What's next for Adam Matalon?

AM: I just premiered a feature documentary about Jamaican migrant workers, which is narrated by Elliott Gould and I’m attached as director to a tween family film called Sparkle Serena! It’s a five million dollar project, which will shoot next year. Right now I am finishing up a rewrite of a college comedy I am producing with Kevin Burke, which will shoot next year. It’s called Drive-In and it’s a collaboration with Peter Scheer, who was the DP on DOD. He will direct it. Evil Twins, which is Chatsby Films’ genre shingle, has a teen horror project called My Sister Bites and a really sick, dark, psychological horror flick, whose title I’m not mentioning, just yet.

DH: If you had an unlimited budget, what would your dream movie be?

AM: It’s hard for me to answer that. I would like to be working on films where I have the luxury of not restricting my ideas because we can’t afford this or that. In specific I have a script that I wrote called Love’s A Drag. It’s a dark musically driven romantic comedy. It’s my script and for a number of reasons it’s a high budget film.

I would also like to do a high budget sci-fi thriller type film.

DH: What's the most important thing aspiring filmmakers need to know before they go out there and shoot their first movie?

AM: The most important thing is MAKE A FILM. So many people talk about it but never see it through. Even if it doesn’t manage to get out there you will learn so much. Understand that this is a business and that talent and vision are only a part of what is necessary. Stay focused and try to make the best damn film you can. Don’t question yourself too much – which is hard – I know, but don’t get fooled into thinking you can pick up a camera, shoot a film, and post it on your laptop. Understand what goes into delivering a film. Getting your film out there is the most important thing. It’s all about visibility. We already have a sense that things are going to be very different after the DOD release. Whether you like the film or not, it’s out there and it hit #414 on the star meter on IMDB the week it released, which is an astounding number for a small film like this. We have had inquiries from other companies about projects. We have already got some good development money on another project and have some decent open doors if we have the right projects.

August 19th, 2008 - New Horror out on DVD this week

It's a decent week in horror releases... there happens to be a classic rerelease (see poster to the right) AND a couple of good TV shows coming out with their first seasons on DVD. However, I wish I could gloss over the first release this week, but I won't... because not mentioning it doesn't give me a chance to say it sucks. As usual, head over to our Youtube page to see all the trailers and, please, click on the titles to buy them off Amazon!

Okay, I don't really want to spend too much time talking about this weeks 'big' horror release, "Prom Night", because it, pretty much, stands for everything I hate about studio horror, but... here's a few tidbits. It's PG-13 and it was not screened in advance, both of which usually mean the movies sucks. However, budgeted at $20Million, it grossed over $50Million internationally, so it would probably be considered a financial success, therefore you can expect more of them. It was directed by Nelson McCormick, who's done a lot of TV... which makes sense because there's a lot of TV actors in it. Looks like he's the guy behind the new "The Stepfather", too. Just do yourself a favor and pick up the 1980 original.

Okay, so it's the series that just keeps pumping out films. I decided to do a bit of research on this so-called "Maneater Series", as the long awaited, "Maneater Series Collection - Vol. 2", is finally out this week. It contains 3 films; "Croc", "Eye of the Beast" and "Grizzly Rage". I started to think this whole mess started with the 2007 Gary Busey classic called, you know it, "Maneater"... but it didn't. "Maneater" is actually the third film in the series. (That would be in Vol. 1, for those keeping score) The FIRST film in the Maneater Series was "Blood Monkey"... I think. Anyhow, they're all the Sci-Fi Original Films about creatures that eat men.

For all those fans of Spanish horror, here's an interesting release. It's "6 Films to Keep You Awake", the Spanish made-for-TV horror hexalogy. It's being released by Lionsgate and the 6 films are: "Blame", "Spectre", "A Real Friend", "A Christmas Tale", "The Baby's Room" and "To Let". It's a three disc collection and the trailer looks awesome... the price is definitely right for 6 movies. I can't find the trailer on Youtube, but click here to check it out.

"Things You Don't Tell" is an indie horror from director Alex Melli and I believe this is his first feature film... he also edited it and shot it. It was written by Bibi Ong-VanZandt and Gloria Uhler, Bibi Ong-VanZandt seems to have worked with Melli on a short a few year back... and I really just wanted another excuse to write Bibi Ong-VanZandt because the name is awesome. Bibi Ong-VanZandt. It looks like Bibi is married to John VanZandt, who produced the film. ANYHOW, Melli worked as an art director, producing advertising, before getting into directing. He made five short films before making "Things You Don't Tell", which is "a psychological thriller about three people caught in a web of deceit and lies. Everything is contained on the surface until a chance meeting triggers a series of tragic events that rips their worlds apart. As the truth unravels, their very survival is at stake."

Now on to some micro-cinema horror! "Evil Awakening", directed by Geno McGahee and Jeremy Weiskotten, is from X Posse Productions and is being released by Tempe Video. It's about a vicious serial killer who once terrorized the small town of Ludlow. The axe-wielding murder was brought to justice, but according to legend, he would one day return for vengeance... and that day had come. The trailer looks great and, from what I can tell, this is their first feature.

As you know, I rarely mention rereleases, unless it's of note.... and "The Wizard of Gore" is definitely of note. It's from 1970, directed by Herschell Gordon Lewis. Lewis is pretty much known for creating the splatter film, as we know it, and "Wizard of Gore" is frequently quoted as an influence for every modern splatter filmmaker, from bigger budget splat fests, all the way down to the smallest of micro films. In any case, it's a must see for any filmmaker...

I have to mention the best show on TV, "Dexter", when "Dexter - The Complete Second Season" comes out. Best show on TV. Period.

I don't care if you think it sucks, please support "Terminator - The Sarah Connor Chronicles - The Complete First Season". I'm a sucker for anything Terminator and I thought the series was pretty f'ing awesome... I can't wait for season 2.

linkapalooza - August 18, 2008: '5 or Die' revealed, "The Gates of Hell" unveiled and other indie horror news...

Tom Holland Debuts New Web Series '5 OR DIE' on Bloody-Disgusting.com: Last week, I told you guys about that mysterious clip that mysteriously didn't get sent to us at Dead Harvey, but did get sent to a bunch of other horror sites... well, it was quickly revealed that "5 or Die" is a new short film from writer/director Tom Holland, they guy who did "Child's Play". It's debuting exclusively on Stike TV, which is that new online channel that a bunch of writers created during the writer's strike. A lot of people seem to think that Strike TV may be a huge catalyst for pushing people to online entertainment and something that will be a major thorn in the side of network tv, as it's one of the only online channels that is made strictly by professionals. I'm not sure how you go about finding "5 or Die", specifically, buy you can find Strike TV here.

"The Gates of Hell" trailer on Youtube: Not really news, but I came across this... and I had to share. It's the trailer for first time director, Kelly Dolen's upcoming film, "The Gates of Hell". It's about five adventurous filmmakers who set out to make an online interactive movie, exploring the nature of evil, who soon find themselves the subject of their own intentions as they accidentally uncover the heinous truth that has been secretly hidden in the bowels of Von Diebitsch Manor for generations. I know, I know... it sounds like something you've seen a thousand times, but trust me... click on the link up there and you'll find out what I found out - that this is going to be awesome.

Lionsgate Expects More Revenue Gains on THR.com: Guess what? Lionsgate is making money... and guess where they make it? "The growing Blu-ray and digital markets". Lionsgate finances a lot of their own movies, but they make tons of money off of aquiring and distributing indie horror films. Lionsgate is fun to watch because I think they really do have it right... they're one of the only major players that gets how lucrative the indie horror business is. So, if they're doing well, you know that there is a market for all this stuff we're making and putting out there.

How Virtual Reality Is Coming to the Movies on adage.com: I just thought I'd pass this on because it's just plain crazy. Basically, they're talking about "cinema 2.0" and how the worlds of film and video games are going to collide. Essentially, graphics cards are so fast now, that it'll be possible to render actors virtually, then make movies interactive... like a video game. Such as, "playing a movie at home, users can change plots, interact with characters and even create new endings." Further, as they can render actors into simulated environments, directors can "envision his film" before they shoot it. I'm betting I could finance 5 indie horror films for the amount of money they would spend on "envisioning" ONE scene.

Lastly, check out the poster for Saw V's Blood Drive (click to enlarge... I think):

A Great Week of Signings at Dark Delicacies

I regret I'm a little late on this one, since I just found this info. but there are all kinds of awesome guests that are going to be appearing at Dark Delicacies.

Among many others, Joe R. Lansdale, who is without a doubt one of the most f'ing awesome authors on the planet. "The Drive In" is my favorite horror novel so it makes it even more bad-ass that he'll be signing the graphic novel adaptation, as well as his latest novel, "Leather Maiden".

Also signing will be Neil Kaplan, writer of the horror comic, "I, Of the Wolf" who we have an upcoming Dead Harvey interview with. Be sure to check back in on that as his comic is very cool.

Oh, yeah I almost forgot. Warwick Davis is going to be there too. That's right, my friends... motherf'ing Leprechaun!

Dark DelicaciesÒ Signing Events

Friday, August 15^th 7:30 pm – John Saul

John Saul returns signing his new novel, Faces of Fear (HB $26) and the Devil’s Labyrinth (PB $7.99). Plus many of his older books.

Saturday, August 16^th – 2 pm – La La Land Records Presents

Kevin Manthei signing the scores to Justice League: New Frontiers (cd $15.98) & Batman: Gotham Knight (cd $15.98)

Christopher Drake signing the cd to Batman: Gotham Knight (cd $15.98)

Robert J. Kral signing the cds to Batman: Gotham Knight (cd $15.98) and Superman Doomsday (cd $15.98)

Lolita Ritmanis, Kristopher Carter & Michael McCuiston signing the cds Teen Titans: Trouble in Tokyo (cd $15.98)

Thursday, August 21^st – 7 pm – Very Special Guest

Warwick Davis will be signing his DVDs (email us for a list). Only one DVD per person can be purchased here. There will be a charge for items brought in to be signed. Warwick will also selling & signing his many photos. He has appeared in all the Harry Potter movies as Professor Flitwick, the Leprechaun in the Leprechaun movies, Willow Ufgood in Willow, Marvin in The Hitchhiker’s Guide to the Galaxy, and Wicket Ewok in Star Wars: Episode VI.

Friday, August 22^nd – 7 pm – Joe R. Lansdale

Joe R. Lansdale is returning with his new dark mystery, Leather Maiden (HB $23.95) and The Drive-In (graphic novel $12.99)

Sunday, August 24^th – 2pm – Home Sick & Blood Scarab

Director Adam Wingard, Writer E. L. Katz, Jeff Dylan Graham (Ben), Tiffany Shepis (Candice), Bill Moseley (Mr. Suitcase), Tom Towles (Uncle Johnny) & other to be announced signing the new horror film, Home Sick (DVD $24.95)

Director Don Glut, Del Howison, Monique Parent, Jakeline Olivier, Cindy Pucci, Tony Clay, Susan Brock, Brink Stevens, Ange Maya, James Meyer, Sagreb De La Torre and others to be announced signing the vampire horror film, Blood Scarab (DVD $19.98). Must be 18 and older to purchase this film.

Sunday, September 14^th – 2 pm – Pumpkinhead & I, of the Wolf

Tom Woodruff Jr. (Pumpkinhead) & Alex Gillis signing the 20^th Anniversry edition of Pumpkinhead (DVD $19.98). Writer Neil Kaplan & artists J. Zoe Grasure & JK Woodward (also signing Necronomicon #1 $3.99 & X-Men Origin: The Beast $3.99) signing the special ComicCon edition of I, of the Wolf ($3).

Del is reading his short story "The Last Heard" the story behind the Fear Itself episode "Sacrifice". http://www.dreadcentral.com/story/dreadtime-stories-del-howisons-the-lost-heard

Website for Vampire Comics: http://www.cesnur.org/2008/vampire_comics.htm?

SPECIAL Signed Items

We have a limited supply of Crucified bookplates signed by Michael Slade for those who purchase his new book here.

Steve Niles has signed the sequel to Immortal Remains, 30 Days of Night: Eternal Damnation (PB $7.99)

******************************************************************************************************

The LA Opera presents "The Fly The Opera" with music by Howard Shore. September 7 – 27, 2008. An Award-winning dream team of composer Howard Shore, director David Cronenberg, and playwright David Henry Hwang makes intriguing LA Opera debut bringing a cult classic to life. Placido Domingo conducts the U.S. premiere of the LA Opera-commissioned opera written by OscarÒ -winning composer Howard Shore based on the original 1957 George Langelaan short story as well as David Cronenberg’s 1986 film. www.theflytheopera.com

Dark Delicacies Customers receive 20% off tickets. Call 213-972-8001 and mention promo code 9552.

******************************************************************************************************

CONVENTIONS:

www.30yearsofterror.com Oct 31, Nov 1 & 2, 2008 – Come see us there

*********************************************************************************************************

All items can be order through our website at www.darkdel.com under signing/events. This is a secure shopping cart.

********************************************************************************************************

******************************************
Dark Delicacies
4213 W. Burbank Blvd.
Burbank, CA 91505
818-556-6660 / 888-darkdel
darkdel@darkdel.com
www.darkdel.com
Tues - Fri 10 am to 7 pm
Sat/Sun 11 am to 6 pm
Closed Monday

Dead Harvey Interviews Stephen Zimmer: Director of, "Shadows Light"

"Shadows Light" is all about exorcising demons. In a way, I believe this is what indie horror filmmakers do because, at the end of the day they're one of the nicest, most unpretentious groups around. I've been on sets that have been the complete opposite of indie horror (both genre-wise and financially) and I had to stop counting all the pretentious a-holes I ran into because there was too many to keep track of. Stephen Zimmer is a perfect example of an friendly, helpful filmmaker who believes in supporting the indie horror community. The interview here contains a lot of useful advice on making your movie outside of L.A., getting funding and how's he believes a little idea called hope can't do any harm. Congrats on the movie Stephen! Dead Harvey thanks you for the interview and looks forward to your upcoming work!

For info on Zimmer's film check out the website at www.myspace.com/shadowslightmovie and head on over to Amazon to buy yourselves a copy.

DH: Tell us about yourself. Where are you from and how did you get into film making?

First of all, thank you very much for the opportunity to interview with you, Brad. I truly appreciate the opportunity to be on Dead Harvey.

As far as where I am from, I was born in Denver, Colorado, but I have lived most of my life in Lexington, Kentucky. I got into film making from a lifelong love of storytelling, from books to movies.

I played around with video cameras as I got into high school, but by the end of high school into college I was focused on proper camera techniques and still photography. I have always loved writing as well, and so I came at film making largely from a writer’s perspective at first. My first projects were short films and documentaries, while I also worked on commercial productions. Eventually, I got a pretty comprehensive view of all aspects of production, which has helped me greatly as a director.

DH: Who are your biggest influences as a filmmaker and why?

My biggest influence is Peter Jackson, as I loved his early horror work such as Dead Alive and Bad Taste on up to his worldwide explosion with Lord of the Rings and King Kong. What a career! He does what he does out of a true passion for film making and storytelling, and not for superficial motivations.

He also is very dedicated to his community and his team in New Zealan. When he broke through, he opened up the floodgates of opportunity for those around him. He saw the big picture with those that helped him included. I admire that kind of loyalty very much.

So I have to say that it is Jackson's character as much as it is his penchant for bringing the fantastical alive in a gritty and believable way that inspires and influences me!

DH: Film school: yes or no?

No. Visual Communications Degree from Hardin-Simmons University!

DH: "Shadows Light" has several religious themes. Did your personal beliefs influence and/or inspire the film?

The Catholic world has a 2,000 year history that is rich in imagery, lore, history, and so much more. For a film drawing on the supernatural, I definitely drew upon my Catholic background, though imagination is required in many instances such as ones depiction of demons, souls, and other non-physical elements. I reached a little farther abroad for some other elements, such as the Djinn.

I thought that it would be a challenge to create a protagonist who was a dedicated priest. He is not Gandalf the Wizard, nor is he Jet Li, in terms of the tools he uses to overcome evil. In that sense, I explored the core of a man’s faith, especially where he has to admit weaknesses. Not the easiest of tasks!

DH: Describe your individual take on the possession film?

Possession is present (whether one attributes it to psychological or paranormal roots) in societies all around the world, so a possession film has a resonance that crosses cultural lines. At its core, it is an exploration of the concept of evil and freewill. It also allows for quite a range of portrayals and interpretations, ranging from the subtle to the fantastical. As such, I believe it will hold its place in future storytelling.

As far as Shadows Light went, I have always been fascinated by the accounts of Malachi Martin (Hostage to the Devil), and his experiences were part of my background research for this project. Those familiar with Malachi Martin’s work will pick up on some of the elements he describes regarding various exorcisms and possession cases.

DH: What was the budget and how did you go about securing financing? Furthermore, what, would you say is the most important information an upcoming filmmaker needs to know when they're trying to raise money to make a movie?

Low, low six figures! I went about giving presentations, hosting “meet and greet” parties (where we set up exhibits showing demo reels, storyboard sequences with music, models from SFX people, etc), attending private meetings from referrals by friends and associates, and other similar activity.

The important thing to know, especially for a first time feature director, is that you are going to get rejected by an overwhelming majority of those you approach. And I mean overwhelming majority. The key is to use every window you can to reach out so that out of a large number of pitches, you will give yourself a chance to cull the small group necessary to finance the film. Also, make a professional, cohesive presentation with visuals as much as possible.

DH: What was the film shot on and what do you recommend upcoming filmmakers use?

We shot the film on modified Canon XL1S’s, which were fitted with mini-35 adapters (true optical adapters that address depth of field, etc) that enabled us to use a full range of Cooke lenses. It wasn’t the optimal setup I would have liked, but it did result in a very good look.

DH: Describe your directing style.

Some might say I have a more laid back approach. I know I am not a drill sergeant on the set. My focus is to adapt to each individual actor. Very different approaches are needed for different types of actors to draw out the best performances. Some need a nudge, others need a kick in the rear, and others need to be left with room to breath.

The key is identifying which is which, and approaching each one on a basis that best communicates with them. I also emphasize rehearsing, which we were fortunately able to do a lot of in preparation for Shadows Light. And I do really feel we got a range of good performances out of Shadows Light.

DH: What were the biggest challenges and/or sacrifices you faced in the process of making, "Shadow's Light"?

Probably could write a book on this one. I had to wear a few hats on this one. Honestly, the biggest challenge was the constant battle to convince people that we really could manage a budget and a schedule and bring this project to a conclusion, especially as a first time director. Some people that saw us proposing a 22 location independent film in Lexington with 8 different creature designs on a 6 week shooting schedule thought we were completely nuts.

So many people were always second-guessing whether we were capable of doing this. On the other hand, there was a group here that was bound and determined to see this project through and make it happen. I’m glad the latter element prevailed.

DH: Tell us about your experience with the distribution process? What advice do you have for upcoming filmmakers trying to get their movie out there?

Very difficult. We went through some hurdles here, and at times were supposed to be released by 2 or 3 other companies. Things changed due to changes in personnel, restructuring of companies, and other things far beyond our control. It was a roller coaster.

We finally landed with Passion River who put the DVD out in North America. We’re far from done with the process, as we have foreign territories to explore, an HD release at some point, and new media options/digital downloads.

My advice to filmmakers is to try and secure a producer’s agent, especially if you are coming from a part of the country that is not known for its film industry yet (I.E. My home state of Kentuck!). A producer’s agent can usually offset this type of disadvantage.

Also, try and create the most professional package possible when soliciting. Its worth the added investment and hassle.

DH: What is the one thing you would like people to take with them after they watch, "Shadow's Light"?

The one thing I would like for people to take from it is to keep an element of hope. Things seem really out of whack nowadays, and not much seems to make sense anymore. No person alive possesses a full store of knowledge on the universe or of all possibilities out there. In other words, don’t assume the worst. Leave the door a little cracked open for possible sunshine too. There’s nothing wrong with that, and there’s already more than enough negatives and prophets of oblivion out there.

DH: What's next for Stephen Zimmer?

Two things on the near horizon.

My first fantasy novel is in the process of getting edited by a very wonderful editor based here in Lexington named Amanda DeBord. We are exploring publishing options and hope to have it out by the end of the year.

I have an extended short film (35 minutes running time, roughly) tentatively called the Sirens, which is being paired with a 50 minute film called Murderer (which was shown last year at Cannes) for a kind of double-shot DVD release that I am doing in conjunction with Cineline Productions.

It is more straight ahead horror, involving 3 male chauvinists who get quite a surprise from six very attractive females who are much more than they seem.

Farther ahead, I can now move forward on planning for my next budgeted feature. I promised those who backed us on Shadows Light that I would not raise money or do a budgeted feature until I got Shadows Light to the finish line. I kept my word.

As of August 5, 2008, that has been accomplished! So now time to look ahead!

DH: If you had an unlimited budget, what would your dream movie be?

Easy answer for that one. Medieval Epic Fantasy.

Adult Baby Acts in Film With Theatrical Distribution

I just got back from Vegas, after doing a good stint of partying with the adult baby from "Evil Ever After". We returned to L.A. early to catch the premiere of a film he acted in called "In Search of a Midnight Kiss".

Usually, we here at Dead Harvey don't cover movies that aren't in the realm of indie horror. After all, no one gets slayed. There's no midgets and not a single boob shows up exposed on frame. However, this is a damn good movie, with excellent writing and acting and better yet, it was made on $12,000 and has attained theatrical distribution and has been selling to run theatrically overseas as well.

Awesome job to everyone involved! What you have accomplished is phenomenal. It will open doors for the world of independent cinema that haven't been opened before. Dead Harvey salutes you and sends your their support. Check out the website at: www.midnightkissmovie.com and see the movie at the theater to let them know indie movies deserve to be seen and they deserve to be seen on the big screen!

Exclusive Interview with Paul Traynor, director of "Witches' Night"

It's been quite a while since I've seen a decent entry into the 'witch' genre of horror. In fact, I'd be hard pressed to say I've seen a decent one in years. I could think harder about that, but, well... I won't. I do have to admit (and maybe I shouldn't), I loved the "Witchcraft" movies back in the day. They're on the 9th one now and I haven't seen the last few, but man-alive, did I like them back in the day. Then, a while back, there was "The Craft" and a few other films like that, as well... but, regardless, it's been years since there's been a good entry. So, when I recieved "Witches' Night" from first time feature director Paul Traynor, I was very excited to see that someone had returned to the genre. After watching it, not only did Traynor put together an extremely professional, top-notch looking film his first time out, he delivered everything that you'd want from a 'witch' film. There's sex, violence... and, of course, hot nude witches. Dead Harvey had the opportunity to ask Traynor a few questions about the making of "Witches Night"

Tell us about yourself as a filmmaker.

To me, the most important element of a film is a great story. It all begins and ends with that. I'm a huge fan of Francis Ford Coppola. His movies have such indelible characters, but they're always revealed through the conflict inherent in these great, engaging tales he tells. In the world of horror, I love John Carpenter's movies. The stories are always clear and gripping, and he always sets such a great & specific tone. My own directing style is definitely a work-in-progress, but for me it begins with making the actors & the crew feel comfortable, and finding ways to help them do their jobs well. In WN I tried to keep my focus on what challenge each character faced in the moment. I also think it's important that everybody has fun, and feels like their contributions are appreciated--especially on such a low-budget, technically challenging shoot. Making movies is hard enough without having to deal with bad attitudes. I want to treat everyone well, and only have people on set who truly want to be there. If it's not fun, it's not worth it.

Film School: Yes or No?

I didn't go to film school. In fact, when I decided to make WN, I had virtually no production experience at all. Back In 2004 I produced and directed a test scene for the movie, and that was of tremendous benefit. Some things went really well with that, but a lot of things went wrong-- and it was really an invaluable experience. I wish I'd had the experience of film school, primarily because learning the proper language and conventions of film gives you a very helpful shorthand--one that I had to struggle along without at first-- but in some ways I feel like you can't really simulate the experience of directing a feature, anyway. Until you're on your own set with the clock ticking and everyone looking at you, wondering what to do next, it's hard to know how you'll react.

Where did the idea for "Witches Night" come from?

I'd always been scared of, and fascinated by, witches, and I felt they'd never really gotten their due in the movies. And I really wanted to turn some of the basic horror conventions on their heads-- you know, like most horror movies have the pretty, topless girl run screaming through the woods with the big burly guy with an axe in hot pursuit. I thought it would be really fun to switch that around, and make the guys the sort of helpless, ditzy victims, and make the women these calculating, evil and methodical killers. And I thought a beer-drinking canoe trip was the perfect device, because floating drunk down an unfamiliar river just seems to make the guys so vulnerable, and in a way, impotent. Which also fit the theme well.

How did you go about securing financing and what was the approx. budget?

Let's just say there wasn't a line of people with checkbooks queued up at my door! Like most first-time directors, I had to work very hard to get people to take a chance on WN. I think the first investment came from my mom and dad, and the second from the woman I've worked for for ten years. A lot of support from my family--thankfully I'm Irish, so there were lots of family members to hit up! But once we got things going, and people could tell we were serious, it became easier to raise the rest of the money we needed from outside sources. But our original budget was $1 MIL, and I think we ended up shooting for about 20% of that-- so there were lots of sacrifices that had to be made, and we had to find creative solutions to get the story told. The fact that we could make WN at all on our budget astounds me, frankly-- and the credit for that goes to our Producer, Sean Bradley, who was really able to work miracles with our very limited funds.

What did you shoot on and how long was the shoot?

We shot on the Panasonic HVX 200 (P2), which came out about six months before we shot. There's no way we could've made this movie at our budget without that affordable HD technology-- it really enabled us to pare things down. We shot the movie on location in Wisconsin in 18 blistering days! We could've used twice that, but somehow our crew was able to pull it off.

Witches Night has a great cast, including: Gil McKinney (the upcoming "Grudge 3", ER), Wesley Walker (Prison Break) and, of course, Betsy Baker, who was in "Evil Dead". What was the casting process like? How did you get such a great cast?

Sean (again Sean Bradley, our Producer) had worked for several years at O'Connor Casting, one of the top casting companies in Chicago, so we were lucky enough to have them cast the film for us. We really saw all of the best young actors in town, and were extremely lucky to get all of our first choices. I met Betsy Baker through a mutual friend, and was delighted when she agreed to do the picture-- not only because of the EVIL DEAD connection, but because she's such a talented actress-- she was just right for Marge, which is a tricky role. After we'd auditioned for several weeks in Chicago, we'd seen a few really good actors read for the role of Jim, but no one who we felt was just 'the guy'. So we ended up reading about 20 actors in LA for that role, and Gil just popped from the first time we saw him on tape. Sean and I both come from an acting background--Sean actually runs an actor training program in Chicago-- and we just knew when we saw him read that he could carry the movie. And thankfully he agreed to come do it.

The film had the look and feel of a big budget, Hollywood film. If there's one thing you could pass on to filmmakers, what would you say is the most important thing to do to achieve that look and feel?

Hire a great DP! We were extremely fortunate to land Steven Parker, who's shot countless features, many of them on tight schedules. He is an extremely talented man who also works lightning-quick-- that's a rare and potent combo. The other thing I'd say is even if you're shooting with a relatively inexpensive HD camera (or perhaps especially if you are) don't scrimp on the lighting package. We used a big chunk of our budget to make sure that we had a big enough lighting package, and an eighty foot condor crane, and so our Gaffer Addae Shelby was able to choose from a fairly good range of options to get the looks we wanted.

You also hear all the time "don't scrimp on sound", and that couldn't be more true. We had Tom Beach mix our picture, and I don't think we had a single take that was unusable due to sound, which is almost unheard of. It was also essential for us though, because on such a tight schedule we only had time for 2 or 3 takes of most scenes.

One thing that stood at for me was the score. Talk about the process of scoring the film.

Yeah, the score is one of my favorite elements of the whole picture, and in many ways I think it makes the movie. Our LA Producer, Michael Lent, put us in touch with Gordy Haab, who is just insanely talented. Gordy and I jclicked from our first phone call, and throughout the scoring of the film I always felt like he knew exactly what I wanted, but was always a couple of steps ahead of me. Everything he came up with did exactly what I wanted it to, but nearly always was much richer, and more complex than I'd expected. They always say that the score is the key to a good horror movie, and I think that's definitely the case with our picture.

After it was all said and done, what would you have done differently?

Well, there are always things you could improve on, but overall I have to say that we did pretty darn well, considering our limitations. You've heard the old saying "it's better to be lucky than smart"? That was us, in a lot of ways. Things just sort of worked out the way they were supposed to-- we had really good synergy.

But if I had my druthers, it'd have been great to have more time in pre-pro with the produciton team, particularly the designers. We definitely could've used a few more days to shoot, as we really had to rush through much of the action sequences, frequently to our detriment. And of course the biggest thing is that as a first-time director, there were lots of little things--and some big things-- I had to learn along the way. Many of the important lessons I learned from the shoot didn't really become clear to me until we were in the edit, forced to make decisions based on the coverage we had. I was lucky to have great support, and I do think that the film largely captures my vision, but I guarantee you I'll be a lot smarter and a lot more prepared next time.

Talk about the festival circuit.

We only did about 3 or 4 festivals, actually-- but we had good experiences, for the most part. We attended them while we were still seeking distribution, and the one thing we learned is that there are very few festivals where you actually have a chance at getting noticed by distributors. But the great part about them is that you get to watch your movie with horror fans, and so can tell pretty quickly what works and what doesn't. And despite their sometimes scary appearances, the horror enthusiasts I've met really seem to be among the nicest and most supportive folks you'd want to meet. In that sense, I think it makes horror the most rewarding genre to work in, especially for indie filmmakers.

What about distribution? How's that going? Are there any lessons that you would pass on to other indie filmmakers who've just finished a film?

Our international distributer is Quantum Releasing, and we just had our US DVD release last month with Rivercoast Films. So far the response has been really good, and we can't wait to see how things go in October! Since the movie is set on Halloween, we think it's a particularly good choice for the season. As far as advice goes, I'd say two things: first, find a good Producer's Rep. and let them shop the movie for you. It's so important to give yourself that buffer between you and potential buyers, and of course unless you've worked in distribution yourself, a rep is so much more capable of navigating those sometimes-tricky waters. Mark Bosko repped our project, and he was a tremendous asset.

The second thing I'd say is resist the urge to get the movie out there before it's absolutely ready. Distributors literally get dozens of screeners every week, and if you send them the movie when it's 80% ready, because you just can't wait any longer, you'll shoot yourself in the foot. Don't assume they'll see your film's 'potential'-- they want to see your best finished product.

Where can people find out more about "Witches Night" or, better yet, buy a copy?

They can do both on our website: www.witchesnight.com. In fact, if Dead Harvey users enter the promo code "samhain" they can even get $2 off of the "Witches' Night Special Edition DVD", which is available only on our website. It includes some really cool Bonus Features, including a couple of 'making of' featurettes, and the interview "Catching Up with EVIL DEAD's Betsy Baker", deleted scenes, etc. If people just want to see the flick, they can find it at most of the usual rental shops and e-tailers.

What's next? Do you have any projects in the works?

We're hard at work on our second feature right now, and hope to shoot in the Summer 2009. I can't tell you much about it right now, but I will say one thing-- it's not in the horror genre. Although we hope to get back to making scary movies soon!

You can go to the "Witches Night" website here.

"BLITZKRIEG: ESCAPE FROM STALAG 69" Begins Week Long Theatrical Run In New York City On Friday, AUG 15th!

Holy shit, better get this out there quick.... remember that film we covered a little while ago called "Blitzkrieg: Escape From Stalag 69"? The film that's ushering in a new era of Nazi terror? If you don't, here's the link to the interview we did with the director and distributor. Well, for our New York area readers, I just caught wind that they're doing a limited theatrical run, starting tomorrow. The director, cast & crew will be there for a Q&A on the 15th, the director will be there alone on the 21st. See the press release below... or click on that picture to see a bigger version for details.

NEW YORK, NY – The first Nazisploitation film made in nearly 30 years, one that has been called “The most daring and disturbing exploitation roughie to attack the screen this century” begins its New York theatrical run for a week starting Friday, August 15th at 9pm at The Pioneer Theater. The theater is located in the lower East Side at 155 Third Street at Avenue A. The cast and crew of the film will be on hand for a Q & A after the movie.

During the last days of World War II, Helmut Schultz and his cohorts in Nazi terror brutalize their POWs with biochemical weapons experiments and torture for entertainment. After a group of captured showgirls arrive at the camp, the women begin to plot their escape alongside the other misfit prisoners in hopes of overthrowing the Nazi demons, even if it means leaving the camp on a slab. Meanwhile, ritually-tortured Russian prisoner Natasha takes on soldier after soldier using only her body and her wits as she gouges, gores and guns down the brown and black shirts and paves a path for the bloodiest, most brutal Blitzkrieg ever committed in any war!

No one admitted into the theater without a Blitzkrieg Barf Bag, which will be given out with each ticket purchased at the box office.

For more information, visit: http://www.twoboots.com/pioneer/

To purchase tickets for opening night: https://www.tix.com/Event.asp?Event=149695