New Horror out on DVD this week... the evil clowns continue.

Now, this is what I call a good week in horror... there's only 4 real horror films out and they're all indie films that look unreal. I suppose a lot of people would avoid releasing this week, as there's some other big movie coming out this week called "Dark Knight". However, if you're not into that whole big-budget scene, these should suit you just fine. So, as usual, if you'd like to help us out and were planning on buying the films, click on the titles and buy them off Amazon, through us. Also, head on over to our Youtube page, where you can see all the trailers. You'll want to this week, for sure.

"100 Tears" is what happens when a special effects guy gets to go ape-shit on his own movie. Marcus Koch, who's done piles of special effects, not only did the effects on this, but also directed this new installment into the evil clown subgenre. This is definitely a film for the gore-hounds, as it looks like a relentless onslaught of guts. The story revolves around a couple of tabloid reporters who start to look into the notorious 'teardrop killer'. Check out the trailer, that's all I'm saying...

Obviously, this isn't a week for the timid. I'm not sure what rating "Porn Shoot Massacre" would get from the MPAA, but it was written and directed by Corbin Timbrook and it's anything but PG... or PG-13... or even R. If the trailer is any indication, the film is filled with boobs, gore, heavy metal and midgets. And, really, that's all any movie needs as far as I'm concerned. Further to that, the girls that it does have are hot, which includes Shelly Martinez from TNA wrestling and Kasey Poteet, who's appeared on Howard Stern and briefly, topless, in "Hell Ride". I don't think I have to get into plot points or specifics here... you know what you're getting into when you go here.

Friend of Dead Harvey and the guy behind "The Horror Vault" 1, 2 and 3, Kim Sonderholm is out with his latest film "Craig". We were supposed to get a screener, but I guess a lot can happen when you're sending your film from Denmark. "Craig" is actually Kim's feature length directorial debut, even though he's an industry veteran. "Craig" is about, well... a guy named Craig, who is left on his own when his parents die in a fire. Then, when he loses his medication, his world is turned into terror and fear.

There's a lot of different paths that people take to get their films made, but I can say that Ryan Harper's path is definitely unique. Starting out as a molecular and cell biologist, he continued to do creative writing as a hobby. He wrote his feature script, "Circulation" and sent it off to the studios. Surprise, surprise, it didn't get picked up. So, he said "F it" and went off to make it. Now, what kind of film would you expect a molecular and cell biologist to make? Well, "Circulation" is about a purgatory where dead people keep their human form and the world looks the same, however people develop animal instints and the human and animal worlds intertwine as one... yup. Sound F'ed. Gonna have to check it out.

I have to mention that James Gunn's breakthrough classic, "Slither" just came out on Blu-ray. If you haven't seen it, it's a must see...

No Film Fest Updates... Just News From the Indie Horror Front

There's not much to update on the festival front, I let you know about all the deadlines and festivals in December last week. You can see that post here. Otherwise, I think it's too early to talk about January, which is, of course, a big month for indie film. Also, let's just get through all this Christmas shit, right? So, anyhow, I'm just going to unload my inbox on you...

I got some random email from the guys at the Madison Horror Film Festival. Seriously, I don't think it was meant for me at all, but I got it anyhow. It looks like they're launching a once a month webcast on January 23rd, 2009 called "Bordello of Horror", hosted by Freakshow the zombie pimp and his beautiful and always tempthing Harlots of Horror. The show will include classic, independent and hard to find films, musical guests, trivia, horror news and more, here's a link to an information page on the webcast. I'll try to get in touch with them and see what it's all about...

A Dead Harvey favorite, "Blitzkrieg: Escape From Stalag 69", is finally being released after an impressive number of screenings. What will be available is the "Special SS Edition" of the DVD, it'll be released December 15th and pre-orders are now being taken. The new box art can be seen above there, pretty cool. This special feature will feature the full, uncut directors version of the film, deleted scenes, director's commentary, production stills, bloopers, a short film, trailer, and the original "Schindler's Lust" short that inspired the making of the film. If you're interested, feel free to pre-order a copy through Amazon here.

Now, a couple of interesting tidbits...

So, they're remaking one of my personal favorite films of all time, "They Live". Here's the article on THR.com. It looks like Universal and studio-based Strike Entertainment or going to do it and no writer is attached yet... (if any of you guys read this, do note that I'm available) Now, I'm WAY against remaking "Nightmare on Elm Street" and "Friday the 13th", but I'm not sure how I feel about this one. It could be ripe for a make-over, I don't know. The whole 'obey' thing, the half an hour fist fight between Roddy Piper and Keith David in the alley, quotes like "I came here to chew bubble gum and kick ass... and I'm all out of bubble gum" and "I take the glasses off, she looks like a regular person, doesn't she? Put 'em back on... formaldehyde-face!" Makes me want to watch it right now... Classic movie. As long as it doesn't star a bunch of kids from the WB, I should be cool with it.

I can't say that "Halloween III" or "Fright Night Part 2" were among my favorite films of all time, but the writer-director of both of them is back with a low-budget indie feature called "Helliversity". His name is Tommy Lee Wallace and he co-scripted the film with Steve Langford, a longtime writer-producer on ABC's "Family Matters". What's interesting to me is that this is being financed through a new joint venture between FarCor Studios and Indusa Global and their mandate is to produce low-budget indie features. I keep telling ya, this is where it's at! This whole world is going to fall apart and when it does, indie horror will still be there... like a cockroach or... beer cans.

So, happy Friday! Go get aled and we'll talk to you next week...

Dead Harvey TV Intro

As some of you may or may not know, we here at www.deadharvey.com have been working on a spec. pilot for a Dead Harvey TV show. The basic premise is it's about a bunch of drunken micro-cinema filmmakers who host a talk show from their shitty apartment. They interview underground indie. horror filmmakers and it's shot in a reality show style ala "Curb Your Enthusiasm". Antics ensue around a sitcom format. There is cursing (which will be bleeped), boobs (which will be titled), and a big guy in a monkey man outfit branding a machete (who you don't want to f with).

Through the next series of blogs, I'll do my best to document the making of the first episode. Hopefully, if the show continues, there will be many more to follow.

The first episode starts with a courier who can't believe he's delivering a package to a bunch of assholes who host a TV show in their apartment. The apartment is a shrine to micro-cinema and drinking with strong, surrounding Hawaiian themes. The apartment is filled with a bitter cameraman who looks like John Goodman in "The Big Lebowski", a stoned sound man, a drunken secretary and a man in an adult baby outfit. No one can figure out how to work the equipment right.

The host pisses off the adult baby and waits for his headline guest to appear: legendary micro-cinema filmmaker Chris Watson (Zombiegeddon, Slaughter Party). He's so slow he doesn't realize that neither his co-host or main guest haven't arrived. The rest of the episode includes the kidnapping of Chris Watson, his statements about the state of independent filmmaking and the struggle to keep a show which no one's even getting paid for on the air on a porn channel at 3am somewhere between, "Star Tramps" and "Robosluts".

The way we've designed it, each episode there will be ongoing storylines with the main characters centered around a new underground horror filmmaker as a guest star.

The next blog will document pre-production. Then, we'll move onto day one. I've got to go now because my computer broke and my friend is about to kick me out of his house. I'm cutting into their internet porn time.

See you on the next one.

Interview with Resurrection Mary herself, Pamela Jean

As a reader, I'm sure it seems like the last month or so on Dead Harvey has been business as usual. However, if you lifted the curtain, you'd see us running around like a bunch of drunken idiots, just trying to get the bare minimum done every day. (we're usually drunk idiots, but we rarely, if ever, run) I'm up in Vancouver and between my day job and this, I'm doing twice the work these days for around the same pay. Further, Brad's down in L.A. and his computer's busted and he's out shooting something that the whole Dead Harvey team's been working on. (More on that to come soon) Anyhow, I've got tons of emails to get to, a pile of screeners to watch and I haven't updated parts of the site in a while and... yeah. That's about it.

ANYHOW, I recently checked out "Resurrection Mary", a film from Sean Michael Beyer, and I went to their Myspace page to talk with them about it. To my suprise, I ended up talking with none other that Resurrection Mary herself, Pamela Jean.

Pamela Jean, sometimes billed as Pamela Noble, is an actress, a model and, quite frankly, looks fantastic as a dead girl. That's not to mention the fact that she held her own in a film filled with seasoned actors, including a personal favorite, Richard Riehle, who was involved in "The Beach Party at the Threshold of Hell", "The Hebrew Hammer" and even "Deuce Bigalow: Male Gigolo". You know him, I know you do. The film itself is based on a real life ghost story, Chicago's most famous, actually. The film is not a blood-fest, nor does it have any nudity. However, it's a great ghost story that an entire family could watch... maybe. I don't know, I'm jaded. Anyhow, we had the chance to discuss the film with Pamela Jean and the producer, Dale Noble, filled in for a few technical questions...

So, tell us about yourself. Where did you start out and what brought you into indie horror?

I'm 20 years old, I've been acting and singing since I was 5. Most acting kids get homeschooled, but i always said i wanted to go to regular school and experience everything. So, because of the little amount of school i could miss without being automtically failed, the biggest roles i could get were supporting roles, commercials, and music videos. I graduated in 2006 and 2 months later i landed the role in this film as the lead.

“Resurrection Mary” is based on a real ghost story from the Chicago area. Where did the idea to turn it into a film come from?

One of the writers, Ryan Lamaster, was from Chicago. We wrote out the story idea presented it to Sean Micheal Beyer, the director, and other writer and together they wrote it and it turned into what it is.

What was the approximate budget for the film and how did you secure it?

The Distributor will not let the budget out yet. They are still doing sales. Secured thru a Investment Group.

What was it shot on and how long was the shoot?

It was shot on the Sony900R HD and it was a 3 week shoot.

The film was very sharp and well put together, what were the most important aspects of the filmmaking process that achieved that look and feel?

Make up and hair for me did a lot in making me look like I was not from present times. We also had a really great cimematographer, Seamus, and a lot of the interesting looks from the film came from him.

I really liked the comic book style transitions, where did the idea come from?

lol i have no idea. it wasnt in the script and when i saw the final cut of the movie for the first time it was there. I got all excited and said, "Im a cartoon!"

Wild Wild West TV show did the cartoon thing way back and it has been used by a few other TV shows since.

There were a few scenes that could easily have had a lot more gore and with a whole scene that takes place at a high school party, there could’ve been a lot more nudity, as well. Talk about the decision to not include a lot of gore or nudity in the film.

Well, from the beginning every one didnt want the film to be R but not PG either. There was never any nudity, not even close, but we watched what we did (cursing) and took several different takes on those scenes, so they had their options and in the end it still turned out as a pg-13 which is what we all wanted.

The film had a fairly seasoned cast, although none of them would be considered household names. A side note, I personally loved the fact that you got Richard Riehle in the film, who’s a veteran of the indie horror scene. Talk about working with a professional cast versus an amateur cast.

Well, the only people I actually got to work with was Kevin Schmidt and Kyle Davis. But I got to talk to everyone on my down time. I loved Richard Riehle, Charlie Schlatter, and Sally Kirkland, they were always so sweet to me and telling me they believed in me. And the amatuer actors were awesome too. They arent amatuers they've been in plenty of films so they taught me a lot.

Talk about working with Sean Michael Beyer

It was great. The fondest memory i have was during a lot of the night shoots it was in the low 30 degrees. Me and Kevin were freezing and everyone knew, so during part of the shoot one night Sean took off his sweatshirt, jacket, and beanie and stuck out the cold with us.

Did “Resurrection Mary” hit the festivals? If so, how did it do and is the festival circuit something you would recommend to other filmmakers?

We already had Disturbution, so it did not go to the Festivals.

Talk about securing distribution. What was the process like for you and is there any advice you would pass on to other filmmakers looking for distribution?

It's all albout a good story and, in most cases, about who the Director or Actors are.

Talk about the indie horror scene right now? What do you think of where it’s at and where do you see it going?

Distributors are saying that there are too many being made right now. If something does good, everyone goes for a Horror or Cowboy film etc.

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

The easiest way so you dont have to search through stores is go on resurrectionmarythemovie.com and on the main page it will have a list of stores that you can buy it at, you just click a store and order it, and it will be sent to your house, theres no easier way. (Ted's note: You could also click HERE and buy it off Amazon, through us!)

What’s next? Are there any more projects in the works?

I've been doing a lot of modeling lately because I've been promoting the film, so much I havent had time for more acting jobs, but i'm in talks for an action film right now and I have a movie called the diet life coming out in 2009

"Horror Meets Comedy" on the XBox 360 and the future for indie filmmakers?

This was actually going to be a Linkapalooza post with links to a few articles and other stuff, but I ended up going on way too long about the first article. So, you get a whole post about video gaming consoles and why you, as an indie filmmaker, should know more about them, if you don't already.

"Xbox Channel Goes Live With 'Horror Meets Comedy'" on wired.com: As you probably know, the Xbox, PS3 and Wii are all fighting for space in your living room by not only being a gaming platform, but by providing you with exclusive content, connecting to your PC and playing media files. The above article is about a pretty cool series that XBox is doing called "Horror Meets Comedy", where a bunch of horror directors are making short comedies and XBox allows its owners to download them for free on the system, their laptops or PDA's. I'm not going to get on my soapbox here and rant about the future of entertainment, but you better start thinking about shit like this because, unless you missed what I just said, Microsoft is producing and distributing content from horror filmmakers. The simple fact is that film and television (print and radio, as well, for that matter) are not going to be the same in 10 years. I'm not saying it's dying, I'm saying that it's going to be drastically different... and if you want to get paid to make content, your check may be from Microsoft, Nintendo or Sony, not Paramount, Warner Bros or, well... Sony.

Much like most of you, I'm assuming, I WAS a big gamer. I loved the arcades, my first computer, I loved my Nintendo, my Sega. I loved it all. However, right around the time I went to film school, it faded away. Unplugged the console and plugged in a DVD player, movies are more important. HOWEVER, like I said, gaming consoles are back and they ARE the future. So, here's my question. I'm going to buy myself a system this Christmas, but I'm still not sure which one...

Here's my thoughts... The Nintendo Wii's games are a little out there, but they are really fun. It does connect to the internet, but outside of a couple news and forecast channels, it's more for communicating and talking with other Wii systems. There's been talk about a newer model having DVD-Video playback capabilities, but that's not happening any time soon. The Microsoft XBox is, apparently, the best choice for gamers. I have a friend who works at EA and he scoffed at getting any system but the 360. Outside of the games, it's compatible with the Zune and can share media files with it. It supports music and videos in a bunch of different formats, but it does not play DVD's. It will connect to the internet and can stream files from your PC, which is pretty cool. It also has it's own community, it's own channels and you can get content, such as the afore mentioned "Horror Meets Comedy" series. Recently, I heard that Microsoft is going to open the platform up to allow 'home brew' games and other content to be downloaded for free, as well. Then, lastly, there's Sony's PS3. I've heard that it's the best technical system out there, but it's never lived up to its potential. As far as games, it has very few unique titles. However, much like the 360, it's also compatible with just about everything, it supports all music and video files and it connects to the internet and can stream from your PC. However, here's a couple things that it does that the other systems don't, it has it's own Linux system, so you can browse the internet and it's also the best Blu-Ray player on the market.

For me, I think the fact that the PS3 is a Blu-Ray player (and can play ANY DVD, burned or otherwise) and has an internet browser to go with it, is going to push me in that direction. However, never underestimate Microsoft. So, what do you think? What's the way to go?

Now, some of you might be thinking that this is a site for horror filmmaking and what the fuck does this have to do with anything? Well, really, I think it has a lot to do with filmmaking. Video games are turning into a bigger entertainment industry that film and the studios are all scrambling to jump on board. They're working it from both angles... they're creating games and online content out of their films, plus their taking games and online content and turning it into films. If you know nothing about gaming and the consoles, do yourself a favor and learn about them. They are the platforms of the future and you better be able to adapt.

Before I finish, check out this article called "Miramax Web Games Build Buzz for 'Adventureland'", where Miramax has an online game built and creating buzz for a film that comes out in March of 2009.

The future is racing towards us, be ready!

Interview with Miguel Gallego, filmmaker and the brains behind Aaaaah! Indie Horror Hits

I think short form film gets a bit of a bad rep... I mean, no one leaves film school and says, "I'm going to concentrate on making short films". The industry drew a line in the sand that says a feature is 75 minutes or longer and THAT is the standard. And that's what people gun for... it's too bad, too. I love short films and I do think that with the advent of the Youtube generation, they're going to grow in popularity. However, that's for another post. Short films have a lot of positives... they're great, economical ways to improve your filmmaking skills, they're great calling card films to get other projects, they don't take as long to make and they don't take as long to watch. Having said all that, they do have a few disadvantages, as well. The main one being, after you've made your short horror film, shown it every festival that'll take it... shown all your friends, family and all that. Well, now what? Usually, at that point, you're out of options. However, thanks to Miguel Gallego, you now have one more...

Gallego is the brain behind "Aaaaah! Indie Horror Hits", a feature length collection of award winning indie-horror shorts. Gallego is a filmmaker himself, having made the multi-award winning short horror film, "The Crypt Club", which is featured on this first installment of the compilation. He also consults on screenplays, provides script breakdowns & schedules for film budgeting, and has created two workshop presentations for filmmakers. So, he kinda knows what he's doing. Well, he definitely knew what he was doing when he put together the compilation. It is exactly what its tagline says - "All Killer, No Filler". There's 7 short horror films, varying in length from 3 minutes to 32 minutes and, having seen them all, I can tell you, without a word of a lie, they're all fantastic.

We had a chance to discuss "Aaaaah!! Indie Horror Hits" with Gallego and we'll get to that in a moment... but first, how about our first contest? We're going to be giving away an "Aaaaah!! Indie Horror Hits" DVD prize package! Just send me an email at ted@deadharvey.com and answer this skill testing question: What was the name of Gallego's first super 8 film? Hint: read for about one minute, starts with "W", ends with "Y". Word's around 7 letters long. We'll promote the contest in a few places, then we'll pick a winner at the end of the month...

First off, tell us a bit about yourself. What are your influences and what got you into indie horror?

I’ve loved film since I was a kid, particularly the classic Universal Studios monsters. My doctor dad used to joke that I had ‘monster-itis’. Horror and fantasy films fascinated me and I wanted to learn everything that I could about them.

Among my earliest film influences is Elwy Yost, the father of screenwriter Graham Yost (Speed). Elwy had a nightly show called Magic Shadows and a weekly show called Saturday Night At The Movies on TVO here in Ontario. Elwy would screen and discuss classic Hollywood films. He also did original interviews with the stars, directors, producers, composers, etc. I learned to love films because Elwy was so enthusiastic about them. This was way before DVDs and bonus interview featurettes. Growing up, these shows were my informal film school.

I got into indie horror films because they’re fun to make. You get to do cool stuff and play with cool toys. Just about any day on a horror film set is a surreal experience. Horror and fantasy films let you flex your storytelling and filmmaking muscles. And nothing provides audience catharsis like a good scare.

Film School: Yes or No?

Yes. First, I went to the University of Toronto where I switched from pre-med to the film program after my first year and earned my B.A. At that time the program was all about film theory and criticism, so I did some extra curricular work and made my first Super 8 film, a horror comedy called “Washday”. Thanks to that film, they accepted me into the producer’s program at the American Film Institute in Los Angeles. That was an amazing year, learning first hand from working industry professionals. Really worth it!

Tell us about AAAAAH!! Indie Horror Hits. Where’d you get the idea and what made you go out and actually put it all together?

AAAAAH!! Indie Horror Hits is a feature length DVD collection of great short horror films from independent filmmakers. Some are completely unknown - for now - and others are industry pros stretching their wings on their own projects. For example, we have a film from the editor of the Saw franchise, Kevin Greutert. This is the film he showed to the Saw producers, and they agreed to let him direct Saw VI. These films caused a buzz on the festival circuit - then vanished. We’re resurrecting them so horror fans and filmmakers alike can benefit. Volume 1 is now available to buy on-line at http://www.aaaaah-films.com. And we’re working on the next volume as we speak.

I got the idea for AAAAAH!! Indie Horror Hits while travelling the festival circuit with The Crypt Club. Talking with indie horror filmmakers a question that always comes up is, “What can you do with your short horror film once it’s done its festival run?” Distributors aren’t interested in individual short horror films. So, why not create a compilation DVD? After speaking with several enthusiastic filmmakers I realized the idea didn’t have to stop at one disc. By creating multiple volumes we could continue showcasing films and filmmakers, making the project more attractive financially.

I came up with the name ‘AAAAAH!! Indie Horror Hits’ so that it would appear at the top of catalogue lists and at the front of store shelves. It took a couple of years to put it all together and develop a simple business model that would attract filmmakers. Then it took about a year and a half to source and license enough good films to create volume 1. If I had known at the start how much work it was going to be I’m not sure I would have done it. But now it’s underway, and, with volume 1 a market reality, it’ll be easier to move forward and keep bringing fans some top-notch indie horror films.

What do filmmakers get out of having their film be a part of the DVD?

Well, financially, there’s the opportunity to make some money because we split profits 50/50 with our filmmakers. And there are no up-front fees to submit films. There’s also extended exposure and a wider audience for their films – this is especially useful for calling card films.

Most important for us is that the filmmakers get to keep 100% of the rights to their own films. We use a non-exclusive license agreement so filmmakers can sell their film elsewhere as they see fit. That keeps us motivated to promote and sell AAAAAH!! Indie Horror Hits. We want to become the indie short horror filmmaker’s first choice for distribution.

When you look for films to be a part of the AAAAAH!! Indie Horror Hits DVD series, what are you looking for?

Well, not to be too boring, but first I ask if the filmmaker has all the film’s rights clear for licensing. That’s part of the submission release form questionnaire that must accompany every submitted film. You’d be surprised how many filmmakers have no written agreements to secure the rights to their films.

Whether it’s a short horror, a thriller, or a dark fantasy film I want it to be engaging. I like a good story, well told. I look at both the creative and the technical aspects of each film. Originality and good production value certainly scores bonus points with me. I don’t mind gore as long as it serves the story and isn’t the only reason the film was made.

I also look at each film’s bang for the buck. The longer the film, the more dramatic weight it has to carry. I take the ‘all killer, no filler’ idea to heart so viewers won’t have to sit through a half hour film with only one good moment. I also prefer brief titles and credits (to save on disc space), and that the titles and credits match the film that’s sandwiched in between them. There’s nothing as disappointing as a great opening title to a poorly executed film – except maybe end credits that go on as long as the film itself.

Once the individual films are selected it’s time to make the best compilation. I’ll combine films with different topics and durations to create a balanced variety. In the future we plan to put together themed discs, like an all zombie or all vampire disc for the die-hard fans.

I don’t rush the screening and selection process. I’ll watch every film twice, sometimes more. And I get opinions from trusted colleagues. Once in a while a film that I wasn’t sure about will linger in my mind. That’s when I know it’s worth another look and that viewers will appreciate it on repeat viewing. Finding and providing good quality films is the key to this collection.

I’m assuming that budget isn’t a huge factor for you, as there’s a couple of films on there that were obviously done on low budgets – I’m thinking about Ghost Busted and The Ninth Entry, specifically. Talk about indie filmmakers working with next to no budget.

Yes, a film’s budget is not a huge factor in my selections for AAAAAH!! Indie Horror Hits. If the film is engaging then I’m hooked – regardless of its budget. I think that as audience members we’ve become far too preoccupied with a film’s finances. Disclosing financial information is just another way to generate publicity.

In many ways it’s a blessing for filmmakers to work with a low budget. It challenges your conviction to make the film, it forces you to find creative solutions, and it helps you to build friendships based on mutual support. Having a low budget also helps strip away everything that isn’t critical to telling the story so you get a really tight, creative film with no dramatic flab.

I’ve seen many miserable films that had plenty of resources available and no creative or technical ingenuity. It’s nice to know a film’s budget so you can gauge how effectively the filmmaker used it. However, no one frames a copy of the budget to remind them of the film. Not even the accountants.

I think filmmakers should replace the terms ‘no-budget’ and ‘low-budget’ with the term ‘high ingenuity’. It takes the focus off of what they lack and creates an abundance mentality around their creativity and resources. I think that’s what Anthony Falcon (The Ninth Entry) and Vance Null (Ghost Busted) did. They maximized what they had at hand to make highly watchable films. And I know that other films on the collection rose above their limitations and triumphed over financial and logistical adversity. That’s a mark of great filmmaking.

Now, you’re also a filmmaker and included your film, The Crypt Club, on the DVD. Tell us about the film. What festivals did it screen at and what kind of run did you get out of it?

The Crypt Club is a dark cautionary tale about three teenage girls who drive a vintage hearse to a deserted country cemetery for a midnight initiation that will challenge each girl’s conscience – with horrific results. It stars Alison Pill (Milk, Dan In Real Life, Pieces of April), Jessica Greco (Across the River to Motor City, The House, Mutant X), Kerry Segal (Goosebumps), and Michèle Duquet (Kaw, Earth: Final Conflict).

The film won 18 awards while screening at over 45 international film festivals in North and South America, Europe, and Asia. The festival run started in early 2004 and ended on Halloween 2007. The most recent screening was at the 2008 World Horror Convention in Salt Lake City, Utah. The Crypt Club aired on the CBC national filmmaker showcase Canadian Perspectives and on Ciudad Abierta in Buenos Aires, Argentina. The Crypt Club has also been used in a couple of classrooms, including a lecture that I gave at Notre Dame University. That was really cool.

There’s a complete list of screenings and awards on-line at http://www.thecryptclub.com. Looking back on this list I’m amazed at all the cool people and places I’ve seen thanks to The Crypt Club.

What was your budget for The Crypt Club and how did you go about securing it?

The Crypt Club was completely self-financed by my wife and me. But we couldn’t have made it without a lot of donations and discounts. PS Production Services in Toronto helped us out with camera and grip/electric packages through their Kick Start program. Through ACTRA’s Toronto Indie Productions program we secured a huge discount on our actors’ rates. We also got a great deal from our post house for transfers and on-line digital editing because we were willing to come in at odd times to fill in their shift schedule. The hearse was a donation from a filmmaker who was sympathetic to our production. And most of the crew were volunteers.

The question I’m most often asked is “What was the budget for The Crypt Club?” My usual response is, “Did you enjoy the film?” Because if you did, then it was worth every penny we spent on it. And if you didn’t, then it doesn’t matter. We made The Crypt Club as a calling card and were able to get back some of its costs through a television sale, labour tax credits, and now DVD sales.

I ran the numbers to know what our film would have cost us if we’d had to pay cash for everything. Our cash outlay was under 20% of the film’s total worth – with no deferrals.

One of the big lessons I learned on The Crypt Club was that if you insist on getting everything for free you risk ending up with nothing. Bartering works fine for some things. But, if you can offer partial payment to a supplier during a slow period they’ll see you as an entry-level customer not as another mooching indie filmmaker. For example, we needed two 80-foot cranes for our night exterior shoot. We needed them both on the first night of filming and then only one crane for the remaining five days. Because of the time of year we were able to strike a deal where we got seven nights of crane rentals for the price of two, including pick up and drop off in the country. We gave a little to get a whole lot.

Can we expect any more films from you in the future?

Oh, yes. There are a couple of feature film treatments I’ve been working on that desperately need my attention. Launching and promoting AAAAAH!! Indie Horror Hits has been a full time job. Once it has some momentum I’ll get back to writing my next big thing. Of course, I’m always open to an offer to direct.

Talk about the indie horror scene… where is it at now and where do you see it all going?

In the past, indie horror filmmakers had distribution available through the drive-in, grind-house, home video, and cable TV outlets. But now, what used to be the exclusive dark domain of the fringe is being eroded and assimilated into the mainstream because it’s become lucrative. Horror, like porn, is becoming gentrified as society evolves (or de-evolves, depending on your point of view). Hit TV shows now feature murderers (The Sopranos) and a serial killer (Dexter) as lead characters. The public’s appetite for horror (although it’s not called that) keeps growing.

As a culture we still need the cautionary tale that’s at the heart of the horror genre, but its dramatization will keep changing. The cinematic monsters of the 1930s that terrified a generation are now merely quaint icons to many. “More Count Chocula cereal, Billy?” I’m sure there’s someone working on a Freddy Krueger children’s vitamin. So horror films will keep evolving to reflect society’s fears.

The recent trend has been for gore/torture porn from the independents, and re-makes of old films as Hollywood cashes in on the indie film model. I’m hoping that when the public tires of carnage and uninspired re-hashes that the horror film will return to solid storytelling.

I think the Internet is a logical place for the indie filmmaker to seek distribution – as long as it remains an open market. Already you can see the big corporations carving up and claiming the Internet, trying to figure out how to control it for use as a delivery medium. As ever, the indie horror filmmaker will have to be innovative in order to create and be noticed.

What advice would you pass on to an indie horror filmmaker who’s just setting out to make a film?

Oh boy. How much time do we have?

I’ve worked on many student and short indie films. As a result, I developed a workshop presentation called “Indie Production Planning: Getting Your Day”. I teach filmmakers about production planning with an emphasis on getting your day, because if you can plan, prepare, and complete each shoot day you’ll get your film. If you can’t, then all your visionary genius will never see the light of a screening room.

So, on a practical level, I’d say: learn, plan, and prepare. Learn about filmmaking and learn about the business because you’ll need both sets of knowledge to succeed. If you have commercial hopes for your film get the paperwork done in advance or as you go. Trying to get signatures on deal memos after the fact is a nightmare that can hold our film hostage.

Plan your film down to the last detail. Only then will you be ready for a better idea. Prepare for every contingency. When you need Plan B (or C or D) is not the time to think it up.

On a philosophical level I’d say: be passionate about your films. It’s contagious, so it helps get things done. Take your films seriously, but don’t take yourself too seriously. Be a friend to everyone who might help you. Be inspired by others, but find your own voice so you don’t become a copycat filmmaker. Work safely. Have fun, have a life, and remember that it’s only a movie.

Where can people find out more about AAAAAH!! Indie Horror Hits and, better yet, buy a copy?

Oh yes, please buy a copy for yourself and for your friends and loved ones. Why not harass complete strangers with anonymous gifts of indie horror films? Indie filmmakers will be eternally grateful.

We’ve got a web site chock full of information about AAAAAH!! Indie Horror Hits at www.aaaaah-films.com. You can also get our company information and buy the DVD through www.thecryptclub.com.

The DVD has a link to a secret web page with exclusive content about the films and filmmakers. We also provide a secret web page where accredited media can download press kits, images, trailers and more. We’ll be updating both secret pages from time to time to keep them fresh.

If a filmmaker has a short that they’d like to submit for a future volume, what should they do?

The first thing filmmakers should do is support their peers and buy several copies of AAAAAH!! Indie Horror Hits, Volume 1. But seriously… I’m kidding. Not really, but it’s worth a shot.

All the submission information is available on our web site: www.aaaaah-films.com/pages/submit.html. You download the submission form, fill it in, and send it to us with a copy of your film.

Basic things to keep in mind are that filmmakers must hold all the rights to their film and have the paperwork to back that up. The submission form has a checklist of some of the paperwork required. And you can download our Rights and Clearances Guidelines for free. It’s very helpful for first time filmmakers too. We’ll be posting other helpful documents for filmmakers.

So, I hear there’s an AAAAAH!! Indie Horror Hits, Volume 2 coming out… what can we expect out of the next volume?

Yes, we’re already gathering and screening films for volume 2. So far, people who’ve seen volume 1 tell us they like the variety of films we’re showcasing. There’s something for everyone. So expect more of that.

A couple of the filmmakers from volume 1 have sent us other worthwhile films. We’re glad for that. And we’re getting some pretty interesting films from outside of Canada and the USA. So look for some non-North American short horror films to creep into the mix as well.

In the future, as we build up our library, we’ll look at releasing themed volumes, like an all zombie or all vampire collection. Can’t wait.

New Horror Out on DVD this Week: Creepy Clowns Explained

This lead up to Christmas tends to actually be a pretty good time for indie-horror, as big companies are concentrating on releasing Christmas themed films and family friendly shit. So, some of the indie-horror guys release good stuff for the horror hungry group of guys who will take whatever they can get. And this week, there's actually some great indie horror titles. So, if you want to help us out a bit and were planning on buying one or some of these films anyhow, just click on the title and get it through Amazon, through us. Also, head on over to our Youtube page where you can see all the trailers.

Before I get to all the indie-horror, I just want to mention "The X-Files: I Want to Believe", as I've always had a soft spot for "The X-Files", mainly because I actually worked on the show for a few episodes and it was the biggest thing in my hometown of Vancouver for quite a while. However, I gotta say, I wasn't too impressed with the first "The X-Files" movie and I haven't seen "The X-Files: I Want to Believe" yet, which comes out on DVD and Blu-Ray this week. That doesn't mean I won't check it out, I probably will... This one was directed by the shows originator, Chris Carter, and was co-written by Carter and Frank Spotnitz. Carter said that if this one was deemed successful, he would do a third movie that went back to the TV shows mythology and focus on the alien invasion foretold within the series. Sounds good, shoulda done that this time around... 'cause now we'll probably never see that third one.

"Grave Mistake" was written and directed by Shawn Darling, who's the owner and CEO of Gryphon's Egg Productions. Shot entirely on mini DV, it's a zombie flick that was picked up and distributed by Maxim Media International. I have no idea what their budget was, but looking through the production stills, the make-up and effects look awesome. In fact, on their site, they boast that it has over 300 visual effects shots and over 350 prosthetic makeups. They also boast that it's an "80's style zombie horror film with a whole lot of production value." Well, I'm sold...

"Secrets of the Clown", written and directed by Ryan Badalamenti, won the Best Feature Horror Film at the New York International Independent Film & Video Festival in 2007. It's about a guy, a girl, a clown doll, their friends who die a lot... and the hidden secrets of the clown. What got me thinking is that some reviewer on IMDB.com called it "an interesting addition to the clown horror subgenre" and I never thought of clown horror as a subgenre. He mentions "It" and "Killer Klowns from Outer Space", but what else is there? "Poltergeist" had that creepy clown toy. Does Spaulding from "House of 1,000 Corpses" count? Isn't there a movie called "Clownhouse"? A quick search brings up "Killjoy", "Dead Clowns", "Fear of Clowns", "The Blair Clown Project", "100 Tears", "The Clown Murders" and "Gacy". Come to think of it, do you think that John Wayne Gacy's alter-ego, "Pogo the Clown" was where it all came from? Clowns have always been creepy, I guess and Pogo certainly didn't help clown enthusiasts. I guess clown horror is a subgenre, probably an underserved subgenre, too.

Written and directed by Todd Livingston, "So, You've Downloaded a Demon" is a shot on DV entry into the 'horror-comedy' genre. It's about four college students who stumble across an occult website and accidentally release a demon that is imprisoned there, then... and I quote, "Hilarity ensues". It's the directorial debut from Livingston, although he's been around the genre for a while, having written a few other scripts, acted in a few films, produced a few things, etc.

"The Dead Don't Scream", from Richard Perrin, is about a group of college kids on a road trip to hell who come across a small Texas town whose entire economy based on stealing cars and slaughtering people. The production quality looks fantastic for a low-budget indie horror and they've got a cast that consists mostly of hot, young girls that never seem to get out of their bathing suits, even when they're tied up, chopped up or shot up. This looks like one that you'll need to check out.

"Shadow People", directed by Keith Parker and co-written by Parker and, who I'm going to assume is his wife or sister, Laura Parker, is another shot on DV film, this one about a billionaire seeking to fulfill an ancient dark prophecy for immortality, who pits 6 individuals against shadowy demons, for their souls, in a murderous game of cat and mouse.

"Cruel Restaurant" is a Japanese softcore, erotic horror, which is called "Zankoku hanten" in it's native tongue. From Koji Kawano, it's about, you guessed it, a dumpling house that has a super-secret recipe for dumplings that people are willing to kill for... but what's going on in the kitchen may shock you into going vegetarian. "It's the happening bistro where the who's who may become the what's what on the daily special".

Black Friday... and Some Festival Updates

Today is Black Friday, so my guess is that most of you are waiting in line to buy shit at major retail stores right now. For your history lesson of the day, Black Friday actually has two meanings. One is a day of absolute stock market catastrophe, specifically September 24, 1869 (which preceeded "Black Tuesday", which stole the name). The other is today, the day after Thanksgiving, named so because it's a stressful and chaotic experience for retailers. Regardless, I was thinking that "Black Friday" is a cool title for a horror film, so I went over to IMDB.com and checked out how many films share the title... it turns out that are 6 films called "Black Friday". The first is from 1916 and it's a historical drama, the second is the horror film from 1940 with Boris Karloff and Bela Lugosi and is about gangsters and brain transplants, the third is a drama short from 2001, the fourth is an action adventure from 2003 about a high-powered attorney who returns home from work to find his family held hostage, the fifth is an award winning film from Anurag Kashyap about the Bombay bomb blasts and, finally, the last one, which should be coming out soon, is from Ethan Terra and it's an indie horror starring Tony Todd, Kane Hodder, Andrew Divoff and Tiffany Shepis!!! Now, why did someone not tell me about this? And why isn't it coming out this week? Need to know more...

Anyhow, December is around the corner and there's only one more festival that may be playing something horror related... it's the Beverly Hills Hi-Def Festival and they're basically just showing off the HD capabilities of the Fine Arts Theatre in Beverly Hills. However, there's lots of shorts and features and it's only $10 to get in to see a whole program. You can go through a list of all the titles there and it looks like there'll be a few horrors... lots of indie shit, anyow.

Now, there's a lot of festivals that have deadlines in December, as it's the end of the year. So, if you want to get a snippet of what's coming up soon, you have a film that's just about finished or you're ready to submit, here's a list of festivals that have deadlines in December. I'm not going to say anything about them because there's too many of them. I'll just put up all the links. So, until December...

2009 Eerie Horror Film Festival

A Night of Horror International Film Festival

Anubis Digital Quick Bites Horror Film Contest

Bare Bones International Film Festival

Boston Underground Film Festival

Dam Short Film Festival

FilmGo Film Fest

Fresno Filmworks Film Festival

Heart of England International Film Festival

Sacramento Horror Film Festival

Sci Fi London: The London International Festival of Science Fiction and Fantastic Film

Show off Your Shorts Film Festival

Swansea Bay Film Festival

The Nickel Independent Film Festival

An Executive Decision to Take Thanksgiving Off

I had a post that I was working on, but I've made an executive decision to take the day off. So, instead, I'm going to post the latest video from Fewdio which has a Thanksgiving-ish theme, sort of.

Happy Thanksgiving everyone, we'll be back tomorrow! And take my advice, drink heavily tonight (today).

Interview with Scilla Andreen, CEO and Co-Founder of IndieFlix

When we post the interviews with indie horror filmmakers, we hope that we accomplish two things. One, we hope that we give that particular filmmaker a bit of promotion and, hopefully, help him sell a few extra copies of his film. Two, we hope to inspire other filmmakers to get off their asses and go make their films, then give them some promotion once they do... we try to keep the cycle going, as our view is that the world simply needs more indie horror. I mean, you hear a lot of talk about how the market is oversaturated, but fuck that. It's not. I think indie film, especially indie horror, has yet to fully come in to its own and when it does, there's going to be plenty of room to grow. And if you can keep your budget low and you can make a good film, there's no reason you can't make your money back... and some. The problem is that most filmmakers aren't really 100% sure what to do when their film is done. That's why we don't only interview filmmakers, we also try to interview distributors and festival directors... and this interview, with Scilla Andreen, CEO and Co-Founder of IndieFlix is one of those interviews.

Let's just start off by saying that IndieFlix is an awesome service for indie filmmakers and is something you really need to look in to, for sure. They're one of those companies that's pushing the envelope further by delving into new technology, such as VOD and online distribution AND they're on your side. Long and short, we love the service and we're very appreciative of the fact that she took some time to answer our questions. It's great to get a view from the other side of the trench, as she gives you some insight into what distributors and festivals are looking for. So, if you're going to read only one of our interviews this week, maybe it should be this one... but check back, anyhow. You never know.

Please tell us about yourself. Where did you start out and what brought you into the world of indie filmmaking and distribution?

I was at NYU studying political science. I wanted to be a litigator. I fell in love with a Director, Andy Field, 7 years my senior. I helped him out in a pinch when a stylist was a no show on the set – I jumped in and did the job. It came naturally and I made $800 for the day. At 20 yrs old that was awesome money. I left school for a year to work in the industry and never looked back. I quickly moved into doing features and television in LA. My first series was The Wonder Years. I got nominated for an Emmy and proceeded to go to one great show after another working with some of the most talented people in the industry. During my hiatuses I started directing and producing short films which ultimately led me to independent films and finally creating IndieFlix.

Tell us about Indieflix. When was it formed? What’s the mission?

My producing partner, Carlo Scandiuzzi and I founded IndieFlix in 2004 as a distribution solution for filmmakers. We created a company that we wish existed when we were on the festival circuit with our films.

Our Mission: IndieFlix is dedicated to providing a forum for filmmakers and their audience to interact, and to building a community that translates artistic vision into commercial success.

IndieFlix promises to build a fair and open market to empower filmmakers to be the engine of their achievement and audiences to be a vital part of a movie's success. IndieFlix is committed to encourage public opinion and power of choice while reinvesting in the independence of film, the people that craft them, and the organizations that support them.

We believe that every movie has an audience, every filmmaker has a story to tell and each story has the right to be shared.

IndieFlix.com is an online independent film distribution and discovery site offering affordable DVD and streaming to customers all over the world. Founded by 2 Award-Winning Filmmakers in 2005 and headquartered in Seattle, WA IndieFlix has a growing collection of over 1500 award winning features, shorts and documentaries for all ages. Not sure what to watch? Email us and we can help you choose.

“You should be watching movies not looking for them”
Go to: indieflix.com or email at info@indieflix.com

Talk about your model of distribution and how it differs from the more traditional forms of distribution.

IndieFlix is practically the polar opposite to Hollywood. In fact when we launched everyone thought we were nuts letting filmmakers keep their rights and the lion share of the profits. Over the last 4 years and 1500 films later we have only had about 20 films leave us, most for an exclusive distribution deal. With regard to how we differentiate ourselves from our competition online we are in the process of launching several marketing initiatives. We recognize that filmmakers are the best champions of their own works but they need tools and prodding to work their magic online. We are all, including Hollywood, trying to figure out what is most effective in connecting with our communities online. It’s a rapidly changing time right now. You almost need a cowboy mentality and that takes a lot of energy. We are providing a tool kit.

Our services are non-exclusive. You keep your film rights and we give filmmakers 70% of the net. We are very transparent about all costs and there are no fees whatsoever. We can customize the distribution of your film by delivery method and territory and if you only want to distribute your film digitally, that's not a problem. If you only have the DVD rights, that's okay too. IndieFlix is a "Filmmaker First" marketplace and Distribution Company built to empower Filmmakers to be both Artist & Entrepreneur and to make Film Festival screened work from all over the world available to the broadest online audience. Once you are listed on the site our goal is to help you market your film. Further, IndieFlix has alliances with key online delivery platforms such as iTunes, Hulu, Joost, Snag, Amazon VOD, Netflix and Xbox360. We now provide titles to these outlets offering filmmakers even more revenue opportunities at the same 70/30 split. This link can offer even more info - Filmmakers: How It Works

Do you ever go out and look for films to distribute or do films mostly come to you?

For the most part filmmakers come to us. I thought about doing it like our competitors, getting a Baker & Taylor account and ordering several thousand films from Criterion, Kino or Image to populate the library. But we wanted films that had worldwide rights and the ability to curate content on to multiple platforms. By building our own library in this way we are also able to distinguish ourselves even more so. We have strong word of mouth so word gets around though we have started to do more targeted outreach now that we have more staff. We have about 15 new films sign up per week from all over the world.

Since our 1500+ filmmakers work directly with us we are a VERY hands on company. We answer our phones, we work closely with the filmmakers and we are just now starting to be much more hands on with our customer base. We are growing so fast it’s hard to keep up sometimes!

If you are looking for a film, what do you look for?

Films must have played as an "Official Selection" at a film festival, however, we do make exceptions in special cases so please don’t hesitate to submit your work to us if your film hasn’t yet been accepted to a festival. We do not accept any Pornography or Instructional video submissions. We look for high production value, good story and of course you have to have the legal right to sell the film. Sometimes it is a struggle but we do stick to our mission that every film as an audience and every story has the right to be shared. We try not to make too many judgment calls. There are films on our site that I would not have approved but not for our mission and a few of them sell really well every month. It’s amazing. Beauty is in the eye of the beholder. We remain a fair and open marketplace.

The submission process is very straightforward and free (except the cost of shipping your master to us). Simply go here and set up by clicking on create an account to add information about your film. You’ll then be prompted to print and sign a Filmmaker Agreement and send us the master. Upon receiving and screening your film we will contact you. Release dates are typically slated for two to three weeks after receipt of submissions.

Do you think filmmakers should be thinking about distribution when they’re in pre-production… or even the writing stage? Or, should they simply make the film first, worry about distribution later?

Excellent question! The minute you want to make your film – today’s filmmaker must think about who will watch it and start that dialogue now, the earlier the better.

If they should be thinking about distribution in pre-production… what kinds of things should they be thinking about? What can they do to make their film have a better chance of securing distribution?

Existing in the world means interacting with people. Technology has allowed us to build our own audience and community that supports our efforts as filmmakers. Use it. Hollywood values a film that has a built in audience and marketing campaigns in place. Though the bottom line for Hollywood distribution is you must have a famous, credible name in your movie too. Fortunately the world is your oyster and right now filmmakers have more power than ever before to monetize and self distribute affordably on trust worthy platforms. Hollywood no longer controls the playing field. I suggest that all filmmakers go to workbookproject.com. Lance Weiler, famed director of Head Trauma and The Last Broadcast shares openly a multitude of ways to get your film out there and how to build an audience. Lance is on our advisory board and he has been hugely instrumental.

Talk about budget. Do you think there’s a minimum budget that a film should have? Is budget an issue?

Budget should not be an issue unless it’s too high. I have seen some unbelievable films made for less than 5K. I have seen films made for 25-50K and many of these films go on to make several hundred thousand dollars. Once again technology has provided us the ability to make first class movies on an economy budget. Big budgets are not cool anymore. The smaller the budget the more one can show their true talents as a filmmaker.

Regardless of budget, what do you think makes one film sell better than another?

Accessibility and marketing. Of course films have to have a good story no matter what but mostly people need to know about it and in these times you can’t just walk around naked one weekend and expect people everywhere to notice. You have to start stripping in pre-production or development.

Talk about the film festivals, particularly the smaller, indie festivals. How should filmmakers approach them?

Filmmakers should strategize their festival play. It’s another expense incurred. Also note that too many festival screenings and awards and standard distribution won’t touch you. Your film becomes damaged goods to Hollywood. They think if no one has scooped you up by the 3rd festival then you’re not worth it. What we are doing is lining up filmmakers to play a festival and after that screening during the Q &A the film is announced that it is available on several platforms. At that point there is press, reviews, heat and attention on the film, In today’s market filmmakers can strategize their distribution and day and date their films. Use the festival like a theatrical. Take advantage of the theater, the audience and the free marketing.

If I’m a filmmaker who’s just finished a film, but hasn’t considered the festivals and hasn’t considered distribution yet, what would you say my next steps are.

Research festivals. You can go to withoutabox.com for festival submission service. Be sure to apply to your local film festival your community will want to support you first. You can apply to as many festivals as you want but be choosy about your first 3. Get to know the festival directors and programmers. They all know each other and share their experiences about filmmakers. For God sakes do not be a prima donna, be kind, patient and forgiving to everyone at the festival – it will make a huge difference. Follow the rules don’t create issues for the festival.

How does horror sell on Indieflix? Any thoughts on the the indie-horror scene?

Horror and docs sell well on IndieFlix. I think there is a lot of easy, fun alternative marketing that can be done to monetize and market films in the horror genre. It has such a dedicated fan base.

Talk about the indie film scene… where’s it headed? What’s next? What can indie filmmakers do to prepare for the future?

Filmmakers need to be online and be willing to share themselves with their community. They will support your work from one movie to the next and each time it gets easier and easier. Luddites lose! The filmmakers and the cast and crew should be talking about the film. The film should have it’s own profile pages on sites. Start sharing little pieces of the movie before it is out. Ask for advice from your online community – keep the questions simple and direct. Put trailers and clip on line everywhere – easily done via YouTube.com. Keep your rights, keep it non-exclusive, check out references before putting your content up for sale on some cool site. Forget DRM it’s only going to hold you back. If you film is available everywhere and it is affordable there’s no need to pirate. Don’t be too protective. Pick a scene and let people mash up your work and spread it around. It’s free marketing for you. Think of it like letting your kid play with other kids in the playground. Let go and let it grow.