Very exciting news as the best horror festival is returning this year via a virtual festival like so many others have chosen to do amid the strange year of the coronavirus. We had such a fun time covering Fantasia last year and were stoked to be covering it this year as well.
Nobuhiko Obayashi’s LABYRINTH OF CINEMA, Brea Grant’s 12 HOUR SHIFT, Makoto Tezuka’s TEZUKA’S BARBARA, Anthony Scott Burns’ COME TRUE, and Chino Moya’s UNDERGODS are among the first titles announced for the festival’s 24th edition
The Fantasia International Film Festival will be celebrating its 24th edition as a virtual event accessible to movie lovers across Canada, with a wild assortment of scheduled screenings, panels, and workshops taking place online from August 20 through September 2, 2020. The decision to launch a digital edition of the famed genre festival was born from Fantasia’s desire to keep the health and safety of its attendees a top priority during the current global health crisis, while still offering daring, much-needed new genre entertainment to residents of Canada and supporting the breakout filmmakers of the year.
Now keep in mind this is the first wave of films being announced for the festival. The full line up will be announced in August. Here are some of the films we can go ahead and get excited for.
Fantasia’s 24th edition will open with a special screening of Neil Marshall’s recently completed cinematic powerhouse THE RECKONING. A poignant and horrific period thriller set in 1665 against the backdrop of the Great Plague and the subsequent witch hunts in England, THE RECKONING stars Charlotte Kirk (OCEAN’S 8, NO PANIC WITH A HINT OF HYSTERIA), Sean Pertwee (DOG SOLDIERS, DOOMSDAY), Joe Anderson (THE GREY, THE CRAZIES), Steven Waddington (THE IMITATION GAME, LAST OF THE MOHICANS), and Emma Campbell-Jones (DOCTOR WHO). A vivid, compelling and confrontational film whose themes are frighteningly pertinent to today’s concerns, it will knock the wind out of you. This will mark the second time that a work from the esteemed British filmmaker has opened Fantasia, THE DESCENT having been the festival’s official Opening Film in 2005. The sole other filmmaker Fantasia has done this with to date is Takashi Miike.
An otherworldly journey through a Europe in decline, Chino Moya’s UNDERGODS is a collection of aesthetically astonishing, darkly humorous fantasy tales about a series of men whose worlds fall apart through a visit from an unexpected stranger. This singular visual feast is a co-production between the UK, Belgium, Estonia, Serbia, and Sweden with a cast that includes Geza Rohrig (SON OF SAUL), Johann Meyers (SNATCH), Hayley Carmichael (LES MISERABLES), Eric Godon (IN BRUGES), Kate Dickie (THE WITCH), Adrian Rawlins (CHERNOBYL), Ned Dennehy (MANDY), and an especially crazed Jan Bijvoet (BORGMAN). World Premiere
Mauro Iván Ojeda’s chilling first feature. THE UNDERTAKER’S HOME (La Funeraria) stars Luís Machín (MONTECRISTO), Celeste Gerez (DESTINO ANUNCIADO), and Camila Vaccarini (PAISAJE). World Premiere
KRIYA is a fever dream of fear starring Navjot Randhawa (MEHSAMPUR), Noble Luke, and Avantika Akerkar (THE SECOND BEST EXOTIC MARIGOLD HOTEL), is co-produced by Andy Starke (IN FABRIC) and Pete Tombs (FREE FIRE), and features an unforgettable score by Jim Williams (POSSESSOR). World Premiere
COME TRUE is a distinctive and compelling work of dark science-fiction that haunts the space between wakefulness and sleep. Plagued by disturbing dreams and unable to go home, rebellious teenager Sarah (THE KILLING’s Julia Sarah Stone) is relieved to find shelter at a university sleep study. Hoping this will finally help her to get rid of her nightmares, she unwittingly becomes the channel to a horrifying new discovery. Co-starring Landon Liboiron (TRUTH OR DARE). Produced by Mark Smith (IN THE TALL GRASS) and Nicholas Bechard (HOLIDAYS) and Canadian genre film luminaries Steve Hoban (GINGER SNAPS) and Vincenzo Natali (CUBE). World Premiere
From the Troma team we celebrate 45 years of Lloyd Kaufman making bat shit crazy films with another one SHAKESPEARESSHITSTORM.
UNEARTH is a fracking horror story that follows two neighboring farm families whose relationships are strained when one of them chooses to lease their land to a gas company. In the midst of growing tension, the land is drilled, and something – long dormant and terrifying, deep beneath the earth’s surface – is released. Adrienne Barbeau (THE FOG), Marc Blucas (BUFFY THE VAMPIRE SLAYER), and Allison McAtee (WE SUMMON THE DARKNESS) star. World Premiere
The rest of the line up includes Special Actors, Lucky, Tiny Tim: King For A Day, Sleep, 12 Hour Shift, Fried Barry, Yummy.
We have a lot to uncover with just the epic first wave. What do you think of Fantasia going virtual this year and thoughts on the films playing?
A new synopsis for Godzilla Vs Kong has surfaced and it may give a good idea of what the new installment well look like. The synopsis first appeared on IMDb via ComicBook.
Escape from LA gets a re-release on Blu-Ray this time courtesy of Shout Factory. The thing about the sequel to the iconic Escape From NY is that Sam Raimi went full camp on the story and gave us no interesting characters to get behind which is saying something with supporting actors that include Pam Grier, Steve Buscemi, and Bruce Campbell.
John Carpenter has been self-indulgent from time to time with his films including Vampires and Ghost of Mars while I still enjoy LA more than those mentioned it’s still not great or decent.
Kurt Russell is enjoyable as a Razzie worthy performance type where he just chews the scenery with no care in the world like he knew the cast returned for a paycheck.
The sound and picture transfer from Shout Factory another knockout with what interviews they’ve included with the special features a new interview with co-star Bruce Campbell. 
Special Features:
· NEW 4K film scan from the original negative · NEW A Little Bit Off Beat – an interview with actor Stacy Keach · NEW Beverly Hills Workshed – an audio interview with Bruce Campbell · NEW Part of the Family – an interview with Peter Jason · NEW Miss A Shot, Get A Shot – an interview with George Corraface · NEW One Eye is Better Than None – an interview with special effects artist Jim Mc Pherson · NEW The Renderman – an interview with visual effects artist David Jones · Theatrical Trailer · TV Spots · Still Gallery
Ah, Elisabeth Moss how I adore your acting abilities. Something in Shirley just didn’t sit well with me. The acting, directing, and cinematography was all there even the pacing. So what was the issue I had with this one?
It was the bland story they chose to use for an iconic horror author Shirley Jackson who has inspired the likes of fan-favorite Stephen King. The story of her inviting a live-in couple while trying to write a book seemed like it was trying to be more melancholy than it actually was.
This probably won’t be the home-run follow up to The Invisible Man that most of us wanted. Even though it probably wasn’t on the shelve for a while from the studio it just feels like so many other movies we’ve seen in the past that features a now big named star that it finally sees the light of day.
I would recommend our readers to wait for it to be streaming somewhere like Hulu, with this being released by NEON it may be there sooner than later with a handful of their new releases already on the platform like the terrific Spaceship Earth, The Lodge, and Oscar Winner Parasite.
This is very exciting for us at infamous horrors, when I(AJ Friar) joined this site I had no idea where it would take me and I have gotten to interview a lot of people during my time here and I hope you enjoyed all of the interviews. This time we got to speak to Jamie Keenedy from Scream and the Tremors franchise. Here’s the interview.
AJ Friar: James, how you doing today?
Jamie Keenedy: Good. Where are you at, man?
AJ Friar: I’m in Charlotte, North Carolina.
Jamie Keenedy: Okay.
AJ Friar: So, thank you so much for joining us today at infamoushorrors.com, and congratulations on the new stand-up you have.
Jamie Keenedy: Thanks, bro. I appreciate it.
AJ Friar: I just watched it this morning, actually, to kind of get myself ready for the interview. I thought it was really needed in quarantine to have a good continuous laugh that you kept going on. You talked about your involvement in the horror genre with Tremors. How did that come about, you joining the Tremors franchise?
Jamie Keenedy: Well, my agent came, I saw an offer, I talked to them, and then I had a meeting. They were going to redo another Tremors. I took a meeting, and I read the script, and I loved it, and that’s how I jumped on board.
AJ Friar: You also talked about how they’re rebooting everything. You can decline this question if you feel like it, but what are your thoughts on the upcoming Scream 5 that is coming out, if you have any thoughts on it?
Jamie Keenedy: I mean, I haven’t really thought about it. I’ve been dead for over 20 years, you know? Well, 20 actually, because it came out in 2000.
AJ Friar: Yeah.
Jamie Keenedy: I mean, look, Scream is the greatest part of my life. It’s a great legacy, but I really don’t know what to say about it other than I’m pretty sure I’m dead. I love that it’s this beautiful thing and keeps going. I hope they keep going and keep doing lots of stuff, but I think I’m dead. I mean, if I get a call, I’ll let you know.
AJ Friar: I mean, nowadays you never know if anybody’s really dead in past movies now with what they do with reboots.
Jamie Keenedy: Totally.
AJ Friar: How was your connection with fans going to horror and conventions? Because, I seen your name actually pop up on a few horror and conventions in Charlotte, and I’m wondering, how do you feel in connecting with fans when you can go out to those?
Jamie Keenedy: How is my convention?
AJ Friar: Like, how is it to connect with fans during the conventions that you go to?
Jamie Keenedy: They’re really good. I mean, fans, they love to come and talk about Scream and ask me questions. They’re really passionate about it, so I love the fans. They’re so good to me, and they’re really there to help support horror and comic books. Those conventions, they’re just great. People just really, really are so passionate and it’s really great to see.
AJ Friar: So when you were in the beginning, thinking about becoming an actor or a stand-up comedian, what were some of the first things you did, or talk to yourself about like, “All right, I’m finally going to go out and try to accomplish this”?
Jamie Keenedy: What did I do? I just was like, “I’m going to…” I don’t know, I wanted to move to L.A. and I knew I had to be in L.A., and I knew I had to be near L.A., and I said, “I’m going to go out there.” Then, I moved to L.A. and I started working at Pizza Hut and I also started to try to do extra work. That’s how I start started, I thought, “What’s the easiest barrier to entry?”
AJ Friar: What were some of the most fun experiences you had first starting out in L.A.?
Jamie Keenedy: I worked at a job that was an interactive play. It was called, Tamara. Tamara, that was the name of it. It had actors that I recognize movies and TV, and it also had… I was a bus boy, but I also got to be dressed in the way the people looked in the play, so it was interactive, you know?
AJ Friar: Right.
Jamie Keenedy: So, that was pretty cool. So, I was working as a bus boy, but I also was kind of in the play, but not really. It was very cool to just see that, and that’s kind of how my career started. I kind of got in behind the scenes of things to see how everything worked. Just an exciting thing just to be on a set, to be
AJ Friar: Right, just to see how everything comes together being on set. Yeah.
Jamie Keenedy: Yeah. To make money, to be on a set, it’s like something that was so foreign to me. I was always told you had to get a job and it was terrible. To be able to make money doing something that’s fun was incredible. So, that was a real eyeopener for me.
AJ Friar: I’ve always been a fan of yours, and I wanted to tell you this side note of a story when I was growing up. One of my nicknames in like middle school was Malibu because I thought I was the coolest thing ever growing up. Right? One of my nicknames the kids gave me was Malibu growing up. It’s just…
Jamie Keenedy: Oh, you were like B-Red.
AJ Friar: Yeah. Jamie Keenedy: Oh, wow. That’s awesome.
AJ Friar: What are your thoughts on the quarantine situation, especially with stand up and material like David Spade said, after this is gone or after you have a vaccine, and a lot of the jokes are probably going to be quarantine themed and you don’t want to be that guy, or that stand-up act, that just kind of reminds everybody of what just happened.
Jamie Keenedy: Yeah, he’s right. I mean, I don’t know. I guess you could tell your own experience of what happened. This is a worldwide thing that we’ve all experienced, and it’s like we can all talk about it. But at some point, yeah, you’re going to have to have your own jokes. People are going to get tired of that. But yeah, I mean, I don’t know. I think comedy right now, I think there’s a lot of stuff. A lot of stuff’s going on in the world, and so I think people, first thing they got to do is use logic, get through all this, and stand on the side of what’s just and good.
AJ Friar: Right.
Jamie Keenedy: Comedy is not as important right now as getting things right in our world. Then, people want to laugh, then maybe comedy can provide an outlet. But right now, we’ve got to get a lot of things right.
AJ Friar: Yeah. Have you been doing stuff in quarantine that you usually don’t have the time to do, and that you’re finding yourself writing scripts or stand-up material that you wouldn’t have gotten to in the past because your time wouldn’t be so consumed by other projects, and now you kind of found yourself in this free time?
Jamie Keenedy: Yeah. I mean, I’m getting scripts together, I’m getting my podcast together, I’m fixing my house, I’m dealing with stocks, I’m dealing with a lot of stuff. So, it’s a good time for me to just get all my stuff together. I’m trying to stay healthy and just get everything together. I mean, we’re all forced to stay home, so it’s a time that we can all get caught up, if you will.
AJ Friar: Yeah. One final question for you, Jamie, what is your outlook on everything that is currently going on with streaming and movie theaters during this coronavirus thing? Everything is changing, even like with your new stand-up, it went to a streaming service, like Tubi
, and it’s only becoming more evolved by the second. It seems like some movie deals from studios and streaming services get locked in now because it’s just so uncertain. You being a movie star, what are your thoughts of what’s going on in the film industry?
Jamie Keenedy: I think that basically streaming is here, it’s not going to go away. It’s going to keep going and going and going and going. I think movies theaters are going to be disrupted, that’s just the truth. They might not like to hear that, but the way the world is, people are a little bit more trepidatious with this virus, there’s a lot of stuff happening outside in the world that people may not want to go out as much.
Jamie Keenedy: I’m not saying they will, but movie theaters, people who can get their content at home, their phone, they get their content anywhere. So as long as you can enjoy your content, I think it’s going to change. I think movie theaters are going to be disrupted. I don’t think that they want to accept that, but evolution, technology, this is what happens. I think people are going to, wherever they can get their content, whether it’s in their headset, VR, there’s a lot of stuff that’s going to come that’s going to make you feel like you’re sitting in a movie theater.
AJ Friar: Right.
Jamie Keenedy: You put on a VR headset, you really feel like you’re in some other world. So, I could watch any movie in a VR headset and I don’t need to go out to do it.
AJ Friar: Right. I just recently bought the Philips Hue HDMI Sync Box with a few Philip Hue lights, and basically anything you have going through an HDMI input, the colors of the lights will sync up to whatever is going on a screen and it feels like you’re in a 4DX theater. So even stuff like that is evolving to help you feel like you’re still in a movie theater at your home.
Jamie Keenedy: Oh, that’s incredible. I got to get that. You got to DM me that information.
AJ Friar: I will, if you don’t mind. But yeah, it’s really amazing.
Jamie Keenedy: Yeah.
AJ Friar: If you’re big into your home theater, that’s something you have to add to it because it just sets the ambiance and it adds more into your home viewing and it really makes it that much more fun to host and entertain people in your theater too.
Jamie Keenedy: Yeah, I would love that, definitely. DM that information, that sounds incredible. That’s what I’m saying. They’re very reasonable. You could go get a new TV with a soundbar, bam, put it up, and you can have a killer experience in your theaters. So yeah, I agree. I think it’s going to change a lot.
AJ Friar: Well, Jamie, thank you so much for joining us today at Infamous Horrors. It’s been really fun. I hope you can continue to stay safe, and can’t wait for your new projects to come out.
Jamie Keenedy: Okay, man. Thank you so much, and I appreciate it. You too, my friend, keep doing what you’re doing.
Spunky and rebellious, Becky (Lulu Wilson) is brought to a weekend getaway at a lake house by her father Jeff (Joel McHale) in an effort to try to reconnect. The trip immediately takes a turn for the worse when a group of convicts on the run, led by the merciless Dominick (Kevin James), suddenly invade the lake house.
Review:
May I start off by saying how I was really hesitant to check this movie out with an open mind, I typically can’t stand anyone from Sandler’s clique except for Kevin Nealon and on occasion David Spade. When I first turned on the movie I was thinking ”Okay, let’s see how terrible this could be”. Then something happened I wasn’t expecting.
I ended up really loving this movie! So much, in fact, it may make my top five thriller films of the year! Kevin James is against type and nails it. Think Owen Wilson in The Minus Man. I wish Kevin James will continue channeling his darker side in the roles he chooses.
Lulu Wilson’s performance will be talked about for years to come with genre fans. She does something extraordinary and rare in her performance that is buzz-worthy among the indie circuit. Joel McHale also gives an admirable outing that should get him cast in more movies. He seems to be really picky with his feature film outings.
I would highly recommend this movie to our readers and I hope you will enjoy as much as I did.
Fulci for Fake is a new documentary highlighting the work and life of legendary filmmaker Lucio Fulci who directed Zombi, The Beyond, City Of The Living Dead, The House by The Cemetery, The New York Ripper and much, much more.
He is a cult director so it’s rather you love his films or find them overrated. I enjoyed most of his work over the years getting into the horror genre. This documentary however is really touching and thought provoking. His daughter is completely lovable in how they portray here.
It’s really heartwarming to see what his work meant to so many people, while this may not be my favorite documentary of the year it is worth seeking out for many Fulci die hard fans out there in the horror community as there is many. Most of you will enjoy this documentary thoroughly.
Thanks to Chattanooga Film Festival I had the chance to speak to Chad Crawford Kinkle to talk about his excellent slow-burn atmospheric horror movie. One of the best films at the festival. Hope you all enjoy this interview and if it interests you please check it out.
AJ: Thank you for joining me today at infamoushorrors.com. First off, congratulations on how “Dementer” turned out. I thought it was so fantastic that [inaudible 00:00:26] was really moody and ominous and the acting was terrific. How did you become involved with Dementer?
Chad: Well, it was an idea that I had. I’m trying to remember exactly when I thought about it. It was… I guess I’d gone to Sundance one year and I had seen a movie called “The Tribe” and it’s a movie that I think, I don’t know, Yugoslavian or something like that, but it takes place in a school for the deaf and all the actors are death and there’s no subtitles. It’s all sign language.
AJ: Oh, wow.
Chad: And I was just re… Yeah, and I was just re… And it won Con that year. So I was really just blown away by that movie particularly, and what he could do in that environment. And I’d always thought about doing a project with my sister. So, the main girl or the down syndrome girl that the main character trying to protect in the movie is my own sister. I’m not sure if you realize that or not.
AJ: Oh, no, I did not realize that. That’s very cool.
Chad: Yeah. Yeah. So, I had… So that’s my sister. So, when I first went to film school, I kind of always thought about, “Oh, I should do a story or short on my sister,” but then I was always like, “Well, what would I be saying? Or what would be the purpose?” Because I didn’t just want to make something to make people feel sorry for her or something because that’s just not how I feel about her.
AJ: Right.
Chad: So I just never thought of anything that would work until I saw that “The Tribe” and I thought, “Oh man, what if I can go into my sister’s world and make a story there? And what would that be like?” I was like, “What would a horror movie be like with my sister in it?” And I was like, “Okay.”
I was like, “So how would I even approach that?” And for a little bit, I was thinking of doing more of a mock documentary and then I thought, “No.” And then I thought, “Okay,” I would follow her in her normal day and then try to then craft a story into the footage I had of her and recreate some things. And I was like, “That could work, but it’s going to take a long time and I need to… I only have so much money to do it.”
AJ: Right.
Chad: Because I paid for the movie as well. But so anyway, so I just came with the idea of this of doing a normal sheet and my sister would be the secondary character, not the main character, but a secondary character. And we would just shoot it normally and I’d come up with this idea. And just a little bit of backstory about where I am and where I was. I’d made “Jug Face” and it came out, I guess 2013.
And after that, I wrote many scripts and I had still been trying to get those movies made, but things just haven’t worked out. And about three years ago, or two years ago, actually about three, my wife and I decided to move to LA because I felt that’s one of the reasons why I wasn’t getting these opportunities that kind of happen was because I wasn’t present enough in Los Angeles.
AJ: Right.
Chad: Even though I was going out there and doing meetings quite a lot. And so anyway, we moved out there. It didn’t really work for my wife and my daughter as our family situation, so we ended up moving back. And I was pretty devastated at that time because I felt like, “Oh, okay, now I understand how to get a movie made within the system here in LA,” but I needed to be out there to do that. So then when I came back to Tennessee, I was like, “Okay, well what can I do here by myself, practically, and that people will pay attention to?” Not just do some sort of haunted house movie. I needed something that really has some teeth behind it. And I kind of had remembered my idea with my sister. And I was like, “Oh crap. Well maybe now is the time to try to do this idea.”
AJ: And myself, I’m on the spectrum of autism, so I really appreciated how you intertwined all these characters with real life disabilities, I’m assuming. So how was it like casting the actors and actresses you had in this movie? How did you go about with casting and did you have any difficulties in that perspective?
Chad: Oh yeah. Well, when I started thinking about how the movie would feel, I always knew that it needed to feel realistic.
AJ: Yeah.
Chad: And so I wanted to use… Everyone’s is a non-actor, almost, in the movie. The main lead, she’s an actress. Larry Fessenden, who’s the leader of the Cult, he’s of course an actor. And then there’s a very small role where the guy who runs the meat processing place, he’s an actual actor because there was a supply in the script that involved the guy at the meat place that I ended up cutting out completely. But so, 90… So much of the movie and everyone else in it is, they’re all non-actors and I wanted that just to make it authentic.
AJ: Right.
Chad: And then I also knew that you can’t have a bunch of actors come and play opposite, like my sister and other people at her house or had the skill center where she goes in the daytime, because there was no repertoire. They’re not going to… My sister’s not going to respond to them because she doesn’t know them. And so I just knew I had to get the people who work there to be in it, even though they were like, “Are you serious?” And I’m like, “Trust me, you’ll be fine.” It’s just…
And then working with non… It’s obviously difficult because they don’t know how to act and we’re on a very limited shooting schedule too. But, I mean, it’s all about getting the best out of them and however you have to do that is what you have to do. But I guess what I didn’t anticipate was like with my sister and some of the other clients that work, that live with her, I didn’t really… because normally when you shoot, you can do a scene 10 times if you need too, right?
AJ: Right.
Chad: But, with them their nobility was so limited. I didn’t really think about that. Even with my sister, I couldn’t really ask them to come inside from outside more than twice because at that point it was just cruel.
AJ: Yeah.
Chad: Because they move slowly anyway, it’s so hard for them. It was just wouldn’t be right because I’m just making a movie, so. So, I didn’t anticipate that, but it was cool. I mean, it’s intense because you don’t know exactly what you’re going to get. And when I was writing the script, it was very strange too because I wrote every scene thinking, “Well, I’m not sure if it’s going to actually turn out like this,” but I at least need the essence of the scene to happen and how I can make that work is how I’m going to make it work on the set.
And so I didn’t use any storyboards or anything like that. Once I got to set, I just changed the script. And really, like I said, the essential part of the scene was what I was always trying to get and pretty much I could do that. I was able to accomplish that, but it was definitely a different sort of challenge than I had worked with before. But, on the flip side, there was no drama.
AJ: Right.
Chad: Where you have drama on a normal set with egos and stuff like that. There was none of that. They were just also happy to be doing it and just loving every minute of it. That was really easy and same thing with the crew. I mean, none of them, to my knowledge, was really exposed to people who have disabilities like this. They may have seen a few in real life, but they’re not like… They don’t live around them or they’re not exposed to them like this.
And so for them, it was eye opening, but I think they really just loved that experience too. But the first day that we shot in what’s the center, they call it the skill center where my sister goes in that daytime. And that scenario with that many people, that [inaudible 00:09:33] that many people. Once we got through shooting, I looked at my DP later and I was like, “That was absolutely crazy.” And he laughed and he was like, “Yeah, it was,” just because it’s just not the way a normal set works where everything is controlled. This is almost nothing that’s controlled and you-
AJ: Right.
Chad: And you’re just having to go off of whatever’s happening, which is exciting, but also nerve wracking.
AJ: I’m wanting to talk to you a little bit about the score on the movie because the score almost acting like a character of its own too, which I think really helped in terms of the atmosphere and how moody it felt. Did you have any input about how you wanted the score for the film to sound or did the composer just kind of give you ideas of how he thought, or she thought, it should sound?
Chad: Right. It’s Sean Spillane did the music and I’d worked with him before on “Jug Face” and so I got him to do this and of course I was barely paying him anything to do the music. And it took a really long time for me to communicate what I wanted to him, but once I did, it was like a light bulb went off.
AJ: Right.
Chad: Same thing happened, happened with “Jug Face” even though we got there a little bit quicker. But what normally happens is, he comes up with the theme, the theme track, right?
AJ: Yeah.
Chad: And so then he starts basing all the other pieces of music off of that one, off the theme and we’ll come up with whatever fits the certain scene. And with this, since it was taking him so long to come to music, he basically just gave me the theme track. Well, there was three variants of that theme track and gave me the stems, which are just the parts of the song.
Chad: So like the drums is a stem, the synths would be a steam, a guitar or a piano or whatever, or bells or whatever, they’re all separate stems. And so I basically came up with… I used his three songs and his basic arrangement of the theme track and made a new theme track. Okay? And then I took the stems and did the score of the movie basically. It’s his music, but it’s me manipulating it for when I wanted it to come in, what pieces, and how. So in the beginning, I have a little bit of experience with a dance music, electronic music.
AJ: Right.
Chad: So I wasn’t completely not familiar with what to do, but it was definitely daunting in the beginning because I was like, “Oh my gosh. How do I put this together? Come up with a theme that I like with what he’s done and make it work.” And then it was just… It felt insanely daunting in the beginning because I was just like, “I don’t know how I’m going to make it to the end of the movie,” but it was just for me creatively, another way I could put exactly the emotion into the scenes that I wanted it to be there. So, on that sense, it was really great, but it took me like a month to do.
AJ: Well, Chad, thank you so much for joining us at Infamous Horrors today. It’s been really fun talking to you.
When Jake and his dream girl, Amanda, contract a mysterious zombie virus, they end up on the run from Cass, a teen psychic sent by the government’s top-secret Necrotic Control Division to track them down as they search for a cure.
My favorite film out of the Chattanooga Film Festival has to be Eat Brains Love the new film directed by Rodman Flender(Idle hands) this is looking to be an instant cult classic in the zombie horror-comedy sub-genre.
The acting is so fantastic and believable. Sarah Yarkin as Cass is a revelation that is a sight to behold. Her performance in this really holds the movie together like glue. Angelique Rivera is so damn good as well.
The direction from Rodman Flender is astounding, I haven’t seen Idle Hands but this makes me really want to seek it out. This was a fast-paced horror-comedy that most will enjoy.
Scare Package is a new horror anthology that tries too hard to be tongue in cheek with how it all unfolds. To me, it was just one big giant eye roll. I’ve seen some people like it from the Chattanooga Film Festival, me however it was like a chore to get through.
It is being released by Shudder so it is bound to find it’s audience for sure. One of my biggest issues with Scare Package is that to me it felt like it was made ironically. This is a thin line to cross when making a movie. It’s rather people trying to rip off The Room style of acting and directing or ripping off Troma.
In the end Scare Package was a huge mess even a big cameo in the horror community just made me roll my eyes and I love the guy. This is in the running for the worst horror anthology of the year.
