Anthony: "Iím a big John Carpenter fan,
particularly all his earlier stuff".
Conducted by Phil
May 13th, 2005
Friday the 13th might be unlucky
for some but for me it is a very lucky day indeed as I was able to chat to
Writer, Director, FX genius and horror fan Anthony C. Ferrante about his
directorial debut BOO!
The film which unveiled it's sweet new poster art just
this week, has it's world premiere on Friday the 13th at The Cannes Film
Festival and in anticipation of the event, I chatted to Anthony about his
start in the genre, writing for horror bible Fangoria, and charted his
journey from journalism to movies and his hierarchy hopping within
It was an extreme pleasure to interview yet another one
of my idols and I hope you all enjoy reading the interview as much as I
enjoyed conducting it.
For how long have you been a
fan of the horror genre?
Iíve been a fan of horror films since I was a kid. My mom loved horror
films and I think she passed that on to me. I know I really liked the
Abbott and Costello monster films at a very young age and that led me to
the real Universal monster movies later. Werewolf films were my favourite
and I think I was the Wolf Man at Halloween for several years in a
When did you get to the stage
where you became obsessed by it?
I think it was always with me, though I picked up my first FANGORIA at an
early age and that really got me into the gore side of things. I lived in
a small town, so they were pretty lenient about letting me into R-rated
horror movies as long as I had permission from my mom. So I really got to
see some amazing stuff as a kid. HALLOWEEN was re-released over and over
again and I finally got to see that as my first official horror movie by
myself. It scared the crap out of me. It was probably the single-most
influential horror movie moment for me, because from that moment on I
wanted to be scared the way I was scared by HALLOWEEN and Iím still
waiting to be scared by a movie, but sadly that milestone is long
What are some of your
Iím a big John Carpenter fan, particularly all his earlier stuff.
Halloween, Assault on Precinct 13, The Fog, The Thing. I love many of the
old Val Lewton produced horror films from the 1940ís like The Cat People,
Leopard Man and Curse of the Cat People. They were very atmospheric and I
saw them on the big screen for the first time about ten years ago and for
being these old black and white horror movies, there were moments that had
me on the edge of my seat. I watch Diner every year because I think itís a
great coming of age movie and an incredible first time feature from
writer-director Barry Levinson. I love Eddie and the Cruisers (the music,
the story etc. though Iím sure others may beg to differ) Cronenbergís the
Dead Zone is fantastic. I like the entire Evil Dead trilogy and the
Phantasm movies always spooked me. I didnít see Phantasm until I was
older, but the commercials and video box for Phantasm always freaked me
out. Raiders of the Lost Ark is still one of the best action adventure
movies ever made. And Valley Girl is one of the best teen comedies of the
1980ís hands down.
And your favourite
Carpenter, Levinson, Cronenberg. Steven Spielberg is a god, mainly because
heís managed to find a career both as a popcorn filmmaker and as a serious
filmmaker as well. He gets to do what he wants and tell whatever stories
he wants in whatever genre, and thatís very enviable. I would love to be
able to have that kind of opportunity to follow my muse and experiment in
different genres. I also think Tim Burton is a fabulous filmmaker. Big
Fish was one of the best films last year and deserved to be nominated for
Best Picture at the Oscars. I think John Sayles is very underrated as a
filmmaker. Baby, itís You, Lone Star, Eight Men Out, and The Secret of
Roan Inish. This guy is incredibly versatile. I also admire Quentin
Tarantino for mixing so many of his influences into a unique world all of
his own. This guy made it easier for film geeks like me to have a chance
in the Hollywood system.
Did you want to be a writer
initially or did you always see it as a way of breaking into the
When I was 11, I knew I wanted to make films. I remember the moment and
time it happened -- it was on a playground in elementary school and I was
looking in a newspaper at the movies opening on Friday and that was it.
Before then it was like, hmmm, tractors are cool. Coming from a small
town in Northern, California, itís hard to understand what to do with that
desire to make movies. So what I did was the next best thing, I wrote
about them. We had a class paper in sixth grade and I became the film
reviewer. I continued doing that throughout junior high and high school. I
also started my own fanzine in high school on movies. I did interviews and
reviews for that as well. In high school, there was a night time course at
the local community college for video filmmaking. It opened up my world
and I started doing shorts from that point on. So in tandem for many years
I did both journalism and my own film projects and since journalism was
writing about movies and interviewing my idols, I was getting an education
from the masters to boot. So it was an ends to a means. I never thought
being a journalist would be an entry into the industry, I thought of it as
an education into learning about the industry. Then by accident, it
eventually opened doors for me that I would have never expected.
Like most horror fans, I have
been aware of Fangoria since forever, but it was not always readily
available here in my City, even now you are lucky if you find 5 copies in
total. When did you begin to write for the magazine and how did you get
the job? Is it true that you met Tony Timpone at a Fango convention and
asked for a job?
Good research. How did you know that? [laughs] There are many people I am
indebted to for giving me a chance when they didnít have to and Tony and
Brian Yuzna are the two biggest. I always wanted to write for Fango, and
my fanzine, FILM WORLD, focused heavily on horror films. I was also
writing for the local newspaper at the time as well. I ran into Tony at
one of those conventions and told him I really wanted to write for Fango.
He told me to send him clippings and I kept pitching him articles until I
got an assignment. Since then, Iíve been part of the Fango family. In
fact, when I was hired as editor-in-chief of Cinescape, one of the
conditions I made with the publisher of the magazine was that I was still
allowed to freelance to Fangoria because of the history I have with them
and because I still love writing for them. Our publisher understood and Iím
still allowed to do both. Fangoria inspired me as a kid and I feel that by
writing for it, Iím hopefully providing information that will inspire
someone else in the same way. Thatís the same thing Iíd like to do with my
movies. Iíd like to give back to the movies and to the next generation,
what these movies gave to me.
Do you feel it was an
invaluable way of making contacts and showing them your multiple skills
and varied knowledge of the genre?
Knowing about the genre has benefited me both as a journalist and as a
filmmaker/FX guy, etc. There are so many journalists out there, but there
are very few that can specialize and write about the genre. Most people
have disdain for horror and sci-fi. What I found out with other mainstream
publications I solicited to for work, I would generally get assignments
for genre stuff, because no one else cared or knew enough about it to do a
professional job. As a magazine editor myself, I find it very hard to find
qualified genre writers. In the U.S., the best people either work
exclusively with one of the main genre magazines or freelance to all of
them. Itís a small pool of incredibly talented people and we all know each
other really well.
What is your favourite Fango
article that you have written?
Hands down, the Halloween retrospective. I think I wrote it in 1993 or
something. I was a big fan of the movie and Tony asked if I could turn it
around quickly. I donít do anything easily, so I did tons of research and
hunted down just about anybody that would talk to me. Debra Hill even got
Jamie Lee Curtis on the phone which was amazing. Tommy Lee Wallace was
great too. He drove me around Pasadena and Hollywood and showed me all the
locations that they shot at. For a movie that was so influential to me,
this was one of the most enjoyable experiences and I think one of the best
articles I wrote for Fango. I have some other pieces Iím fond of though.
Around the same time, I had the opportunity to follow the making of Clive
Barkerís LORD OF ILLUSIONS from beginning to end. It was a massive
undertaking and it also educated me even further about the making of the
movies. It wasnít just hey, Iím visiting the set and then I go home. I
was able to hang out for a long period of time and really understand the
monumental undertaking making a movie was. The articles turned out real
interesting too and Clive Barker is still one of the coolest and nicest
guys Iíve ever met.
"The weird part about it, it was really
no different from the short films I did".
You also went to film school.
Do you feel that you learned far more on sets than you did at school?
(I'm feeling like that at the moment)
Exactly. I went to San Francisco State, and I had already learned more
making my own short films and going out to sets than I did at school.
There were a handful of classes that were beneficial. I enjoyed some of
the film history courses. We did a hands-on making a scene class where
everyone got to be a director for a day. I did a scene from a script I
wrote called WAVE OF MUTILATION about a mime kidnapping some woman. Itís
one of the weirdest scripts Iíve ever written. And in another class we
shot a scene from an existing movie. Mine was from John Sayles BABY, ITíS
YOU. Instead of watching the movie again, I just got the script and I shot
it cold. After it was done, I went back and watched the movie and realized
how some of my choices were very similar to Sayles, and some of them
completely different. It was a good exercise. And there was the
screenwriting class where I developed WAVE OF MUTILATION. Generally
though, Tony would assign me articles in Los Angeles to cover film sets
for Fango, so I would cut a class or two, take a five hour drive down to
L.A. and get a better education sitting on a film set. I started to
realize the only way to learn is to do and observe. If you want to be a
filmmaker, you need to be where films are being made and that was Los
Angeles, so I moved here.
Despite some early rumblings
in the movie world, it was not until 1996's 'The Dentist' that you got
involved in a full-length horror feature film. How did you become
The first movie I worked on in Los Angeles was re-shoots for Necronomicon.
I was hired as a production assistant and I showed the Line Producer a
short film I did. It had tons of FX in it and he said, ďHey, do you want
to be our slave and also coordinate the FX?Ē Since I knew the FX guys
from interviewing them over the years, it was a no brainer. So my
knowledge of this stuff and the genre really helped and I got a crash
course in filmmaking. When Brian did his next film The Dentist, I asked if
I could be a full-time supervisor. I always thought I would be doing
making-of videos to break into the business when I moved to Los Angeles.
Instead, I got to play with fake blood and monsters. I think it was a much
more beneficial avenue to take. Brian took a big leap of faith and put his
neck on the line to hire me. But Brian and I both loved the genre and when
I was doing my short films, we had no money to do things. With a film like
The Dentist, they had very little money to do things, but the money they
did have, I was able to utilize and stretch even further because I came
from no-budget filmmaking.
Was it a dream come true to
turn up on set everyday?
I think when I was doing Dentist, to me, it was this satisfaction that I
was doing what I always wanted to do, to be involved with movies. It was a
gruelling experience, but I got my Roger Corman training working for Brian
and I learned stuff that has stayed with me to this day.
Was the process what you had
The weird part about it, it was really no different from the short films I
did. Working on a movie with money is the same exact thing. Youíre working
long hours, with little money except the only difference is you have more
support. You have a bigger crew and people are required to be there. Theyíre
not your friends who promised to show up and bailed. Itís a job, but itís
the same aesthetic. The bigger the budget, the more toys you have to play
with. And you still donít have enough time and it still isnít perfect.
Where did you learn about
make-up and effects? Had you done training?
I always tell people, Iím a Make-Up FX Supervisor, not a make-up artist.
My job is to work with a budget, keep it on budget, hire the best people,
come up with ways of doing the FX creatively and later on, shoot the FX on
second unit. I learned most about make-up from watching people do it on
set, writing about it and making the FX happen on my short films. I do
throw blood though; Iím a good blood thrower.
You did a great job and
returned to the post 2 years later for the sequel to The Dentist. Was it
harder or easier second time around?
It was so much easier. J.M. Logan was hired as a utility FX guy on The
Dentist and ended up doing almost all the set work and additional stuff we
needed on the movie. This guy is one of the best make-up effects artists
around. I met him in Texas working on a film called Space Marines and we
have been great friends ever since. To me, he earned the job to do
everything when DENTIST II came along and Brian agreed. Having one person
handle everything, instead of the two or three shops we used on the first
movie made things easier. Plus, we knew what worked and what didnít
regarding the oversized mouth on the first movie. J.M. for me, did some of
my favourite all time make-ups in both of those movies. He did the
Goldfarb jaw break in the first Dentist and he did the make-up on the girl
who has her mouth gutted by Corbin. Heís an incredible artist. The Dentist
II was one of the most enjoyable shoots I ever worked on. And Corbin
Bernsen is one of the coolest actors to be around and was amazing to work
with particularly with all the FX stuff we had to do with him. He was so
gracious and supportive of what we did. I would have loved to do more
Dentist movies with him.
In 1999 you worked on Progeny.
How was that shoot?
I think we shot Progeny in the fall of 1997 I believe, right before the
Dentist 2. It was a tough shoot. Brian, Screaming Mad George and I really
wanted to create aliens that no one had seen before. The X-Files had been
doing some great alien stuff, with a bigger budget, so we had a lot to
live up to. Unfortunately, what we wanted to do and what we were able to
do were two separate things. Georgeís aliens look great in the movie, but
they were supposed to work in tandem with some interesting optical visual
effects techniques we were coming up with. It being a low budget movie
though, it was too cost-prohibitive to do as many visual effects at the
time. So we ended up doing some cool things with lighting and such.
Nowadays, all of that would be done CG, and not surprising, our practical
aliens would still look better than straight CG. It was a very tough
shoot. There was so much stuff to do and the aliens needed to have five or
six puppeteers. It was way too ambitious, but we pulled it off and that
was a testament to George and his team. Itís one of Brianís more unique
movies because itís so radically different from anything else heís done.
He doesnít get enough credit as a filmmaker and I think if you look at
Progeny, as a director, some of his most amazing directorial work was done
in that film.
The same year, you worked on
Wishmaster 2. What was the project like to work on?
That was my first major movie that I didnít do with Brian but everything I
had learned working with him, was put to good use on that project.
Director Jack Sholder is a really nice man and they let me do tons of
second unit work on that film. I ended up doing some sequences Iím really
proud of. Most of the deaths we shot second unit and the transformation.
Jack had his list of thingshe needed from us and told us if we could get
that done, we could shoot whatever additional FX stuff we wanted. So when
there is chaos in the casino at the end of the movie, we were coming up
with down and dirty make-up gags left and right. I had tons of fun on that
The effects sequences were
very ambitious and worked well, was it really hard to pull the sequences
J.M. Logan and SOTA FX were on board and they did a bang up job. You have
to remember, the first Wishmaster was a $7 million dollar movie and the FX
budget was huge. Wishmaster 2 was shot for around $1 or $2 million. We
probably had less than the catering budget on the original film just to do
the same amount of FX. What really helped was Jack trusting us to design
these sequences to work for the money. We storyboarded stuff and showed
him what we were thinking and he put a lot of faith in us to be able to
shoot it right. Iím really proud of the work we did on that film.
In 2001 you worked again with
Brian Yuzna on 'Faust' and Jack Sholder on 'Arachnid'. Is it nice to work
with the same people?
Itís very easy. You know what they expect from you and what they want. I
remember on Dentist II, there was a scene in the script where a cockroach
is in someoneís mouth. Itís the Dentistís delusional POV. And I looked at
Brian and said, ďwhat if he takes the dental pick and impales the
cockroach, looks at it and the patient is staring at him like heís crazyĒ.
He loved it, and then I realized how much I was thinking along the lines
of the stuff Brian liked. In fact, thereís one moment in Boo! that we came
up with on the spot where this ghostly/undead person kisses a living
person, and I thought it would be cool if there was an exchange of slime
and blood. When they pull apart, this slime trail and blood sprays out of
their mouths. After it was over, I was like ďthis is a total Brian Yuzna
momentĒ. So working with Brian definitely was a college course unto itself
and whenever Brian needs something, I try to help out whenever I can.
In 2002 you were asked to
handle the special make-up effects on 'Scarecrow'. How much time did you
have to prepare for the 8-day shoot?
None. I knew Emmanuel from working with Brian and Emmanuel and I get along
really well and have the same sensibilities. We knew there was no money to
really do anything spectacular, so we tried to come up with FX and
sequences that were simple and cheap to do. The money really went into the
Scarecrow design and mask and Todd Rex who also played him did a great
job. So the movie was very blood oriented and tons of in camera tricks. I
really like the scene where the teacher gets killed with the pointer stuck
through her head. I knew from the Dentist that anything to do with the
mouth disturbs people and so I thought, wouldnít it be cool if someone was
impaled on the head, the pointer comes through the mouth and goes through
table and sheís pinned. Itís disturbing and cool and the actress who
played the teacher was a trouper. At one point we needed to put the
pointer through a fake head and we couldnít afford fake hair, so she let
us drape her real hair over the fake head, she hid off to the side and we
did the shot. Thatís what I call a professional.
Were you pleased with the end
That was another great experience and Iím proud of most of the stuff in
that movie. I really liked Toddís scarecrow design. He did a really creepy
scarecrow. The only thing I think I wished we didnít have to do was have
the Scarecrow toss off one-liners. Emmanuel and I warned the company he
shouldnít speak, but they didnít realize that until they did the
"This was a chance to do something
small, intimate and scary".
You returned again for the
sequel, was your job any easier second time around?
It was easier in the sense that the director wanted to do more visual FX
and less practical blood FX but some times on low budgets like this, itís
easier to do it practical and then enhance it later. There are some really
nice things in that movie too but I donít think we spilled nearly as much
blood as we did on the original. I really liked the blood scarecrow mural
on the wall that Sam Greenmun did. That was pretty creepy. Scarecrow 2 was
hard physically because it was all night shoots. I had never done that
before and it was very hard getting used to that kind of schedule and then
being able to be coherent and be creative at the same time.
Which of the two films do you
I like both of them, though Emmanuelís is by far the most fun of the two.
It has this insane, no-holds barred, letís kill everyone attitude about it
that horror movies forget is key for a good time. Director David Latt did
some nice things on SLAYER too. The sequel is a darker film and it has the
benefit of not having a talking Scarecrow.
Will you be involved with any
of the future sequels?
No. The next one just came out called SCARECROW GONE WILD but whatís the
point. My feeling is they should have taken the Scarecrow concept and done
SIGNS with scarecrows in a cornfield for the third one but instead they
decided to do some spring break thing. They didnít even hire Todd back to
do the Scarecrow. He IS the Scarecrow. They redesigned the mask and it
looks terrible like some sort of knock-off Halloween drug store mask of
the original thing.
Most recently you made your
directorial debut on the feature film BOO! which you also wrote. How long
did you have the project in development?
I wrote the film when I was working on PROGENY and felt it would be a
great first feature film. Everything else I had written up to that point
was "big and expensive". This was a chance to do something small,
intimate and scary and I had a better chance of someone handing me $1
million to do a movie than $20 million.
For those not in the know
could you give us a brief synopsis please?
BOO is about a group of people who end up at an abandoned hospital, get
trapped and the ghosts start playing mind games with them. Itís also about
the failing of the medical system. And we have clowns. Okay, just one, but
let me tell you, our clown is pretty scary. I am still amazed that the one
thing people comment on after they see the movie is that the clown scared
the hell out of them --- and the clown is barely in the movie.
Emmanuel informed me that he
had tried unsuccessfully to set the project up for you and then Graveyard
Filmworks stepped in. How did they get involved?
I never stopped trying to get Boo made. Though some people thought the
title sounded cheesy, I kept reminding them so did SCREAM and look how
successful that film was. Itís all in the marketing and Iím surprised no
one had used the title before. Emmanuel had shown it around, but I was
adamant about directing the movie and people were like ďyou havenít
directed beforeĒ. All the second unit and short films donít matter to
people in this town. Now if I was a music video or a commercial director,
Boo would have been made years ago with Paramount Pictures for $20 million
and starring Julia Roberts.
Anyway, I had known Kismetís David E. Allen for years
and we had talked about Boo a few years back. Then he and Brian Patrick OíToole
contacted me because they were starting up a low budget film division
Graveyard Filmworks and wanted to work with me. They talked to me about
Cemetery Gates that Brian had started writing, but it wasnít completed yet
and they wanted to get into production quickly so I brought up Boo, they
read it again, I took them to the location and we were filming a couple of
months later. All these years and people were saying ďbut you hadnít
directed beforeĒ, and here was someone so great and generous like David
who said ďletís do thisĒ, without ever once going ďbut you havenít
directed beforeĒ. He had complete confidence in me and I will always be
grateful to him for giving me my first big break as a director.
Are you allowed to say how
much of a budget you had?
Thatís a David question, but it was a nice budget to work with as a first
time filmmaker. I was able to envision the script I wrote on screen with
very few changes.
Did you shoot on
Yup! Itís the only way to shoot a horror film. And our D.P. Carl Bartels
did some great work with shadows and light that only could be accomplished
with 35mm. We wanted it to be spooky and atmospheric and most ghost
stories feel like youíre on a set. We shot at an actual abandoned
hospital, so we threw some blood on the wall, lit it spooky and you feel
like youíre in that place. In some ways, itís like the first EVIL DEAD
movie. They shot in that cabin and you FEEL like youíre in that cabin with
those kids and I hope people get the same feeling watching BOO.
How did you find your cast who
despite being relative unknowns are reportedly excellent in their
I wrote the villain ghost role for M. Steven Felty. Heís worked on just
about every short Iíve done since high school. He started off as a D.P.
for me and I discovered what a great actor he was and kept putting him in
my movies. Heís one of the funniest guys I know but itís a testament to
his incredible acting that he can do comedy and drama on equal footing. If
you saw him goofing around in some of my comedy shorts and then saw him in
Boo! you would know what I mean. Heís also the guy that turns inside out
in WISHMASTER II in the casino sequence. When he came in to read, everyone
agreed he was Jacob. I also worked with Nicole Rayburn on Scarecrow 1. The
rest of the cast was through the normal audition process. We lucked out
and found some really great up-and-comers. Trish Coren is our lead Jessie,
Jilon Ghai plays Kevin, Josh Holt is Freddy, Michael Samluk is Allan, Dig
Wayne is Baines aka Dynamite Jones and Rachel Melvin is Meg. And Happy
Mahaney is really funny as Emmett. People who have seen the movie tell me
he reminds them of a young Tom Hanks. I needed to give them some plugs.
Remember those names! Youíll be seeing more of them.
You also managed to get Dee
Wallace Stone back for more horror. How did that come
I knew Dee from the journalism world and I really wanted her to play Nurse
Russell. I didnít think we had a chance, but she wanted to read the
script. She read it right after Christmas, said she loved it and wanted to
do the movie. Sheís one of the sweetest women Iíve ever met and she really
upped the profile of our movie by agreeing to be in it. And sheís been in
all these great genre films E.T., THE HOWLING, FRIGHTENERS. Sheís worked
with all my idols and now I got a chance to work with her. Very cool.
Are you aware that people are
saying that Mel Gibson has a cameo in the film?
Yeah. Itís interesting being on the other side of Internet gossip. It
makes you wonder where this stuff comes from. Though, we do have a Mel
Gibson connection in the movie. Our Special Make-Up FX artist Kevin Wasner
and Visual FX Supervisor Michael Shelton had both worked extensively on
Gibsonís THE PASSION OF THE CHRIST. So maybe someone got confused along
the way. Itís a pretty big stretch to think he would be in our film. Weíd
be promoting it like crazy if it were true. But hey, maybe we should make
an official invitation to Mel right now to come over and stand in front of
a green screen and weíll composite him in as a doctor or something
somewhere in the movie so the guy who started the rumour will feel
vindicated. Weíll unlock the print for you Mel. Come on down and make an
Internet fan happy.
The location is reportedly
actually haunted and is said to be a character all in its own. Would you
Definitely. When David saw the hospital for the first time, we went to
lunch afterwards and he was like ďletís make thisĒ, because he could see
the movie I wrote on the page right there at the hospital. Iím sure the
hospital is haunted, but I was so busy making the movie, I didnít get to
see anything out of the ordinary. It did make me nervous walking around in
the boiler room by myself though, but Iíve shot in haunted places before.
If there are spirits or ghosts there, if they donít want you there, theyíll
let you know. Since people film there all the time, Iím sure theyíre used
to film crews by now.
Early word is that the film is
genuinely scary would you agree?
The goal with the movie was to make a truly scary movie. I was so
frustrated by horror movies not being scary and building up to scares that
I wanted to prove it could be done. I think BOO has scares and then some.
In fact there are so many scares; Iíve noticed when weíve viewed the movie
as a whole that itís pretty unrelenting. There arenít many instances where
we let the audience rest and we use tons of tricks. We have things lurking
in the shadows, people falling apart, ghosts walking around really creepy,
a haunted elevator from hell. And a clown. Yes, we really do have a
Were there a lot of pranks
happening on set or was it hard work all the way?
For me, I didnít have a chance to breathe. Thankfully, I knew the script
well and had rewritten over the years, so I knew the characters and the
geography of the movie by route. The script was pretty tight and polished
going in, but it was 100 percent focus from the first day to the last. But
it was so worth it because this was the first time on a real movie where I
was focused on my vision as opposed to interpreting another directorís
vision via FX or second unit.
When will it be
We just finished it; itís done and ready for show.
Any ideas about who will
Weíll know in a few weeks. Kismet is talking to the studios right now.
This movie is a distributors dream. We have a great title, a cool tagline
ďYou donít have a ghost of a chanceĒ, and a truly creepy movie that will
have people in theatre seats in droves on opening day. People like to
discover the underdog horror movie from BLAIR WITCH to CABIN FEVER to SAW.
SAW opened at $17 million and cost $1 million. Pretty great investment.
Same with THE GRUDGE, I think that cost $10 million and has made over $100
million. And three horror movies in two months have been number one and
made nearly $20 Million a piece opening weekend. People are making a mint
off horror movies. And studios are always looking for anything special and
unique and I really believe weíve come up with something special that will
appeal to general audiences and horror fans alike.
Any potential release
Once we have a distributor, Iím sure theyíll make the final decision. The
way horror movies are going these days, you can pretty much release one
any time of the year and do well though BOO is set in the fall, so a fall
release would make sense.
What about a
Probably R, but you never know. THE RING and THE GRUDGE are pretty intense
for PG-13 films and BOO is tonally along the same lines, but itís up to
What do you have lined up
Regent St. Claire and I wrote a gothic horror script called
CANDYAPPLEBLACK several years ago and he just adapted it into this
fantastic comic book. Check out the website www.candyappleblack.com. For
years we were looking at other directors that we thought would do a great
job on the movie and nothing ever panned out. I would love to make this
movie now. The producers who have had the option on it for the past couple
of years are really excited about Boo and feel it would make sense to have
me attached as director as well. Itís a perfect film to follow-up Boo! It
would be great to work with David and Kismet again and Iím also up for a
couple of other projects that are still in the preliminary stages. I also
co-wrote NOMAD for Emmanuel Itier to direct. Itís an action-horror movie.
Very fun stuff. My horror films tend to be a little on the dark side, but
NOMAD was the chance to add a little humour and action to the mix.
Emmanuel is another one of those guys who has had great faith in me and heís
one of the easiest people to work for. Seeing his directing-style on
Scarecrow really made me aware of what you need to do to make your crew
and cast feel comfortable and happy so they can do their thing.
Iím also excited by the fact that every studio has some
kind of horror film or remake theyíre developing, so I wouldnít be adverse
to directing one of these remakes as long as you could do something
different with it. Iíve heard some people are upset about EVIL DEAD being
remade, but Iím the biggest fan of those movies and I think a remake could
actually be pretty incredible. Itís all about the execution. You have to
hit a few beats that are familiar -- the cabin, the woods -- but Sam Raimi
never really had a ton of money to explore the limitless possibilities of
the surroundings in the original. There are some great elaborate suspense
sequences that could happen in the woods and even in the water that can
take the franchise one step further and still be true to the original. The
first EVIL DEAD is absolutely terrifying, the concept is simple but it
really works. An EVIL DEAD remake really makes a lot of sense and just
like the recent TEXAS CHAINSAW MASSACRE remake, it wonít take away
anything from the original, it will just bring more fans to the original.
"Thank you ever so much for taking part in this interview
And we wish you the very best of luck in the