When did you first
know you wanted to get involved in filmmaking?
When I was very young, my favorite pastime was listening to film
soundtracks, especially John Williams. I then began making films
when I was about 11. My love of film music evolved into a love
of the filmmaking process. |
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How did you develop
your character's for 'Malevolence'? It seems you opted to tell
a story with a lot of unpleasent characters as opposed to the
average teens.
I wanted to create characters that had depth and purpose. I HATE
horror films where there is no purpose for people to exist in
the story other than be killed. So I wanted there to be more at
stake than just kids hanging out and having sex. |
The film has a lot of GREAT scares.
Debra Hill said in an interview that during the writing process for
Halloween, her and John Carpenter started out by making a list of things
that scared them, and incorperated that into their script. How'd you
set up the scares and suspense while writing your script?
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scares in Malevolence are kind of like a sucker punch. They are
a combination of atmosphere, suspense, music, and camera angles
that work to distract you so that you don’t see it coming.
I knew on paper what I wanted those scenes to achieve, but a lot
of it comes together in the editing room, through timing, music,
etc. |
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'Malevolence'
is considered the 2nd portion of an intended trilogy. If you had
the budget, would you have filmed the full story as one movie,
or was it always intended to be three different films?
It was always intended to be three films. The story was originally
500 pages long. And each film takes the story in a new direction.
Also, I wanted to have a place to go. So many horror film sequels
are made just for the sake of making money, not to expand on a
story. |
The look of the
film is fantastic. Was 35 mm always your first choice as far as
filming?
Yes, a big mistake many filmmakers make is assuming that
film is the most expensive part of production. It is expensive,
but not in comparison to crew and location expenses. And at the
end of the day, the film is the end product, you want your work
to look the best it can. |
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Speaking of the
look of the film, your cinematographer was Tsuyoshi Kimoto. What
were your working experiences together like on this project?
Sometimes great, sometimes difficult. We didn’t often see
eye to eye, but that is often the case with artists. And sometimes
when there is friction in the creative process, it produces amazing
results, just ask Pink Floyd. |
It's interesting
to have a few subplots intertwined into 'Malevolence'. Was the
bank robbery always a key plot point to your story?
Yes, it was always part of the story. |
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There's a reference
made by the cop about the place being lost much like a acorn tree
in the middle of a field. At the beginning of the film, there's
a shot of an acorn tree in a field & it's creditted as 'scary
tree' in the credits. Is there more to the tree then meets
the eye?
You must have seen the film more than once!!! Well, when Kurt
passes the tree, we hold on it. An early reference to Riley’s
comment later. It’s a symbolic gesture to enhance Riley’s
words, to subliminally create in the audience a sense of isolation.
Very deep, I know, but I am VERY impressed you caught that! No
one else has. It shows you are really paying attention! |
How'd you decide
on the mask for the killer?
Part of the purpose of the bank robbers was to create a plausible
reason for the killer to wear a mask, by stealing it from Kurt,
and creating the mistaken identity subplot. It allowed him to
get close enough to Marylin to inflict the damage. |
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The shot of Martin's
face still haunts me, even after seeing the movie a few times
now. Where's you find that actor?
Jay Cohen and I attended a film seminar in 1998. We have been
very close friends ever since. I’ll break it to him gently
how haunting his face is (LOL!) |
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The movie
borrows heavily from all the slasher greats, but can be seen
as a respectful homage to those films. How would you defend
this against the horror purists that might not see the
film in this way?
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Well, I made those homages because I
wanted to show my respect for the films that came before me. Everything
has been done to death, and every idea for slasher films has been conceived
previously. My point in also showing those homages was to point out
what why the old films worked, and today’s horror misses the point.
To the horror purists, I say relax, and have fun, it’s only a movie.
At least I didn’t completely disrespect my predecessors by destroying
the memory of their works by remaking their films and assuming I could
improve on their vision. Scream mocked my favorite genre. I wanted to
remind the “horror purists” why they fell in love with these
films in the first place!!!
You had a huge
amount of various problems during the actual shoot. Is it true
that you had a mild heart attack the last day of shooting?
It had been an arduous shoot, and I guess my body, after not sleeping
or eating in days in order to keep the ball rolling, just gave
out.
Have all these problems effected the way you might go about
working on your next feature?
Well, next time I will have people helping me, and not try to
do everything myself. |
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Your score for
the film is very reminisent of John Carpenter. Is he an influence?
And did you always intend on scoring your own film?
I always intended to score my film, mainly because I couldn’t
afford anyone else. John Carpenter is a huge influence, however,
I feel the score is more like Charles Bernstein’s score from
Nightmare on Elm Street. I think people make the Carpenter reference
because of the use of stingers, and piano, similar to how he emulated
the piano in the Exorcist. |
The prequel idea
you have is meant to take place a mere few days before the events
of this film. Which characters appear in your prequel and will
it explain more of the origins of the killer story from the late
70's?
Yes, it will reveal the identity of his tormentor, the original
killer, Graham Sutter. It will also go deeper into Julian’s
debt, his relationship with Marylin, and will also completely
turn everything in Malevolence 1 on it’s head, especially
the end!!! |
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You have yet to
mention where the sequel would go. Is there anything you can tell
us about the script you have for it?
I don’t want to give too much away, but it will bring resolution
to Martin’s story. And his family…? |
After a few years
in production, what was it like to finally see the completed film
screen in a theater in front of an audience?
Amazing.
Your film is the first theatrical release from fan favorite
Anchor Bay Entertainment. How did Anchor Bay get involved with
'Malevolence'?
They viewed the film and decided that Malevolence belonged in
theaters. We were in the right place at the right time. We’re
not on 2,000 screens, but we’re not straight to Blockbuster
either. |
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The tag line for
the film is "No one gets out alive" and all the posters
sport a creepy image of the house. Tell us a bit about the promotional
marketing for the film?
Well, that tagline is significant of the house. The years of murder
that have taken place over the last 20 years. |
Being that Anchor Bay Entertainment released the film theatrical, what
are the plans for the DVD? Is it getting the special edition treatment
it deserves and how will you be involved with that?
Yes, there will be many extras. Missing scenes, alternate takes and
music, and behind the scenes footage.
The Icons staff
have all seen 'Malevolence' 3 times each! How's the film doing
theatrically so far?
I knew it. You guys rule! So far our opening on LI went great,
and now we’re breaking into other markets across the US.
Theatrical releasing is tough for small Indie films, but we’re
so far doing great! |
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You've admitted to being a fan of
all genres of movies. Is there any type of genre you'd like to move
onto next? Or would you like to continue working in the horror genre?
I’d like to step back from the edge to do a thriller. I also do
comedy too. In fact, there is actually some hidden humor in Malevolence,
but it’s under the surface, like it was in the original Texas Chainsaw.
Any dream projects you'd love to work on?
I’ll just be happy to be working!
What would you like to say to the Icons Of Fright audience that have
yet to see 'Malevolence'?
Buy a ticket!!! or... the DVD!!!
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