How did “The Dead Thing” increase resources for the difference?

The new Shudder “The Dead Thing” (February 14) transmits a clear love for films and made it directly from the painful opening montage: Blu Hunt is drifting inside and outside those who stand for one night with men who are in dating program. The first scenes, sensory, and properly lit tires, hesitate to managers such as Wong Kar Wai and Lynne Ramsey in their leadership of the frame, use of lighting and sound design to stimulate psychological states.

However, nothing in “The Dead Thing”, an independent of the type that was first offered in Fantasia last year, looks like just a tradition. Here is a movie by a director who absorbed his effects on his DNA without being owned or limited to it. The following are the plays “Looking for Mr. Goodbar” for the era of social media, where Alex finds herself making what it turns out. very Bad choice when he rebelled directly on the wrong man, and “The Dead Thing” turns into a psychological and supernatural horror.

The various effects and tones are all retained in an ideal balance is impressive, but perhaps not completely surprising, given that director ELRIC Kane is a fan of evil films well known in Cinephile as a group of famous podcasts, “Cinema Pure” (responsible for Bodox Cinema Beverly The new quinteen Tarantino) and “Dark Colors” (official podcast for Vangeoria magazine). For Ken, the role of influence is a difficult issue, although it addresses face face in “The Dead Thing”.

“When you watch many films as we do, it is impossible not to be under the influence, but I really focus on leaving your taste directs the movie I make,” Kane told Indiewire. “From the beginning, I was trying to make a movie I wanted to see, and one of them felt that it was being made when I started production: an adult horror movie, moved by passion. There were many films in Mental Movie Mevel at all stages of production, but I tried not to allow any Specific films with the dictation of things.

Although Kane has participated in taking out some of the features that have no budget in Mumblecore, the “The Dead Thing” is a step-up simply by obtaining a budget and crew-although the director quickly indicates that both were still very small . The film was brilliantly designed to increase its limited resources, which Ken was determined to start the scenario.

“The idea was to write something on a scale that we know that we can get it after a previous false start with greater texts,” said Kane. “So the office where the character works is the office in which I used to work. I knew the sites in that area like the back of my hand and I was depicting it in my mind for years. I always liked the way Los Angeles feel at night. It really empties and feels nauseous. It was. It was. Writing a story almost completely in Los Angeles at night is definitely intended for aesthetic, but you can also stay away from more chaos.

Kane also built his text on Alex, knowing that if he had a great actor, the movie will work. He said, “The quote” is the cheapest special effect is the human face “that you always hold.” “The casting is everything. If you threw well, you will go less, and they will lift the film. Miscast is a doa.”

Kane felt that he was lucky with his representatives-and indeed, the only thing that puts “The Dead Thing” is much higher than many low-budget horror movies is excellence in her group-but dealing with work facts for the first time was created for the first time some concerns during production. Kane said: “It is wild that when you throw a movie, you cannot actually be to the actors to test chemistry with each other, which seems crazy for me,” Kane said. “The agents and managers have deals of the type of display only, so you are at a great risk when throwing and hope for the best.”

Another curve ball for the first movie “Real” was to discover how people who were in the movie only motivated money – especially when there was not much money to talk about. “I was definitely surprised by the amount of the gap that could be there between the crew over the line or the bottom of the line on Eindy,” Kane said. “On one side, you have friends and collaborators there motivated by passion for the idea, ready to really push themselves, and on the other hand, you have people working in the party minimal wages, so that you can feel the dispute.”

The key was to exchange his enthusiasm with his collaborators. Kane said: “My favorite moment was to win members of the crew who is not interested in one of my most detailed shots,” Kane said. “When they see that you know what you are doing, you see the voltage for sure. But just try to get all the varying elements, standing, and status of the gel in the service of the idea itself created a lot of anxiety.”

There is another concern that no one warned of: deliveries, and many horrific elements that must be delivered to a distributor before they could release the movie or will be released. Kane said: “Just as you wash on the beach of completion and sell your movie, you have been made to present a huge list of technology and legal (elements), and the endless copies of your movie.” “It may take months and cost a lot of money … No one may talk about it because it will scare the first time, but it is definitely something that is preparing for it.”

The process was more challenging because Kane used his budget completely during filming, and thus had to raise more money during post -production to the end. In the end, he felt he learned a lot that he could come up with the next movie. “Be open to the settlement, but do not really soften things,” he said. “No one can fight to see you the way you can, so make sure you are fighting for the essence of the movie.”

For Ken, the guidance is often the issue of priorities and flexibility. He said: “It is easy to see everything as important when filming the pages every day, but if you get the heart of the movie on the screen, people will forgive some of the most severe edges.” “Learn the creative settlement during flying was huge. We always hear that the actors are” at the present time “, but I think it is equally important that the directors are open and ready to change and interact with the moment.”

In the end, Ken is enthusiastic and pessimistic about the state of independent films with a low budget. He said, “On the positive side, we were shooting with reasonable digital cameras at night with minimal lighting and creating beautiful pictures,” he said. “So you can create something really cinematic with an independent budget – but even at the lowest budgets, sales are less than a few years, so it is not a sustainable model. It works to make” storming “, but the margins are so small that it will be difficult to preserve life As an independent film director.

However, the final satisfaction is undeniable. Kane said: “The freedom to make a movie with no one answers creativity except for your team is a beautiful thing.”

“The Dead Thing” begins to broadcast on Shudder on Friday 14 February.