As director of horror night, Dean Bertram greeted me in a cool, fresh way.
Wash and shake hands [
I cunningly forgive myself and check the bathroom sink, ,. . . . . . No blood. .
While planning 2010 events, Bertram was overwhelmed by local films that he believes go hand in hand with the best works in the rest of the world.
"The horror movie landscape in Australia is very healthy at the moment," he declared in a very cool mess at the film festival headquarters in northern Sydney. west (
One wall is covered by the obscure art of the horror movie poster, and one wall is covered
The sheets of Tang Segal's 1956 classic "corpse snatcher invasion" are placed on the sofa).
"We submitted more shorts than ever and more features than ever before.
We will return to a "stronger narrative" horror film, reminiscent of the truly excellent horror film of the post-80 s, the story for the King.
"Maybe so, but did the filmmakers themselves have such a good time making horror films with the help of Bertram? SBS films invited four Australian emerging-type filmmakers to tell about the films that inspired their love for terror and about their experiences in making their own films.
As part of the night of the horror festival show, three films were released-Greg Connors)
Dark lurking)Brett security (Damned by Dawn)
Steven casteros (
Knight in the picture above);
Fourth director Stuart Simpson premiered his movie March in Melbourne last week.
SBS Movies: what period and which filmmakers particularly influenced your love for horror films and directly inspired your work Steve casteros: I love the post-80 s movie, they are like Predator aliens.
A mix of great drama, terrible violence and bold sci-fi
Science fiction and the concept of terror have a big impact on me.
Greg Connors: the first time I knew I wanted to make a movie was when my parents brought home aliens on VHS.
I was seven and they asked me to sit there and watch for about half an hour until the Marines landed on Earth.
Then press the pause button and dad turns to me and says "go to bed ".
I walked with a sigh of relief.
The next day, when they were gone, I sneaked in and watched the whole thing half a time. Horrible coma!
The horror of the post-80 s is very big for me, especially monsters.
I was fascinated by aliens, predators, baskets, PumpkinHead.
But most of all, it started me wanting to learn more about how these things were made and got me interested in movies.
Brett Anstee: Well, I'm a "monster kid", meaning I grew up reading "the famous monster in the movie.
I am obsessed with any movie featuring monsters of any shape or size!
I love them-Globe horror movies in their 30 s and 40 s, Harry Housen movies, Jack Arnold and Bert I Gordon's atomic monsters in their 50 s.
Then, in my 70 s, I found the Hammer movie, and I vividly remember the opening scene of the absolute garbage that scared me from tasting Dracula's blood!
I 've never seen so many colors of blood before, Christopher Lee was nailed to the stake and the blood was dripping from his eyes, wow, it really impressed me.
Around this time, the "fangoria" suddenly appeared on the scene, and the slasher craze was in full swing, so it was difficult not to be attracted by all this.
So I'm going from wanting to be the next Harry Houson or Jim Danforth to wanting to be the next Rob boating, Rick Baker and [Tom]Savini.
So since then, my early Super 8 movie has shown not only stop-motion monsters, but also bloody FX-the best of both worlds!
I think the biggest impact on me is John Carpenter.
He always keeps the camera moving and feels nervous with his minimalist score.
I always notice me when I come back from my movie [give]
I am very concerned about music and I almost always push my camera to stead.
Stewart Simpson: I was and am mainly inspired by Japanese films aged 60 and 70.
The horror and "Pink violence" exploitation films from Toei Studios at the time were both technically and visually outrageous, experimental, bold and highly creative.
I am also a huge fan of the old 60 s classic by Alfred Hitchcock and Mario Bawa, and I am deeply affected [of the]
Early films by Brian de Palma and Dario Argento.
The writers who influenced me included Clive Barker, Edgar Allen Poe, H.
To name just a few, P Lovecraft, Chuck Palahniuk, George Orwell, Carlos Castaneda, and John Wyndham.
SBS: if the horror film reflects the social fear of any particular period, then the theme and problem of modern horror film exploration is a little trend, including the theme of terrorism, biological warfare, invasion of personal space with mass media and consumerism, and of course the good old revelation --via-climate change.
Brett Anstie: I don't want to sound like it's not in the loop, but maybe I watched all the wrong modern horror movies.
Since I did watch a remake, a sequel or an adaptation of 70 and 80 years of movies-there's nothing new about the way to explore contemporary themes.
I don't want to be seen as throwing stones in a glass house, because the curse at dawn is a step back to the 1960s and 1980s movie Hammer movies.
I made this story carefully [
To the Knight.
A father struggles for justice, so it's more personal than politics.
Greg Connors: For me, it's more about exploring social issues, which has always been science fiction.
However, with the amount of explicit graphic violence we're seeing right now, they call it "torture porn"-and I think that style is especially for people's fear of breaking the rules.
We are a more terrible society than in the past.
People don't have an open policy on their own house, people really don't trust each other, and I think it's playing with that fear to a large extent.
SBS: Did the profile and success of Wolf Creek change the landscape of Australian genre filmmakers? Does the exposure it offers change the funding or industry of horror as a genreSteve Kastrissios accept that Australian filmmakers who I think want to make type films are greatly inspired and encouraged, but the industry is still somewhat cautious, including the audience, because nothing has really shaken the scale since Wolf Creek.
Greg Connors: if there is a change in attitude towards funding agencies, I haven't seen it really filter to the point where the number of genre works has increased significantly.
It seems that, to a large extent, independent filmmakers are driving genre film production, whether government agencies support it or not.
The big change that needs to happen, both at the state and federal levels, is that agencies need to be aware that genre films are a very successful, relevant and viable art form.
When the customers of popular cinemas are 15 to 25 years old ,[
It needs to be realized that most of the films they fund will be ignored because they do not meet the needs of the core films --going audience.
Brett Anstie: I think if it weren't for the success of Wolf Creek, movies like the dying breed and the storm warning wouldn't be funded by the government, so yes, the horizontal diaphragm of the bee changed the landscape.
But it has not changed fundamentally.
No tsunami yet.
Scale support from the industry.
Stewart Simpson: I have never sought funding from any government agency due to lack [interest in]
Genre movies, why waste my time, I don't see this change at all.
Wolf Creek has just confirmed my understanding that the audience wants and likes genre movies.
SBS: What are the pros and cons of the new digital technology, for example, cheaper shooting and editing capabilities mean making more films, but what is the loss of the film?
As an art form, a high quality exhibition ends up hurting the horror: I don't think the technology will hurt the art form more than the person who made the work.
At the end of the day, if people have a good idea and a very intuitive eye to manipulate the audience, this filmmaker will continue to grow in the industry.
Stewart Simpson: It's definitely not going to hurt it.
Horror has always had a place in low-cost film production.
That is why I am currently working in this field.
Horror fans high on flashy-
If the film is ticked in other areas-original concepts, violence, sex, drugs, and rock and roll-end the drama of Hollywood blockbusters!
Greg Connors: I have to say that digital technology has only helped me achieve a higher quality of the overall production value and a significant reduction in production costs.
Brett Anstee: It's obvious that new technology makes everything a little bit easier to get close.
You don't need to shoot on 35mm anymore-show your numbers-
Almost everyone can make a movie and it looks great.
Having said that, you still need to understand the fundamentals of this technology.
Of course, if you want a good synthetic shot, block the sequence, not the lazy method of shakey hyper-
Cam cover up your shortcomings by shooting everything up close
As a result, ups eliminates the geography of any scenario!
Phew, growling & I'm off right now . . . . . . Steve casteros: Balance of pros and cons, because while you can now make and fund a movie with less money, there will be more competition as a result, as a result, the value of a film to publishers has dropped sharply.
SBS: where is the next step? The boundaries that horror filmmakers have yet to cross are the next logical steps --
Stewart Simpson: I believe it all lies in the pen and the script.
The best reason
The technological breakthrough in the film is a gimmick.
There is no limit to imagination.
I believe that if filmmakers continue to push themselves into new spins not only in terms of genre, but also in terms of storytelling, we can continue to inject vitality into the old techniques of entertainment and scaring people.
Brett Anstee: To be honest, I can't remember what the last reason is --
The horror movie was broken.
It may be seen that this may not be a terrible breakthrough, but with the advent of torture pornography, it is certainly influential.
But there is always a trend in terror.
I personally appreciate the upcoming release of torture porn.
Greg Connors: I 'd like to see this type stay away from graphic cutting and try to focus on how to keep people on top by using mood and style.
For me, the threat of action has always been more terrible than the action itself, which is what many horror movies currently lack.
Steve Kastrissios: If there's a new field, I won't share it until I shoot!
But I'm not interested in violence either.
My movie is violent because the story needs it, and I don't think it has the taste, nor is it gratuitous, at least in execution and direction.
The audience seems to fully understand this, which is great.
The terrorist Film Festival will open tonight and continue until April 23.
Check out the full program details on the festival website. e.