WOMAN OF THE WEEK: SARAH ELBERT

In celebration of "Hatchet Day," the release of Hatchet III, it was only fitting to crown producer/writer/director/actor, Sarah Elbert as the Woman of the Week.  The folks on the production end of films tend to fly under the radar, but Sarah Elbert deserves the utmost praise and promotion for her work.  Sarah Elbert played a major role in helping Adam Green and company bring life to Victor Crowley, and spark one of the most successful independent horror franchises in recent history.  In a recent interview with Dread Central, Will Barratt said of Elbert, "I think Sarah had the imagination there. When we shot the mock trailer, she saw no reason why this little movie wouldn't be a huge blockbuster hit. I think she believed in it even more than me or Adam! Adam and I were just happy to be shooting the trailer, with the hopes of someday shooting the feature." To put it simply, the Hatchet franchise may not be where it is today had it not been for Sarah Elbert.  Sarah Elbert has produced all three of the Hatchet films as well as Holliston, YouCube, and a series of shorts focusing on Charlotte's Web and stalking situations a la Misery.  Sarah Elbert is an incredible asset to the genre and an inspiration to women.

Sarah Elbert talking at Chicago Fear Fest

It feels a little sad that in 2013, I still have to draw attention to people simply for being women, but the fact that Sarah Elbert has not only successfully invaded the "boy's club" of horror as something other than an actress is a pretty huge deal.  Sarah Elbert didn't get to where she is because she's a woman, but because she's a damn good producer with a strong eye for the future success of projects.  I'll admit my ignorance in that it wasn't until Holliston that I realized who this incredible woman was.  For fans of the show, you may know her as "Sarah the waitress" (and she's also got a cameo in the first Hatchet as "vomiting girl") I thought her performance as "Sarah the waitress" was pretty hilarious (and I would punch a baby for that damn sailor dress) but after a little IMDB stalking, I found her impressive credits and was totally blown away.  If I could be so blunt, Sarah Elbert is who I want to be when I grow up.

For more information on Sarah Elbert visit:

SARAH ELBERT'S OFFICAL WEBSITE

http://www.sarahelbert.com/

or

SARAH ELBERT'S IMDB PAGE

http://www.imdb.com/name/nm1701437/

Watch a video of Sarah Elbert talking Hatchet below

DO HORROR MOVIES STILL HAVE TO BE FRIGHTENING?

AND THE PURGE GIVEAWAY WINNER IS...

Sam Rogers!

Sam's survival plan for The Purge?

Steal a big military truck, find a flamethrower, race around the city running over anybody trying to kill me, lead them all to the forest (with a minute or so to spare) and set the other side of the forest on fire as they all chase towards me, running aimlessly to their imminent fiery fall from power. Thank you.

Way to go, Sam! Here's hoping this never becomes a real thing and if so, I won't be running near fire. Your prize will arrive in the mail!

INCEPTION MEDIA GROUP PRESENTS: BATTLE EARTH, A HAUNTING AT SILVER FALLS, AND STRIPPED

The folks over at Inception Media Group released a grab-bag of geek genre goodness this past May, and I've finally gotten around to tackling the three films they've presented.  I eagerly awaited the sci-fi adventure Battle Earth, familiar looking ghost story, A Haunting at Silver Falls, and the promise of thrilling horror with Stripped.  Shortly after these DVDs arrived in my mailbox, a beautiful thing called "finals week during my last semester of college" reared its ugly head and these DVDs were pushed to the back burner in place of Adderall and Red Bull.  I have decided to review these films as a group, because they arrived together and were all watched in the same sitting.  My mood was greatly affected by the completion of each film, and some residual emotions trickled down into the next film.  Normally, I wouldn't condone this sort of behavior, but I highly doubt these films were going to have a vast improvement upon further views.

Battle Earth was the first on the chopping block.  I'll admit, looking at this cover got me a lot more excited than it should have.  One of my earliest memories of science-fiction movies was watching Independence Day at the drive-in with my mother. (I was born in 1990. Get off it.) The alien space ship on this cover immediately brought back some nostalgic feelings of my childhood.  I got sucked into the hype, and was immediately kicked out of it.  This movie was a bigger disappointment than the similarly named Battlefield Earth.  Wanna know why? There's no battle. Zilch. Nada. Nope. This film was nothing more than a couple of Canadian soldiers dicking around in a forest talking about shit. That's it. There's some weird "Holy crap, now we're running and the camera suddenly turns into Cloverfield" moments that does nothing more than muddy up the dialogue and give me a headache.  The CGI looks better in most SyFy made-for-TV movies, and the alien (yes, there is only ONE alien in the entire movie) looks like a bastard rip-off of a Cthulhu & District 9-esque Halloween costume.  I keep mentioning other films in this review, because Battle Earth is nothing more than a re-hashing of every sci-fi trope ever thrown in an invasion film.  Hell, I was waiting for Slim Whitman's "Indian Love Call," to play just to ensure EVERY alien invasion movie was ripped off at some point.  This movie may take the crown for the most misleading cover art in the history of cinema, and I would bet my college tuition loans that I'm not the only one completely duped by this cover art.  It should be punishable by law to have such a misleading cover for such a boring movie.  Honestly? This doesn't even deserve to call itself a movie, I've seen more intense fights on a playground and better camera work from my drunken relatives at family reunions.  I could have examined my belly button for an hour and whatever minutes and done more for cinema than this piece of garbage. Ultimately, this was an incredibly boring movie that I wouldn't even re-gift to someone as a White Elephant present.

Hoping to cleanse the palate left from the turd sandwich of Battle Earth, I turned to the ghost movie A Haunting at Silver Falls.  Apparently inspired by true events, (but aren't all ghost movies at this point?) A Haunting at Silver Falls feels like every single ghost story your older sister told you when you were a kid to give you nightmares.  Surprisingly, this movie wasn't nearly as bad as I had anticipated. Sure, the story is a bit simplistic and the scare factor is only appealing to a younger audience, but I actually might keep this one around as a gateway horror flick for the little ones in my life.  It really does feel like badly written creepypasta, but the film itself looks quite lovely and is pretty well cast.  The story follows a girl who has moved in with her sister after the death of their father, and finds herself being followed by the ghostly presence of a young girl (that screams like something out of a scary maze game.)  There's the typical 'scary twin' factor going on, but the acting is actually pretty solid.  Despite a laughably unoriginal storyline, the film was excellently crafted without ever relying on cheap camera techniques or shock factors.  I'd be really excited to see what the director, Brett Donowho, would do with a more original script.  The biggest pitfall the film has is its horrendously cheesy ending.  Oh my god. I've seen fanfics off junior high livejournal accounts with better endings than this film.  The film isn't altogether bad, but it's nowhere near strong enough to survive the ending.  It's a sad day when the final 20 minutes of a film can completely destroy the first 60, but the ending is just that bad.  I'm not sure I'd willingly ever recommend this film to any avid horror fanatics, but it definitely could serve a purpose reeling in some "safe scares" for horror newbies.

Did you ever think to yourself, "Gee, Hostel III was such a good film, I'd totally like to see an exact replica of it with 1/8th the budget and without the ability to focus on one camera style?"  If you answered "Yes" to the previous question, have I got a movie for you!  If someone with dissociative identity disorder decided to remake Hostel III, you'd get Stripped.  For a director that was recently nominated for the ASC's Best Cinematographer award, it's mind-blowing for a film to be so poorly executed.  All of the found-footage scenes feel thrown together as nothing more than filler, and it doesn't really add anything to the storyline itself.   It's a bit coincidental that the last time I did a "three-movies-in-one-sitting" marathon it ended with a bunch of bros in Vegas getting their innards played with like a preschooler discovering play-doh.  Actually, that's an unfair comparison because at least Hostel III gave us pay-off.  The characters in J.M.R. Luna's Stripped are so unlikable, I spent the 95% of the movie just waiting for them to die.  I bitch a lot about actors that seem to be nothing more than pretty faces that want attention, and this film's entire cast is nothing but that type.  It was painful to watch, not because of the subject matter, but because of how mind-numbingly annoying every single character was in this god forsaken movie.  Don't waste your money, don't waste your time, I can't believe I'm even saying this, but you'd be far more satisfied watching Hostel III.

THE PURGE IS COMING: GET PREPARED WITH A PRIZE PACK GIVEAWAY

We're just three short days away from the release of one of the most anticipated films of the year.  James DeMonaco's The Purge takes a terrifying look at a future America and seems to be a character study of just how horrific humanity can become if rules are allowed to be broken.  Appearing like the lovechild of The Strangers, Pleasantville,and Lord of the Flies, The Purge asks if you can survive the night.  The Purge recently launched an app that includes a quiz that can help determine whether or not you or your friends could survive the night, as well as allowing you access to all things Purge throughout different social media platforms.  As well as the launch of the app, Day of the Woman was selected to participate in a giveaway to help promote the new film! Click the image to the left to get a peek at the app and then download it to your mobile devices.



The winner of the giveaway will win an official t-shirt and a promotional mask.  So you've gotta be asking yourself, how do I enter and win these free swag?  It's simple, my darlings!

In order to enter, all you have to do is comment below with your survival strategy on a night where all crime is legal.  What would you do to survive?  Create a hypothetical plan and give me the gritty details on what you would do to prepare yourself for survival.  Be sure to include your e-mail address in the comment and if you are selected as the winner, I will e-mail you asking for your address.

For an additional entry, tweet on June 7th, 2013 with the hashtags #SurviveTheNight and #ThePurge along with mentioning my twitter handle @brittnahjade to nab yourself an extra chance. For example: "I entered a #ThePurge giveaway with @brittnahjade to #SurviveTheNight bit.ly/13jONM0"

You've only got a few days to enter, so get on it, and the government thanks you for your participation.

This giveaway is open to US residents only. 'Murica. Sorry.

VISCERA ANNOUNCES ITS 2013 FESTIVAL LINE UP

 In 2007, Shannon Lark created the Viscera Film Festival as a means to encourage the work of female horror filmmakers and give them a place to thrive.  Growing each year, they have now been established as a 501(c)3 non-profit organization.  What started out as a touring festival, Viscera is now an annual Los Angeles genre extravaganza complete with a "Bloody Carpet" ceremony.  This year  features an an incredible line up and the presentation of the "Inspiration Award" to filmmaker Jennifer Lynch, known for her works like Boxing Helena, Surveillance, Hisss, and Chained.  The Viscera Film Festival is one of the largest jumping off points for many female filmmakers in horror, and it continues to prove that yes, there are women horror directors making good films. 

Below is more information from the official press release.

VISCERA ANNOUNCES ITS 2013 FILM FESTIVAL LINE-UP

CO-PRESENTED BY AMERICAN CINEMATHEQUE

Filmmaker Jennifer Lynch to Receive 2013 Inspiration Award at Ceremony on July 13th

Los Angeles, CA – June 3rd, 2013 -- Today, the Viscera Organization announced the stellar line-up of 13 brand new short films that have been selected to screen on July 13, 2013 in a co-presentation with the American Cinematheque at the Egyptian Theatre (6712 Hollywood Boulevard) in Hollywood for this year's Viscera Film Festival. The festival’s gala celebration will spotlight emerging female horror directors from around the world, including the UK, Japan, Spain, Mexico, Canada, and the US and will serve as host to four world premieres and two Los Angeles premieres.

This year’s Viscera Film Festival line-up was carefully selected by an esteemed panel of industry judges who had the difficult task of selecting winners from the record-breaking number of entries for the 2013 festival and tour season, ultimately proving that innovative and dynamic short-form storytelling is still alive and well within the horror community.

"This year we had over 200 amazing entries,” says programmer Heidi Honeycutt. “It was mind-blowing. So many new filmmakers are taking a crack at horror and making some truly unique and amazing films. Unfortunately, we can only program about a dozen shorts, so we have to turn away a lot of great films. It's incredibly heartening to see so many new women making horror films and so much enthusiasm and dedication. The 2013 lineup is truly the best we have ever had and I can't wait to show our audiences what women are making these days. They are going to be shocked at how good these films are!"

This year’s panel of judges for the prestigious 2013 Viscera Film Festival includes Rachel Talalay (FREDDY’S DEAD: THE FINAL NIGHTMARE), Jeffrey Reddick (FINAL DESTINATION series), Amber Benson (“Buffy the Vampire Slayer”), Trent Haaga (CHEAP THRILLS), Anthony Masi (HIS NAME WAS JASON), Brea Grant (“Dexter”), Andrew van den Houten (Lucky McKee’s THE WOMAN), Elizabeth Stanley (TRAILERS FROM HELL), Anthony DiBlasi (DREAD), Shade Rupe (“Dark Stars Rising”), Jim VanBebber (THE MANSON FAMILY), Drew Daywalt (LEPRECHAUN’S REVENGE), Kier-La Janisse (“House of Psychotic Women”), Chris Alexander (BLOOD FOR IRINA), John Skipp (legendary splatterpunk author), David DeCoteau (SORORITY BABES IN THE SLIMEBALL BOWL-O-RAMA), Alan Spencer (SLEDGEHAMMER), Barbara Peeters (HUMANOIDS FROM THE DEEP), Jennifer Thym (Viscera Winner 2012, Best Cinematography for BLOODTRAFFICK) and Mae Catt (Viscera Winner 2011, Best Director  for 12-15-96).

Also serving as a judge this year is pioneering female filmmaker Jennifer Lynch (CHAINED, SURVEILLANCE) who will receive the 2013 Inspiration Award during the festival on July 13th.

Barbara Stepansky, the Viscera Organization’s newly named Chief Operations Officer says, "I'm thrilled to have joined the Viscera Organization as the new COO. I've been a part of the festival in the past as a filmmaker, and it’s an honor to now be a part of the organization as a key staff member. I’m really looking forward to the 2013 festival, we have a fantastic line-up and it’s really exciting to see how rapidly Viscera is expanding in its ways of supporting our genre fans and filmmakers alike.”

Those that attend Viscera Film Festival will experience films created by many of the most original and dynamic voices in independent filmmaking today as well as a star-studded carpet ceremony (www.facebook.com/events/553487211357304) and an after party (www.facebook.com/events/453050628119448) to be held directly following the festival at the legendary Hollywood hot spot and VFF sponsor, Cat & Fiddle (6530 W Sunset Blvd.). For those interested, they may return to the scene of the VFF after party for a special "recovery" brunch where fans and filmmakers alike are encouraged to come out, drink some coffee and work off those hangovers together at the Cat & Fiddle on Sunday at 11 am (www.facebook.com/events/181999185291813).

The Viscera Film Festival will also be kicking off an international tour for the selected short films as well as a handful of tour selections that aren’t screening at the premiere event. This past year, the Viscera Tour landed at over 20 venues around the world ranging from independent movie houses to universities, screening an eclectic program of shorts that have been curated by the Viscera Organization since 2007. The tour provides an outlet for up-and-coming female filmmakers around the world to have their work shown on the big screen and to industry professionals.

"This year's incredible line-up proves, yet again, that women are equal to men in every facet of storytelling, particularly in horror,” said Lori Bowen, Viscera’s Director of Operations. “It's so wonderful to see so many women at the helm, putting their stories up on the screen and sharing their unique visions with the rest of the world. I'm honored to be a small part of the Viscera Organization's hugely important mission to help get their voices heard."

The 2013 Viscera Film Festival Official Selections:

Anniversary Dinner - USA

Directed by Jessi Gotta

Synopsis: A survivor of the zombie apocalypse is about to discover that 'Til Death Do Us Part' was just the beginning.

Dead Crossing - LOS ANGELES PREMIERE - Canada/Mexico

Directed by Gigi Saul Guerrero

Synopsis: A Mexican family attempting to cross the border with a group of immigrants encounter a vicious and terrifying secret involving the way the United States deals with illegal immigration.

Eternal Springs - WORLD PREMIERE - USA

Directed by Kate Rhamey, Allison Rohm

Synopsis: Erma, a deranged old woman who thinks she's eleven years old, captures young women to be her dolls.

Halloween Bash - WORLD PREMIERE - USA

Directed by Jenn Wexler

Synopsis: A mean girl bent on playing tricks receives a mysterious Halloween treat.

In the Dark - USA

Directed by Helen Truong

Synopsis: As the only survivor of a psychological experiment that killed her fellow participants, a woman must find the courage to face a terrifying truth -- one that will finally set her free or trap her forever.

My Brother’s Keeper - UK

Directed by Jen Moss

Synopsis: Holed up at the end of the world with her well-meaning but dim-witted brother Jo (Alex Esmail), Jess (April Pearson) isn’t sure what will destroy her will to live first: the zombies or Jo’s incessant optimism.

No Place Like Home - WORLD PREMIERE - Japan

Directed by Nicholas Humphries

Produced by Mai Nakanishi, Christine DeJoy

Synopsis: What happens when Dorothy's desperate wish to go home faces a most unexpected turn where she finds herself in zombie apocalyptic Kansas?

Orange County Hill Killers - USA

Directed by Katie Downer

Synopsis: Storytelling and reality are blurred when four teenagers enter the infamous Blackstar Canyon.

Outbreak - LOS ANGELES PREMIERE - USA

Directed by Maddison Lopez

Synopsis: A toxic plant explosion releases a fume that does strange things to nearby high school students. Everyone's trying to get out alive.

Phantom Limb - WORLD PREMIERE - USA

Directed by Lark O. Arrowood

Synopsis: Jeffery has always suspected that something was wrong with his body. We find him in the eye of the storm, on the verge of collapse. He is disheveled and beginning to suspect that he has made a grave error.

Self-Portrait - Canada

Directed by Jovanka Vuckovic

Synopsis: In the process of taking off her make-up, a young woman reveals her true face.

Slumber Party - USA

Directed by Jenn Wexler

Synopsis: A dark wish becomes a nightmarish reality when best friends play a game of Bloody Mary.

The Meeting - US Premiere - Canada

Directed by Karen Lam

Synopsis: In a weekly meet-up, four serial killers confess their sins and hope for redemption. But all hell breaks loose when a newcomer pops in, and threatens to join the group...

**This film was made by a member of the Viscera Staff.**

Other films that will be joining the 2013 Viscera Tour include:

Estigma - Spain

Directed by Sara Ibáñez Mayor

Synopsis:  A girl commits murder in a bath, but the crime may not be over... still.

Fashion Victim - Canada

Directed by Caroline Trudel

Synopsis:  A woman awakens in her party dress & heels. The sounds of distress she hears make it clear she needs to find a way out fast. Will her attire impede her ability to escape? Will she be fashion’s latest victim?

Racist Zombies - USA

Directed by Jennifer Treuting

Synopsis: The only thing worse than zombies is racist zombies. A comedy short by The Charlies.

Shelter - USA

Directed Eve Edelson

Synopsis: A battered woman finds an unusual way out of a very unusual relationship in a night of cosmic justice in an animal shelter.

Tickets for the 2013 Viscera Film Festival can be purchased through the American Cinematheque's website at www.americancinemathequecalendar.com/egyptian_theatre_events and out-of-town attendees are encouraged to stay at The Redbury (1717 Vine Street), Hollywood’s premiere boutique hotel and official sponsor of this year’s festival (www.theredbury.com). The special rate, which is only available until June 14th, and accommodation information for attendees can be found at www.viscerafilmfestival.com/#!__carpet-ceremony/hotel.

This year's award ceremony is sponsored by Vincent Damyanovich of SoulFX Studio, www.soulfxstudio.com; the 2013 Viscera Film Festival poster was designed by Irene Langholm with photography by Joshua Hoffine.

The Viscera Film Festival is a co-presentation of the Viscera Organization and the American Cinematheque in Hollywood, California. Both organizations are 501(c)3 not-for-profits.

Official sponsors for the 2013 Viscera Film Festival include Cat & Fiddle, The Redbury, Diabolique Magazine, Final Draft, Fangoria Magazine, Western Digital, Evil Supply Company, Too Fast Brand Alternative Apparel, Mago's Magic Shoppe, The House of Mirthquake, Joshua Hoffine, Irene Langholm, The Homicidal Homemaker, Laughing Vixen Lounge, Deep Midnight Perfumes, Fangtastic Cards, The Art of Kamille Freske, Solocosmo: Art by Jessica Grundy, NikytaGaia Photography, The Shoggoth Assembly Special Effects, SoulFX Studio, Jungle Software, Sony Creative Suites, and The Poisoned Apple.

HORROR-MOVIES.CA DOESN'T LIST ANY WOMEN AS "10 NEW MASTERS OF HORROR," AND WHY YOU SHOULDN'T BITCH ABOUT IT.

Horror-Movies. recently sparked a controversy surrounding their "10 New Masters of Horror" list written by Herner Klenthur.  Sharpening a lens on horror film directors that have the potential to become the next Carpenter or Craven, Klenthur's top ten list featured Ti West, Xavier Gens, Adam Green, Steven C Miller, Alexandre Aja,  Eli Roth, Neil Marshall, James Wan, Pascal Laugier, and Rob Zombie.  In case you didn't notice, all of the people featured on this list are men.  It pains me to start a statement with this, but "as a woman in horror..." I have no problem with this list not including any women.  I pride myself in being a feminist horror fan, but it's important to realize that despite the ill-named term "feminism," the feminist movement is about encouraging equality of the sexes.  The entire point of feminism is to give women the opportunity play ball on the same playing field as men, or give them the choice not to.  Feminism is about choice, and equality between the sexes.  This post is not going to be some social justice vocabulary lesson, but it's important to realize that feminism is NOT anti-man.  If you think it is, you're wrong, and you should educate yourself.  MOVING ON.

Steven C Miller. Know him? You should.

It's also important to realize that lists are a matter of opinion and are in no way factual statements that we should live our lives around.  That being said, this is a damn good list and I don't have a problem with any of the directors presented on this list.  I'm about to turn a lot of people against me with this, but there are currently no female horror directors that were worthy of being presented on this list.  I'm sorry, but that's the honest to Lovecraft truth.  This list is to focus on the "10 New Masters of Horror" and there has not been a woman in recent memory that deserves a place on this list.  Are there women directing outstanding horror films? Absolutely.  Are there women who have made an impact as large or as influential as the men on this list? No. Going back to the rules of feminism, it's about equality of the genders.  Equality also means being held to the same standard.  Hannah Neurotica, the founder of Women in Horror Month called out the author for not including any women, to which he replied

"I did not intentionally ignore the women directors. Give me 3 that you think should be on this list and would be considered a master of horror based off their contributions to the genre over the last while."  

Hannah then went on to list off a multitude of female directors including Katt Shea, Mary Lambert, Rachel Talalay, Amy Holden Jones, Kathryn Bigelow, Jackie Kong, Roberta Findlay, Mary Harron, and of course, The Soska Sisters.  Another wonderful woman, Jennifer Cooper, suggested many of Hannah's suggestions, but added Brenda & Liz Fies, Jennifer Lynch, Barbara Stepansky, and Axelle Carolyn.

Mary Harron: She made American Psycho

Considering the fact Kathryn Bigelow, Roberta Findlay, Marry Harron, Mary Lambert, Rachel Talalay, Amy Holden Jones, Katt Shea, and Jackie Kong have been making films for more than 20 years (and with the exception of Shea are not predominately horror directors) even considering them to be "NEW" masters of horror is pointless.  Horror-Movies.ca even mentioned in the opening of their article that they were looking for NEW directors and because of that wasn't going to feature the John Carpenters or Wes Cravens of the world.  Going back to Hannah Neurotica's list of suggestions, the only ones that fall within the timeline of this list are the Soska Sisters.  Admittedly, Jennifer Cooper's suggestions fall moreso within the realm of what the list was intending to concentrate, but none of the women on her list of suggestions have nearly the same caliber or quality of influence in their films the way that the men featured on that list do.  I LOVE Liz Fies' film The Commune but to say it has the same sort of influence that Ti West's House of the Devil does, simply because "Holy shit! women in horror!" is insulting.  Don't get me wrong, The Commune is a fantastic film but did it re-ignite the genre's love for slow burn horror? No.

The only director(s) nominated by both Hannah and Jennifer that are even possibly close to making this list are The Twisted Twins, Jen and Sylvia Soska.  The Soska Sisters are undoubtedly one of the biggest noises in independent horror with their films Dead Hooker in a Trunk and the Katherine Isabelle (of Ginger Snaps fame) starring American Mary.  These two generate a ton of buzz for all of their film, but I'm not going to lie and say the fact they're attractive women has nothing to do with it.  The Soska Sisters make pretty enjoyable horror films, nothing monumental or ingenious, but enjoyable nonetheless.  However, if The Soska's are good at one thing, it's marketing.  The Soska Sisters have figured out how to market themselves and horror fans have been eating it up.  Female directors in horror don't get nearly as much attention as they should, and The Soskas have found the magical "oh wait, men like boobs" loophole and used it to their advantage. On one hand, I can't fault them. Honestly? They're just doing what they've been conditioned to do. This "system" tells women every day that if we want more attention or someone to take us seriously, we have to be smokin' hot and look like the girl all of the horror fanboys couldn't get in high school. The Soska Sisters are just executing everything that geek culture has told women we need to do in order to generate buzz and bring attention to their films. In that regard, if people are stupid enough to praise their films simply because they'd fantasize about them, The Soska Twins were smart enough to exploit it.  Before I get attacked with "that's just who they are and it's the system that sexualizes them," I'm aware. I know how it works.  I'm also a girl in geek culture.  We're all more than aware that we're either extradited or sexualized.  The Soska sisters aren't stupid, they know how to play the game and they play it well.  It goes back to the movies though. Does having buzz and attention equate to being a "Master of Horror?"  Hell no. The Soska Sisters are doing something wonderful for women in horror, but they've not perfected their craft to the same degree that the men on this list have done, and giving them special treatment because they're women is taking a step back for female equality in horror.

John Squires, the righteous dude behind Freddy in Space made a comment on his Facebook page about this ordeal saying 

"And the funny thing is that the two most well known female horror filmmakers, the Soska sisters, have gotten a lot more respect and love than they even deserve, based on the fact that they are attractive women. Nobody would've given two shits about that Dead Hooker turd if the filmmakers were two obese brothers. And that's the truth. I've got no problem with them parading around their sexuality to get fans and make a name for themselves, but I guarantee no females would be supporting them the way they do, if they were men. So who's really making this all about sex here?" 

Ti West: Master Pacer.

I've heard this criticism many, many times and on a personal note, I have a blogging troll (sorry for feeding him) that has told me numerous times that until I "look like a Soska, I have no right to talk about horror" and it's that mentality that supports the claim Johnny Squires is trying to make.  The fact that women cling so hard to The Soska Sisters shows us that we're settling with making our idols above average independent filmmakers instead of pushing for better.  I've seen my fair share of independent horror films and a hell of a lot of them are directed by women.  If I'm being honest, half of the time I don't look up who the director is until after it because gender doesn't equate talent.  If I like a movie, I like a movie, and it doesn't matter what's between the legs of whoever made it.  I refuse to make excuses and whine about inequality when I haven't seen a female directed horror film that has made as big of an impact of the men on this list. Does that make me a bad feminist? No, it makes me an honest feminist and an unbiased film critic.  I don't want female horror directors to be held to a different standard, I want them to be held to the exact same scrutiny as male directors.  If a female director makes a film that moves me like House of the Devil, or terrifies me like Haute Tension, or has the impeccable dialogue of Frozen, I'll bite my tongue.  Complaining about this list is bad for feminism.  If we really want equality, we need to be producing equal quality work.  I want women to make movies just as strong as men (which we are totally capable of) but at this point in time, there aren't any women that deserve to be on that list more than any of the men.  I will not take the deserving glory away from a man who has worked hard and created an incredible piece of art to make way for a woman who hasn't created something of the same caliber, simply because she's a woman.  Well, maybe Eli Roth, but that's for another day. Chick vision...give me a break.

PLAYING GOD AGAINST HER WILL: FRANKENSTEIN CREATED WOMAN

As part of the Peter Cushing blogathon currently running at the incredible Frankensteinia, Day of the Woman is remembering the centennial birthday of Peter Cushing by discussing his under-appreciated work in the fourth of the Hammer Frankenstein series, Frankenstein Created Woman.  It took me nearly three hours to finally settle on what I wanted to talk about in terms of one of the kings of classic horror.  It took every ounce of strength for me not to gush about his work as Doctor Who, but his fourth performance as Baron Frankenstein isn't discussed nearly as much as it should be.  More importantly, the anti-woman storyline within the film itself isn't given the attention it deserves.  Let me preface this by saying I love this film.  For those that can't seem to grasp the concept, it's possible to love a film but admit it is problematic and not without flaws.  I find this movie to be remarkable, but the subtle misogyny cannot be ignored.  (NOTE: The title was merely a publicity thing, and therefore, I will not hold it against them. It was the 60s, I get it.)

The story follows a girl named Christina (played by one of my favorites, Susan Denberg) who despite having a club foot and slight disfigurement, is loved very dearly by a man named Hans (Robert Morris).  Hans is wrongly convicted of murder and put to death by way of guillotine.  Much like Ophelia in Hamlet (see what I did there?) Christina decides that if she cannot have her love, she cannot have her life and jumps off of a bridge to her death.  Unlike the Universal Frankenstein that created life out of organs, Peter Cushing's Frankenstein manages to capture Hans' soul as a ball of light and transport it into Christina's body.  My guess is that he would have saved them both if he could, but Hans being headless would have complicated the whole ordeal.  Regardless, Christina is given a new lease on life, resurrected by the very soul of her beloved, and given a perfect exterior (complete with blonde bombshell locks) from Baron Frankenstein to replace her disabled food and facial disfigurement.  Right away, we're introduced to the first act of male dominance over the female character.  She is given life, yes, but it is against her wishes and her appearance is dramatically changed like something out of The Twilight Zone episode, "The Number 12 Looks Like You."  Controlled by the vengeful soul of her lover, Christina begins to kill those that wronged her lover, and like most of Frankenstein's creatures, ultimately meets her demise, again, self inflicted.  

For a film from 1967, seeing a woman use her sexuality as a weapon was incredibly progressive.  However, it gets a little complicated.  The fact Christina's body is inhabited by a both a female and a male soul, and is seducing men in order to destroy them, makes the interpretations a little murky.  This concept speaks volumes of on the male inability to truly 'see' women for what they really are due to their gaze on the female form.  Frankenstein gave this woman a new life through the soul of her lover, who then used her body as a weapon but kept his intentions for revenge in tact.  The woman, in every sense of the word, is completely manipulated by the men around her.  Christina chose to end her life, and Baron Frankenstein not only brought her back, but forced a male presence to reside within her.  Is this soul rape? The 60s had this major fascination with forcibly shoving male "things" into women.  Trade "soul" for "satan baby" and we've got the rough plot of Rosemary's Baby going on.  However, as Christina is mostly successful in enacting the revenge of her lover, ultimately, she cannot survive.  Torn between who she was and what she has become, Christina kills herself again by drowning.  Two bitter drownings in the name of love? Shakespeare would be so proud.

 What impressed me most about this film was Cushing's ability to play Frankenstein with an incredible amount of sincerity, despite this film being predominately focused on Christina.  There's no denying it, this story is not about Baron Frankenstein.  This story is about the tortured soul of this young girl running on the vengeance of her deceased lover and the confusion of regaining her own memories after resurrection.  However, I firmly stand by the belief that this is one of (if not thee) strongest performance of Peter Cushing as Baron Frankenstein.  There's an honesty brought to this character that I didn't see in the previous installments, and a genuine love has developed between Cushing and the character of Frankenstein.  Baron Frankenstein isn't a mad scientist, he's merely a man who has put science ahead of absolutely everything in his life.  That doesn't make him crazy, it makes him dedicated to the profession.  We don't consider soldiers crazy for being able to withstand great amounts of death and continuing on to fight for our country, but if a scientist seems unaffected by the death of two of his associates and continues on with his work...he's mad.  Possible soul rape aside, Peter Cushing discovered this passionate attribute of Baron Frankenstein and perfected it in Frankenstein Created Woman.    

HORROR HELPS VICTIMS OF BOSTON BOMBING WITH ADAM GREEN'S FUNDRAISER

It has been said numerous times before that the horror community is a fandom unlike any other.  Bonded together with a love of all things terrifying and gruesome, those same gorehounds are now joining together to give back to the victims of a real-life horror story.  On April 15th, the historic annual Boston Marathon was met with a bombing attack that took the lives of 3 individuals and injured 264 others.  The event sparked a national outcry and thousands of lives were forever changed.  Known for his films like Hatchet, Frozen, Spiral, Chillerama, and my personal favorite, his horror sit-com Holliston, Adam Green is spearheading "BOSTON STRONG," a fundraiser to help those affected by the Boston Bombing.  Adam Green isn't shy about his love for his hometown in Massachusetts, and his personal connection to Boston has inspired one of the most incredible acts of philanthropy the horror world has ever seen.  Through a silent auction, a film marathon, and a celebrity benefit, Green is putting his connections to good use and giving back to his beloved community.

Details for the events include:

1. “ "Holliston" Comes Home to Holliston”: Season Two advanced screening and Q&A with the cast:
Adam Green returns to his hometown of Holliston, MA to host an advanced screening of three episodes from “Holliston”’s upcoming second season, followed by a live Q&A with members of the cast, including Joe Lynch and Laura Ortiz.

Date: Tuesday, May 28, 2013
Time: 7 p.m. to 10 p.m.
Location: “Holliston” High School, 370 Hollis St., “Holliston”, MA 01746
Admission: $5

2. “Horror / Boston Strong” Party at The Palladium: Hosted by Adam Green
Join Adam Green (Hatchet I – III, Frozen, “Holliston”), Kane Hodder (Hatchet I – III, FRIDAYTHE 13TH VII – X), Zach Galligan (Hatchet III, GREMLINS 1 – 2) and more celebrity guests, for a one-of-a-kind party at the Worcester Palladium that includes a silent auction chock full of horror and music memorabilia, gift certificates, and other rare and amazing prizes.

In advance of the event, fans can bid on an online auction to win a private dinner with Adam Green before the party starts. More information about the auction can be found here.

Date: Wednesday, May 29, 2013
Time: Doors open at 7 p.m.
Location: The Palladium, 261 Main St., Worcester, MA 01608
Admission: $5

3. Hatchet movie marathon: Featuring the first ever screening of the highly-anticipated Hatchet III.
Join Hatchet franchise creator Adam Green for the first-ever Hatchet marathon, including a screening of a rare uncensored UK 35mm print of the original Hatchet, an uncensored 35mm print of Hatchet II, and the first ever screening ofthe highly anticipated, and also uncensored, Hatchet III. Special guests from the films will be in attendance.

Date: Thursday, May 30, 2013
Time: 7 p.m. to 1 a.m.
Location: The Revere Hotel, Theater One, 200 Stuart St., Boston, MA 02116
Admission: $25

Green and special guests will also be doing a free in-store signing for “Holliston” on Tuesday, May 28, 2013, from 4 p.m. to 6 p.m., at Fiske’s General Store, at 776 Washington St., in Holliston, MA.

Advanced tickets for all three events go on sale on Friday, May 10, 2013, and can be purchased here.

Tickets will also be available at the door the day of each event. For more information regarding ticket sales, please call ThePalladium box office at 508-797-9696. All proceeds will go towards The One Fund Boston.

Events are hosted by Rock and Shock and Wicked Bird Media, and are sponsored by Green Van. 

If you are not in the Boston area and would still like to contribute (and perhaps, cannot afford Oderus Urungus' mask) Adam Green has asked people to purchase tickets to the "Boston Strong Party" as The Pallidium can host thousands, meaning your ticket purchase wouldn't be stealing a seat from someone who could attend the other events.

I know I've been mentioning Adam Green/Joe Lynch/Holliston a lot on Day of the Woman recently, and I initially was unsure of whether or not to post this article for that reason.  However, what Adam Green is doing is a remarkable act of philanthropy.  You don't have to like the guy as a Director/Screenwriter/Actor/Producer/Whatever, but I will be damned if he is not given the respect he deserves for organizing this event.  This is the mark of a truly inspiring person, and I cannot wait to see the numbers pulling in for this event.

For more information, go to:
www.ariescope.com

WHO KNEW I WAS LIVING IN A HORROR MOVIE HOUSE?

It's my last night in my house at my university, and my roommate and I decided to explore the basement and the attic, two rooms we've never explored. Turns out, my attic is the room from V/H/S/ and my basement looks like the room from THE BLAIR WITCH PROJECT.

  Not to mention, after opening these doors for the first time, we experienced a door slam on its own followed by a high pitched yelp and a gust of wind throughout the entire 3 story house. 

Excuse me while I go put my head in the oven.

THE RESURRECTIONIST: THE LOST WORK OF DR. SPENCER BLACK

Philadelphia, the late 1870s. A city of gas lamps, cobblestone streets, and horse-drawn carriages—and home to the controversial surgeon Dr. Spencer Black. The son of a grave robber, young Dr. Black studies at Philadelphia’s esteemed Academy of Medicine, where he develops an unconventional hypothesis: What if the world’s most celebrated mythological beasts—mermaids, minotaurs, and satyrs—were in fact the evolutionary ancestors of humankind?

The Resurrectionist offers two extraordinary books in one. The first is a fictional biography of Dr. Spencer Black, from a childhood spent exhuming corpses through his medical training, his travels with carnivals, and the mysterious disappearance at the end of his life. The second book is Black’s magnum opus: The Codex Extinct Animalia, a Gray’s Anatomy for mythological beasts—dragons, centaurs, Pegasus, Cerberus—all rendered in meticulously detailed anatomical illustrations. You need only look at these images to realize they are the work of a madman. The Resurrectionist tells his story.

In E. B. Hudspeth's freshman work,  The Resurrectionist: The Lost Work of Dr. Spencer Black, he has created a creepy book suitable for any lover of horror and mythology.  Not for the weak stomached, Hudspeth's book is somewhat of a biography on the fictional Dr. Black, explaining his love for mythical creatures and his belief that modern day humans are descendents from these creatures.  As the pages turn, readers are given a look into Dr. Black's descent from scientific obsession into stark-raving madness.  Through both illustrations and description, Hudspeth showcases an incredible grasp of imagery, generating images that at moments were difficult to stomach.  Hudspeth divulges into graphic detail of Dr. Spencer Black's experiments, with a particularly unsettling description of vivisection.  Picture Re-Animator meets Edgar Allan Poe by way of Gray's Anatomy.  

Paying careful attention to detail, The Resurrectionist appears to be historically accurate with both medical practices and societal attitudes.  Stir all of this in with a dash of mystical creatures, and a sprinkle of disturbing descriptions and you've got an idea of what Hudspeth has created.  The book seems to have been compiled from someone who has come across the research of Dr. Black, giving an unbiased look into the mind of this manic doctor.  The Resurrectionist feels like two books in one, with the first half being far more disgusting than the second.  If you can manage to survive the first half of the book, it will be smooth sailing for the rest of the read.

You can pick up your own copy at bookstores or on Amazon.com

FEMALE DIRECTORS: DANIELLE HARRIS AND 'AMONG FRIENDS'

Unless you've been living under a proverbial rock for the last thirty years, chances are you're more than familiar with the body of work of Danielle Harris.  Arguably, one of the only genuinely working Scream Queens of the new millennium, Danielle Harris developed her horror fan following playing Michael Myers' niece Jamie Lloyd in Halloween 4 & 5.  Breaking the curse of child stardom, Danielle Harris has managed to maintain a relatively strong career, with the horror community being the kindest. (Note: She introduced me to the phrase "butt-crack of dawn" in Don't Tell Mom The Babysitter's Dead).  After a powerhouse career as a horror actress, Danielle Harris is going to be stepping on the other side of the camera with her directorial debut, Among Friends. According to its official press release, “Among Friends is a horror comedy about a dinner party gone wrong. Set against an 80′s backdrop, good times take a dark turn when one in the group hijacks the evening in the name of integrity. Through an attempt to help the others come clean about secret betrayals against one another, it’s revealed who’s willing to cut through the bone to expose the truth.” The film was recently picked up by Lionsgate Home Entertainment through Grindstone Entertainment.  

On the second episode of Adam Green and Joe Lynch's brand-new podcast, "The Movie Crypt," Danielle was their first guest star and stopped by to discuss the mystery of the silver-tipped boot man in Halloween 5, her weird relationship with fish, and her recent jump into the director's chair.  Unless you're new here, female driven/directed/centered horror is my bag of tricks, so every fiber of my being is shaking with anticipation for this film.  Weirdly enough, even with Danielle Fucking Harris in the director's chair, this film wasn't smooth sailing.  Don't get me wrong, Danielle Harris is one of the most respected women in horror, but even she had some bullsh to deal with in order to get her movie made. 

While she spoke highly of the actors cast in the film that were her friends, she discussed a major struggle with some of the actors having issues with her directorial vision and taking her seriously as the person in power.  Luckily, she was working with Alyssa Lobit who acted as the lead actress as well as the writer, but having a solid support system doesn't equate to people taking you seriously as a female director.  "It's not about men directors and women directors, it's about good directors and bad directors."  This statement may be one of the most genuine things ever uttered, and something that we as women don't ever talk about.  Here's the thing, is it more difficult for female directors to even get to the point where they are able to make a horror film? Yes. I won't deny that.  I may be sacrificing my female horror card by saying this, but having a vagina and making a genre film doesn't give you an automatic pass into festivals or immediately earn you the same respect and credibility of male directors.  On that same note, male directors aren't given a free pass to making "better" films than women solely because they're men.  To put it simply, your work speaks before your gender ever will.

I'm just so sick and tired of being told that as a female horror aficionado, I'm supposed to give a pass to female directors simply because they're female.  That is ridiculous and the exact opposite of what we as women are trying to achieve.  Adam Green discussed the topic by saying, "You have to make your own chances, whatever that is."  You know what? He's right.  The whole point of feminism is to establish equality between the sexes, meaning, we cannot hold women to a different standard than men.  

It's important to note that there is a huge difference between criticism and awareness.  Women are wholeheartedly underrepresented in the genre, which is why things like Women in Horror Recognition Month and the Viscera Film Festival are absolutely vital to the progress for women in horror.  Until women are given the same treatment as far as releasing their works, (which is more about money and less about talent) these programs are important.  However, when it comes to criticism, there are many that want critics to "cut women slack" as far as reviewing their work, and that is not okay.  When women strive to be treated differently, they're destroying the very fundamental desire of feminism and further pushing the divide between the sexes.  I really encourage more female filmmakers to go the route of Danielle Harris and not make any qualms about the reception/creation of her films.  If we want to be taken seriously, we need to start acting serious.  Strive not to make a solid "female directed horror film," make a solid horror film.

SEE THE TRAILER FOR AMONG FRIENDS BELOW

THE MAN BEHIND THE LENS: AN INTERVIEW WITH ADAM BARNICK

Most horror fans know Adam "I told you no fahkin' cats in the house" Barnick through his featurette work on Paul Solet's Grace and Adam Green's Frozen, but the work of Adam Barnick is far more extensive and captivating than some documentary extra features. Don't get me wrong, his documentary extras were fantastic, even helping Grace to nab the "Best Indie Disc" award at the 2010 Reaper Awards, but Adam Barnick deserves far more praise for his work, keen eye for storytelling, and exceptional craftsmanship.

Adam Barnick is a film director/editor and writer living in the New York City area. His most recent short film, Mainstream, has played severeal international festivals and was included in the distribution for the Fangoria Blood Drive II: America's Best Short Horror Films DVD. His company, Wicked Tree Films, has collaborated with Mind's Eye International, Anchor Bay Entertainment, Leomax Picture, Starz Home Entertainment, ArieScope Pictures, Crimson Films, Fortuneteller Films, and A Bigger Boat. Barnick recently directed his first 35mm music video, "Say You'll Stay" for the singer/songwriter John Presnell. The video won the Director's Showreel Award in Lornography's Dramatic Competition for videos shot with their unique cameras. Following the success of Say You'll Stay, Barnick cranked out two back to back music videos for the band Rivulets. The horror-themed period piece "How, Who" was featured on horror websites within days of its release. Outside of filmmaking, Barnick has contributed articles, reviews, and interviews for Entertainment Insiders, Icons of Fright, and Massive Hysteria. He is currently in postproduciton on his first feature-length documentary, What is Scary, and more information will be announced later this year. With the exposition out of the way, I was lucky enough to get in touch with Adam Barnick for an exclusive interview.

BJ-C: Thank you so much for agreeing to interview with me, I really do appreciate it. To start the ball rolling, I have to ask, how in the hell did you end up doing those amazing documentaries for Adam Green and Paul Solet? 

AB: While I did do a very basic featurette about an art studio in film school, I didn’t study documentary making formally; I always had an interest in doing one aside from my narrative work but I hadn’t pursued any. 

On the set of Frozen

The offer to do something in that area was out of left field- my short horror film, MAINSTREAM, was picked up a few years ago by Fangoria/Koch Vision to be part of their "Blood Drive II: America's Best Short Horror Films" DVD. Online shorts weren't that prolific yet, so this was a huge deal to get that kind of "DVD in every store" exposure! Paul Solet (co-director of MEANS TO AN END which is on the same disc), and I hit it off; he shared some scripts with me and we were both monsters in terms of the work we did to promote our own work. Anyway I read early drafts of his feature, GRACE, and when he revealed he was going to do a big-budget short film to gain attention for a feature, he asked if I'd work on it. I think at random he asked for me to do a behind the scenes documentary. I figured I could come up with something interesting and cinematic, and I'd had enough journalism training and time spent on film sets to be able to thoroughly interview cast and crew members. And as a film/DVD geek, I knew the type of Bonus Content I wanted to see, which rarely matched the content on any discs. 

 It was primitive at the time, but the two docs (a short EPK and a larger, 30 minute doc) I did for him helped open almost as many doors as the short did! And indirectly, through my random attendance of HATCHET's world premiere at the Tribeca Film Festival, they helped get the ball rolling where Adam Green eventually saw the short film, and its making-of, and that was one of several parts that ended up in a "right place right time" situation where Paul eventually got the feature made, under ArieScope's production/supervision. 

On the set of Grace with Paul Solet

It took a lot of arm-twisting(union issues and a limit on Americans who could work on it) to get me up to Canada to work on the feature-length film, but I was determined to do a 'film school in a box' of featurettes for GRACE. They needed to be as layered and thoughtful and emotionally engaging as the movie itself was. Out of six docs on the blu-ray, five are mine(Jake Hamilton did the fantastic Sundance-based documentary). And even though I was working on outdated equipment, anything we had handy, they still hold up. You really see what it took to make the film and it's never just complimentary talking heads. 

Adam Green saw the first cuts of the featurettes and asked if I could get him copies ASAP to bring to the FROZEN producers; and I ended up spending 1/3 of that shoot on a mountaintop, in blizzards, with wild animals, amazing stunts, you name it. So many awesome memories there. Loved every minute despite the snow, thin air above sea level, etc. I was even able to splice in flashbacks to the set of Grace! People get really absorbed into those documentaries; they get people thinking, they laugh, some people get teary-eyed at the end of the production documentary. People still write me about them, and FROZEN became Anchor Bay's best selling original DVD and Blu-Ray. 

BJ-C: Making these documentaries, you were able to work firsthand with Green and Solet, and the internet has been blessed with Boston dialect videos in the process.  Hopefully not a loaded question, but are Adam Green and Paul Solet as cool as they seem? 

AB: Wicked cool. Two of the most standup guys I have been fortunate to meet and work with in the film business. They were, and are, both great to work with and learn from. Very grateful for the opportunities I got through them. I’ll always be excited to see what they’ll do next; and I secretly hope for a shout-out in Holliston Season 2 like I got in the Jack Chop video, when “Nicolo” shows up.

Barnick shooting "Say You'll Stay"

BJ-C: Most recently, you've been putting out some really incredible music videos.  How you choose the bands you shoot. Simply, do bands find you or do you find them? 

AB: So far, in the ones I have directed, it's a mix; though I have known John Presnell for a long time, he had approached me about several music videos and we were brainstorming various treatments for songs at various budgets. "Say You'll Stay" was the most unique and yet affordable idea in its presentation, even though we shot 35mm film! As for Rivulets/Nathan Amundson, those two videos were entirely my idea(to make them, not just the concepts) from the start. I went directly to the musician, who I was a huge fan of, and pitched him. I felt we would have similar sensibilities, and I was right. Nathan's music has been a huge part of my life for many years and I wanted to return the favor, in a way.

BJ-C: You've done a wide variety of shooting styles, how is directing music different than movies?

Shooting on "Rivulets"

AB: I guess it depends on the approach; storytelling is storytelling, but ultimately you are in service of the musicians and how they come across, first and foremost. My video “I Don’t Want to be Found” for Rivulets isn’t story-driven, it only hints at one and comes across more like a moving painting/impressions through images- but is a low-key yet appropriate showcase for Nathan’s style. But “How, Who” is equally showcasing his performing and his role within the video’s story. Editing is where it gets really interesting in music videos, striking the balance between showcasing the performer and serving the story (assuming there is one) is a complicated dance I’m excited to keep working at. 

BJ-C: Do you have a specific genre of music do you like to "direct"? 

AB: I don't know if I have a set favorite- I'm itching to work with some metal bands, do a hip hop video… though I do tend to like the darker, quieter, ambient styled-music. "How, Who" is a blend of my favorite types of images. Winter; isolation; minimalism; barren sinister trees, deliberate, long takes.. I have no one set "style", I’ll adapt for any performer and cater to how they need to be presented, through my sensibilities. But anyone who knows me or my favorite work or my photography etc. can tell how "me" that video is. 

Barnick with Grace cast/crew

BJ-C: If not music genres, what kind of movies do you like to direct? 

AB: While I love horror, it’s probably only 50% of me. Drama, sci-fi, thrillers, comedy; I am after all of them. I do tend to favor ideas and stories that are atmospheric and layered and give you something to chew on mentally with your entertainment but I’ve got straightforward, simpler stories in me as well. 

BJ-C: You've been really busy lately, can you drop any info on current/future projects?

AB: There's a few things in the works I don't want to get into until they're full-on happening, but good things are brewing. But right now, I’m fleshing out two screenplays, one is the feature-length adaptation of my short film MAINSTREAM and the other is a thriller set in the UK. I’m also kicking postproduction on my experimental documentary WHAT IS SCARY? back into gear this Summer. That project had to be pushed off to the side for some time, but now I will be actively steering it towards its completion. 

BJ-C: I'll make this one simple, lifetime goal with directing? 

AB: Other than to be doing it continuously? I guess I would say I want to build worlds, environments and characters that stay with you and affect you in the best and worst of ways. 

BJ-C: Alright, last question. I'll try to make it fun. Gun to your head, if you were forced to remake any film, what would you remake and what would you do with it? 

AB: Oh wow. That might take me a long time to come up with an idea of something I think needs to be revisited. But I do have one I'd pick which could function as a remake but would actually be a sequel, to John Carpenter's THEY LIVE. The core ideas are even more relevant now, I think, then in the 80's. 

WE SLEEP would take place today. 

Still from "How, Who"

I always wondered about one plot element in the original film; the entire alien scheme/force field is generated by an unprotected, small radar dish, just one, on an LA rooftop where it can get damaged/destroyed by lightning or even wind! Really? There would have to be a backup plan the characters didn’t know about. 

In WE SLEEP, we'd see that the "unveiling" in the end of the original film only lasted 9 minutes before their other network of radio signals/other radar dishes around the world kicked in as a failsafe/backup. 

Nobody really remembers, understands or cares about the 'reveal' 25 years ago, and for anyone who did, it'd be dismissed as hallucination or mass hysteria. And we go right back to sleep for a few decades; until today, where everyone is even more greedy and insane, and we're worshipping fame and plastic, the poor are poorer and the corporations control it all, down to the rights to our genetic lines; and we spend all day staring into our phones when we should be talking to each other. And the environmental damage/conversion of our atmosphere is nearly complete. 

And then an angry young man buys some dusty old sunglasses in a pawn shop.

I have the rest mapped out because I sit and think too much. But how do you wake up people who love being asleep? What is the signal that used to be controlled by TV, keeping the human illusion in place, is now in the Wi-Fi? Can we give that up in order to be free? 

BJ-C: Shut up and take my money.

Still from "I Don't Want To Be Found"

For more information, check out Adam Barnick's website.
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and follow him on twitter @AdamBarnick