HYB: HUSH began life as a short story. What is it about this concept that has you continuing to explore it?
AJF: Well it wasn’t so much that I wanted to tell the story in film format originally. The short story was published and was read by a few college students. They came to me and wanted to do a short film version of the story. I told them if they bring me a good script version of it then I will let them do it. After a few attempts I wasn’t too happy with the results. So I decided to write it and it turned into a full length script.
HYB: How did the shoot go? Any interesting or weird stories?
AJF: The shoot went pretty well. Overall. We had some strange things happen right before we actually started shooting. It would seem like there was a dark cloud over this production. First we had received a letter from the city engineers office stating we could not shoot where we intended to. Although we had gotten permission from the mayor’s office, he then decided to back out of letting us do the project in our hometown. Then the school system two days before the shoot also told us the same thing. But my crew refused to go down and that made me realize I can’t fail. Brandon, my producer, on a last minute whim went to schools and townships and got us everything we needed for locations outside of where we wanted to shoot. I think it worked out even better in the end.
HYB: What did you hope to achieve visually and dramatically? Describe the film’s look and feel.
AJF: I actually was going for an old school feel in the sense of not being flashy. I’m a big fan of old italian cinema, such as Fellini, Antonioni, Leone,and then there is Hitchcock, etc. It really had a strong influence on me and the vision I had for Hush. With what we had I think we were succesful in bringing that look and feel to it.
HYB: When did you decide you wanted to direct films? What made you choose directing?
AJF: I first directed my first film when I was in 10th grade. It was a martial arts comedy. I guess I always wanted to direct since I was young. I mean my mother took me to see Creepshow when I was 4. And what freaked me out about it was the segment with Ted Danson and Leslie Nielsen. Just how it was shot mostly. And the actors and the intensity. It was all very artistic visually for me. Then I just loved watching movies. And seeing the different styles and what was effective and what wasn’t. I just hope what I feel was effective for me works for the public. Or it’s me going back to a 9 to 5 job.
HYB: You wrote two different endings for the script. Did you shoot both, and will the alternate be included in the DVD release?
AJF: Unfortunately I was unable to shoot the alternate ending. Due to time constraints I decided against it. But we might see it again in the future. In another format possibly. Maybe animated.
HYB: How was the casting process?
AJF: We had a great casting director in Mike Lemon. He casted Annapolis. He has had tons of experience casting and I knew what he was going to bring to the project and getting me the right people. We had over two hundred people come to the auditions. It wasn’t easy with so much talent but we narrowed it down to a great cast.
HYB: What are some of your favorite horror movies?
AJF: Creepshow(of course), Phantasm,Evil Dead 1 and 2, Fright Night, Night of the Living Dead, Audition, Ringu, Ju-On: The Grudge, Martin, and the list can go on but these have the most meaning to me.
HYB: How about non-horror?
AJF: Hard Boiled, The Killer, Breaking News, The Godfather, Running Out of Time, Fulltime Killer, Scarface, Narc, and RAD.
HYB: How much of the red stuff can gorehounds expect?
AJF: Hm. We went through 30 gallons of blood. But it’s no where as bloody as it could have been. I figured I’d focus on story and leave the blood and gore for my next film. But I’m sure it will be enough to shock the gorehounds. And we even have a Bruce Campbell moment in the film.
HY: Who handled FX?
AJF: Production Magic, Inc. handled a majority of the FX in the movie. Production Magic, Inc. is the brain child of Gigi Bannister and Reggie Bannister. They did such an amazing job. And to see more of their stuff I suggest renting or picking up Jeff Burton’s Acts of Death. They did the effects on that film as well. Up and coming FX artist John Tatarelli Jr. also provided his skills to the project with some of the wife beating make-up and blood effects, and Make-up Artist Alicia Lucia handled the apparition stuff in the absence of everyone else. Everyone did a great job in what they did. And I will be working closely with everyone on the next projects.
HYB: How does your family feel about your choice of career and genre?
AJF: Well the only support I’ve ever had was from my mother. She loved movies and was happy to see that I shared the same passion. She’s glad that my first film is one that has some blood and guts in it.
HY: Sounds like a special lady. Is distribution in place? If so, when will it hit the market?
AJF: We have had some looks from some distributors but can’t disclose anything more than that at this time.
HYB: What’s your take on the current trend toward re-makes?
AJF: I’d rather people research the movies that weren’t good and remake those instead of “butchering” some of the greatest movies ever made. Those movies that don’t need the remakes are timeless as it is but I guess everything is about owning the rights and selling out. At least Rob Zombie tried something a little different with his “reimagining”. And if it wouldn’t have been him then who knows what we would have gotten.
HYB: Give us a little hint about your upcoming mobster opus SKELETON CREW
AJF: SKELETONS (no longer called “Skeleton Crew” for legal reasons) follows a group of government assassins sent in to neutralize a gangster with politcal aspirations. The project is loosely based on Alexander Dumas’ Three Musketeers. It’s a gonna be a bloody, action-packed, and sick epic.
Read more from Patrick Green in The Dark Arts
