Directed by Dan Berk & Bobby Olsen
Starring Connor Paolo, Nick Damici,
Steven Williams and A.C. Peterson.
“Damici wrote a really stellar sequel… he also opened up Stake Land into a
potential horror franchise which I didn’t know I needed, but now I do.”
– Fox Force Five
“the perfect sequel, the perfect continuation of the story…
the vampiric sequel we’ve all been dying for.”
– Horror Society
Now streaming on
Amazon Prime Video
Directed by Larry Fessenden.
Starring Patricia Clarkson, Jake Weber, John Speredakos and Eric Per Sullivan.
“…one of the best indie features in years..”
“…creates tension and fear out of thin air…”
– Roger Ebert Chicago Sun Times
“A filmmaker with an uncanny gift for the creation of unsettling moods…
Fessenden manages to use snow, light and wind to create a potent, chilling dreamscape.”
– L.A. Times
Adaptation of the screenplay for Larry Fessenden’s WENDIGO. Working in tandem with Fessenden, illustrator Brahm Revel worked with the film’s location stills and design concepts and his illustrations served as a blueprint for the film’s shoot.
The Woodstock Film Festival is sharing animated films by our alum filmmakers for you to stream from the comfort of your home.
Q&A with Beck Underwood, the director and animator for “An Exquisite Task”, which screened at the festival in 2017.
Synopsis: Set in an old barn slated for teardown, a vintage doll, a mysterious barn spirit and some mischievous farm critters, come together in this stopmotion short about motherhood, creativity and letting go.
For more animation recommendations during the quarantine,
subscribe to the Woodstock Film Festival newsletter at woodstockfilmfestival.org
Glenn McQuaid and Larry Fessenden Speak about McQuaid’s TALE “Speaking In Tongues”, written by McQuaid and regular collaborator April Snellings, performed live in Montreal in 2017 and now available at TALES FROM BEYOND THE PALE The Podcast.
LF: SIT is one of the more literary TALES. It feels like a gothic short story. What were the inspirations? And how was the collaboration with April?
GMcQ: I am obsessed with demonology, and in particular demonology that moves past dogma, that moves past any concern with the idea of heaven and hell. To me demons are vastly more intriguing when they’re adhering to rules that we, as mere mortals, simply don’t comprehend. Also, I like the idea that these kinds of worlds are intertwined with the working class. The early works of Clive Barker are an inspiration, The Damnation Game and a lot of the Books of Blood brought dark fantasy to a blue collar world and, that being the world I’m from, always sparked my imagination. That pathways can open up to kids growing up in council estates, or to jaded workers in dole offices, or cruisers looking for a ride in public toilets- to bring a fantastic majesty to the humble, salt-of-the-earth corners of the world excites me. And so I tapped into the idea of someone who finds themself caught up with a demon through their line of work.
I love working with April Snellings, she’s one hell of a writer, very sharp and intuitive and her imagination is as dark as my own. I’m always bugging her with my ideas and hoping she has the time to jump onto something with me. I think we complement each other nicely and she’s a much better writer than me so she definitely ups my game.
LF: The dual language is so interesting listening again, just wonderfully rich. Was it strange directing the French-speaking actors
GMcQ: The idea to include French language in the piece came from Stephanie Trepanier, I mentioned that we were going to be in Montreal doing Tales, this was before I had settled on an idea, and Stephanie suggested that the audience up there would really appreciate hearing some local tongue. I knew I didn’t want to do a completely French piece so the idea of an interpreter popped into my head and the ideas started to flow from there. I tend to use Tales as a means to experiment, and this was something we had never done before, playing with language in this way.
The actors were all bilingual, so directing them was not so strange. Kaila Heir, Mitch Davis and Ted Geoghegan were all incredibly helpful in getting me the support I needed to pull off the piece up in Montreal. Kaila introduced me to Virginie Lamoureux who translated my words to French, and it was a real thrill to hear my work in French.
LF: Perhaps you could describe the wacky experience putting on this show. One of three Tales, mad Rain outside, musicians, loud bar, and Doug Buck and Tony Todd! Truly epic… Maybe the craziest live Tales ever, yes?
GMcQ: I think it may have been the craziest show we’ve ever done, yes. Even the run up to it was interesting to say the least. I remember thinking it wasn’t going to happen at one stage but it all came together on the night as they say. I think I was a little moody trying to organize all three Tales the day of the event. I remember Jenn Wexler beaming about the experience of being in Montreal with all the creativity that was going on around Fantasia, and just needing to check myself, take a deep breath, roll up my sleeves, roll with the punches and enjoy myself.
As well as the ambition of my own piece, Doug Buck’s Hidden Records was a huge undertaking and I was primarily responsible for all of his sound design and effects which needed to play in tandem with a lot of live musicians. That was first up, then came my piece and finally there was Barricade, which, to your credit, let go of a lot of the more formal structure we tap into and felt more like a punk show. I really enjoyed letting go and making some noise with everyone, it was very cathartic after all the stress. I got so wrapped up in the production of the night that I completely forgot I was to read the end credits and to my shame I couldn’t pronounce many of the names, it was not my finest hour but thankfully the audience were very kind about it, looking back, that’s my one regret about the night but all in all I am very proud of the night and think we put on a very diverse and sexy show.
LF: You’ve suggested this character I played connects in some way to the Demon in Reappraisal. Could you explain…?
I feel they’re both of the same world though I’m not sure yet if they’re the same demon, perhaps they used to be and somehow splinted off from one another. Sometimes I find myself intrigued with the greater world of something I wrote and in that respect SIT paved the way for Reappraisal and some other writings.
LF: The ending has that strange McQuaid whimsey, after all the listener has been through. Any thoughts on how it came about?
I find the end of Speaking in Tongues to be really moving. I tear up at Wayland’s joy at the simplicity of his plan, his triumphant call-to-arms that we simply “carry on” is really profound to me. As mentioned, I think I was pretty run-down in the run up to the show so the idea of the “show must go on” sort of infiltrated the writing, and we were both writing up to the curtain call! I remember talking to you during rehearsals and saying I really wanted the audience to think that you were having an uncontrollable fit of the giggles up there, that you, Larry Fessenden, were corpsing, because if the audience felt that from you they might join in on the laughter, and I have to say that you really nailed it, it’s an authentic and infectious performance. What could have been a dumb joke ending became transcendent, I was, and am still, so proud of this production and how it played.
photos: arriving at the border • Packed to the Gils • McQuaid’s crib notes • live fan art of Fessenden’s character
Episode #25 SPEAKING IN TONGUES
One night in Montreal, an ageless man hires a young female translator
to help settle mysterious debts with an array of desperate characters.
Directed by Glenn McQuaid, Writers Glenn McQuaid, April Snellings
Featuring: Larry Fessenden, Tessa J. Brown, Alex Goodrich, George Mougias, Izzy Lee
Performed live July 27, 2015 • poster by Trevor Denham
Testimonials from Barbara Crampton, Richard Stanley, Rodney Ascher,
Jim Hemphill, Brian Trenchard-Smith, Charles Band, Joe Dante,
Darren Lynn Bousman and Fessenden.
Glenn McQuaid and the late, great Stuart Gordon in the studio
during the making of H.P. Lovecraft’s THE HOUND.
A filmmaker, theatre director, playwright & screenwriter who brought us genre classics such as
THE RE-ANIMATOR, CASTLE FREAK, DOLLS, FROM BEYOND and more.
Take a listen to H.P. LOVECRAFT’S THE HOUND, directed by Stuart Gordon and featuring Barbara Crampton, Ezra Godden, Chris McKenna, Glenn McQuaid, Larry Fessenden. Music by Richard Band.
Available on the TALES FROM BEYOND THE PALE PODCAST.
Imagine for a moment a group of people facing an existential threat
but no one is able to agree on how to solve the crisis
and instead are consumed with resentment and hate
so they all turn on each other.
“That would never happen” you say? Check out Fessenden’s parable “Beneath”.
Directed by Larry Fessenden.
Starring Daniel Zovatto, Bonnie Dennison, Chris Conroy, Jonny Orsini, Griffin Newman,
with Mackenzie Rosman and Mark Magolis.
“… a gleefully dire portrayal of human selfishness.”
—Time Out NY
“a weirdly personal and thoughtful generic exercise…
you can see Fessenden’s love for such horror classics as Night of the Living Dead”
“This film takes a hatchet to surface level friendships and
has by far my favorite death scene of the year,
ripped from the Hitchcock playbook.
—Icons of Fright
Story: Tony Daniel, Brian D. Smith; Art by Brahm Revel.