November 23, 2022
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WENDY & LUCY featured on 5 Films That Influenced ‘Bones and All’

Writer David Kajganich shares five films he referenced for Bones and All. The scope of the list, which spans multiple genres and decades, is a testament to the ambition of the film that he and Luca Guadagnino have made. 

2) WENDY AND LUCY

It’s a film – and a filmmaker – I love dearly. Michelle Williams plays a woman who’s trying to head up to Alaska, where economic opportunities might be more plentiful. And she ends up waylaid in this town because she has to steal food to feed her dog. She’s separated from her dog. And it’s a very emotionally precise, very observant, tonally very rich film about a few days in the life of this woman who is on her own in America. For obvious reasons, I thought it would be useful as a touchstone to my work while I was writing the script.

See full list HERE

November 21, 2022
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BOOM! Studios announces new series from GEP Pal Brahm Revel

BOOM! Studios announced today HARROWER, a brand new four-issue limited series from Spread creator and co-creator of The Strange Talent of Luthor Strode, writer Justin Jordan, with highly acclaimed artist Brahm Revel (Guerillas), about a horrifying ancient legend that lurks within a small, forgotten town, available in stores February 2023.

Brahm Revel has provided storyboards, design sketches, comic book adaptations, and animations for numerous projects including WENDIGO, THE ROOST, MANITOU VALLEY, THE LAST WINTER, BENEATH, and I SELL THE DEAD. Revel has also designed posters and advent calendars for GEP and penned episodes of the CREEPY CHRISTMAS FILM FEST and TALES FROM BEYOND THE PALE. 

Watch Revel’s GEP MINIDOC here!

November 12, 2022
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Indiewire: del Toro’s got a little list

Guillermo del Toro Reveals the Directors He Wants to Hire for ‘Cabinet of Curiosities’ Season 2: ‘I Have a List’

After 30 years of success, the “Shape of Water” director is turning his attention to helping upcoming genre filmmakers.

Following the success of the show’s debut season, del Toro is already thinking ahead to the directors that he wants to bring on board for Season 2 if the series is renewed.

“I have a list,” he said. “For example, we tried to get Jayro Bustamente before and he couldn’t because of COVID. When you think about Mexican filmmakers, there’s Isaa Lopez. She was going to direct one of the episodes when she got ‘True Detective’ and she couldn’t do it. Boots Riley wrote and was going to direct one episode and he got his series greenlit. I could go and spoil the entire second season for you, but I’m not going to do that.”

He continued: “Larry Fessenden is one hundred percent at the very very top of my list for a second list. Larry is one of those names that back in the days of the Spirit Awards I fought for him to be nominated with ‘Habit,’ which I think is phenomenal. I’ve been in touch with him since then. We were very close to remaking ‘The Orphanage.’”

read interview at indiewire

November 11, 2022
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Happy Veteran’s Day from Glass Eye Pix

November 8, 2022
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Washington Post: Graham Reznick on interactive Horror, Supermassive and “King’s Quest”

Reznick gets his due in extensive conversation about Until Dawn,
The Quarry and Supermassive’s The Dark Pictures.

Is the interactive horror movie making its long-overdue comeback?

By Alexander Chatziioannou

“I think the entertainment industry has a tendency to shoot itself in the foot and get too excited about emerging technologies,” said Graham Reznick, lead writer on both “Until Dawn” (alongside indie-horror legend Larry Fessenden) and “The Quarry.” “We’ve seen it over and over again with 3D and VR. These are viable artistic mediums that need to be explored organically. But when you get a lot of money and expectations put into them, they can easily topple before they’ve had a chance to mature. That’s probably what happened in the ‘90s with FMVs.”

Reznick even includes traditional adventure games in the interactive movie’s long lineage of partial successes and outright failures. Growing up without a dedicated console, he would use his father’s work PC to immerse himself in games like “King’s Quest,” which he considers “essentially, weirdly templates for what Supermassive ends up doing.”

“[It] seems counterintuitive because the latter [of Supermassive’s Games] are primarily narrative-driven,” he told The Washington Post, “but they do share more with Sierra adventures than people tend to realize.”

While citing point ‘n clicks as a precursor to the modern interactive movie may raise some eyebrows, at the same time it highlights how a fresh perspective on the genre — one focused on storytelling rather than the technological spectacle and star-studded casts of the FMV era — proved vital for Supermassive’s success with the genre.

Byles, who joined the Guildford-based studio in 2010, is slightly older and, having followed the medium’s cinematic ambitions from the start, somewhat less controversial with his historical references.

“I loved ‘Dragon’s Lair’ — I spent a bloody fortune on it!” he said, referring to the most celebrated product of the Laserdisc era, a gorgeously animated fantasy arcade game helmed by occasional Spielberg collaborator Don Bluth that was visually indistinguishable from his award-winning animated films.

Despite approaching the interactive movie’s winding genealogy from different entry points, both contributors were aware of the pitfalls involved in Supermassive’s undertaking. If overinvestment doomed the medium’s most orchestrated pursuit of the interactive-movie ideal, it could be argued that Supermassive’s creative triumph was, at least partly, due to the freedom of operating outside the zeitgeist.

Read in-depth article at The Washington Post

November 5, 2022
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Fessenden on Sax with the Wharton Tiers Ensemble: Sunday 10/6/22 @ 4PM

November 4, 2022
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GEP alumn Eric Pennycoff introduces trailer for THE LEECH

From Screen Rant: We’re thrilled to present an exclusive first look at the trailer for The Leech, a new Christmas horror film from writer-director Eric Pennycoff. Coming to Blu-ray and streaming on ARROW Player in December, the frightfully festive film had its world premiere at the Chattanooga Film Festival on June 23 and has been successfully making its way through horror crowds ever since.

Arrow Video brings you THE LEECH, written & directed by GEP alumn Eric Pennycoff.
Starring GEP pals Graham Skipper, Jeremy Gardner, Taylor Gardner and Rigo Garay.

More from Screen Rant

November 2, 2022
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Glass Eye Pix turns 36 today!

Fessenden shooting HOLLOW VENUS in 16mm circa 1989

As we mark another year in operation,
Glass Eye Pix looks forward to sharing upcoming projects:

BLISS by Joe Maggio
CRUMB CATCHER by Chris Skotchdopole
BLACKOUT by Larry Fessenden

blu-ray Special Edition of Jack Fessenden’s FOXHOLE

a new season of Tales From Beyond The Pale

Glass Eye Pix TOYZ by James Felix McKenney

new music from Just Desserts

and we’ll be keeping an EYE out for new work by GEP alumni

Jenn Wexler, Ti West, Glenn McQuaid, Jim Mickle, Kelly Reichardt, Graham Reznick, Beck Underwood
as well as actors. producers and interns that have survived the GEP Boot Camp

with much appreciation to our viewers and fans

 

October 31, 2022
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Fangoria drops BLACKOUT article on Halloween

Exclusive Photo And Comments: Larry Fessenden Heads Into Werewolf Territory With BLACKOUT

“It’s got more blood than all of my other films combined, probably.”

by Michael Gingold

Having offered a very personal take on the vampire story with 1997’s Habit and a variation on Frankenstein in 2019’s Depraved, Larry Fessenden has at long last fulfilled his desire to round out a triptych of classic-monster homages. The independent horror auteur recently wrapped shooting on Blackout, a werewolf drama starring Alex Hurt (son of the late William; pictured above), Marshall Bell (Total Recall, A Nightmare on Elm Street 2), Joseph Castillo-Midyett, Rigo Garay, Cody Kostro, Marc Senter (The Lost, Old Man) and such past collaborators as Joe Swanberg (You’re Next), Depraved’s Addison Timlin and James Le Gros and his regular player John Speredakos. The makeup effects were created by another pair of frequent team members, Brian Spears (pictured below with Hurt) and Peter Gerner.

“It’s about all the bad things you do when you can’t remember,” the filmmaker continues, noting that the title indicates, “Like all of my movies, it’s sort of about alcoholism, and that weird state where you can’t recall what happened. It’s also, hopefully, thematically deeper than that; it’s about our pasts and our histories, and of course, it’s about a father relationship. He’s haunted by his dad, so it’s all my usual themes.”

There’s a touch of mystery to what Charley is going through, Hurt notes. “He doesn’t know if he’s a werewolf or not, so he’s wrestling with a lot of feelings of grief and other things that have to do with alcoholism and addiction. He’s wondering if that’s what’s coming out in these blackouts he’s having, or if he’s actually turning into an evil creature, this monster that’s committing violent acts.

“And if he is,” Hurt continues, “he starts out hating the fact that he’s a werewolf, and then his journey is that he actually starts to accept it and use it. Larry is really pulling from so many different, beautiful sources for this film.”

Lest this sound like a kinder, gentler approach to lycanthropy, Fessenden notes, “It’s got more blood than all of my other films combined, probably. I don’t know if it comes from a place of anger, or maybe that’s just what the werewolf story is.” Elaborating on the anger part, he explains, “I’m often responding to the events of the day, so Blackout is about a community that’s divided, and scapegoating the wrong people. My theme frequently is, there’s a real monster out there, but we’re always arguing with each other.

“I’m also very influenced by the Marvel comic Werewolf by Night, and especially one of the issues drawn by Mike Ploog. Almost every image there is iconic to me. Now, I’m not saying we’re going to achieve exactly that, but it was such a huge inspiration, that particular werewolf.”

Read whole article at FANGORIA

October 29, 2022
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Screen Anarchy: “BLACKOUT” A New Film From Larry Fessenden Wraps Photography

The word is out! Fessenden wraps photography on werewolf movie BLACKOUT, starring Alex Hurt.

A Fine Arts painter is convinced that he is a werewolf wreaking
havoc on a small American town under the full moon.

It’s always a pleasure to talk about a new film from Larry Fessenden, one of the true bastions of independent genre filmmaking out there. Fessenden has just finished photography on his new film, a werewolf movie called Blackout, this month and now heads into post.
A Fine Arts painter is convinced that he is a werewolf wreaking havoc on a small American town under the full moon.
Fessenden has stuck to his roots, shooting around New York’s Hudson Valley and hired Brooklyn-based artist John Mitchell to create the paintings for the main character’s artwork in the film.
“My approach was to blend a naturalistic docu-style with the mythological tropes of the werewolf story, an ongoing interest to blend realism with stylization, and to fuse themes of contemporary society with classic monster movie clichés.” 
His cast is also pretty great too: Addison Timlin (Little Sister, Like Me, Depraved), Motell Gyn Foster (Marriage Story, Foxhole), Joseph Castillo-Midyett (Equalizer, Death Saved My Life), Ella Rae Peck (upcoming Crumb Catcher), Rigo Garay (upcoming Crumb Catcher), John Speredakos (Wendigo, I Sell The Dead), Michael Buscemi (Habit, BlacKkKlansman), Jeremy Holm (The Ranger, Brooklyn 45), Joe Swanberg (You’re Next, Offseason), Barbara Crampton (You’re Next, Jakob’s Wife), James Le Gros (Foxhole, The Last Winter), and Marshall Bell (Total Recall, Stand By Me).
 

I mean, come one, a who’s who of Glass Eye Pix alumni back again for another Fessenden film?
 
from the press release:

The film was produced by Fessenden, James Felix McKenney, Chris Ingvordsen, and co-produced by Gaby Leyner. Collin Braizie was cinematographer, following his previous stint on the Glass Eye Pix production Foxhole. Paintings for the main character’s artwork were created for the film by Brooklyn-based artist John Mitchell.

Blackout was shot at local shops and locations in New York’s Hudson Valley and serves as a portrait of the area including Woodstock, Olivebridge, Andes, and Kingston. Many local merchants generously supported the independent production. Fessenden explains, “My approach was to blend a naturalistic docu-style with the mythological tropes of the werewolf story, an ongoing interest to blend realism with stylization, and to fuse themes of contemporary society with classic monster movie clichés.”

Makeup and special effects were handled by long-time Glass Eye Pix collaborators Brian Spears and Peter Gerner, who previously created the Frankenstein monster for Fessenden’s 2019 film Depraved. Comments Fessenden, “Yes, I’m competing with Marvel and Blumhouse to create my own Monsterverse, but at a very different price-point.”

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