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Maggie Lovitt,

There is almost nothing worse than an unwelcome guest who overstays their welcome. Crumb Catcher manages to take the discomfort of such an occasion and make it a hundred times worse. All writer-director Chris Skotchdopole had to do was take an awkward new marriage, an off-the-rails waiter who wants to be an inventor, and a little sexual blackmail, and blend in the absolute horror of a home invasion to create one of the most uncomfortable and cringe-inducing films to screen this year.

What’s worse than a home invasion? A boundary-crossing salesman trying to bully $50,000 out of the homeowner’s bank account to bankroll their useless invention: The Crumb Catcher. John’s sales pitch almost rivals some of the more anxiety-inducing scenes in The Menu, complete with a dinner from hell and a madman with a gun.

Skotchdopole’s script is incredibly clever with the way it drops breadcrumb clues about the characters, but sometimes the breadcrumbs lead to questions, rather than answers. There are plenty of allusions to the subject of Shane’s book and hints at why Leah didn’t invite his father to their wedding, but they’re vague and left entirely unanswered. While Peck and Garay are stupendous actors who play off each other quite nicely, the script frames their relationship as cold and ill-matched romantically. This narrative choice makes it difficult to sympathize with either of them or even root for their survival—which also, ultimately, aids in making the film a wholly uncomfortable experience from start to bitter finish

Aside from plot decisions that will leave audiences screaming at the characters to “LOCK THE DOOR!” there are other issues with the script that might leave them unsettled for all of the wrong reasons. Crumb Catcher leaves it rather ambiguous as to whether or not Shane was coerced into the situation that provided Rose with ample blackmail to leverage against the newlyweds. Shane seems remorseful for it, as though he sought out Rose on his wedding night, but at the same time he appears wasted in the video—and since Rose was the bartender, it seems to suggest he was actually assaulted, which the film never addresses. If it had, perhaps it would’ve given both Shane and Leah stronger motivations in the final act, rather than delivering a rather flat reveal.

With a runtime of around ninety-eight minutes, Crumb Catcher doesn’t have a lot of time to develop its characters beyond the bare necessities. John is a cartoonishly frantic and deranged man, who seems entirely detached from reality, while Rose is just his Vanna White in a red dress, whose motives are largely unknown to the audience. There are whispers of a backstory, but they’re hidden behind closed doors, and never given the chance to mature beyond being bullied and browbeaten by John.

Despite its nearly fatal flaws, Crumb Catcher is an insanely impressive directorial feature debut for Skotchdopole. It’s funny, bizarre, uncomfortable, and an absolute cringe-fest for all the best reasons. Skotchdopole has secured himself as a writer-director to keep an eye on, as he continues to refine his skill and explore the depths of depravity with a clever, humorous voice.

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The Moveable Fest

Stephen Saito, Sept 26, 2023

can’t believe my mother talked me into this wedding,” Leah (Ella Rae Peck) says, driving the unhappiest “Just Married” car you’ve ever seen in “Crumb Catcher.” Her new husband Shane (Rigo Garay) says they should’ve just eloped, with director Chris Skotchdopole showing little of their nuptials, but enough of their wedding photo shoot to know it did not go well as the photographer snaps pictures that make it seem as if they were confronted by a firing squad, unaware of what direction fire is coming from when he peppers them with questions about how they met while Leah’s mom swings by to remind that for all the presents they receive, she’s been making a list of the thank you notes they’ll have to write.

There’s nothing romantic about the occasion and – it turns out – not so much about Leah and Shane’s relationship in general when as much as he may describe their meet cute in rosy terms, it becomes obvious that theirs is a marriage of convenience as much as anything else when they met at a company party and she works for a publisher and he’s an author, needing her help as much as boosting her career prospects when he’s on the cusp of a cultural breakthrough with his debut novel. The fact that their honeymoon is held at the executive editor’s woodsy retreat in upstate New York may seem to be a generous gift at first, but an increasingly apparent reflection of what the union is actually all about.

It isn’t just their work that follows them home when the shaky foundation for their new life together is further challenged by the creepy appearance at the front door of their hideaway of John Spinelli (John Speredakos), a sleazy caterer from their wedding they thought they left in the rear view of not for their misplaced wedding cake. It is here where the gloriously delirious camerawork of cinematographer Adam Carboni starts to take over as Leah and Shane have to wonder what the hell is going on, unable to stop John from letting himself in and increasingly feeling prohibited from kicking him out when it seems like he might have some dirt on them. There’s at least one dumb waiter on display, if not two when Carboni puts the camera on a tilt-a-whirl when listening to Spinelli’s pitch about an invention that he hopes the two will consider funding or at least give him some healthy feedback on over dinner, and the prospects of either the product or the captive couple going anywhere is next to nil.

The same can’t be said of Skotchdopole in his feature debut, showing real verve in the driver’s seat well before the film culminates in a wild white knuckle car chase. Although “Crumb Catcher” may be guilty of exhausting ways to keep Leah and Shane from deciding that they’d rather face the music than their tiresome guest for a second longer, the script from Skotchdopole, Garay and genre legend Larry Fessenden is savvy enough in its set up to create a fascinating collection of mitigating circumstances that it never dares to spell out when neither Leah or Shane would cop to them as their own rules of engagement, but between their professional/personal entanglements and the socioeconomic backgrounds that make them an ideal partnership in a woke world, the film has provocative ideas about modern romance and personal worth that carry it through the patches where it starts to strain plausibility and makes it feel all too real. While one may wonder how much love there actually is between the newlyweds in “Crumb Catcher,” there’s plenty to fall head over heels for in the satisfying thriller.

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Grimoire of Horror

Adam Symchuk, August 27, 2024

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horrorobsessive

Brendan Jesus, Sept 27, 2023

Have you ever sat down to write a review, but as you sit down your stomach starts to rumble? Naturally, you’d get up and go grab a bag of plain saltine crackers. You sit back down and chow down on half the sleeve of crackers. Ahh, time to write. That’s when you notice your laptop is surrounded by crumbs from all of the crackers! You could move your laptop and take all of that time away from your writing to clean up the table. But that takes so much time away from your writing! If that scenario sounds all too familiar to you well then tell you about a revolutionary product…

Crumb Catcher is the directorial feature debut for writer/director Chris Skotchdopole, with a story by Chris Skotchdopole, Rigo Garay, and my idol Larry Fessenden. Skotchdopole has crafted an odd, yet ultimately charming, psychological horror film that wears its heart on its sleeve. The description of the film lays out the basic plot for you, but it really doesn’t do the film justice. Crumb Catcher is absurdly macabre and doesn’t stop telling a twisting tale of intrigue until the credits roll. Anything that Larry Fessenden is in or is a part of in any way will always appeal to me, and that continues to be solidified with Crumb Catcher.

On the day that changes their lives forever, publisher Leah (Ella Rae Peck) and writer Shane (Rigo Garay) tie the knot; the release of Shane’s book, a self-reflecting collection of stories from his childhood, is on the horizon. Soon after arriving at a lake house for their honeymoon, they are quickly interrupted by John (John Speredakos), one of the servers from their wedding reception. His thinly veiled excuse for his arrival breaks when John reveals he wants to pitch an invention to Shane, though the reasons for the pitch are soon brought to light. John’s wife Rose (Lorraine Farris) is brought in to assist with the pitch, and then the night gets… messy.

See from that description you’re probably thinking, “Oh yeah I know what direction that film is going to take!”. I can assure you you’re wrong. Never in your wildest dreams could you guess what this film is going to throw at you. While Crumb Catcher was initially an extremely enjoyable film, after learning the film is Chris Skotchdopole’s feature debut I looked at it in a whole new light. The tonal shifts in Crumb Catcher completely caught me off guard for the right reasons. For a filmmaker with four or five films in their filmography, the ability to tell a story with so many different tones while keeping the auteur’s style is challenging enough. But when your debut feature effortlessly changes tone and you still keep a consistent and incredibly strong style—now that is quite a feat. My first takeaway from this film is that I need to see more from Chris Skotchdopole, and I won’t rest until I do.

The relationship between Leah and Shane is rocky at best, even for a couple on their wedding day. Ella Rae Peck is phenomenal and she really steals every scene she is in, and the chemistry, good and bad, she creates with Rigo Garay is phenomenal. Rigo Garay was fantastic in The Leech, and he also had a great four-episode arc in Law & Order, so I was excited to see him in another project. The way he feeds off his scene partners is like a charismatic parasite. Garay takes what his scene partners give him and runs a marathon with it. While the scenes between Peck and Garay carry the emotional weight of the film, it’s when Garay and John Speredakos interact that the film takes a whole different angle.

Speredakos brings an awkward charm and intensity to the film and eats up the scenery every chance he gets. At the wedding venue he seems like an idiosyncratic throwaway character, but when he injects himself into their lives and makes himself the problem, this is where he really takes off. Thinking back on the film, I’m not even sure if he blinked once. He’s the living embodiment of a basement invented on day eight of a cocaine bender. Where the beauty of his performance really lies is when the film turns from quirky dark comedy to a tense psychological and emotional thriller. John Speredakos has proven himself time and time again to be an incredible actor; from films like The Mind’s Eye to I Sell The Dead, Speredakos leaves it all on the table and takes no prisoners. It just so happens that if you want to see Ella Rae Peck, Rigo Garay, and John Speredakos together again on screen you can catch them in the new Larry Fessenden film Blackout.

I almost forgot one important thing. The editing of Crumb Catcher is solid throughout the entire film, though one scene particularly struck me hard. Trying to go about this as unspoilery as possible, there is a scene towards the end with Shane’s car and the editing in the scene is superb. There’s a state of mind that is presented and intermittently thrown into the edit when necessary, all while some other crazy stuff is going on. Some people say the best editing is when you don’t recognize the editing, but I think the best editing is when a montage of shots perfectly puts you in the shoes of the characters. The editing in this scene made me feel like I was in that exact scenario with them and I was awestruck at how impressive it was.

With an incredibly tight script and excellent directing, Crumb Catcher takes the viewer through a weird and intense journey. It may seem like the crumb catcher idea is a wacky idea Chris Skotchdopole, or Garay or Fessenden, had while writing the film, but there’s much more to it than that. It might be hard to look past the goofy invention and that’s fair. All I ask is that you take a step back and think about it. The literal inclusion of the invention is John’s ticket into their lives, and the metaphorical inclusion is Shane’s ticket into John and Rose’s life. Crumb Catcher is one hell of a ride, and I’m glad I took it. This is a special film and it deserves to be seen by as many people as possible. Bingo bongo up the Congo!

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regerebert.com

Katie Rife, Oct 5, 2023

In a sort of passing of the independent torch, festival alums Larry Fessenden and Jim Cummings served as shepherds at Fantastic Fest 2023 for feature debuts that distinguished themselves in different ways. “The Last Stop in Yuma County,” from writer/director Francis Galluppi, takes the route of putting familiar-to-this-crowd faces—Richard Brake, “The House of the Devil’s” Jocelin Donahue, Cummings—and pairing them with a strong screenplay and a little bit of money spent in the right places. Galluppi’s film evokes the brainless criminals and darkly humorous repartee of early Coen Brothers, combining them with sunbaked Western visuals and a hot potato of a heist plot for a crowd-pleasing crime comedy that could really take off with the right distributor.

Fessenden, meanwhile, developed the story for “Crumb Catcher” with director Chris Skotchdopole, who also makes his first feature with this audacious genre-bender. Again, the screenplay is the real star here. And as a fan of wild swings and tonal gambits (see also: last year’s “Resurrection” with Rebecca Hall and Tim Roth), I couldn’t help but be charmed by the movie’s bizarre premise. Anchored by John Speredakos’ volatile performance as a nightmare version of the annoying guy who won’t leave a party, “Crumb Catcher” crosses “Funny Games” with an extended “I Think You Should Leave” sketch, mixing the violent undertones of a home-invasion thriller with cringe comedy for an unpredictable ride.

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Austin Chronicle

Richard Whittaker Oct 11, 2023

Relationship drama takes a twisted turn into true insight

As they pose for wedding photos, it should be the happiest of all days for Shane (Rigo Garay) and Leah (Ella Rae Peck). But the opening moments of warped character study Crumb Catcher show there’s turmoil behind the place settings and gift reciepts.

There’s a friction, subtly ramped up by quick cuts and unexpected camera angles that disorient the audience and place them in Shane’s shoes. Which are also Leah’s shoes. A couples counselor might look at their relationship and quietly write “enmeshment” on a pad, because the lines between the two are so blurred – and not in a healthy way. Shane is not just Leah’s husband, but also her client: He’s a rising young author who has cannibalized his past for his works, while she’s his agent. Professional and personal vested interests have become so intertwined that Shane fears he has forgotten who he is and instead has become caught up in a mixture of paranoia and self-doubt.

This creeping suspicion colors one of the most significant and tender scenes in Crumb Catcher, in which Shane roleplays as a rough and tumble street Lothario, taunting Leah about her absent husband and how he can show her a real good time.

It’s both erotic and romantic, but in a fashion reminiscent of mid-period Steven Soderbergh or John Cassavetes: laden with tragic and poignant undertones. What makes moments like these most unsettling is that it’s all coming from Shane and his insecurities, Leah is, to him and to the audience, a little inscrutable. So it’s up to Shane, with his baggage about his family (as expressed in a shattered relationship with his father that is constantly alluded to), his worth as a writer, his implied working class roots, and his race (constantly being the only Latino in the room) to fill that space.

The script, credited to Garay, first-time feature director Chris Skotchdopole, and indie legend Larry Fessenden, begins as a character study of utter self doubt, a relationship drama that is both crisp and contemporary. That’s why its second act switch into dark farce can be so jarring, as the grinning, sweating, desperate face of caterer John Spinelli (John Speredakos) appears at the door of their borrowed honeymoon retreat, claiming he’s found the wedding cake they left at the venue.

Of course, cake is not really on anyone’s mind, especially Leah who constantly protests that she never really wanted a big wedding anyway. But John’s there, with his frazzled and short-tempered wife, Rose (Lorraine Farris), and there are very good, if self-serving, reasons why Shane isn’t interested in letting them leave early, even if John keeps trying to get them to invest in his harebrained get-rich-quick scheme: the titular crumb catcher.

Speredakos and Farris seem so completely at odds, performance-wise, with both Garay and Peck, that it’s almost hard to see where they’re supposed to mesh. But that’s the point and the source of a sense of creeping menace that’s as disturbing as the accelerating threats from the uninvited guests. The delicacy and diplomacy of Shane and Leah is contrasted with the sideshow theatrics of John and Rose. Speredakos is clearly channeling the somewhat-self-aware desperation of the late, great Joe Spinell at his best, while Farris teeters through scenes like a steaming showgirl kicked out of the club.

Skotchdopole’s greatest success is in weaving these seemingly disparate threads together, to show the interconnectedness of Shane and John’s internal crises and showing how close to being saved each of them really is. As the night pinwheels from drama to farce to tragicomedy, his clear, cold, and yet compassionate eye finds strange harmony in their emotional imbalance.

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UPI

Fred Topel, Sept 24, 2023

LOS ANGELES, Sept. 24 (UPI) — Crumb Catcher, which premiered at Fantastic Fest in Austin, Texas, begins as a cringe comedy and becomes a truly suspenseful thriller. It is equally relentless at both.

Leah (Ella Rae Peck) and Shane (Rigo Garay) spend the day after their wedding at Leah’s editor’s remote, luxurious house. John (John Speredakos), a caterer from the hotel, brings them the top of their wedding cake for posterity.

John just won’t take the hint that he should leave and pressures the newlyweds to hear his business proposal. He’s also brought his wife, Rose (Lorraine Ferris) to help present The Crumb Catcher.

First of all, Leah and Shane don’t seem like a harmonious marriage in the first place. Even the story of how they met sounds hostile.

Leah is a publisher and has nurtured Shane to write an autobiographical book. Now, Shane is having second thoughts about publishing it.

Regardless, John seriously lacks social skills to interrupt a couple on night two of their marriage and keep sticking around for chit chat. This is a very familiar situation where polite hints just don’t work, but then blunt “get out now” doesn’t either.

Shane thinks maybe if they sit through the presentation it’ll be enough to satisfy them, but of course it never is. The invention is an absurdly bulky device that helps diners sweep up their own crumbs so their dinner conversation won’t be interrupted by waiters.

It would be tragicomic if it were just about John’s deluded hope that this unnecessary invention is his ticket to prosperity. But, John and Rose have more nefarious intentions too.

When these screwups try to be master criminals, it’s even more frustrating because their criminal plan is as misguided as The Crumb Catcher. By then, their escalating desperation becomes dangerous.

Crumb Catcher generates all this uncomfortable comedy and taut suspense with four people in a single location.

Leah and Shane probably didn’t need a crisis to break the tensions in their relationship. Resentments on night two are not a good sign, and other big wedding slights are revealed during the night.

When it comes to the book, Shane feels it’s his story so he reserves the right to pull it, contracts notwithstanding. Except Leah got it published so it really is not just him anymore.

But, John and Rose would be insufferable even to the perfect couple.

Crumb Catcher is a movie for anyone who has met people they just can’t get rid of. Even if a viewer has been fortunate not to experience that, the situation is relatable enough to warrant sympathy pangs.

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Elements of Madness

Andrew J. Eisenman, July 18, 2024

Chris Skotchdopole’s very impressive directorial debut, Crumb Catcher, is a slow descent into absurdist thrills. The rare new entry in the honeymoon horror sub-genre of romantic thriller, home of RedBox classics like A Perfect Getaway (2009), Crumb Catcher trades the traditional fear of strangers you befriend on vacation for the fear of the people who staff your wedding, and the anxiety of talking to someone who won’t shut up. Essentially a three-hander with one supporting player, the film is anchored by three astonishing performances from actors I or the film probably have the pleasure of announcing to you for the first time. The married couple are played by Rigo Garay (Blackout; The Leech) and Ella Rae Peck (Young Adult; Blackout). He’s an up-and-coming author, she works at his publisher. He comes from a rough upbringing and not a lot of money. She’s got mommy’s money. Both their parents suck. From the word “go,” the writer is making up his own narrative and she’s wielding wealth to smooth everything over. Quickly we realize we can count only three things as fact: his book is true, their love is true, and their waiter will not stop talking.

Independent horror icon John Speredakos (Wendigo; Inside Man) plays a waiter who will not let the conversation end. Maybe he’s crazy, maybe he’s just on the spectrum and can’t tell when people have lost interest. We first meet him when he hunts down the newlyweds the morning after the wedding to apologize for losing their cake topper, which they didn’t even want. Later that night, at the secluded mountain retreat they’re borrowing for their honeymoon, he appears, cake topper in hand. Then, he asks to pitch them on his latest invention, the titular crumb catcher.

If you’ve ever invented something, let me tell you, there are few things more mortifying than being on either end of the sales pitch. As a filmmaker, Skotchdopole knows the process well himself and directs the central set piece with aplomb. In what may be my second favorite dialogue set piece of the year (beaten only by another sales pitch in Rysusuke Hamaguchi’s Evil Does Not Exist), the absurdity of the film shifts into next gear. Speredakos is operating on another level as a desperate man with no self-awareness or restraint trying to play the part of the rich man he dreams of becoming. But Rigo Garay’s soon-to-be published author has no money, and Ella Rae Peck’s rich daughter doesn’t have it on-hand either. Crumb Catcher is the nightmare of class ascension made physical. Beyond the hilarious futility of the crumb catcher invention, its sales pamphlet is one of the funniest things I’ve encountered in film this year, highlighting how decades of attempts to capture the vote of the working class have obfuscated and twisted the idea of class solidarity into a nightmare where the only way to raise a ship is to sink another instead of raising the tide together. While the best word to describe the newlywed’s honeymoon love scene is “adorable”, their love cannot escape class ascension either. Their marriage contract mirrors their work contract and they are both using each other to improve their station. They are doing what, in theory, is best, putting a lock in the canal and riding the tide together, but the events that spiral out of their encounter with their wedding staff put all of this to the test. It’s a tight, gripping script.

Praising Crumb Catcher would be a futile exercise if I neglected to mention the standout work of cinematographer Adam Carboni (Cupids) whose precise eye and visceral camera movements take the film to another weight class. While I loved independent films like Ghostlight and Janet Planetthis year, there has been a plague of naturalism among new filmmakers, often driven by budget and trend rather than cinematic synergy. Carboni, on the other hand, is a largely commercial cinematographer and documentary filmmaker. Their dynamic work brings a level of polished sophistication not often seen at this level, and they got several fist pumps in the air out of me. It’ll look stellar on the big screen.

Opening on July 19th in NC for a quick run at AMC Carolina Pavillion 22 in Charlotte and at AMC Concord Mills 24 a little farther east, Crumb Catcher is a cinematic investment that film fans will regret passing up. This crew is one to watch.

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Screen Anarchy

Olga Artemyeva, July 19 2024

Leah (Ella Rae Peck) and Shane (Rigo Garay) just got married, and it’s not going great.

You can see the crumbs of tension and resentment between the two at their wedding that her parents paid for, as he is repeatedly reminded.

Shane’s big break, and presumably paycheck, is coming soon, as his book of memoirs should be released soon. it’s a big deal for Leah, too, since she works at the same publishing house and is basically his agent, which doesn’t make their dynamic any easier.

The next day, they arrive at their honeymoon destination, a sleek-looking house in the woods offered to them by Leah’s boss. They are engaged in typical newlyweds’ activities – sexy times and bickering — when an overzealous waiter, John (John Speredakos), and his wife, Rose (Lorraine Farris), arrive with their lost wedding cake.

What starts as an annoyance soon reveals itself to be a bizarre extortion plot. Then, things take an even gloomier turn as John, who claims to be an artist and entrepreneur, decides to pitch his business idea to the unfortunate newlyweds.

The home invasion thriller genre is definitely on the rise these days, and no thanks to the ill-conceived Strangers sequel. The call is coming from the indie sector of the horror universe with multiple filmmakers coming up with curious twists on the familiar story.

Last year, Jason Miller’s debut Ghosts of the Void came up with a home invasion plot without the home part. Crumb Catcher, another feature debut, directed by Chris Skotchdopole and co-written by him, Rigo Garay and an indie horror icon Larry Fessenden (also the film’s producer), offers up a new variation of horror an invasion can bring to the table: extreme awkwardness.

In 2008, when Bryan Bertino’s original The Strangers was released, there were multiple words of praise, commending the author’s choice to forgo teenagers and focus instead on adults slightly weighed down by life and relationships. Several film critics put that in writing, saying that the gore is all nice and fun but that they’d really wish to know more about what happened to cause the major rift between the couple and a botched proposal.

Crumb Catcher definitely delivers on that wish. The first 20 minutes of Skotchdopole’s film plays out like a solid relationship drama with a touch of bittersweet comedy. The descent into a more absurdist and then dark territory doesn’t come out of nowhere, through, as the hints are introduced before the overly eager aspiring inventor firmly enters the picture and the heroes’ temporary abode.

For all the assets of the screenplay (and there are quite a few), it’s Skotchdopole’s direction and the cast’s efforts that help Crumb Catcher feel like such an organic piece, with all the genres mixed into it. From the start, Skotchdopole employs uncomfortable jump cuts coupled with unusual camera angles and movements that immediately create a sense of discomfort and dismay, something Shane and Leah will feel a lot, and so will the audience.

Ella Rae Peck and Rigo Garay give grounded, convincing performances as two relatively sane people who find themselves in the middle of insane circumstances. John Speredakos is the absoulute powerhouse here, along with Lorraine Farris, as John and Rose serve as the main couple’s counterparts, offering another take on distraught relationships where the tension is high and the patience is thin.

In its final part, Crumb Catcher fully ventures into the genre territory, and it’s easy to imagine that not everyone will be onboard with switching from a psychological confrontation to a physical one. The transition works for the story though, and the authors manage to keep it authentic to the overall tragicomedy feel.

Then again, the best – and most terrifying – thing about the movie is how true even the most absurdist parts of it are. We all know some version of John’s type. We’ve all been Leah and Shane to some extent, trying to be polite in the face of annoying behavior until it actually turns threatening.

Two outings of Funny Games didn’t teach us not to open the door to seemingly harmless looking strangers, but hey, maybe this beautifully shot and wonderfully weird pitch session from hell will?

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Dread Central

Mary Beth McAndrews 10/18/2023

“It was a sandbox of love”: ‘Crumb Catcher’ Director Chris Skotchdopole On His Tense Directorial Debut [Fantastic Fest 2023]

Chris Skotchdopole’s feature film debut Crumb Catcher is best described as Uncomfortable with a capital U. The film is a fascinating look at the lengths we’ll go to make sure we’re adhering to the status quo, regardless of the consequences. Think Speak No Evil, but with fewer children and more really awkward couples who are willing to blackmail you for a chance to pitch their business proposition.

Dread Central caught up with Skotchdopole at Fantastic Fest where Crumb Catcher had its world premiere to chat about filming this over five different shoots, creating the film’s tension, and how he designed the titular invention.

Dread Central: You’ve done so much cool work for Glass Eye Pix before Crumb Catcher, and you were a cinematographer on Depraved. How did you get involved with them before you made Crumb Catcher?

Chris Skotchdopole: I met Larry because my roommate’s boyfriend was working there. I remember I helped them find a location for something that never ended up coming out.

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