June 5, 2015
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NYT: In ‘We Are Still Here,’ Ghostly Inhabitants Can Be the Toughest to Evict


“The Sacchettis’ friend May (Lisa Marie, of “Ed Wood” and “Mars Attacks”), who dabbles in the paranormal, comes to investigate Anne’s hopeful sense that Bobby’s spirit is in the house.

Some of the scariest and funniest bits come from May’s husband, Jacob, the veteran horror actor Larry Fessenden (director of “Wendigo”), who reaches back to “The Shining” and Jack Nicholson’s crazy eyes, and draws on the archetypal genre battle for a human soul, “The Exorcist,” as he wrestles with a demon. (He loses and has to swallow a nasty-looking gym sock.)”

Read Full review in the New York Times

May 23, 2015
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WE ARE STILL HERE Director Ted Geoghegan Talks THE SHINING

GEP Pal and WE ARE STILL HERE director Ted Geoghegan talked about how The Shining influenced his feature debut for EW. Read on for his thoughts on the horror classic, working in the shadow of such a masterpiece, and working with Fessenden on such a reminiscent piece.

From Entertainment Weekly:

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… My love for The Shining runs so deeply that when writing and directing my debut feature, We Are Still Here, I had to step back from the project and decide just how much of the film’s influence we could allow onscreen. My film, which is set in the late 1970s and features a haunted, snowbound location that slowly traps its unwitting inhabitants, couldn’t simply rehash the beats of a masterpiece—but we knew we’d be doing our project a disservice to willfully ignore how perfectly Kubrick balanced his scares and teeth-gnashing tension. While the stylized nooks and corners of We Are Still Here’s New England homestead were a far cry from the labyrinthine halls of the Overlook Hotel, the mounting snowdrifts and desolate locale had created an environment too similar for our cast and crew to ignore. While many people have noted that horror director and We Are Still Here cast member Larry Fessenden bears a striking resemblance to Shining-era Nicholson, never had it been more clear to me than when trudging through the snow with him by my side, costumed in garb from 1979. Why, even our film’s supernatural antagonists, the ghostly Dagmar family, conjured up memories of the dreamlike ghouls that inhabit Kubrick’s hotel: strange, physical beings, somehow conjured up from the spirit world to terrify (and possibly warn) the living.

But by the end of our 21-day shoot (blissfully shy of Kubrick’s reported 230), I began to question whether it was the details of The Shining that had influenced me, or if the film was just so damn perfect that one couldn’t help but want to be associated with something similar. Being able to capture even the tiniest iota of the movie’s dark allure and spectacle seems to have become the dream of every genre director since it was opened May 23, 1980. There is, after all, a reason why both filmmakers and fans hold it in such high regard—because The Shining still engages, horrifies, and enchants like absolutely no other piece of cinema.