Director Michael O’Shea waxes poetic in Filmmaker Magazine about horror, and his special brand of vampire film…
From the article:
O’Shea: Yeah, when I was 12 or 13, I worshipped horror movies. The first R-rated movie I saw was very meaningful to me. It was in the theater — The Island, playing with Jaws 2. The Island was the R-rated movie, and there was a lot of gore, and I loved it. In my teenage years, I was watching tons of David Cronenberg. I mean, I’m wearing a Videodrome shirt. Videodrome was one of my favorite films when I was a teenager and still to this day. Henry: Portrait of a Serial Killer was a film I saw when I was 16 or 17. It was hugely influential on me and on this film. When I was in my early 20s or late teens, I was reading about Larry Fessenden’s Habit and about this idea of taking vampires and putting them into a realistic setting. I remember thinking, “I want to do that, that sounds amazing.” It was so awesome to have Larry in the movie.
THE TRANSFIGURATION premiers this Friday 4/7/17 in NYC!
Tix on sale now!
Directed by Michael O’Shea and produced by GEP pal Susan Leber.
With Special makeup effects by Glass Eye Pals Spears and Gerner.
Featuring the requisite appearance by Fessenden.
“Stellar performances … a great movie that explores what it means
to lose oneself in the ideas that power the horror genre”
-Gizmodo/Io9 – Evan Narcisse
“Ruffin’s incredible performance…excellent feature debut”
-Screen Anarchy – Shelagh Rowan- Legg
“tantalizing debut…sinking its teeth in all the right places
-Consequence of Sound – Michael Roffman
“a beautifully restrained coming of age tale …
a darkly affecting tale about the high and sometimes bloody cost
of self awareness and sociopathic conviction”
– Film School Rejects – Rob Hunter
“4 star…stunning debut”
-Scream Magazine – Kieran Fisher
“refreshing and moving vampire tale.. a striking cinematic experience
…deeply engaging and tragic love story…Ruffin and Levine are such a joy to watch”
– Bloody Disgusting- Ari Drew
The Hollywood Reporter reviews GEP friends’ THE TRANSFIGURATION:
An orphaned African-American teen leads a secret life fed by vampire lore in Michael O’Shea’s indie debut, premiering at Cannes in Un Certain Regard.
Wide-ranging references to vampire mythology in literature and cinema are scattered throughout writer-director Michael O’Shea’s low-key but absorbing first feature, The Transfiguration. But what distinguishes this stripped-down anti-horror film — set amid the housing projects and lonely beachfronts of the Rockaways in Queens, New York — is its absence of the supernatural. While death by bloodsucking is very much a factor, this is actually a subdued, contemplative drama about the lingering trauma of grief and the efforts of an introspective teenager to invent an invulnerable persona to shield and ultimately release him.
In an insider nod to horror fans, Lloyd Kaufman and Larry Fessenden make brief appearances in ill-fated encounters with Milo. The bloodletting here is a million miles away from the cartoonish schlock violence of Kaufman’s Troma brand, but not entirely unrelated to some of Fessenden’s low-budget early horror films, with their focus on human psychology and social milieu over traditional genre elements. Fessenden’s long association with Kelly Reichardt as a producer also is relevant, given the acknowledged influence here of that filmmaker’s minimalist realism.
O’Shea uses the bursts of droning ambient noise and the somber electronic sounds of Margaret Chardiet’s score to arresting effect. But he’s less interested in creating suspense or pumping up atmosphere than in exploring the ways in which horror, and its intoxicating relationship with death, can be a paradoxical balm for the more earthly cruelties of life. That makes The Transfiguration a difficult movie to classify, but one with an emotional depth that creeps up on you.
Check out the full review at HollywoodReporter.com
GEP pal Susan Leber (producer on THE ROOST and LIBERTY KID) heads to the Cannes Film Festival with Michael O’Shea’s THE TRANSFIGURATION starring Eric Ruffin and featuring the requisite appearance by Fessenden. With Special makeup effects by Glass Eye Pals Spears and Gerner. Curious? Indiewire has some insight.