Fessenden assigned “mogul” status along with Jason Blum in Fango intro to archived interview about Adrián García Bogliano’s LATE PHASES starring Nick Damici:

FROM FANGO:  This week, check out interviews with horror moguls Larry Fessenden (on the werewolf film Late Phases) and Jason Blum (on Paranormal Activity 3 and others)

Q&A: Producer Larry Fessenden Talks LATE PHASES, The Veteran Cast And Newfangled Transformation

An archive interview from The Gingold Files.

In an article only available in Fangoria’s current print edition, now on stands (and sold out), writer Richard Newby veers from a discussion of the new Wendigo movie ANTLERS, to a discussion of Fessenden’s long association with the myth and asks about cultural appropriation. Says Fessenden: “I think we should all be telling each other stories and trying to broaden our scope of understanding, not narrow it down so certain things belong to certain people.”

WENDY & LUCY by Kelly Reichardt unspools in
35MM today at the Metrograph in NYC.
Show starts at 2:15PM. Get your tix!

Interview with Rigo Garay
Published on November 2, 2021

Glass Eye Pix 36th Anniversary Mini-Doc: Rigo Garay, Filmworker, intern, office manager, archivist, web designer, social media manager, crew member, director, and actor on an array of Glass Eye Pix projects since 2015, including THE EGG AND THE HATCHET, STRAY BULLETS, LIKE ME, THE RANGER, DEPRAVED, TALES FROM BEYOND THE PALE, CREEPY CHRISTMAS FILM FESTIVAL 2018, SIZE UP and CRUMB CATCHER. Garay talks about his history with Glass Eye Pix. Interview and Edit by Larry Fessenden.

watch other MiniDocs to meet the Glass Eye Pix community

Dashcam is a very fine piece of work. It’s airless, claustrophobic; one of those thrillers which make you believe that everything is a conspiracy. And maybe it is. The central character, Jake, is in his apartment with his screens. He’s working his way up to being a reporter by cutting a piece together for his ass of a boss.

So far, so usual for so many. But this story is about a double killing of a cop and the former attorney general, played by Larry Fessenden, who so many will know from so many horror projects; he’s a big wheel in the underground and overground movie scene.

Read interview at All Your Obsessions In One Place

“a wonderfully constructed, cohesive and engaging anthology film.
I loved Larry Fessenden’s piece that he wrote, directed, and starred in.
It has this contemporary Poe feel that is a balance between
the character’s narration and the visuals. It’s a fantastic piece.”
FEARSMAG

“ISOLATION horror anthology is pulse-pounding genre goodness.
Larry Fessenden‘s piece “Fever” is a wildly dark, creatively shot, fever dream.
It nailed the undying spirit of New York and hit me square in the chest.”
REEL NEWS DAILY

“Eleven directors collaborate for nine tales of Isolation at its scariest.
Inspired by the isolation brought about by COVID quarantine protocols,
the talent behind the cameras got creative about how to keep working.
Independent horror royalty Larry Fessenden (Jakob’s Wife) is included
in a roster of directors with impressive horror credentials,
and an inherent desire to stay busy and keep creating
even when a pandemic makes truth stranger than fiction.”
—POP HORROR

Produced by Nathan Crooker
Directed by:
Dennie Gordon (Jack Ryan, Legion, Hunters, Waco)
Larry Fessenden (“The Last Winter,” “Habit,” “Depraved”),
Bobby Roe, (“The Houses October Built 1&2”)
Andrew Kasch, (“Tales Of Halloween”),
Zach Passero (“Wicked Lake”)
Christian Pasquariello (“Alien Invasion: S.U.M. 1”)
Alexandra Neary (“The Innocent”)
Alix Austin & Keir Siewert (“Retch”)
Kyle I. Kelley & Adam Brown (“The Music Lesson”)

“FEVER”

Podcast appreciation for Fessenden’s HABIT

YouTube • Audio Only

~ HABIT now streaming on Shudder ~

The Greatest Place to Be a Vampire Was New York in the ’90s

With apologies to Transylvania and Sunnydale, the ideal place to be a vampire was New York City in the mid-’90s. The only proof you need is a cluster of indie movies that came out so close together in 1994 and 1995 that they’re basically an example of multiple discovery. Michael Almereyda’s Nadja, Abel Ferrara’s The Addiction, and Larry Fessenden’s Habit operated under the common thesis that if bloodsuckers stalked the streets of the city, they’d blend seamlessly into the crowd, because resident scenesters like wearing dark clothes and being dramatic just as much as any supernatural figure. Vampires may be larger than life, but in these movies — two of them shot in black-and-white; all of them small, scrappy productions — they’re made to look small. They turn up in mundane places like a party, or at a bar, or on a walk — just a few more eccentrics looking to connect. It’s the city that ends up looking big, a bustling but precarious place where someone’s disappearance could go unremarked upon for days, ascribed to a bender, or a hot hooking, or a bout of depression.

…

Anna (Meredith Snaider), the waif with a pixie haircut that Sam (Larry Fessenden) begins a rebound relationship with in Habit, justifies her refusal to tell him about her job by saying, “It doesn’t really have anything to do with who I am.” It’d be a reasonable rejection of careerism if she were willing to share anything else about herself — like whether, as Sam starts to suspect, she’s draining the life out of him.

…

Read the Article at VULTURE