Monday, March 27, 2017


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Kevin Doherty director of horrror, bloody film "LIGHTS CAMERA BLOOD!" gave me the chance to have a nice talk and he could tell me his thoughts about the genre since his own prspective and also talk about his film and his new projects.

EFF: Hi Kevin  a pleasure talk to you. How and when did born your love to make films?

KD: It was when I went to see Star Wars back in the fall of 1977.  I had been to the movie theater with my dad and to the drive-inn before Star Wars - I remember experiencing the big screen by seeing Peter Seller’s Pink Panther movies and some Disney flicks - but it was Star Wars that absolutely blew me away.  It wasn’t just a movie to me.  It was an experience.  Like a carnival ride.  It was an experience I’ll never forget.  I remember everything of that day.  What I wore, who I went with, where it was playing, brushing my teeth that morning…everything.  After I’d seen the movie, I felt exhilarated.  I think the seed was planted on that day.  I wanted to move people the same way the makers of that film moved me.
EFF: You are from Canada, right? What city are you from? Tell us a little about your life there, how it is?

KD: I'm from Winnipeg, Manitoba in Canada. It's a prairie town smack-dab in the middle of North America. We're a smaller city but have a thriving and very active art community. Our Fringe Theater Festival is the second largest in all of Canada. Our winters a snowy and cold, summers are bright and hot, autumn’s are beautiful and Christmas is very pretty here. We love our professional ice hockey and Canadian Football teams too.

EFF: Now speaking about your films, you have made three feature lengths until now, and the last one is "lights Camera Blood", why you decided give it life and how the idea it came to you?

KD: I was in a serious Herschell Gordon Lewis phase (whom we sadly lost a few months back) several years ago and the idea struck me that he probably should have made a film like Lights Camera BLOOD! But probably wouldn't so I decided to do it. It's definitely a tribute to his gore-exploitation films of the 60's and 70's.

EFF: Now, talking about the film screening, how did it go? How the audience assimilated your film?

KD: After I finished the film I mailed DVD's out to several horror film review websites and was delighted that almost all of them reacted favorably to the film. There were a few that didn't "get it" but if you're not familiar with "bad" splatter films of the 60's and 70's you'll miss the point and most likely be a little disappointed..

EFF: Are you a horror fan? What films you like the most and also what directors?

KD: I LOVE the horror genre. I really like all film genres (well, maybe not romantic comedies), but really prefer getting thrilled and scared. The very first horror film I ever saw at the theater was Jaws - I believe it was the re-release in '78 and I was just a young kid. That scene of Quint getting munched on and Alex Kintner being mauled in the water absolutely terrified me. I also vividly remember watching televised "censored" versions of Halloween and The Omen as well around the same time period and really digging those but I think what really hooked me on horror in general was the Salem's Lot TV mini-series and the release of John Badham's Dracula - which I wasn't allowed to see but my best friend's mother took him and he told me all about the film and the Dracula story. We both discovered Famous Monster of Filmland magazines at that time and we became obsessed with anything horror. The most frightening experience I ever had at the movies was when my dad took me and a bunch of my friends to see The Changeling at the theater for my 10th birthday. My parents really tried to convince me to go and see that Peter Sellers movie Being There instead but I was hell-bent on The Changeling and could not be swayed so we went. I remember taking a paperclip or something sharp and poking a little hole in the bottom of my drink cup after it was empty and peering through it during the really scary bits. Some of my friend's parent's were not very impressed that we went to a horror movie. As for directors that I like, I'd have to go with John Carpenter, M Night Shyamalan, Spielberg's early stuff and I love Rod Serling's work - though he was a writer I have to list him as a definite influence.

EFF: Seeing you filmography you have made three films bottled in three different genres, what kind of film you like to direct now having these experiences?

KD: Yes, I have tried comedy, dramedy and horror, but my main love is horror for sure. So much more challenging. And it's way cooler.

EFF: Your film looked to me like a giallo film, talking about some cameras shots, did you take some of that too?

KD: Thanks for that. I also love giallo films but hadn't had the intent to mimic the style of one with Lights Camera BLOOD, but perhaps due to the nostalgic feel of it, maybe it lends that impression, which flatters me!

EFF: If you could directing a horror remake film, what would it be and why?

KD: A remake? Wow, I never ever thought about that. I have so many of my own ideas brewing in my head that I'd really much rather do something original, but if I were given a contract with hefty pay and had to choose...I'd like to take a stab at - man! Sorry I can't think of one!

EEA: can we consider this film as a micro budget film? How was whole process for create it? Cast, location, funding, equipments, share it with us.

KD: Micro budget for sure. On the DVD and BluRay there's a commentary that I do that actually lists all and each and every one of the expenses I had during the making of the film which isn't much. The locations and talent was all free as was all the equipment. I had to build three different sets in my garage so most of the cost I incurred was materials for construction of the sets and the cost of the tapes I recorded on. Oh yeah, and the gore effects cost a bit. Actually a whole lot of bit. Probably the most costliest expense of the whole film. I probably spent about $400 CDN on the gore.

EFF: What equipments did you use? Cameras, edition softwares, everything.

KD: We used a Sony HDR High Definition camera and filled up about 17 Digital Video tapes at 1 hour each - so I had about 17 hours of film to edit with. Lot of the stuff we shot only took about 3 or 4 takes. It was all cut on Final Cut Pro.

EFF: What would you say for those newbie filmmaker who are undecided to how shoot their first film?

KD: For those just starting out I highly recommend making a short film first. It's a great way to get a small taste of the process and to gain some experience on a smaller scale. It exposes you to everything you'll need to know about from what kind of time commitments it's gonna take out of your life, equipment and cast/crew requirements, securing locations, props, wardrobe, how much money it's all gonna cost and the biggest one of all - developing a really thick skin. Then when you wanna take on a feature, you may hafta triple all that - depending on the magnitude of the project. Oh and discipline. You'll need a lot of that.

EFF: Horror films, what is the best sub-genre for you? Slasher, gore, creature, supernatural, giallo, etc?

KD: I don't really have a specific horror sub-genre preference...I love films like The Sixth Sense, The Omen, The Blair Witch Project, Creepshow, The Ring, Halloween, Carpenter's The Thing, The Changeling, C.H.U.D., Night of the Living Dead,  so as you can tell, it's really very scattered.

EFF: How is the indie production for micro and low budgets films, does exists guarantees where to shows your works in Canada?

KD: Everyone here in Canada, as I am sure filmmakers in all parts of the globe, are all making micro-budget films. The technology is available to everyone and anyone. And for nothing. As for Film Festivals to showcase works here in Canada, there are several! As I know there are in other parts of the globe.

EFF: Tell us anecdotes from your films, good ones and bad one, at least one of each.

KD: Good and Bad, eh? Ok I'm going to ramble on here so I apologize in advance but you asked! Here's the the best, or most memorable experience that I had. For my short film "Something for Santa", we shot in my own, hand-crafted living room set I’d built in a tire warehouse. It was awesome and worked almost perfectly. It was the first set I ever built and I was very proud. The worse…well, there were two. Shooting night scene exteriors in the small town of Lorette in Manitoba (a 45 minute drive from our city) for my feature length film "Black Bridge" back in 2002 and having dozens and dozens of volunteer extras, actors and crew drive up from Winnipeg, only to have rainy weather all night.  This happened almost every night we filmed out in Lorette which was six nights in a row.  We filmed in Lorette because I knew a homeowner out there who had a massive bush/forest area that I needed for a scene and they allowed me to use their electricity! What should have been accomplished in two nights lasted six.  We had entire nights wiped right out without one frame of film shot.  People became enraged and dropped out of the project.  Getting extras to come out was nearly impossible after that first night.  It was a nightmarish experience that I have learned a great deal from.  The other was a disastrous incident that occurred during the same film shoot on "Black Bridge" which happened in September of '02.  It was a Friday night.  Up to that point, I had almost 20 one-hour tapes full of footage.  We'd been shooting all summer long from June right up until that point and had some priceless material.  That night, I had a large crowd of crew, actors and extras making the dreaded trek back out to "rainy" Lorette.  Everyone made it out except for my cameraman who was mysteriously absent the entire evening.  He had made no attempts to contact anyone and wasn't answering our calls to his home, so I had to shoot everything myself (he'd left the camera gear with me from the previous shoot).  We got some good stuff.  In fact, it was the best night of the whole bush party scene, but would turn out to be the worst in a different way.  Also it was the only night we did not encounter rainy weather.  It was quite chilly however, but at least no mosquitoes.

We went out the next night to shoot some more.  Again--no luck of contacting the cameraman.  He was nowhere to be found and was not returning phone calls.  So we went out to Lorette again and did some more shooting, this time it rained off and on, but we got it done anyway.  Man, those nights out there were frustrating, exhausting and very late.

The next day, on Sunday, I again tried calling my cameraman but again with no success.  I became quite worried and puzzled.  I called my cameraman's friend, (My brother, in fact!  Can you believe it!  What a small world!) to ask him what had become of him, or whether he'd heard anything from him lately.  It was my bro who informed me of the dreaded news that my cameraman was so reluctant (and afraid) to tell me.  Apparently, on the Friday, my cameraman headed out to the shoot at seven o'clock.  He stopped at an ATM to get some money.  Upon the return to his car he was approached by a couple of punks.  They'd asked him for  a cigarette.  When he declined, they asked to see what was in the bag he was carrying.  They tugged on it, my cameraman tried to wrench it back, but they struck him several times in the ribs and knocked him to the ground and made off with his back pack.  In his back pack were most of the master tapes of the film.  An entire's summer work of shooting gone just like that. I was devastated.  If there ever was a time that I could have bawled as an adult, it was that Sunday afternoon.  I felt faint and sick.  Thinking of everyone's effort, time and the money that had been sunk into the project up to that point was crushing and heart wrenching.  He felt equally as horrible if not more so.  He felt so bad about it, he couldn't muster the nerve to break the news to all of us.  He'd spent the weekend trying to figure out how to let us know.  I don't think my brother enjoyed being the one to tell me.  My cameraman would never really recover from the incident.  We had to re-shoot almost everything throughout the winter months (luckily, the footage missing was mostly interiors).  My cameraman never came back out after that.  I don't believe he fully recovered from it.  From then on in, I was to shoot and re-shoot all by myself.

I had serious notions about just cancelling the entire production and moving on with something else.  Everyone involved felt awful about it.  We all felt spent, worn out and concerned about taking more time off work.  The thought of doing all that shooting again was unimaginable.  I had to coax a couple of actors to re-do it and they finally came around and agreed to go through it all again.  Eventually, after the shock wore off, cooler heads prevailed.  Everyone believed in what they were doing, and amazingly enough, we did it.  In fact, it was a blessing in disguise.  The re-shot footage turned out better than what we'd done before (the actors were so familiar by then with the story and their characters, everything seemed natural).The tapes were never recovered, despite attempts by crew and actors to search the area in which the mugging took place.  We did receive a lot of media exposure, but at a price.

EFF: What is new in your career? What can we expect in the future?

KD: At present I am writing a book that is Halloween-related. I hope to finish next spring and have it published in time for Halloween of 2017.

KEVIN DOHERTY'S Twitter | Imdb Webpage | Youtube


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