Many filmmakers send Cinema Crazed horror films, and working at Film Threat, I get to review many independent horror films that are either mediocre, or pure garbage, but most recently we were given the chance to view “In Memorium”, and we were optimistic that there are still directors out there who know how to get it right. “In Memorium” (Review) is one of the newest productions from director Amanda Gusack, an artist who seeks to grab audiences through story and psychological terror.
Gusask’s film is utterly simplistic, but so terrifying by relying on shadows and darkness to do the tricks that computers can not accomplish, “In Memorium” is a testament to how horror can still be accomplished without any computers of gimmicks, and we asked Ms. Gusack for an interview to shed some insight on her project, her history in and love for horror, and how a low budget resulted in one hell of a horror film.
If “In Memorium” (Trailer) is any indicator, Ms. Gusack has much more scares to share for us, and we’ll be waiting on edge for it. Warning though, there are some spoilers to the film’s surprise twist, so be cautious:
Hello, Ms. Gusack, how are things?
Things are great! Thanks for asking.
Where did the idea for “In Memorium” stem from?
The idea for ‘In Memorium’ came from a drive to the doctor’s office. I thought, ‘What if I find out I’m dying?’ and it kind of evolved from there. I kind of get all my ideas from some paranoid tangent, which is nicely settling in the moment. The other half of the idea came when I decided to write a script to shoot entirely within my house. I pulled the ‘dying’ idea from the back of my brain and thought it would fit really well.
Was the semi-documentary style planned or a result of a low budget?
It was planned as a result of a low budget. Basically we knew the following: We had to shoot on video. We had one location. We couldn’t shoot outside b/c we couldn’t control the visuals beyond our property line. Music was expensive, and we need a story that would work better with unknown actors. Rather than let these things be limitations, I wanted to find a story that would only work with these things; Let the limitations frame, and pretty much design, the story.
Was there any trepidation creating “In Memorium” as a film within a film, after its predecessors already basically covered almost everything in the genre?
Not really, because it was designed to be different from its predecessors, and because Blair Witch carved out such a huge dent in the ’reality/horror’ subgenre, that it made this type of story ‘receivable’ to an audience. I think it helped us much more than it could have hurt us.
Do you feel had it been done in a pure film style, the same dread and atmosphere would have been retained and still resonated with audiences?
I don’t think so. This story was written to be bare in every capacity. I really believe horror works best when it reminds us of moments of perfect vulnerability; Fears that seep from the primal mind in the dark and the silence. With this film, I really wanted create the sensory experiences of those moments as much as possible, so less was definitely more.
Do you find your film being compared to similar popular genre pieces like “My Little Eye”, or “Blair Witch Project”? And, is that a flattering prospect?
People have mentioned both of those movies, and it’s very flattering. “Blair Witch” was really influential and inspiring. It served as a model for what could terrify people with absolute minimalism–video, no music, etc.
I’ve been viewing the copy you sent to us with my friends, and the feedback consisted of two constant comments: It was well done, and it was very scary. Why do you think “In Memorium” can reach down and scare people when many modern films just can’t accomplish that?
Thank you for the compliments! That makes me so happy.
I can only speak to what scares me personally, but I think some modern horror films focus more on plot stingers and moment-to-moment scares, rather than developing a primal or personal theme that evolves throughout the story. As a result, sometimes it’s harder to buy into those worlds, especially when those films become copies of each other.
Really scary, effective movies, for me, often involve some lack of control and/or parasitism, whether physical or psychological: The Exorcist (invasion of soul), Alien (invasion of body), Poltergeist (invasion of home and family) The Shining (confinement), Frailty (trust/faith), etc.
For me, “In Memorium” carries the creepiness of sickness/decay. I think, to some extent, we’re all afraid of dying, because we have no control over it. It’s pretty terrifying to think about.
You seem to have a history with the horror genre judging by your bio.
I love horror and thriller. Not straight gore, although I’m not against it. It’s just not as fascinating to me as the psychological fears that resonate from the characters to the audience. With horror, you have the opportunity to create a huge need in a character, above and beyond normal life, but directly relating to it. You can make the stakes so high that the characters must either change or die.
Do you find it’s easier to create a horror film more than it is creating a drama or a comedy, or is it all basically an arduous process?
Since this is the first feature I directed, I can really only answer that in terms of writing. Each genre has its own pace and tone, which pretty much designates what kind of detail you can put into a movie. For me, horror is drama with fantasy layered in. In writing it, I approach the same way as drama, with respect to overall structure and character development, and then play with color, mood, tempo, style to specify the tone.
How long did it take to film?
18 days.
Did neighbors or anyone seem to have a problem with the film being shot in your home?
Our next door neighbor thought we were shooting porn. Everyone else was fine with it.
How long did the script take to write?
About 2 months for the first draft, with a week here and there to address our awesome producers’ notes.
Did the actors adhere to the script you wrote, or were the cast given room to improvise?
Because the continuity was so important with this story, there wasn’t a huge amount of improvisation. During rehearsals, the actors asked me a lot of questions that resulted in dialogue changes and modifications here and there. We had such smart and sensitive performers whose input in rehearsals was crucial. While we were shooting, there were a few changes and omissions, but nothing terribly major.
You seem to rely on old factory devices like creaks, shadows, and bumps as opposed to attempting CGI or computer animation (which I thank you for), was this a result of the low budget or was it planned?
Both. For me, noticeable CGI really detracts from horror, because it reminds you that you’re in a movie, and therefore that you’re safe. We had some effects in this film—simple mattes and overlaps, but they were designed to be totally seamless.
I found “In Memorium” was really similar to the original “The Haunting” in which we’re told what’s hiding in this house, but never see what it is that’s terrorizing these people. Was this premeditated?
This is really bad—I’ve never seen the original “The Haunting.” It’s on my list with a lot of other films that I’m very bad for not having watched yet. I still have college nightmares of watching ‘Citizen Kane’ on hard seats that I told the teachers gave us bedsores. However, that is an astronomical compliment. A few people have recommended “The Haunting” to me as one of the scariest movies they’ve seen.
This is kind of a cheesy question, but I have to ask:
Did anything weird or unusual occur during filming? If not, then can you make something up for our readers to enjoy?
The whole time we were filming I joked to the actors and crew that we needed some kind of curse. I know my house, and I feel very safe in it, so I wasn’t too concerned that it would happen. However, one night when we were creating a ‘burn print’ of a female form (with dirt and water), the house caught on fire inside a wall outlet. Coincidence? Probably. But it was weird, and we were all spooked.
Did you consider adding a score for “In Memorium”, or did you want to retain its realism without it?
I considered it after an early cut, which was 10 minutes longer than our picture lock. We’d gotten some really perceptive notes that certain moments could move faster, and in addition to cutting, some music might help. After listening to a bunch of scores, and not finding anything that would work, I decided to focus strictly on the pace problem. We found a sound designer to create kind of an internal score—atmospheric ‘music’ using the tones of the house, which is so delicious because there’s no indication of when bad things are going to happen.
What has been the general reaction to your film? I personally loved it.
Thanks! So far, we’ve had awesome compliments. No one’s spat in my face or kicked me. I’m really thrilled with the response so far. I love to hear that it keeps people awake at night.
How long have you been in the film industry, and what was your early career like?
I started writing in college and spent four years writing two scripts, both of which were pretty bad. But I learned an incredible amount writing them. I’m 31 now, and have been writing pretty consistently from the time I started, almost selling something here and there, but never quite breaking in. I shot a short in ’99, and decided to write “In Memorium” after I spent a year away from the business in’ 03. Now I’m all revved up again, and I’ve had the joy of actually directing one of my scripts. So I’m pretty psyched to move forward on the next project.
Are you a horror fan?
I love horror that really utilizes symbolism and character at its core. I think “A Nightmare on Elm Street” is such brilliant concept and terrifying film, because it turns normal adolescence and parent/child complexities into source of death for the children. It also confines the characters to an untouchable, internal world. They can’t reach out or call for help. They can’t be saved, because they’re submerged in their own subconscious.
What facet of the horror film genre would you most like to attempt in the future?
It depends. I’m still freaked out by the idea of possession to the point that I won’t even write about it. Which means, eventually I’ll have to.
What are some of your favorite horror films and or literature?
Of course Stephen King. The Ring, Poltergeist, Frailty, Something Wicked this Way Comes. I’ve finally read some of Ray Bradbury’s prose, which is so stunning. It clings to the mind. You can’t peel it off after reading it.
If you could work with anyone from Hollywood, who would it be?
If I could just sit down for an hour with any of these people, I’d be in Hollywood Heaven: Wes Craven, James Cameron, Gore Verbinski, The Wachowski Brothers, Chris Nolan, Kathryn Bigelow, Bryan Singer, Ridley Scott, Hilary Seitz, Bill Pope, Hans Zimmer, John Williams, Kate Bush ( though not in Hollywood). Actors: Kate Blanchett, Benicio Del Toro, Hugh Jackman, Jennifer Connelly… The list goes on for days.
Do you believe in ghosts and all that jazz?
I definitely believe in jazz. I believe in ghosts. I pretty much believe in anything and everything, depending on the time of day and what I’m thinking about.
Does Casper scare you?
Casper scares the crap out of me.
Since most people probably haven’t had the thrill of seeing “In Memorium”, can you sell the film to catch their interest?
I don’t know if I can sum it up any better than your review. You might just have to link to it here.
Beat you to it. Thanks for the words.
Are you entering this film in any new festivals?
Not as many now. We just got the word that we’ll be playing in Shriekfest, which we’re really psyched about, and we’re still waiting to hear from a few more.
I read on your website that you’re seeking DVD distribution. How has that been for you?
It takes time. There’s so many indies out there waiting to be watched by execs, and you just have to be patient.
Since it’s sadly not on DVD yet, how can people get a hold of, or watch “In Memorium”?
Come see us at Shriekfest. The festival runs from September 22-October 1st in Los Angeles. You can find out more at the official website. They’ll be posting the schedules soon, and we’ll put the screening information on our website as soon as we have it.
What projects do you currently have lined up, if you’re willing to share?
I’ve just written a new thriller that I’m really excited about. I can’t say more yet, but I’ll let you know when it’s finished.
Many thanks for the interview, Ms. Gusack.
My pleasure! Thank you guys!!
So, there you have it. Our many endless thanks go out to director Amanda Gusack who, even though still hasn’t seen the original “The Haunting”, is still a very good sport, and a kind person for providing us with the interview. If you want to check out “In Memorium” will be screening at the upcoming Shriek Fest, and if you’re around that area we suggest attending. But if you can’t, just take our word for it, “In Memorium” is an excellent horror film.