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iHorror Exclusive: Interview With ‘Proxy’ Director Zack Parker

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Richmond, Indiana’s Zack Parker made a big mark in 2014 with the excellent and unpredictable Proxy. I had the film (which is currently available to stream on Netflix) at number 4 on my best of the year list, and to tell you the truth, I could easily move it to any spot above that on any given day. Out of all of the great movies of last year, few stuck with me as much as Proxy. If you haven’t seen it yet, I really can’t recommend it enough.

Proxy is also the kind of film that’s hard to discuss without giving too much away, so beware of that. You may find some spoilerish language below, so if that’s a concern, go watch the movie first. Besides, it’s one of those that’s almost certainly best when you go into it knowing as little about it as possible.

We had the chance to catch up with Parker, and discuss the film (among other things). So without further ado:

iHorror: From what did your interest in the mental condition that Proxy is based on stem? 

Zack Parker: It’s always difficult to pinpoint where an idea comes from. I will say that I’m always trying to tackle a subject matter I haven’t seen before when starting a new film. It really just evolved out of several conversations Kevin Donner (my writing partner on the film) and I were having. Subject matter that was relevant to both of our lives at the time.

iH: Some have complained about the film being too long. This seems ridiculous to me as it’s only two hours, and every minute is used excellently to either advance the story or develop the characters, which are both major keys to what make Proxy so good. Do you think the film could have worked if it were any shorter?

ZP: If there is anything I’ve learned over the course of making four features (and many shorts), it’s that you’re never going to please everyone. There is no sense in even trying. The only thing you can do is trust your own instincts as a storyteller and try to make the film that you would want to see. To me, every piece of the film that exists now, for the story I’m trying to tell, needs to be there.

iH: You have said in the past that you had to cut more from this film than any other project you’ve worked on. Was it a struggle to get it down to two hours to begin with? Is this two-hour film the version you really wanted, or is there really a longer version you had envisioned? 

ZP: This is the only version of the film that exists, and it is my cut. I’m never really conscious or concerned with running time when cutting a film. I’m trying to let the film dictate to me what it wants to be. When I get into the editing room (my favorite stage of filmmaking, btw), I try to forget about everything prior to that: the script, the shoot, etc.. They are now irrelevant. All that matters is the pieces you’ve accumulated. The film exists somewhere in those pieces, and it is now my job to find it.

iH: Proxy deals with some difficult subject matter. As a family man, did you find it difficult to work on at times, on an emotional level? 

ZP: There are always going to be some parallels to your own life when writing something, and the fact that my own son is in the film gives me a connection to it that I haven’t experienced in previous work. But I try to stay objective to those connections, to avoid unnecessary influences that may water the film down.

iH: I’m originally from Indiana and still have a lot of family there, but had no idea there was such an interesting film community until recently. Two of the ten movies on my Best or 2014 list were filmed in Indiana – yours and Scott Schirmer’s Found. Can you just talk a little bit about the Indiana film scene? The pros and cons to making a movie in the state? 

ZP: It’s a relatively small community, but there are certainly some talented people here. I think most struggle with getting their work to break the boundaries of the State, but that’s difficult for any indie film. Having no production tax incentives in Indiana doesn’t help lure or keep productions here as well.

iH: Music is so integral to a film’s effectiveness, particularly in horror and otherwise dark content, yet it seems like an afterthought in so many genre films. Can you discuss your approach to the use of music in Proxy and maybe give a few examples of your favorite uses of music in other films? 

ZP: Well, The Newton Brothers have scored all of my films so far, and those guys are just brilliant. I honestly can’t imagine making a film without them. I like the music in my films to have real structure, not just be a source of atmosphere. Rarely do I have a scene with music and dialogue together, because I feel music should be used as a form of dialogue, almost another character in the film. In my opinion, guys like Kubrick, Hitchcock, and more recently von Trier are true masters of how to elevate film through music.

iH: Based on other interviews, I get the sense that you are a horror fan, but don’t necessarily consider yourself a horror filmmaker. As a fan, beyond the classics, what are some modern horror flicks you’ve been particularly fond of? 

ZP: I am, of course, a fan of cinema in general. But I do tend to gravitate toward films that are a bit darker, take risks, and show me something I haven’t seen before, or perhaps present it in a way I haven’t seen.

I don’t really think about genre when making a film, I’m just making the story the only way I know how, filtered through whatever sensibilities I may possess. I understand why people may label PROXY as horror, as it certainly deals with pretty horrific circumstances, and there are much worse things than having your work embraced by one of the most passionate and loyal cinema communities that exist. Like any filmmaker, I just want people to see my work.

iH: I understand your next film is to be shot in Chicago. What can you tell us about that? Any timeframe on when we might see it? 

ZP: Not too much I can say about it except it is something I’ve been working on for awhile, and is definitely the largest film in terms of scope that I’ve ever attempted. Currently, we are scheduled to begin in Chicago late spring/early summer. If things go according to plan, we’d be looking to premiere in early 2016.
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There you have it. We’ll certainly be on the look-out for Parker’s next project, as he has established himself as one of the most interesting filmmakers to keep an eye on, if you ask me.

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Childhood Memories Collide in New Horror Film ‘Poohniverse: Monsters Assemble’

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It looks like ITN Studious and Jagged Edge Productions are going the Avengers: Infinity War route with their upcoming film Poohniverse: Monsters Assemble. From the deranged mind of Rhys Frake-Waterfield (Winnie the Pooh: Blood and Honey) comes this belligerent mash up of beloved childhood icons.

According to an article out of Variety today, Poohniverse: Monsters Assemble will consist of Winnie the Pooh, Bambi, Tinkerbell, Pinocchio, Peter Pan, Tigger, Piglet, The Mad Hatter, and Sleeping Beauty. All of these iconic figured will be warped into nightmarish versions of their former selves. Poohniverse: Monsters Assemble is set to be released upon the world sometime in 2025.

Poohniverse

Actor-producer Scott Chambers (Malevolent) had the following to say about Poohniverse: Monsters Assemble. “As horror fans, we would love an Avengers that is all villains. It’d have Freddy Krueger, Jason, ‘Halloween,’ ‘Scream,’ all of those. Obviously that will never happen, but we can make it happen in our own little way, and that’s where this film has been born.”

Poohniverse: Monsters Assemble will be a part of The Twisted Childhood Universe. Just like the MCU, each character will first get a standalone film. After introductions are made, they will be reunited in an Avengers style film. Although they will be killing off the survivors from the previous films, they won’t be working together.

Chambers describes this as an “epic sequences of monster vs. monster.” And I don’t know what more fans could ask of the studio. This fantastical idea is a huge risk but Poohniverse: Monsters Assemble sounds amazing.

That’s all the information we have at this time. Check back here for more updates on Poohniverse: Monsters Assemble. If you haven’t already, check out the trailer for Winnie the Pooh: Blood and Honey 2 below.

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Blumhouse’s ‘The Wolf Man’ Reboot Kicks Off Production with Leigh Whannell at the Helm

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Blumhouse Productions has officially commenced filming its reboot of the Universal Monsters legend, “Wolf Man”. Under the direction of Leigh Whannell, known for his acclaimed work on “The Invisible Man” (2020), the project promises to breathe new life into the iconic tale. The film is slated for a theatrical release on October 25th, marking a new chapter in the storied franchise.

Wolf Man

The journey of a “Wolf Man” reboot began in 2020 when actor Ryan Gosling presented a fresh take on the classic story to Universal. This concept quickly evolved into a screenplay crafted by the talented duo Lauren Schuker Blum and Rebecca Angelo, who are known for their work on “Orange Is the New Black,” alongside contributions from Whannell and Corbett Tuck. The narrative is set in contemporary times, drawing inspiration from the atmospheric tension of Jake Gyllenhaal’s “Nightcrawler,” albeit with a distinct supernatural twist.

The film has seen its share of directorial and casting shifts, with Whannell initially signing on to direct in 2020, only to step away and then return to the project after Ryan Gosling and director Derek Cianfrance exited. The lead roles have been filled by Christopher Abbott and Julia Garner, both of whom bring significant talent to the screen. Abbott portrays a man whose family faces the terror of a lethal predator, with Garner likely playing his wife, sharing in the familial peril. The storyline also hints at a daughter named Ginger, adding a layer of depth to the family’s harrowing experience.

Julia Garner and Christopher Abbott

This reboot represents a collaboration between Blumhouse and Motel Movies, with Jason Blum producing. Ryan Gosling remains involved as an executive producer, alongside Ken Kao, Bea Sequeira, Mel Turner, and Whannell himself. The announcement of the film’s production start was made by Jason Blum, who shared an exciting glimpse of Whannell on set, signaling the beginning of what is hoped to be a memorable addition to the horror genre.

As the “Wolf Man” reboot moves forward, fans and newcomers alike are eager to see how this modern interpretation will pay homage to its roots while offering a fresh and thrilling experience. With a talented cast and crew at the helm, the film is poised to reintroduce the timeless tale of transformation and terror to a new generation.

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‘Immaculate’ Stars Reveal Which Horror Villains They Would “F, Marry, Kill”

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Sydney Sweeney is just coming off the success of her rom-com Anyone But You, but she’s ditching the love story for a horror story in her latest film Immaculate.

Sweeney is taking Hollywood by storm, portraying everything from a love-lusting teenager in Euphoria to an accidental superhero in Madame Web. Although the latter got a lot of hate among theater-goers, Immaculate is getting the polar opposite.

The film was screened at SXSW this past week and was well-received. It also gained a reputation for being extremely gory. Derek Smith of Slant says the, “final act contains some of the most twisted, gory violence this particular subgenre of horror has seen in years…”

Thankfully curious horror movie fans won’t have to wait long to see for themselves what Smith is talking about as Immaculate will hit theaters across the United States on March, 22.

Bloody Disgusting says that the movie’s distributor NEON, in a bit of marketing smarts, had stars Sydney Sweeney and Simona Tabasco play a game of “F, Marry, Kill” in which all their choices had to be horror movie villains.

It’s an interesting question, and you might be surprised at their answers. So colorful are their responses that YouTube slapped an age-restricted rating on the video.

Immaculate is a religious horror movie that NEON says stars Sweeney, “as Cecilia, an American nun of devout faith, embarking on a new journey in a remote convent in the picturesque Italian countryside. Cecilia’s warm welcome quickly devolves into a nightmare as it becomes clear her new home harbors a sinister secret and unspeakable horrors.”

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