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The Camera is Haunted: An Interview with Polaroid director Lars Klevberg

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A haunted Polaroid camera kills everyone it photographs. This was the premise of a fifteen-minute short film called Polaroid, which was directed and written by Norwegian filmmaker Lars Klevberg, who made the short film for the express purpose of turning the concept into a feature. Klevberg’s wish has come true.

When it was screened in 2015, the short film quickly attracted Hollywood’s attention. Producer Roy Lee, known to genre audiences for the Grudge and Ring films, immediately recognized Polaroid’s feature potential. “When I saw the short film called Polaroid, I knew right away that it was a strong enough concept to develop into a feature film,” says Lee. “It takes a lot to scare me these days, because I’ve probably seen more horror movies and short films than anyone else in Hollywood, for work and as a fan of the genre. Polaroid scared me when I was watching it on my laptop in my office. I believed that if we could expand the short film into a full-length feature film, it would deliver an experience as scary as The Grudge or The Ring.”

Instead of hiring a new director to adapt Polaroid, Lee picked Klevberg. “I could tell right away that Lars was a talent whom I wanted to be in business with,” says Lee. “Lars came up with the concept and put together the amazing short film, so there was no one better suited to turn it into a feature. He was able to create a strong feeling of dread and tension in a limited amount of time in the short film, and I knew that it would be great to see what else he could accomplish with more screen time.”

The feature version of Polaroid, which was written by Blair Butler, tells the story of Bird Fitcher (Kathryn Prescott), a high school loner who takes possession of a vintage Polaroid camera. Bird soon discovers that the camera houses a terrible power: Everyone who has their picture taken by the camera meets a violent death. Bird and her friends race to solve the mystery of the haunted camera before it kills them.

In May, I had the chance to interview Klevberg about Polaroid, which was originally supposed to be released in August. Polaroid is now scheduled to be released on December 1, 2017.

DG: Lars, can you talk about the journey that you, and Polaroid, have taken over the past three years, from the production and release of the short film, to having your project optioned by Hollywood, and then the process of turning your short film into a feature, and now its imminent release?

LK: It has been a very busy year. I jumped on a plane in January to start a very short prep. We shot for twenty-five days, and then I touched ground in Norway, before I went to L.A to start the post-production, which is what I´m doing right now.

​DG: Lars, when you made the short film, did you envision its feature potential, and how would you describe the process of turning a fifteen minute short film into a feature?
​ ​
​LK: Yes. When I wrote the script, I knew this had the potential to be picked up in Hollywood. So I already had a plan for it then. And it did. The core idea was very thrilling and scary. The process has been interesting indeed. When you’re working for Bob [Weinstein] and his team, you pretty much have to be prepared to saddle-up at any moment. Making the feature has been a faster process than the short, and that says a lot.

DG: Lars, for those who haven’t seen the short film, what are the biggest differences between the short film and the feature film, and what were the biggest challenges you faced in terms of transforming the short film into a feature length screenplay?

LK: In terms of bringing a short into a feature, the biggest challenge is always the story—the story and the characters. Then he was had to rebuild the mythology, in terms of the camera, and shape it as we moved forward with the story. Everything has to fit.​ The short film is very slow and suspenseful, and it doesn’t give away everything until the absolute last minute. I wanted to take that with me into the feature version.

DG: Lars, what did Blair Butler, who’s primarily known for her comedy writing, bring to this project that helped you conceptualize this as a feature, and maybe took the characters and story in directions that you never envisioned when you made the short film?

LK: Blair brought some human touches to Bird, the main character. These are small, almost invisible moments. This was very good and brought more depth to the character.
​ ​
DG: Lars, how would you describe the journey that Bird Fitcher, the character played by Kathryn Prescott, takes in this film, in terms of the arc of her character and her relationship with the Polaroid camera?

LK: Bird is a very lovable protagonist. It was important for us to have a protagonist who presented this empathic and non egoistic human being without feeling forced, because she is the opposite of what the film is about. Having a protagonist with a back-story and multiple layers is something I always find interesting. Bird’s emotional back-story and personal interest is a big part of how she is capable of overcoming her biggest fear to date. The character is beautifully portrayed by Kathryn.

DG: How is the Polaroid camera introduced into the story, and what was your strategy, and what techniques did you use, in terms of presenting this camera, this object, as the villain of your film?

​LK: We introduce the camera pretty early on in the film. The audience will quickly understand that this thing can generate some really horrifying moments. So when the camera ultimately ends up with Bird and her friends, the audience is already extremely alerted to the camera’s potential. ​

​DG: Lars, is there a “clock” in the story, in terms of how much time Bird and her friends have to respond to the camera’s evil powers, and what are the “rules” in the film, in terms of how it attacks, and how, possibly, it can be defeated?

​LK: Kind of. People are dying, and it won’t stop until Bird finds a way to stop it. I won’t go to specific about the rules, but it was important for us to create something menacing that was integrated into everything in the film. I’m talking about the theme, the symbols, premise, the technology, the society. Everything is neatly baked together to create something unique and horrifying. ​

​DG: Lars, Polaroid has been compared to films like Final Destination and The Ring, and I was wondering if you think these comparisons are justified, and if there were other genre and stylistic influences that you brought to this story?

​LK: Yes. I´m a huge fan of the Ju-On films. In making the short film, I wanted to go in that direction but add the Norwegian feel to it. ​ Great horror films represent the society in different ways—The Ring, Alien etc. It was important to me that Polaroid represented something that we all can identify with. In Polaroid, it’s the narcissistic and selfish way we live. Posting pictures online, taking “selfies” and generally not connecting too much with the people around you. Emotionally. We live in a world with a lot of tools to get closer and be more social, but it kind of makes for the opposite. We become more isolated. We are heading towards something not good in terms of a self-imposing, narcissistic society. ​

DG: Lars, what was the stylistic and visual strategy that you and your cinematographer and production designer outlined for this film, and how did you achieve this, and how would you describe the atmosphere, look, and tone of the film?

LK: I´m a very visual storyteller. I like presenting ideas and emotions visually. I am a huge fan of the old way of shooting noir films, with hard contrast and low key lighting. I wanted to bring that into Polaroid together with the minimalistic approach of Edward Hopper. Trying to bring the art into Polaroid. Also, I looked at paintings from Caravaggio and Edward Munch, which was something that defined the look. I don`t dislike the gritty handheld design of most of the new horror films coming out, but I knew, pretty early on, that I would go for something different​. There are a lot of direct references to famous paintings in the film, and you will find them if you are looking.​ Talking with Ken Rempel, the production designer, and Pål Ulrik Rokseth, my DP, we built a look around that. Watching Polaroid on the cinema, I´m pretty sure you will spot the big difference. Polaroid won’t look like its siblings.
​​
DG: Lars, what was the biggest challenge you faced in making this film?

LK: The time to do it. The script was massive for its size. There were 136 scenes with a lot of action and forward momentum.​
It was very, very challenging to get all of that considering the amount of locations, SFX, VFX and everything we had in our script. ​

DG: Lars, why did you film in Nova Scotia, Canada, instead of somewhere in America, and what are the main locations, settings, in the film?

LK: Dimension did The Mist there. It actually gave the perfect look for the film. I was really happy. It`s snowy, cold, and it just creates something different and visual. It reminded me of Norway, which gave the film something unique and interesting. The bad side was that I finally could make a Hollywood film but I didn’t get sun and palm trees. It was like Norway 2.0.

DG: Lars, as someone who grew up in Norway, I wonder if your teenage experience was relatable to that of Bird’s and her contemporaries, and the American high school/teenage experience as a whole, especially in terms of issues like bullying and peer pressure. Question: Was this something you had to adapt to, a major difference between your short film and this feature, and what is it about the high school experience that you think lends itself to the horror genre, most notably in Carrie, and now your film?

LK: No, not really. A director’s job is to create that. To be able to dive into people and places and do whatever’s necessary to understand that process. But I grew up with the American horror films taking place at school. Nightmare on Elm Street, The Faculty, Scream etc. I love those movies. Having the school setting is just a natural way of presenting your characters if you are not having them on vacation or it’s a weekend. But in Polaroid, the school gets a much bigger part than I expected. I loved going back to those places and create my own high school horror. Your question about Carrie is interesting. I think it has something to do with how we respond to the world and to our surroundings when we are at that age (high school). What we consider as premature problems when we get older can mean life and death at that stage, literally speaking. There’s a lot of insecurity. I also think many artistic creators have a lot of memories from High school, and many not good ones. They carry those memories with them throughout their life. When they get older and start writing or expressing their feelings, a lot of influence will probably come from those experiences. So that might be a reason for why there are so many stories told from that perspective. ​

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[Exclusive Photos & Trailer] Magnificent Films’ Vampire Feature ‘Drained’

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There have been some Vampires in the news this week; I’m not complaining! Sean Cronin and Peter Stylianou’s film Drained is screening at the Cannes Film Festival in France. Drained sounds like it has romantic and supernatural elements, conflict, emotional and psychological depth, and a rich setting. Go ahead and check out the press release below and our exclusive photos & teaser trailer. If you’re into vampires sprinkled with intriguing characters and a blend of genres, this may be your cup of blood!

Madalina Bellariu lon in ‘Drained’ [iHorror Exclusive]

British filmmakers’ Sean Cronin and Peter Stylianou’s London-based feature vampire film “Drained” has completed post-production and is headed to market at the prestigious Cannes Film Festival (May 14-25, 2024) in Cannes, France. 

The supernatural horror film – which was co-directed and produced by Cronin and Peter Stylianou from a screenplay by the latter — was filmed in London, England, and is a Magnificent Films/House 54/Red Guerilla Films co-production. Additional producers include Daniel Patrick Vaughan and Tony Currier. Cronin, as an actor, has portrayed villains in dozens of box office hits, as well as having directed several award-winning titles, including the upcoming feature ‘Bogieville.’ Peter Stylianou is a writer/director with two feature film credits already to his name. 

Reads the synopsis for ‘Drained,’ “In the neon-soaked streets of London, Thomas, a jobless post-graduate concept artist, falls in love with Rhea, a mysterious woman who turns out to be a vampire. As their twisted romance unfolds, Thomas’s health deteriorates, and he spirals out of control. 

BTS of Directors Peter Stylianou and Sean Cronin

Ruaridh Aldington (“Dirty Boy”) and Madalina Bellariu Ion (“Dampyr”) star as the ill-fated couple, with supporting cast which includes Craig Conway (“Dog Soldiers”), Angela Dixon (“Never Let Go”), Andrew Lyle-Pinnock, Natasha Patel (The Witcher: Blood Origin), Andrew Lee Potts (Band of Brothers), Diana Yekinni, Ayvianna Snow, Kenton Lloyd Morgan and Timothy Blore. 

Special makeup effects are by Francesca Reidie, with Ellie Campbell handling production design and cinematography by Daniel Patrick Vaughan.

Said Cronin of “Drained”, “Stylistically, the film is a mesmerizing blend of darkness and beauty. With a neon-noir aesthetic reminiscent of a night bus ride through London’s rain-soaked streets, we worked hard to capture the city’s underbelly, with a score and soundtrack that echoes the allure of ‘Drive’ with its synth 80s sound, striking the perfect balance between atmospheric and engaging.”

Ruaridh Aldington & Madaline Bellariu lon in ‘Drained’ [iHorror Exclusive]

Added Stylianou. “Beneath the surface of this vampiric romance, the film delves deeper, exploring the addictive nature of today’s society. Just as Thomas becomes ensnared in Rhea’s world, modern life presents its own metaphorical vampires, be it social media, substance abuse, or other self-destructive habits. The film paints a striking portrait of why individuals give themselves to these draining forces.

Added Madalina Bellariu Ion: “Growing up in Transylvania, Romania, I’ve always dreamt of playing a vampire. So, portraying Rhea was a perfect fit for me! The blend of fantasy horror and gritty realism in this film created an unforgettable experience that stayed with me long after filming ended. I hope the audience feels the same way after watching it. It’s a truly unique vampire film.”

[Exclusive] ‘Drained’ Teaser Trailer
‘Drained’ – Poster

About Magnificent Film & Television LTD

Magnificent Films was founded in 2007 by Sean Cronin to create imaginative, cinematic storytelling second to none. With a team of talented editors, writers, and production staff he has forged forward in building a dynamic film company for the 21st century. With working relationships with some of the best and established people in the industry yet keen to support and promote new talent both in front and behind the camera and from all areas of the community, Magnificent believes passionately that the industry should be accessible to all who have an aptitude and talent for storytelling in the medium of film and television.

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New Body Horror Film ‘The Substance’ Releases Teaser

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We haven’t seen Demi Moore in a movie since The Unbearable Weight of Massive Talent back in 2022. She has been busy though, she had a part in Ryan Murphy’s latest Feud chapter and now she is contemplating altering her body to make it more youthful in the body horror film The Substance.

Apparently, according to the official synopsis, there is a newly developed beauty regimen that “generates another you. A new, younger, more beautiful, more perfect you. And there’s only one rule: You share time. One week for you. One week for the new you. Seven days each. A perfect balance. Easy. Right? If you respect the balance… what could possibly go wrong?”

A still from the film (used in out header) suggests that this new technology requires a lot more than dabbing it under your eyes or administering a sticky mask. The film premiered at the 2024 Cannes Film Festival and was bought by Mubi. No US release date has been announced.

The Substance

The Substance reminds us of another FDA nightmare, The Stuff (1985) in which a commercially marketed whipped treat turns people into zombies. That film is a dark comedy about consumerism and gluttony. While Deadline reports that The Substance is humourous as well as gory, they don’t say how rooted it is in satire.

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Airbnb Scareprank Pits Influencers Against ‘The Strangers’

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The Strangers: Chapter 1 was released this week. This is the first part of Renny Harlin’s trilogy which appears to be a retelling of the 2008 original. Early reviews are passable, but many have said it is not as scary as the original and hope this first installment is just a taste of what is to come.

However, social media influencers got the scare of their lives after they were invited to an Airbnb for a special screening. As they watched the film masked home invaders visited them and their reactions were recorded.

The stunt was put together by actor/executive producer Madelaine Petsch and producer Courtney Solomon. You can watch how it played out below.

Soloman was recently interviewed by iHorror and attempted to clear up some questions about how this trilogy fits into the Strangers universe:

“The one thing that seems to register confusion amongst the OG ‘The Strangers‘ fans is that we remade the movie, or that it’s a prequel. Not really. What we did is we took the DNA of the original setup, and wanted to use that because you really can’t do better for a setup, we’re using that as the jumping-off point. Our characters are different. Our scares and our beats are very different. It’s all setting up a bigger story. You’re following these characters, and you will really get to know the protagonist and antagonist, and as they go through, it’s like they almost know each other.”

The Strangers: Chapter 1

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