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LOVING
THE DEVIL:
When it comes to the east coast independent scene, there’s no doubt that the most prolific horror film company is Glass Eye Pix, headed by filmmaker Larry Fessenden, who began the company with his own films in the 1970s. The company has been a launching point in recent years for many independent filmmakers, from Dave Gebroe’s ZOMBIE HONEYMOON to Ti West’s THE ROOST to Glenn McQuaid’s upcoming I SELL THE DEAD. One of the more well received films was James Felix McKenney’s AUTOMATONS, a 1950s style horror film about a robotic rebellion. Now McKenney is back in the director’s chair for SATAN HATES YOU, and the Crypt was given an invitation to the shoot. In tradition with Glass Eye Pix’s films, the story of SATAN HATES YOU cannot be summed up in one word, but upon observation the film focuses on several characters against the backdrop of religion. In one story, Wendy (Christine Spencer of AUTOMATONS) is a young girl who spirals out of control while living with her older sister Holly (Christina Campanella). At the same time, Marc (Don Wood, also from AUTOMATONS) is a tormented individual who becomes a serial killer. Seen in the background of these stories are two demons named Glumac (Larry Fessenden) and Scadlock (Bradford Scobie) who observe these two characters while also luring them to their dark intentions. According to McKenney, these characters are the chorus of the film. The film also stars PHANTASM’s Reggie Bannister and Angus Scrimm in their first film together outside of that franchise, as well as NCIS’ Pauley Perrette, WORLD WAR Z writer Max Brooks, THE HILLS HAVE EYES’ Michael Berryman, and scream queen Debbie Rochon. With minor filming underway for the better part of the year, SATAN HATES YOU underwent its major shoot over two weeks in Brooklyn locations (where McKenney resides). The first day of my set visit was a big Halloween party scene run by a coven of witches and Wendy, dressed in a cute devil’s outfit with wings. Many extras were dressed up to the nines in outrageous costumes, from an alien monk to Alice In Wonderland, the diversity of costumes was most welcome. Amongst the partiers is actor/filmmaker Alan Rowe Kelly (who also provided the film’s makeup), dressed like a swami from an old ABBOTT & COSTELLO movie and provides Wendy with a line of coke. It’s only fitting that Kelly’s character is named “Cokey.” The room is part of a set built in a huge warehouse, which has numerous sets, including Wendy’s room, her older sister Holly’s room, and a small room which gets re-dressed several times during the shoot. The cast and crew are unified, as it’s a fun set but very serious, and the job is done quickly and effectively. The film’s cinematographer Eric Branco has put in a system for some scenes by having a second cameraman shooting simultaneously. The film is shot on a High Definition Pro camera with 35mm adaptors attached, giving it a 2:35 to 1 aspect ratio on digital video. Upon viewing some of the dailies, you cannot tell that this was shot on film. With 13 days of principal shooting (after mini shoots conducted since 2005). After the party shoot, the next day was the majority of Wendy’s story, including a pivotal scene where she makes a major revelation to Holly’s friend Serena (Turquoise Taylor Grant). It is on this day where I was introduced Glumac and Scadlock, who according to McKenney, are the film’s “immoral centers.” With matching red smoking jackets and little horns, the two gesture and gloat about at their surroundings that they may be causing, and provide some laughs amongst the crew. The set shifted from the warehouse set to a local bar in Brooklyn, where the majority of Marc’s story is filmed. Played by Don Wood (who despite not being in the scenes filmed at the warehouse showed up to help out), Marc’s story is that of a tormented individual who is also a serial killer. He is friends with Mickey the bartender (Reggie Bannister) and forms a friendship with Tina (Debbie Rochon), a conservative Christian who runs a church right next door to the bar. With all her scenes in one day, Rochon has three outfit changes, with one more conservative than the last. The outdoor shoot brings some difficulty as a truck route causes many trucks to affect the sound recording of the scene, but McKenney is able to get all his shots in the time scheduled. Glumac and Scadlock, those crazy demons, follow Marc along as well and their appearance outdoors sparks no reaction from the busy Brooklyn street, proving once and for all that New York City is for any culture, even demons. The shoot for the three days at the bar start at 4am primarily because McKenney and crew are allowed to film while the bar is closed, so there is a timetable for these scenes to get done. The shoot goes so well that Bannister was wrapped earlier than expected and McKenney and cast are able to improvise some shots for extra coverage. McKenney is definitely making a film for the horror audience, but in observing the many themes of SATAN HATES YOU, it is looking to grab a few more audiences. Despite the film’s poster and portrayal of certain characters, McKenney also wants to make it clear that this is not an anti-religion film and that he expects audiences to be very surprised on what the overall message of the film brings. With filming recently wrapped, look for SATAN HATES YOU to be released later this year and look soon on the Crypt for an exclusive on the set documentary of my time on the film featuring interviews with James Felix McKenney, Christine Spencer, Don Wood, Reggie Bannister, Larry Fessenden, Debbie Rochon, and others. (Special thanks to the entire cast and crew of SATAN HATES YOU for their time, hospitality, and utmost professionalism) Go to www.glasseyepix.com or www.satanhatesyou.com for more information.
PHOTO GALLERY
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