Festivals - Fantasia 2020 : For The Sake of Vicious - Gabriel Carrer and Reese Eveneshen’s interview

By Mulder, Canada, 29 august 2020

Gabriel Carrer (The demolisher) and Reese Eveneshen (Detective) have combined their cinematic prowess to create this brutal and thrilling DIY film. Lora Burke's talent is irrefutable from the very first scenes, brilliantly inaugurating the intense dramatic situation in which these characters are entangled. Made in only 15 days, full of practical special effects and stunts performed by the actors themselves, it's a real head-on collision imagined by these creative filmmakers and should not be missed. The blood is spurting at will, to which is added an agonizing synthesizer soundtrack (composed by Carrer).

Q : it's such an incredibly physical film all the way through. Did you cast of that in mind how did you get your actions through that because it's the only sees the really exhausting process for everyone involved.

Gabriel Carrer and Reese Eveneshen : Right yeah. Well I mean the big thing was the first people I think we brought on board was our stunt team I was just TJ Kennedy and Adam Ewings who we worked with separately on two other features and you're done and we know from working with them that their credit we get taking any actor of any sort of physical skill level and working within their strengths and weaknesses while also adapting to the stuff that we want to see for the movie we tended at first piece we were trying to cast for the physical attributes of all the fights and whatnot but then we realized it just wasn't working out for us because ultimately the end of the game once it's gonna be one word so what performance is first and then hope and pray that our casting would be able to kind of bring that out of them and I mean it's a great specially Laura was a rock star playing you know I mean she could kick everybody's on that second for each check she was doing a bunch of pushups and jumping jacks and just getting wrapped up so we got the three she was probably the best. Yeah but I think a lot of credit goes to our stunt team who was here they really work with the cast to kind of get those this physical performance that are so.

Q : so was the genesis for this film and how difficult was that tackling such heavy themes of you know sexual abuse and etcetera.

Gabriel Carrer and Reese Eveneshen : Well I think we came up with the early outline that was very different than what the movie was the first conception of it was there is people trapped in a house essentially but it was in the mid hot summer during a black-out and this study was more of how people behave differently under a circumstance like acting all under a natural disaster or something so taking this hostage situation but putting it into an environment where there's a black-ouutknow how old is a heightened so that's kind of where it manifested from and then just due to you know what about some things back and forth and then you know responded taking the script on its own you know he turned it into something entirely different. I'm not even sure how you doing that. I mean well you know the idea we always joke that you know are a lot of our friendship is based out of our love of being Mallrats so a lot of our best stories come together just last sitting on mobile food court and shoot and getting ideas back and forth and I remember this is about I think this summer 2018 piece this idea in a unanimous hostage situation I am thinking about thinking about it and I was like you know what let me just take a crack at it and. I see it's interesting because you speaking specifically about the themes that are mentioning you know what some of the darker things. I think a lot of that sort of comes is a reflection of the times of the stuff we're seeing in the news this isn't a political song by any means and we don't want to be some NASA social commentary because it's not but I think he was just sort of you know as a writer storytellers you're constantly ingesting all this information in your only outlet for you know because I'm not I don't go on social media and do the stuff from my only outlook for it is to put it into these movies so I think it's me trying to grapple with someone that will also trying to make it fit within this framework and you also instinctively know that a lot of those things are very Crest here director you know they're they're like pieces are incredibly dark and it just seems sort of the perfect way to start the story so much yeah. I think thank you your questions going on this is a long version of it but a lot of the genesis of the idea too is that we're both coming off of feature films that we direct separately that haven't exactly done very well in your kind of feeling down and burned out and I think the script came from a very dark and angry place which is why it is the way it is just because we're not pissed off anybody specifically but we're just like a lot of a lot of work didn't really go anywhere and this is list you some just you know . it let's just do some crazy dark so I was hoping to like you know just when you when you think about it the darker subject matter what way you know you do if you were a mother or father in something like that happen to your child. Like I don't wanna I don't wanna say that like I mean it would be hard for me to not go after the guy that would have done something like this right like0 it would be very hard for me so putting myself in that position might. I don't know like what Nick was doing was it completely out of the norm like he you know it thank I don't know it raises a question how far would you go it should the justice system isn't working and we see that we do see that on the news and media with you know current social politics now right people are going in the streets and raising their voice so you know raise questionable Nick was at bat personally I would say no I can I would if you love your daughter and that happens and it just wasn't working. I would probably do that yeah but again don't let that you know making some great no this is a movie where the last 30 minutes which is like your screen get the shit kicked out of them and they're shit roots and blood spring everywhere since some of it is just yeah you know that's our way of getting our actually happens your burger burger you know. I mean underneath all that there is a thread of light you were reflecting on what is going on. So we've got several long awaited. Thank you both so much thank you thank you thanks but it's just.

Q : I was especially interested in the structure of the film so I was wondering how was that approach because you know starts pretty much as a thriller or mystery thriller it stands I need then it gets really violent and gory but all in the same contain is space so I was wondering about that approach.

Gabriel Carrer and Reese Eveneshen : I think I don't know if I could talk for us this but we love films that do left turns so they start off one way and then you know they go completely different way like this movie called The Guest that Adam Weinberg did end up that film you know like it's when I first watched it I'm not comparing this to that but just kind of like a little bills left turns and it was just don't like that just kind of resonates we're thinking like you know it is a filmmaker makers are just trying to because how can you make this different than just a home invasion film what he can do to make these left turns a little bit more prominent and whatnot. I think that's it hit the nail on the head I think we just like movies like the one eighties halfway through because it's you know it's you get a certain pace with certain types of films where you know exactly where it's going and it's kind of fun to go well here's we represent you and then we're going to kind of do the switch the trick with this one was trying to narratively keep the tone the same even though it does such a drastic shift whether we succeed or. Yet to be seen. Yeah I mean I'm just trying to think his he was always kind of structured that way even in the first version of the story that he told me and I think that's what I was most intrigued by as I love the idea that we can have 2 different movies I liked this idea that the first half and we can sort of be this procedural trial thriller and can you give us a chance to you know like drama and stuff you can it can it can flex our muscles that way and it's like okay now let's flip the switch and kind of have this like recurring action movie for the last half of the team and see how we can kind of combine the two and how it comes together in like it was we're telling Shannon there I get a lot of this is just it's you know our rates were a little crazy we're little Friday you're angry and. The structure more snow comes out of that that anything with the grand plan I think even just system makers you're given a little certain budget right and then you go well how far can we make this off or can you go with the bouncing action within the budget you know pretty much doing a lot of yourselves you know I can do this can we do this and this trying to push push what you can do with such a small budget. because the other thing too you gotta realize that with these independent films is that especially in this day and age in the market. You're kind of being put into a box in the films that will sell you know a lot of those are like the actions real weird genres you got filmmakers like myself and it's like we want to try other things sometimes. We have to like sneak dramas or thrillers. And I think that's a part of it was which is a condition.

Q : I love that you guys mentioned the guest as you were answering the previous question because that was kind of one of the movies that popped into mind as I was watching your film but there are also aspects of it particularly when you get into the big fight scene downstairs that reminded me of certain Asian films from maybe the last well one particularly from the last couple years but then going back even like 10 or 15 years I was wondering if you could tell us a little bit about what some of your cinematic influences our touch points were when you were approaching this movie.

Gabriel Carrer and Reese Eveneshen : I remember when we were doing storyboards for some of the action sequences there's a very big well known movie the original directed by Kathryn Bigelow Point break and I still think today that movie doesn't get enough praise you know everyone loves it in the movie works so well she did such an amazing job directing action in the fact that like there's a scene where you guys remember that movie Point break where they are I don't sometimes give it a once in a while I'm doesn't know right. Just for the action and like the nurturing aspect of the Catholic that's a whole other conversation but there's a scene where the F. B. I. goes to the house to rate it with Tom Sizemore is in there's not really any scores just like reading this that's happening in this like small confines so I know I was like obsessed with. Did you know the lawn more scene and they're putting the guy's head in the line or in the blades and stuff and that was something that was inspiring me to be like oh man like exactly just a crazy movie is just one of my favorite films. I don't know what I was thinking. I mean it's impossible his name is filmmakers and you see so many movies so in some roundabout way everything sort of influencing at the end of the day especially when it comes to action so it's really hard to pinpoint one specific movie and I can't think of anything that we went to I went. we got to do something like that I know we were more Influence in our own minds by the idea of doing action scenes that didn't feel overly rehearsed and felt more like roles that you break down or because sometimes we get a really good film all the sentence which is into an action scene and also the angles changes everything seems very specific and you're hitting all the right beats with every punch run like no this has to be people who don't know how to select you know there was a big part of our kind of stunt scenes like make these look like fights that are dirty and messy and don't make sense and we'll throw the camera in there and try to give it that fuels happens yeah so Jack I don't know came from any specific ways other than that just we watch movies and we go what are the kind of fights that we want to see if we were going to sell in time to regulate so much time to shoot in a day with the cast so you gotta think like Moses already choreographed this is gonna be and also you kind of just have to. Let them all happen and there's there's a lot of happy accidents mistakes that happened yes in the in the in the fight stuff too like I think the bathroom fight is a perfect example of just like we literally just camera right into the middle of this flight like the flight was being made up in stages as we're going along and we would just throw the camera there to like just kicking the can and we'll see what we get out of it so just have fun yes those are the kind of fight scenes and wanted to start that felt like really rock rule and as the title says dishes are you guys sitting outside right okay we got 2:00 hours to film this what are we gonna you know what we have to cut back yes can you find me suitable liners and it's you're seeing more than enough like it's just there's a quality to it and you don't get movies and I hope we just did she just a very small place so. Yes you need to watch so many movies it's really what makes a great one I mean I think some of the more obvious once a week we love reading room yeah that has a very specific quality to it like I really seems to get that and stuff like that sure that's cool. We haven't seen or heard anything anyone talk about that's always interesting to hear what people like about it.

Q : What was the most difficult scene to shoot and why ?

Gabriel Carrer and Reese Eveneshen : There is a lot of difficult scenes. What was the most difficult. You know that the motorcycle stuff with the easiest because it looks like that was really the drones and I and I was easy. The most difficult thing was. It's not just a few minutes later the fight scenes were really easy they work see once you get in it you're just honest it's like you're getting to the point stuff just loose right you can cheat with that I would have to say there's a scene in it still pisses me off. Their status at the beginning the movie whenshe comes down the steps. She comes down the steps would be scissors and Nick. Is standing in front of the camera the envelope and we see comes down and the cameras pulling back it's just the alignment in the lines of the access and stuff just didn't get it was such a good technical shop for something so simple that we could have shot some other way in game one and it was day one or day 2 and I was like oh man like I am like not gonna be able to execute the shots because it's taking so long to do on this site right now and it was just a combination of everything the time being and like you know and then I think we did like 6 or 10 takes of that and each one is just like a scene or is like you know Nick was moving like there's so many moving components for it and with our limited crew was definitely thanks yeah I'm glad it happened on day one but it was definitely I think when I was like okay got to reevaluate the shot lists and storyboards because this stuff like this technical whatever is not gonna get a constant even for the dramatic stuff that you would think that it could work with and can bring a lot of information on the frame it still isn't working so I would have to see that was. Technically the most difficult thing to get. Still not at all happy with it. Awful day.one of shooting was just terrible yeah I'm amazed we got through it and survive I think the worst scene for me I'll try to do this right now obviously you guys have all seen the movie so. You're flying with this novel trying dance around it end scene at the stream them. Citing when they're in the kitchen and Laursen on their books on the side everybody everybody's dying that was the hardest scene to do because there was an ending to the script that is not what we shot and it was decided the night before because we're running out of time that we can actually shoot ending that we were going to do which still needs I am very happy with the movie I know that original ending would have fit better with what we're going for and we had to make up that ending on the spot which was incredibly difficult because the second lasting production everybody was very tired we're shooting in a house that was being demolished in a couple weeks so we had to get out of there and we were cleaning as we're going along because obviously the house is getting. Stinking Warner Bros and everybody was covered in blood and you're just struggling to create the end scene of this movie and we have a limited amount of time because then we had to rush to another location to go shoot at the opening of the movie which we only had a small amount of time in that location were so I think that was probably the toughest everybody's incredibly on next all the nurse for Friday the actors were mad at the cruise the cruise let the actors nobody was getting along. So it was very scary. Lots of yelling lots of swearing and there's like scenes in the movie where you go that's not acting. Like somebody's having a legitimate right the last song of the movie with Laura sitting on the sterile that's a legitimate breakdown she's happy because we're probably seeing it through one of the morning and everybody stressed and just like I wasn't there towards the end of the street towards the end of this year and she's just having a real breakdown on camera so yeah it was you know what yes the whole movie was pretty tough to do but those specific scenes but like I said it's the stuff you never actually fight scenes were really easy to do certain things like dialogue seems like seems rather talking outside of black you're just was never enough time to do what we wanted to do and often days you know this but anyway we'd have to throw the storyboards shot lists and delay we're just making it up on the fly.

Q : I really enjoyed the movie it was a nice reminder what a solid and good thriller looks like because it feels like with everything going on we haven't gotten too many of those this year. My main question is about the score from the movie and as the director is also working on the music is that something that you were thinking about as you were filming or was that did you start that might be it before the. In the pre-production process or how did that process were.

Gabriel Carrer: I had a like a bank of stuff saved up. I'm just like you know when you're making music you just. Make stopping you just banking folders project files and everything and then certain tones that certain by that you're into certain sounds like you're into and then. I had some stuff saved in a sense and then before we shot the movie actual Reese and Reese was like oh that's cool I mean we could throw that in the movie somewhere and then I just developed a new member on set sometimes I would have liked this app on my phone or whatever and you just between take our you know between long breaks you just generally around while the mood on set like it's like it happened like it since and stuff little keys and notes and jingles and I was able to wire that back to my computer through like this email account so that I could go home or whatever a month or 2 later and pull it up and see what was happening. I had some stuff kind of pre done but it wasn't for the film but then when it's almost done. Reese just said why don't you give it a straight shot to score I never scored a movie before then if a tree falls which played in the 2010 and I was more just like a weird ambient. like scary drafty dark noise type score so I had to like figure out like all credible how do you score movie basically right because I'm used to making songs exactly like deep some things so that was a one thing respect I was making stuff like beats and stopping research like do you like you got to go to the beach you got to go to drums and stuff because it's a little too. I'm weird so a lot of the stuff here is actually stems from stuff that actually had beats like a drum and bass stops in like dust real tight things and then yeah and then you know well he was editing the film he would send me clips I would edit the claims score started to click send it back and that was interesting because that became like a I had to prove myself as a director. For Say and I trusted Reese responding to you know give me direction and guidance with the music so that he would come over this is just before coming here. And I would sit as you continue session or the composer he would be the director you know he would you know once you do try to circulate call me with that identity I he had first sound or something like that and I would try to emulate that later and then it came it came pretty. In pretty quick actually I was surprised I thought it was gonna be harder than. What it was but it did take a lot of time because you also want to create original sounds and samples you don't want to like go and Donald you know movie sound effect packs or whatever so that's where I was like your head stuff saved banked up over the years little since things or whatever. And just kind of change them to the edit. I did not answer a question

Reese Eveneshen : Yeah it was a collaboration unfortunately had to do a lot of posts during lockdown which is interesting because then every you know we can go to sound studio with sound anything so we do everything through emails text messages and sending each other videos but. It was actually from one of the better collaborations of act with working with a composer needing help that to directed movies well. Because I don't edit to school or anything I just you know trying to make sure what I hope the music would be it was the first time to work with somebody who actually successfully pull off exactly what I was thinking that it is great to you because you could be in the middle of something you didn't think was working I could just get on the phone with him and go you have like the first 30 seconds of this no need to do this boom boom boom boom. And then you know 20 minutes later it happened like you put it in the and so on it was interesting the cool thing about the score is that when we were shooting the movie and when we're talking about a crack we're regionally like not gonna have barely any store like the ideas like no we'll go like we'll play this really real and then once you saw the movie and I was coming out I think you know for an 80 minute movie there's actually like 72 minutes working scored so that you're saying hello please yeah.

Q : I was interesting you mentioned the situation with the house that you were using shootin did you have any time in the house the head of the shoot to thrill cutscenes workout week put lights and cameras and so on and when you were shooting did you do that destructive things in order or did you have to walk around destruction either already created ?

Gabriel Carrer and Reese Eveneshen : Well we did the movie pretty much in chronological order so we were able to destroy as we went along we I think we only to shop but also 13 days and so the first week was pretty much the whole thriller aspect it will be to draw. And then after that after our last 2 weeks we had it just what you know we destroyed by rules so at a certain point you're running out of room because the floors are getting some bloody and so caught up with the class it was it was an absolute mess but we were in the house got it. Oh wait so we we were originally gonna build it is because the amount of destruction that there was a we're moving towards that and then we ended up losing production designer was going to do it for many reasons so even I took over as production designer cells. The last day at the time was a really bad idea actually and we managed to get this house for a couple local contractors they bought it recently and they said yeah we're gonna double assisting we're gonna put a couple windows you guys just pay a small fee to keep the lights on and keep the water running in this year's car wash to do whatever we wanted in the house so we went and it was an older home and we spent probably 2 to 3 weeks just 2 of us decorating it and making it house including the fridge the stone yes everything searches we turned a spare room into a bathroom because we needed a very specific bathrooms for flight so we ripped up the carpet painted the floors put in only 6 years worked obviously was just there for show we put in that massive cast iron which means. We take a look slick that was I don't know if you guys are listed and cast iron tub with water but it way more way more than expected. It took us we picked it up and rented a vehicle we wouldn't do this ourselves we picked up this cast iron tub we drove it to the house and we thought no it's great reading and will go up the stairs and put it in our top 6 to 7:00 hours straight it was just the 2 of us like yeah we actually recorded it on behind the scenes cameras as you make movies you always wish that you had stuck behind the scenes like oh my god you should have done a camera to show people saw like I think right then began as a data for bringing us up like we got a we got to get this because no one 's going to believe that that we did this ourselves yeah and it was. It was bad we got it all down to see we have a link for it but it was there's a point when you go up the stairs as you see in every I mean you see the whole house lived a very text your case status landing has a very small landing with an incredibly structure we got stuck in the middle in that limit for probably 2.5 hours. I crossed my hand the way still looks like is back in it was just it was a nightmare and I'm it was just the 2 of us in the van so having a house like that is you can drill holes in the wall to run out wire reports up through you can you can kind of set lights wherever you wanted to we could do 360 shooting and. Anything there's just there's never enough time he's got a house too late we're like go and even the day before we're still sending stuff getting props to liver from L. A. L.. Yeah It was a nightmare. Yeah I don't think we do that again maybe what if we're pushed by that I mean it helps and we both come from a background of filmmaking where you just kind of do everything it's not just writer director writer director catering craft slate we weren't so many absolute shoot together independently and. Yeah it was going on in the morning to Walmart to buy that Kraft Foods trailer side you know I was doing special make up effects on the side just every single day it was now is some yeah sorry that's a long answer your question

Q : Was there a reason that you decided to have Halloween be the backdrop ?

Gabriel Carrer and Reese Eveneshen : That is a good question because Halloween wasn't originally in the backdrop and I love Halloween personally like as you do as well like I really love it like I've already gone to Michael's since your spirit Halloween when it opened up and I always wanted to make a movie for you and so I was like. Before I think I did I could start to you well it's funny because I think we're both making it and now you can reach other and it was it was a last minute decision yeah posted June and it was like I think the thing was we had to make this believable that this was happening in the neighborhood at night and there's no one no one calling the police yes so what better way to have it take place from it's a little device but yeah what better way to have it take place on Halloween night receive your screening and you see people in masks and helmets like a crime that suits plus it's just cool we were filming the film the movie in October yeah like it was October what was the date October 1 at the start of the second yeah so we shot all the way to October 24 so just to keep it I love Halloween it would be nice to have Halloween decorations now house because it's October and it's fun and it's like you're making a movie in the month of Halloween. You know it's a somewhat of a or a film or like how much more one is that so you can going to Walmart in the mornings. You see Michael Halloween pastries and stuff in there you know little chocolates like I was just asking you know what I feel like it was just fine is first help yeah. Yeah. And I remember those actually itself were producers because they weren't they didn't want to market it as yeah you didn't want to market and sell it as a Halloween the. that's been an issue so it looks like it worked out yet but. It's just the coolest. You know we're struggling with how do we keep movie visually interesting what is specially when they're outside and all the stuff going on in the mask because masks were always in their version of it anyway. So Halloween really gave us the opportunity to play in that landscape. it's just funny how you think so.

Q : I also think that the film might be labeled as this part of the rape and revenge subgenre which is also about the father going after those who rape there. All is there so in that sense work. There any instance in particular does these type of films ?

Gabriel Carrer and Reese Eveneshen : I know with the script originally wasn't. We can actually I think it earlier draft. We didn't actually say or what happens to the child. What so ever I think it was kind of always like that something really just bad happens. That content is so delicate rates you're just like oh no like you know how do you like we'll. I'm sorry no we left that I wouldn't get why we wish for that a little bit too. It added more motivation for the characters but we did not see much into it either any kind of do this delicate balance is. I mean it's you know it's a terrible thing happening you know it's and you don't want to focus on that you don't want to make that kind of that central banks certainly didn't want to show any because you know. Coming from us that we were answered nearly being chopped up there is a certain limit that you want to reach and I you know I don't for both of us we're not we don't have to go down a dark hole. I don't think we're inspired by anything specific but it was something that was in the original draft you know were neither one of us gets mobile phone calls and we you know we're we know striker and you know I have younger sisters are 14 years older than you just kind of put yourself in that mindset of what would really push somebody over the edge and there's not much that gets worse than that this is the taking away of innocence is probably the most active well the fact that like I think it's just one or most brutal crime any want to commit yeah so yes indeed I heard she was it's very taboo subject and we it's something people often shy away from and we thought if we kind of lean into it a bit again would claim that the larger themes of aggression viciousness.

Q : So when I was watching the film one thing that really struck me is how like how probably evil and nasty the real villain of the piece is. I believe his name is that the actor's name is James Fler is that right. I was not familiar with thim but he just kind of had one of those faces so I went and looked up but his credits on IMDb and I was surprised to see that he was mostly known for its work as a producer rather than an actor but he's great in the role hole it really sells this horrible person I was wondering if you could tell us a little bit about the process of bringing him in and casting for the role

Gabriel Carrer and Reese Eveneshen : you gotta tell him because of that. He would love to get a visa. Wee could you know what the casting for the storm is really difficult. And not roll kind of clean open still we're like who we cast and then I have your other producer well isn't that exactly what about genes and then real change like and then James really had what he was so hesitant about doing that and so he wanted to it to the addition for is what this is for yes it is he's a producer right there kind of like this is weird like what do you say no but. Yeah it works yeah Jamess is one of the co-founders of great entertainment you know they help produce this movie to get it out there for us and James. I know how much you want us to tell if you like we can impart bargain when it comes to James very like you know talk about what we're going for you she used to act we went to acting school and everything and he never really kind of. If you like that's a world and nobody really wants to be added and I don't even think we auditioned for general I think we all right we're like we'll just find somebody we knew it was gonna be more of a silent character didn't happen having a lot of dialogue we just wanted to be. Finals and. Like so it's about the Swedish guys will never produce you consume wanted to check in with James’ thing about getting back in July remember we went to James and he is like that I don't know like I know I'm a producer on this but like you might really get it. I think we did put it through a little addition process and. Yeah it worked out and he did do a great job and he was using credibly intimidating which is funny because in Houston life is. This guy and you think about like our perspectives shooting with me but she's just so sweet and kind of. It's so many Alaskans specially when it came to all right all right is that so I guess this thing where constantly saying he will. So this is the biggest gag reflex it's like some kind of surgical medical and hazardous road I don't know. He knows the term for it but like when he was on the ground at the end yet one of the stock is talking a lot well I know when right Nick was on top of him and James is on the ground coughing up blood he actually started gagging and coughing in real as we were rolling and I remember looking at the monitor looking over restoring he is he's actually is actually like a easier for all right now but he wouldn't he wouldn't he wasn't yelling cut but he was definitely having. And so that made it in the film so at the end when he's getting a call from blood 3. I was actually in like that the gentleman and he needs to stop because he said it's a clinic like you were like you're drowning like you're like. You're coughing up blood or whatever speak what is gag he says it's like the back of his throat it's like this thing that like. Some medical surgeon but again it was really cool because it almost harken back to making movies. Like at the end of the day really felt like you're making movies with your friends well here you have the producer on the film and you know Colin's raven banner entertainment and is on settling the guiding you're just having fun and that that was that's what we that's what was fun about it because it just felt like you know when you first started making movies in the backyard with your friends I think he's a guy that we've known for years. I mean he helps you really helped us with our features years ago so it was kind of. Course we made him like a child rapist killer that's how we repeat the favor but some now that's great he was a lot of fun to work with and it's just so funny when we see the movie it's great to hear that because when we see it we just see James. It's like James playing talking. We don't know we don't know if that works so well then obviously we did a great job.

Q : Your film is presented in World Premiere in the international Fantasia film festival. What are you feeling to see your movie selected in a such great international festival ?

Gabriel Carrer and Reese Eveneshen : It's great to be playing at fantasia I mean that was. Get tickets where fantasia means so much for us. I don't think I'd be making movies today if it wasn't for fantasia to be honest. Back in 2010 and we just literally backyard little horror movie called after If a Tree Falls. That was 2009 and I didn't know about fantasia I'm from a small town and so I just needed to everywhere and I got in. I was like oh this seems like a bigger festival them what I thought was gonna be and then I went to Montreal you know and you're like what is this festival one of these movies what am I experiencing you know again very small town that I live in and then seen people from around the world like the same movies as you all the genre films you know like. Oh my god like this festival is like the best thing that I've ever been at with movies like I gave my word so. For me it was after Tree falls like every movie I make I just want to play this festival I just want to play. it was almost to the point where I was only making I made a comment about how supplies. Henry Rollins and I remember that I think a major reason why I want to make that movie was because I got to work with you know but I wanted a free pass to go to fantasia to see all the other movies because when you get a movie and a vintage you get a free pass so like I would save my money and go for 2.5 weeks and go see free movies I don't even care about it my movies like you know me movies playing great but I just wanna see all these other movies so perfect for me fantasia is always been this like it is still it's like every movie you know I had was that I'm not guarding in movies that have gone and it's never tarnished my what's the word yes my love for fantasia I understand what it's like to be a programmer you know I've had 2 filmsrejected their you know for 2 years and 1 gets in 1 doesn't but that's life doesn't mean anything right and I just love I just I just love the festival so much so whenever I go to a movie now I go home and 2,3 weeks in Montreal like what can I do what can I see you know like so if it is a huge. Huge. Like. It's kind of like the mystical mystical land that you want to visit with your film. Is that people to write like you're just a minute talking too much about frontier. What was the question. what was the question is how did it feel to be a part of this just. All right just as great as the first time just even though it's all virtual it feels just as exciting as you're getting your first comment I mean you get that email for Mitch you know senior and it's just like I'm gonna go run down the street naked because I don't know anything unless I'm gonna see a bunch of cool movies this year well so. I've never had a movie for excellence it's a great tool for 2 reasons one it's ian incredible honor included among you know it's one of the best shoulder festivals the one that actually doesn't work here I visited there plenty of times were there last year for 2 years and I'm also grateful for another reason is that while we were shooting it would possibly be like this movie better planting. On bad days like we better get fantasia was gonna work yeah and we have a long day we understand like this for your church and then all I could think to myself was holy shit if you don't get themselves going to like your own self. 6 so I was grateful when we got it because I didn't have to deal with the smoky son of a shit for another few months so yeah it's very well it's just such an interesting audience right like. Everyone like as an audience member myself at fantasia you go when you're old you're all going to see this movie together you don't sit down and watch this movie in all excited to see it but then what can happen is that maybe 50 percent of Peter doesn't like it and the other 50 percent does and I love that let's do something so divisive about the British audience that there's everyone's so supportive about the films but everyone's also local if they don't like it or not I I love that as well right that's what makes the festival itself it's such a passionate that's the one that's what makes it so good is because the audience so really passionate really into film if they don't like something you don't hear about it but if you like it don't hear about you'll hear about rates let's you know in your you go to a lot of festivals too and it's the opposite I am the only film something so great everyone's you're like bullshit what you don't like it you're just saying this to my face like that's why fantasia you know I mean because it's honest and passionate.

Q : working on a movie like this, On a scale of very downscale technically you know I'm guessing but it certainly is well some of your challenges that ?

Gabriel Carrer and Reese Eveneshen : You know what you're gonna just basically picking your battles what where are you now where you're spending time on what's more important. Yeah everything on a low budget movies. I think the thing that kills it for me it's the amount of time you have to actually make the movie I've always been a big bonus you have to try and find a way to get a longer schedule I know everybody else low blood sugar she schedules were like it's impossible to ask anybody to pull off anything at any level of quality extending like it's just it's not for any filmmaker I don't care who you are especially when it comes to features like it's just not enough yeah specialty hours leading up what you're putting into it so I think the trickiest thing was trying to stretch us and let me days to get issue ultimately at the end I think we're actually eating a couple receipts and pick up the slack so for me that was the toughest thing but it's like you said you're fighting a battle every day yes people aren't getting paid enough it's really it's a tough it's a tough business and it's because of the sales markets these days in the amount of content out there the budgets are just getting lower because movies are excellent for what you use yeah so you're expected do a lot more with less now you know like our last film set maybe twice is the budget and I was like 5 years ago and now reset the times are changing and there's less especially now. it is getting harder and harder to. Is you literally haven't influenced people to work for no money essentially how do we get more people to get a better compared to what you can get a similar jobs it's a lot it's very tiring at some you know you get to that point like I didn't really love doing this what point you have to step back and be like I got to I got a supply. Yes yeah it's just like all aspects of the fortune you're very difficult it's really hard to pinpoint one specific thing on this movie especially now it felt like you were fighting against the budget every single day which is tough because we both have individual cells that were technically much bigger in scale. In similar budgets but when you just for installation everything like every year your dollar goes up and what was you know we're used to be $100 would feel like $1000 now $100 doesn't feel like that anymore you can really feel on this that's not to say we didn't have a good time yes we did there's a lot of days were one last lot of smiles down is hard to sell we don't have the cheap things too because like all the motorcycle stuff that you saw on the phone we shot like excited shooting schedule because it would just require a buddies to hide motorcycles and you mean resend this commencement Harker so we would shoot at sight to schedule because you know. You just try to shoot as much as you can knock in the schedule and not trying maybe sometimes not tell the producers that you're doing that and then you just put in the moving or happy they don't ask students. And I mean it's incredibly important for us to do ever think as much as we can in camera being when you watch your issue is with the exception of the muzzle flashes like every single effect is done in camera square for its let's everything's fine you know and that's really hard to do a little. And you have to look at that budget like that what are we gonna sacrifice in these were sacrificing to get this out.

Synopsis :
It's Halloween night and a crazy intruder and his hostage are holed up in Romina's house as masked hit men lead the charge against her front door. "Trick or treat!" Lora Burke (LLifechanger, Poor Agnes) is a kind-hearted nurse looking for a little relaxation after a hard day's work when all hell breaks loose! Chris (Nick Smyth) is seeking justice for a wrongdoing he suffered, he is frustrated, desperate, and has nothing left to lose. He is owed a blood debt and will not be satisfied until he gets a confession from his captive. As the mystery surrounding the three occupants begins to unravel, a band of mercenaries storm the house. New alliances will be put to the test as the trio struggles to survive the night marked by Death.

For the sake of vicious
Directed by Gabriel Carrer, Reese Eveneshen
Produced by Avi Federgreen, Gabriel Carrer, Reese Eveneshen
Written by Reese Eveneshen
Starring Lora Burke, Colin Paradine, Nick Smyth
Music by Gabriel Carrer , Foxgrndr
Cinematography : Alex Tong
Edited by : Reese Eveneshen

(Source : Fantasia 2020 official website)