Going In Deep w Chad Ferrin on Lovecraft and One Filmmaker’s Vision…

21 Apr

 

The medical doctor in this film was hilarious. Did you have the idea of making that character transgender in the beginning?

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I’ve written it for a woman. Whether it’s a trans or a transvestite or an alien that’s trying to be human, that was the way I spun it. I’m a huge Bea Arthur fan and so that character was a cross between her and Hillary Clinton. Timothy Muskatell, who played this character, threw in a little Monty Python as well. We were worried if he was going a little too far, but I think it added it’s not a certain, not necessarily straight humour.

I got the sense that the masks and other deformities represent that transformation process that readers know from Shadows over Innsmouth–the blending of two species. Is that correct?

Yeah. The masks hide what’s going on underneath and also give that sense of something’s off and foreboding in a good way. 

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Which is scarier, the cults or the monsters, in the world of H.P. Lovecraft? 

I would say the Cultists. Anyone that thinks with one mind–whether it’s politics, religion or whatever–is frightening because that individual is not able to think for themselves. [For example,] if you’re a hardcore Democrat or Republican–or a Christian arguing with someone else–you’re not able to fully see the other sides of someone’s beliefs like a Buddhist could. 

A cult seems like they’re all of “one hive mind” and have to do it that way–whether you agree or disagree with them. I would be more afraid of the cult–crew and cast included [laughs]. 

Writer/Director Chad Ferrin and the Team Behind 'The Deep Ones' on Doing a  Lovecraftian Horror Film Right | Vampire Squid

For your film, how much input did your team offer towards the final product? 

They have total freedom. We’ll run through the script for the camera and bang the shot off as it’s written and then give another run where they can improv. The same rule applies with the crew–whatever their suggestions or ideas might be–to improve this work. I’m totally open to a collaborative effort, and you need all the partners to make it work. 

 I always make everyone feel like we’re part of a team–which they are–and at the end of the day if everyone leaves with a smile then you’ve done something, right? 

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What do you think the payoff is with making Lovecraft-style films because typically the hero dies or goes insane? 

In this day and age, you got to show something big like tentacles or the glowing eyes of Dagon. I enjoy seeing those. The Colour Out of Space is an outstanding example. It had an energy. Richard Stanley‘s direction was amazing. 

Stuart Gordon made amazing Lovecraft stuff, and, and that’s one of the first times I responded–this is something that shows everything, a great combination of not only the gore but also the quirky humour he’s known for. You wouldn’t necessarily associate humor with Lovecraft, but the Gordon films brought that element in and it definitely inspired me to throw in a little into my film as well. 

 

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