Macabre Daily Interview with Bright Hill Road Crew!
We at Macabre Daily were fortunate enough to speak with the fine folks behind the outstanding psychological horror film “Bright Hill Road”!
(If you haven’t read our review yet, what are you waiting for?!)
Our own Macabre Matty sat down with Writer Susie Maloney, Director Robert Cuffley, and Producer Colin Sheldon to talk about the inspiration and production of Bright Hill Road.
This was such a great interview, and please connect with the filmmakers using the links to their socials above…and if you haven’t go on and seek out Bright Hill Road and give it a watch will ya?!
P.S. The transcript is below the video if you would prefer to read rather than watch!
Interview Transcript
Macabre Daily
All right, well, welcome everybody. This is Matthew Orozco from Macabre Daily and I'm joined by some fine folks from the bright Hill Road crew. I'm going to go ahead and have some have them introduce themselves. I'm going to kind of go in the order of my screen. So we'll start at the top left with you, Susie.
Susie Maloney
Hi, Susie Maloney. I'm the screenwriter of Bright Hill Road.
Robert Cuffley
I'm Robert Cuffley, the director, and composer.
Colin Sheldon
I'm Colin Sheldon, the producer.
Macabre Daily
Excellent. Well, first and foremost, I want to start by saying I really enjoyed red Hill Road. You know, we watch quite a few movies as part of the work we're doing. And, you know, I am always delighted when I come across something that is able to capture my attention, particularly in the middle sections, I think that's the part of movies that tends to be the hardest to, to, to write for. So a round of applause for you all, and some really fantastic storytelling. And I wanted to start with my first question for you, Susie. You know, what was the inspiration you have in mind when you were writing out the story in the script?
Susie Maloney
Well, I've always had this bit of fascination with the aftermath, what happens after a traumatic event, because I feel like you carry the traumatic event far longer than the effects of the actual event. You know, grief, for instance, doesn't stop on the funeral errands. But everybody still goes home. And so I knew I was going to write a story with a premise that started from an aftermath. I, you know, when we were looking for something to do, it was a threat of an idea that I'd had previously that I hadn't done anything with. And I needed something sort of fast. And so pulled it out, and then added all of the things that I love, the aftermath since severely flawed, traumatized individual. And you know, the sibling, parents relationships, of course, appear in everything I write. So did I even answer the question? I'm so sorry? For the tangent there?
Macabre Daily
No, you did. I really liked that I wanted to actually ask a little bit deeper, you know, you like what you mentioned you like kind of those are the things you really like to write about? Is there any particular reason? Because I definitely picked up on the heavy trauma? I have a question about that later. And Marcy is a very, very difficult character. So what is it that draws you to those kinds of interactions with those characters?
Susie Maloney
Well, you know, I think like most writers, I'm, every time I pick up the pen, or put my fingers on the keyboard, I'm rewriting history, usually my own, you know, suffice to say, so, yeah, I think that any character that's flawed is human. And we need to identify and engage with a character. So we need to see them as human. And I have to, you know, shout out and what you did in your fantastic review, thank you for that. But, you know, shout out to Siobhan for you know, being this incredible, perfect mix of aggro and vulnerable, you know, like I she really, really embodied Marcy, for me.
Macabre Daily
I definitely picked up on that. Because I think it's really difficult to portray someone who is going through not just a serious amounts of trauma, prior trauma, the current trauma, but also, you know, trying to portray the aspect of detoxing, you know, like, and kind of that, like, that's that the acting that it takes the power of gigs to, to, to portray that in a sympathetic way even, is really, it was really challenging. And, and, Robert, I wanted to go over to you, you know, as, as you were directing Siobhan and particularly trying to portray this level of both vulnerability, sympathy, but also the severely flawed character whose choices have really been the reason why the story is so I think engaging so what was that? How did you get that performance out of Siobhan? Was there anything you were doing to help facilitate that?
Robert Cuffley
Blackmail? No, it was 100 directors take sometimes too much credit. That's, that's an insider secret. So I can't take much I would guide and I would point but she's to begin with without any of my adjustments. She's just wonderful. And I was really drawn to this, you know, I'm sure everyone knows what like an inciting not an inciting incident but the save the cat references, and in the something that our hero or protagonist can do within the opening 10 minutes, that's just amazing. It makes us fall in love with her and this didn't really have that and I kind of liked that. It's just dire dire, but I also think that everyone knows an alcoholic, I'm assuming, and it's a treacherous road. My dad went down that road and it's very hard to watch. So I think she endeared a lot of sympathies just to the conflict she was going under and the huge bags under her eyes and how haggard she looked and, and I automatically have some sympathy for people juggling five things at a time or a functioning alcoholic. So she's still doing her job. But I like to think she's the type that what I was gonna say sneak to the bathroom for a drink. But she doesn't even do that. She just drinks in her office.
Macabre Daily
Yeah
Robert Cuffley
It's kind of the sign of someone that's almost wanting to get caught being so brazen about so I like that. But to answer back to your question, it's, it's mostly her. We spend our brief time of prep, just going over exactly what you said, Where, because you don't shoot a movie in order. Where am I here? He talks you're at about, you know, this is the early stages, how about here, and now we're going back to the beginning. And it's all over. So it's hard enough if you're shooting it chronologically, which rarely happens. But here we're bouncing back and forth, and back and forth. So I'm just really lucky that she, you know, just hit a home run in every case and came to play. And yeah, just killed it.
Susie Maloney
One of my very favorite moments in the whole film comes right near the beginning, when Siobhan is in her office. And she takes it she sort of looks around before she has her little shot. And she looks around and the expression on her face is absolutely priceless. Just like fuck it. She just does is one of my very favorite moments.
Macabre Daily
Yeah, it says so much without having to show a lot. And I think that that's you know, I think I picked up that on the review is we're literally seeing someone at rock bottom. But we don't have to say that no one has to tell the character that and usually there's a lot of exposition that explains that this person is where they are. And there's been things that have happened. But we almost get that right off the bat because of the actions and the things that this person does. And we all know. Now to your point, Robert, we all know somebody, either directly or indirectly, who's gone through this. And so we know the signs that to look out for. And I'm gonna come back to the cast in just a moment. But I wanted to go over to Colin and say what, what drew you kind of to the project from the producing side? You know, was there something that connects you to that personal level? Was it the script? Or, you know, what, what was it that really got you excited?
Colin Sheldon
Um, well, for me, it was actually, Robert, he had been executive producer on a previous film that I had done. We kept in touch having coffees and that sort of thing. And, and I wanted to work with them. And so we'd both been kind of thinking that we wanted to, you know, expand into the realm of horror. And so it was is coming to Robert and saying, you know, do you have anything that that might work, and it kind of contains sort of scripts that we can do, and, and just kind of make it happen ourselves?
Macabre Daily
Now I'm gonna ask maybe a silly question. Do you all work together quite a bit? Or is this a relatively new relationship? Kind of the three of you? Anyone? Yeah, I'll start. I'll start with you, Susie. And then anyone we can add it from there.
Susie Maloney
Oh, this is new. Robert, and I've worked together. I don't know if I can say quite a bit thing. As you know, he's my brother from another mother. So we have been looking for things to do together for a long time, we did do a short together called Romi, which we'll talk about later. And so this came up calling actually asked Robert, if you had a horror film, and Robert turned around and asked me if I had a horror film. And so but the plan is to work together again and again, I believe. Soon.
Macabre Daily
Yeah, we're hoping Yeah, I know that there's some some exciting things you all are working on together. So we'll definitely let folks know at the end where to follow you and, and how to keep in touch. And as you think about you know, I want to go back to the cast for just a moment and and really get a sense of it was a small, you know, cast, you know, you had a very intimate production. What was it? Like? Would you particularly Did you find it any more, less more or less difficult than working with the larger cast? And I'll start with you, Robert, then we'll go to Suzy and Colin.
Robert Cuffley
I would say either easier or more difficult. Because there's so much effort creative effort that goes that's expanded on a set and I like to think it's the same whether it was one a one-person show, so to speak or 20 people but it's I guess it's, you know, what made it simple is that there's hardly any wardrobe changes. And you just said, there are three people. And with the exception of the beginning, and with the exception of Siobhan, I was familiar. I had worked with the ogham and Michael Eklund, who I'm sure what many people know, several times. So I don't know about easier or harder. But it was a pleasure because a director goes in with indie filmmaking, always thinking about, you know, okay, so what am I cast? I'm sure they're just gonna suck. And what do I do about that? How do I hide that? How do I camouflage it? Like going into something knowing that these three won't let you down? was just a great feeling of security that I had through the whole movie.
Macabre Daily
And Susie, did you imagine, you know, when you're kind of putting pen to paper, and really bringing this thread into a full, kind of a full idea in a script? Did you imagine it keeping it this contained? Or were there were decisions that point to say, we need to scale this down? Because it started a much bigger?
Susie Maloney
Oh, no, it was from the beginning, I understood that we were keeping it small cast. even putting in you know, the opening scene was something that we discussed at length, you know, how can we, Robert did an amazing job making it seem like it was, you know, a big cast, and it really wasn't. The nice thing about just having the three of them is that you knew you could focus on those relationships. And you didn't have to set up a bunch of other relationships. And so it gave me room oddly, to, you know, to really, really put Marcy in a tree and throw rocks at her, because she was essentially the only person in the film for so much of it.
Macabre Daily
Yeah, I think that intimacy really shows to think that, you know, when you have such sensitive topics, you know, when you have such a small group of people, it does allow you to kind of feel that a little bit more closely. Because you're not having to relate to many characters suppose to the few I see on the screen. And Colin, you know, you mentioned you were looking for a horror script. What was the genesis of the idea of wanting to get into the horror genre?
Colin Sheldon
Um, well, horror, is something you know, back in film school days, we did like a student project, school of the dead. And so being horror had always kind of been on my radar. One of the earlier films I produced was also it wasn't horror, per se, but it was definitely more genre. And so it seemed like something that you know, that Robert and I and Susie as well could do and do it well. And to be able to have a chance at finding a market within the, you know, the amount of indie film that is being released now. It's nice to have an audience that you're actually making a film for, rather than just making a film, but then hoping to find an audience.
Robert Cuffley
Such a good point, like for what learning about horror this is my fifth movie, but my first horror movie is just how incredibly crazy devoted horror fans are. Holy shit. Wow. And I guess I had I was saying earlier, I had a concern that because this isn't Jason Vorhees slashing people in their body count of 19. In act one that people might not be interested in. We've been getting really positive write-ups from just people that are really focused on him picking up on the things that I never imagined that would transfer from the screen to their brand. That's been really sweet.
Macabre Daily
You are dead on!
Susie Maloney
Oddly, I'm one of those fiercely dedicated horror fans. I follow you know, I listen to all the podcasts I watch all the movies and love knowing what's coming out. And so yes, I can absolutely agree that the hit the horror community, no greater support.
Robert Cuffley
Yeah, it's true.
Macabre Daily
I think it's, we'll watch anything, you know, we will watch, you know, pretty much anything you put in front of us. And I think the thing is, because horror is so subjective, and I'd be interested to hear your opinions on this as well, because you mentioned there's not a big body count. But a lot of the films, you know, particularly in 2020, that, that horror fans really, really rallied around were films like Relic that deal with mental illness and, you know, trauma in a very different way. And I think to some extent, the horror that we fear the most now is the most human kind of our, it's that psychological, the things that we see happen in our parents, our grandparents that they thought were just, you know, pass it off, don't worry about it. So we'll watch anything and And we'll and we will find connections anywhere. I mean, I think I heard Michael Schumacher talk one time, he's saying that he didn't intend to write the lost boys with all of these canal correlations to being gay, but people just picked up on it and they think no. And so if we're gonna draw those connections and you know, Susie as a horror fan, what are some were there any inspirations that went into like, you felt like, hey, that that's something that really inspired me early on that I had to tell this story. But there anything early on as far as those tidbits or those crumbs of films or directors, artists, etc,
Susie Maloney
I think that there's you know, there's, you're influenced by everything you see, but in particular, Robert picked up on when we did, I did the treatment for Robert and he said you should watch Repulsion, which I had never seen. And absolutely, I have to say that that was the deepest inspiration. That movie turned me on, I thought that that was fantastic, beautifully done completely unreliable narrator and no idea of what was going on was really happening or, you know, the when, when things really turn the corner in that film, and I if you haven't seen it, go see or rent it, find it, it's fantastic. But when she leaves work, and everything is turned for her where she’s, you know, just gone off the deep end, all this normality around her was just as haunting as knowing that she was just trapped in this crazy brain. Great movie. But you know, also Carnival of Souls a very similar atmosphere there, you know, those. My very, very favorite horror film is Rosemary's Baby, again, you know, themes of isolation, and you know, everybody's against me. You know, these are things I think that again, the mental illness, you're talking about that the lodge did, I don't know if anybody saw The Lodge, but the same idea, you know, this isolation, nobody understands me. That's not me. I'm sorry.
Macabre Daily
The paranoia. In the paranoia and Polanski films is just off the charts and repulsion and, and particularly Rosemary's Baby, you know, you're almost you're right there along with them. And I think that that's something truly special about what you've worked on it right down the road is that you're aware along with Marcy, you're there with her as she's discovering these things as well. And I think that's really difficult to do. And I, I wonder, when you think back to some of the characters like Owen, and what were you did, were you going for the manic kind of gentlemanly, gentlemanly, manic psychopath? Or was, I guess, Was that all Michael. Was that more in the script?
Susie Maloney
Well, (Michael) Eckland brings his own ideas to the character for sure. But I absolutely have this idea. I mean, we live in Canada, where you know, the Ken and Barbie murder verse is from and he looked so handsome and I had a horrible dream about him once I was very close friends with a family of a police officer that was actually working on that case. And I had this horrible dream about seeing his face turn from this nice boy next door into this psychopathic person that was about to murder you and that has never left me and so I do hope that Michael read that in the script and saw that character and that you know, at least had an influence on his but he does bring his own person he's fantastic actors and incredibly charming and lovely person.
Macabre Daily
I think that's maybe all the ones that can portray maybe the most intense characters I find to be usually are just the sweetest people kind of like horror fans, they we watch the most violent, you know, films, but we are usually just the most docile people to begin with. And Colin, what about you? What are some other any horror movies in particular that have always inspired you or that you've aspired to try and bring into your work and the films that you produce?
Colin Sheldon
Um, well, one of my favorites is It Follows I just I like you know, it has that building sense of dread that you know, is there throughout the film and it has a few jump scares, but it is more psychological and you know, all the discussion that goes on online about you know, what the monster really is and what does it mean and, and how many interpretations that can be I I really like films like that, that explore you know, that people can look inside themselves and you know, ask questions about humanity and I think it falls in and Bright Hill Road does as well. And I think that's one of the things I enjoy the most about it.
Macabre Daily
Yeah, I think that that there's a lot of there's it's a movie you think about again and again, and I think a good sign of a great film was one that you can't stop thinking about. It makes you ask a lot of questions and sometimes question your own views of things. And when you think about the production, where did you all go into filming last year in 2020? Or was it before 2020?
Colin Sheldon
We actually shot in the spring of 2019. And then we were just finishing up are in the kind of almost done post when the pandemic yet. So it didn't impact us as much. I mean, we had hoped to do a limited theatrical with it. But here in Canada, at least there's really no theatres open. So that didn't really happen. But, but yeah, so I mean, it was, I think, from when I first talked to Robert to when we were shooting was about four months. So it was pretty fast to get it going. And then, but it did take about a year to finish off the post on it. So
Macabre Daily
It sounds like COVID may have not have taken too much of a toll on production or the overall kind of release schedule, aside from the limited release plans.
Robert Cuffley
Yeah
Colin Sheldon
Yeah, it took a little bit longer. I think just to finish things off, just because, you know, lockdown happened, and it makes it hard to know when switching from, you know, working in the office to, you know, editing it or audio or whatever at home. And so yeah, there was some, I think it did add some time onto the schedule, but we were fortunate that everything was in the can. So we didn't have to worry about that.
Susie Maloney
Well, that we couldn't shoot our set for our next project.
Macabre Daily
What is the next project you are working on together? Because I know there are some exciting things coming. So what's, what's in the hopper,
Robert Cuffley
We had, we were gonna shoot, we did a short movie co pennywhistle. With my daughters, of course. Because that's what good dads do. Had all the ingredients to stretch out to a feature, but, and Suzy being the writer, she took it and ran with it. And but it's with teens, and there's kissing, and there are fighting and their stunts. And I was just like, this movie is already small, add COVID. On top of that, I just don't think we can do it. And to me directing is a lot of it is about sometimes camouflaging the fact that you don't have 20 million bucks. And there's an artful way to do it, which I hope I did in this film. But I don't know how to camouflage. I don't know how to fake kissing or fake a fistfight or it just seems way too difficult. So instead,, we pivoted to another short film we had done called Romi, written by Suzy. And it also has similar elements to break Hill in that the cast is extremely small three people. And it's in a house, it's tech horror, it's about a woman being terrorized by her artificial or butter by her digital assistant, which is called Romi. So, in a way, it's a perfect COVID movie, because the cast is small, like with bright Hill, we all stayed at the hotel. So in this case, I'm kind of hoping that if we can find the right house, that the crew can just stay there and not have to leave and bring other germs in with them or viruses, you know what I mean? Just because safety is a big thing. My agent was saying a lot of COVID is coming from indies, and not so much from big shows because we don't have the financial resources to stead, you know, to be extra cautious, I guess I don't know. But I don't want to be one of those numbers that add to COVID. So I think we would all be super careful.
Macabre Daily
Yeah, that says I would agree. I think it's best for everyone to keep as many people as safe as possible. And given that we've all been you know, to some extent in a form of lockdown in varying stages. Is there anything that you all have been watching that you say, Hey, is there have you gone back to anything in particular and saying, hey, I got a chance to see this and anything that's popped out?
Robert Cuffley
Um, can I go? Um, I watch re-watch more stuff than I watch new stuff. Because I'm old. And last week I watched Well, I cannot actually say every week I watched Dawn of the Dead and don't even have to say Romero's version? I don't have to say that right.
Macabre Daily
No. I think most people know that that's the one
Susie Maloney
Snyder version is good though. It is.
Robert Cuffley
It's not breaking ground. Like Romero did it first and talk about a summer camp movie if you read about the behind the scenes on that let's do a podcast on that. I would gladly physically
Macabre Daily
Great documentary on that. I think I'm on shudder has like George Romero it's as you know very old documentary but a fantastic look into production in a movie that still has a message today like it's the consumers and message still holds very much true.
Robert Cuffley
But it's funny you mentioned The Lodge and Relic boasts both of which I've seen in the last four days, I think I'd say very recently. Yeah, both very good and gutsy. I like gutsy. I don't like paint by numbers. Well, I guess this is usually when someone jumps out, or does anyone have a cat that could jump out of the like? I just that's that stuff so boring.
Macabre Daily
The Stinger you know the stinger sound effect every second throw you off? Easy?
Susie Maloney
Um, no, I don't know about you but I’m five years old no matter what I'm watching. I'm in love with it at the time. I was gonna say that. One movie I saw I watched in lockdown was Stephanie. Has anybody seen Stephanie? Fantastic movie. The vast majority of the movie is a young girl little girl, like a little girl, like ten or something. I can't tell you too much about it. But it's amazing. Highly recommended. I also loved The Lodge. What I loved about the lodge was this feeling where, you know, she was trying so hard to win these kids over. And they were just being such little shifts. And, you know, to the nth degree, as it turns out, but what uh, you know, the whole everybody had their own moment of this, you know, there's no turning back from this. And when the kids had their no turning back moment, that was my heart was just like, because I guess in a way at some point, you start identifying more with the kids. I saw I watched Antebellum I guess I'm a little ashamed that I did. These that went into it knowing it was I you know, it's a controversial film. But I love Janelle Monae. And so I thought, well, I know I'm just gonna let the performances and you know the I guess the storyline was even worse than I suspected. But it was really pretty clever. But I really wanted it to be supernatural. I don't know now that I would call it a horror film.
Robert Cuffley
I haven't seen
Susie Maloney
Oh, you haven't seen it at all? Well, you know, it's it. It's a really, really, really good idea. It's really well done. It's a little the direction is interesting. Has anybody else seen it? So what did you think about the ending?
Macabre Daily
I thought I could understand maybe I'll set this in context. I'm not going to go into the spoiler territory. But I will say, I can understand why people may have been an eye-opener. Some people don't like it. Because they feel like it might have been a bit of a bait and switch to the point of the supernatural. Like there's a lot of allusions to, to thing to things to be that way. But I also think if you get over that initial shock of that wasn't what I was expecting. I think like you also said, there's a lot to enjoy. The performances are absolutely harrowing, and it captures something, I think that is going to be more and more common in horror is just the society How is horror, manifesting for particular people in society versus just generalized or so more specific types of like, this is the fear of, you know, a black person, the United States, you know, the fear is of, you know, white people or police brutality, like those are very real fears. And so we'll have to have our horror villains adapt to those. But I thought it was really I thought it was well done. I thought I got a little bit of a harder judgment than it deserved. And it's a very slickly made movie, you know, which is kind of the very least it's very pretty to look at. And I always use my partner as a barometer of if something is generally appealing because she is you know, extremely intelligent doctor, but she also loves the Fast and Furious movies that her favorite franchise, so when she wants entertainment, she wants to just sit down enjoy it, and there's no shame and I mean, Commando is the Fast and Furious movie of the 80s. So like it's but um, you know, she enjoyed it quite a bit. So I think it's just one of those things that the horror community might have turned its back on it because it wanted something else and I wasn't that but I liked it quite a bit and, and Colin, are you watching anything in particular that you're really excited about?
Colin Sheldon
Well, it's not horror. But I just finished watching queens Gambit on Netflix. And I mean, I'm neither me nor my wife for big trust people. I mean, I can play but I never thought about even competing. But it's just an amazingly engaging story. With I mean, again, a character who has You know, substance abuse problems and, and struggling to grow up and it's just an amazingly well-done film or series. And it's also neat to hear about how long it took to get that film made and the struggles that went to finally get it, you know, on screen.
Susie Maloney
I mean, it's not a horror, but it is genre, right? It's fantasy, a young woman, you know, getting that kind of support in a male-dominated sport and going her whole life without being sexually harassed. It's pure fantasy.
Macabre Daily
You raise a very good point. It definitely lives it operates in a world of logic certainly of its own, particularly with and unnamed drugs that can, you know, make you tired and also excited. hallucinatory. So it's got a lot of ideas. And I think, you know, I think I forget which one of you said it but you know, bold guts, it was me it was you, Robert, gutsy ideas, you know, bold ideas, I think are what people want to see. And if I, if I end with one, you know, kind of question for you all, it's what's your, you know, if you're, if you're talking to average movie goer, and you're asked them, hey, here's, you know, we're choosing between two movies. What's the pitch for Bright Hill Road so they can get real excited to go and see what's the thing you really want them to
Susie Maloney
I was just thinking, What would I say to them? I think I'd say that. Everybody knows Marcy. And you get to watch her fall apart. Because it is it's about a movie about someone who falls apart. They absolutely. And it's got a great ending. I think that I love that ending so much. I almost wept when I realized how I was going to end it for now my own biggest fan. But I think that that's what I have to tell people is that it has a great ending.
Robert Cuffley
One thing about Suzy is show watch. Even a film that she's written. She's still jumped out of her seats at Suzy, a. b, you were there when we filmed it. I love viewers, directors love viewers that react, you know, romance you want them to cry. Or you want them to bite their nails and jump out of their seat. And yeah, repeat viewings. She'll keep doing it. It's fantastic.
Susie Maloney
I'm a 12-year-old when I'm watching something, man,
Macabre Daily
I'm right there with you. I think if you if you lose that excitement, I mean, I think that's a telltale sign you have done it, you may not enjoy the mediums as much if you just don't have that level of excitement for them. So I'm right there with you. And I think our habits from a younger age are carried through but they keep us who we are. And the same thing. So Robert, what's what's your pitch to them to the general public?
Robert Cuffley
Mmm-hmm. Susie said it really well, but it's I like the crumbling I like to the disintegration. But as I was saying yesterday, really quick gaslighting, which is also in repulsion so that you're constantly asking yourself, is she seeing this or is that guy right? That she's just drinking too much. And the stuff she sees well, outrageous, you could chalk up to crazy nasty, you know, detox dreams, I guess. I've never had dreams quite like that, thankfully. But
Susie Maloney
Not even when you were coming down from heroin?
Robert Cuffley
You know what, that's a good point. That's a totally good point. But it's, I'm a methodical guy. Like I love Session 9 so much that I could marry it. And but lots of people hate that kind of shit. Like because it's a slow burn. I wouldn't say this is a slow burn, but it is methodical. And I love methodical. That's why Kubrick's my favorite director. So I'm rambling. Colin?
Colin Sheldon
Yeah. Well, I would say that it's, it's a really engaging story, and the performances are amazing in it. And yeah, as soon as he said, I think it has a good ending. So I think it's a great package of a film, to enjoy.
Macabre Daily
Yes, I'm in full agreement.
Robert Cuffley
And I think horror people are really open to seeing stuff. This isn't you know, Zack Snyder budget. That's micro-budget. Don't you think? Like you, you would meet far more than I would, but this seems so open. Like the podcasts I listen to. They get genuinely excited about Oh, what's this Argentinian film I've never heard about. I can't we've got to see it tonight! Like that is so infectious. I want to be roommates with that person. You know.
Macabre Daily
I have a theory about this if you're keen to hear it, which is I think a lot of horror friends have a lot of horror fans, particularly I'm 35. So I kind of grew up in that video storage and I think people in horror, particularly those that were that the discovery of horror is such a unique experience. It's the only and only genre films really have that. You know, not a lot of people find a big action film, there's plenty of hidden gems, but by and large, you know, you, you, you don't hear of a lot of action fans who are so gung ho on action films that they're willing to go to cons for them, or they're willing to put posters in their wall up past the age of like, 13, 14, 15, 18. I mean, I'm not, you can't see my office, but it's littered with art prints and posters, horror film, so I'm a child. But what I'm saying is, is I think that you know, we're so excited for the discovery. That will, we will, we will spend more time trying to find one really book we'll spend, we'll watch 50 bad movies just to get to one, good one. And we'll do that because that sense of discovery of telling your friends you saw something that no one's seen, or not getting the credit it deserves, and horror fans are probably the most generous when it comes to telling you what to watch and what not to watch. That's why companies like vinegar syndrome have an entire business of restoring almost forgotten films that I have a massive collection of movies that some of which I know I'm not going to like, but I love to own them. Because if someone's art and horror fans appreciate the art, whether it's, you know, something like terrifying that is there to shock and awe, or whether it's something like Bright Hill Road that wants you to really think about things and really focus on the intimacy and the characters and their experiences. All of this is a dip, we all experience we're in a different way. So we're all looking for a different way to get that fixed. And as long as you are open to the idea that you're okay being scared or you're okay, seeing something that maybe you don't agree with, then there's a lot to enjoy. And so that’s certain but search for the next best thing is just ever preeminent through horror because we've grown up looking for them.
Robert Cuffley
I have to ask you something, would you marry me?
Macabre Daily
I am a huge nerd of all film, guys. But at the same time, I have to maintain it, maintain my excitement, somewhat in conversation so I can give you all the room to speak and talk about the work you do. Because the work you're doing is the work I wish I would I wish I was capable of doing. But it's admirable to see again, the work you all have done on Bravo road, which comes out you know, is out this. It's been out this week, July January 12. It's on a video on-demand platform. So iTunes, Amazon Xbox Dish Network. So I highly recommend everybody check it out. And I've also got some great recommendations from you all as well from someones to share with those who haven't seen repulsion, Carnival souls. You know, The Lodge relic, and Rosemary's Baby. Great, Stephanie, and I've got tons of recommendations from you all. So I want to just wrap up by saying thank you all for the time and the opportunity to have this conversation!
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