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iHorror Exclusive: Interview With ‘Proxy’ Director Zack Parker

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Richmond, Indiana’s Zack Parker made a big mark in 2014 with the excellent and unpredictable Proxy. I had the film (which is currently available to stream on Netflix) at number 4 on my best of the year list, and to tell you the truth, I could easily move it to any spot above that on any given day. Out of all of the great movies of last year, few stuck with me as much as Proxy. If you haven’t seen it yet, I really can’t recommend it enough.

Proxy is also the kind of film that’s hard to discuss without giving too much away, so beware of that. You may find some spoilerish language below, so if that’s a concern, go watch the movie first. Besides, it’s one of those that’s almost certainly best when you go into it knowing as little about it as possible.

We had the chance to catch up with Parker, and discuss the film (among other things). So without further ado:

iHorror: From what did your interest in the mental condition that Proxy is based on stem? 

Zack Parker: It’s always difficult to pinpoint where an idea comes from. I will say that I’m always trying to tackle a subject matter I haven’t seen before when starting a new film. It really just evolved out of several conversations Kevin Donner (my writing partner on the film) and I were having. Subject matter that was relevant to both of our lives at the time.

iH: Some have complained about the film being too long. This seems ridiculous to me as it’s only two hours, and every minute is used excellently to either advance the story or develop the characters, which are both major keys to what make Proxy so good. Do you think the film could have worked if it were any shorter?

ZP: If there is anything I’ve learned over the course of making four features (and many shorts), it’s that you’re never going to please everyone. There is no sense in even trying. The only thing you can do is trust your own instincts as a storyteller and try to make the film that you would want to see. To me, every piece of the film that exists now, for the story I’m trying to tell, needs to be there.

iH: You have said in the past that you had to cut more from this film than any other project you’ve worked on. Was it a struggle to get it down to two hours to begin with? Is this two-hour film the version you really wanted, or is there really a longer version you had envisioned? 

ZP: This is the only version of the film that exists, and it is my cut. I’m never really conscious or concerned with running time when cutting a film. I’m trying to let the film dictate to me what it wants to be. When I get into the editing room (my favorite stage of filmmaking, btw), I try to forget about everything prior to that: the script, the shoot, etc.. They are now irrelevant. All that matters is the pieces you’ve accumulated. The film exists somewhere in those pieces, and it is now my job to find it.

iH: Proxy deals with some difficult subject matter. As a family man, did you find it difficult to work on at times, on an emotional level? 

ZP: There are always going to be some parallels to your own life when writing something, and the fact that my own son is in the film gives me a connection to it that I haven’t experienced in previous work. But I try to stay objective to those connections, to avoid unnecessary influences that may water the film down.

iH: I’m originally from Indiana and still have a lot of family there, but had no idea there was such an interesting film community until recently. Two of the ten movies on my Best or 2014 list were filmed in Indiana – yours and Scott Schirmer’s Found. Can you just talk a little bit about the Indiana film scene? The pros and cons to making a movie in the state? 

ZP: It’s a relatively small community, but there are certainly some talented people here. I think most struggle with getting their work to break the boundaries of the State, but that’s difficult for any indie film. Having no production tax incentives in Indiana doesn’t help lure or keep productions here as well.

iH: Music is so integral to a film’s effectiveness, particularly in horror and otherwise dark content, yet it seems like an afterthought in so many genre films. Can you discuss your approach to the use of music in Proxy and maybe give a few examples of your favorite uses of music in other films? 

ZP: Well, The Newton Brothers have scored all of my films so far, and those guys are just brilliant. I honestly can’t imagine making a film without them. I like the music in my films to have real structure, not just be a source of atmosphere. Rarely do I have a scene with music and dialogue together, because I feel music should be used as a form of dialogue, almost another character in the film. In my opinion, guys like Kubrick, Hitchcock, and more recently von Trier are true masters of how to elevate film through music.

iH: Based on other interviews, I get the sense that you are a horror fan, but don’t necessarily consider yourself a horror filmmaker. As a fan, beyond the classics, what are some modern horror flicks you’ve been particularly fond of? 

ZP: I am, of course, a fan of cinema in general. But I do tend to gravitate toward films that are a bit darker, take risks, and show me something I haven’t seen before, or perhaps present it in a way I haven’t seen.

I don’t really think about genre when making a film, I’m just making the story the only way I know how, filtered through whatever sensibilities I may possess. I understand why people may label PROXY as horror, as it certainly deals with pretty horrific circumstances, and there are much worse things than having your work embraced by one of the most passionate and loyal cinema communities that exist. Like any filmmaker, I just want people to see my work.

iH: I understand your next film is to be shot in Chicago. What can you tell us about that? Any timeframe on when we might see it? 

ZP: Not too much I can say about it except it is something I’ve been working on for awhile, and is definitely the largest film in terms of scope that I’ve ever attempted. Currently, we are scheduled to begin in Chicago late spring/early summer. If things go according to plan, we’d be looking to premiere in early 2016.
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There you have it. We’ll certainly be on the look-out for Parker’s next project, as he has established himself as one of the most interesting filmmakers to keep an eye on, if you ask me.

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‘Strange Darling’ Featuring Kyle Gallner and Willa Fitzgerald Lands Nationwide Release [Watch Clip]

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Strange Darling Kyle Gallner

‘Strange Darling,’ a standout film featuring Kyle Gallner, who is nominated for an iHorror award for his performance in ‘The Passenger,’ and Willa Fitzgerald, has been acquired for a wide theatrical release in the United States by Magenta Light Studios, a new enterprise from veteran producer Bob Yari. This announcement, brought to us by Variety, follows the film’s successful premiere at Fantastic Fest in 2023, where it was universally praised for its creative storytelling and compelling performances, achieving a perfect score of 100% Fresh on Rotten Tomatoes from 14 reviews.

Strange Darling – Movie Clip

Directed by JT Mollner, ‘Strange Darling‘ is a thrilling narrative of a spontaneous hookup that takes an unexpected and terrifying turn. The film is notable for its innovative narrative structure and the exceptional acting of its leads. Mollner, known for his 2016 Sundance entry “Outlaws and Angels,” has once again employed 35mm for this project, cementing his reputation as a filmmaker with a distinct visual and narrative style. He is currently involved in adapting Stephen King’s novel “The Long Walk” in collaboration with director Francis Lawrence.

Bob Yari expressed his enthusiasm for the film’s upcoming release, scheduled for August 23rd, highlighting the unique qualities that make ‘Strange Darling’ a significant addition to the horror genre. “We are thrilled to be bringing nationwide theatrical audiences this unique and exceptional film with terrific performances by Willa Fitzgerald and Kyle Gallner. This second feature from talented writer-director JT Mollner is destined to become a cult classic that defies conventional storytelling,” Yari told Variety.

Variety’s review of the film from Fantastic Fest lauds Mollner’s approach, saying, “Mollner shows himself to be more forward-thinking than most of his genre peers. He’s clearly a student of the game, one who studied his forebears’ lessons with adroitness to better prepare himself to put his own mark on them.” This praise underlines Mollner’s deliberate and thoughtful engagement with the genre, promising audiences a film that is both reflective and innovative.

Strange Darling

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Sydney Sweeney’s ‘Barbarella’ Revival Forges Ahead

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Sydney Sweeney Barbarella

Sydney Sweeney has confirmed the ongoing progress of the much-anticipated reboot of Barbarella. The project, which sees Sweeney not only starring but also executive producing, aims to breathe new life into the iconic character that first captured audiences’ imaginations in the 1960s. However, amid speculation, Sweeney remains tight-lipped about the possible involvement of celebrated director Edgar Wright in the project.

During her appearance on the Happy Sad Confused podcast, Sweeney shared her enthusiasm for the project and the character of Barbarella, stating, “It is. I mean, Barbarella is just such a fun character to explore. She really just embraces her femininity and her sexuality, and I love that. She uses sex as a weapon and I think it’s such an interesting way into a sci-fi world. I’ve always wanted to do sci-fi. So we’ll see what happens.“

Sydney Sweeney confirms her Barbarella reboot is still in the works

Barbarella, originally a creation of Jean-Claude Forest for V Magazine in 1962, was transformed into a cinematic icon by Jane Fonda under the direction of Roger Vardim in 1968. Despite a sequel, Barbarella Goes Down, never seeing the light of day, the character has remained a symbol of sci-fi allure and adventurous spirit.

Over the decades, several high-profile names including Rose McGowan, Halle Berry, and Kate Beckinsale were floated as potential leads for a reboot, with directors Robert Rodriguez and Robert Luketic, and writers Neal Purvis and Robert Wade previously attached to revive the franchise. Unfortunately, none of these iterations made it past the conceptual stage.

Barbarella

The film’s progress took a promising turn approximately eighteen months ago when Sony Pictures announced its decision to cast Sydney Sweeney in the titular role, a move that Sweeney herself has suggested was facilitated by her involvement in Madame Web, also under Sony’s banner. This strategic decision was aimed at fostering a beneficial relationship with the studio, specifically with the Barbarella reboot in mind.

When probed about Edgar Wright’s potential directorial role, Sweeney adeptly sidestepped, merely noting that Wright has become an acquaintance. This has left fans and industry watchers speculating about the extent of his involvement, if any, in the project.

Barbarella is known for its adventurous tales of a young woman traversing the galaxy, engaging in escapades that often incorporate elements of sexuality—a theme Sweeney seems eager to explore. Her commitment to reimagining Barbarella for a new generation, while staying true to the character’s original essence, sounds like the making of a great reboot.

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‘The First Omen’ Almost Received an NC-17 Rating

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the first omen trailer

Set for an April 5 theater release, ‘The First Omen’ carries an R-rating, a classification that was almost not achieved. Arkasha Stevenson, in her inaugural feature film directorial role, faced a formidable challenge in securing this rating for the prequel to the esteemed franchise. It seems the filmmakers had to contend with the ratings board to prevent the film from being saddled with an NC-17 rating. In a revealing conversation with Fangoria, Stevenson described the ordeal as ‘a long battle’, one not waged over traditional concerns such as gore. Instead, the crux of the controversy centered around the depiction of the female anatomy.

Stevenson’s vision for “The First Omen” delves deep into the theme of dehumanization, particularly through the lens of forced birthing. “The horror in that situation is how dehumanized that woman is”, Stevenson explains, emphasizing the significance of presenting the female body in a non-sexualized light to address themes of forced reproduction authentically. This commitment to realism nearly landed the film an NC-17 rating, sparking a prolonged negotiation with the MPA. “This has been my life for a year and a half, fighting for the shot. It’s the theme of our film. It’s the female body being violated from the inside outwards”, she states, highlighting the importance of the scene to the film’s core message.

The First Omen Movie Poster – by Creepy Duck Design

Producers David Goyer and Keith Levine supported Stevenson’s battle, encountering what they perceived as a double standard in the ratings process. Levine reveals, “We had to go back and forth with the ratings board five times. Weirdly, avoiding the NC-17 made it more intense”, pointing out how the struggle with the ratings board inadvertently intensified the final product. Goyer adds, “There is more permissiveness when dealing with male protagonists, particularly in body horror”, suggesting a gender bias in how body horror is evaluated.

The film’s bold approach to challenging viewers’ perceptions extends beyond the ratings controversy. Co-writer Tim Smith notes the intention to subvert expectations traditionally associated with The Omen franchise, aiming to surprise audiences with a fresh narrative focus. “One of the big things we were excited to do was to kind of pull the rug out from under people’s expectations”, Smith says, underscoring the creative team’s desire to explore new thematic ground.

Nell Tiger Free, known for her role in “Servant”, leads the cast of “The First Omen”, set for release by 20th Century Studios on April 5. The movie follows a young American woman dispatched to Rome for church service, where she stumbles upon a sinister force that shakes her faith to its core and reveals a chilling plot aimed at summoning evil incarnate.

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