Impossible Horror’s Badass, Creedance Wright

Impossible Horror’s Badass, Creedance Wright

By Emily Milling

Creedance Wright plays Hannah in Impossible Horror, a supremely daring and badass character, much like Creedance (Cree) herself. I asked Cree a few questions about her experience on the film, which will have its world premiere at Toronto After Dark Film Festival on October 16, 2017 at 9:30 p.m.

E: Hey Cree! What’s the haps?

C: Nothing new to report.

E: Thanks for taking the time to talk about your experience on Impossible Horror!

C: Of course, it’s my pleasure.

E: So you came onto the Impossible Horror project just after we had started production, and you took on the role of Hannah. What was it like to join a project already in progress and how did you get up to speed so quickly with your character?

C: It was pretty exciting to join a project already in the works, it meant I didn’t have to worry too much about any pre-production stuff, and I was just thrown right into the nitty gritty. Catching up wasn’t too difficult as long as I didn’t overthink anything, just listen to direction and try to read the script as quickly as humanly possible.

E: Had you trained previously for the action scenes you were asked to do? How did you prepare?

C:  No previous training as far as actual fight choreography goes. Preparation ended up boiling down to just listening as carefully as I could to Alex and the other fight choreographers, taking things half speed when needed and always being aware of where the camera was to make sure everything looked good.

E: And what was it like to work with fight choreographer Alex Chung on the action sequences?

C: The scenes with Alex were the most exciting to film, those guys made me look good by really selling all the punches and kicks. Certainly made me look a hell of a lot tougher than I actually am.

E: What would you do to prepare each night before filming? Did you have any techniques you’d use to warm up?

C: I think the only consistent preparation was making sure I was actually getting enough sleep during the day so I could stay awake all night. I think as soon as I got to apartment every night during the bulk of filming I got into “shooting mode,” so really just getting into that mindset of (attempting) to be as professional as possible.

E: You’ve been extremely dedicated to Impossible Horror from the get-go, helping out with the crowdfunding campaign, coming in to re-record lines, even making sure that your character’s continuity was always on point. What does being part of this project mean to you?

C: This project means quite a bit to me as I’ve been on several film sets before, but always in the periphery, whereas on this set I truly felt like a part of the team. It was exciting to be working with people who I trusted, whose work I had seen and enjoyed in the past and have them also trust in me to perform. Plus who doesn’t love staying awake all night and slowly losing their mind!

E: What was the hardest thing you faced during the shoot and how did you overcome it?

C: I think first adjusting to the sleep schedule was the most difficult thing to get used to, and then just attempting to push through the bout of exhaustion that would inevitably come every night. That along with trying to stay on task when everyone was delusionally tired was probably the most difficult thing to overcome.

E: What was your favourite scene to shoot? And what was your least favourite? Why?

C: My favourite scene to shoot was the playground scene with Alex, and all the other stunt choreographers. It was certainly the most badass I felt on set. For me the worst scene was shooting the climax, only because it was so damn sticky. Along with the fact that we shot it after the bulk of shooting so I think I was out of that “shooting mindset” and the idea of filling my hair with oatmeal and black goo was no longer exciting.

E: What was the best experience you had on set?

C: Showering after shooting the climax. Seriously, it was so fucking sticky. But also most nights were a ton of fun, and full with laughs and a lot of screams.

E: Thank ya kindly, Cree! Have a marvellous day!

C: No problem!

Check out Impossible Horror at The Toronto After Dark Film Festival on October 16 at 9:30 p.m. in Toronto! 

The Process of Character Development – Interview Haley Walker

The Process of Character Development – Interview Haley Walker

By Emily Milling

What would you do if someone saw you in a play, asked you out for Affogato and offered you a part in an indie horror film? That’s what happened to actor, Haley Walker, who plays Lily in Impossible Horror which will have its world premiere at Toronto After Dark Film Festival on October 16, 2017 at 9:30 p.m. To get into her story, I wanted to interview Haley Walker about her experience with the film from start to finish, and how she developed the process to create Lily and keep her consistent throughout production.

E: Hi Haley, how’s it going?

H: Pretty good Emily!

E: So you were brought into Impossible Horror towards the end of pre-production as an actor playing the role of Lily. Can you tell our dear readers how you came to be involved with the film and what your first thoughts were when you read the script?

H: Well it was Nate (writer and producer) who first approached me with the role. We knew each other from high school, I was doing a play in the Toronto Fringe at the time and he came to see one of my shows. After the show he came up to talk to me and pitched the idea. We went to a cafe, got Affogato, sat in Trinity Bellwoods park for a long time…we talked for so long! He told me everything! I felt like this project was a big deal. When I first read the script I was like, whoaaaaa…this is unlike anything I’ve done before. I had never done a horror movie.

E: Do you think that you and Lily have any similarities? What are they? What are the big contrasts between you and your character?

H: Lily feeds off of the art that inspires her. I totally relate to that. I need creative outlets, too! She likes to bury herself in it, it’s like her energy source. There’s almost always a movie playing in her apartment, much like how I’m almost always listening to music. Sometimes I lose meaning in an album I love or a book I’m reading and it’s hard to get back into it. I feel disconnected, it’s like I’ve lost a bit of myself. But then I find something new, attach myself to that, and then after a while I can go back to where I was before and find new meaning where I couldn’t previously. I think Lily goes through a similar process. But I think she’s more gutsy than I am. She gets pushed to the point of exploring these things that haunt her, and she enjoys it. I couldn’t do that. If something was haunting me, I’d run away.

E: How did you begin to build out the character of Lily before we got to set? What techniques did you use to prepare? OR How did you build out the character of Lily throughout the shoot? What techniques did you use to prepare for filming each day?

H: I did a lot of staring at myself in the mirror, practicing facial expressions and saying lines. I do this a lot, actually. I talk to myself a bunch when I’m alone.

E: We shot the film over about a year and a half, and recorded some ADR and extra lines for your character here and there as it developed. How did you keep Lily consistent throughout this long timeframe? Even last month we had you in to record a few new lines – what did you do to get back into the Lily headspace?

H: This was so hard. Oh my god. Conversation with the director was super important for me & my process. There wasn’t much that I could do beforehand, just being in the space where we were shooting was what helped me. The fact that we did ADR and other sound stuff in the same apartment where we shot a lot of it was good for keeping me consistent. We’d always meet in that apartment regardless of where we were shooting, so I’d get into costume and do my makeup there. I became Lily in there every day. Just being in it brings me back to her.

E: Now that we know how you work – fill us in on what it was like for you to perform with the mental constraints of working in the middle of the night for two and a half weeks?

H: Wild. Just wild. I am not one for pulling all nighters anymore, at the time it wasn’t as hard as it is for me now. It was still hard though. I remember being totally content with napping on a cold, hard floor. That process was my first time working on a feature and also working with a cast & crew that doesn’t consist of my old friends or classmates, so I got early exposure to a different and, in some ways, more difficult process!

E: What was the hardest thing you faced during the shoot and how did you overcome it?

H: It was very hard to stay focused when everyone is running on a lack of sleep and we’re seeing each other basically every day for weeks straight. It got loopy. We all got loopy. There’s not much you can do in a situation like that besides check out after leaving the set. Leave it at the set and come back to it later, don’t take it with you. Even that was hard to do, but you do your best. And we had days off so I’d just relax on those days.

E: What was your favourite scene to shoot? And what was your least favourite? Why?

H: My favourite scene to shoot was the first scene where Lily and Hannah meet. It was really exciting to shoot! All the running scenes and fighting scenes were so fun. My least favourite scene to shoot was probably that creepy doll scene, where everything in the apartment starts moving. That one was done in one shot and the doll kept falling over, I was so annoyed.

E: There’s a pretty significant dynamic and character shift in Lily from the start of the film to the end which is remarkable to watch on screen, it’s almost as if Lily becomes a completely different person. Can you walk us through the choices you made to bring Lily to such a dark place?

H: Well I think a lot of it came from outside factors. Despite shooting scenes out of chronological order, the jumps in time weren’t too drastic which helped me stay in touch with Lily’s transformation. The very first scene in the movie was the first scene we shot, and the very last scene was one of the last scenes we shot, so by that time I had been through so much. I had become comfortable in the apartment, comfortable with the cast & crew, I knew the story well…I had spent so much time with this film. I had time to get comfortable with Lily which made playing the shift easier. Plus, I was running on a messed up sleep schedule and my diet consisted of mostly bagels, so that definitely changed something in me. As I grew and changed, so did Lily.

E: What was the best experience you had on set?

H: Getting absolutely soaked in goo, blood, and whatever else you guys threw on me. I really love getting down and dirty for a film. And you guys were always very professional and adamant about health & safety so I felt comfortable!

E: Thanks, Haley! It was lovely to speak with you today! Regards!

H: Always a pleasure, Emily!

Check out Impossible Horror at The Toronto After Dark Film Festival on October 16 at 9:30 p.m. in Toronto! 

Impossible Horror International Screening Announced: SF Indie’s “Another Hole In The Head” Film Festival 2017

Impossible Horror International Screening Announced: SF Indie’s “Another Hole In The Head” Film Festival 2017

FOR IMMEDIATE RELEASE

CANADIAN INDIE FILM IMPOSSIBLE HORROR TO SCREEN AT INTERNATIONAL DEBUT IN SAN FRANCISCO FILM FESTIVAL

International screening provides film Impossible Horror with an opportunity to showcase independent Canadian cinema.

Toronto, October 10, 2017 – Canadian independent film production company CANMAKE Productions will bring its second feature film Impossible Horror to San Francisco for its international debut at SF Indie’s “Another Hole In The Head” film festival on November 5, 2017 at 9:00 p.m. tickets available here.

“We’re ready to take on the world and help to bring independent Canadian cinema into the international spotlight,” says producer Emily Milling. “Bigger budget Canadian films are often passed over in favour of American productions in film festivals, leaving independent Canadian productions with very little chance to be seen. We’re getting the opportunity to show off the talent that exists in Canada and we are extremely grateful to bring our film to SF Indie’s “Another Hole In The Head” Film Festival in San Francisco.”

In 2016, “Canadians produced only 71 fiction features in 2015/16 (a 10-year low)” (source) primarily due to an increasing interest in television and broadcast media in Canada, but this gives independent productions like Impossible Horror an opportunity to stand out on the international film circuit.

“My hope is that we can help to shine a light on the exceptional, creative products that independent filmmakers are developing in Canada,” says Milling. “Our friends and colleagues in Toronto work so hard, many of us with full-time jobs trying to produce films on the side with little to no-budget. The more that independent Canadian cinema is seen, the more I know we’ll see increased investment and interest in the medium.”

In Impossible Horror, Lily (Haley Walker), an insomniac filmmaker who is facing a crippling creative block begins to hear a sinister scream ring outside her window every night. Convinced that she must find the source of the scream, Lily heads into the darkness of her neighborhood and meets Hannah (Creedance Wright), a veteran scream hunter, close to finding an answer. The women quickly team up to solve the mystery, encountering unsettling silent figures and terrifying apparitions that ultimately lead them to an otherworldly threat that is driving its victims into madness.

Original and inventive, director/writer Justin Decloux explores the pain and frustrations of creative blocks with this horror allegory. Through Lily and Hannah’s pursuit of answers and inspiration in a world where creative resources are scarce, this story invites us to imagine the monsters we conjure ourselves, coming to life.

Impossible Horror was Written by Justin Decloux and Nate Wilson, Directed by Justin Decloux and Produced by Emily Milling and Nate Wilson. Cast includes Haley Walker, Creedance Wright, April Etmanski, Alex Chung, Adelina Pipher and Aleks Vujosevic. Director of Photography is Aidan Tanner, Editor is Justin Decloux and Composer is Emily Milling. Produced through CANMAKE Productions. Executive Producers Lindsey Boehme and Brooklyn Boehme.

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Contact:

Emily Milling

Producer, Media Contact

[email protected]

 

About CANMAKE Productions

CANMAKE Productions is an independent film production company in Toronto, Ontario. Focusing on genre narrative films, the company tells stories that are original, unique and character driven.

 

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Exclusive Interview with April Etmanski – Actor, Colourist, Foley Artist

Exclusive Interview with April Etmanski – Actor, Colourist, Foley Artist

By Emily Milling

Meet April Etmanski, actor, colourist, foley artist and overall superstar for Impossible Horror which premieres at the Toronto After Dark Film Festival on October 16, 2017 at 9:30 p.m. She also happens to be one of my closest friends and a seriously awesome creative collaborator. April and I met in high school and acted in Fiddler on the Roof together in grade 11. We also made films together, including our pinnacle piece, an adapted version of Macbeth. Since then we’ve worked on different projects both together and apart, and we had the chance to work on Impossible Horror together over the last two years. April made a huge difference and was a constant cheerleader for the film, encouraging Justin and myself to keep working and get it done. Now, we’re planning a short film that will go into production in 2018.

So, what does it take to be an all-around talented film superstar? I had an interview with April Etmanski about her processes and ideas to find out.

E: April! How’s it going?

A: Very well, thanks.

E: Thanks for taking part in this interview!

A: No problem!

E: Some (me) might say that you’re one of the most crucial elements that brought Impossible Horror to life. You were part of the concept, the crowdfunding campaign, the pre-production, production, post-production and here you are in the final stretch as we start promoting the film talking about your experience. What was it about this project that compelled you to be involved and stick it out?

A: I found everything to be very exciting! I had very little experience with film productions before this. Working in the post world, I never really got to be involved in pre-production or shooting on-set. Making a movie with my friends seemed like such a fun way to spend my off-hours. Also, getting the chance to be involved with the creative process was such a thrill. Whether lending a hand on set or being involved with post sound and colour, I enjoyed every minute of it.

E: And what does the film mean to you?

A: Impossible Horror is a project that I am immensely proud of. I always tried to be a positive influence during the process, offering help and bringing optimism wherever I could. I think the end product turned out so well and I know that is because everyone involved came together with their best work.

[bctt tweet=”Everyone involved came together with their best work. #ImpossibleHorror @apriletmanski” username=”canmakep”]

E: You were both an actor and a production assistant on set. What was your experience like with both? How did you balance them?

A: On the days where I was acting, I tried my best to also be a production assistant as well. Sometimes it’s helping set up a scene, sometimes it’s just offering an opinion. Being a PA often means being ready to help with anything at any moment, and also when to stay out of the way. 🙂

E: And how was it to work with a small team on this film?

A: I liked working with a small crew a lot because it allowed me to observe the process. Being behind the camera while the cinematographer (Aidan) did his thing was pretty cool. We were also all friends, so the crew got along very well.

E: Moving into post-production you were involved in both the visual and audio elements of the film. Can you talk a bit about the different things you did for the film in post?

A: I did the colour correction and performed as a foley artist.

E: How did you come up with the style for the colour of the film?

A: The director (Justin Decloux) shot the film exactly the way he wanted it to look. Most of the film has these amazing moody shadows over everything, with rich greens and yellows popping up all over. So the look was already set. My job became just enhancing the look so the shadows were really dark but the colours still popped. It was also really fun because this was the first horror movie I have ever coloured. So I got to experiment with making the gory scenes look especially gross by adding green and blue tones.

E: And what was the process like working with Justin on the finishing touches?

A: Great! Once the look was set he pretty much let me do the whole movie. Very few revisions.

[bctt tweet=”We needed to duplicate walking on a metal surface, so we ended up using muffin trays. #ImpossibleHorror” username=”canmakep”]

E: Can you talk about the process for the foley work you did? How did you come up with some of the sounds?

A: For most of the sounds I foleyed we just tried to duplicate what was happening onscreen. So for the forest scenes we brought a bunch of dried leaves into the house. If I had to foley a character stumbling and falling, I would just do that in front of the mic. However, sometimes we had to get creative. We needed to duplicate walking on a metal surface, so we ended up using muffin trays. We also had one patio stone and that really came in handy! A small handful of gravel on that stone gave just the right crunchy sound for a lot of the footsteps.

E: And your ability to walk in time with the action in the scene is like some hidden talent I’ve never seen before, have you done footsteps before? How do you step in time with the action so well?

A: I did foley for a few projects in college. There’s no secret to it. You just have to look at the action a few times and then do your best to match it. I guess I just love performing. I love dancing and things that involve movement. For Impossible Horror, I just went for it! It was so much fun.

E: Thematically this film deals with a lot of creative blocks. What’s your strategy for overcoming creative blocks? Did you face any while you worked on the film?

A: For me, I often have a hard time getting started. I procrastinate. But once I’m going, I can work for hours and get into the zone. I think it’s important to have a support system of people who encourage you to be creative. I think that helped with Impossible Horror. Our team was game every night.

E: Thanks, April! You’re a superstar!

A: Thanks! So are you!

Check out Impossible Horror at The Toronto After Dark Film Festival on October 16 at 9:30 p.m. in Toronto! 

Toronto Indie Film Impossible Horror To Have World Premiere At Toronto After Dark Film Festival

Toronto Indie Film Impossible Horror To Have World Premiere At Toronto After Dark Film Festival

TORONTO INDIE FILM IMPOSSIBLE HORROR TO HAVE WORLD PREMIERE AT TORONTO AFTER DARK FILM FESTIVAL

Two women search for the source of a sinister scream each night while challenging creative demons in this original horror story.

Toronto, October 3, 2017 – Independent filmmaker and Toronto resident Justin Decloux (Teddy Bomb, 2014) will be premiering his second feature film, Impossible Horror, at the Toronto After Dark Film Festival on October 16, 2017, 9:30 p.m. at the Scotiabank Theatre in downtown Toronto. The screening will include a Q&A with cast and crew of the film, which was produced and shot in Toronto.

In Impossible Horror, Lily (Haley Walker), an insomniac filmmaker who is facing a crippling creative block, begins to hear a sinister scream outside her window every night. Convinced that she must find a way to help the person that is screaming, Lily heads into the darkness of her neighborhood and meets Hannah (Creedance Wright), a veteran scream hunter, obsessed with putting a stop to the nightly occurrence. The women join forces to solve the bloodcurdling mystery and quickly discover that its true source may be an otherworldly threat that is driving its victims into madness – and Lily and Hannah are next.

Original and inventive, Decloux explores the pain and frustrations of creative blocks in this horror allegory. Through Lily and Hannah’s pursuit of answers and inspiration in a world where creative resources are scarce, this story invites us to imagine the monsters we conjure ourselves, coming to life.

“The need to create gnaws at me, forces me to put pen to paper – I wanted to make a film about that struggle,” says Decloux. “But what if the passion was stoked by something external, something unknowable, something that could drive you insane? Something you had to catch.”

Impossible Horror is Justin Decloux’s second feature film as a Writer/Director and the first under his production company CANMAKE Productions which produces independent genre films in Toronto, co-founded by Producer/Composer Emily Milling.

“To have the opportunity to work on a story that reflects my own experiences as a creative person told through the lens of female characters, legitimizes my creative ambitions,” says Emily Milling, Producer. “My goal for this film was not just to help tell a great and original story, but also to empower other creative women with on-screen examples of ingenuity and problem solving uninhibited by any need to have the characters rely on male intervention, and I think we achieved that.”

Impossible Horror was Written by Justin Decloux and Nate Wilson, Directed by Justin Decloux and Produced by Emily Milling and Nate Wilson. Cast includes Haley Walker, Creedance Wright, April Etmanski, Alex Chung, Adelina Pipher and Aleks Vujosevic. Director of Photography is Aidan Tanner, Editor is Justin Decloux and Composer is Emily Milling. Produced through CANMAKE Productions. Executive Producers Lindsey Boehme and Brooklyn Boehme.

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Contact:

Emily Milling/Justin Decloux

Media Contact

647-394-6411

[email protected]/[email protected]

 

About CANMAKE Productions

CANMAKE Productions is an independent film production company in Toronto, Ontario. Focusing on genre narrative films, the company tells stories that are original, unique and character driven.

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The Impossible Horror Score: 8 Months of Music Mayhem!

The Impossible Horror Score: 8 Months of Music Mayhem!

I’ve just finished the Impossible Horror Score. That was a seriously bumpy ride. I’m not even sure how I got to this point, but I’m actually, doing the final touches on my mixes and getting everything ready to be mastered.

If you asked me six months ago, whether I thought I’d ever make it to this stage, I probably would have laughed, then cried, then curled up in the corner whispering to myself about the principles of compression and why I can’t figure it out to save my life. But eight months ago, I couldn’t wait to sink my teeth in and get started.

I started compiling reference tracks in my head and on my various devices that I’d listen to constantly. I sat in cafes trying to break down structural elements from my favourite pieces, trying to figure out why I loved them so much. On my daily drive to work I played the Stranger Things OST so many times I got sick of listening to it.

Eventually I settled on a tone that would be the roadmap of my aural journey. It was a mix of Mark Korven’s “The Witch”, Tangerine Dream’s “Risky Business” and Disasterpiece’s “It Follows”. Other influences like John Carpenter, Kyle Dixon and Michael Stein, and Cliff Martinez fleshed out the rest of the tonal beats.

And then I sat down to write the Impossible Horror Score.

Let me paint a picture for you. I was working a very demanding full-time job at the time, and I also wanted to do the sound mix which seemed like it would be easy (HA! Oh dear… past Emily, you silly goose), and since I had written the score for Teddy Bomb previously I was totally convinced that I’d spend a month, tops, writing the score for Impossible Horror. I also thought that all the sound would be done by summertime and we’d absolutely make the deadline to get into festivals like Fantasia, Fantastic Fest, you name it.

What actually happened was we had to submit the film with half original score, half temp music.

But I digress.

After a few failed attempts at writing a title track I eventually landed on something that felt visceral and powerful. I could see myself sitting in a theatre with an audience, hearing that track, feeling the intensity it would bring to the start of the film. WHAT A GREAT MOMENT. Obviously it freaked me out so much that everything I wrote after the title track basically paled in comparison and nothing felt right.

So I kept researching while I tried to write/mix/work full-time/do everything else that humans do, and it stumped me hard. Whether this was just something I had to go through or a job well done by my ADHD brain, I don’t know. I have at least three versions of 32 different cues sitting on my computer now, because literally nothing was sticking. Either it felt too rushed or too slow, too bass heavy or to flimsy and useless.

Every couple of weeks I’d manage to crank out a track that did sound good though, and we’d hastily rush to put whatever new music was available on the next export to send out to festivals. The movie suffered for it, I think.

I wanted to quit almost every single day.

About four months in I hit my threshold of work and frustration and stress with the film. No music would come out anymore and I had to force myself to sit in front of the computer and make horrible noises with endless freeware synths I’d download to make myself feel like I had some sort of advantage over the creative block beast.

I listened to Love on a Real Train on repeat trying to figure out why it was so good. I read interviews with screen composers to understand their work process, knowing full well that theirs would never work for me. I also cursed Kyle Dixon and Michael Stein for being so flippant about the silver platter that Stranger Things was handed to them on. I was mad I didn’t have a hardware synth to keep me focused, that I made my options too broad and that I couldn’t find the right sounds.

I wish I could tell you that there was an aha moment where things just clicked and I finally figured out my secret sauce that led me to finishing the Impossible Horror score. If I had, I would have shared it with you so that everyone could write awesome horror film scores. But that moment never came. The moment that did finally come where I felt relief, was realizing I had 16 solid tracks I could press on vinyl, that sounded like a complete album. Everything finally flowed and was cohesive.

And I learned a hard lesson about creativity. No matter how hard you try to push ideas and notes through the synapses of your creatively constipated brain, nothing will happen unless you sit down and force yourself to do it.

Here’s a list of reference tracks for the Impossible Horror score:

Or you can just listen to the playlist on Spotify. I’ll probably add to it as I remember more tracks.

Here’s a list of freeware synths/VSTs I used to create the music for Impossible Horror:

Aalto – Mardona Labs

A semi-modular VST that can create killer soundscapes and SFX. You can get a souped up freeware version if you buy Computer Music Magazine issue 191.

OBXD

An emulation of OB-X, OB-Xa and OB-X8 synths, sounds like an 80s action movie and has a lot of punch.

PG8X – Martin Lüders

A Roland JX-8P emulator with really great vintage sounds, excellent soft bells and versatility.

Blocks Wired – Native Instruments

A free version of the Reaktor Blocks, comes with a cool, programmable sequencer and a lot of really bizarre presets.

Mikro Prism – Native Instruments

The “kid sister” of Reaktor’s “Prism” with about 70 rad presets, makes for some really excellent warped sounds.

The not-so-free VSTs/Programs I used to create the music for Impossible Horror:

Ableton Live 9 – Suite

You can do a lot with the Intro version, but Suite comes with Operator and Tension which I used a lot. This version also lets you work with a video track in your session which is instrumental (ha!) in composing for film in my opinion.

Hybrid – Air

This actually came with my MPK Mini mkII, but since that’s a very decent starter midi controller you may want to check it out and get the two VSTs that come with it.

Hardware

Bonus fact: I used a couple of pencils and my desk to do a lot of the percussive work. I am a terrible drummer so I quantized the rhythms that were most in time with the beat, then I layered on thick reverb and delay.

Indie Film Impossible Horror Achieves $7000 Crowdfunding Goal in Final Hours of Campaign

Indie Film Impossible Horror Achieves $7000 Crowdfunding Goal in Final Hours of Campaign

FOR IMMEDIATE RELEASE

INDIE FILM IMPOSSIBLE HORROR ACHIEVES $7000 CROWDFUNDING GOAL IN FINAL HOURS OF CAMPAIGN

Independent filmmakers Justin Decloux, Emily Milling and Nate Wilson prepare to go into production after close of successful campaign.

July 5, 2015 Toronto, Canada – In a dash to the finish line, Toronto indie film Impossible Horror achieved its crowdfunding goal of $7000, surpassing it with a total of $7290. The film is currently in pre-production, and will begin production on July 17, 2015.

“This is the outcome we were hoping for, successfully raising over $7000 is going to make this project possible.” says director/writer Justin Decloux.

Donors rushed to contribute in the final hours of the campaign. One contributor, Edmonton, Alberta native Lindsey Boehme, kicked in $1000 with six hours to spare. Boehme will be credited as an executive producer, joining her sister Brooklyn Leigh Boehme who also contributed $1000 to the campaign.

“We have a lot of people to thank for this, it really takes a community to rally around an idea and bring it to life.” says producer Emily Milling. “So many of our friends and family stepped up to the plate and encouraged their networks to get involved – we couldn’t have done this without them!”

The funds were raised on crowdfunding platform Indiegogo. Thanks to the successful raise, the campaign has now moved into the “In Demand” category, allowing for more contributions. Donors can receive perks exclusive to this campaign, including a special edition blu-ray with commentaries, a making-of featurette and more.

Synopsis

Every night a scream rings out in the same neighbourhood. Two insomniac strangers, Lily the filmmaker and Hannah the game designer, head out together into the darkness to find the cause. Is it a psychotic killer claiming a new victim? A murderous ghost out for revenge? A flesh eating monster? All of the above with extra chainsaws? Before they know it, Lily and Hannah have gone from being the scream hunters to the scream prey and an evil force wants them dead. If they can both survive the night, they may just find the answers they’re looking for, but the price will have to be paid in sanity and blood.

###

Contact:

Justin Decloux

[email protected]

647-294-6411

About CANMAKE Productions

CANMAKE Productions is an independent film production company in Toronto, Ontario. Focusing on genre narrative films, the company tells stories that are original, unique and character driven.

Crowdfunding Campaign Launches for the Feature Length Horror Film Impossible Horror

Crowdfunding Campaign Launches for the Feature Length Horror Film Impossible Horror

FOR IMMEDIATE RELEASE

CROWDFUNDING CAMPAIGN LAUNCHES FOR THE FEATURE LENGTH HORROR FILM IMPOSSIBLE HORROR

Indie film production team Justin Decloux and Emily Milling set out to tell an original horror story.

Toronto, Canada, June 9, 2015 – Justin Decloux, director of the splatter comedy Teddy Bomb (2014), launches crowdfunding campaign for the feature length horror film Impossible Horror on Indiegogo today.

Impossible Horror is a new feature length horror film from Toronto indie filmmakers, writer/director Justin Decloux (Teddy Bomb, 2014) and producer/composer Emily Milling. The project is currently being crowdfunded on Indiegogo and the campaign kicked off to a booming start with over $2000 in donations.

“We are thrilled that the campaign had so much uptake in just the first day, we’re really excited for it to grow!” says Milling. “People seem to be excited about the story that we want to tell and the fact that we have really strong female characters to drive it.”

Impossible Horror features two female leads, searching for the source of a nightly scream that echoes throughout their neighbourhood. The characters soon find themselves being hunted by the very thing that they are hunting. Stylistically the film is a mix of Evil Dead 2, Phantasm and The Ring with a dash of artistic obsession straight out of Fitzcarraldo.

The production team have previously worked together on several projects, capitalizing on local resources and their own ingenuity to make micro-budget pictures. In order to finish financing Impossible Horror, Decloux decided to launch a crowdfunding campaign.

“We took our campaign to Indiegogo because we want to bring Impossible Horror to the next level,” says Decloux. “We want this film to be on par with other productions like Mike Flanagan’s Absentia.”

The campaign will run until July 4, just before the film begins pre-production. Contributors will be treated to exclusive updates and behind the scenes footage during production.

Justin Decloux is the director of the short film We’re in a Fight, co-host of the Laser Blast Film Society at The Royal Cinema in Toronto and is a rabid lifelong cinephile. He has promised to stuff every second of Impossible Horror with his love for the horror genre and terrifying storytelling.

“Horror films are the most visceral form of cinematic expression,” says Decloux, “and I’m incredibly excited to bring my love for the genre to the screen.”

The campaign includes perks such as an exclusive Blu-Ray version of the film, soundtrack, t-shirts and an opportunity for funders to have their screams featured in the film.

Synopsis

Every night a scream rings out in the same neighbourhood. Two insomniac strangers, Lily the filmmaker and Hannah the game designer, head out together into the darkness to find the cause. Is it a psychotic killer claiming a new victim? A murderous ghost out for revenge? A flesh eating monster? All of the above with extra chainsaws? Before they know it, Lily and Hannah have gone from being the scream hunters to the scream prey and an evil force wants them dead. If they can both survive the night, they may just find the answers they’re looking for, but the price will have to be paid in sanity and blood.

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Contact:

Justin Decloux

[email protected]

647-294-6411

www.impossiblehorror.com

www.canmakeproductions.com

About CANMAKE Productions

CANMAKE Productions is an independent film production company in Toronto, Ontario. Focusing on genre narrative films, the company tells stories that are original, unique and character driven.