Don’t look; he’ll see you. Don’t breathe; he’ll hear you. Don’t move; you’re dead! – 11.10.11

Posted: 11/10/2011 by RJBayley in Uncategorized

Well I feel like such a stereotype, sitting here in Starbucks, typing another draft of an indie horror film script on my laptop on my fourth large coffee of the afternoon. 

Just to balance that image in your head, to clarify and clear me of any assumptions that image brings to mind, I am A) Not using a macbook and B) listening to Metal Daze by the majestic purveyors of True Metal that are Manowar. Thank you Manowar, thank you for being so manly. I could be the least manly man ever and just by listening to you I could leech from your own vast, overflowing supply and fight a bear. No, many bears, many, many bears. Armed with cannons.

Well, its been a while since the last post and I’ve had a bit of to do that doesn’t revolve around these films. I’ve been working more on an upcoming ARG, a review for Culture Bomb as well as some copy-writing and re-shoots on the film that brought us together.

Along with that my car was taken and returned to me, which caused some stress and wasted a good chunk of time, but then I have had a nice bit of compensation for that.

So there’s my apology.

Anyway, aside from an apology here’s another viewing recommendation, the more disturbing than I remember;

The Burning

Our official twitter account tweeted about this film a while ago during a viewing and I’ve chosen this film because, hokey as it may seem from that wonderful poster, its actually rather upsetting. Coming towards the end of the slasher cycle, the film didn’t do well financially at the time but nowadays its regarded as a very satisfying little indie shocker. 

The reason I’ve included it is because of the shears-wielding slasher Cropsy. 

While most slasher and horror films work well by keeping the villain as blank and un-understandable as possible, The Burning elaborates on this slightly more. Its not told in back story, its right there, taking place in ‘real time’. We see a normal, if unpleasant and perverted man, transformed into the slasher of the film. Part of what makes this so effective is that he’s not a hulking, hockey mask wearing monster or a dream-demon kiddie killer, he’s a severe burns victim, disfigured by teenagers. This is a real thing that does happen and lends the film a slightly too-real element that pervades the rest of the more slasherrific plot and characterisation.

This relatable, real-world aspect is something we’re endeavouring to try and capture. That rather unnerving sense that this happens in real life, and in the case of Knock, Knock, Knock all the time.


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